Pamela Salisbury Gallery

TOM BURCKHARDT: “Heads.” On view through April 2.
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“Clown Drown,” 2022
oil on linen
20 x 16 in

“Polar Cap,” 2022
oil on linen
20 x 16 in

“Contrafactum,” 2022
oil on linen
20 x 16 in

“Hell in a Handbasket,” 2022
oil on linen
20 x 16 in

“Homage to the Squire,” 2022
oil on linen
20 x 16 in

KATIA SANTIBAÑEZ in “Two Plus Two Equals Three,” on view through April 2. An Endless Quartet is a series of etchings printed by and hand-colored by .
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An Endless Quartet, 2022, (AV. IX/XII)
etching and watercolor
10.75 x 12 in

An Endless Quartet, 2022, (AV. I/XII)
etching and watercolor
10.75 x 12 in

An Endless Quartet, 2022, (AV. XII/XII)
etching and watercolor
10.75 x 12 in

An Endless Quartet, 2022, (AV. VI/XII)
etching and watercolor
10.75 x 12 in

KATIA SANTIBAÑEZ in “Two Plus Two Equals Three,” on view through April 2. An Endless Quartet is a series of etchings printed by and hand-colored by
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An Endless Quartet, 2022, (AV. IX/XII)
etching and watercolor
10.75 x 12 in

An Endless Quartet, 2022, (AV. I/XII)
etching and watercolor
10.75 x 12 in

An Endless Quartet, 2022, (AV. XII/XII)
etching and watercolor
10.75 x 12 in

An Endless Quartet, 2022, (AV. VI/XII)
etching and watercolor
10.75 x 12 in

Come see Katia Santibañez and James Siena’s collaborative work in their exhibition “Two Plus Two Equals Three,” which continues through April 2!
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A video feature courtesy of about James and Katia’s first ever collaborations is up on our website! Click the link in our bio to watch, as the artists and partners embark on their first visual collaboration: two reduction woodcut prints, published by Shore Publishing. "Move by move, these images were created, alternating between Katia and James' hands," writes Mae Shore. "Each layer is recognizable to their particular style but comes together in the most harmonic way.”

This collaboration is on view alongside their second collaborative set of prints, also with .
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“Jawbreaker Sixplay” & “Fourhanded Choker,” 2018
Reduction woodcuts in 7 colors
Rives BFK paper
Image sizes: 16 x 12 in
Paper sizes: 23 1/2 x 19 in
Editions of 25

“Triplebarb Whirler” & “Bonkbell Puller,” 2022
Reduction woodcuts in 6 colors
Rives BFK paper
Image sizes: 22 1/2 x 18 in
Paper sizes: 28 3/4 x 23 1/2 in
Editions of 30

“Heads,” solo exhibition comprising sixteen oil paintings, is on view through April 2!
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“I started jigsawing nice store bought stretcher bars for a few reasons: It’s a great stupid thing to do, who else who be such a fool. It makes things weird, always a plus. I later found that if the outer edges aren’t the straightest, it can make my quickly painted straight-ish lines feel a bit straighter as they leapfrog over the tyranny of the physical edge, a bonus aspect. There’s rectangles and shaped paintings (E Murray, Gorchov, Overstreet etc- all great) but what about splitting the difference? And I found it is not always noticed on the first beat, a nice unsettling reorientation effect. Also gimmicks can be great when it signals some individuality. It’s harder than keeping them as is, and “why would I do this?” tries to put you in my absurd shoes.” - Tom Burckhardt
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[left to right]

Clown Drown, 2022
oil on linen
20 x 16 in

No Longer With Us, 2022
oil on linen
20 x 16 in

Homage to the Squire, 2022
oil on linen
20 x 16 in

Verb:Re, 2022
oil on linen
20 x 16 in

Verb:Re, 2022
oil on linen
20 x 16 in

Interrobang, 2022
oil on linen
44 x 36 in

Interrobang, 2022
oil on linen
44 x 36 in

Contrafactum, 2022
oil on linen
20 x 16 in

Post Op, 2022
oil on linen
20 x 16 in

Starks, 2022
oil on linen
20 x 16 in

Gezuntzeitgeist, 2022
oil on linen
44 x 36 in

“Heads,” ’s solo exhibition comprising sixteen paintings, is on view through April 2!
-
“I started jigsawing nice store bought stretcher bars for a few reasons: It’s a great stupid thing to do, who else who be such a fool. It makes things weird, always a plus. I later found that if the outer edges aren’t the straightest, it can make my quickly painted straight-ish lines feel a bit straighter as they leapfrog over the tyranny of the physical edge, a bonus aspect. There’s rectangles and shaped paintings (E Murray, Gorchov, Overstreet etc- all great) but what about splitting the difference? And I found it is not always noticed on the first beat, a nice unsettling reorientation effect. Also gimmicks can be great when it signals some individuality. It’s harder than keeping them as is, and “why would I do this?” tries to put you in my absurd shoes.” - Tom Burckhardt
-
[left to right]

Clown Drown, 2022
oil on linen
20 x 16 in

No Longer With Us, 2022
oil on linen
20 x 16 in

Homage to the Squire, 2022
oil on linen
20 x 16 in

Verb:Re, 2022
oil on linen
20 x 16 in

Verb:Re, 2022
oil on linen
20 x 16 in

Interrobang, 2022
oil on linen
44 x 36 in

Interrobang, 2022
oil on linen
44 x 36 in

Contrafactum, 2022
oil on linen
20 x 16 in

Post Op, 2022
oil on linen
20 x 16 in

Starks, 2022
oil on linen
20 x 16 in

Gezuntzeitgeist, 2022
oil on linen
44 x 36 in

JAMES SIENA’s etchings with Harlan & Weaver are on view now! Come see this suite of Nine Prints Thursday through Sunday!

James Siena is a New York based artist whose complex, rule-based linear abstractions have situated him firmly within the trajectory of modern American art. His artwork is driven by self-imposed predetermined sets of rules, or “visual algorithms,” which find their end-result in intensely concentrated, vibrantly-colored, freehand geometric patterns. Siena works across a diverse range of media, including lithography, etching, woodcut, engraving, drawing, and painting.

“Two Plus Two Equals Three,” the joint exhibition for partners and artists Katia Santibañez and James Siena continues through April 2.
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Constant Window, 1999-2000
engraving Hahnemühle bright white paper
12.85 x 10.85 in

Lattice, 1999-2000
line etching Hahnemühle bright white paper
12.85 x 10.85 in

Etching After Untitled Yellow-Black, 2000
open bite etching Hahnemühle bright white paper
12.85 x 10.85 in

Lighthouse, 2001
line etching Hahnemühle bright white paper
12.85 x 10.85 in

Proton Saga, 1999-2000
engraving Hahnemühle bright white paper
12.85 x 10.85 in

56787654, 1999-2000
line etching Hahnemühle bright white paper
12.85 x 10.85 in

Base Three, 1999-2000
line etching Hahnemühle bright white paper
12.85 x 10.85 in

Connected Hooks, 2001
line etching Hahnemühle bright white paper
12.85 x 10.85 in

Ramparts, 2001
open bite etching Hahnemühle bright white paper
12.85 x 10.85 in

ON VIEW | Tom Burckhardt: “Heads”

“I'm trying to bring the paintings up to an invisible line, the watershed between recognizability and visual wandering. I’m interested in is this initial recognition of the structure of a human face. Before the questions of gender or specifics of emotion or even race. It's more basic and peculiar than that. The first thing we're trying to decide is are these actually human or not.” - Tom Burckhardt

The exhibition is on view through April 2. You can visit our website for more images.
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“Verb:Re,” 2022
oil on linen
20 x 16 in

“Post Op,” 2022
oil on linen
20 x 16 in

KATIA SANTIBAÑEZ in “Two Plus Two Equals Three” | The joint exhibition for artists and partners Katia Santibañez and James Siena continues through April 2.

Katia Santibañez’s work utilizes grid structures to examine the intricacies and minutiae of organic forms. Beginning with a grid, she approaches the canvas precisely and allows every inch to have its own expressive quality. Santibañez examines how objects of nature can be structured to magnify a canvas. Layers of sharp, kaleidoscopic patterns come together to create hypnotic, yet tranquil abstract canvases. There is a vibrancy reflected through the order. The mixture of a rigid formal base with swirling swaths of color leads viewers to contemplate each component as its own entity while simultaneously absorbing how they come together as a whole. 

Click the link in our bio to view more images of Santibañez’s work!
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“A SECRET PLACE,” 2021
Softground and hardground etching
23 x 26 in

“Can you turn around?” 2021
etched copper plate printed in violet
21 x 17.50 in

“

…and just a few more. What a fun evening! Exhibitions by KATIA SANTIBANEZ, JAMES SIENNA, and TOM BURCKHARDT will be in view through April 2nd. See you in Hudson!

More pictures from the artists reception for KATIA SANTIBANEZ, JAMES SIENA, and TOM BURCKHARDT!

Huge THANKS to everyone who joined us Saturday afternoon for the opening of new exhibitions by KATIA SANTIBANEZ, JAMES SIENA, and TOM BURCKHARDT!!!

CLOSING SOON! It’s the last weekend to come see Arne Svenson and Pamela Sundays’ solo exhibitions! Stop by 11–5 Thursday through Sunday.
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Arne Svenson
“Beautiful Day #67,” 2021
pigment print
20 x 14.5 in

Pamela Sunday
“SPROCKET,” 2017
ceramic
14 x 14 x 14 in

Arne Svenson
“The Invisible #16,” 2018
pigment print
20 x 14.5 in

Pamela Sunday
“HYDRA,” 2022
ceramic
15 x 15 x 15 in

ARNE SVENSON
“Beautiful Day #9”, 2021
20 x 14.5 inches

From Arne Svenson: “Sightline”, on view through February 12!

Pamela Sunday
ELECTRUM, 2022
ceramic
10 x 12 x 12 inches

From forensic facial reconstruction sculptures to the anonymous neighbors across the street, Arne Svenson’s photographic subjects are diverse, but his concept consistent: he is forever seeking out the inner life, the essence and quietude of his subjects, whether they be human, inanimate, or something in between.

Arne Svenson: “Sightline” is on view through February 12. Click the link in our bio to view Svenson’s photographs on our website!

Thanks to everyone who joined us last night for the openings of Arne Svenson’s “Sightline” and Pamela Sunday’s “LIFE SCIENCE”!

Opening Today!! Arne Svenson: Sightline. Please join us for the artists’ reception from 3:00 to 5:00 PM!

First and foremost in Arne Svenson's practice is to seek out the inner life, the essence, of his subjects, whether they be human, inanimate, or something in between. He uses his camera as a reporter uses text, to create a narrative that facilitates the understanding of that which may lie hidden or obscured. This narrative, at times only a whisper or suggestion, weaves throughout his divergent body of work.

“Beautiful Day #46”, 2021
pigment print
20 x 14.5 in

“Looking Glass #14”, 2021
pigment print
20 x 14.5 in

“Beautiful Day #9”, 2021
pigment print
20 x 14.5 in

Opening Today!! Pamela Sunday: LIFE SCIENCE. Please join us for an artists reception from 3:00 to 5:00 PM!

“AURUM”, 2022
ceramic
8 x 16 x 10 in

“ELECTRUM”, 2022
ceramic
10 x 12 x 12 in

“ALO”, 2021
ceramic
19 x 26 x 21 in

It’s the last day to see ALL small! Stop on by from 11:00 to 5:00. Many thanks to everyone who made this exhibition possible!

Our next exhibitions: Arne Svenson: “Sightline” and Pamela Sunday: “LIFE SCIENCE” open Saturday, January 14th.

Seth Becker
“Silver Tree”, 2021
oil on panel
10 x 8 in

Margaret Saliske
“S9”, 2022
taskboard, acrylic, aluminum
4.75 x 6 x 4.50 in

Leonard Baby
“Objects of Recollection”, 2022
oil on panel
7.5 x 13.5 in

Eric Wolf
“Lake”, 2020
ink on paper
15 x 11 in

Pete Schulte
Untitled, 2021
graphite on paper
5 x 5 in

Erik Schoonebeek
“Glimpse (w/ Demon)”, 2018
gouache and acrylic on book cover
6.75 x 8.75 in

Scott Brodie
“Bird Book”, 2022
oil on canvas
6 x 9 in

Don Voisine
Untitled, 2021
oil on wood panel
6 x 6 in

Elisa Jensen
“Leaves Falling Down”, 2020
oil on panel
8 x 10 in

Valerie Hammond
“Flutter”, 2022
ink and watercolor on handmade indigo-dyed Gampi paper
9 x 9 in

TAMIKO KAWATA photographed by ROBERT PALUMBO. This weekend is the last chance to see “Disquiet” in the gallery’s historic Carriage House. This exhibition and others close Sunday, January 8th, at 5:00 PM.

“Disquiet” connects Robert Palumbo’s photographic works on traditional Japanese papers with the safety-pin sculptures of artist Tamiko Kawata, who was born in Kobe in 1936 and grew up in Tokyo.

“Rampo’s Love” (brass safety pins, 1996) was inspired by a tragic story by the Japanese mystery writer Edogawa Rampo, in which a man’s form is reduced to just his torso after a fire. Still deeply in love with his wife, he lives out his life accompanying her wherever she goes. She has not shown this work before, waiting for the shiny brass pins to tarnish.

Robert Palumbo
“Tamiko Kawata”, 2020, (1/5)
Archival pigment print on Kozo paper
7.50 x 5.50 in

Tamiko Kawata
“Rampo's Love”, 1997
Brass safety pins
47 x 21 x 14 in







Two new exhibitions open Saturday, January 14th! Please join us for an artist’s reception from 3:00 PM - 5:00 PM for:

Pamela Sunday: LIFE SCIENCE

&

Arne Svenson: Sightline

Pamela Sunday
“IMPERIUM”, 2022
ceramic
14 x 12 x 12 in

Arne Svenson
“The Invisible #17”, 2018,
pigment print
20 x 14.50 in

ALL small! It’s the last week to come see a range of small-scale work - the show closes January 8th! Thank you all for a wonderful holiday season!

For additional information and images please contact [email protected] or see our website! (link in bio)

Ron Milewicz
Bird's Foot Trefoil, 2022
oil on canvas over panel8 x 8 in

Jennifer Coates
“Triumph of Pan III”, 2020
gouache and colored pencil on paper
11 x 14 in

Christina Tenaglia
Untitled, 2021
wood, earthenware, pencil, ink, screws
12.50 x 9.25 x 1.50 in

Silas Borsos
Practice, 2021
oil on board12 x 9.50 in

Amy Pleasant
Elbow XVII, 2021
gouache on paper6 x 7.50 in

HELLO & HAPPY NEW YEAR !!!

HAPPY NEW YEAR EVERYONE!
We will be open today, (1/1) from 12 noon - 4 pm, so please swing by!

LISA HOKE
Windmill 2022
Mixed media
8.5 x 7.5 x 3.25 inches

CARLEEN SHEEHAN’s Ice Fall continues through Saturday, January 8th, in our historic Carriage House. The five-panel installation (see last slide) will be permanently installed at the Harvard University Center for the Environment! Congratulations Carleen!

“The work in this series was shot during an expedition to the High Arctic. It commemorates pieces of recently calved glacial ice, small icebergs sculpted by the Barents Sea as they washed onto shore, before melting under the solstice sun.”

Carleen Sheehan
“Ice Fall (Crystal)”, 2022
Archival pigment print on Hahnemuhle paper 60 x 20 in

Carleen Sheehan
“Ice Fall (Guru)”, 2022
Archival pigment print on Hahnemuhle paper 60 x 20 in

Carleen Sheehan
“Ice Fall (Chunks)”, 2022
Archival pigment print on Hahnemuhle paper 60 x 20 in

Carleen Sheehan
“Ice Fall (Coral)", 2022
Archival pigment print on Hahnemuhle paper 60 x 20 in

Carleen Sheehan
“Ice Fall (Tuffet)”, 2022
Archival pigment print on Hahnemuhle paper 60 x 20 in

PETER AARON captures Robert Thompson Waterproofing sealing a San Francisco facade with tar. Come see it in person before January 8, 2023!

“Robert Thompson Waterproofing”, 2020,
Archival print on Hahnemule paper
12 x 15 in

JILL MOSER in ALL small. On view through January 8th!

“5.17”, 2020
gouache and ink on various papers
7 x 7 in

“3.1.21”, 2021
gouache and ink on various papers
8 x 6 in

“8.5.21”, 2021
gouache and ink on various papers
8 x 6 in

“Juno”, 2020,
woodcut on kozo card
8 x 6 in

“5.15.21”, 2021
gouache and ink on various papers
8 x 6 in

Closing Soon! Come see a range photography on view in our historic Carriage House. “Photography and Sculpture” and “Ice Fall” continue through January 8th, 2023.

- Photography & Sculpture -

Denise Oehl
“Around”, 2022, (1/4)
palladium print
5 x 7 in

Joseph Lawton
“Central Park”, NYC I, 2020, (1/6)
gelatin silver print
20 x 16 in

Chris Bartlett
“Paris”, 1982, (1/8)
archival pigment ink print
13.50 x 20 in

Robert Palumbo
“Petal”, 2019, (1/5)
archival pigment print on Unryu paper
9.50 x 6.50 in

Robert Oehl
“Shield”, 2022
toned cyanotype
5 x 4 in

Peter Aaron
“San Gimignano”, 2020, (1/12)
Archival print on Hahnemule paper
11.50 x 14.50 in

- Ice Fall -

Carleen Sheehan
“Leaf” (Jokulsarlon, Iceland), 2022
Archival pigment print on silver paper
22 x 30 in

Don’t miss KAMILLA TALBOT in ALL small! On view through January 8, 2023.

Wood and Woodpile, 2022
watercolor and screenprint on paper
11 x 10 in

Tree of Birds, 2022
watercolor and ink on paper
11 x 10 in