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Month:   August 2026 – September 2026

Artist:    Michael Wilson

Exhibit:   Bridge Between Two Worlds

Dates:

Exhibit Opening Reception Date: August 2, 2026, Sunday, 1:30 pm – 5:00 pm

Presentation:

August 5, 4:00-6:30 pm , Wednesday, Discussion and talk 5:00 pm-6:00 pm,

Studio Hours:

  • August 22, Saturday, 12:00-4:00 pm
  • August 23, Sunday, 12:00-4:00 pm
  • August 29, Saturday, 12:00-4:00 pm
  • August 30, Sunday, 12:00-4:00 pm
  • September 5, Saturday, 12:00-4:00 pm
  • September 6, Sunday, 12:00-4:00 pm
  • September 12, Saturday, 12:00-4:00 pm
  • September 19, Saturday 10:30 am-4:30 pm Town Day

Exhibit Closing Reception Date:   September 26, Saturday, 1:00 – 2:00 pm

Artist Statement 1:

A lone pedestrian walks across a Venetian Canal emerging from the shadows into the sunlight. What is
his story? Does he work for someone, love someone? What does he dream of? Who is he?
A mystery, with a revelation underneath; every artist yearns for the viewer to imagine such things when
they are looking at a painting or work or art. In a piece’s true story, there is little distinction between
reality and the abstract. Realism and abstraction are the same in this regard.

It’s like reading a story. At the proper moment, the curtain draws back, and AH HA! All is revealed.
Hopefully my oil paintings and life-like tessellations guide the viewers eyes to different areas of the
painting or the drawing through perspective, color, light and shadow, to give the final reveal at the
perfect moment.

Story-telling with color and light is the central theme of my oil paintings while structure is the
fundamental nature of my tessellations. My aim is to capture the viewer’s imagination with elegant
structure, interesting imagery, color and form that is mysterious, yet easily understood.

The essence of creating life-like tessellations is imagining the possibilities behind the abstract shape;
what could this hexagon hold? Could it be a turtle on a lily pad – or a winged horse or a lizard? There are
infinite possibilities to capture the viewer’s imagination.

The key to life-like tessellations is connecting an identifiable object in the viewers memory to the image.
Similarly, a flat oil painting has to feign three dimensions, and lead the viewer across the image, soon
enough, you are seeing the revelation within the scene.

I have been drawing tessellations and making prints for over 40 years. Drawing tessellations by hand did
not come naturally to me; it was a craft I honed over the decades in my spare time. During the pandemic
I was forced to change how I made art and began learning oil painting since I could not easily get access
to the lithographic studio to work on stones and plates. So, for the first time, I explored something truly
unknown to me. Oil painting brought a new passion to my work, capturing landscapes from my home
studio and in plein air.

This exhibit includes both new and old work—original tessellations and original oil paintings. With both
of these mediums, I am bridging between two separate and distinct worlds.
Please wander through and use your imagination, feel free to ask questions and connect with the art. I
plan to show my methods during a planned artist demonstration and a short talk to describe my
approaches. Hope you are entertained, intrigued, and mystified by the stories and pieces, and enjoy the
grand reveal at the curtain call.

Artist Statement 2:

As an artist I see elegance and beauty in the patterns of symmetry found in the natural world
and find inspiration in the colors of sunrises.

Tessellations have always fascinated me and was my first love in creating art. My art explores
the relationship between figure and ground while telling a story with graphic elements. Normally
my work requires large amounts of concentration to conjure-up the idea and coax it into
existence. Mathematically speaking there are only seventeen (17) ways to tessellate the plane,
however, as an artist who has been creating and exploring tessellation design for over 40 years
I have only begun to understand and appreciate the complexity and the give and take of how
these figures interlock and behave in the plane. Creating tessellations is a bit challenging, like a
chess game. These intellectual gymnastics have afforded me great amusement and enjoyment
over the years. It’s a solitary creative process that few artists choose to explore; yet fun.

Hand drawn methods to create life-like tessellations are not very common. Tessellation design
progressed slowly for many years until M.C. Escher explored their creation, classified them in
layman’s terms and made several innovations to depict them in his graphic work. The most
important of his contributions include the metamorphosis, nomenclature for design and
impossible figures. Few if any other artists had the talent of his technical genius and clarity of
thought. Most professionals use computer aided design programs to create tessellation designs
today. While this form of motif design is perfectly valid it lacks the unique marks and
imperfections of the artists hand in creating the design.

I’ve chosen to create tessellations and motifs by hand methods. It’s a visual game; that takes
great concentration, clarity of thought, accuracy, precision and abstract realization. Perhaps the
least understood aspect of this kind of artwork is abstract realization.
Simply put, abstract realization is the ability to visualize motifs inside an ambiguous shape or
outline is the essential aspect of creating life-like tessellations. Imagination is a key element in
this process and the essence of tessellation design.

Creating tessellations requires rules while landscape painting has few rules other than to use
color to create value and form. A paradigm shift occurred during the pandemic as I was able to
break free of the tedious and repetitive work in hand drawing tessellations to produce landscape
paintings. There is a unique ability to capture light and color with oil painting. I enjoy both of
these aspects am probably one the few artists that enjoys developing a repeating tessellation
pattern and the freedom of oil painting.

Thank you for taking an interest in my work.

Artist Bio:

I’ve have explored two (2) very different techniques and ways of thinking while creating art. My
primary interest, and first love, for over 35 years was creating hand drawn tessellations which I
made into drawings, watercolors, lithographs, linocuts and etchings. I consider my tessellations
innovative and thought provoking but manifestly cerebral and time consuming to accurately
create. This was my first interest and drive to make art. My tessellations are all hand drawn
tessellations of my own design. I did create a few with the aid of a computer to experience that
process but was not satisfied with that method.

My secondary interest in making art, since 2020, has been much less cerebral and is an
exploration of oil painting, mostly landscape painting. My oil paintings are mostly planned
explorations of color, light and form. They typically are developed in a few days to a week in the
studio. I have also explored painting in plein air. I am interested in both ways of thinking about
color, form and pattern and continue to work creating tessellations and oil paintings.
Please visit my website: www.artgallerymichaelwilson.com

Education:
Bachelor of Science, Civil Engineering, Purdue University, West Lafayette, IN, 1983
Architectural Design Studio 1 & 2, Ball State University, Muncie IN, 1983-4
Printmaking, University of Wisconsin- Milwaukee, Milwaukee, WI, 1986
Oil Painting, University of Maine Extension School, Bangor, ME, 1991
Printmaking, Torpedo Factory Art Center, Alexandria, VA, 1994
Printmaking, Museum School, Boston Museum of Fine Arts, Boston, MA 2001-2002

Exhibitions:
Indiana State Fair, Arts Pavilion, Indianapolis, IN, 1979, Honorable Mention
Torpedo Factory Art Center, 1994, Student Exhibition
Museum School, Boston, 2001, Student Exhibition
Mystic Coffee Roasters, Exhibit, October 2015
Museum of Fine Arts, Artist Demonstration, Drucker Family Pavilion in Concert with M.C.
Escher Exhibit, February 2018
Loading Dock Gallery, Repetition, Replication, Variation, October 2019


Website:

http://artgallerymichaelwilson.com

@michaeljwilson24 (instagram)

Month: December 2026 – January 2027

Artist: Frances Patton

Exhibit: Intuitions from Geometry: The Web of Life

Title: Ground of Being
Date: 1994
Materials: Pastel on paper
Dimensions: 18” x 24”

Dates:

Opening Reception: Sunday, December 6, 2026 3 – 5 pm

Studio Hours: By appointment only

beth kantrowitz

Instagram: beth_kantrowitzbkprojects, LLC

617-835-8255
www.bkartprojects.com

www.drive-byprojects.com 

Artist Statement:

Artist Bio:

End

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Exhibition Artist Calendar:

YearMonth IDMonthArtist Last NameArtist First NameMedium
202512DecemberHeghinian-WalzerSirarpiOils, acrylics,inks, & pastels
20261JanuaryHeghinian-WalzerSirarpi 
20262FebruaryCarneyChuckNature Photography
20263MarchCarneyChuck 
20264April 
20265May 
20266JunePearceHerb 
20267JulyPearceHerb 
20268AugustWilsonMichaelOil and Tessellation
20269SeptemberWilsonMichaelOil and Tessellation
202610OctoberRoseIsabella 
202611NovemberRoseIsabella 
202612DecemberPattonFrancesPastel, Watercolor, Fiber
20271JanuaryPattonFrancesPastel, Watercolor, Fiber
20272FebruaryHeghinian-WalzerSirarpi 
20273MarchHeghinian-WalzerSirarpi 
20274AprilAndrewsSam 
20275MayAndrewsSam 
20276June Wilson Robert Watercolor and Oil
20277July Wilson Robert Watercolor and Oil
20278August Nickerson Ken Photography
20279September Nickerson Ken Photography
202710OctoberLieberherrRuthAcrylic /Multimedia
202711NovemberLieberherrRuthAcrylic /Multimedia
202712December Fretts Ruth Oil
20281JanuaryFretts  Ruth Oil