Laconia Gallery

The Landscape of Our Minds brings together a diverse group of artworks by frontline staff from ICA/Boston, deCordova Sculpture Park & Museum, MIT List Visual Arts Center, MIT Museum, Peabody Essex Museum, MFA, Boston, Montserrat College of Art Gallery, Harvard Art Museums, and Leica Gallery, Boston. Showcasing a myriad of mediums, including painting, sculpture, installation, music, film, and various gallery programs, the exhibition delves into how the perception of time differs for the frontline staff, allowing the overlapped, multi-dimensional worlds of each individual to unfold in a physical setting. Looking closely at the objects that make up an art institution, artists offer zoomed-in views and private gallery observations. Stephen Holness, who works

Cathedral Creates showcases the artwork of students from Cathedral High School, our neighbors in the South End community. Cathedral Creates highlights the hard work and art making practices from students in grades 7-12 and the school’s cherished alumni. Throughout the year students have explored various mediums, artists, and techniques, while creating meaningful work rooted in self-expression. We invite the viewer to join us in celebrating our Boston youth as they share their creative voices through art.

Focusing on the theme of interior vs. exterior life, the Close Quarters incorporates imagery related to interiors of homes and domestic scapes, as well as scenes from the outdoors and structures seen from the outside. Shelby Feltoon and Cameron Boyce draw connections between the insides and outsides of our living spaces as they relate to their inner and outer selves to explore what we reveal and conceal about our personal lives and who we let in both physically and spiritually. Themes of strength, security, stability, sensation, and softness will be especially highlighted. About the artists Cameron Boyce is a painter working in Stoughton MA. He graduated

Explore work by Laconia resident artists!

The idea of loss and disappearance as it relates to the natural world and the climate crisis is a paradox: even as science proves the ecological threat is both intimate and universal, that very threat essentially becomes abstract. Ava Federov's art practice embraces the necessary diametric experience of nature and climate cataclysm to offer pathways ofunderstanding, collective mourning, and conceptual adaptation and reevaluation. Through painting, performance, and installation, Federov use lyricism and abstraction to conjure the inverted pain of only realizing the vast importance of something (in this case, life on earth as we have known it) the moment it vanishes. The fragmentation of this awareness is demonstrated in the physical and implied layering in Federov's

Laconia Gallery is pleased to present a solo exhibition of paintings, sculptures, masks, and tapestry by Colette Brésilla—works that stand in dialogue with Haitian vodou cosmology and Brésilla’s studies at the intersections of the ancestral and female iconography. History—its hauntings and reckonings, wonders and elucidations—informs this body of work in which the feminine is suggested when not rendered overtly or figuratively. Across multiple genres, Brésilla’s subjects appear as individual sitters, in pairs, in triplicate, veiled, or within the cocoon of a collective power. Erzulie, spiritual entity and mother warrior; and madan sara, market women pioneers of Haiti’s informal economy, share the exhibition space and appear in powerful re-imaginings. Engaging the project of reclamation,

Louise Laplante ’s work connects the past and present in pastel drawings with figurative silhouettes on collaged sheets of vintage books, music, or correspondence pages. Laplante finds beauty in stains, yellowing and marks on those long-neglected sheets of ephemera, and uses the text and marks on them as a inspiration for her compositions. Birds in mid-flight, parti-colored clouds, or figures people her images in rich pastel with a final burst of wistful linework over the pastel forms, accentuating her subject’s movement while adding another layer of texture.

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The work manifests core tenants of the artistic endeavor; create without boundaries, limits, or restrictions. These freedoms, aligned with Rovenolt's personal approach to balance in life, lend to his innate ability to create harmony, balance, and order in his studio practice. For more than five decades, Rovenolt has honed his craft and unique approach to the found or ready-made object. Themes of the commodification of the male ideal, the impending environmental perils and the elevation of the mundane coexist in this timely exhibition. For Rovenolt, "when lost objects find him, he ponders their prior life and function and then sets out to make them whole again." The depth and experience of

Bodies; Embodied is an exhibition of manifestations of experiences mediated by the body. Jillian Vaccaro creates tangible representations of family memories; Sonja Czekalski reflects womens’ stories and relationships; and Leslie Goldman documents and interprets the interactionsbetween her body and environment. The works themselves extend beyond two dimensions andinvite the viewer to consider how their own bodies affect, create, and remember experience.

In much of my work I am using my love of science fiction and fantasy as a platform to explore ideas around parenting. I follow a vague narrative set in a world that is old and impenetrable, teeming with the residue of magic and ancient gods- where monsters roam in a sort of haunted scifi romanticism. There, a child wanders, discovers, and battles her way into adulthood- learning what to trust and what to be wary of. These pieces are a way of envisioning a fearless outlook for my daughter as she navigates a sometimes dangerous, but more often beautiful and strange world. The title Ludere Terram: Battles and Views serves not only as the description