The Chazan Gallery at Wheeler is pleased to present Traverse | Texture, a group exhibition of works by Leslie Atik, Lin Lisberger and Christina Massey, from January 19 to February 8, 2017.  An opening reception will be held on January 19, 2017, from 5:00-7:00 pm. The public is invited.

Leslie Atik, Roses (Installation View), 2014

Leslie Atik’s work draws extensively on her long-standing interests in language and textiles. Atik is interested in the ability of thread and cloth to communicate complex meaning, and the ways in which they create and support the fabric of society. The connections between hand weaving and handwriting also inform Atik’s investigations. Thread and pattern are central elements in her work, and the woven grid often provides her pieces with physical and metaphorical structure.

Atik’s interest in language has led her to consider the poetic qualities of grammar, and has suggested visual possibilities for exploration. In recent work, she has created a chalkboard directly on the wall, or on panel, paper or hand-woven cloth. The continuous lines of handwritten words and the threads of the marking tags become warp and weft. Drawing from a variety of written sources, she selects elements of grammar, both semantic and structural, and marks their location in the text with the tags. The markings reveal and foreground the inherent beauty of the underlying grammatical patterns integral to the meaning of the selected texts.

Leslie Atik has a BFA in painting from the Massachusetts College of Art and an MFA in fibers from the Tyler School of Art, Temple University, as well as degrees in Spanish literature and linguistics from UCLA. She has exhibited her work widely, with shows at the Pittsburgh Center for the Arts, The Noyes Museum of Art, and Rowan University Art Gallery. Leslie also has extensive teaching experience; she has taught courses in both Spanish language and studio art. She has taught weaving at Tyler and has led workshops and given artist talks in a variety of settings. She has been Artist in Residence at the Springside School in Chestnut Hill, PA, and served as guest faculty at the Summer Seminar: Art and Language at the Philadelphia Museum of Art. Leslie has been awarded several fellowships, including a Career Development Fellowship from the Center for Emerging Visual Artists and a Mid-Atlantic Long Term Health Care Artist Fellowship. Leslie lives and works in Providence, RI, where she maintains a studio at AS220.

Lin Lisberger, Bridge to a New Me: Tangled,  2010

Lin Lisberger is predominantly a wood carver and has been for most of her sculpture career. Over time her sculptures have echoed many images, but have always resonated with the attributes of wood.  Each sculpture is a sketch of a moment in time and space and the life of the tree. Lisberger’s concern about form has been consistent because it describes both object and space, and thus creates a foundation upon which a narrative can be built. The wood she uses is native New England wood.  

With her mother’s death in 2007 came the realization that Lisberger had a transforming journey ahead of her. She thought she knew how she wanted to change, but the place she wanted to be and the ability to get there were in conflict, and the pitfalls were enormous. So Lisberger began to make bridges.  The journey from one side to the other is perilous with many challenging impediments, often with knots as suggested handholds and stabilizers, and various ladders and stairs as escape routes.

Lisberger lived in Gorham, Maine from 1980 until her move to Portland, Maine in early 2011.  She has been teaching sculpture and drawing at the University of Southern Maine since 1981.  She earned an MFA in sculpture from the University of Pennsylvania (1980) and she has an upcoming solo exhibit, The Space Between, at the University of Rhode Island Main Gallery in March, 2017.



Christina Massey, Breaking Patterns 2, 2015

Christina Massey’s work teeters of the edge of painting, fiber art and sculpture. When inspiration hits, she follows, even when that means destroying a past artwork. It’s an intuitive process of action and reaction, of letting go in order to move forward. One work will literally lead to another as that canvas is reused time and time again. Massey’s body of work is never stagnant, but constantly evolving while still acknowledging the journey. It indulges the senses with an overload of aesthetic qualities like textures, color, form and pattern.

Evidence of past artworks are often found in various new ones as their individual marks and pallets re-appear and establish themselves in the new compositions. Painting is Massey’s primary medium, however items such as clothing, fabrics and aluminum cans can be found throughout her work and it occasionally morphs off the walls into painting based installations.
Massey’s approach to the creation of any new work begins with intuitive thought. It varies from one piece to another if she starts with the new or the old, fresh canvas or a used one. She continues to build on and subtract from as new ideas arise and are acted upon in the creative process. Massey does not draw out and plan, she absorbs and reacts letting the outcome surprise and challenge her as she begins again.

Artists such as John Chamberlain, Susan Bengali, El Anatsui and Lee Bontecou have been important influences in her artistic career. She has shown extensively in the NYC metropolitan area, along with across the country and abroad in cities such as Toronto, Tokyo and London. She is the recipient of awards such as the Puffin Foundation, a NYFA sponsored artist, and recently attended the Soaring Gardens Artists Residency. She currently lives and works in Brooklyn, NY.