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artscope magazine: January/February 2013
WELCOME STATEMENT: Brian Goslow, managing editor
CORNERED: Sand T Kalloch
HEIGHT, WIDTH, DEPTH, TIME: BOSTON SCULPTORS CELEBRATE 20 YEARS
DOUBLE LEGACY
EXPRESSIVE PAINTING 2013
TOUCHING NEW HORIZONS
JOHN LOBOSCO: THE VISUAL JOURNEY
SILAS FINCH: AFLOAT
ESTHETIC ECSTACY
STAVEY STEERS: NIGHT HUNTER
CAROL O'MALIA: ON THEIR OWN
IMAGING THE INVISIBLE: ANGELS, DEMONS, PRAYER & WISDOM
ONCE: AN EXHIBITION OF ARTIST FELLOWSHIP RECIPIENTS
POP PARADISE: WORKS BY ARTISTS DAVE LEFNER, KELLY REEMSTEN AND ROBERT TOWNSEND
AN ALL GALLERY SHOW
KEITH LEMLEY: DREAMS OF AN IDEAL
NATHAN STEVENS
SETTING THE STAGE AT ADELSON
VERMONT'S ROUTE 7 BAEDEKER, SHELBURNE TO MIDDLEBURY
THIS NARROW DISTANCE
REVOLUTIONS: PHOTOGRAPHS OF THE ARAB SPRING BY REMI OCHLIK
ESTHETIC ECSTACY
Franklin W. Liu


Fran Bull: Carborundum Prints

Anne Lilly: Kinetic Sculptures

University Gallery

University of Massachusetts Lowell

McGauvran Student Center

71 Wilder Street

Lowell, Massachusetts

January 22 through February 15



At its core, visual art is about examining ideas, form, motion, energy and time, expressed by the artist as an esthetic discourse on life’s integral, perplexing realities. Fran Bull and Anne Lilly, two accomplished, contemporary artists whose work illuminates the beauty in motion and energy, are perfectly matched in the University Gallery’s first exhibition of 2013.



Michele Gagnon, the University of Massachusetts Lowell Art Department’s gallery coordinator, said Bull’s prints of improvisational abstractions of energetic lines will grace its walls, dancing in concert with Lilly’s free-standing, hand-activated kinetic works of fluid movements; together they make a dynamic pairing, illustrating the show’s common theme of motion and energy.



Anne Lilly is an award-winning sculptor exhibited nationally whose work is collected by prestigious New England art museums and bought by corporate clients. Her surprisingly intriguing kinetic, stainless steel sculptures, made of rods varying in length and diameter, are set at an angle to a rotating base. When gently nudged, they blossom into beguilingly organic movements; these rods dip, rise, spin and whirl forward and away in counter-opposition to each other, delivering a pirouette of overlapping shapes. This carefully choreographed display of geometric shapes, appearing, disappearing, then reemerging as rods, cylinders, gear works and circular plates, mesmerize as they move in unison through their carefully designed and timed cycles.



One becomes keenly enthralled, seeing volumes and shapes inscribed in thin air by interlocking, moving parts as time, gravity and Lilly’s meticulous vision merge. These kinetic sculptures in repose are just as awe-inspiring to look at. Viewers’ interaction to her kinetic work is crucial, thus the moving parts must be activated by the viewer’s gentle tap, inducing the sculptures to unfold with delightful complexity.


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