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Posted on September 5, 2013

Casabella
Ilaria Ortensi
–
  • building at night
    Ilaria Ortensi - Untitled
    Ilaria Ortensi - Untitled
  • stone crop logo
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled
  • building at night
    Ilaria Ortensi - Untitled

Artist Statement
Massive constructions on the suburbs of big cities are a global phenomenon. The contemporary cities are changing their shape so much faster than in the past, that it is very hard for their inhabitants to integrate the new in their life and imaginary.

In my most recent work I focused my attention on the new, unbridled, and largely unnoticed development around Rome in Italy. Attracted by the concept and aesthetics of contemporary typologies of residential housing, I decided to turn some of these architectures into pieces of art, depicting them as something between sculptures and movie sets. In these way I tried to recreate a state where the buildings are still looking for an identity being something between pure “form and volume” and set for possible narrations.

Artist Bio
Ilaria Ortensi completed her B.A. in Cinema Studies at La Sapienza University of Rome in Italy. She then moved to Boston where in 2010 she completed the Post-Baccalaureate Program at the School of the Museum of Fine Arts. She is currentely living in New York City and pursuing her MFA in photography at Columbia University.

Her work has been exhibited in group exhibitions such as Pass this on at the Stone Crop Gallery in Maine, Collective 9 at the Dog Eared Gallery in London and Out of Context at West Germany in Berlin. In 2010 her work was part of the PRC Student Exhibition at the Photographic Resource Center and of the Student Annual Exhibition at the Grossman Gallery and Anderson Auditorium of the School of the Museum of Fine Arts. In the same year she had her solo show, Rooms, at the Stone Crop Gallery in Maine.

Stone Crop Gallery

In the early 1920s, Grace Merrill bought a small strip of land along a rocky ledge on Shore Road near Perkins Cove. Before a structure was built—even before she had a design for her new studio—she named the future home “Stonecrop” after the hardy flower that “clothes the rocks with starlike yellow bloom.”

Miss Merrill built Stonecrop with salvaged materials from an old barn and other local structures. She reclaimed the barn’s hand-hewn pine timbers to construct a 24-foot high great room, while a damaged 18th century dwelling supplied a stone fireplace and a unique staircase. As construction proceeded, she scoured the surrounding towns for wood, doors, windows—whatever she could find that fit her vision for the home. “From all sides, old materials seemed to pour in,” Merrill wrote. “All summer, my long-suffering car was adorned with bags of cement, old brick, and iron in varied shapes.”

The result of her vision is this unique house with a special history. Stonecrop has been a home to artists for much of the past century. Two previous owners, painter Ruth Seeger and printmaker Beverly Hallam, are still active in the Perkins Cove area. Current owner and photographer Dana Berenson welcomes you to Stonecrop and the Stonecrop Gallery. She’s proud to inherit the creative legacy of Miss Merrill, and invites you to enjoy the artwork.

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    • Education
    • Arthur Griffin Photo Archive
    • Photography Atelier
    • Education Policies
    • Blog
  • Join & Give
    • Become a Member
    • Donate
    • Leave a Legacy
    • Bring Photography to Life! 2020-2021 Annual Appeal Fund
    • When are the member portfolio reviews scheduled?
    • John Chervinsky Emerging Photographer Scholarship
  • Shop
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    • Admission
    • Membership
  • Get Involved
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    • Griffin Museum Board of Directors
    • About the Griffin
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Floor Plan

Amy Rindskopf's Terra Novus

At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

This project started as an homage to Edward Weston’s Pepper No. 30 (I am, ironically, allergic to peppers). As I looked for my subject matter at the market, I found that I wasn’t drawn to just one single fruit or vegetable. There were so many choices, appealing to both hand and eye. I decided to print in black and white to help make the images visually more about the shapes, and not about guessing which fruit is smoothest, which vegetable is greenest.

Artistic Purpose/Intent

Artistic Purpose/Intent

Tricia Gahagan

 

Photography has been paramount in my personal path of healing from disease and

connecting with consciousness. The intention of my work is to overcome the limits of the

mind and engage the spirit. Like a Zen koan, my images are paradoxes hidden in plain

sight. They are intended to be sat with meditatively, eventually revealing greater truths

about the world and about one’s self.

 

John Chervinsky’s photography is a testament to pensive work without simple answers;

it connects by encouraging discovery and altering perspectives. I see this scholarship

as a potential to continue his legacy and evolve the boundaries of how photography can

explore the human condition.

 

Growing my artistic skill and voice as an emerging photographer is critical, I see this as

a rare opportunity to strengthen my foundation and transition towards an established

and influential future. I am thirsty to engage viewers and provide a transformative

experience through my work. I have been honing my current project and building a plan

for its complete execution. The incredible Griffin community of mentors and the

generous funds would be instrumental for its development. I deeply recognize the

hallmark moment this could be for the introduction of the work. Thank you for providing

this incredible opportunity for budding visions and artists that know they have something

greater to share with the world.

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