Hans Weiss Newspace Gallery


September 4 - October 8

Opening Reception: September 4, 6-8pm

Paper New England
Hans Weiss Newspace Gallery

Curated by:
Michael Shortell
Freddie McInerney
Anne Hebebrand
Susan Classen-Sullivan

Thomas Wentworth Higginson, confidante to Emily Dickinson, once wrote: “There may be years of crowded passion in a word, and half a life in a sentence.” The same could be said about a line and a drawing. In the most immediate of drawings each line carries and exposes all of the presence and intent involved in its making. These marks can come together and move beyond themselves, perhaps to a raw and restless place where words cannot enter. For the artist engaged in this process, there is the wonder and responsibility of watching a mark move across a surface. The purity (purity in the sense of clarity) it requires can be daunting. The results, at their best, a revelation. There is no right or wrong way to go about the process of drawing, no directions or maps to follow. Most often, and this is perhaps what sets drawing apart from other processes, there is no place to hide. The act of drawing may be nothing more, and nothing less than making a mark, and knowing it fully. For the viewer this often offers a direct and visceral experience. In the exhibition “Drawn” we see diverse approaches to the adventure of drawing.

Amy Stacey Curtis plumbs the tender influences of sound on our psyche through stark and highly sensitive abstract pencil drawings. The subtle variations of line, and form, light and shadow in these tiny drawings parallel the physical sensations that are part of our experience of sound. Listening to the sounds that accompany each drawing we become acutely aware how indivisibly linked, and how profoundly influential, our senses are.

In Christine Darnell’s work, “On the Table,” we see iconic domestic objects (a birthday cake, tea cup, cutlery) sliding, Cezanne style, from a table with space, perspective and time pressing forward. The deep and delicate manner in which the lines describing these forms move; in an out, thick to thin, and back again, suggests the process of memory. We are reminded how past experiences, here signified through talismanic objects, weave their way into the present moment. This is haunted work in which we find our own familiar, and at times disturbing emotional ghosts.

The monumental tiara drawings by Nan Freeman are archeological in nature. Mining the history of the finest of gems, royalty, affluence, and our desire to own and, on the part of some women, to be what is considered most precious. These gutsy human passions are delivered in their truest form as both high and low. All the grandness of diamonds is stunningly rendered using charcoal, a form of its base mineral origin. But as when a young girl dons a dime store crown, the only thing that matters is the way it makes us feel.

Man thinks. Attempting to fathom what we see and experience, we pay attention to patterns, to internal and external relationships. Nona Hershey’s stunning and explosive cloud drawings, etched over with lines marking weather patterns, bring together now and then, what we do know and what we cannot explain. Ms. Hershey’s work eloquently tells the story of how the clouds, the natural world and its workings, know and reflect us, from the inside out. Showing how what we see is somehow what we are.

Flagrant morphology of women, plants and creatures inhabits Jennifer Knauss’s work. In these portraits, achieved through extraordinarily finely rendered pencil drawings, the subjects are unflinchingly made public. These women seem willing to both see themselves, and be seen, free of artifice…with the exception of the flora or fauna they are donning, or is donning them. The resulting sensuality pushes, just enough, to show a flavor of the grotesque or absurd therein.

How can we be so delighted by the unusual creatures, play and sexual frolicking showcased in the work of Sabrina Marques? Animals, both known and imagined and sweet-costumed people and animals perform and copulate within lovely ethereal environments that recall early Japanese paintings. We may be compelled by the storybook quality of the work, and the alluring use of color. And though we do not recognize these people, creatures, and places outright, we know them and the edge of danger the work suggests.

Wallace Stevens once described a woman as being so sensitive that she seemed to be existing, exposed to the world skinless. Drawing, when it is fully realized, can be like this, the artist, their work, and the viewer laid bare.

Susan Classen-Sullivan
Hans Weiss Newspace Gallery
September 2, 2008

The event is free and all are invited to attend - for more information contact sclassensullivan@mcc.commnet.edu (860-512-2693) or info@papernewengland.org (860-236-4787).

Past Exhibitions

Gallery Hours

Monday - Friday: 11am - 8pm
Saturday: 12pm - 5pm

The Hans Weiss Newspace Gallery reviews work on an ongoing basis.
Materials (images, resume and statement) can be forwarded to:

Susan Classen-Sullivan
Hans Weiss Newspace Gallery
Manchester Community College
MS#19 Great Path
Manchester CT, 06040
or via email to:

Last Update: September 22 2009
For additional information, contact: Susan Classen-Sullivan