UPCOMING EXHIBITIONS

PORT CLYDE, ME - Barbara Prey Projects is pleased to present three upcoming summer exhibitions of recent work by internationally acclaimed artist Barbara Ernst Prey.

BARBARA ERNST PREY: Recent Oil Paintings and New Print Releases  July 1 – July 14

EARTH, SEA, SKY (SOUTH)                                                                         July 15 -Sept 4

SNOW IN SUMMER: Painterly Documents from Alpine Travels                 August 15 – Sept 4

 

 Acadia, 2017, Watercolor on paper, 29 x 40 in

Acadia, 2017, Watercolor on paper, 29 x 40 in

Barbara Ernst Prey: Recent Oil Paintings and New Print Releases

 The summer 2018 inaugural exhibition at Barbara Prey Projects will feature the artist's latest small-scale oil paintings along with a new series of limited edition prints. Mostly known as a watercolorist, Prey has returned to oils, the medium in which she first began her instruction; the smaller size of the panels and the nature of the medium enables Prey to experiment with levels of freedom and informality not afforded by watercolor. The exhibition will expand her island series and—with a nod to Fairfield Porter—debut paintings of village scenes that reveal her continuous interest in architecture, thinking of her early illustrations for The New Yorker in the 1980s or most recently her 8 feet by 15 feet interior portrait for MASS MoCA. 

 Seavy Island by Port Clyde, Oil on panel, 11 x 14 inches

Seavy Island by Port Clyde, Oil on panel, 11 x 14 inches

Earth, Sea, Sky (South) 

Barbara Prey Projects is proud to announce Earth, Sea, Sky (South), featuring recent paintings of internationally celebrated artist Barbara Ernst Prey, July 15 - September 4.  The title Earth, Sea, Sky (South) stands in reference to Prey's concurrent exhibition at the Wendell Gilley Museum (Barbara Ernst Prey: Earth, Sea, Sky  July 1 to October 14, 2018) located north of Port Clyde on Mount Desert Island. This exhibition considers Prey's distinct perspective as a 21st century female artist, revising the male dominated art-historical watercolor tradition, as she explores the depth of the American landscape and American identity. 

Prey’s aesthetic vision is influenced by her scholarly background in art-history, memory and keen observation of her natural and man-made environs both intellectually and emotionally.  The artist never shies away from challenging opportunities to open up new perspectives and push traditional boundaries. For her recent MASS MoCA commission, considered the largest watercolor in the world, Prey explored new ways to paint on a monumental scale.

MASS MoCA just unveiled Building 6, a massive addition of 130,000 square feet of exhibition space, and to inaugurate the new wing, more than a dozen exhibitions by a powerful array of blue chip artists are on display, one of which is something of a meta-show. Barbara Ernst Prey‘s Building 6 Portrait: Interior consists of a singular work—a giant, framed, 8 x 15 watercolor painting depicting the pre-renovation version of the same space the piece is housed in.     

                                                                                                                                                                                                               VICE Creators

Her NASA commissions documenting space history changed Prey’s perspective, it required her to reflect on our place in the universe.

New York based, Prey has maintained a studio on the coast of Maine for 40 years. The artist’s keen observation of “land, sea and sky” features works that mine a uniquely American tenor with a relationship between narrative and abstract, creating a tension that is both serene and unnerving. The often-seen empty stacked lobster traps or the crumbling façade set against an otherwise picturesque backdrop in Prey’s recent oil painting Weather Beaten serve as metaphors for the increasingly difficult lives of local fishermen. Acadia, 2018 depicts the stunning beauty of Mt. Desert Island, but in its vastness can be read as loneliness as well, while stressing the importance of nature in an age of fast-paced social media technology, and invites the viewer to pause and look - look at the rich colors, the layering of deep reds above the saturated blues and oranges, vividly reminding us of these spectacular color combinations from nature.

Her dialogue with color drove Prey to develop groundbreaking, intricate layering techniques.  Beginning with marks on paper, and then built up through her evocative use of color and dozens of thin washes, often incorporating parts of her surrounds  - water, soil, crushed shells, paint chips from a former factory building add distinctive character to her work. 

 Acadia II, 2018, Watercolor on paper, 28.5 x 40 inches

Acadia II, 2018, Watercolor on paper, 28.5 x 40 inches

 Weather Beaten, 2017, Oil on panel, 11 x 14 inches

Weather Beaten, 2017, Oil on panel, 11 x 14 inches


SNOW IN SUMMER: Painterly Documents from Alpine Travels       

In constant dialogue with her surroundings, Barbara Prey never travels without her painting utensils; brushes, paint, sketchbook—always within reach. Painterly Documents from Alpine Travels brings together memories and unique reflections from recent travels to alpine regions in Europe; snow-covered peaks in France, the unrivaled glow of an early evening in the mountains or an approaching storm in the Swiss Alps. The world seen through the artist’s eyes, these works reveal Prey’s intense study and examination of her immediate surroundings. The travel paintings distinctively reflect on the artist as a world traveler; in her early formative years after graduation from Williams and Harvard, Prey received a Fulbright Scholarship and a grant from the Henry Luce Foundation, enabling her to travel, study, work and exhibit extensively in Europe and Asia—the sketch book always on hand. During her four years in Europe, the artist spent much time studying the lines of early Renaissance drawings, Gothic sculptures and architectural sketches. Absorbing her studies, Prey focused on drawing when she returned to the United States in the early 1980s where The New Yorker and other Magazines published her artwork for over 10 years. The artist's discoveries and memorable moments during her travels, the exposure to foreign cultures and new imagery are essential to her practice.  Painting utensils as steady companions, Prey continues her journeys, always seeking out new sites to work “en plein air”. Recent travels have taken the artist to France, England, Scotland, Switzerland and Peru; "I’m always looking and distilling”, she states.

 Jungfrau Region, Creeping Shadows, 2018, Watercolor on paper, 9 x 12 inches

Jungfrau Region, Creeping Shadows, 2018, Watercolor on paper, 9 x 12 inches