The Providence Art Club

The Old Jamestown Bridge Series was selected by Kathryn Wat, Chief Curator at the National Museum of Women in the Arts, Washington, DC, for inclusion in Making Your Mark, an exhibition at the Providence Art Club, Providence, RI, which will be on display April 2-22, 2017. The opening reception is free and open to the public, and will be held on Sunday, April 2 from 2-4pm.

Atlantic Time Reviewed in Art New England by Liz Lee

The sea is the central character in Allison Bianco’s Atlantic Time a collection of intaglio and screen printed works inspired by the Rhode Island coastline and defined by the artist’s efforts to reconcile that present-day, real-life seascape with the more nebulous one that exists in her memory and imagination.     The Sinking of Matunuck is a panoramic triptych of the tiny beach community where Bianco spent her childhood summers. Here the meticulously etched landscape is augmented by the accidental nuances of the printing process itself; fingerprints become distant storm clouds, and wire brush marks become wisps of wind carrying flying debris across the sky. A screen-printed layer of glow-in-the-dark pink represents the real-life menace of rising sea levels that threaten to swallow the community whole, while the arc of a dayglo rainbow suggests a future much less grim.     Bright screen-printed overlays also reimagine the landscape in Later that Day at Second Beach, a series of six panels set on the cliffs of Middletown, RI. Here jagged, etched rocks and a bright orange sea sit below an aquatint sky punctuated by the loping arcs of pink fireworks. The scene looks backwards to Hiroshige’s Fireworks over Ryogoku Bridge but somehow feels more like a futuristic landscape from a distant planet.     Hiroshige’s influence is also present in Leave Your Troubles Behind, where a monolithic sun hovers over the Block Island shore. A googly-eyed sea creature is screen printed over the intaglio, hinting at the humor suggested by the piece’s title -- a reference to the silly TV jingle used in commercials for the Block Island ferry. Similar creatures appear from the dark waters in The Old Jamestown Bridge series, a set of three prints depicting the destruction of the rickety structure that used to connect Conanicut Island to the mainland.     Conanicut Island also features in Pouring on Jamestown, but here the main focus is the massive deep blue sea, etched with currents and dotted with white foam that the artist created by experimenting with whiting powder, which is typically used as a cleaning agent. Here, and elsewhere in Atlantic Time, it’s fitting that the ocean shares commonalities with the printing process itself. Both are rhythmic yet unpredictable, both full of surprises that occasionally wash up, disrupting the scenery.  -- Liz Lee

The sea is the central character in Allison Bianco’s Atlantic Time a collection of intaglio and screen printed works inspired by the Rhode Island coastline and defined by the artist’s efforts to reconcile that present-day, real-life seascape with the more nebulous one that exists in her memory and imagination.
    The Sinking of Matunuck is a panoramic triptych of the tiny beach community where Bianco spent her childhood summers. Here the meticulously etched landscape is augmented by the accidental nuances of the printing process itself; fingerprints become distant storm clouds, and wire brush marks become wisps of wind carrying flying debris across the sky. A screen-printed layer of glow-in-the-dark pink represents the real-life menace of rising sea levels that threaten to swallow the community whole, while the arc of a dayglo rainbow suggests a future much less grim.
    Bright screen-printed overlays also reimagine the landscape in Later that Day at Second Beach, a series of six panels set on the cliffs of Middletown, RI. Here jagged, etched rocks and a bright orange sea sit below an aquatint sky punctuated by the loping arcs of pink fireworks. The scene looks backwards to Hiroshige’s Fireworks over Ryogoku Bridge but somehow feels more like a futuristic landscape from a distant planet.
    Hiroshige’s influence is also present in Leave Your Troubles Behind, where a monolithic sun hovers over the Block Island shore. A googly-eyed sea creature is screen printed over the intaglio, hinting at the humor suggested by the piece’s title -- a reference to the silly TV jingle used in commercials for the Block Island ferry. Similar creatures appear from the dark waters in The Old Jamestown Bridge series, a set of three prints depicting the destruction of the rickety structure that used to connect Conanicut Island to the mainland.
    Conanicut Island also features in Pouring on Jamestown, but here the main focus is the massive deep blue sea, etched with currents and dotted with white foam that the artist created by experimenting with whiting powder, which is typically used as a cleaning agent. Here, and elsewhere in Atlantic Time, it’s fitting that the ocean shares commonalities with the printing process itself. Both are rhythmic yet unpredictable, both full of surprises that occasionally wash up, disrupting the scenery.  -- Liz Lee

Atlantic Time opening at the Wheaton College, Weil Gallery, December 1, 2016

Allison Bianco: Atlantic Time will open at the Wheaton College Weil Gallery, Norton, MA on December 1, 2016. Opening reception: 5:30-8pm in the Watson Fine Arts Building. Atlantic Time will be accompanied by an artist catalogue, with forward by Michele L'Heureux, Gallery Director and essay by Britany Salsbury, Andrew W. Mellon Curatorial Fellow, Department of Prints, Drawings and Photographs, RISD Museum. On view in the surrounding Beard Gallery will be a student curated exhibition of work from the Wheaton College permanent collection, exploring the theme of water.

NO FLOATS Solo Exhibition at AS220

Allison Bianco: No Floats
Opening Reception Saturday, April 2, 5-7pm
AS220 Project Space, 93 Mathewson St, Providence, RI

Pouring on Jamestown 2016, intaglio and screen print, 36 x 60 inches, edition of 8

This exhibition debuts the new edition, Pouring on Jamestown, which was partially funded by a Visual Arts Sea Grant from the University of Rhode Island.  The panoramic view of the eastern side of Conanicut Island was etched using a single copper plate that spans five feet wide and three feet tall. This etching layer was printed on the monumental printing press at the AS220 Community Printshop in Providence. With a ten-foot press bed, it is one of the largest presses of its kind in the United States.