Rebecca McGee Tuck

Around the Horn, 2023

Sea debris, steel, wire

30h x 20w x 15d in
76.20h x 50.80w x 38.10d cm

McGee004

Rebecca McGee Tuck

The Day After, 2023

Collected sea debris

42h x 26w x 4d in
106.68h x 66.04w x 10.16d cm

McGee003

Garrett Dutton

#lovepainting chair, 2024

spray paint on chair

30h x 18w x 16d in
76.20h x 45.72w x 40.64d cm

GLo012

Garrett Dutton

#lovepainting 9, 2024

Acrylic on canvas

24h x 30w in
60.96h x 76.20w cm

GLo009

Garrett Dutton

#lovepainting 6, 2024

Acrylic on canvas

48h x 24w in
121.92h x 60.96w cm

GLo006

Garrett Dutton

#lovepainting 5, 2024

Acrylic on canvas

48h x 24w in
121.92h x 60.96w cm

GLo005

Ryan Kish

Truro Dune

Oil on panel

12.50h x 10.50w in
31.75h x 26.67w cm

RK_0005

Ryan Kish

Bedroom window

Oil on linen

15h x 13w in
38.10h x 33.02w cm

RK_0004

Scott Whipkey

Lemuria (in Light Green Yellow), 2022

Acrylic on canvas paper

24h x 36w in
60.96h x 91.44w cm

ScW008

Scott Whipkey

Lemuria (in Purple w/ Deep Blue), 2022

Acrylic on canvas paper

24h x 36w in
60.96h x 91.44w cm

ScW007

Scott Whipkey

Unicorn (in Deep Blue), 2023

Acrylic on canvas paper

40h x 60w in
101.60h x 152.40w cm

ScW006

Melanie Kozol

Topple, 2018

Oil on panel

12h x 12w in
30.48h x 30.48w cm

MKz004

Melanie Kozol

Buddha's Hand, 2015

Oil on linen

12h x 12w in
30.48h x 30.48w cm

MKz003

Elisa Ortega Montilla

Body Impression VII, 2024

reclaimed plywood with metal hook

EMont004

Elisa Ortega Montilla

Body Impression VI, 2024

reclaimed plywood with metal hook

EMont003

Elisa Ortega Montilla

Body Impression V, 2021

reclaimed plywood with metal hook

EMont002

Elisa Ortega Montilla

Lacescape II, 2021

reclaimed plywood with lace fabric

9.75h x 11w x 1d in
24.77h x 27.94w x 2.54d cm

EMont001

Peter Schenck

Still Life after Beckmann, 2023 - 2024

acrylic, watercolor on watercolor paper

26h x 19w in
66.04h x 48.26w cm

PS062

Peter Schenck

Pastoral, 2019 - 2024

oil on canvas

26h x 22w in
66.04h x 55.88w cm

PS061

Robin Kang

Praying Mantis

Handwoven iridescent lurex yarn and cotton

6h x 7.50w in
15.24h x 19.05w cm

00rk006

Robin Kang

Tapon Shamankin (Root Deeply), 2024

Handwoven iridescent lurex yarn and cotton

8h x 7w in
20.32h x 17.78w cm

00rk004

Robin Kang

Pathworking

Handwoven iridescent lurex yarn and cotton

8h x 8w in
20.32h x 20.32w cm

00rk003

Peter Schenck

Still Life after Beckmann, 2023 - 2024

acrylic, watercolor on watercolor paper

26h x 19w in
66.04h x 48.26w cm

PS062

A Movable Feast

Sarah Dineen, Garrett Dutton (aka G. Love), Nancy Elsamanoudi, Robin Kang, Ryan Kish, Melanie Kozol, Rebecca McGee Tuck, Elisa Montilla, Peter Schenck, Whiting Tennis, and Scott Whipkey.

October 5 – November 1, 2024

Readymade Gallery is pleased to present the final show of the 2024 season,  A Moveable Feast, on view from October 5th to November 1st. The show presents work by Sarah Dineen, Garrett Dutton (aka G-Love), Robin Kang, Ryan Kish, Melanie Kozol, Rebecca McGee Tuck,  Elisa Montilla, Peter Schenck, Whiting Tennis, and Scott Whipkey.

Ernest Hemingway, in his memoir of the same title, used the phrase “a movable feast” as a metaphor for the places and times that sustain us in memory long after we have moved on. There is a bittersweetness to the phrase, embracing as it does the spirit of transiency and the knowledge that all things must end - even before they begin. As we close out a thirteenth successful season for the DNA Artist Residency and second season of Readymade Gallery, and as summer turns to fall, this is a time for reflection and gratitude for the particular moment that was summer 2024. 

A Moveable Feast can be taken at face value, referring in part to the lively artists' dinner parties hosted throughout the summer by Nick Lawrence, on the deck of his Eastham home, a staple of the DNA experience. These feasts, full of camaraderie and exchange of ideas, are hallmarks of every successful residency. This exhibition seeks to capture and recreate some of that energy, incorporating works from artist-residents which commemorate their time in Provincetown, punctuating their lives at a specific time and place outside of the fabric and routine of their daily lives, and rarified by a predetermined end-date.
 
This metaphor of the fabric of life is brought to the fore quite literally by the work of three textile artists.  Brooklyn-based artist Robin Kang plays with the language of ancient spirituality and contemporary technology in her delicately woven yarn pieces, to create meditative talismans or prayer flags.  Rebecca McGee Tuck engages with the archival nature of her medium, weaving discarded materials found on beach walks into multi-faceted textiles that catalog and memorialize humanity’s relationship with nature, and the waste we leave behind.  Elisa Montilla, who lives and works in LA and Spain, creates finely turned wooden pieces, one of which serves as a frame for stretched red lace, almost like a place setting at a table.
 
Peter Schenck and Melanie Kozol take a more direct view of the “feast” theme. Schenck’s Still Life After Beckmann presents a blood-red, semi-abstract still life of fish and flowers on a table in homage to German expressionist Max Beckmann. The piece looks backward into the annals of art history and forward into Schenck’s contemporary practice, examining what we glean from the past to fuel the future, using a potpourri of influences and references. Kozol, on the other hand, brings a more traditional approach to a non-traditional subject for a still life – a Buddha’s Hand fruit – bridging this gap between the past and the present, the expected and the new.

Scott Whipkey’s practice is one of multiples. Often revisiting the same composition and imagery in different colors as though trying to find some universal, integral truth, Whipkey’s pieces perform similarly to the process of memory itself; a revisiting and reimagining through different nostalgic lenses. By contrast, Ryan Kish paints singular moments, captured once and never again. On his canvases, the slanting of light through a window or the movement of seagrass on a dune is rendered with an almost frantic immediacy, as though to snapshot every aspect of a second in time.

Garrett Dutton, who is primarily known as the musician G-Love, an organizer of the Outermost Roots and Blues Festival (a Cape mainstay which takes place on October 12th and 13th), celebrates the word "Love" in a rainbow of colors and forms.  The transient lifestyle of a touring musician turns his practice into his own kind of “musical feast"; hyper-mobile and multifaceted, while still calling the Cape his home. This mobility comes through in the wide geography from which the artists originate. Cape and NY-based Sarah Dineen sculpts and paints in textured, geometric abstraction; while the linear abstraction of Whiting Tennis’ organic works on paper comes to us from the Pacific Northwest. 
 
Though hailing from all over the world, from both city and country, these artists are brought together by the shared, brief experience of the residency itself, using the language of their individual practice to define and shape  A Moveable Feast. Via diverse perspectives, A Movable Feast celebrates the spirit of the temporary transplant, the fluid nature of the Cape itself, and the short season of the artists' gallery and residency. 

With special thanks to all our friends and followers of DNA Residency and Readymade Gallery.  See you on October 5th!