“Crew Scapes” | Nick Paciorek | ArtProv
This weekend marks the 46th year of Boston’s famed Head of the Charles Regatta, and the Thursday opening of “Crew Scapes” provides a timely celebration of the athletic event. Paciorek’s collection of oil paintings vibrantly reflects the years he spent watching from the sidelines, a sketchbook folded open in his lap. With strokes as bold and potent as those of the rowers he depicts, he choreographs a motionless dance between the light-dappled water and the human faculties that manipulate it. “Crew Scapes” is on display through Nov. 14.
“Mile High, Red Hot” | Garcia Sinclair and Nafis White | Yellow Peril Gallery
Continuing the mixed-media trend that has dominated recent exhibitions at the Olneyville gallery, Sinclair and White have curated the space to resemble an interactive confectionary museum. Glass apothecary jars brimming with childhood favorites like nonpareils and jewel-toned gumballs cluster on tabletops or are rationed out among cubbies. Surrounding this edible nostalgia is an eclectic assortment of images, videos, sculptures and sound bytes to further probe the memory and senses. The viewer may indulge his or her sweet tooth by partaking in this exchange of appetites and ideas. “Mile High, Red Hot” is on display through Nov. 16.
“Assemblage” | Marjory Dalenius | Providence Art Club
RISD grad Dalenius may be 96, but her most recent collection, which showcases her work over the past several years, has the spark of a second childhood. Though a sculptor by trade, Dalenius is equal parts collector and eco-warrior: In her hands, discarded, unusual and obsolete items — many of which she received as gifts from those who were inspired by her work — reconfigure in new and clever ways. But rather than positing a social critique, the pieces gravitate toward whimsical, self-reflective musings on what fun it is to be young at heart. “Assemblage” is on display in the Moite Gallery through Nov. 7.
“SerLieve” | Rebecca Flores | Gallery at City Hall
After her daughter was killed at age 18, Flores turned to her art as a therapeutic medium for exploring the complexities of battered faith. She eventually coined the term “SerLieve” as a defining feature of her healing process: The root of “believe,” “lieve,” is an Old English word denoting willingness, which Flores co-opted for her new expression; she then translated “be” to its Spanish infinitive, “ser.” Though her stylistic repertoire has previously included concrete images like landscapes, impressions and portraits, “SerLieve” dives deep into the abstract. Employing whorls, dribbles and layers of color to evoke emotions rather than substantive clarity, Flores seeks to express often ineffable notions of inspiration, spirituality and truth. Part of the city’s celebration of Hispanic Heritage Month, the exhibit is on display through Nov. 17.
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