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Ethan Boisvert

Queens, NY, United States

Last updated: April 30, 2014

ABOUT ME | PORTFOLIO

In my painting, I take the approach of investigating 20th century modernist methods of creating forms, freewheeled with spontaneity of the now, and compositional influences of the most visually challenging painters of the pre avant-garde. The work has no direct literal message, freeing it of an overly subjective interpretation.

ART EDUCATION

2002 BFA The Hartford Art School, University of Hartford, CT

SOLO EXHIBITIONS

2014
Astorian, Rosie, New Canaan, CT
2013
Boisvert’s Last Bash, ArtSpace, Hartford, CT
Spicy City Mural, Aetna, Hartford, CT
2012
DOT, Newington, CT
Small Works, The Butler-McCook House, Hartford, CT
Visceral Obsessions, ArtSpace, Hartford, CT
On the Raw, Japanalia, Hartford, CT
2011
Switch Up, Midoma Gallery, NY, NY
Allusion, commissioned installation, Hilton Hotel, Hartford, CT
Undercurrents, Gallery at 100 Pearl, Hartford, CT
Ethan Boisvert, Aetna, Gallery, Hartford, CT
2009
Constructed Synthesis, Midoma Gallery, NY, NY
December, Art Space, Hartford, CT
Ethan Boisvert, featured solo artist in open studio, Hartford, CT
Ethan Boisvert, Gallery at Milford Crossing, Milford, CT, courtesy of Wendy Kelly
P&P, CCC, Plainville, CT, courtesy of La Motta Fine Art
2008
Boom!!!, 56 Arbor St, Hartford CT, courtesy of La Motta Fine Art

GROUP EXHIBITIONS

2013
Spring Gala art Auction, New Britain Museum of American Art, New Britain, CT
Ethan Boisvert and Mark K. St Mary, Gallery 195, New Haven, CT, curated by Debbie Hesse
Accruing Interest Pop-up Exhibition, Hartford, CT, curated by CT Artlist
2012
Give us Your Best Shot, juried show, OCCCA, Orange County, CA
23, Artspace, Hartford, CT
HAS Juried Alumni Show, Silpe Gallery, W. Hartford, CT
HAS 2002-2012 Next Generation, JSJ architecture, Hartford, CT
Night on White, Space on White Gallery, NY, NY
Hammered & Nailed, ArtSpace. Hartford, CT
Black And White, Heather Gaudio Fine Art, New Canaan, CT
The Blend , Raw Artists, NY, NY
2011
Waterways, Heather Gaudio Fine Art, New Canaan, CT
Hartford Art School Exhibition, W. Hartford CT, juried by Helen HSU assistant curator of Solomon Guggenheim Museum
Iona Gallery, New Rochelle, NY
Museum After Dark (fundraiser), NBMAA, New Britain, CT
15 Artists, Wadsworth Atheneum, Hartford, CT, selected from Open tudio
Hammered and Nailed, ArtSpace, Hartford, CT
Scale Factor, curated by John Waters, West Haven, CT
2010
Drawing in the Expanded Field, Clara Hatton Gallery, Fort Collins, CO
Hot of the…., Silpe Gallery, University of Hartford, West Hartford, CT
Plucking the Rainbow, Nina Freudenheim Gallery, Buffalo, NY
Artwell’s 14th Annual Juried Exhibition, Artwell Gallery, Torrington, CT
Season and Color, 2/20 Gallery, New York, NY
67th Annual Juried Exhibition, The Slater Memorial Museum, Norwich, ct
X-Initiative, New York, NY
2009
40th Annual Juried Exhibition, New Britain Museum of American Art,
New Britain, CT, curated by Dr. Nancy Stula, Director of Lyman Allyn Museum, New London, CT
Large Wall Paintings, New Haven, CT
20/20, Art Space, Hartford, CT
The Awesomest Art Thing Ever, Hartford, CT public commission for a storefront curated by Maura Hefner
Somewhat Off the Wall, The Arts Council of Greater New Haven, CT
Index II, Art Space, New Haven, CT
Spring Gala, New Britain Museum of American Art, New Britain, CT
WOI, APW Gallery, Queens, NY
Un+Art III, Art Space, Hartford, CT
2008
48 Hours of Art, Hartford, CT curated by Anne Cubberly
New Work, La Motta Fine Art, Hartford, CT
Serious Play, Art Space, Hartford, CT
CONNcentric, Art Space, New Haven, CT, curated by Liza Statton, Melanie Carr and Chris Joy
Color Me Real, Windsor Art Center, Windsor, CT, curated by Ellen Carey
Museum After Dark, New Britain Museum of American Art, New Britain, CT
Burn It Up, 2 person show featuring Ethan Boisvert and Gabriela Galaraza-Block, ArtSpace, Hartford, CT
Un+Art II ArtSpace, Hartford, CT
New Britain Mural Slam, permanent installation on Welte parking garage at Central Connecticut State University
Un+Art Art Space, Hartford, CT
Anniversary Show, Diane Birdsall Gallery, Old Lyme, CT

GALLERIES

Heather Gaudio Fine Art
Diane Birdsall Gallery

REVIEWS

Undercurrents: A review by Gary Jacobs
Undercurrents, on display to May 13th is a big, raucous show of the artist's essentially Abstract Expressionist paintings in the almost crypt-like gallery of 100 Pearl Street. Here, the building's 17 floors of steel and concrete seem to press down on the low ceiling, squeezing the gallery walls with a taught, formal energy. It's the perfect setting for large, disciplined works willing to project themselves and fight back against the severe setting, and that's what Ethan gives us. These are lively, energetic paintings full of color and satisfyingly engaging.
Juggler, 2010, on the left wall is the show's largest at 64" x 72." Actually not colorful but warm, cream colored overall, this canvas swirls with a blizzard of frenzied, high-speed lines and brush strokes in blacks over larger tonal expanses. Closer inspection reveals the former to be in charcoal, thin and thick paint, drips, Pollock-like skeins and numerous other techniques I'm sure. There are patterns of circles, dots and grids interspersed in the mix, scribbles, splatters and an endless variety of marks. These build up in layers, varying in scale, creating a rich, surprisingly ordered effect.
Juggler almost seems a precursor to the more colorful works, even though it isn't necessarily. Django, 2008, 72" x 48," next to it, is painted on an assembly of two wooden doors, but takes on the same challenge of creating a layered, complex experience with non-objective marks and a compulsive, rigorous process of evaluation and reevaluation until the piece is done. Here, pale greens and cools set off brighter swaths of crimson, orange and hot pink. The palette is full and patches of every hue balance out the mix. There are more drips, painted patterns and stamped patterns of dots more regular than before, all reacting under the distressed, aged condition of the wood and various accessory hinges, broken trim and even handles.
The rest of the show takes on these issues, conducting an ongoing search into flatness and depth, color, mark making, composition and spontaneity. The right wall consists of three paintings, each 72" x 48," uniform, iconic, bold, and emphatic. The center one, Gold Necklace, 2011, is a little more pale, atmospheric, but the others- and others in the show- are locked tight compositions with strong blacks and whites offsetting the otherwise rich colors.
One of the things that is nice about this show is its variety, and the back wall shows smaller paintings and some drawings, which add to the sense of development and trajectory. These pieces are less manifestos of Formalist ideas and more fluid accumulations of pure painting, marks made over time, and the workings of a creative eye. They are denser images, more modulated, and- if possible- even more busy, active and alive. The colors crowd each other and overlap quite a bit, creating optical mixtures of all kinds that end up being warm and inviting. It should be noted that the paints used in this show are acrylic and latex, throughout, so speed and transparency are at the forefront. A few charcoal and graphite drawings are hung also, which are nice to see as examples of the artist's incessant creativity and imagination.
This is the kind of show where you could easily want to say, "I see a …" (fill in the blank) because of the suggestiveness of the forms and shapes, but Boisvert wisely avoids any obvious departure from the realm of pure abstraction into further interpretation. These are made to be enjoyed for them selves, and perhaps for the reflection they inspire about time, action and expression. In a big, marble box downtown they remind us that what is practical is often cold and austere, but what is possible is actually endless.

COMMISSIONS

2013 Quest 13, acrylic and charcoal on drywall, 156" x 144" commissioned by David B. Panagore
2011 Allusion, acrylic and charcoal on wood, 60" x 168" (3 panels) commissioned by the Hilton Hotel, Hartford, CT
2009 Inner Outer Space, wood paint and foamcore, 96" x 300" x 144" The Awesomest Art Thing Ever, Hartford, CT public commission for a storefront curated by Maura Hefner

PRESS

Undercurrents: A review by Gary Jacobs
Undercurrents, on display to May 13th is a big, raucous show of the artist's essentially Abstract Expressionist paintings in the almost crypt-like gallery of 100 Pearl Street. Here, the building's 17 floors of steel and concrete seem to press down on the low ceiling, squeezing the gallery walls with a taught, formal energy. It's the perfect setting for large, disciplined works willing to project themselves and fight back against the severe setting, and that's what Ethan gives us. These are lively, energetic paintings full of color and satisfyingly engaging.
Juggler, 2010, on the left wall is the show's largest at 64" x 72." Actually not colorful but warm, cream colored overall, this canvas swirls with a blizzard of frenzied, high-speed lines and brush strokes in blacks over larger tonal expanses. Closer inspection reveals the former to be in charcoal, thin and thick paint, drips, Pollock-like skeins and numerous other techniques I'm sure. There are patterns of circles, dots and grids interspersed in the mix, scribbles, splatters and an endless variety of marks. These build up in layers, varying in scale, creating a rich, surprisingly ordered effect.
Juggler almost seems a precursor to the more colorful works, even though it isn't necessarily. Django, 2008, 72" x 48," next to it, is painted on an assembly of two wooden doors, but takes on the same challenge of creating a layered, complex experience with non-objective marks and a compulsive, rigorous process of evaluation and reevaluation until the piece is done. Here, pale greens and cools set off brighter swaths of crimson, orange and hot pink. The palette is full and patches of every hue balance out the mix. There are more drips, painted patterns and stamped patterns of dots more regular than before, all reacting under the distressed, aged condition of the wood and various accessory hinges, broken trim and even handles.
The rest of the show takes on these issues, conducting an ongoing search into flatness and depth, color, mark making, composition and spontaneity. The right wall consists of three paintings, each 72" x 48," uniform, iconic, bold, and emphatic. The center one, Gold Necklace, 2011, is a little more pale, atmospheric, but the others- and others in the show- are locked tight compositions with strong blacks and whites offsetting the otherwise rich colors.
One of the things that is nice about this show is its variety, and the back wall shows smaller paintings and some drawings, which add to the sense of development and trajectory. These pieces are less manifestos of Formalist ideas and more fluid accumulations of pure painting, marks made over time, and the workings of a creative eye. They are denser images, more modulated, and- if possible- even more busy, active and alive. The colors crowd each other and overlap quite a bit, creating optical mixtures of all kinds that end up being warm and inviting. It should be noted that the paints used in this show are acrylic and latex, throughout, so speed and transparency are at the forefront. A few charcoal and graphite drawings are hung also, which are nice to see as examples of the artist's incessant creativity and imagination.
This is the kind of show where you could easily want to say, "I see a …" (fill in the blank) because of the suggestiveness of the forms and shapes, but Boisvert wisely avoids any obvious departure from the realm of pure abstraction into further interpretation. These are made to be enjoyed for them selves, and perhaps for the reflection they inspire about time, action and expression. In a big, marble box downtown they remind us that what is practical is often cold and austere, but what is possible is actually endless.

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