David Sepulveda Photo
Visitors mingle before the start of the program at Westville’s Kehler Liddell Gallery.
The bittersweet closing of the exhibit titled “New Work” by painter Frank Bruckmann and sculptor Susan Clinard at Westville’s Kehler Liddell Gallery may portend a new way in how the gallery puts closure on future exhibits. The show, which had a conventional opening on Dec. 9, closed Sunday with a special concert celebrating the show’s successful run, while paying unique homage to the work through the music of Westville composer, singer and musician Gaylene.
Gaylene performing.
Billed as “An Afternoon of Visual Music,” the event offered a meditative opportunity to reflect on the visual work in the waning hours of the exhibit through Gaylene’s original musical compositions inspired by the work and created just for the closing exhibit. Gaylene’s website describes her as “a musician of contemporary ambient music influenced by a generation of progressive rock and modern film soundtrack compositions.” The net effect was a tonal tapestry that seemed to wash over the audience as she played the synthesizer and flute, accompanied at times by her original electronic loops, overlaid with her transportive, vocal intonations.
Several of the Clinard sculptures on display.
Pausing between songs to cite aspects of specific paintings and sculptures that influenced her creations, Gaylene hinted at her reactions through creative titles assigned to the pieces: Bruckmann’s large composition, simply titled “Grabbro rock no. 15,” became “Ascension,” a title that had the artist quipping, “I should let her name all of my paintings.”
Sculptor Susan Clinard, painter Frank Bruckmann and musician-composer Gaylene.
Clinard’s “wunderkammers,” compartmentalized box designs filled with sculptures and meaningful found objects, seemed to be of particular interest to Gaylene among the array of the artist’s figurative wire, wood and ceramic sculptures. Pointing to a section of barbed wire in one of the boxes, Gaylene explained that certain objects inspire a particular type of sound — a musical equivalent of the three-dimensional form which she then incorporates into her compositions.
Frank Bruckmann’s Gabbro rock series, courtesy of the artist.
Describing her reaction to Gaylene’s presentation, Clinard said, “it’s precious to have another artist inspired by your work,” adding that she appreciated the “call and respond — the give and take” aspect of the event’s unique collaboration.
Mike Rogers, bass player for The Skamatix, Westville’s homegrown ska band, who attended the concert and has had the opportunity to perform with Gaylene, revealed another side of the artist that seemed at odds with her lush, melodic musings.
“She’s a kick-ass drummer,” he said, a fact confirmed by Gaylene. “Drumming is my first love — I’m a big Iron Maiden fan,” she said, citing the British heavy metal band as one of her influences.
Artist Muffy Pendergast, who arranged and coordinated the special closing event.
Sunday’s event was the third in a trifecta of free events designed to draw visitors to the gallery over the life of the exhibit, according to event organizer Muffy Pendergast, pictured. The “Visual Music” event was preceded on earlier dates by a jazz concert featuring The Westville Guitar Trio and friends, followed by a shadow puppet workshop facilitated by Pendergast, Shula Weinstein and Linda Wingerter, aka Polly Sonic.
Composer Gaylene discusses her work with gallery director Sarah Fritchey.
Gallery director Sarah Fritchey said the closing event provided a “mellow opportunity” for people to visit or revisit the show without the abrupt ending that usually accompanies an exhibit’s closing: “People see new things in the work each time they come and form a relationship with the body of work. This type of closing is more meditative and is also a great tribute to the artists.”