Michele Poirier Mozzone
Annie Wildey draws her inspiration from the coastal landscape where she lives in Mystic, Connecticut and on her travels and residencies to places like Acadia National Park in Maine, Cape Cod, The French West Indies and Europe.
Annie received her MFA from the New York Academy of Art in 2008 and was awarded their prestigious one-year post-graduate fellowship. The following two years were spent as artist-in-residence in Orient, on the east end of Long island before moving to Mystic Ct in 2012. While Annie’s primary practice is painting, she is also an accomplished printmaker and has assisted master printmaker Dan Welden at workshops throughout the Northeast including Haystack School of Crafts, Provincetown Art Center, Montserrat College of Art, and The Omega Institute.
Annie has exhibited both nationally and internationally, venues include: The National Museum of China, The Mall Galleries, London, The Heckscher Museum, and The University of Connecticut. Her work has also been included in special exhibitions curated by Eric Fishl, and in exhibitions alongside renowned international artists such as April Gornik and Tula Telfair. Annie is represented by: Coastal Contemporary Gallery, Newport RI, Kathryn Markel Fine Arts, NY and Eisenhauer Gallery, MA
Michele Poirier Mozzone is a Massachusetts artist, who has garnered recognition and numerous awards in national and international competitions for her “Fractured Light” series of paintings featuring the figure as it is immersed and influenced by water and sunlight.
She received her Bachelor of Fine Arts degree from Emmanuel College in Boston. Her working methods and paintings have been featured in International Artist Magazine, Pastel Journal Magazine, 40 Masters of Pastel, Le Livre 2016 Practique des Arts (France), Cape Cod Art Magazine and the WCVB Boston Television show, Chronicle. Her work has been exhibited in international competitions at Vose Gallery, Boston, The National Arts Club, New York City and The Salmagundi Club, New York City. Michele holds a Signature Member designation from the Pastel Society of America (PSA) and a Master Circle designation from the International Association of Pastel Societies (IAPS/MC).
Michele has participated in solo and group exhibitions at fine venues throughout New England and her work is held in private collections across the United States. A popular instructor of pastel workshops throughout southern New England, Michele also regularly teaches for the Rhode Island School of Design’s Continuing Education Program and the Providence Art Club. Michele is represented by Coastal Contemporary Gallery, Newport, RI, Powers Gallery, Acton, MA and Highfield Hall Small Works Gallery, Falmouth, MA.
Sam Hollister is a conductor, pianist, and composer born and raised in Rhode Island, and the artistic director of Aurora Collaborative based in RI. His conducting pursuits have spanned the orchestral (e.g. Tchaikovsky's Symphony No. 4), choral (Rachmaninoff's All-Night Vigil), theatrical (Sondheim's Merrily We Roll Along), and combined (Mozart's Requiem) worlds, and have taken him around the globe, from Rhode Island to Connecticut to Austria to Ukraine to South Africa.
As a pianist, Sam grew up playing chamber music around Rhode Island. He developed a deep passion not only for the chamber repertoire, but also for collaboration with other musicians. Sam sees Aurora Collaborative as an opportunity not only to make the chamber program experience more engaging and rewarding for its musicians, but also to expand the definition of "concert" and to reach people all across the state and southern New England in exciting venues. As artistic director of the organization, Sam's experiences as a composer, conductor, teacher, and arts administrator lend themselves to unlocking paths for any group of musicians to collaborate—in any setting.
As a conductor and teacher of music, Sam's fundamental message and mission relate to connecting the academia-trapped theory and philosophy of music to the real-world emotional relationship that performers, audience members, and listeners have with it. Music theory traditionally is seen as technical and mathematical: without feeling or purpose. Sam strives to show people that a greater knowledge of how and why music works the way it does enhances one's musical, emotional, and personal experience immensely. In this way, theory and practice are intertwined in emotion—not mutually exclusive.
Susan Schultz Susan Schultz was born and raised in the midwestern United States. Currently she lives in Connecticut and Massachusetts. Her proximity to the ocean inspires her recent work. She studied at the College of the Dayton Art Institute, and has participated in artist residencies in the US, France, and Italy. Schultz received a Connecticut Commission on the Arts Artist Grant, and a University of Rhode Island Visual Arts Sea Grant. Her work is exhibited nationally and internationally in galleries and museums.
Ebb & Flow, Reflections of Passing Time
Our three May artists focus on water, examining the life that resides and plays within, or the destructive realities of waste that are discarded into its magnificence. Wildey, Mozzone and Schultz all recognize and honor time that passes as a journey. Be it through erosion, an emotion or recreation, water carries strength, offers a cleansing breath, a moment to honor the past or sit in the present. It breaks down surface with relentless persistence, is vastly deep holding darkness and mystery, distorts reality and can exist in three physical states. Water makes up sixty percent of our adult bodies and it is a relevant metaphor for our complex lives and the human condition; fleeting as each wave, bubbles and reflections of light travel up and out.
Susan Schultz explores shorelines, collecting natural and manmade objects that are often found tangled in the wrack lines, having washed in and out with the tides. She recreates these treasures of inspiration in porcelain, imbuing then with a ghostly beauty. Schultz pays close attention to the intertwining of pure nature corrupted by human carelessness.
Annie Wildey interprets the smells, sounds, feelings and energy of water and the elements. Her process is fluid, moving between freedom and control, accident and intention, as she pushes and pulls the paint to translate the visual and emotional experiences of this subject in motion. Wildey honors the ever-present, all-consuming, beautiful, deep and sometimes, dark nature of the coastal sea and sky; the rhythm of the waves marking time like the breath. Moment to moment, its intensity fluctuates like emotion. Thoughts linger and pass, like a veil of fog.
Michele Poirie-Mozzone depicts the figure as it is distorted and bathed in turbulent water and sunlight. In these observations, she recognizes a passing of time and life's journey of youth into maturity and beyond. Water is the vehicle for transformation, cleansing, renewal and change. Each figure is captured reacting to a moment in this altered, weightless state.
ABOUT THE MUSIC
Antonio Forte, composer/producer
Antonio Forte is a composer, sound artist, and educator based in Providence, RI. He has played the piano since the age of 4 and the trumpet since age 8. He studied Fine Art at SACI in Florence, Italy, and holds a BA in Music from American University, in Washington, DC, where he also studied sculpture. Antonio is on faculty at the Rhode Island Philharmonic Music School where he teaches music composition and piano instruction. He is Music Specialist at Quest Montessori School in Narragansett, RI, where he teaches music to students in grades 1 through 8 and is the conductor of the OrQuestra.
Antonio has been a teaching artist and guest lecturer at BEAM camp, RISCA, URI Department of Art, American University Department of Performing Arts, and the Rhode Island Philharmonic Music School. His kinetic sound sculpture Lignum Sonus, in collaboration with artist Kevin Gilmore, was featured at the 2018 DUSKLIT interactive art festival in Sugar Loaf, NY.
His original compositions have been featured in podcasts, documentary films, and plays. Since 2016 he has been musician-in-residence at Jala Studio in Providence. Antonio is a member of The Wurks artists collaborative. He is currently a graduate student at Vermont College of Fine Arts pursuing a Masters degree in Music Composition.
Description of Music for Water Music (2019) by Antonio Forte, written by the composer
Music for Water Music is a piece of sound art composed for live flute accompanied by pre-recorded digital tape manipulations. The piece embodies a transformation of the second movement ("Alla Hornpipe") of the Water Music suite in D major, composed by George Frederic Handel in 1717. The original recording has been digitally stretched out from 3 minutes 45 seconds to last nearly 2 hours, while maintaining its relative pitch (being transposed down just a half-step from D to Db). In addition to being stretched, the original recording is played backwards over itself at the same time as it is going forwards, a total structural retrograde. The flute part incorporates similar rhythmic stretching of the original melody, structural retrograde on local and global levels, as well as repetitions of smaller note clusters within larger melodic phrases; all played freely, senza misura with the stretched recording. Techniques such as key slaps, wind sounds, and overblown harmonics are used to further create watery effects. The overall aesthetic of Music for Water Music is the evocation of the sea, ocean waves, and the ebb and flow of the tides.
Handel's Water Music suite was originally commissioned as a piece to be played on a barge traveling down the River Thames in London. Having grown up in Rhode Island, Antonio Forte has a life-long penchant for the sea and all things nautical. The "Alla Hornpipe" from the suite has long remained one of his favorite melodies and often gets stuck in his head or becomes a looping, gesticulating soundtrack during his dreams. In composing Music for Water Music, he wished to use a recording of the original piece as raw material, the same way a sculptor or painter would use clay or paint, and to try to imagine an entire ocean covered in musician-filled barges all playing Handel's piece. The composer started by asking himself the following question: what would this dream-like image sound like? His aim was to treat each note, and in a digital sense each sample of sound, as a single drop of water. Thus, each individual drop is expanded and multiplied until an ocean of sound is created.