Exhibitions
Current Exhibitions
To purchase any of the current artwork, please inquire via email at artwork@huntingtontheatre.org
Domenic Esposito at The Arcade- INVISIBLE
Artist Bio:
Domenic Esposito refines his craft as a sculptor with deliberate vocabulary borrowed from Renaissance Italy, Asian culture, that are principled by social activism. Domenic trained at the Massachusetts College of Art and Design, Stonybrook Fine Arts, Artisan Asylum and Prospect Hill Forge, where he developed his metalwork skills.
In 2018, he achieved international attention through his sculptural execution of massive opioid spoon placed on the doorsteps of major pharmaceutical giants. Domenic went on to establish the Opioid Spoon Project, a 501(c)(3) that continues to serve as a solution-based platform for those effected by opioid /fentanyl crisis.
His artwork has been featured in the New York Times, The Art Newspaper, Hyperallergic, Le Monde, Frieze Magazine, Artnet news, Vice, ARTnews, and many other publications around the globe.
Domenic has been a guest lecturer at many institutions and museums throughout the country including MOMA (R&D Salon), the Museum of Fine Arts in Boston, and Boston University.
Domenic’s work has been exhibited in a range of galleries and art fairs across the U.S., including Beacon Gallery, Boston; Piano Craft Gallery, Boston; Westbeth Gallery, New York, Insight Artspace, New York; placement of the spoon includes Art Basel Miami, Chicago Art Fair, among others. Domenic is the President of the New England Sculptors Association, an organization dedicated to bringing sculpture to communities.
Artist Statement:
As an artist and social activist, my work reflects the forces that haunt our society, our community, our families and loved ones. Struggles, that can be felt and experienced by all, infused by subjects like rawness of addiction, mental illness, isolation, despair, social injustice…and importantly, hope and faith in our shared future.
My studio tells its own story, a narrative of inspiration, passion, vulnerability, and hope. The technical aspects of the art made here are just as stimulating as its emotional and aesthetic intent.
Seeing the world through the lens of an artist, an activist, a brother, a father, a husband, a friend is to illustrate the often complicated “human” elements of life. The work agitates and disturbs the habitual reasoning that we all succumb to in order to cover what/who we do not want to interact with. The hope is to provide the human context that will remind us why and how we need to confront injustice.
Destiny Palmer at The Nook- ORANGE
Artist Bio:
Destiny Palmer works at Thayer Academy and was formerly an Assistant Professor at Massachusetts College of Art and Design. She has participated in exhibitions at Antenna Gallery, The Colored Girls Museum, Automat Collective, Ely Center for the Arts, Vandernoot Gallery, Landmark College and has hosted workshops at The Isabella Stewart Gardner Museum and the Museum of Fine Arts. Most recently Palmer was invited to speak on her relationship to Hans Hofmann at the Peabody Essex Museum.
Palmer explores and investigates what it means to be an artist, educator and advocate for the arts. She has worked with various communities to create public art projects ranging from traditional murals to community engaged/lead murals to digitally created murals. Palmer has worked with MIT, Lifewtr, Saxby’s and Mural Arts Philadelphia. Her murals can be found at the Gallivan Community Center in Mattapan, Kendall Square Cambridge, Massachusetts and the Navy Yard in Philadelphia.
Creating art in public realms is a focus for Destiny. “I love being able to work with a community to reclaim space. It is extremely important that communities consistently see themselves within their own neighborhood and have ownership of it. Many of these communities are undergoing immense change or are at the bottom of their city’s priority list.” As the finalist artist, Palmer had the privilege to collaborate and envision a new Codman Square Park.
Artist Statement:
Trained as a painter, Destiny Palmer explores the intersections of painting, history and color, blurring the lines of painting, sculpture and installation. Her work investigates colonial American history as it relates to her own identity as a black woman. Her paintings respond gesturally, and the fabric works rely on materials to navigate conceptual ideas. While Palmer’s studio work is generated from personal histories, her public art is a reclamation of space. In the past few years, hands have become a theme in her work. Whether literal hands or work gloves, these are references to labor. Hands have been at the center of decision making, wealth, slavery, motherhood, etc. Hands nurture and hands harm.
“Interpret, engage, reminisce, critique my work. Access and question what has been presented, allow yourself to be a part of the painting. Dissect it until you have nothing but questions and self-fulfilling answers. Allow yourself to find comfort in not knowing and maybe not understanding.
My work generates a conversation of confusion or acceptance. I paint because it is sometimes the only thing that makes sense. It describes both a mental and physical space. Layers of space and lines represented by forms of color that are geometric and organic, are represented on one surface. These layers create a space that becomes unlimited regardless of physical scale. The intention of my work serves two purposes. The paintings become the vehicle for my own personal experiences, through the exploration and understanding of my lexicon as an abstract painter. I want my work to become an access point for all audiences inclined to respond and engage through an invitation of color.
When I started using hands, I wanted to talk about greed. When reading about America’s beginning, so much of it was around greed. Claiming land, people, goods and for a purpose but to have. That resonated with me because nothing has changed. All of the hands used are genderless, ageless and not grabbing any particular thing.” -Destiny Palmer
Price list coming soon!
Recent Exhibitions
Soyoung L Kim at The Nook- Invisible Forces
Artist Bio:
Soyoung L Kim was born in Seoul, South Korea, but grew up in Nairobi,Kenya. She received her MFA from The School of the Art Institute of Chicago. In 2021, she was a recipient of the Live Arts Boston Grant from The Boston Foundation. She has exhibited in both solo and group shows, including Boston Center for the Arts, Trustman Art Gallery, and Pao Arts Center. Kim’s work has been written about in the Boston Globe and the Boston Art Review. Her works are included in the public collections of Google, Cambridge. Kim is currently based in Boston, MA.
Artist Statement:
Forces like wind and ocean currents are invisible to the human eye, but they leave their marks on the landscape. In places that were once upon a time submerged underwater, we see marks left on the rocks and the land as the water slowly evaporated. Shadows of a different past. Their handiwork is stretched out over a vast length of time. We, with our human eyes, can only glimpse at a moment of this eternal process.
I attempt to capture those moments through my work. We who have uprooted and left behind homes have been carried by forces greater than ourselves. Like the resilient, prickly, unassuming plants that grow in the desert, so are immigrants and people who cross borders and boundaries. These invisible forces change us, just as the force of rushing water changes the landscape. When we land in a new place, we put down roots and grow again, but we are no longer the same. We have adapted and this process of adaptation has made us stronger. I seek to celebrate this resilient new growth.
Photo by Mel Taing
Alison Judd at The Arcade- The Memory of Leaves
Artist Bio:
Alison Judd is a multi-media artist whose work is rooted in themes relating to nature, the passage of time, and mothering. Recent shows include Vitality, Abigail Ogilvy, Boston, MA; Be-tween, Brandeis University Alumni Art Gallery, Waltham, MA; Sweet Season, Provincetown, MA; Raw Emotion, Boston, MA; Reprise, 13forest, Arlington, MA. Alison grew up in New York City, studied painting and art history at Brandeis University and received her Masters of Fine Arts in painting and printmaking at MassArt. She currently works out of her home studio in the Boston area where she lives with her husband, three children, and her dog.
Artist Statement:
“The Memory of Leaves” is a collection of paintings, prints, and drawings that explore the restorative capabilities of plants. Using leaf-based stencils and thin layers of transparent paint or ink, I create textured landscapes of vibrant colors. Through this technique, I symbolize the beauty and resilience that can be found in nature, even in the midst of adversity.
Ekua Holmes at The Arcade
Artist Bio:
Ekua Holmes, a lifelong resident of Roxbury, is a nationally renowned contemporary artist, community activist, and award-winning picture book illustrator, whose body of work explores themes of family, relationships, hope, and faith. Holmes created the artwork for The Huntington’s 2022 production of August Wilson’s Joe Turner’s Come and Gone.
Holmes’s sensitive, and often deeply personal approach to illustration results in vibrant visual narratives, unique to each literary project, that engage readers of all ages. In this time of significant diversification of children’s literature, her personal artistic vision and commitment to black imagery make her one of the most important contributors to change. Holmes’ children’s book illustrations have received numerous awards including a Caldecott Honor, the Robert Sibert Award, a Horn Book Award, and multiple Coretta Scott King Book Awards and the books she has illustrated sit on New York Times, Horn Book, and NPR Bestseller lists.
Holmes pursues a wide range of independent artistic projects such as The Roxbury Sunflower Project and was featured in a solo exhibition at the Museum of Fine Arts in 2021-22, “Paper Stories, Layered Dreams: The Art of Ekua Holmes.”
Currently, Holmes serves as Associate Director of MassArt’s Center for Art and Community Partnerships and directs sparc! The ArtMobile. She also serves as Vice Chair of the Boston Art Commission, which oversees the commissioning, selection, and care of public art in the City of Boston.
“By daring to challenge norms and push boundaries, new literary and visual narratives are being created for all children to explore and see themselves. Influenced by the artist’s life experiences, familial connections, and friendships, Holmes’s artwork is an invitation for all to see the world anew.” —The Museum of Fine Arts on their 2021-22 Ekua Holmes Exhibition
Photo by Xavia Hill-Prater
