“Moloney’s mystical sculptures aim to evoke a sense of fecund emptiness. His contemplative works — with titles such as ‘Turning,’ ‘Pausing,’ and ‘Rising’ — use light and reflective surfaces along with formal openings, voids, and vortexes to turn viewers’ attention inward.”
- “THE TICKET: WHAT’S HAPPENING IN THE LOCAL ARTS WORLD” , published in the Boston Globe, May 9, 2019.
Photo by Stewart Clements
“In fact, the space at Gallery VERY and the works by this group of artists illustrate the principle of quantum entanglements […] In a quantum entanglement, the parts of a system—no matter how far away they are from each other in the universe—are intrinsically linked, sharing observable physical properties. Just so, the works of Corby, Gallagher, Riley, and Weathersby are energized by and in dialogue with each other.”
- “ALONE TOGETHER.” by Jill Slosburg-Ackerman, published in Big, Red & Shiny, November 27, 2018
Photo by Stewart Clements
“These are contemplative works, fuzzy edged, sometimes almost still. The grid drew me in; the stripes made me uneasy. Why? The spinning creates a frequent shadow at the center, which fits into the grid like an origin point, but reads ominously against horizontal bands, like a featureless head or a black sun. The grid, meanwhile, beats open and closed as shadows fan from the center, as dusky tones warm and cool. It's a matrix for life's rhythms.”
- “Elaine Buckholtz’s presences on a wall” by Cate McQuaid, published in the Boston Globe May 2, 2018.
“What makes this installation most intriguing is not just its compelling material nature, but how the artists create a surprising sense of double entendre by offering the best of artistic artifice and the allure of the horror movie. The pretense of domesticity is cunningly reinforced by the gallery’s living room area alongside the installation’s homey references.”
- “A Missing Apparition at VERY” by Candice Smith Corby, published in Big, Red & Shiny, January 23, 2018
Photo by Stewart Clements
“Here, each paint chip and stripped screw is purposeful. The boxes are composed from the scrap wood of a year of jobs, cut into quarters and then assembled into boxes. One such box contains a bundle of old electrical cords and two spaces away a hand drill sits in its own little trophy case. The boxes mirror and rhyme with each other, creating a visual measure and tempo.”
- “Through Fresh Eyes: Doug Weathersby’s A Year In Review” by Lilly Saywitz, published in Big, Red & Shiny, March 8, 2017
Photo by Stewart Clements
“I called Weathersby early one morning recently to ask him to reflect on his work. Though he was already on a job, he kindly took some time to walk me through his transition from painting student to handyman-artist.”
- “Visual Arts Interview: Doug Weathersby — Making Art Out of Work” by Stace Brandt, published in The Arts Fuse, January 28, 2017.
"Think of John Guthrie's gallery as an art party..." - Cate McQuaid, Globe Correspondent
Topdo by Juliann Cydylo
Upon entry to Paperweight, the latest exhibition at VERY gallery in Boston’s South End, one perceives an absence: four works on paper occupy a modest amount of wall space along with a sculptural installation on the ground that does not exceed knee height…
Read More“[Fair] had cast a tree in a mixture of rubber, plaster, clay, wax, and foam and they stood erect in the middle of the studio. On our next visit, the trees were lying on the ground, a cast of a tree stump had been added, and we all agreed that the campfire motif provided a strong sense of place and a conceptual anchor for the show.”
“Paperweight: An Interview with Tory Fair”
Published October 17, 2016 by Big Red & Shiny
“The sculptures in VERY’s inaugural show, Sex Not Sex, inhabit the space in much the same way as the patrons at the opening: some sitting, some standing, others propped against the wall. In a gallery that feels more like a family room than a white cube, the work of Arthur Henderson does not simply provoke discussion but quietly joins the conversation.”
“Arthur Henderson: Sex Not Sex” - Published by Big Red & Shiny on August 2, 2016
Teapot by Arthur Henderson