August 16 – September 7, 2012

Power Boothe is an artist who has had 18 one-person exhibitions in New York
and he has participated in numerous group exhibitions. His paintings and prints
are represented in public and private collections, including the Metropolitan
Museum, the Guggenheim Museum, and the Museum of Modern Art. Boothe
has received numerous individual grants, including a National Endowment for
Arts Fellowship, a Pollock/Krasner Foundation Fellowship, and a Guggenheim Fellowship for painting.

Boothe is Professor of Painting in the Painting and Drawing Department at the Hartford Art School. He served as Dean of the Hartford Art School, University
 of Hartford from 2001 to 2010. He was Director of the School of Art at Ohio
University From 1998 to 2001, where he produced Art/Body/Mind, a
symposium on art and recent cognitive and linguistic theory.

While servingas Co-director of the Mount Royal Graduate School of Art at the
Maryland Institute from 1993 to 1998 he was awarded the MICA Trustees Award for Teaching Excellence. Boothe was appointed Lecturer in the Humanities at Princeton University from 1988–1994 and Instructor at the School of Visual Arts from 1979-1988.

Boothe is also known for his accomplishments as a set designer for theater, dance and video. He has produced short films and visual theater, for which he received a Bessie Award for set design, a Film/Video Arts Foundation Award for film, and several Art Matters Grants for his theater productions.

He has designed sets for Obie Award-winning productions and art directed and designed music videos that have received international recognition. He has been the co-recipient of numerous collaborative grants, including several NEA Inter-Arts Grants and NY State Council Grants, as well as a Lila Wallace Reader’s Digest Grant.

The conceptual basis of my work explores the complexities and vulnerabilities of the human mind.  I am particularly interested in the way the brain processes and stores information,
and how experience is translated and memory recalled. 

The work is informed by my research of inflicting effects upon memory and motor function
relevant to the aging adult.

The Imagery I create comes from an interest in combining female iconography with still life
painting. Each image is an amalgamation of various attractions such as Art History, my back
yard, the salad bar at Stop and Shop, retro kitsch, etc. The image usually starts with myself,
or with a friend, and then gets taken apart and reassembled with other things.

Although the results may seem surreal, I am more inspired by the Surrealists techniques of
tapping into the subconcious rather than by actual Surrealist painting. I have a desire to
personalize idealized notions of beauty and importance. To embellish icons with humor and a
little absurdity but also within those details to suggest a narrative that is mysterious and

I am just an observer of what is already there, and often, what I see are things
that others ignore. In essence, I attempt to bring the viewer of my art into another
place, another time. My imagery evolves from a love of myth, magic, alchemy,
mathematical ideas, and the natural world.

In both the sculpture, prints and encaustic my choice of form, material, and their juxtaposition reflect a variety of premodern creation myth, the themes of death
and rebirth, and the notion of a nurturing presence that permeates all life. In a
visceral and often deeply emotional sense, I summon forth a world of possibilities occupying a place between imagination and reality, and the
viewer becomes an active participant in the act of creation.. In my prints, drawings, books, and encaustic painting series,

I strive to keep a two dimensional history of the physical activity and the feeling of the sculptures not necessarily a representation of the thing itself but the essence of the thing.

The manipulation of light is central to my work. I am interested in creating an ‘’architecture of light’’ which exists within and around the forms to both emulate their dream-like origins and imbue the structures with life.

At a time when we perceive ourselves as separate from “the natural”, it is my ambition to probe, articulate, and reclaim that sense of intimacy and wonder that must have been within our grasp in the premodern era.