Schedule of events at the Sprinkler Factory 38 Harlow St, Worcester MA 

Sat 08 Oct 2016: Opening Reception 6-9PM
Sun 09 Oct 2016: Gallery Hrs/Tours 1-4PM

Sat 15 Oct 2016: Gallery Hrs/Tours 1-4PM
Sun 16 Oct 2016: Gallery Hrs/Tours 1-4PM

Sat 22 Oct 2016: Gallery Hrs/Tours 1-4PM
Sun 23 Oct 2016: Gallery Hrs/Tours 1-4PM

Wed 26 Oct 2016: Closing Reception 6-9PM
                    w/TED-Style Talks 7-8PM

Scroll down for selected images and short statements by the artists.

 


 

 

 

Dual Selfs J. D. Sage

Homage to Pip.

This sand print depicts a transformed contemporary nude figure in gold leaf, along with images from the Neolithic age of Alta, Norway. Color is added with acrylic spray paint and oil crayon.

The beach is to be listened to. It can bring out the dual nature of man.

We are part of the sea. The next time you are at the seashore allow yourself time to feel it.  

 


 

 

 

Thinking Through Art K. Burns

How does a mind make sense of art?

This portrait of the artist is backed by a scientific study of aesthetics, published in Journal of Mathematics and the Arts.

The study uses entropy, a measure of complexity, to model the emotional effects of experiencing surprise and explaining its meaning.

The portrait is rendered in just one line, cross my heart, which reveals a series of surprises along its length as the meaning of line changes from face to hand to arm and back again.  

 


 

 

Time J. D. Sage

Rosetta Stone is a coarse grained white marble sculpture subjected to weathering for eight years.

Cupules (semi-spherical indentations), images from the Neolithic and Paleolithic ages, and a contemporary transformed image of a nude were etched on the faces of the marble. Acrylic paint and gold leaf were used to highlight the images. 

Original photographic prints of the marble are shown before (2004) and after (2012) exposure to the weather of New England.

 


 

 

Eyechart Endings K. Burns

How does surprise produce pleasure?

These eyecharts are comic poems in which lines are revealed, one by one, as a viewer approaches and anticipates each next line.

The first five lines lead a reader down one path of meaning, until a surprising twist is found in the sixth line.

This twist requires re-thinking all six lines, and pleasure is the brain’s reward to itself when the reader “gets it”.

 


 

 

 

A Look at Oneself J. D. Sage

How to surprise oneself?

A large Splat uses symmetry to explore what psychiatrists already know or thought they knew.

Two photo assemblages use mirrors that permit the viewer to enter the pieces.

We see our inner self each morning reflected in the mirror. Is that really me? How is it that we can live a life and not know oneself?  

 


 

 

 

Goldilocks Grids K. Burns

How do we decide what we like?

These wooden gratings were designed by a computer to satisfy human preferences for complexity, as measured in an experiment with 150 Americans and 50 Japanese.

The experiment varied the number of grid lines and spacing between lines, to find the patterns that people rated as most aesthetically pleasing.

A computer was then programmed to produce designs with optimal complexity, which corresponds to an entropy of about 4-5 bits. 

 


 

 

 

Primals J. D. Sage

Primals are inherent, not learned.

Primals are the most common emotions and often taken for granted. As humans we attempt to maximize many of these emotions.

The kiss permits an exchange of scents, tastes, and primal emotions. Kissing cannot be done alone and is often the juxtaposition of opposites.

The sound of waves on a seashore elicits the primal emotion of the heartbeat. Put your hand on your heart and you are part of the image.

 


 

 

Continuous Caricatures K. Burns

How can one line look like a face?

Compared to line drawings made with multiple strokes, these caricatures are made from one uninterrupted line bent into a wire sculpture.

The soldered X-junctions provide physical rigidity and produce perceptual ambiguity in depth.

This ambiguity causes the two lines of an X to be seen as either foreground-background or background-foreground, and to switch back and forth from one mode to the other.

 


 

 

This program is supported in part by a grant from the Worcester Arts Council, a local agency which is supported by the Massachusetts Cultural Council, a state agency.

 

 

 

Home