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AMZehnder Gallery

LAND MATTERS

An Artist Gets to the Truth of This Place

Pete Hocking turns experience into gesture

By Dorothea Samaha Sep 25, 2024

When Pete Hocking wanders in the dunes of Provincetown and Wellfleet, he stands quietly and listens to the ocean. He feels the cool air coming off the Atlantic, the heat radiating from the sand, the sun on his face, and the wind in his beard.

Pete Hocking feels the wind in his beard. It’s all part of having “an embodied experience” in the dunes. (Photos courtesy Pete Hocking)

“I’m trying to have an embodied experience,” he says. “To take the landscape into my body.” He waits until he’s home before he starts to paint.

In what he calls the “drawing room” of his 1820 Cape Cod-style house in Truro, oil paintings lean against the furniture. Mostly on two-by-two panels, they’re landscapes of green and blue: sweeping summer dunes and the smooth ocean.

They’re part of Hocking’s exhibition of new work at AMZehnder Gallery, which goes up this week. He recently moved from showing his art in Provincetown to showing in Wellfleet, where “there’s a really beautiful conversation among artists,” he says.

Hocking points to his piece All Summer the Sea No. 1. “This almost feels like water or wind has shaped that mark, right?” One brush-swipe forms the side of a dune. He’s captured the essence of a grand formation — a dune, made from innumerable grains of shifting sand — with a single movement.

“I think a lot about the spiritual nature of this place,” Hocking says. “When I first got here, I started to understand that the people who come here have an incredible sense of ownership of this place. It’s their place.

“You walk around Provincetown, for example,” he says. “People will talk about this place as if they live here 365 days a year, and you suddenly realize: oh, no, they come here one week a year, and what they know is what happens that week.”

Hocking grew up in Cheshire, Conn. and attended the Rhode Island School of Design in the 1980s. He worked for 17 years at Brown University as associate dean of the college. For 13 of those years, he was the director of the Swearer Center for Public Service. Twelve years ago, he came to the Cape tip to work on a memoir, which is now finished and awaiting revision. He’d recently discovered the identity of his birth mother — he was adopted — and learned she was buried on Cape Cod.

Until 2022, he continued his work as a professor at both RISD and Goddard College’s M.F.A. in Interdisciplinary Arts program, commuting and teaching remotely. He was painting all the while. Now it’s the main idea: he’s a founding board member of the Provincetown Commons and teaches workshops at the Provincetown Art Association and Museum and the Fine Arts Work Center.

“Having been here a relatively long time, I know that week-to-week this place changes a lot,” says Hocking. “But all of it is true.” Everyone’s experience is as real as the next person’s.

In summer, the Outer Cape’s oceanside is green, blue, and sandy yellow. Those hues are reflected in Hocking’s art. “But most of the color here is from October until May,” he says. “When the grasses go down, there are all these reds and golds and violets and grays.” That truth reveals itself in a few of his paintings. In All Summer the Sea No. 1, the viewer gazes down at the ocean and the flats from the top of a dune. Highlights of pale pink decorate the landscape.

Hocking doesn’t usually paint plein air. “I spend more time setting up than I do making work,” he says. “The quality of the work doesn’t go up.” And, perhaps more important: “I get stuck on the truth of whatever I’m reproducing,” he says, “rather than the truth of the experience.”

His paintings tend to be hyper-saturated, he admits. The blues are deeper, the greens brighter than in real life. But the palette’s intensity doesn’t feel fabricated. For Hocking, working alone in his home off Route 6, those colors are as he remembers them.

The Outer Cape “is constantly shifting,” says Hocking. “In the summer, the social culture flips every Saturday. That’s one way of telling time. But when I go out to the edge of the land, to the Atlantic, there’s a kind of geological time that’s happening there that feels much bigger and truer to me.” He notices the erosion of the bluffs where he stands. He acknowledges the power of the weather: “The storms feel a little stronger, the wind hits more directly against the side of your face.”

Near Snail Road in Provincetown, on the trails surrounding the dune shacks, Hocking observes the low light and angular shadows of early morning and late afternoon. “It’s an experience that’s simultaneously abstract and representational,” he says. When it’s hot and bright, he says, the land shimmers like a cartoon desert. “You can’t tell distances all that easily.”

In the Land of Dreams is a painting to get lost in. The ocean swells at the top of the panel. It meets the sand at some distant point near the middle and disappears behind the slope of a dune. The viewer observes from a great height — or so it seems. It’s almost impossible to get one’s bearings, to interpret one’s own size in relation to the scene.

In Beneath the Light of a Morning Star, the dune falls away to the ocean. Easy enough to understand — until the viewer sees that there is no horizon, just a lightening at the top of the panel. Sea or sky, it doesn’t matter, as both are infinite from the viewer’s perspective.

While a city envelops and embraces the people who live in it, says Hocking, “here it feels sort of the opposite. It’s like you’re being pushed out into the middle of this space.” In some ways, he says, it’s inhospitable. “It’s a tough landscape, but it’s also achingly beautiful.”

Some people talk disparagingly about landscape and seascape paintings, he says. “One of the hard things about painting out here is it’s been painted so much, and really, really well.” Hocking tries to avoid clichés. “I don’t always succeed,” he says. “It’s a language I’m developing as an artist.”

He’s often by himself, but his solitude is in the service of connection. “People will stop me on the street,” he says. “They tell me, ‘I follow you on Instagram, and you keep me connected to this place when I can’t be here.’ There’s no better compliment I can get as an artist than to be told that I help people hold on to something that’s precious to them.”

What’s True

The event: Pete Hocking’s show of paintings
The time: Sept. 25 to Oct. 9; opening reception Saturday, Sept. 28, 5 to 7 p.m.
The place: AMZehnder Gallery, 25 Bank St. #3, Wellfleet
The cost: Free

ARTISTS

Heather Pilchard Looks Beyond the Horizon

Through light and color, capturing the ‘essence of the landscape’

By Abraham Storer Dec 15, 2021

“I have honed my visual sense,” says Heather Pilchard. “I notice patterns, changes in color. It’s all about observation. I’m always looking.”

Pilchard could just as easily be describing her artistic practice as her volunteer work for Mass Audubon in Wellfleet. She rescues cold-stunned sea turtles during the winter and tracks the nests of diamondback terrapins during the warmer months.

Heather Pilchard at AMZehnder Gallery in Wellfleet. (Photo Agata Storer)

“I’m good at finding the nests,” says Pilchard. “You look for crawl marks or disturbances where the turtle buried her eggs.”

Pilchard is also skilled at finding the “nests” when it comes to landscape paintings that capture fleeting moments of light and color.

“Everything changes — the sand, the patterns of the sky,” she says. “That’s what inspires me: the magic of the Cape.” Her painting language — spontaneous and gestural, with fresh and fluid strokes — reflects this. The paint itself seems to be in a state of transition.

Ocean Blues is a 37-by-33-inch oil on board by Pilchard. (Photo courtesy Heather Pilchard)

Pilchard moved to Wellfleet in 2006 and shortly thereafter began showing at the now-closed Harmon Gallery. She now lives in Eastham and shows at AMZehnder Gallery in Wellfleet. “Being on the Cape suits me,” she says. “There’s an artist spirit about it without the hustle and bustle of the city. It feels like home.”

Pilchard grew up mostly in the South, part of an artistic family. Her father, an art professor, moved the family to various college towns before settling at Appalachian State University in North Carolina. Once there, her mother stated, “I’m not moving anymore.”

“My parents were artists’ artists,” says Pilchard. “They were graphic designers by trade. They saw the world more visually. For vacations, we would always go to art museums.”

P’town Woods is a 10-by-10-inch oil on board by Pilchard. (Photo courtesy Heather Pilchard)

During one trip to the Southeastern Center for Contemporary Art, “My dad went out on this balcony and was staring out at the space,” Pilchard recalls. “He said, ‘Heather, look at the leaves. They all fall down differently.’ ” Pilchard says her father instilled “an almost spiritual sense of wonder and joy of observing.

“One thing about my family is that our expressions are very different,” continues Pilchard. “My dad’s work was bold and graphic; my mother’s work was lyrical and about color.” Two of Pilchard’s three brothers also became artists.

Though Pilchard enjoyed science in high school, she decided to pursue art. She left North Carolina to attend the School of the Museum of Fine Arts in Boston. “It was like being immersed in a creative womb,” Pilchard says. There she remembers hearing Wolf Kahn, one of her early influences.

“He does that balance between abstraction, landscape, and color,” she says. “These are the three elements I juggle.” In addition to Kahn, Pilchard lists Helen Frankenthaler and Hans Hofmann as inspirations. “In my heart, I’m an abstract painter,” she says.

Although she makes both abstract and representational work, even the representational work skews towards abstraction. “My art is less about detail and more about the essence of the landscape,” she says.

Morning Marsh is a 10-by-10-inch oil on board by Heather Pilchard. (Photo courtesy Heather Pilchard)

“My father had a heart attack, from which he recovered, right after I finished at the Museum School,” says Pilchard. “It was after that I started painting the landscape. It was a way to connect to him.”

Most of the works currently on display at AMZehnder feature a consistent motif: two expanses of color, one representing sky, the other land or water, separated by a sliver of land.

In Morning Marsh, Pilchard represents the spring-green salt marsh with brushy strokes that sit on the surface of the painting. These brushstrokes don’t describe space literally but rather create a bright expanse referencing color-field abstraction. Yet the color perfectly evokes the light and atmosphere of an overcast spring day on Cape Cod. In this way, the painting jostles the viewer between understanding the painting abstractly and representationally.

In Calm Ocean, Pilchard’s play with warm and cool colors calls to mind Hofmann’s “push-pull” theory. In this seascape, Pilchard interrupts the dominant cool blues of the water with a fluorescent orange ground to create a dynamic struggle.

Calm Ocean is a 12-by-24-inch oil on board by Pilchard. (Photo courtesy Heather Pilchard)

“As soon as I get tight and obsessive, I lose the painting,” says Pilchard. “It seems so effortless, but it’s actually difficult to be that loose and gestural.”

Although constructed with urgency and speed, her paintings communicate a sense of peace and connection. It’s something she experiences on her daily walks and adventures as a “citizen scientist.”

“In nature you feel a part of the larger scheme of things,” she says. “That’s what I experience when I’m out there. It’s so old. These systems have been interconnected for millions of years. When you’re out there, you tap into that.”

Bowden and Watson at AMZehnder Gallery

By The Independent Aug 25, 2021

Graphic designer turned fine artist Caroline Bowden is showing mixed media works at AMZehnder Gallery, 25 Bank St. #3 in Wellfleet, from Thursday, Aug. 26 through Sept. 3. Bowden’s design background informs her images of young girls collaged against colorful found materials. Her love of pattern and printed ephemera gives her work a strong graphic sensibility, exploring themes of innocence, loss, rebirth, renewal. There will be an opening reception on Saturday, Aug. 28, from 6 to 8 p.m.

In the Studio Gallery, there’s still time to catch Cammie Watson’s birds-eye-view paintings of the Outer Cape shoreline — beaches, roads, parking lots, and safe harbors — that put a fresh spin on natural topography and intruding human development. There’s a double take of abstraction as you orient yourself to what’s happening beneath, or rather, in front of you. The show runs through Aug. 31.

Cross Roads at AMZehnder Gallery

By The Independent Aug 11, 2021

Providence-based artist Mia Cross is exhibiting oil paintings at AMZehnder Gallery, 25 Bank Street #3 in Wellfleet, from Thursday, Aug. 12 through the 24th. Cross is predominantly a figurative painter but takes deep asides in abstraction, often influenced by Sol LeWitt. She sometimes juxtaposes her figures against colorful, geometric lines and textures to give the work a graphic quality. Her works are big, bold, and confident forays into the joys of paint as it advances a narrative. The gallery is open daily, 11 a.m. to 6 p.m.; closed Wednesdays. There will be a reception on Saturday, Aug. 14, from 6 to 8 p.m.

Ellen Sinel at AMZehnder Gallery

By The Independent Aug 4, 2021

An exhibition of recent oil paintings by Ellen Sinel opens at the AMZehnder Gallery, 25 Bank St. #3 in Wellfleet, on Thursday, Aug. 5 and runs through Tuesday, Aug. 10. Sinel paints trees in the fall and winter, framed close and set against a cloudy sky, in front of a row of evergreens dressed in a barrage of golden yellow. There’s an abstract quality to the work — a preponderance of strong verticals tempered by the implication of a landscape behind. The paintings are quiet, meditative responses to the natural world that anchor the eyes and settle the nerves. The gallery is open daily, 11 a.m. to 6 p.m.; closed Wednesdays. There will be a reception on Saturday, Aug. 7, from 6 to 8 p.m.

Cape Cottages and Dune Princesses

By The Independent Jul 28, 2021

Two shows of paintings — by Gwen Murphy and Paul Pedulla — are running concurrently at AMZehnder Gallery, 25 Bank Street #3 in Wellfleet, through Tuesday, Aug. 3. Murphy paints surrealist fantasies — lithe female figures and princesses in long dresses, cavorting at the beach or underwater, often accompanied by a menagerie of wolves, cats, birds, and fishes. “I am interested in the vulnerability of humans and other beings,” says Murphy, “and in the humor and pathos that arise from this vulnerability.” Pedulla paints the façades of lone cottages — as well as long, winding roads set against a backdrop of sand, sea, and sky — paring everything down to simple geometry and local color. The gallery is open from 11 a.m. to 6 p.m. daily except Wednesdays.

At the Beach With Rebecca Gmucs

By The Independent Jul 14, 2021

An exhibition of recent paintings by Rebecca Gmucs opens at AMZehnder Gallery, 25 Bank St. #3 in Wellfleet, on Thursday, July 15th and runs through August 3rd.

Gmucs paints languid days at the beach using bold colors and patterns that capture the joy of settling on the sand with a good book. They have a silkscreen look to them, with pared down shapes that coalesce into forms and figures.

“Color is like music or a dance with no limitations on variation,” Gmucs says in a statement. “I want the viewer to connect on an emotional level. I want my painting to speak.”

ARTISTS

The Charmed, Haunting Art of Laura Peturson

She is inspired by the imaginative play of children apart from adults

By Susannah Elisabeth Fulcher Jul 7, 2021

Once upon a time, there was an artist named Laura Peturson. She lived in a forest in northern Ontario with her husband, daughter, and son. The children spent their days among the tangle of trees, playing in that magical space where stories grow. Meanwhile, their mother watched from afar, keeping them safe from harm. And because she was an artist, she sketched as they climbed among fallen branches, capturing their playful movement.

Artist Laura Peturson. (Photos courtesy Laura Peturson)

“I remember getting lost in the world of fairy tales as a child,” says Laura Peturson from her home in North Bay, Ontario. Primarily a printmaker, Peturson takes inspiration from children absorbed in imaginative play. “In many fairy tales, the woods recur as an archetype of a place of beauty, but also a place on the edge of safety,” she says. “I’m interested in how children find that edge in their play when they are not in the presence of adults.” Reminiscent of 19th-century children’s book illustrations, Peturson’s art is at once enthralling and haunting. It captures both the innocence and emotional complexity of childhood.

Opening Thursday, July 8, a selection of Peturson’s prints will be exhibited alongside works by Mitra Walter and Melanie Vote at AMZehnder Gallery in Wellfleet. “I put this show together during the pandemic and was looking for art that would reach viewers’ emotions and take them back to a more sentimental time,” says gallerist Anne-Marie Zehnder. “I connect Laura’s work to a feeling of the Outer Cape long ago, of children exploring the woods and kettle ponds, of families camping out. My hope is that viewers will feel moved and comforted.”

Peturson’s drawings of her children form the basis for her prints. But capturing them in motion is challenging. She has a bachelor’s degree in fine arts and mathematics from York University in Toronto and studied at the New York City Academy of Art. She says that a class in animal anatomy prepared her.

Paper Lantern is an 8-by-8-inch linocut and screenprint by Laura Peturson.

“The instructor would take us outside to draw police horses,” says Peturson. “He showed us that, while animals don’t stand still, they return, over and over again, to the same kind of position in an almost circular pattern of movement. Kids are similar. If you keep watching, you’ll get that initial gesture again. Sometimes it can be hard for me now to draw adults.”

Peturson’s series In the Home explores domestic scenes that bring to mind those of Mary Cassatt and William Merritt Chase. A linocut and screenprint titled Paper Lantern is an homage to John Singer Sargent. “We were at an outdoor wedding in northern Ontario that was lit by paper lanterns,” Peturson says. “My daughter and some of the other little girls there were playing with the lanterns, and I was immediately reminded of Sargent’s Carnation, Lily, Lily, Rose. The scene before me was like a living tableau.”

In an immersive mural project reminiscent of John Tenniel’s original Alice in Wonderland illustrations, Peturson depicts children exploring a field of oversized plants. “I think a lot about children’s relationship to their environment, and how the surroundings they grow up in shape their sense of identity,” she says. Titled Wasteland/Wanderland, Peturson’s mural highlights invasive, non-native species such as hogweed, which was imported from Asia to North America. Hogweed can cause a serious skin inflammation when touched, making it dangerous not only to native ecology but also to humans.

Above the Falls is a 21-by-31-inch linocut by Peturson. Her art often includes depictions of snowshoe hares, an animal commonly found in Ontario, to symbolize the vulnerability of children in the natural world.

In 2013, the landscape surrounding Peturson’s home was devastated by a tornado. “Very, very old trees came down, causing a real sense of sadness and loss,” says Peturson, “and at the same time all these amazing new spaces were created for us to climb and play in.” Above the Falls is an example of a work Peturson created to explore the sense of melancholy and optimism that an altered landscape can offer.

More recently, the pandemic inspired Peturson to think about the passage of time in her work. “I’ve been experiencing an almost painful sense of nostalgia,” she says. “Time during the pandemic has felt like it’s speeding up and slowing down at once, much like the experience of raising children. My daughter, who is 11, is this incredible, imaginative spirit. To think that she’s on that edge of adolescence has led me to mourn our life as it is now.”

Peturson has created several indoor murals using oversized linocuts, woodcuts, and papercuts pasted onto walls. Just as a child can get lost reading a fairy tale, she hopes to offer the viewer an immersive experience. This detail is from Wasteland/Wanderland at the Atelier Circulaire in Montreal.

Though her children are inevitably growing older, Peturson doesn’t expect her subject matter to change significantly. “I might go back and explore my own childhood,” she says. “Some of my memories of games my brother invented for us are quite cinematic and might translate well into narrative images.” Choosing the right moment to turn into a print relies on paring down, finding a narrative element of ambiguity or mystery, she says: “A single facial expression or gesture may hold a poetic resonance.”

Magical Thinking

The event: A show of works by Laura Peturson, alongside those by Mitra Walter and Melanie Vote

The time: Thursday, July 8 through July 20; reception Saturday, July 10 from 6 to 8 p.m.

The place: AMZehnder Gallery, 25 Bank St., No. 3, Wellfleet

The cost: Free

Doug Bennett’s ‘Intersections With Cubism’

By The Independent Jun 30, 2021

“Intersections With Cubism,” a show of works by Doug Bennett, opens Thursday, July 1st and runs through July 7th at AMZehnder Gallery, 25 Bank St. #3 in Wellfleet. With a dry palette of earthy tones, Bennett keys his cubist trajectory of lines and planes off of old houses, oyster shacks, and cottages, extrapolating their angles and rooflines towards a fracturing sky. The “cubism” is subtle, with Bennett maintaining the integrity of the architecture below while its planes radiate skyward. The gallery is open daily from 11 a.m. to 6 p.m., closed Wednesdays. There is an opening reception on Saturday, July 3rd from 6 to 8 p.m

Heather Pilchard on the Horizon

By The Independent Jun 23, 2021

The next in AMZehnder Gallery’s week-long summer series is a show of Eastham artist Heather Pilchard’s intimate oil paintings of the Cape’s marshes and tidal flats set against a banner of sky.

Pilchard — who is also a photographer, bookbinder, and teacher — holds a B.F.A. from the School of the Museum of Fine Arts at Tufts University. Working with 6-by-6-inch boards, she paints horizontal bands of color that stack like pancakes.

The show opens Thursday, June 24th and runs through Tuesday, June 29th, with an opening reception on Saturday, June 26th from 6 to 8 p.m. The gallery, located at 25 Bank St. #3 in Wellfleet, is open daily from 11 a.m. to 6 p.m., closed Wednesdays.

Sky and Tides at AMZehnder Gallery

By The Independent Jun 16, 2021

Ann Guiliani and Lorrie LaPointe have a show of new work at AMZehnder Gallery, 25 Bank St. #3 in Wellfleet, with an opening reception on Saturday, June 19th, from 6 to 8 p.m.

In “Changing Tides,” running Wednesday, June 16th through June 23rd, Guiliani depicts moving water using oil paint and sometimes wax. Lively strokes and subtle color capture the surface pools and eddies in a miraculous way.

While Guiliani looks down, LaPointe looks out. Her recent tondo paintings focus attention on that point where water meets sky — telescopic snapshots with only the horizon line holding it back from complete abstraction. This show runs Thursday, June 17th through June 22nd. The gallery is open daily from 11 a.m to 6 p.m.; closed Wednesdays.

GALLERY PREVIEW

Memorial Day Weekend Brings a Bonanza of Art

With Covid precautions eased, an array of openings to enjoy

By Saskia Maxwell Keller May 26, 2021

Memorial Day weekend is the unofficial start of summer and, with it, the gallery season. Opening Friday, May 28 at AMP Gallery is “these past few years,” a show of mixed media works by M P Landis, as well as “Garden of Ideas,” a show of paintings on wood panel by Lori Swartz. Don’t miss “Democracy of the Land: Viral Warming” by Jay Critchley (see story on page B3). Browse at 432 Commercial St. in Provincetown through June 23.

Generations is a 76-by-100-inch oil on canvas by Joe Diggs. (Photo courtesy Berta Walker Gallery)

There are two shows at Berta Walker Gallery, 208 Bradford St. in Provincetown, opening Saturday, May 29, with a reception from 3 to 5 p.m. “Soulscapes” is in an exhibit of large-scale paintings by Joe Diggs. There is also a group show of works by Donald Beal, Varujan Boghosian, Romolo Del Deo, Salvatore Del Deo, Elspeth Halvorsen, Bob Henry, Budd Hopkins, Anne MacAdam, Danielle Mailer, Deb Mell, Cynthia Packard, Sky Power, Paul Resika, and Murray Zimiles.

Waves is a photograph by Greg Salvatori featuring a painting by Pete Hocking. (Photo courtesy Greg Salvatori)

Check out Greg Salvatori’s Frames series, a collaboration with other local artists, at Greg Salvatori Gallery, 237 Commercial St. in Provincetown, with a show opening Friday, May 28 and running through June 6. The photographs show models posing with, or “framing,” original artworks by Adam Peck, Trevor Mikula, Pete Hocking, Gaston Lacombe, Mark Adams, James Frederick, and others.

Three artists are featured this week at the Provincetown Commons, 46 Bradford St. A show of paintings by Cicely Carew opens Friday, May 28 and runs through June 6. Then, a show of paintings by Suzette Lebenzon as well as salvaged wood sculptures by Hilary McHugh opens Tuesday, June 1 and runs through June 16.

Currently on display at Rice Polak Gallery, 430 Commercial St. in Provincetown, is a group show featuring all gallery artists, including Nick Patten, Sean Thomas, and James Tyler, running through July 7.

Mike Sullivan is one of the artists featured in a show at Schoolhouse Gallery opening Friday. (Photo courtesy Schoolhouse Gallery)

Swing by Schoolhouse Gallery, 494 Commercial St. in Provincetown, to see Mark Adams’s Migration Mandalas, new oil paintings by Jen Bradley, sculptural headwear by Mike Sullivan, and collages and paintings by B.D. Graft, as well as embroidery by Lisa Paige. There will be an opening reception on Friday, May 28, from 6 to 8 p.m. The show will be on display through June 30.

“In the Light, Beach Scenes,” is a show of acrylic and encaustic paintings by Karen Gausch at AMZehnder Gallery, 25 Bank Street, No. 3 in Wellfleet, from Thursday, May 27 through Tuesday, June 1. There will be a reception on Saturday, May 29, from 5 to 7 p.m.

Words of is a work in progress by Asya Palatova. (Photo courtesy Farm Projects)

Asya Palatova, a Cleveland-based ceramicist and sculptor who grew up in Russia, has a show titled “A Part Together” at Farm Projects, 355 Main St. in Wellfleet, from Thursday, May 27 through June 7. There will be a reception on Saturday, May 29, from 6 to 8 p.m.

Horizontal #4 is a monotype with collage by Hanni Woodbury. (Photo Barbara Woodbury)

Off Main Gallery christens its new location at 75 Commercial St. in Wellfleet with its first show of the season, featuring works by Hanni Woodbury, Susie Nielsen, Barbara Gordon, Mark Brennan, Elise Kaufman, Phyllis Ewen, Deborah Pressman, Mark Bernstein, and Robert Shreefter. There will be an opening reception on Saturday, May 29, from 6 to 8 p.m.

Scribes in the Sky, a 48-by-39-inch mixed media work, is a collaboration between Andrew Jacob and Felipe Ortiz. (Photo courtesy Longstreet Gallery)

Longstreet Gallery presents “Scribes in the Sky,” a show of works by Andrew Jacob and Felipe Ortiz, as well as some rare collaborations between the two. Both artists work in murals and graffiti as well as more traditional mediums. The show opens Saturday, May 29 at 4730B Route 6 in Eastham, with a reception from 5 to 8 p.m. —Saskia Maxwell Keller