WellesleyWeston Magazine

WINTER 2017/2018

Launched in 2005, WellesleyWeston Magazine is a quarterly publication tailored to Wellesley and Weston residents and edited to enrich the experience of living in two of Massachusetts' most desirable communities.

Issue link: https://wellesleywestonmagazine.epubxp.com/i/897427

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Page 163 of 195

Lately, Creamer has been excising shapes, completely cutting through the board. Into that void, he adds a plywood shape, perhaps painted, perhaps not. Gaps between the board and the inserted shape add light, puncturing the dense surface, somewhat reminiscent of spatialist artist Lucio Fontana's pierced canvases. His shapes have become less strict in their geometry, and he now combines excised shapes with painted ones. The effect is even more lay- ered and more organic. "I work within the realm of possibilities," he said, "but usually the work intercedes, and I become a witness. I wait for the work to take off in its direction. It's a waiting game." As Creamer talks about his process, his fingers move from shape to shape on one of his works, lingering on particularly striking patterns and combinations. "I was going to add more color," he muses, "but this one stopped me in midstream." Creamer experiments with color by selecting from a stash of duct tape. Often, before committing to a contour or color for a work in prog- ress, he'll fashion a shape out of tape and adhere it to the surface. Some of his works are framed, and these he makes himself. One densely packed rectangle has a broad frame with a zigzag relief that com- plements its interior. Another sits deep within a white-painted border; others remain unframed, at least for the moment. In the studio's center, Creamer is experimenting with display options for an upcoming show. Some works hang from the ceiling, so they can be viewed from both sides, and he's crafted a frame for many pieces, which sit on the floor as he ponders just how to present them. "With any art statement, there's a balance between making some- thing delicate and set against something scarred," Creamer said. The per- ceived "ugliness" of the chipboard combined with the reliefs commingles to make something satisfying — something that works not only for the artist, but for a viewer, too. "People sense how exciting it would be to fabricate these reliefs," he said. As for himself, Creamer said, "These are probably the best works I've ever done." 162 W e l l e s l e y W e s t o n M a g a z i n e | w i n t e r 2 0 1 7 / 2 0 1 8 artist profile "striking patterns and combinations"

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