Pinky Promise

August 14-25, 2019
Opening Reception:
Friday, August 16, 6:00-8:00 pm

  • Cameron Boyce

    Daisy, acrylic, chalk, charcoal on paper, 48 x 48 inches, 2017.

    Daisy
  • Shelby Feltoon

    neural architecture, cyanotype, etching, silkscreen, 22 x 36 inches, 2018.

    neural architecture
  • Meagan Hepp

    Residue IV, toothpicks, found wood, band-aids, microcrystalline wax, latex, flocking, paper, gouache, liquid acrylic ink, rubber bands, 2018.

    Residue IV
  • Katie Lane

    Love Note Found in a Rain Gutter, mixed-media, 24 x 24 x 2 inches, 2019.

    Love Note Found in a Rain Gutter

Guest Curator: Shelby Feltoon
Artists: Cameron Boyce, Shelby Feltoon, Meagan Hepp, and Katie Lane
Press Release
Kelleher, Nancy. "The Life of an Artist: Promoting a creative community," Suffolk University News, August 13, 2019.
"Pinky Promise Pop-up," Kingston Blog, August 21, 2019.

Curator's Statement

Pinky Promise is a group exhibition featuring the artwork of Cameron Boyce, Shelby Feltoon, Meagan Hepp, and Katie Lane. A pinky promise is a simple and innocent gesture that we learn to place a lot of faith in. Picked up on playgrounds in our youth, the ritual becomes sacred: the embrace is a binding contract. Much like this gesture, the artwork in this show expresses the promises we make to ourselves and others through our studio practices. It will investigate times when an outward-facing expression says something different than our internal thoughts and intentions, and times when thought and expression exist in perfect harmony. This seemingly vibrant, high-chroma, and playful display will nod at the moments when we place full trust in an external force, and the times we acknowledge our own skepticism. It will point out the human-ness of wanting to believe that things will work out, even when disappointment is a part of daily life. This show will honor promises made to protect, preserve, and respect even when it feels impossible to do so.

Cameron Boyce's work deals most closely with the qualities of innocence and childlike nature that relate to the title of the exhibition. His work makes one question whether these paintings were made by an adult or by a child who broke into a set of markers he wasn't supposed to go near. For him, he is very interested in preserving parts of himself that have been present since he was very young, and he believes that it is wrong to think that "growing up" means turning into someone else. At once playful and poetic, Cameron's work earnestly evokes a deep sense of empathy. His work promises to stay young and to stay true to himself.

At the core of Shelby Feltoon's work is the idea of memory and an attempt to combat memory degradation. It also tries to honor minute parts of everyday life that are often overlooked. This newer body of work has served as a journal for Shelby, displaying observations and notes made over certain spans of time. However, as the thoughts and marks accumulate, the messages become less clear. Her work starts to bridge the gap between innocence and skepticism, where the original pure intention becomes muddied over time. Much like memory, some messages will stick out clearly and others will degrade into nonsensical fiction. Her promise is to find a way not to forget.

Meagan Hepp's work showcases her interest in tension and fragility. Her works stem from an interest in houses and an exploration of what it means to consider something a home. Through continually making, breaking, and reconstructing forms that resemble houses, Meagan focuses heavily on trust and how easily it can be broken. The surfaces of her pieces are generally mangled and gross, but the use of hot pink adds a small glimmer of hope, making a viewer wonder if the work is in a state or repair or in the process of being destroyed. Her work questions how much we can trust a promise.

Katie Lane's work packs the biggest punch with color, really putting the "PINK" in "pinky promise". Her work is extremely experimental, as she is constantly discovering ways to create new textures and shapes with a variety of materials. Katie's studio practice is rapidly evolving and deepening, and this is because of her dedication to showing up day after day to create. She often discusses the therapeutic qualities of following creative urges, and embraces the weirdness of life and being an artist. Katie's work reflects her promise to continue to show up for herself. Her work is an example of a kept promise.



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