In the studio, Beth is working on a new series inspired by decayed poplar leaves she collected this fall.
The image shows a close-up from a large scale digital print of a leaf whose delicate vein patterns
look like rivers or architectural forms seen from above.
"Ink, Paper, Press: Mixit Print Studio, Selected by Clifford Ackley"
January 24 - February 26, 2018
Reception: February 2, 5:30 - 8:00 PM
March 26 - July 16, 2017
Luminous Garden (Aerial), an immersive light installation, was on view in a solo exhibition at The Lab at the Mattatuck Museum.
View the press release and wall text for the exhibition.
Read a review in the Hartford Courant.
"Recasting Nature (Selections)"
CYNTHIA-REEVES @ MassMoCA's Art Campus
North Adams, MA
September 29 - November 13, 2016
Selections from "Recasting Nature", Beth's retrospective at the Susquehanna Art Museum, traveled to CYNTHIA-REEVES in North Adams, MA. On view were "Ice Forest", a walk-through installation of suspended cast resin rose stems; several sculptures made of natural materials; and two series of prints.
View the press release and the catalog for the exhibit.
"Recasting Nature, Selected Sculptures by Beth Galston, 1998 - 2016"
Susquehanna Art Museum
June 10 - September 18, 2016
This retrospective exhibition included key works from the "Recasting Nature" series, tracing Beth's development over the last twenty years. Inspired by natural forms and processes, the series evolves from sculptures made of natural materials, to translucent cast resin pieces and a new immersive light installation.
Read an interview with Beth and an artist's statement regarding her works in the "Recasting Nature" exhibit.
A review of the show appeared in The Sentinel, a mid-Pennsylvania newspaper.
View installation images of the exhibition.
"Lovely as a Tree"
Louisiana Art and Science Museum
Baton Rouge, LA
August 6 - November 27, 2016
Beth exhibited two pieces made entirely of leaves: "Sycamore Columns" and "Cucumber magnolia leaves" (from the installation Leaf Dreams shown in the image to the right).
View a catalog of the exhibition.
"Branching Out: Trees as Art"
Peabody Essex Museum
Art and Nature Center
September 27, 2014 - September 13, 2015
"Sycamore Circle", "Tangle" and "Pod Cubes," three sculptures made of natural materials and urethane resin, were featured in this exhibition.
Recent Public Art Commissions
"Prairie Grass," a new large-scale public sculpture, has been permanently
installed in San Antonio, TX.
"Prairie Grass" is a walk-through, kinetic environmental sculpture based on the form and movement of wild grasses. The piece was inspired by watching wind blow through a field of tall grasses, causing them to gently sway in unison.
Click here to find out more.
"Sound Wave," a new computer-controlled light installation has been
permanently installed at Music City Center in Nashville, TN.
"Sound Wave", a site-specific sculpture, is inspired by a musical staff of five lines and the undulating shape of a sound wave. Computer-controlled LED lights affixed to serpentine ribbons of metal suggest notes, creating a visual melody.
Click here to find out more.
Gilman Station Green Line Project
Beth and Bartek have been commissioned to create "Fence for Four Seasons," a new public art work at Gilman Station, Somerville, MA for Boston's MBTA Green Line Extension project. However, the entire Green Line extension is currently on hold due to funding issues.
Read the article that appeared on the front page of the Boston Globe.
Beth was awarded a 2013 Massachusetts Cultural Council Artist Fellowship in Sculpture/Installation. She used the funds to assist in developing a new "Luminous Garden" installation with computer-controlled lighting.
"Serpentine Fence," Jamaica Plain, MA
This project has received the 2011 Les Grube Memorial Design Award from the Chain Link Fence Manufacturers Institute for innovative use of chain link materials.
Click here to view the press release.
Beth's work was recently featured in "Branching Out: Trees as Art" at the Peabody Essex Museum. This article describing the exhibition leads with
a statement about "Tangle," Beth's acorn cap piece, by Janey Winchell, the Sarah Fraser Robbins Director of the Art & Nature Center at PEM.
Beth's public art project, "Sound Wave," was included in Unconventional: Nashville's Music City Center,
published by The Convention Center Authority, Nashville, TN, 2013, photos and essay on "Sound Wave" by Susan W. Knowles, pp. 24, 26-27.
Beth's public art project, "Color Walk," was included in Franz Mayer of Munich's new book, Architecture/Glass/Art,
2013, on page 267.
Beth's "Sycamore Wall" sculpture was on the cover of the January/February 2013 issue of artscope Magazine!
Click here to view the cover.
Superstition Review Guest Blog
"Installation Art: Balancing my Private and Public Practices"
November 17, 2012
Click here to read the blog.
Images of Beth's "Luminous Garden" installations were on the cover of
the Spring/Summer 2011 issue of Wild Apples, a Journal of Nature, Art, and Inquiry.
Click here to see it.
"Serpentine Fence" was reviewed in:
Landscape Architecture Magazine Feb 2011
MacDowell Newsletter Summer 2011
Berkshire Fine Arts, Nov 18, 2010
Click here to read the articles.
"Luminous Garden (Aerial)" was reviewed in Sculpture Magazine Jan/Feb 2010.
Click here to read the review by Marty Carlock.
Commissions in Progress
Commission for a private residence, Boston, MA
Beth is working on a commission for the stairway and skylight area in a private home in Boston, which is based on the "Fragilities" series. It is made entirely of toothpicks!
The piece in the photograph to the right is called "One Year." It's made of beads and monofilament. The sculpture is my own personal calendar – a record of time made visible. Here are the rules I followed: I bead one hour a day with white seed beads, then add a red bead when I stop. The next day I add a red bead when I start, and continue beading with white beads for one hour. If I miss a day, I add a small black bead. On the first day of each month, I add a large black bead. I repeated this for 365 days. The piece is 16' long by 4' wide. If I were to stretch it out in a straight line, it would be nearly a mile long!