Thoughtfully designed, Alcott Apartments in Boston’s West End enriches its interior and exterior spaces through unique pieces of art. 

Alcott’s main lobby and 37th floor lobby feature paintings by Emilio Perez. Describing his paintings as “abstract expressionist … with a graphic component,” Emilio Perez produces punchy, energetic compositions, full of knotted, flowing forms that emerge from loosely painted passages of color. He avoids pre-planning to keep his works loose and immediate, approaching art-making as a dialogue between himself and his materials. Though his work is entirely abstract, it is generated out of his observations of his surroundings, as he explains: “The energy in my work is influenced [by] the rhythm of music and the movement of the ocean. The composition is often influenced by classical paintings and the palette from my travels.”

The sculpture featured above Alcott’s receptionist desk was created by Graham Caldwell, a New York- based artist. Caldwell hanging sculpture, Blue Ejecta, was a site-specific commission for Alcott and encompasses his glass-blowing techniques coupled with his use of industrial rods to create an interconnected organic and free flowing piece floating about the reception desk. 

Caldwell employs ancient processes such as glass blowing and mirroring, in conjunction with fabrication using modern manufactured materials and industrial techniques such as welding and plating. Through glassblowing and mirror making, his practice is concerned with manipulating and adjusting our relationship to a familiar material, as well as addressing more generally imperfect, interconnected organic systems. 

The two sculptures at Alcott, Vigilance and Optimism, are from Richard Taylor’s ongoing art series titled Chess Pieces. Taylor says, “These two sculptures are from an ongoing series I call my Chess Pieces. They are abstractions of pieces from the board game, which I sometimes see as a metaphor for life. In chess, every move affects the remainder of the moves in the game, just as in life, where many of our decisions affect all of our future choices. The care we take in choosing our next move, whether in life or in chess, can shape our lives in the best of ways, or in other directions. The titles of my sculptures in this series are reminders to think carefully about big decisions, or even small ones, as we navigate through life. Vigilance is the title of the taller of the two pieces, and the shorter one is titled Optimism.”

The paintings located in Alcott’s Mail Room and Sky Lounge are by Jim Watt, an American artist and architect based in Asbury Park, New Jersey. Watt’s paintings and drawings are an obsessive exploration of space, form and material, a context that marries his work as a practicing architect. At Princeton University, where Watt earned his Masters in Architecture, teachers Michael Graves and Enrique Miralles espoused the Renaissance notion that architects must paint, draw, and sculpt to fully realize their ideas. Watt’s work as an artist is the opportunity to work without a structured, planned intention, instead playing on the tension between thought and instinct: discovery through the process of making. Watt’s three pieces at Alcott are beautifully saturated works that engage the viewer to get lost within the portal he has created in each.

Glenn Garver created the painting featured in Alcott’s Leasing Office. Garver is an abstract painter living and working in New Jersey. His works of art are vibrant swashes of color that seemingly dance across the canvas. Garver drew inspiration for his commission piece at Alcott from the multi-colored light fixture that is installed across from it. It is easy to see how these pieces are connected and create a relaxing and inviting space.

Melinda Stickney-Gibson, a New York artist, created the piece in Alcott’s 2nd Floor lobby. Stickney-Gibson has a truly dedicated following and is known nation-wide for her unique yet challenging brand of abstract painting. While obliquely narrative, her work is brutally honest and speaks to the soul. Stickney-Gibson’s paintings reflect natural and emotional landscapes. Shadings of light and dark, and the juxtapositions of vivid against near monochromatic fields of black or white, serve as staging grounds for the dramas of the heart and mind.

In Alcott’s Terrace Entrance, you will find a piece from Kate Carey. In addition to being a painter and sculptor, Kate has worked as an electrician, a lighting designer for theater, real estate developer, and has worked extensively on building design and construction. For several years Carey worked at the New York Times leading a creative team to design and produce special advertising sections. She finds creative collaboration rewarding. 

Carey shares, “I work with any material; incorporating new challenges interests me. Recently I have been using oils, glazes and the occasional acrylic. I allow color and texture to direct the action to a great extent; the possibility of failure does not make me too uncomfortable. I don’t believe that a painting can be successful without that element of risk. I most enjoy the tension between the bold moves and the tenuous shot at creating a successful piece of work.”

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