Alisha Gould
Review of Tropos in the Portland Phoenix by NIcholas Schroeder.

Review: Two promising young artists at Corey Daniels Gallery

"Gould's finest work is the "Parallax" series, six framed paper pieces in which the artist has made clusters of perforations (enacted from the non-visible side) and connected the holes with graphite marks. Like a form of shadowplay, planes of gold leaf are applied around the perforations; the effect is both restrained and gorgeous. The detail of "Parallax" demands close inspection, and Gould's pun on the term's definition of irreconcilable light is brilliant. The series's rich, almost bacterial detail gives it the effect of being teeming with life...
"Stratus" is a series of four meticulously woven lattice forms created and hung by Alisha Gould, whose studies in absent space have drawn high praise in the this year's Portland Museum of Art Biennial and last year's MFA thesis exhibition at MECA. Here, she succeeds once again in dramatically transforming a room. Her enormous netted forms are diaphanous and precious, delicately marking the empty space in the room's core. They do it so well, in fact, that after the viewer spends some time in the gallery, they create almost an opposite effect, hovering ominously as a sort of impasse or division line."

Corey Daniels Gallery
Tropos /// Alisha Gould and Sean O'Brien

A new show just opened at Corey Daniels Gallery in Wells, ME. May 13 - June 17.
Boston Globe, May 8th 2011

"A third sprawling piece, by Alisha Gould, consists of dozens of small, trumpet-shaped clay vessels arranged randomly across a wall. The work is called “Ejecta,’’ a term apparently used to denote the debris expelled from meteorite impacts, or stellar explosions.

Each vessel is painted white on the outside and black on the inside. The fluting rims of the vessels are uneven. The whole piece has an unforced, biological feel. On the one hand, it evokes the handmade and humanly known; on the other, dark, invisible interiors, mystery . . ."
-Sebastian Smee
Every decade or so, PMA's Biennial is extra special By Daniel Kany, April 17 2011

"The PMA's foyer sets the tone with two excellent wall installations. Alisha Gould's 36-foot-wide installation of tiny white ceramic vessels spurting from the wall professes a dynamism that proffers a brilliant metaphor for the internal, potential energy of art as it relaunches itself to the public. Titled "Ejecta" (after the material expunged by volcanoes or meteor strikes), it compellingly hints that the impact of directed energies, astral or cultural, is widely dispersed." - Daniel Kany
The Art Forecast: No shortage of discoveries in Portland Museum of Art Biennial Apr 4, 2011

Excerpt from The Forcaster Article:

"The biennial usually has a few big show-stoppers and this year they are installations by Michael Shaughnessy (Windham, University of Southern Maine faculty), Alisha Gould (Kennebunk), Natasha Bowdoin (Lyman and Houston), Avy Claire (Blue Hill), and Lauren O’Neal (Cambridge, Mass. and Vinalhaven).

Shaughnessy has installed one of his distinctive hay sculptures climbing all three stories of the museum's Great Hall. Gould creates the illusion of perforated space by installing clay eruptions that look almost like a pattern of bullet holes on the opposite wall of the Great Hall."
- Edgar Allen Beem
"Ejecta" is installed in the Great Hall at the Portland Museum of Art for the 2011 Biennial. On View April 7-June 5. Artist talk Saturday April 9th, 1:00 and a family artist talk on April 30th.

2011 PMA Biennial
Artist Talk
Family Edition Artist Talk

I'll be making an installation for the 2011 Biennial at the Portland Museum of Art on view April 7 through June 5, 2011.

To read about this exhibit go to:
- REVIEW BY LORI WAXMAN during her 60wrd/min live critic performance project

9/30/10 3:03 pm | ALISHA GOULD
Maine, as far I know, has not yet been recognized for a regional contemporary art style. Allow me to nominate Alisha Gould's sculptural practice. For here, in her work, we find decidedly local adaptations of international trends. "Vacua," a series of horns made from a rich combination of felt, paper, agar-agar and clay, evokes many things, including bullhorns and gramophones, but also some of the local flora variety: giant dead sunflowers and black wood ear mushrooms among them. "Model for Interior #1" offers strange perceptual play through cut-throughs and mirror tricks installed in an architectural structure as local as they come: a house's steep-pitched roof and exterior walls covered in cedar shingles. Finally, "Folly #1" and "Folly #2" set glowing, cubic ornamental gazebos deep in the forest, but form their sides out of sleeping bags and woven IKEA rugs. Though these pieces are, respectively, about the void and spatial play and the wondrousness of light and shadow, they also cannot help being about Maine itself.
-Lori Waxman

To read more about this Waxman's project go here: