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Gabrielle s. patrone ______________________ gabriellepatrone@yahoo.com ​ Education Bachelor of Fine Arts | Rhode Island College | 2019-2023 • Concentration: Painting • Departmental Honors GPA | 4.0 Bachelor of Arts in Art History | Rhode Island College | 2019-2023 ​ Exhibitions In Between the Line s ––– Group Show, Wickford Art Association | March 2024 37th Annual Open RI Exhibit ––– Group Show, Warwick Center for the Arts, Rhode Island | October 2023 Rhode Island State of the Arts ––– Group Show, URI Feinstein Gallery, Rhode Island | June 2023 Annual Graduating Art Students’ Exhibition ––– Group Show, Bannister Gallery, Rhode Island College | May 2023 Fresh Faces ––– Group Show, Abigail Ogilvy Gallery, Massachusetts | February 2023 P A T I N A ––– Group Show, Chazan Family Gallery, Rhode Island | February 2023 The State of the Arts ––– Group Show, URI Feinstein Gallery, Rhode Island | June 2022 Emerging Artists ––– Group Show, Wickford Art Association, Rhode Island | May 2022 Art of the Ocean State ––– Group Show, Rhode Island Home Show, Rhode Island | April 2022 College Scholarship ––– Group Show, Providence Art Club, Rhode Island | February 2022 Mindfulness ––– Solo Show, Westport Free Public Library, Massachusetts | March 2020 David Cicilline Congressional Art Competition ––– Group Show, Rhode Island | May 2018 & 2019 Jack Reed Congressional Art Competition ––– Group Show, Rhode Island | May 2016 & 2019 Untitled ––– Group Show, Heart Spot Gallery, Rhode Island | May 2018 Untitled ––– Group Show, Sprout Gallery, Rhode Island | March 2018 & May 2018 ​ Awards/Scholarships/Honors People’s Choice Award, “In Between the Lines” exhibition, Wickford Art Association | March 2024 Third Place, “In Between the Lines” exhibition, Wickford Art Association | March 2024 Excellence in Painting Award, Warwick Center for the Arts | 2023 Fulbright Foundation Independent Research Grant, Ottawa, CA | 2023-2024 Eleanor M. McMahon Award, Rhode Island College Honors Program | 2023 Mary Ball Howkins Award in Art History, Rhode Island College | 2023 Feminist Art History Conference, American University | 2023 Visual Culture Consortium Undergraduate Art History Symposium, Boston | 2023 Anne & Bob DeStefano Undergraduate Research Scholarship, Rhode Island College | 2022-2023 Hunter Museum of American Art Undergraduate Student Symposium | 2022 National Society for Leadership & Success, Rhode Island College chapter | 2020 3.50 Society, Rhode Island College | 2020 Presidential Scholarship, Rhode Island College | 2019-2023 Faculty Honors Scholarship, Rhode Island College | 2019-2023 Special Talent Award Scholarship, Rhode Island College (Art Department) | 2019-2022 Dean’s List, Rhode Island College | 2019-2022 Frank & Agnes Campbell Scholarship, Rhode Island College | 2019-2020 Honors Program, Rhode Island College | 2019 ​ Professional Experience Gallery Assistant | Warwick Center for the Arts | 2024-present Writing Specialist | Writing Center, Rhode Island College | 2020-2023 Andrew W. Mellon Curatorial Fellowship, Rhode Island School of Design | June-August 2023 Art Department Assistant | Rhode Island College | January-May 2023 Painting Studio Assistantship | Richard Whitten | May-August 2022 Teacher’s Assistant | TACO/First Works Summer Arts Camp, Rhode Island | June-August 2016 & 2018 ​ Curatoria l Projects Fantasy, Myth, Legend: Imaging the Past in Works on Paper Since 1750 ––– Collaborator, Rhode Island School of Design | December 2023 P A T I N A ––– Group Show, Chazan Family Gallery, Rhode Island | Current Mindfulness ––– Solo Show, Westport Free Public Library, Massachusetts | March 2020 ​ Publications “Nursing the Republic: A Study of Marie Benoist’s Portrait of Madeleine, ” RIC Arts Magazine , Rhode Island College | 2023 Fragments and Summer of ‘56 , Shoreline, Rhode Island College | 2023 ​ Art Historical Research Projects “Sacred Stitches: The Culture and Curation of Métis Beadwork”, Fulbright | September 2023-June 2024 “Obscurity to Revival: A Historiographical Examination of E.M. Bannister” | May 2023 “Beyond the ‘Little Room’: A Relational Approach to Curating “Heroic” Rape” | November 2022 “Nursing the Republic: A Study of Marie Benoist’s Portrait of Madeleine” | August 2022 “Unique Perspectives: Celebrating the Individuality of Inuit Printmaking” | August 2022 “A Narrative Redefined: An Examination of Artemisia Gentileschi’s Lucretia” | April 2022 “The Erasure of the Female Perspective in Titian’s The Rape of Europa” | December 2021 “Reclaiming Hidden Narratives: A Study of the Hiawatha Belt and Six Nations Wampum” | December 2021 “Lost in the Crowd: An Analysis of Modernization and Separation in The Shoe Shop” | April 2021

CONTACT Feel free to connect with me via email if you have questions or comments about the artwork, would like to purchase a piece, or would like to inquire about a commission. gabriellepatrone@yahoo.com First Name Last Name Email Subject Leave a message... Submit Thanks for submitting!

gallery Fragments Oil on panel 12” x 15.5” | 2022 By the Fire Oil on cradled wood panel 16” x 20” | 2022 Wandering Gouache and colored pencil on paper 8.75" x 9" | 2024 Fragments Oil on panel 12” x 15.5” | 2022 1/20

Artist/Painter GABRIELLE PATRONE

P A T I N A

Febr uary 1 - 28 2023 The Chazan Family Gallery, Rhode Island College Fragments of a likeness transpose and merge, memories are revived and forgotten, and enduring landscapes are swathed in patinated palettes. PATINA investigates the fickle nature of time and memory, delineating corporeality from intangibility, concreteness from abstraction. A collection of 30, two-dimensional works (paintings, drawings, and woodcut prints) invite viewers to explore the convergence of past and present realities. Through reflections of the self, interpersonal relationships, and the natural world, the artists encourage the audience to consider how observation, both from life and imagination, contribute to the perception of reality. ​ PATINA unifies three investigations. Through self-portraiture, Erica Tedesco searches for the fine line that “separates naturalistic representation from observed abstraction.” Her oil paintings and pastel drawings, a curious amalgamation of ephemeral shapes and intersecting lines, attempt to engage the analytical mind, extracting a tangible likeness from chaos. Gabrielle Patrone’s oil paintings reestablish visual order in an exploration of her deceased relatives. Careful studies of family photos from the late 1950’s produce impressions of the past that waver between the fully and partially remembered. Observation in the present informs her fabrication of faded memories. Serene Lincoln captures moments of “timeless appreciation” for the natural world through watercolor landscapes and woodcuts of a f ormer Cistercian Monastery. Serene uses a palette that reflects a “sense of perpetuity – a graceful aging.” Each piece pays homage to the monks who worked the land for decades. ​ We want viewers not to see separate bodies of work, but instead, components that build off one another and contribute to a cohesive synthesis of our collective investigations. We have chosen works that reflect varying levels of visual clarity. The self-portraits and landscapes, both rendered from immediate observation, present wildly different depictions of reality–ambiguity versus distinction. However, the familial, “memory” paintings mediate these perceptions, for they are neither personal recollections nor direct studies. We are also partial to works with muted or limited color palettes that envelop each piece in a warm patina. Upon entering the space, visitors will first encounter, on their right, several representational paintings. The subjects are familiar, recognizable, relatable; the anonymous figures could be anyone’s grandmother, aunt, father, cousin etc., inviting audiences into a nostalgic embrace. Then, landscapes will be interspersed, leading viewers through time, a reflection of the winding pathways they depict. However, the wall occasionally will be punctuated by a fragmented portrait, a jarring stop in the procession of representational imagery. As a visual juxtaposition to our own imagined realities, an assortment of photographs–familial and images of the functioning monastery, will be displayed on several pedestals in the center of the gallery. Viewers will conclude their journey back at the gallery entrance where a cluster of ghostly family members bid them a tender farewell. ​ OPENING RECEPTION CHAZAN FAMILY GAL LERY FEBRUARY 2ND, 2023 4-7PM To play, press and hold the enter key. To stop, release the enter key. STUDENT ART EXHIBIT EXPLORES THE NATURE OF MEMORY

BIOGRAPHY Gabrielle Patrone is an artist and writer who recently received her BFA in painting and BA in Art History at Rhode Island College (RIC). Her art practice marries her passion for art historical research and love of storytelling to inform investigations of time and memory—the fine line that separates observed and imagined realities. Gabrielle has showcased her work in numerous galleries across Rhode Island and Massachusetts, including the Abigail Ogilvy Gallery in Boston. Most recently she was awarded the Excellence in Painting Award at the Warwick Center for the Arts’ 37th Annual Open RI Exhibit, as well as Third Place and the People’s Choice award at the Wickford Art Association’s In Between the Lines exhibition. Gabrielle also curated a group exhibition, P A T I N A, which showcased student work exploring the elusiveness of time and memory. Gabrielle recently completed a curatorial internship at the Rhode Island School of Design Museum and a Fulbright Independent Research grant studying Métis beadwork and Indigenous curatorial activism at Carleton University, Ottawa, Ontario. ​ My collection of work investigates the fickle nature of time and memory, delineating corporeality from intangibility, concreteness from ambiguity. Spurred by a desire to reconnect with my for e bears, I turned to my late grandparents’ photo albums from the 1950’s, curious as to how I could use the still black and white images to convey the liveliness and emotionality of a particular moment in time. Through careful study of these images, creating composites of individual photos and sketches, I produce impressions of the past that waver between fully and partially remembered. ​ The interplay between drawing and painting informs these works. Remnants of a sketch and perspective lines peek out from underneath layers of thin glazes. Juxtaposed against solid paint application, these “unfinished” moments, while appearing “unremembered,” exude a sense of vitality and breathability. In a similar way, relationships between saturated and unsaturated color, light and shadow identify memories both revived and forgotten. Based on studies from life, I attempt to create “invented color,” challenging me to create my own light sources and imagine how light and color would have interacted together in real spaces. In this way, I want the color to be so convincing as if produced from my own memory. My compositional structure invites the viewer closer to partake in an intimate moment yet keeps them just outside of the subject’s grasp. The repetition of diagonal lines (literal and implied) establishes visual relationships between the figures, creating an arrangement that continuously moves one’s eye around the scene. I want the audience to feel as perplexed as I am, combing through these moments from the past that—while not experienced directly, feel familiar, recognizable. Viewers are met with alternating instances of visual clarity and illumination, concealment and obscurity. Memory becomes tangible when one can locate where fragments of a particular moment fade and resurface. ​ I draw from the works of Impressionists, Joaquín Sorolla, Mary Cassatt, and Henri Toulouse Lautrec, particularly for their understanding of light and color, expressive mark-making, and the entwinement of drawing and painting. However, I also turn to mid-twentieth century Social Realists, Raphael Soyer and Reginald Marsh, as a retrospect glance into how the world was observed at that time. As I approach my subject matter from a contemporary lens, it is important to investigate how color, space, and composition drive these works. ​ While subject matter and representational imagery inform my practice, my ongoing investigation is geared toward better understanding the function of color in a conceivable environment, the importance of activating the environmental space, and how composition creates interaction between the subject and the viewer. artist statement