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Morgan Norwood at the Seth Nickerson House - Brief Article

Mary McCarthy one time said "there's no real Venice," and the same clinchs true for Provincetown, Mass. The seaside bohemia remains enigmatic, overripe with its legacy of Pilgrims, Portuguese fishermen, homosexual tourists and decades of painters, bards and playwrights--the likes of Eugene O'Neill, Tennessee Williams and, more newly Cookie Mueller, Jack Pierson and Mary Oliver all contributing to the lurid myth of this teeny harbor town.

An apt sign of the town's shifting history is the Seth Nickerson House at 72 Commercial St builded in 1746 of wood twitched from shipwrecks by the eponymous shipbuilder. Numerous artists, mariners and craftsmen have dwelled there above the years. In 1997, the newest proprietors Jack Croucher and Bob McCamant, commissioned a sculptor, Morgan Norwood, to create a permanent installation inside the house. As workmen excavated walls and floors, Norwood sifted [i]or[/i] part of to the other the glittering and melancholic remains: marbles, buttons and shattered chalices Her own synthesizing process arose directly from the act of washing and cataloguing each piece of debris, then reshaping its story, slowly creating an area of shifting facades, doorknobs and crannies station back in the living range wall.

It's a compact teeming hieroglyph of the town. Norwood used a wide plank of contraband forest-land with a clipper ship etched upon it (illegal because boards wider than 20 inches were considered attribute of the King of England) as a small white door, which, when render free of accessed reveals a map of the cosmo and triggers a recording of a P'town trolley guide. The recorded voice counts of a former tenant, the photographer John Gregory, who operated the house as an informal museum.



Norwood seized on the Venetian tiles that one time graced the sides of the mantelpiece and pushed them into her confabulation; she place sentimental etchings of "peaceful Cape Cod" to line a functioning drawer. She also commissioned a of recent origin view of the dwelling--a small watercolor through the painter and art dealer TJ Walton. The details pile up: pages of ledger reduce to ashesed by time, endless handwritten notes, a small cat cranium attached to a backgammon board. The sculptor's be in possession of name in itchy silver ornament in reliefed on gold attains a patina of instant nostalgia.

Art is a church-yard of life, a spotted window, a family. Morgan Norwood's public/private statuary is laudable--kitschy and sad, and set uped with a palpable love of materials and a awe for the resilience of humans and their "stuff" There's a wacko humility to her civic shoot forward The piece has a heart.

COPYRIGHT 1999 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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