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Marjorie Kaye resides in the city of North Adams, MA, after living in the Boston area for many years.

Her most recent work is an investigation of intuitive algorithms, and how they reflect the building blocks of manifestation as well as consciousness. Within one pattern, many emerge: an ocean contains memory of its past incarnations in momentary continuous changes on the surface and under the water.


Kaye’s work has been reviewed in many publications including the Boston Globe, ArtScope Magazine, and the Metapsychosis Journal,  and has been shown extensively, including at galleries such as Galatea Fine Art in Boston, Future Lab(s) Gallery in North Adams, the Boxheart Gallery in Pittsburgh, PA, Atlantic Works Gallery in East Boston, MA  and in many venues with the Feminist/Futurist Collective. 


In 2016, Kaye was a recipient of the Orlowsky/Freed Foundation Grant from the Provincetown Art Museum, where she also exhibited. She was awarded a Finalist Grant from the Massachusetts Cultural Council for Painting in 2018, as well as from the Northern Berkshires Cultural Council in 2024. As of 2022, Kaye is the Western Massachusetts correspondent for ArtScope Magazine for the Berkshires, and covered exhibits and events at the 2022 Art Basel Miami.


Kaye is the founder of Galatea Fine Art in Boston, MA, a large artist-run gallery featuring over 39 artists from Boston and beyond and was its director until 2023. Some past projects also include the web-based Caladan Gallery, which ran for 10 years and exhibited hundreds of artists from all over the world, and the Lawrence, MA Gallery 181, which enhanced the community with the exhibition of local, national, and international artists.





In my recent body of work, I have been isolating the shapes inherent in my paintings to examine and delve further into their nature.  I am finding limitless potential in particular intuitive algorithms, with an infinite number of patterns that can be determined from the visual arrangement of mathematical suggestions. In this new series, space is broken down as it emerges from the center. There is a combination of organic and geometric sensibilities, and although there is a tip of the hat to symmetry, it is not always prevalent.  It is the previous shape that determines the responding one, and regardless of the intense detail, there is not always precision involved.


I build sequences, adding to a primary shape, with each successive form getting larger and more complex, mirroring growth from cellular beginnings to complex formation.  My gouache paintings manifest similarly to an explosion of a Geode form. The commonality of momentum is what drives each work and results from the exploration of the one before it. They are one continuous piece, accessible fractiles. Details emerge from one basic pattern into a vast array of shapes, some of which approach the recognizable. It is a net that captures and also comprises the structure of the material universe.

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