The Gallery is currently closed to the public in order to help protect the health of our community.

Brickbottom Artists Association and Gallery

Artists' building, non-profit gallery, artists' association -- Brickbottom is all of this, and so much more. Some know us as one of the country's first and largest artist-developed live-work buildings, located in the former cannery and bakery of the A&P Grocery chain. Some associate our name with our building's annual Open Studios events. Others know Brickbottom as a neighborhood of Somerville MA that, in the 1800s, produced the clay to make bricks for ritzy Boston residences.

The artists who made Brickbottom their home in the mid-1980s also established a vital community arts organization and gallery:

  • Brickbottom Artists Association (BAA): A non-profit 501(c)3 organization dedicated to preserving and expanding the arts in Somerville and the greater Boston area. Founded in 1987 by residents of the Brickbottom Artists Building, the BAA today welcomes both resident and non-resident artists and supporting members.
  • Brickbottom Gallery: A non-profit exhibition space established in 1989 and operated by the BAA. The gallery presents 3 BAA-member shows per year, along with exhibitions of work by emerging and established artists from the greater Boston area and beyond.

Welcome to the BAA's web site!

Explore our pages to learn more about our members and their work, our annual Open Studios weekend, and our history, and get information about exhibition opportunities at the Brickbottom Gallery, and consider joining the BAA as an artist or supporting member!


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BAA Members' Exhibition October 29—November 22, 2020 The challenges of 2020—the pandemic; the divisiveness of politics and the election; the outrage over racial injustice; the…

Upcoming Events

Member Spotlights

    My work addresses matters of mental anguish, fear of the unknown, delight in all things paranormal, the absence of “GOD” and the presence of something else entirely. I knot to remember, to forget, and to make meaning of the fact that death is just around the corner.
    I make modern jewelry designed to bring a bit of special to the every day. Clean lines, symmetry, and pleasing shapes play a big role in my work. The stones I use aren't the ones you see every day, and in some cases, I mined them myself. Each piece is made by me in my Jamaica Plain studio.
    MYRTH specializes in hand thrown stoneware vessels that blend modern design lines with calm, natural inspired finishes.
    Feeling unsettled in 2018, I decided to let my hands do what my hands want to do. My paintingshave a range of subject matter all focused on found and lost beauty.
    I like the little things of life, the spectacle of nature, the lines and shapes of the world. I use them to create images, to map voyages, to share impressions. If you think my work is colorful, warm, and a bit mysterious, if it makes you smile, or travel, or imagine, if you want to take it home with you, I have reached my goal.
    PHOTODRAWINGS As a child, my favorite things were to build structures with my erector set and to draw with crayons. My current work is a manifestation of those loves. For years - with no particular purpose in mind - I have been collecting tiny found treasures on the street: pieces of flattened rusted metal, shards of broken plastic, twisted and flattened wire - all visually captivating. Sometimes I know what these pieces once were: a wooden ice cream spoon, a bottle cap, a washer, a muffler, the head of a hoe - but mostly they are simply mysterious, wonderful textured forms. I began to play with these pieces, putting several together and glued to form a sculptural relief. With these small four-inch assemblages came the question, what would happen if they were enlarged? So I had them photographed at a very high resolution and then printed with exacting quality at a greatly enlarged scale. The results were unexpected and exciting. But I realized there was more that could be done by drawing over the resulting images with colored pencil to bring out or change some features. Here, enhance a sense of depth; there, fine-tune textures -- intensifying or reducing as needed. Experimenting with these images, I give them a distinct and different personality. Although when I start out I have no idea what these PhotoDrawings will look like in the end, I love finding out.
    Iwalani is a Painter who lives and works in Brookline MA and Martha’s Vineyard. She is an alumni of Massachusetts College of Art. Her subject matter is movement and its inherent transitory and transformational nature. Her paintings are a juncture of kinesthetic movement and tactile sensing. They celebrate dance and scenarios of relationship dynamics. Couplets, triplets, choirs, panels, and or chains of figures are abstracted down to gestured shapes. They are cut out, arranged, or painted in intervals to suggest temporal progression and spatial pathways. In addition to being a Painter, Iwalani has studied dance and movement for many years. She chooses to incorporate a multidisciplinary approach to creative process, as each of those practices share threads of formal ideas. Themes are often about re-presenting, re-construction, shaping and repetition.
    The work I make owes a lot to the traditions of history painting. Themes in the paintings are often derived from stories and myths I enjoyed as a child and instead of a straightforward approach, I reinterpret these stories using pictures appropriated from a wide range of sources. Images taken from advertising, cartoons and search queries are given equal weight with images drawn from the works of the old masters. This is not meant to disrespect the works of previous artists but meant to show how these images can have the same power, importance and meaning. Pictorial symbols in art used to be a language clearly read by the public, allegorical paintings had set codes of symbols used in order to communicate to an illiterate audience, now these same symbols can have a multitude of meanings depending on their context.
    I depict the sometimes conflicting aspects of life through painted images. I utilize various techniques and subject matters- each chosen to best communicate my questions to the viewer. While seemingly disparate, my bodies of work are not at odds. Rather, they offer several entrance points to the question of how people balance multiple spheres of influence and experience – often overlapping, interfering, or repelling one another. Throughout my work I explore the tension between memory and reality, the urban and rural landscapes, and the extraordinary complexities of everyday life.
    I draw stuff for clients, as well as for myself.

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