Bromfield Gallery

Bromfield Gallery Founded in 1975, Bromfield Gallery is one of Boston's premier artist-run galleries.

With an emphasis on New England artists, Bromfield shows contemporary art in all media, including printmaking, sculpture, painting, and drawing, as well as video, installa

Sarah Hulsey: Time Present and Time PastJune 3 - 28, 2026Opening Reception: Friday, June 5, 6-8 pmSarah will be at the g...
06/11/2026

Sarah Hulsey: Time Present and Time Past
June 3 - 28, 2026
Opening Reception: Friday, June 5, 6-8 pm
Sarah will be at the gallery on June 13 and June 27 from 12-5 both days.

Bromfield Gallery�450 Harrison Ave�Boston, MA 02118
Hours: Wed - Sun, 12-5

I have become fascinated with counting tokens from Mesopotamia that are thought to be the precursors to cuneiform writing. I am equally compelled by the precise drawings of them in archeological scholarship, often with cross-sectional views and sorted by shape, size, and markings into orderly arrays. When seen in aggregate, they have a quality both rational—their sortings appear very regimented—and arcane. As images, the tokens resist identification, and yet they take on characteristics of familiar objects.

I am reminded of the extraordinary, evocative Borges story, “Tlön, Uqbar, Orbis Tertius,” in which an imaginary, mysterious world called Tlön slowly infiltrates our own. Lost objects there tend to duplicate themselves, becoming longer and more exaggerated with each duplication. When these secondary and tertiary objects, dubbed “hrönir,” start to be produced in our parallel world, Borges says it is “of invaluable aid to archaeologists, making it possible not only to interrogate but even modify the past, which is now no less plastic, no less malleable than the future.”

In this show, I explore the ancient tokens and schematic drawings of them, imagining their ability to translate between parallel worlds and spans of time.

Pictured:
1. Hrönir, kiln-fired copper stain and grisaille on glass, pen and pencil on flax paper, wooden frame, 12” x 9” x 1.25”, 2026

On view this month: Gallery artist:Cynthia Roberts: “Mango Season”June 3 - 28, 2026  Pictured: Swept Away [Orchids and H...
06/11/2026

On view this month: Gallery artist:
Cynthia Roberts: “Mango Season”
June 3 - 28, 2026


Pictured: Swept Away [Orchids and Hummingbirds] acrylic on linen 40” x 30”

On view this month, gallery artist Cynthia Roberts: Mango SeasonJune 3 - 28, 2026Opening Reception: Friday, June 5, 6-8 ...
06/03/2026

On view this month, gallery artist Cynthia Roberts: Mango Season
June 3 - 28, 2026
Opening Reception: Friday, June 5, 6-8 pm

In these works, I’m exploring the act of witnessing through emergence and submergence of imagery in color-rich abstract environments. Careful botanical line drawings appear and then step back from the viewer, as more literal depictions step forward. Each painting is an ecosystem where the process of observation creates an interior life; plants appear to remember themselves, their history, their previous state perhaps, and the painter becomes transcriptionist of that immersive world, rather than arbiter.


picitured: "Night Remembering Day" (detail), acrylic on canvas, 30” x 40”, 2026

On view this month, gallery artist Sara Hulsey: “Time Present and Time Past”June 3 - 28, 2026Opening Reception: Friday, ...
06/03/2026

On view this month, gallery artist Sara Hulsey: “Time Present and Time Past”

June 3 - 28, 2026
Opening Reception: Friday, June 5, 6-8 pm

I have become fascinated with counting tokens from Mesopotamia that are thought to be the precursors to cuneiform writing. I am equally compelled by the precise drawings of them in archeological scholarship, often with cross-sectional views and sorted by shape, size, and markings into orderly arrays. When seen in aggregate, they have a quality both rational—their sortings appear very regimented—and arcane. As images, the tokens resist identification, and yet they take on characteristics of familiar objects.

Pictured: Ideograms IV,” ink, pencil, and collage on gampi paper, 21” x 17”, 2026

Final Week: Barb Cone: “Melting Point”April 29 - May 31, 2026My first introduction to encaustic was in a workshop decade...
05/27/2026

Final Week: Barb Cone: “Melting Point”
April 29 - May 31, 2026



My first introduction to encaustic was in a workshop decades ago in the high desert of New Mexico. Encaustic was a perfect medium to express the sharp edges and high color contrasts of this landscape. Representational work was difficult if not impossible, so shapes were abstracted, the surfaces built up and carved back. he melted beeswax filled the studio with its own sweet smell. Within a short time I was hooked.

While encaustic paintings are usually small-scale due to the difficulty of controlling the movement of the melted paint, my goal has been to push the boundaries by working ever larger. The work has become more physical as I work larger. This created a particular problem this past Fall after I shattered my leg, had metal pieces implanted during emergency surgery and was laid up for six months. I think of “Melting Point” as “my fractured leg challenge.”
4d

Final Week Mary Bablitch: “Spirited Geometries”April 29 - May 31, 2026Opening Reception: Friday, May 1, 6-8 pmSpirited G...
05/27/2026

Final Week Mary Bablitch: “Spirited Geometries”

April 29 - May 31, 2026
Opening Reception: Friday, May 1, 6-8 pm

Spirited Geometries, new work by Boston artist Mary Bablitch, features works on paper that explore color, spatial arrangement, and personal perspective.



Pictured: “Suits,” mixed media on paper, 16” x 12” framed, 2026

On view this month: Barb Cone: “Melting Point”April 29 - May 31, 2026My first introduction to encaustic was in a worksho...
05/20/2026

On view this month: Barb Cone: “Melting Point”
April 29 - May 31, 2026



My first introduction to encaustic was in a workshop decades ago in the high desert of New Mexico. Encaustic was a perfect medium to express the sharp edges and high color contrasts of this landscape. Representational work was difficult if not impossible, so shapes were abstracted, the surfaces built up and carved back. he melted beeswax filled the studio with its own sweet smell. Within a short time I was hooked.

While encaustic paintings are usually small-scale due to the difficulty of controlling the movement of the melted paint, my goal has been to push the boundaries by working ever larger. The work has become more physical as I work larger. This created a particular problem this past Fall after I shattered my leg, had metal pieces implanted during emergency surgery and was laid up for six months. I think of “Melting Point” as “my fractured leg challenge.”

On view this month: Mary Bablitch: “Spirited Geometries”April 29 - May 31, 2026Opening Reception: Friday, May 1, 6-8 pmS...
05/20/2026

On view this month: Mary Bablitch: “Spirited Geometries”

April 29 - May 31, 2026
Opening Reception: Friday, May 1, 6-8 pm

Spirited Geometries, new work by Boston artist Mary Bablitch, features works on paper that explore color, spatial arrangement, and personal perspective.



Pictured: “Dining Out," mixed media on paper, 29” x 24” framed, 2024

On view this month: Mary Bablitch: “Spirited Geometries”April 29 - May 31, 2026Opening Reception: Friday, May 1, 6-8 pmS...
05/14/2026

On view this month: Mary Bablitch: “Spirited Geometries”

April 29 - May 31, 2026
Opening Reception: Friday, May 1, 6-8 pm

Spirited Geometries, new work by Boston artist Mary Bablitch, features works on paper that explore color, spatial arrangement, and personal perspective.



pictured: “Waupaca,” mixed media on paper, 28” x 22” framed, 2025

On view this month: Barb Cone: “Melting Point”April 29 - May 31, 2026My first introduction to encaustic was in a worksho...
05/14/2026

On view this month: Barb Cone: “Melting Point”
April 29 - May 31, 2026



My first introduction to encaustic was in a workshop decades ago in the high desert of New Mexico. Encaustic was a perfect medium to express the sharp edges and high color contrasts of this landscape. Representational work was difficult if not impossible, so shapes were abstracted, the surfaces built up and carved back. he melted beeswax filled the studio with its own sweet smell. Within a short time I was hooked.

While encaustic paintings are usually small-scale due to the difficulty of controlling the movement of the melted paint, my goal has been to push the boundaries by working ever larger. The work has become more physical as I work larger. This created a particular problem this past Fall after I shattered my leg, had metal pieces implanted during emergency surgery and was laid up for six months. I think of “Melting Point” as “my fractured leg challenge.”
4d

Address

450 Harrison Avenue
Boston, MA
02118

Opening Hours

Friday 12pm - 5pm
Saturday 12pm - 5pm
Sunday 12pm - 5pm

Telephone

+16174513605

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