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Cassie Jones is an artist who lives in Brunswick, Maine. She received her MFA in painting from the Rhode Island School of Design in 2008 and her BA from Bowdoin College. Her art has been shown in solo exhibitions at Space Gallery in Portland, Maine and Coleman Burke Gallery in New York, as well as group exhibitions at Art Chicago, Gallery 808 in Boston, the Portland Museum of Art, Fountain NY, the Center for Maine Contemporary Art, and others. She has been awarded residencies at Yaddo, the Vermont Studio Center, and the MacDowell Colony. She is represented by Aucocisco Galleries, Portland, Maine and Coleman Burke Gallery, New York.


2008 MFA Painting, With Honors, Rhode Island School of Design, Providence, RI
2001 BA, Visual Art and Psychology, Bowdoin College, Brunswick, ME


2013 Aucocisco Galleries, “Foreign Matter”, Portland, ME
2013 Park Tudor School, “New Work”, Indianapolis, IN
2012 Hutchins Gallery, "Over and Under", The Lawrenceville School, NJ
2010 Space Gallery, "Interjections", Portland, ME
2009 Coleman Burke Gallery, “Standard Deviations”, New York, NY
2005 Space Gallery, “New Work”, Portland, ME
2004 Icon Contemporary Art, “New Work”, Brunswick, ME


Rose Contemporary, “Esta Terra Plana/This Flat Earth”, Portland, ME and Madrid, Spain
Rose Contemporary, “SMCC Faculty Exhibition”, Portland, ME
Hutchins Gallery, “Celebrating Women in the Arts”, The Lawrenceville School, Princeton, NJ

Thos. Moser, “Bates, Bowdoin, and Colby College Alumni Artists”, Freeport, ME
Gross McLeaf Gallery, "Recalibrations", Philadelphia, PA
Center for Maine Contemporary Art, "CMCA Biennial", Rockport, ME

Cambridge Arts Council, "Drawing in Public", Cambridge, MA
Aucocisco Galleries, "Four-Person Exhibition", Portland, ME
80 City Square, "Chromatics", Charlestown, MA
Princeton Public Library, "Grove", Princeton, NJ

Aucocisco Gallery, "Summer 2010", Portland, ME
Center for Maine Contemporary Art, "Biennial Juried Exhibition", Rockport, ME

Coleman Burke Gallery, “Chunky Monkey”, New York, NY
Icon Contemporary, “4x6”, Brunswick, ME

Art Chicago, “New Insight”, Chicago, IL
Gallery 808, “Boston Young Contemporaries”, Boston, MA
Maine Center for Contemporary Art, “Linear Perspectives”, Portland, ME
RISD Graduate Thesis Exhibition, Providence, RI

Icon Contemporary Art, “Summer”, Brunswick, ME
Sharon Arts Center, “Viewing MacDowell”, Peterborough, NH
Gallery 808, “Boston Young Contemporaries”, Boston, MA
Knew Gallery, “Eating the Sands of Time”, Washington, D.C.
The Icebox, “Swap/Meet”, Philadelphia, PA

Holter Museum of Art, “Ana 34”, Helena, MT
Portland Museum of Art, “Portland Museum of Art Biennial”, Portland, ME

June Fitzpatrick Gallery, “Naked”, Portland, ME
Center for Maine Contemporary Art, “on Line”, Rockport, ME
Center for Maine Contemporary Art, “Biennial Juried Exhibition”, Rockport, ME

Portland Museum of Art, “Portland Museum of Art Biennial”, Portland, ME

Michael Folonis Associates, “Structure and Situation”, Santa Monica, CA
Center for Maine Contemporary Art, “Biennial Juried Exhibition”. Rockport, ME


2009-10 Yaddo, Artist's Residency Fellowship, Saratoga Springs, NY
2006 The MacDowell Colony, Artist's Residency Fellowship, Peterborough, NH
2003 Vermont Studio Center, Artist's Residency Fellowship, Johnson, VT
2001 Surdna Undergraduate Research Fellowship in Painting, Bowdoin College, Brunswick, ME
2001 Edward Langbein Research Fellowship in Painting, Bowdoin College, Brunswick, ME


2003 “Passage”, A Series of Twenty Six Murals, Maine DOT Office Building, Augusta, ME
2003 “Parade”, Bowdoin College Children's Center, Brunswick, ME
2002 “Smith Union Café”, David Saul Smith Union, Bowdoin College, Brunswick, ME
2001 “Four Quartets”, Mid Coast Hospital, Brunswick, ME


2012 “Sorting through the CMCA's Biennial,” Nicholas Schroeder, The Portland Phoenix,
October 2012
2012 “Biennial backs up good looks with visceral subtext,” Daniel Kany, Portland Press Herald, October 2012
2010 “Cassie Jones: A Conversation I Want to Have”, Kate Beck: Art Notes blog, June 2010
2010 “Space show features the good, the bad and the puerile”, Daniel Kany, The Portland Press Herald, June 2010
2010 “CMCA 2010 Biennial Juried Exhibition”, Britta Konau, The Free Press Online, June 2010
2010 "See: Cassie Jones", Deborah Weisgall, Maine Magazine
2009 “Art as Invention and Play / Randy Regier in ME, Cassie Jones in NYC”, Edgar Allen Beem, Just Looking / A Critic's Eye on New England Art, February 2009
2009 “Fertility and Growth: The Art of Cassie Jones”, Terrence Cheromcka, Wild River Review, March 2009
2009 “Bowdoin Alumni Premiere Solo Shows in New York”, Erin K. McAuliffe, The Bowdoin Orient, February 2009
2005 “College Friends Reunite with Space Show”, Bob Keyes, Maine Sunday Telegram,
December 18, 2005
2004 “Mark Wethli and Cassie Jones: New Paintings”, Carl Little, Art New England, Aug/Sept 2004
2004 “Dual Exhibit Shows Latest Work”, Leslie Talmadge, Brunswick Times Record, April 29
2004 “Mark Wethli, Cassie Jones Share Icon Space”, Staff Reports, Portland Press Herald,
May 9, 2004
2004 “Review”, Philip Isaacson, Maine Sunday Telegram, May 9, 2004
2003 “The Biggest Show”, Bob Keyes, The Portland Press Herald, April 6, 2003
2002 “Both Sides: Cassie Jones and CMCA's 2002 Biennial”, Josh Rogers, Portland Phoenix,
June 7-13, 2002
2002 “An Explosion of Color”, Amy Sutherland, Down East Magazine, February 2002

by Arda Collins

"Cassie Jones's three-dimensional paintings feel like memories from the recesses of our prehistoric origins. Like images arisen from the accumulated millennia of previous biology, they are a material memory of prior cellular incarnations and sensations.

The inset color sequences, inlaid like fossils, or like imprints of light or emotion embedded in our psyches, bring to mind a variety of forms: protozoa, and microscopic activity in larger animals-the movement of cilia, eyelashes, water through gills, wind through fur; thought vibrations of sea horses; a sea-urchin's dreaming body; the vivid emotions of tiny crustaceans; the re-constitution of dinosaurs; veins of mica inside rocks; the complicated vibrancy of a plant; molting of all kinds; reptile equations; any two beings touching; refracted light from stars; water; the alternation of translucence and opacity of flesh, grass, feathers, and blossoms.

Something like this must be taking place inside of us right now, something that corresponds to many parts of creation; these pieces express the possibilities of sentience.

The color sequences in each piece suggest patterns but do not form actual patterns. Instead, it is as though each piece is a physical, visible section of something larger, something that forms a pattern too big to see, or outside of our perception. The sensation is similar to looking at a landscape: we have a limited, heightened view of a complex form. These pieces often evoke landscapes, some of them familiar: hillsides, the cross section of a rock face, the divisions of a shoreline, but many of them feel as if they are portions of landscapes we recognize from inside ourselves, like the experience of seeing light patterns of phosphenes in motion if we close our eyes and press our hands against them. These bright movements are a kind of perception, reflecting our internal space and viscosity, and its relationship to the composition of the exterior world.

These paintings, sculptures, forms-suggest the components inside a hill thinking about the hill, or configurations of fauna and flora whose dreams have entered our blood through the convergence and dissipation of matter. They are not an imagining of transformation as much as a conception or expression of it; they posit the possibilities of what we retain of matter as it passes through time. Their texture, as if rocks were pliable, and the intensified stone hues-gray-pink, gray-lavender, one-tone moss-suggest the malleability of the physical world, and how it might yield its mysteries to our perception, and our memories of it."