
Face & Facade: Portraits of the Mind – Open Show
The Salem Arts Association invites artists of all backgrounds to submit work for “Face & Facade: Portraits of the Mind,” the second exhibition at our new gallery space at Pickering Wharf.
This show explores the many ways identity is revealed or concealed through the human face and the masks we wear. Artists are encouraged to interpret the theme broadly, from literal portraiture to abstract or conceptual expressions of inner life, persona, and perception.
All media are welcome. Join us in celebrating the complexity of self and the layers between appearance and emotion in this open community exhibition.

| Our Guest Juror: Ron DiRito Ron DiRito is an artist and educator working across photography, video, installation, and artist’s books. Grounded in documentary traditions, his work incorporates appropriation, printmaking, vernacular writing, and time-based media. He received his MFA from the Rhode Island School of Design and served for many years as Chair of the Photography+Video+Film Department at Montserrat College of Art. His work has been exhibited nationally and is held in public and private collections. His photographs have appeared in publications worldwide. He is the recipient of fellowships from the National Endowment for the Arts/New England Foundation for the Arts, the Massachusetts Cultural Council, and the Denver Commission on Cultural Affairs. |
Awards
Robert Beauvais – Now you see me Now you don’t This photograph feels almost architectural in its restraint: quiet, symmetrical, and charged with a kind of latent presence. At first glance, it’s about the structure itself. Once you recognize it as a confessional, the image shifts from being about architecture to being about voice, secrecy, and interior life. The shadow on the wall becomes even more interesting in this context. It starts to feel less like a formal element and more like a kind of echo. A residue of presence. Almost like the accumulation of past confessions, or the lingering trace of those who have occupied that space. It’s softer, less defined, but in some ways more evocative than the object itself. |
Karen Gourley Lehman - Untitled This one is deeply observational, but also quietly psychological, like a moment caught between attention and withdrawal. The seated figure anchors the image. Her posture - legs drawn in, gaze lowered - suggests inwardness, even a kind of guarded introspection. She’s physically present but emotionally elsewhere, absorbed in something we can’t access. The framing of the chair and deck gives it a domestic familiarity, but the mood resists comfort. There’s also an interesting dynamic of attention. The seated figure looks down, avoiding both the camera and the other person. The moving figure doesn’t fully register either, reduced to gesture and motion. It’s a scene of proximity without connection, shared space without shared awareness. |
Bobbie Bush - Seen and Being Seen
What’s immediately compelling is the doubling: the painter and the painted, the observer and the observed. But the two aren’t equal. The figure at the easel is more solid, more present, while the image on the canvas is softened, unresolved, almost slipping away. It suggests that representation is, perhaps, a negotiation, never quite complete. What’s especially poignant is how the face in the painting resists clarity. It’s there, but not fully resolved. That ambiguity feels intentional, as if the work is less about capturing likeness and more about the act of searching for it. |
#1 – François-Xavier De Costerd - Between Image & Flesh This one opens outward, like a portrait of a moment suspended in place, layered with memory. The figure is there, but almost secondary, reduced to a silhouette, a presence rather than an identity. What takes over is the environment, or maybe more accurately, the accumulation of environments. The surface feels built from fragments, the paint, text, and imagery colliding and dissolving into one another. It reads like a palimpsest, where traces of different times and spaces coexist. the piece resists a single reading. The result is something that feels like lived experience: layered, partial, shifting, and never entirely resolved. |
#2 - Janet Schwartz - You Can't Fake a Smile The first thing that stands out is the handling of light and color across the face. It’s not descriptive in a naturalistic sense; it’s interpretive. The face becomes a kind of field where sensation, memory, and observation overlap. The gaze is direct but not confrontational. It feels inward, reflective. Almost as if the subject is aware of being seen but more engaged with something just beneath the surface. It feels like a portrait of thought as much as a portrait of a person. |
#3 - Dr. Eleanor Ruth Fisher - Yogi There’s a striking immediacy to this portrait. The surface does a lot of the emotional work here. Thick, layered, almost sculptural elements create a sense of movement that feels alive, even turbulent. The reds and blacks swirl like energy around the head, almost as if the figure is emerging from a memory rather than simply being depicted. There’s a sense that this is not just a likeness but a presence shaped over years. It’s expressive. It leans into rawness, into accumulation, into the idea that a portrait can be less about capturing a face and more about building a life. |
#4 - Meghan Scire – The Band There’s an immediacy in the line that feels almost childlike, but it’s clearly intentional. The figures are flattened, stylized, and slightly awkward in proportion, which gives them a kind of vulnerability. At the same time, that awkwardness becomes expressive. There’s something a bit uneasy in their stillness. The color blocks reinforce that separation: each zone has its own tonal identity, almost like emotional compartments. The bright yellow, the cooler greens, the darker blues—each one sets a slightly different psychological register. |