This 1,200 s.f. space along the Harborwalk is located on Sleeper Street off Seaport Boulevard. The Rose Kennedy Greenway, Children’s Museum, Martin’s Park, the Institute for Contemporary Art/Boston, The Society for Arts and Crafts, and numerous bars and restaurants are nearby.

Fort Point Arts at the Envoy is one of the Ch.91 regulated publicly accessible spaces on the Boston waterfront and FPAC extends its gratitude to our partner, the Envoy Hotel.

If you are interested in collaborating with Fort Point Arts on an exhibition, performance, or art event, please contact us at

Located at:
70a Sleeper Street
Boston, MA 02210
(Across from the Barking Crab Restaurant)

An Anticline of Data – I’ve Been There

Jeffrey Heyne, Mark J. Stock, & W. Benjamin Bray

Liz Shepherd (right) and Rebekah Lord Gardiner, founders of Shepherd & Maudsleigh Studio, have curated the work of 17 artists for the upcoming  exhibition, (un)confined: The Artists of Shepherd & Maudsleigh Studio

April 6–May 14, 2023
Reception: Friday, April 7th; 6–8pm
DiGEO: Navigating Digital Geography: Saturday, April 29th; 3–4:30pm RSVP
Gallery Hours: Wed–Sun, 12–4pm

Curated by W. Benjamin Bray, and featuring the works of Jeff Heyne, Mark J. Stock, and W. Benjamin Bray

Something about a place draws us there, and then we return, adding complexity, clarity, or meaning. We may return to ground-truth, or simply experience a remotely-sensed environment, depicting the peculiarities of it in different ways. Or we may return to a place through remote sensing. Artists have more information available to them than ever before, with more methods for access and visualization, so “realism” through an artist’s lens is a function of more variables than before. No one has the same sense of reality, regardless of their proximity or path. Ultimately, the place we represent as artists may not be real, but our idea of a place that’s a product of interpretation and abstraction.

The work presented in An Anticline of Data – I’ve Been There presents different types of “travel photos”, where each image or object could involve years of study, and thousands of miles of travel. Each artist brings a different set of peculiarities to their practice, and the works represent a broad, yet linked set of techniques and perspectives. This exhibition also presents a diversity of subject matter, and in doing so reveals the importance of geospatial cues that artists utilize,. If we are inspired by a location or an event, we often begin our survey through comparison and contrast with other places using these cues, and a location’s fundamental properties. A common tool for interpreting one’s location has always been a map, and as the number, quality and diversity of vantage points and sensors explodes, the navigable characteristics of a location are being revealed through geospatial masking and painting, by exploring the diversity of geospatial data an artist has in their palette. Dynamics, geophysical and sociological, can be revealed by their singular geospatial codes, such as zones of contrast in atmospheric, or oceanic fronts. In concert with maps, photography has allowed artists to describe the relationship of disparate locations through common landscape features, which serve to relate locations not just through abstraction, but also through sociological situations. It’s an ideal medium for guiding the viewer on a journey through scale, offering the macroscale view of a situation and at the same time, close-ups of details that reveal novel truths about a situation that our normal perspective would miss. And now, an individual can interpret a location as a 3D object with form, and use various levels of reduction to render a location in a way that it can be juxtaposed in its entirety with related locations. The rendering of a location as an object can ultimately remove the place from the geospatial realm, and from geospatial convention, and allow for the artist to apply an entirely different set of tools with which to interpret a location, in effect, creating a greater challenge for the viewer to expand their own sense of survey method.

What Was Yours, Is Now Mine, by Jeffrey Heyne, explores the impact of extractivism of natural resources on sacred/protected/public lands of the American Southwest, and by analogous extension, up into the Heavens. The overall message conveyed in his collaged photos can be read as calm, soothing, possibly even pretty, but the odd and disparate contrast/comparisons among them ring a note of discord, and hopefully a rising alarm over land rights. Mark Stock’s new landscapes reimagine the relationship between the body and land by elevating and empowering the viewer and concretizing the “map.” Using computational research tools designed to manipulate the deluge of open geographic information (laser scans, aerial photographs), Stock de-contextualizes the natural and built environments and inverts their physical dominance. W. Benjamin Bray uses photography and geospatial data visualization to expand the scope of place beyond one order of scale, employing perspectives that are static and in motion. His works serve as re-interpretations of the role of the lighthouse and its lightkeeper, as an in-situ perspective derived from remote sensing and cartography.

Coming Soon:

Holding Space: Meditations on Queer Experience

Group Show Curated by Theodora Earthwurms

May 17 – June 25, 2023

Previous Exhibitions and Events

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70 Sleeper Street
Boston MA 02210
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