HeART & Mind Exhibition Catalog

Silvermine

HEART & MIND

October 31, 2019 – January 12, 2020

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A nearly century-old organization dedicated to excellence in art and art education, the Silvermine Arts Center plays a pivotal role as an inclusive gathering place that deepens understanding and builds community through the arts—attracting broad audiences of all ages, ethnicities, races, genders and income.

Silvermine’s HEART & MIND exhibition and accompanying programs address mental health and the healing power of art, reducing stigma and increasing visibility. The exhibition opens a window to creativity and well-being by bringing together works by an exceptional array of artists who are exploring addiction and recovery, trauma and healing, love and loss, depression and hopefulness, isolation and connection—and the yearning to understand ourselves and engage in an authentic way with others.

The statistics are alarming: in the US, one in five adults has a mental health condition; rates of youth with severe depression is worsening; mental health is the main cause of hospitalizations in Connecticut. Decades of scientific study show that engagement in the arts provides cognitive, emotional, and mental health benefits. Ultimately, the artists represented in HEART & MIND celebrate the resilience of the human spirit in the belief that creativity can nurture and sustain lives worth living.

The exhibition was curated by Robin Jaffee Frank (PhD, History of Art, Yale), Director, with Roger Mudre, Gallery Director. They evaluated works based on aesthetic quality and the emotional and intellectual content essential to engaging audiences with the thematic ideas in HEART & MIND. We thank the New Canaan Community Foundation for supporting HEART & MIND. Note: Throughout the exhibition, artists’ words illuminate the meaning of their works.

Statements have been edited for clarity and length.

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H E A R T

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M I N D

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Susan Clinard By carving wood and bending wire, Susan reveals “something that you already know—so that in turn you see yourself reflected.” We have all been or known someone in a “hole” of depression, anxiety, sorrow, pain. Take each other’s hand. Help each other heal.

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The Hole, 2017 Wire and wood, 33” x 17”, $600.

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Susan Clinard In Carrying History, immobilized figures embody trauma, preventing them from moving forward in their lives. Susan believes that the “effects of trauma may be carried down through generations. It’s like something I know in the deepest part of me that uses no words, something I see in others, something I see throughout our violent histories.�

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Carrying History, 2019 Ceramic, variable, $3,600.

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A d d i c t i o n

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R e c o v e r y

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Alexander Churchill Through his paintings, Alexander explores “a constantly changing continuum of indefinable emotional struggles. Honest self-assessment and expression is key to the healing quality of creating art—which in turn lends power to positively change one’s relationship with the world and the people within it.”

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Self-Portrait as a Merry Toper, 2015 Oil on Canvas, 30” x 24”, $3,800.

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Ann Chernow "Vodka is based on a scene from the 1940s NOIR film Double Indemnity.

During that decade, the genre of NOIR movies had characters smoking and drinking as a ‘normal’ activity, both in scenes with a single protagonist or in social situations. In fact, in Double Indemnity, the viewer can conclude that the female lead's life was weary, lonely and dependent on drinking to handle every aspect of the criminal activity she orchestrated. I chose to create this image because I am addicted to NOIR's formal aesthetic of using black and white media, and because this film ‘spoke’ to the public about the association of glamour with the use of alcohol during those years. Perhaps it still does.”

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Vodka, 2014 Etching and aquatint, 11” x 14”, $1,200.

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Inez Andrucyk Inez’s paintings commemorate the life of her son, Reid, and his “Struggles Well Fought”: “Following two years of detox, infections, rehabs, and relapses, my son, Reid Kasunic, lost his life on January 15, 2015 at the age of 22. This was a loss to so many since he contributed generous enthusiasm and joy to all. During his short life, I was a partner with him in his quest to remedy the ills of the world and eventually himself. I am sure he would want me to continue his dialog about existence, time and consciousness through my paintings and honor his uncomplaining and suffering fight with opioid poisoning so that others will not endure the pain he experienced and be stereotyped for his illness.”

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Chemical Storm, 2019 Acrylic, mixed media on canvas, 36” x 39”, $550.

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“This work focuses on the uncertainty and vulnerability of life. It searches for balance within a chaotic, surprising, and impermanent world in order to evoke compassion, empathy, and positive action towards drug addiction. It attempts to disrupt stereotypes and alleviate suffering.

Hope is born from the remembrance, joy, and appreciation for all we have been given and what we have lost. Rebirth is the development of new ideas and habits, while artmaking is a process towards renewal.�

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Lost Boy, 2016 Photo digital collage, 12” x 16”, $250.

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Yellow Flower, 2017 Acrylic, collage on board, 10” x 18”‘, $250.

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Chemical Fires, 2017 Acrylic, collage on board, 9” x 12”, $150.

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Hold On, 2017 Acrylic on canvas, 40” x 40”, $600.

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Russell Ritell Russ describes Burial as a “healing piece around addiction and consequences based on a close friend’s struggle and ultimate loss.”

Inspired by the paintings of Michelangelo Merisi da Caravaggio (1571–1610), Russ pushes his figures up against the picture plane and dramatically lights them to give the scene a sense of immediacy. He reveals the psychological rather than merely physical dimension of the narrative.

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Burial, 2018 Oil on Canvas, 42” x 46”, $16,000.

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T r a u m a

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H e a l i n g

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Leticia Ortega Cortes In these ceramic sculptures, Leticia “focuses on issues of domestic violence.”

Inspired in part by the German choreographer Pina Bausch (1940–2009), who created works based on dancers’ own emotional experiences, Leticia’s poses “illuminate gestures of violence against the female body. The hand gestures in the sculptures represent resist and opposition, and the black glaze represents the mourning of the female victim.”

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Prey #1, 2018 Ceramic and glaze, 8” x 20” x 11”, $1,800.

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Prey #2, 2019 Ceramic and enamel, 27” x 15” x 22”, $2,500.

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Prey #3, 2019 Ceramic and glaze, 17” x 18” x 15”, $2,700.

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Susan Clinard “This installation reveals an intimate corner of a room where a woman invites you to see her story of trauma and healing. How she has compartmentalized, shelved, stored away memories of her past. How she has shed her skin and feelings of entrapment, sorrow, pain and loss. Where she has unraveled the layers of shame and isolation.

Although this sculpture may be difficult to look at, I offer it as a cathartic awakening, a visual story of the process of healing. It is for all of you who have suffered sexual trauma. I carry your strength with me every day.�

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Surviving Sexual Trauma Shedding Shelving Memory, 2019 Mixed media, 60” x 72” x 48”, $20,000.

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Ehren Tool I just make cups.

Written in stone on the Indiana War Memorial Building is “To vindicate the principles of peace and justice in the world.” I would like my work to vindicate the principles of peace and justice in the world. That is a lot to ask of a cup.

After my experience in the Marine Corps, I am wary of the gap between the stated goal and the outcome. I am comfortable with the statement “I just make cups.”

Peace is the only adequate war memorial. All other war memorials are failures at best and are usually lies that promote the fantasy of war as glorious.

When I returned from the 1991 Gulf War, I was surprised to see a G.I. Joe version of myself—my gas mask and my war in stores “for ages 6 and up.” I am compelled to make work that talks about the strange places where military and civilian cultures collude and collide.

I have made and given away about 20,000 cups since 2001.

I believe the cup is the appropriate scale to talk about war.

The cups go into the world hand-to-hand, one story at a time.

My cups have been called my soldiers. The vessel has often been used as a symbol for a person. I make work you can drink out of and hold, in the hope that people will spend time with the work.

The images on the cups are often graphic and hard to look at. You may be for or against a particular war but I think it is too easy for us to look away. I think we as a country and as humans should look at what is actually going on.

I hope that some of the cups can be starting points for conversations about unspeakable things. I hope conversations flourish between veterans and the people who are close to them. I also hope that some honest conversations can happen about war and its causes.

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36 Cups, 2019 Ceramic

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War is Trauma These posters are selected from the War is Trauma portfolio created by veterans as part of a campaign to stop the deployment of traumatized troops and win service members and veterans the right to heal. The larger hope of “Operation Recovery” is to “bring different people together—veterans, civilians, Iraqis, Afghans, and others to dialogue on issues.”

The prints in the War is Trauma portfolio are housed within a handmade paper cover from the Combat Paper Project—paper whose source material derives from military uniforms that veterans have cut into small pieces, mixed with water, and pulped into paper as part of the healing process.

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Michael Rakowitz (Chicago) Remember the Vet Who Can’t Forget

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Nicolas Lampert (Milwaukee) Matt Howard PTSD Shadow

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Jesse Purcell (Montreal) War is Trauma Grenade

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Shaun Slifer (Pittsburgh) PTSD Bullets

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Marshall Weber (Brooklyn Artists Alliance, Brooklyn, NY) No Such Thing as a Toy Soldier

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Barbara Ringer This photo-based series, Anxiety, is my expression of various states of panic, self-doubt, and rumination.

I’ve always been anxious, whether from childhood trauma or adult phobias.

I’ve found an outlet in making art with a camera and some surrogates: broken dolls and one dilapidated mannequin. I create narratives that reimagine murky memories and tense situations, the anxieties and distorted identities that can evolve from growing up female. Getting them into the frame gets them out of my head. This dilapidated mannequin is a survivor, and so am I.

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You’re The Problem, 2018 triptych of canvas photos, metal photo, wood, 12” x 31” x 3”, $600.

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Daddy’s Girl, 2018 Canvas photo, nails, cloth, wood, 12” x 12” x 5”, $600.

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You Are Not Alone, 2019 Canvas prints, wood frame, 11” x 11” X 4”, $500.

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Dysmorphophobia, or body dysmorphic disorder, is characterized by the obsessive idea that some aspect of one's body is severely flawed and therefore warrants exceptional measures to hide or fix it. This obsession can lead to social isolation, occupational dysfunction, unnecessary cosmetic surgery, and suicide. The most commonly associated psychiatric disorder appears to be depression.

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Dysmorphophobia, 2018 Triptych of aluminum metal prints floating in wood frame, 19”x 41” x 3”, $700.

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L o v e

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L o s s

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Joan Wheeler Joan’s sister, Anne, who appears in many of her paintings, died young. Joan believes that Anne could “read the future and foretold many of the events in her life. I believe she knew that she would die young and shielded me from that knowledge.”

In an era of climate change, Joan sees her sister in nature “as one with the wind and the waves.” She mourns not only Anne, but also “all the wonderful things on our planet that no longer exist and imagine her happy with all these wonderful creatures. I believe that she has transcended this world and entered into a more glorious existence.”

“Prophecy is about the ability to see into the future and to know the shape of things to come. This painting is also an act of mourning and committing to memory, on a personal and an environmental level. It's about the ways in which past, present and future shift around us.

I mourn for and commit to memory my dear sister Anne, who had the ability to see into the future and predicted so many events in our lives.

I also mourn for and commit to memory the natural world that is disappearing all around us. Since 1970, three billion North American birds have disappeared. Species are becoming extinct daily. Some scientists predict that as many as 30 to 50% of all species could be headed to extinction by midcentury.”

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Prophecy, 2017 Needle-felted wool, 30” x 24”, $1,200.

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“Fly Away Home illustrates a blending with the natural world, letting go of the constraints of everyday life and allowing yourself to experience nature fully. It also expresses the idea of death as a peaceful journey to another dimension that we can neither see nor imagine.�

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Fly Away Home, 2017 in collaboration with Chan Davis Oil on birch, 11” x 14”, $800.

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”The Burden of Unwanted Gifts illustrates that we may be given many things but are rarely given what we truly seek—knowledge and understanding of our essential self. A gift often shows that the people closest to you have no knowledge of who you are or have constructed an image of you more closely related to their ideals. The existential burden of accepting these gifts is that you realize that you are not really known, and that by accepting these gifts you are faced with this knowledge and with a false mirror of your truest self.”

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The Burden of Unwanted Gifts, 2017 Oil on birch, 11” x 14”, $800.

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“See Me is about the desire to be truly seen and known, not just by external trappings, but also on a more fundamental level. It is also about the feeling that we are surrounded by souls who have passed from this world but are present in the natural world all around us. I feel their presence in the flowers and in the trees, animals and skies above us.�

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See Me, 2016 Oil on birch, 14” x 11”, $1,200.

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“Bit By Bit illustrates both the desire to become invisible and the feeling that perhaps you already are invisible to most of the world. As the aging process continues, I often feel that the body I used to inhabit is disappearing bit by bit and that soon there will be little left of me that I care to present to the world. I often feel that I have become like an aged tree—riddled with holes, and with sections that have broken away, but somehow still growing.”

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Bit by Bit, 2017 Oil on birch, 14” x 11”, $1,200.

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Ann Weiner My most recent body of work Pierced by Flowers is based on Robert Frost’s poem “In Hardwood Groves.” Our physical world consists of two parts; all that is above the ground and visible to our everyday eyes and the other half, which exists below, beneath our feet and our awareness.

It is in this lower realm that renewal takes place and where the broken, damaged and decayed can transcend and transform.

Tragedies of the human spirit must be put, in Frost’s words, “beneath the feet of dancing flowers.” They must lay fallow in the deep and dark before being pierced by hope, by renewal and finally by new beginnings.

“In Burr of Tears, emotions push through the hard core protective surface of the burr and tears of pain and suffering are released to begin the cycle of healing.”

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Burr of Tears, 2016 Fiberglass and bronze; two parts, Burr – 26” x 26” Overflow – 18” x 18”, NFS

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“Beneath the Dancing Feet is composed of porcelain dolls retrieved after being buried beneath the rubble of a German doll factory destroyed in the late 1930’s; powerful reminders of the children lost, mangled and destroyed by war. Hope holds out its hand.”

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Beneath the Dancing Feet, 2019 Mixed media, porcelain dolls buried beneath German doll factories 1930’s; encaustic, found objects, wire, 22” x 22”, NFS

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Nash Hyon Previously an art photographer and graphic designer, in 1994 Nash turned to painting to express her feelings about her husband’s death from lung cancer.

She explains, “The choice of painting in a black and white palette in all of the paintings references medical imaging techniques and my husband's career as a photographer.” As her words in the following labels reveal, her translucent, centered, iconic images of spines and lungs trace their journey through sickness, pain, and death—as well as redemption and spirituality.

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Mercy, 1996-99 Encaustic on wood panel, 48” x 32”, POR

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“Actual honeycomb forms the spine in Swarming. I was thinking about what it might feel like if you can't breathe, if your lungs feel filled with something that is almost alive and growing, but that growing may very well kill you. As I work in encaustic (beeswax that is heated to use) I have a knowledge of honeybees.

And a swarm seemed to fit my concept about layers of transformation: bees make wax; that wax is turned into paint; and that paint creates a painting, with the artist being transformed by the process and the experience of loss.

And I was.�

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Swarming, 1996-99 Collage elements, encaustic on wood panel, 48� x 32�, $6,250.

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“This painting is more direct in its message. Here I created the spine by stenciling number 139,000 with a small red cross above it. The number represents the lung cancer deaths in America at that time, a number that unfortunately reached a peak in 2005. The lungs are shaped by cancer information that is partially obscured by black lines. It is information that is hard to read and understand.�

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Counting, 1996-99 Collage elements, encaustic on wood panel, 48� x 32�, $6,250.

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I s o l a t i o n

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C o n n e c t i o n

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Claudia Alvarez For over a decade, Claudia worked at the University of California Davis Medical Center in Sacramento, California. The strength, vulnerability, and resilience of patients there continue to inform her work.

Her sculpted and painted figures address the way social and psychological structures impact behavior. In Wading, one child is isolated and bullied. Such adverse childhood experiences can affect our ability to thrive throughout life—making it critical for adults to support the social and emotional needs of children.

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Wading, 2017-18 Glazed ceramic, variable, POR

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Alexander Churchill The boy’s T-shirt reads, “No lives matter.�

Emotional numbness leaves you isolated not only from others, but also from yourself. This empty feeling can happen to people who seem to have everything. That's because emptiness does not come from outside; it comes from within.

Sometimes, emptiness has a tangible cause, like the death of a loved one. For others, the emptiness they feel may not have an identifiable cause. Talking to a mental health professional can get you started on the path to erasing the empty feeling inside you.

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Melancholic Boy, 2018 Oil on canvas, 14” x 11”, $450.

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Kathy Osborn First Kathy creates miniatures of domestic interiors inhabited by affluent couples of the 1950s and 60s, when traditional gender roles were glorified.

Then she photographs the scenes, using disorienting shadows, angles, and poses to reveal the contrast between the perfectly arranged spaces and the estranged partners locked in moments of evident tension. Kathy has a cinematic eye; she depicts unsettling stories waiting to unfold.

Courtesy of Susan Eley Fine Art, NYC, NY

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Facing Away, 2018 Oil on paper mounted on art board, 15.5” x 21.25”, $3,200.

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Clutching Her Skirt, 2017 Oil on paper mounted on art board, 16” x 21.5”, $3,200.

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Janine Brown The set for The Wallflower at the Dance was created over a 4 1/2 year period using over 100 crochet wire teardrops, a crocheted yarn floral dress, custom wallpaper, sound and lighting. The idea was born from a portrait series started in 2010 called "The Wallflower Project" which examined the social stigma of being a "wallflower."

The catalyst for "The Wallflower Project" was a conversation with a fellow artist. After meeting my husband, she commented on how handsome he is and mentioned that her husband is also very handsome, and talked about the challenges. For instance, when you enter a party with your husband, everyone’s attention turns to him. You simply fade away.

I knew the feeling of fading into the background when I walk into a room.

Although I don’t consider myself a “wallflower,” the concept became the catalyst for this new body of work using a pinhole camera to create largesized “wallflower” portraits.

The installation and related video, The Wallflower at the Dance, was a way to bring the “wallflower” to life by creating a dreamlike environment whereby the “wallflower” dances with the thoughts in her mind while tears hang above her to create the weight of her emotions.

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The Wallflower at the Dance (Installation), 2013–19 Wire, acrylic yarn, polyester mesh, zipper, wallpaper, speakers, rug pad, r otating light bulbs, mannequin, variable, $500,000.

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The Wallflower Project: Evan, 2017 C-Print mounted on aluminum, 24� x 20�, $1,250., Commissioned portraits available

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The Wallflower Project: Ahree, 2017 C-Print mounted on aluminum, 24� x 20�, $1,250., Commissioned portraits available

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The Wallflower Project: All in the Family, 2017 C-Print mounted on aluminum, 24� x 20�, $1,250., Commissioned portraits available

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Jay Petrow My struggle to be a good father for my autistic son has at times been overwhelming. Love, anger, humor, sadness, and loss become an explosive convergence of vivid color and expressive brushstrokes.

My goal in painting is to recreate on canvas what I am experiencing inside, from high states of agitation and angst to feelings of calm. Incorporating vibrant colors and layering textures on the canvas, I strive to reconstruct a path through my emotional world that produces areas of high kinetic energy and serenity. “I rediscovered painting five years ago because I wanted to express my emotions and experiences fathering a child with autism. To do that expressively I started painting abstract works.

In Perseveration and others in this series I have brought representational objects into my abstract work because the world my son is immersed in has often left me not knowing which way was up. His vision of the world always seemed unique compared to how others experience reality. It appears to be a magical world filled with joy yet there is often a dark side. This is my interpretation of that world.�

(Title Note: Perseveration refers to the obsessive and highly selective interests of individuals on the autism spectrum.)

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Perseveration, 2019 Acrylic on canvas, 36” X 36”, $4,500.

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“This painting depicts my son's hand directing his world of SpongeBob, Lionel trains, toy soldiers, castles and villages. His world places all these elements in one universe where he is in control and constantly manipulating things to stimulate his senses.�

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Train! Train! Train!, 2019 Acrylic on canvas, 84” x 96”, $8,500.

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D e p r e s s i o n

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H o p e f u l n e s s

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Tsoku Maela Abstract Peaces: The Stigmas on Mental Health in Black Communities Growing up in a black community you quickly learn that there is a list of problems that do not “affect” black people: Mentally ill? Bewitched, or you simply study too hard.

Depressed? Lighten up, you’ve been watching way too many of those white teen movies. Seeing a psychologist? You’re weak and should probably stop that before the neighbors find out. There is a need to address mental illness in the black community.

I have struggled with manic depression and anxiety my whole life but have only recently found the courage to open up about it to my family. They may not understand what it is, but they understand me better as a person. I also use the word “struggle” loosely here.

Depression isn’t all doom and gloom, there is so much beauty to be drawn from it. It’s an opportunity to learn about yourself and how your intricate mind works—and the reason why it works the way it does.

We’ve been indoctrinated to run away from the dark and towards the light. A little over a year ago I ran towards that darkness when I started in photography and it was the best decision of my life. I began a body of work titled “Abstract Peaces,” a visual diary of a person during different states of depression.

In society, we march for all types of illnesses and speak openly about them without prejudice or judgment. I think it’s time we spoke openly about anxiety, depression and mental illnesses too, without condemnation or belittling each other. We are all going through something, but you do not have to go through it alone.

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This body of work is a result of going to places I hate the most about myself and finding beauty there.

If you struggle with depression, I’d like you to know that there is no shame, only an opportunity.

Return to innocence, lost, 2015 – Self-portrait from series “Abstract Peaces” Hahnemuhle Fine art print, baryta paper, Ed. 10 + 2 AP, 37.6” x 25.6”, $700.

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Seriti, 2015 – Self-portrait from series “Abstract Peaces” Hahnemuhle Fine art print, baryta paper, Ed. 10 + 2 AP, 25.6” x 26.1”, $700.

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A brief reminder of solitude, 2015 – Self-portrait from series “Abstract Peaces” Lambda Print on Fuji Crystal DP II, Ed. 10 + 2 AP, 32.6” x 40.3”, $700.

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A nest for a dream, 2015 – Self-portrait from series “Abstract Peaces” LightJet Print on Illford BW Paper, Ed. 10 + 2 AP, 25.6” x 31.5”, $750.

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Sehlaga‚ 2015 – Self-portrait from series “Abstract Peaces” Hahnemuhle Fine art print, baryta paper, Ed. 10 + 2 AP, 25.6” x 30.3”, $700.

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Sandra Dee In her acceptance speech at the Oscars in 2016, Meryl Streep quoted her friend Carrie Fisher: “Take your broken heart, make it into art.� That quotation, along with "Beauty from Ashes" and "Creative Reflections," captures my narrative and journey as an emerging artist.

Art therapy has transformed me and given me a way to reflect and reach places in my mind that talking can't. I recently launched a healing arts workshop called Creative Reflections to help others begin to do some of the restorative work I have done through art.

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Releasing Chaos, 2018 Mixed media collage on plywood, 48” x 24”, $2,500.

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Scraps of Life, 2016 Watercolor,collage, 18” x 24”, $1,200.

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R e s i l i e n c e

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Debbie Grzelecki I express a “colorful” life sprinkled with sadness.

While doing art therapy, feeling…

Content Meaningful Calm Compulsive Release

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Diaphanous, 1999 Acrylic, 60” x 40”, NFS

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Untitled, 2019 Mixed media, 30” x 30”, NFS

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Mary Ellen Pastore Mary Ellen has been an active student of the Silvermine Art Center for 18 years. She also managed evening open studios where students came to work on their pottery. Throughout the years she also helped out in various extra functions at Silvermine using her accounting skills.

Mary Ellen was diagnosed with Brain Cancer, Glioblastoma in January of 2019. She underwent surgery in early January but it was clear she would not be able to return to her accounting job. Her speech and cognitive abilities were altered but it was always her desire to return to pottery as soon as possible. She had rehabilitation to help regain her speech, cognitive abilities and physical strengths, followed by radiation and a round of Chemo.

After much determination, Mary Ellen was able to return to the ceramic studio in April of 2019. Mary Ellen now attends a drawing class as well as a pottery class each week. With the help of teachers' Keiko Ashida and Jon Puzzoli, she continues to work on her pottery skills. Mary Ellen is thrilled to be back at Silvermine Studios!

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I’m Back, 2019 Ceramic, 5” x 4” x 2.5”, NFS

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Dip of Blue, 2019 Ceramic, 3.5” x 7” x 7”, NFS

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Blow of White, 2019 Ceramic, 2.5” x 6.5” x 6.5”, NFS

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Made possible by a grant from

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Board Of Trustees Chair Rose-Marie Fox Vice Chairs Robin Jaffee Frank* Barbara Linarducci* Secretary Robert Mallozzi Treasurer Grace Tang Board Members Mark Carta Stephanie Joyce William Hilson Joseph J. Kais Emily McDermott Karen Neems Guild Co-Chairs Roger Mudre* Jon Puzzoli

Gallery Staff

* Ex-Officio

roger@silvermineart.org

Gallery Director Roger Mudre 203.966.9700 x26

Honorary Board Cynthia Guest Sally Sheehy Leonard Tow Diana Wege

Gallery Associates Janet Morris Teresa Gay Leslie Cullen

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Silvermine

Silvermine Arts Center

1037 Silvermine Road

New Canaan, CT

06840

www.silvermineart.org