The Artful Mind June 2016

THE ARTFUL MIND THE SOURCE FOR PROMOTING the ARTS SINCE 1994

MICHELE M. WILKINSON AND CHELSEA BROWN MICHELE’S SALON & DAY SPA PHOTOGRAPHY BY LEE EVERETT

JUNE 2016

Kris Galli

EDWARD ACKER photographer

Enigma, oil on canvas, 36x36

Represented by

Lauren Clark Fine Art 25 Railroad St. Great Barrington

413-528-0432

krisgallifineart.com

Time flies. Get pictures.

800-508-8373

EdwardAckerPhotographer.com

MARILYN KALISH

Vault Gallery Great Barrington, MA. 413.854.7744 Lilly Clifford Gallery East Sussex, England www.marilynkalishfineart.com

Mary Carol Rudin

“A Lady’s Back - Red”

www.mcrudin.com marycarolrudin@earthlink.net

The ArTful Mind June 2016 • 1

eleAnor lord

ROBERT FORTE

eleAnorlord.coM

robertforte.com Birch Trees at Night, Oil on Canvas, 30 x 40”

FRONT ST. GALLERY

Showing at Saint Francis Gallery month of JUNE 1370 Pleasant Street .8 Rte 102, Lee, Massachusetts • 413 - 717 - 5199 (next to Fire Station) • Open Friday - Monday 10 - 5 / by appointment

LAUREN CLARK FINE ART presents

GrouP ShoW recent Work

Kate Knapp

June 4 - June 29 opening reception Sunday June 12, 2 - 6pm • All welcome!

Painting classes on Monday and Wednesday mornings 10-1pm at the studio in Housatonic and Thursday mornings 10am - 1pm out in the field.

Also available for private critiques. Open to all. Please come paint with us!

gallery hours: open by chance and by appointment anytime 413. 274. 6607 (gallery) 413. 429. 7141 (cell) 413. 528. 9546 (home) front Street, housatonic, MA

2 • June 2016 The ArTful Mind

Alice In Wonderland 151st Anniversary Marathon

Join us at the gallery for a 3 day marathon reading of Alice!

Local actors and other great read-alouders young and old will be reading chapters from the beloved book by Lewis Carroll.

Tea will be served.

25 Railroad Street, Great Barrington, MA 413-528-0432 Lauren@LaurenClarkFineArt.com LaurenClarkFineArt.com

Spring Suite, Oil on canvas, 54 x 84 inches overall

Photo: Joy Cummings

On exhibition at 510 Warren Street Gallery June Invitational Group Show, Hudson, NY opens Saturday June 4 @ 3pm

JEnniFER PAziEnzA

jennpazienza@gmail.com http://jenniferpazienza.com/

The ArTful Mind June 2016 • 3

The ArTful Mind ArTzine June 2016

BERKSHIRE’S PLAYGROUND NOW OPEN!!

May the Art fun begin!

Michele Wilkinson Artistic Passion from Head to Toe

Interview by H. Candee Photography by Lee Everett page 16

The MuSic STore

Natalie Tyler Artist | Gallerist Interview by H. Candee page 8

Steven Miller Abstract Artist Interview

by H. Candee Grandma Becky’s Recipes Laura Pian page 31

page 26

ficTion: otis’ dream Part ii Richard Britell

page 40

BerkShire hAndMAde | The Music Store

This month: Luthier Nick Lenski

Planet Waves Astrology will be back this fall ‘16

page 41

Eric Francis

Contributing Writers and Monthly Columnists Eunice Agar, Richard Britell, Laura Pian Photographers Edward Acker, Lee Everett, Jane Feldman Sabine von Falken, Alison Wedd Publisher Harryet Candee

Copy Editor

Marguerite Bride

Editorial Proofreading Kris Galli Advertising and Graphic Design Harryet Candee

Mailing Address: Box 985, Great Barrington, MA 01230

artfulmind@yahoo.com 413 854 4400 All MATeriAl due the 5th of the month prior to publication

FYI: ©Copyright laws in effect throughout The Artful Mind for logo & all graphics including text material. Copyright laws for photographers and writers throughout The Artful Mind. Permission to reprint is required in all instances. In any case the issue does not appear on the stands as planned due to unforeseeable circumstances beyond our control, advertisers will be compensated on a one to one basis. Disclaimer rights available upon request. Serving the Art community with the intention of enhancing communication and sharing positive creativity in all aspects of our lives. We at The Artful Mind are not responsible for any copyrights of the artists, we only interview them about the art they create.

4 • June 2016 The ArTful Mind

As we celebrate the beautiful Berkshire Spring, we are mindful that the benefits of shopping locally are many.

And as more and more small, independent stores close we think how thankful we are for our many loyal and hugely supportive customers. We continue our support for many of our local schools' art programs and performance groups. And we are able to showcase some of the fine work that independent instrument makers and luthiers are creating ONE AT A TIME right here in Berkshire County including: - Brier Road's Guitars' gorgeous OM Acoustic Guitar made ENTIRELY from fine tonewoods sourced HERE in Berkshire County, and his extraordinary Redwood/Padauk Baritone Ukulele!

- Undermountain Ukuleles' lovely A/E Flame Maple Soprano, a big voice in a small, appealing package with the pro K&K Aloha Twin preamp to amplify the loveliness!

- our own Dr. Easy's Drunk Bay Cigar Box guitars, simply the most amazing bang for a box ever heard and featuring ten brand new boxes so far for 2016, - The Rowe Stick Dulcimers - strum sticks par extraordinaire, provided for sale and for donation to outreach and Veteran's programs, - the lovely Stockbridge made Serenity Bamboo Flutes and Walking Stick/Cane flutes and - Whitmer Acoustic Guitars, lovingly made one at a time in Pittsfield from fine tone woods and - Don Waite's Gadjo Guitars - gorgeous and daring for a KILLER price!

The Music Store has, for fifteen and a half years,'enjoyed helping the community, near and far to make music. And this is a rewarding and satisfying enterprise for us. We look forward to continuing this mission into the second half of our second decade. And, as always, we offer wonderful musical instruments and accessories at competitive pricing. But there are just some things that we like to share with YOU, including support for our newest music makers, and Great Deals, Raffles and New and Used Instruments for everyone.

Come and join the fun . . .

• We welcome the lovingly Berkshire County INDIVIDUALLY (NOT factory) made: Brier Road Guitars and Ukueleles, Whitmer Guitars, Don Waite's Gadjo guitars, and Undermountain Ukuleles. Play and own an ABSOLUTE ORIGINAL! • Composite Acoustic guitars (the forever guitar!) and their peerless travel guitar, the Cargo, a favorite of our own Dr. Easy, David Reed, made of carbon graphite and impervious to most changes of temperature and humidity. You can see it often in his hands in performance locally and abroad.

• Guild Guitars - Light, powerful, affordable, beautiful SOLID woods, gorgeous tone!

• Beautiful Breedlove Guitars, including Koa, Zircote and Ebony Limited Editions and the 2015 Dealer's Choice Award Winner Oregon Concert!

• TERRIFIC UKULELES! 60+ DIFFERENT models: Soprano, Concert, Tenor and Baritone, acoustic and

acoustic/electric, six string, resonator, the Maccaferrilike Makala Waterman Uke (made all of plastic for easy portability almost anywhere!) the remarkable U-Bass, and the Solid Body Uke Bass prototype by the Magic Fluke Co.!

• How about a Cordoba Cuatro? Or Guitarlele? Or Gypsy Kings' Ltd. Edition?

• Experience the haunting sound of High Spirits Native American Flutes!

• How about a West African Djembe?

• Try a 'Closeout Corner' instrument to suit almost any budget.

• ALVAREZ GUITARS - great tone and great value.

• Breedlove - beautiful, American, sustainable. And so many more brands and types, including Luthier Handmade Instruments from $150-$5000 . . . .

• Ever heard of Dr. Easy’s Drunk Bay Cigar Boxes?

Acoustic/electric cigar box guitars, exquisitely made, which bring the past into the present with a delightful punch, acoustically AND plugged in! You can even hear them in concert if you catch Dr. Easy's act in local venues!

• Harmonicas, in (almost) every key (try a Suzuki Hammond ‘Mouth Organ’).

• Picks (exotic, too!), strings (!!), sticks and reeds • Violins, Mandolins, Dulcimers, Banjos, and Banjo Ukes!

• Handmade and international percussion instruments!

• Dreamy locally made bamboo and wooden flutes and walking stick flutes!

• And the new Berkshire County Rowe Stick Dulcimers, easy to play and adore, the sales of which benefit Veteran's homes and outreach programs. And there is more to delight the eyes, intrigue the ears and bring warm joy to the heart!

We remain your neighborhood music store, where advice and help are free and music is the universal language. Working with local luthiers and repairmen we offer stringed and band instrument repair. And we just may have something you haven’t seen before (have you heard the Electric Cigar Box Guitars?). We match (or BEAT) many on-line prices for the merchandise that we sell, and do so IN PERSON, for the most part cheerfully (though we reserve the right to glower a little when asked if we can ‘do better’ on the price of a pick!)!

The Music Store, located at 87 Railroad Street in Great Barrington, is open Wednesdays through Sundays and by appointment. Call us at 413-528-2460, visit us on line at www.themusicstoreplus.com, on Facebook as The Music Store Plus, or shop our online Reverb store at https://reverb.com/shop/TheMusicStorePlus. Happy MUSIC MAKING!

ARTFUL CALENDAR JUNE 2016

ART

510 WArren STreeT GAllery 510 WARREN STREET, HUDSON, NY 518-822-0510 510warrenstreetgallery@gmail.com / 510warrenstreetgallery.com June Artist Invitational, June 3-26. Reception June 4, 3-6pm. Works in oil, encaustic, collage and photography are represented in styles ranging from the traditional to the contemporary.

(Friday & Saturday, 12 - 6, Sunday 12 - 5 or by app) A.P.e GAllery 126 MAIN ST IN NORTHAMPTON 413-586-5553 June 8 – July 3 “House of Life”Paintings by Anna Dibble, Opening Reception: Fri, June 10: 5-8 pm

BeckeT ArTS cenTer of The hillToWnS 7 BROOKER HILL RD, BECKET, MA 413-623-6635 Promoting the arts with exhibits, performances & lectures; encouraging imagination, creativity & community involvement. Open to residents and visitors.

BerkShire ArTS feSTivAl SKI BUTTERNUT 380 STATE RD, RTE 23, GT BARRINGTON, MA berkshiresartsfestival.com 15th Berkshires Arts Festival | July 1, 2, & 3 (Friday July 1: 10am-6pm, Saturday July 2: 10am - 6pm, Sunday July 3: 10am - 5pm)

BerkShire WoodWorkerS Guild fine WoodWork ShoW & SilenT AucTion BERKSHIRE BOTANICAL GARDENS 5 West Stockbridge Rd, Stockbridge, MA • 413-298-3926 July 16-July 17, 9-5pm

cArrie hAddAd GAllery 622 WARREN ST, HUDSON, NY • 518-828-1915 25th Anniversary Exhibition, Leigh Palmer, Dale Goffigon, Ginny Fox, & Leon Smith, May 25, 2016 - Jul 10, 2016; Summer Exhibit Anne Francey, Stephen Walling, Marion Vinot, & Vincent Pomilio. Reception: Sunday, July 17th 2-4pm, Jul 13, 2016 - Aug 28, 2016

cheSTerWood 4 WILLIAMSVILLE RD, STOCKBRIDGE, MA 413-298-3579 June 18-Sept 18, 38th Annual Outdoor Sculpture exhibition, “The Nature of Glass”, 24 works by 12 internationally recognized glass artists, curated by Jim Schantz of Schantz Galleries Contemporary Glass

clAire TeAGue Senior cenTer 917 SOUTH MAIN ST., GT. BARRINGTON, MA 413-528-l881 See the newly rehung permanent collection. Eunice Agar paintings. Regular Hours: Monday- Friday, 8:00 AM 3:30pm

deB koffMAn’S ArTSPAce 137 FRONT ST, HOUSATONIC, MA•413-274-1201 Sat: 10:30-12:45 class meets. No experience in drawing

The Nudes From Prado are here! PETER PAUL RUBENS (FLEMISH, 1577–1640) Fortuna (detail), 1636–38. Oil on canvas, 71 3/4 x 39 5/8 in. P01674 © Archivo Fotográfico, Museo Nacional del Prado, Madrid

Splendor, Myth, and Vision: Nudes From the Prado • June 11th until Monday, October 10th The Clark 225 South St.Williamstown, MA 413 458-2303www.clarkart.edu/ necessary, just a willingness to look deeply and watch your mind. This class is conducted in silence. Adult class. $10, please & call to register.

Juried Student Art Show, May 19 - June 21; Scott Taylor and Joanie Ciolfi, June 24-Aug 8, reception 5-7 on June 24. (9am - 4pm every day)

diAnA felBer GAllery 6 HARRIS ST., WEST STOCKBRIDGE, MA • 413-854-7002 dianafelbergallery.com Fine art and crats with six week artist line up.

(Open 11-6pm, closed Tues.)

John dAviS GAllery 362 1/2 WARREN ST, HUDSON, NY • 518-828-5907 art@johndavisgallery.com

deniSe B chAndler FINE ART PHOTOGRAPHY & PHOTO ART 413-637-2344 or 413-281-8461 (leave message) *Lenox home studio & gallery appointments available. *Exhibiting and represented by Sohn Fine Art, Lenox, MA. Exhibiting as an artist member/owner at the 510 Warren Street Gallery, Hudson

fronT STreeT GAllery 129 FRONT ST, HOUSATONIC, MA • 413-274-6607 Group Show recent work by Eleanor Lord, Mary Beth Merrit, Vlada Rousseff,Roberta Haas, Doris Simon, Andrea Bruce, Sue Arkans, Jeannine Schoeffer, June 4- June 29. Opening reception June 12, 2-6pm. All welcome!

Housatonic gallery for students and artists,featuring watercolor & oil paintings by artist Kate Knapp Good PurPoSe GAllery 40 MAIN STREET, LEE, MA • 413-394-5045

houSATonic vAllery ArT leAGue BERKSHIRE HOME & ANTIqUES (north end of Great Barrington, 107 Stockbridge Rd., between the Cove Bowling Alley and Shiro’s Japanese Restaurant) • HVart.org June 30-July 31: HVAL Members and Non-Members, juried show. Opening reception July 1, 5-7pm. Aug 4: Members’ Show, reception Aug 5, 5-7pm.

lAuren clArk fine ArT 25 RAILRD. ST, GT. BARRINGTON, MA • 413-528-0432 Lauren@LaurenClarkFineArt.com www.LaurenClarkFineArt.com Alice in Wonderland 150th Anniversary Marathon. Reading of Alice by local actors l’ATelier BerkShireS 597 MAIN STREET, GREAT BARRINGTON, MASSACHUSETTS www.atelierberks.com. • 510-469-5468, natalie.tyler@atelierberks.com Kiki Dufault “LifeBlood” Exhibition runs from May 1st-

The ArTful Mind June 2016 • 5

SAndiSfield ArTS cenTer 5 HAMMERTOWN ROAD, SANDISFIELD, MA 413-258-4100 Opening Reception: Paintings & Pastels by Joe Baker, August 6, 1:00-3:00pm SchAnTz GAllerieS 3 ELM ST, STOCKBRIDGE, MA • 413-298-3044 schantzgalleries.com A destination for those seeking premier artists working in glass

ScoTT BArroW PhoToGrAPhy & GAllery 17 HOUSATONIC STREET, LENOx MA 413-637-2299 Photography exhibits

Under the artistic vision of Israeli-born choreographer Zvi Gotheiner, ZviDance is widely known for its passionate vision, versatile contemporary dances, and lush movement. The company performs the dance triptych Escher/Bacon/Rothko, danced in three distinct sections inspired by the artwork of M.C. Escher, Francis Bacon, and Mark Rothko

Jacob's Pillow Dance 358 George Carter Rd. Becket, MA 413 243-0745 www.jacobspillow.org/

June 13th. John Ratajkowski Exhibition runs from June 14th-June 30th. Reception June 26th 6-8pm, artist will be present at reception. L’Atelier Berkshires, a place to discover unique paintings and sculpture from contemporary artists

lenoX hiSToricAl SocieTy WELLES GALLERY, LENOx LIBRARY 18 MAIN ST., LENOx • 413-637-0197 Lenox Historical Society's opening of a photographic exhibition, Saturday June 18 from 2-5pm. "A Man and His Camera from Lenox to Harlem" celebrating the work of African-American photographer and Lenox native James Van Der Zee. Donna Mussenden Van Der Zee will speak briefly about her late husband's career. Exhibition will run from June 18 - June 30 liSA vollMer PhoToGrAPhy NEW STUDIO + GALLERY 325 STOCKBRIDGE ROAD, GT. BARRINGTON • 413-429-6511 / www.lisavollmer.com The Studio specializes in portrait, event, editorial and commercial photography : by appointment. The Gallery represents Sabine Vollmer von Falken, Thatcher Hullerman Cook, Carolina Palermo Schulze and Tom Zetterstrom.

(Open daily from 11-4pm closed on Wednesdays)

MASS MocA NORTH ADAMS, MA Alex Da Corte: Free Roses, thru 2016.

MArGueriTe Bride HOME STUDIO AT 46 GLORY DRIVE, PITTSFIELD, MA • 413841-1659 or 413-442-7718 MARGEBRIDE-PAINTINGS.COM FB: MARGUERITE BRIDE WATERCOLORS Original watercolors, house portraits, commissions, fine art reproductions. Seasonal scenes always on exhibit at Crowne Plaza, Pittsfield; Studio visits by appt. The Old Chatham Store and Gallery, Two Artists-Two Mediums, Berkshire Visions, Marguerite Bride and Karen S. Jacobs, Reception June 5, 3-5pm. June 5-July 27; “Jazz Visions”, this August at the Lichtenstein Gallery in Pittsfield, MA; Church on The Hill Fine Arts and Crafts Show in Lilac Park in Lenox, Aug 20 & 21 6• June 2016 The ArTful Mind

MonTerey GenerAl STore MAIN RD, MONTEREY, MA • 413-528-5900 Info@monterey-general-store.com Landscape painter Harry Orlyk. Opening reception June 18, 5-7pm. All welcome. Thru August 2016. neW MArlBorouGh MeeTinG houSe GAllery NEW MARLBOROUGH, MA newmarlborough.org./music-more/ VESSELS: an Invitational Theme Show opening reception for Vessels will be held Friday, June 17, from 5:00 to 7:00 p.m. The show runs June 18 through July 10, Fridays, Saturdays and Sundays from 11:00 a.m. to 4:00 p.m. Two exhibits will follow: Wild Life, showing 23 artists’ work July 30 through August 21, and New Marlborough Artists, exhibiting the work of eight New Marlborough residents, September 3 through October 2.The Music and More season, with six exciting events, begins Saturday, August 27, and runs through October 8. All programs begin at 4:30 p.m. and are followed by a reception in the Meeting House Gallery

no. SiX GAllery 6 DEPOT ST, WEST STOCKBRIDGE, MA Artist reception for Leah Lieber, Sat July 2, 4-5:30pm norMAn rockWell MuSeuM 9 GLENDALE RD, STOCKBRIDGE, MA 413-298-4100 Mac Conner: A New York Life, thru June 19

oPen your eyeS STudio Tour 860-618-0075 Call for location 25 artists who have their studios in Litchfield and Thomaston, CT. Participating artists will open their creative spaces and show their processes to the public during the days of the tour.

river hill PoTTery 243 UNION STREET, LOT 104, NORTH ADAMS MA 413-664-0197 Unique studio & gallery in a restored mill featuring unusual woven clay baskets by artists Phil Sellers & Gail Kolis Sellers. 1 mile to MASS MoCA.

Sohn fine ArT GAllery, PrinTinG, frAMinG & WorkShoPS 69 CHURCH STREET, LENOx MA • 413-5517353 Contemporary photography by local and international artists. We also offer photographic services, archival pigment printing and framing services.

ST. frAnciS GAllery RTE. 102, SOUTH LEE (just 2 miles east from the Red Lion Inn) Friday thru Monday 10-5pm.

The clArk MuSeuM 225 SOUTH ST, WILLIAMSTOWN, MA • 413-458-2303 222.clarkart.edu/ Thomas Schütte: Crystal, June 14-Oct 9

The GAllery at r&f 84 TENBROECK AVE, KINGSTON, NY • 854-331-3112 Marina Thompson, new prints, Ancient Wax, thru July 16

The hoTchkiSS School THE TREMAINE GALLERY 11 Interlaken Rd., Lakeville, CT • 860 – 435-2591 May 7-June 5th: REMIx, RESHOOT, RESEARCH curated by 99 Hooker with works by Benton C Bainbridge, Perry Bard, Nancy Drew, 99 Hooker, Feedbuck Galore, Dina Kelberman, Donald O’Finn, Brother Russell Scholl, Mark Street, and Mike Train

The MounT 2 PLUNKETT ST, LENOx, MA • www.edithwharton.org/ SculptureNow Exhibition with Guided Tour. Opening Reception June 12, 3:30 -7:00pm

vAulT GAllery 322 MAIN ST, GT. BARRINGTON, MA • 413-644-0221 Marilyn Kalish at work and process on view, beautiful gallery with a wonderful collection of paintings

MUSIC

ASTon MAGnA MuSic feSTivAl MAHAIWE PERFORMING ARTS CENTER, 14 CASTLE STREET OR BARD COLLEGE AT SIMON'S ROCK, 84 ALFORD ROAD, GREAT BARRINGTON MA • 413-528-3595 44th season! Early music on period instruments. Saturdays in Great Barrington, MA in the beautiful Berkshires. June 18 - July 9 BAScoM lodGe 30 ROCKWELL RD. LANESBOROUGH, MA 413-743-1591 / bascomlodge.net/ JoAnne Spies and the Elemental Orchestra July 31, 5:30pm

clArk ArT inSTiTuTe 225 SOUTH STREET WILLIAMSTOWN MA 413-458-2303 / www.clarkart.edu The Four Nations Ensemble, The Nude Sacred and Erotic, a concert to compliment Splendor, Myth, and Vision from the Prado, June 18, 730pm. will sell out FAST! TAnnery Pond concerTS TANNERY POND 110 DARROW RD. NEW LEBANON, NY www.tannerypondconcerts.org • 888-820-1696 The Jasper quartet & Eugenia Zukerman June 25, 8:00pm; Stephen Hough, July 16, 8:00pm

THEATRE

helSinki cAfe 405 COLUMBIA ST, HUDSON, NY • 518-828-4800 info@helsinkihudson.com June 27, 8:00pm: Voodoo Orchestra North

MAc-hAydn TheATre 1925 NEW YORK 203, CHATHAM, NY 518-392-9292 / www.machaydntheatre.org/ Don't Talk to the Actors, June 24-July 3; Into the Woods July 28-August 7.

ShAkeSPeAre & coMPAny 70 KEMBLE ST. LENOx, MA • 413-637-1199 www.shakespeare.org/ Ugly Lies the Bone, June 16-August 28; Twelfth Night, July 14-August 20; The Taming thru July 30;The Merchant of Venice, July 1-August 21; Or, July 23-September 4

ShAron PlAyhouSe 49 AMENIA ROAD, SHARON CT • 860-364-7469 GYPSY Performances: June 16-July 3: Music by Jule Styne, Lyrics by Stephen Sondheim, and Book by Arthur Laurents. BIG RIVER: THE ADVENTURES OF HUCKLEBERRY FINN Performances: July 21-31; Book by William Hauptman and Music/Lyrics by Roger Miller; COMMUNITY CABARET & BBq Performance: July 27,Directed by Sarah Combs; qUARTET Performances: August 18-28 A Play by Ronald Harwood; STAGE 2 @ THE BOK GALLERY:JUDGE JACKIE: DISORDER IN THE COURT Performances: July 7-17, Music by Michael Kooman and Lyrics/Book by Chris Dimond; I LOVE YOU, YOU’RE PERFECT, NOW CHANGE:PerformancesAugust 4-14; Book and Lyrics by Joe DiPietro.

Music by Jimmy Roberts.

WAM TheATre The Oregon Trail by Bekah Brunstetter, directed by Estefanía Fadul; August 21, Samsara by Lauren Yee, directed

by Megan Sandberg-Zakian; and September 11, Grand Concourse by Heidi Shreck, directed by Sheila Siragusa.

FILM

ouTdoor fAMily filMS in WilliAMSToWn WILLIAMSTOWN, MA Images Cinema's Family Flicks Under the Stars Images Cinema is pleased to announce its 10th season of Family Flicks Under the Stars, its outdoor summer film series. Each film screens at sundown (around 8:15/8:30pm) on Morgan Lawn at the top of Spring Street, Williamstown, MA. Family Flicks is free to attend, fun for all ages. Concessions will be available onsite. Bring your own chairs,

blankets, and bug spray.

IMAGES CINEMA presents FAMILY FLICKS UNDER THE STARS Sunday, July 10: Pillow Talk (1959) Sunday, July 17: Inside Out (2015) Sunday, July 24: Groundhog Day (1993) Sunday, July 31: School of Rock (2003)

WoodSTock ArTiSTS ASSociATion & MuSeuM 28 TINKER ST, WOODSTOCK, NY July 9: The Adventures of Wilna and Nan

WORKSHOP

SABine vollMer von fAlken PhoToGrAPhy Please call for workshop schedule Studio 413 429 6510. Hm 413 298 4933

Send in your events by the 5th of the month prior to publication. Welcome text files and images:

artfulmind@yahoo.com

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Denise B Chandler Fine Art Photography

Abstract Calla, Denise b Chandler

EXHiBiTinG and REPREsEnTED by:

• sohn Fine Art Gallery 69 Church st., Lenox, MA

510

• 510 Warren street Gallery 510 Warren st., Hudson, nY www.denisebchandler.com info@denisebchandler.com

WARREN ST GALLERY

The ArTful Mind June 2016 • 7

Natalie Tyler Natalie Tyler, In the window-Table by Mick Galvin, Bird Nest and Antler Chandelier by Natalie Tyler, photo credit Kaitlyn Pierce

harryet candee: how did you come up with the name: l’Atelier Berkshires? love it.

Natalie Tyler: L’Atelier is The Artist’s Studio in French. The building is both an art gallery and a studio, as artwork is sculpted on-site; referring to the artist’s workshop seems fitting.

Where do you think your deep love of nature comes from, inspiring you to make art based on how things live and grow?

Natalie: Nature has always fascinated me… finding harmony within such intricate systems. It has been my greatest teacher. Since we are from the earth, not above it, I have always believed the answers to our questions must be right here in front of us. I started to create sculpture about nature, in honor of it. To elevate the natural world to a state of preciousness, in the hope that we will appreciate the true value of our environment enough to nourish and protect it.

8 • 2016 June The ArTful Mind

Artist | Gallerist Interview by Harryet Candee

i love your gallery in Great Barrington—congrats! We need you and we need great works of art! how did this happen for you?

Natalie: I moved to the Berkshires after receiving a grant through Mass MOCA’s Assets for Artists program, which encourages contemporary artists to

move to the area. I opened the gallery and art studio last December as a place to exhibit talented, inspirational artists who are flying under the radar—and the studio to create and teach glass sculpture.

do the Berkshires give you a satisfying amount of freedom to explore nature and animal life, and enough greenery to inspire you and keep your ideas and visions flowing?

Natalie: The Berkshires are magical in many ways.

To be surrounded by the mountains, lakes and wildlife provides endless amounts of inspiration.

Each changing season allows for a different perspective on the life cycles of plants, animals and insects.

I have a new series in the works about the thaw. During the transition between winter and spring, I went on hikes and photographed the ice as it was melting.

I’m looking forward to making new works based on those nature explorations.

Natalie Tyler, Sheep Skull, Cast Crystal, 8x 14 x14, 2013

What do you think has attracted people to your sculpture? What qualities belonging to natalie Tyler make your art-making unique and well-received?

Natalie: One of the most powerful things about the visual arts is that you have the ability to communicate to others in a way that passes through language barriers. For me, the best art speaks to the soul, which makes it timeless, in a sense. My art isn’t the in-yourface kind of work, telling others what to think. It is quieter. People are drawn in, and look at the work on different levels. When making my sculpture, I compare it to writing a novel. Working with a range of significance, the deeper one looks into the work, the more they see—almost like a reward for the attentive.

I sculpt and cast all of my own work. Being involved with every stage of the process makes my work unique, in that my hand and decisions are there throughout the whole creation. I care about the work and am close to it throughout its journey. In so doing, I have learned to cast things others wouldn’t even attempt. how does your current art compare to your past art? What are the differences, and how did it develop from its early stages?

Natalie: When I first started sculpting, I started with the human figure. I had a teacher tell me, when you master the human figure you will be able to create

anything. Sculpting in wax gave me the ability to create tension in the work, have thick and thin areas, and texturize. My first true love in art was bronze. After my first pour, I became obsessed. There is something magnificent about the molten metal, feeling the heat of it on your face, and watching it flow like golden lava into the mold, knowing that you’ve transformed the metal into your intention.

Seven years ago, i started casting in crystal glass.

As much as i love bronze, i missed using color in my work. So crystal gave me the ability to incorporate color and light into the work, which breathes life into it. The glass adds a whole other dimension.

Natalie: I became intrigued with plants and their life cycle after I started gardening. So my sculptures started to be about what surrounds us, rather than about us. Conceptually, my work has become about structures, how they are created and how nature reclaims them. Whether it be gestating insects engulfed in a cocoon, a spider on its web, our disappearing farm buildings, or skulls of individual animals. do you go crazy with thoughts on what to create, maybe entering them into a journal? how do you decide on what to do next?

Natalie: I used to draw in sketchbooks. Several years ago, when I was living in Jersey City, I found one of

my old sketchbooks from five years earlier. I opened it up and flipped through the pages. I had drawings of birdcages, sunflowers, wasp nests, bird nests, cocoons, and old farmhouses, all in one book. I looked in my apartment and realized I was surrounded by sculptures of everything that was in the sketchbook.

It wasn’t conscious—I had forgotten about the sketchbook and it had taken me years to make everything. When I was drawing back then, I was subconsciously planning my work for the next several years.

These days my process is pretty fluid and organic; one project usually leads into the next.

Tell me about your favorite elements of nature, and why using them in your art makes it such a great journey of exploration and discovery?

Natalie: As far as elements of nature go—earth, air, fire and water—choosing a favorite is something I cannot do. They are all important and interlinked, just like our four seasons are. The earth is our home, connects all living creatures, and is one of the most amazing phenomena of all time. The earth is the perfect distance from the sun, the atmosphere (air), minerals (earth), sea (water) and volcanic rock (fire) are in absolute harmony to allow for life to exist. The elements all play into the creation of my work. Fire melts the metal and glass, I mix water, plaster and sand (earth) to make the molds; air combines with fire to melt the bronze.

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The ArTful Mind June 2016 • 9

Natalie Tyler, Bird Nests, Bronze, Resin, 7x 6x 4, 2008

Perhaps my favorite element will end up being the fifth, quintessence, once I have studied up on it a bit more….

how does the turning of life/death/birth relate to your creations? can you cite an example?

Natalie: Initially, my work was about the reclamation of nature. Decay is nature’s way of cleaning up our mess over time. Many of our homes and buildings eventually fall into disintegration. I’ve always thought of decay as Mother Nature’s quiet power. It also reclaims plants, animals and our bodies, which in turn become fertile ground for rebirth. In my series of work such as Anywhere, USA, a collection of bronze sculptures based on our disappearing farming culture; and I Girasoli, the installation of bronze sunflowers, both depict the return to the earth. Afterwards I decided to create a work about life. It posed quite a challenge to create an artwork that is living and breathing. I wanted to depict transformation, which is a compelling time in all of our lives, whether it be inside the womb, or in life when we make internal shifts to another stage. The metaphor for this concept became the cocoon.

I decided to create Diapause, an installation of seven human-size cocoons. You enter into a pitchblack room, where all you see are several warm, 10 • 2016 June The ArTful Mind

amber glows. As you approach each glow, it starts to wake up and slowly brighten, which reveals the whole form of the cocoon. Once you are still, it dims back down and goes to sleep. Diapause is meditative and encompassing, allowing for an interactive dialogue between the viewer and the cocoons.

do you have any large-scale plans, such as creating an installation as a possible theatre or literary project? Something along the lines of a metamorphosis—the flight of bees or butterflies? An opera, ballet or film background?

Natalie: I would love to use the cocoons in a ballet, with the dancers reacting to the cocoons. The cocoons would in turn react to the dancers. Because of the darkness, the audience would see the silhouettes of the dancers passing in front of and around the cocoons. It could be a part of a larger performance about change and metamorphosis. okay, mundane question… are your sculpture materials very expensive? has that ever stopped you from making something?

Natalie: Ah yes, the materials for sculpture are expensive. I use the best materials, bronze and crystal glass. Because the work is labor-intensive, I haven’t had the desire to use aluminum, which would be

cheaper. But then the work would look less significant. I always feel that I am giving the sculpture my all, and I don’t want to cut corners on what it is made out of. The crystal glass is so luminescent and vibrant, and the bronze has such a deep richness in metal color and texture. The price of materials does limit me at times from making larger-scale work… I have bigger ideas that will make more of an impact.

Currently I am applying for grants and looking for ways to fund the larger-scale sculptures.

how have you explored history in your work?

Natalie: With much of my work, I don’t strive for perfection; I strive to tell the history of something.

History is rarely perfect. It is wood marred with marks; it is bone disintegrating over time, it is change and growth. When Italian Artist Beatrice Pediconi first introduced me to Wabi-sabi (my artwork reminds her of the aesthetic philosophy), I felt encouraged that there is a universal thought behind what I have been making. Wabi-sabi is the acceptance of transience and imperfection, embracing the march of time, a quiet undeclared beauty that waits to be discovered. looking back, what would you say is your favorite piece of your own work? do you ever feel

the need to re-interpret any of your work?

Natalie: The cocoons, Diapause, were the most challenging to realize, but also one of the most successful. One of my students gave me the biggest compliment about this installation. He said that seeing the cocoons made him feel in a way that he had never felt before.

Other pieces like the Antler Chandelier and the Bronze Sunflowers were very challenging works to make also, and came out just like I had imagined. I have finally gotten to the place in making work where my intentions are clearly realized. As an artist it is an amazing place to be. I look forward to making future work for more decades, because I know the best is yet to come.

do you still illustrate with pastel or pencil, as a preliminary sketch for sculpture?

Natalie: I do some drawing, but mostly I go straight to sculpture. My processes are pretty intensive, so most of the time I sculpt directly. My ideas are usually pretty fleshed out by the time I begin making them.

Natalie Tyler, I Girasoli, Bronze, 84 x180x84, 2001 photo: Melanie McLean

Getting personal… what are some of the rituals you live by?

Natalie: Espresso is one of my rituals. It helps me prepare to take on the world one morning at a time.

I swim almost every day; my time in the water is my thinking time. I eat healthy—lots of veggies, protein and dark chocolate. One of the most important rituals I try to remember is to stay connected to the tangible during the day. I limit the amount of time spent on a computer, phone or texting, and aim to be as present as possible in the real world. I never watch TV, but very occasionally I’ll watch a movie. It has always been important to keep my mind static-free. I want to rely on my own imagination and thoughts, so I avoid the television like the plague. The pyramids in Egypt would never have been built by man if TV and football games existed back then. Time in our lives is precious. It is part of my ritual to make the most of it.

Who or what are you married to? Who might be your soul mate?

Natalie: e.e. cummings said it best…

“Trust your heart if the seas catch fire, live by love

though the stars walk backward”

life on the other side of the country (california) must differ from here. What do you see as the pros and cons of both areas?

Natalie: California is very beautiful, and the weather is perfect all the time. For me though, I feel like a fish out of water there. I am very ambitious, with an insatiable thirst for intellectual stimulation. The California vibe is pretty mellow. I have family there so I go often to visit.

Massachusetts has been a remarkable discovery.

I lived in New York City for a decade, and was amazed at all the city had to offer in terms of arts and sophisticated culture. But the city life started to wear on me after a while. I am a country girl at heart. The Berkshires have been the perfect blend of arts, culture and nature. I feel like I finally found home.

natalie, what was your childhood like? Art must have always played a very important role… it’s not like you just picked it up and said, i’m an artist. correct?

Natalie: I have a cousin, Mat Shriver, who is an incredible artist. I first saw his drawings of wizards and dragons when I was three, and I decided right then that I wanted to be an artist. I wanted to have that ability to draw whatever was in my mind. Studying art in Italy was one of the most formative times of my art career. I came back from Italy with a real ability to draw—which is so important for an artist because it is the foundation of hand/eye coordination.

It is like using a sharp knife in the kitchen to cut a tomato. We all know what happens to a tomato when it is cut with a dull knife.

My mother, Eva Connell, has always been a believer in me. She encouraged my art career, and that is important to me. She is also an inspired soul and a sculptor, so she understands the need to create. Career-wise, I have had a range of past experiences, from working for an investment banker to working in the film industry, but when making my art, I feel that I am doing what I was meant to do. you have other talents that you have mastered.

What are they?

Natalie: When I work in the film and fashion industries it is in set design. Set design is also very creative, on a more collaborative level. It is fantastic to be a part of a film crew and create large-scale projects as a group. I have worked on several feature films, some that have won awards at film festivals like Sundance. In New York, I built the twelve-foot nest for the Alexander Mcqueen fashion campaign in 2008—when he was still alive. That was an amazing photo shoot to be a part of.

More recently, I have been curating exhibitions bringing artists and scientists together, as well as creating installations combining art and science. Having a chance to collaborate with scientists and incorporate visual art as a means of communication for nature conservation has been an eye-opening experience. Most recently, I collaborated with Dr. Lucy Spelman on an installation of glass sculpture about the dangers of human-to-mountain gorilla disease exchange. This summer I’ll be exhibiting a glass installation at RISD in Providence, Rhode Island as part of the Wildlife: Trading and Conservation exhibition at Gallery 55 in July. This exhibition is very Continued on next page...

The ArTful Mind June 2016 • 11

Natalie Tyler, Diapause, Mixed Media, 156x 240x260, 2010

Natalie Tyler, Flames, Crystal, 8x9x3in, 2016

exciting as it brings artists, scientists and wildlife experts together to understand the problems facing animals today because of animal trafficking. It is sponsored in part by IFAW, the International Fund for Animal Welfare.

What’s your criteria for the art that fits into your gallery? how and why did you choose kiki dufault’s work?

Natalie: L’Atelier Berkshires gallery is a place to exhibit artists who are creating remarkable work. My interest is in the artists who are flying just slightly under the radar, because their body of work is very developed, yet they haven’t been officially “discovered.” At that point in an artist’s career they are creating work that is very true to their beliefs—that is raw and hasn’t been influenced by the demands of the market. L’Atelier is giving these talented artists a platform, so people can come to know and support their art.

Kiki Dufault is a painter from the Berkshires. Her paintings are truly magnificent. She has a command of paint that is rarely seen. Her paintings go through a metamorphosis, which brings them to life and creates a visual history. She says one painting is built up by many paintings being underneath. Her focus is the 12 • June 2016 The ArTful Mind

Natalie Tyler, Crystal Wasp Nests, 14x14x5in, 2010

figure in the landscape. As she is painting, the figure emerges then disappears, then re-emerges. The process is exemplary of human interaction with the earth. Her painting Janus is one of her earlier works.

It is very large, with deep layers of red tones, and texture. You can see a woman’s figure next to another two-headed figure, one that resembles a face of a small child. It is earthy and speaks on a primal level.

Her paintings have their own history; she creates them and allows them to have a life of their own.

Janus was stored for a couple years in a barn, and some wasps started to build their nests on the surface of the painting. She chose to leave them there, as the nests are now a part of the history and lifespan of the painting. Her recent works are inspired by reinstating the health of the water and protecting our Berkshire environment. Her exhibition is on view until June 13.

The artists who are a good fit for the gallery create works inspired by the natural world, have environmental awareness and bring attention to the importance of conservation. We have the furniture designers exhibiting this summer, making handmade furniture with locally-sourced wood and incorporating design that creates very little waste. Irish artist Mick Galvin’s table designs are in the gallery for the month of June, and the Mongiardo Family will be

showing in the month of July.

you like working with raw materials, using your hands, making things come together and work…

What are some of the challenges you face and risks you take when making art?

Natalie: I hand-sculpt most of my work, like the skull series. I look at a real skull and sculpt my version in wax, incorporating the history of the individual creature into the sculpture. That way the past story of this particular animal is preserved. Once cast in glass, that animal is elevated to a state of spirituality, much like the significance of Aztec crystal human skulls.

As far as risks, bronze casting is an adrenaline rush, pouring the molten metal. I am very aware, careful and grounded when I pour. You can’t make a mistake, or mis-pour, with the liquid metal. I will admit, the danger of the process plays into the excitement of creation. Knock on wood, after 20 years of casting I have never had a mishap. do you think you are a complicated women, in general? how would you say your art reflects your lifestyle and your personality (which is think is totally delightful and refreshing!)?

Natalie: I’m not sure that I’m complicated… but I

Natalie Tyler, Antler Chandelier, Crystal, 36x28x28,2014

Natalie Tyler, Bronze Pour at the Mendocino Art Center photo: Maya Kini

am definitely dedicated and driven. I get that from my grandfather, Max Tyler. He is a holocaust survivor—he lost his whole family in the war and came to this country with my grandmother, both hardly speaking any English. Being a tailor in Europe, he got into fashion design and production, building a successful dress company in Los Angeles with his eye for design and his ambition.

I have gotten to the point where I have accepted that my art is my lifestyle. An artist’s life is rarely a normal or a conventional one. My life so far has involved a lot of travel for exhibitions and residencies, across the nation and in Europe. I have had the chance to meet all kinds of fascinating people and find inspiration everywhere. My life has been filled with magical moments, like sitting across from Louise Bourgeois while she looked at my art and gave me feedback during one of her Sunday Salons.

Those are the kinds of moments, for me, that make life worth living.

Who are the important influences that have rolled through your life so far?

Natalie: As far as artists I am amazed by… Louise Bourgeois, Anselm Kiefer, and Eva Hesse are among my favorites.

Personal influences have been artist John Ratajkowski, and a sculptor/friend who recently passed away named Arthur (Bud) Schmitt. One of the most important lessons I learned from these two artists are that you are the creator of your life and your life can be a work of art. I am eternally grateful to have these people to admire.

When out in the museums and galleries, what kind of art excites you and speaks to you? Why? Natalie: The artwork that speaks to me is the artwork closest to the artist’s soul. You can’t get that from a 3D printer. The most amazing piece of art I have ever seen is Michelangelo’s Pieta. His hand brought to life that piece of marble. Looking at the collapsed Jesus in Mary’s arms, you almost see him breathe. I truly believe that we as humans have the gift to give with our hands. The artwork I admire most is the kind I learn from, where I ask: how in the world did they do that?

Being a local gallerist, what are your key goals?

What would you like to offer our community, artistically and otherwise?

Natalie: I am excited to have the opportunity to help make the connection between the community and

artists. To bring to the surface artwork that inspires all. People come into the gallery on just a normal day, look at the artwork and start telling stories. I’ve seen them leave the gallery excited and enchanted, and to me that is a blessing.

Giving artists an opportunity to show and sell their work is very important to me. I know, being an artist, what it feels like to want to keep making work, knowing that you must sell in order to afford the next project. There’s also the hurdle, after making the work, of waiting for an exhibition opportunity. The artists showing in the gallery are extremely dedicated to their craft. They have worked many years to develop their technique and bodies of artwork. I feel grateful, as a gallerist, to be able to offer this caliber of art to people who come to or live in the Berkshires. how do you as an artist work with your intuitiveness, the grey areas of thinking? The unexplainable, “knowing” tool you possess?

Natalie: That grey area is probably one of my favorite places to exist in. It is a combination of vision, intuition and meditation. Creating artwork is a very spiritual experience for me. Some people call it “being in the zone.” It is a place where the connection of my hands, Continued on next page...

The ArTful Mind June 2016 • 13

Kiki Dufault, In front of LifeBlood painting by Kiki Dufault Photo: Kaitlyn Pierce

eyes and mind have utmost clarity. When there, I lose track of time, because time doesn’t matter in that space. The evolution of the piece is what matters. I do believe it has something to do with the transfer of energy from universe to human to artwork, back to human and then, ultimately, universal thought.

crazy question: Suppose an auto parts store—or a construction company or zoo or botanical garden—asked you for a commissioned piece of sculpture, and left it all up to you to decide on….

Would you do it, and what do you think you’d you come up with?

Natalie: I would love to do a commissioned piece for a business. If it were to be an auto store, I might make take car steel and weld something unexpected,

14 • June 2016 The ArTful Mind

changing the car’s history. If it were a construction company, I would choose recycled building materials to create a sculpture enhancing the possibilities of recycle and re-use. Definitely, I would welcome the challenge of a large-scale public art piece. do you prefer to work in color materials or black and white?

Natalie: Color and light in the cast crystal add another dimension to the work, but so does the clear or black crystal. The ability to mix colors in the glass has also been a fun challenge. I have started to figure out how to essentially paint with the molten glass while it’s being slumped into the mold, and that is exciting. The chunks of glass are placed in a flowerpot above the mold, and when the glass is as fluid as

honey, it pours through the hole in the flowerpot, into the empty cavity inside the mold. The glass then replaces what I sculpted in wax. Glass casting is a very special and unique process. Not that many artists do it yet… In the Czech Republic, glass artists have been the experts at cast glass sculpture. My grandparents, before World War II, came from the Carpathian Mountains in former Czechoslovakia, not far from where artists make their works in glass.

Somehow, through art, I found my family origins, being drawn to such a unique way of making sculpture. do you make better art with good music playing? or does outside noise hinder your creative process?

Kiki Dufault & Natalie Tyler

photo: Kaitlyn Pierce

I listen to music when creating sometimes, especially if I need energy to keep working. I usually work long hours, so some old country or blues keeps me inspired. I work outside whenever the weather permits, and at those times I usually just listen to the sounds of nature.

Natalie: The first wish would be to continue making art at least until my late 80s. Second wish would be to continue doing what I am doing with the gallery and the studio. I’m happy with my life right now, so I might save the last wish for a time when someone else or I really need it.

if you had three wishes granted to you, what would they be?

do you ever see your art as being female in feel, as opposed to masculine? do either play a role at all for you? natural form is thought of as being feminine, and masculine form very sharp edged, not rounded.

Natalie: I think my work has a feminine sensibility, encouraging the nourishment and protection of the environment. Some of my other work is edgier, plays with notions of sexuality. That being said, it does take a typically masculine role to make the work. When I am in the studio, I don’t think of myself as typically female, delicate or sweet. I have to be assertive. My molds are heavy and the process is labor intensive. I swim in order to stay strong to lift the heavy work.

One day I went into a hardware store and asked

What is the significance of sunflowers in your bronze work? Are there sunflower memories involved?

Natalie: When I studied art in Italy, and when I arrived I was on a train traveling through Tuscany, on my way to Bologna. It was at the end of summer.

Looking out the window, I saw endless fields of sunflowers. They had passed their moments of glory and had started to turn in on themselves. In that state, they looked so poetic, and their individuality surfaced as they were beginning to dry out. I started to think about the thin line between beauty and death.

The dying sunflower image stayed in my mind, until I found a way to create an installation about them.

They balance on their root systems, deprived of nutrients. I have cast 24 flowers, so far, ranging in height between four and eight feet tall. I like to show them as a grove of flowers, a community, each with their distinctive personality.

What do you look forward to mastering in the future?

Natalie: I would like to make some larger-scale works, public art installations and more interactive work.

an older gentlemen where the toolboxes were. He took me over to a shelf and pointed at the pink toolboxes. I raised my eyebrow and bought a black one.

So what does the summer have in store at l’Atelier Berkshires?

Natalie: We have an exciting few months ahead.

Kiki Dufault’s exhibition will be up until June 13.

From June 14-30 we will be exhibiting colorfield encaustic paintings by California artist John Ratajkowski. The artist will be present for the reception on Sunday, June 26, from 6pm-8pm, and Mark Dufault will be playing classical guitar.

The Mongiardo Family is a local family full of talent in art and furniture design. Nick Mongiardo has made furniture for celebrity clients and high-end designers. His own designs are extraordinary, and he will be exhibiting for the first time with his very talented sons, Taj, Massimo, and Carlo. The Mongiardo Family Exhibition will be July 1 through July 31, with an opening reception on Friday, July 1 from 7pm-8pm. Being able to exhibit such talented artists is truly an honor.

The ArTful Mind June 2016 • 15

MICHELE WILKINSON Artistic Passion from Head to Toe Interview by Harryet Candee Photography by Lee Everett

Artists are those precious beings in our society who take the raw materials of life and create beauty, whether that means from paint, words, music or… hair? yes, most definitely, hair. The German theologian Martin luther was quoted as saying, “The hair is the richest ornament of women.” And we all need a little help tending to that ornament - none of us would deny that! i’ve known Michele for almost 23 years, and as friends and professional artists we watched each other’s business develop from early on. i was always impressed by her creative thinking, wise choices, strength, and ability to grab opportunity by the wings. her mailing list is three times longer than mine, (i’m just guessing), even though we seem to know the same people. everybody wants to look their best! Going to a 16 • 2016 June The ArTful Mind

professional group of stylists is the best solution for any age. for skin care and pampering, massage to facials, all of this and more, is ready and available at Michele’s. it’s comforting to know, that once you’ve begun a relationship with a stylist or aesthetician at this salon, it usually lasts for years.

Talking to Michele you’ll see she’s honest and gets to the point. The fun part about Michele, including her endless energy and enthusiasm, is the way she can describe something she wants and envisions it right before your eyes. She likes to please, and guide her team and customers (she calls Guests) in the right direction—a sure-fit way to run a business.

Michele works closely with her team. She is very big on attending educational forums, work-

shops, training sessions in order for everyone to be at peak performance level. With hair and skin, training is the key towards a healthy client/stylist, one-on-one relationship. Also, keeping informed on new hair and skin technology these days, well there is a lot to cover! cuts are more complicated and hair coloring is more dimensional looking and more technically involved. There is much to know and understand about mixing colors and the application process. Today all the ways to color go beyond basics. requests are made for complicated cuts, color, and maintenance. Michele and her team are intune with addressing all requests no matter how challenging or outrageous they may be. There are creative solutions for everything.

The products for hair and skin, including make-

up at Michele’s, are like finding high quality water color brushes from france, or the finest quality linens and oils for the canvas we paint on.

Always a good investment. i love Aveda and Dermologica products for hair and skin. krista, aesthetician at Michele’s uses these skin care products on me, and i trust her to the end of the earth. She is highly trained and works well with this ever-changing and challenging world of beauty. Admittedly, i still hate getting my legs waxed, but won’t dare go to anyone else. it’s as simple as that.

Michele’s Salon and day Spa in Great Barrington has been making locals and visitors beautiful since 1993. i caught up with owner/master stylist Michele Wilkinson this month to talk about her artistic passion for beauty making. here’s our conversation.

Michele, you work with great energy and focus with all of your guests and help them to look and feel their best—starting from the top! Anyone can see that you love the art of hair care and design.

Michele Wilkinson: It’s a passion. My team and I definitely love what we do. Yes, we put a lot of time into it, but it’s not work because we’re so devoted to it—so it just doesn’t seem like any trouble. Are there challenges? Yes. But it’s our art.

Devyn McAlister and Holly Broga at their most creative

if you were not doing salon/hair work, what do you think you’d be doing?

Michele: I think I’d be doing some type of life coach; helping people to achieve their goals in business and happiness. But this kind of work—with hair being the focus—has fulfilled everything for me. Our goal at this salon is to see that all our guests have a trusting relationship with us, so we can be sure everyone leaves physically and mentally refreshed. We always pick up where we left off on the last visit, which creates a lasting and trusting bond. In many ways, we do both: hair and coaching! you must have a lengthy list of guests, since you’ve been doing this for so many years in the Berkshires. A wealth of experience too, no doubt…

Michele: I’ve been doing this since 1987—I worked seven and a half years at Alfredo’s Beauty Salon before opening my own salon. When I was a novice in my twenties, I would go to the city for advanced, hands-on training. So with all of this, combined with learning more on my travels to the West Coast in the US for classes, to Paris, Italy, Amsterdam, Israel, (always checking out the salons!), I was able to pick up different ideas and techniques. Europe continues to intrigue me. They have a great fashion sense, and some good stylists! Vidal Sassoon, our icon, is from England.

After learning to do hair, did you need to learn other things in order to run a successful business?

Michele: Yes, I needed to learn the business end, which was all new to me. So at twenty-three I took lots of courses in business. I had to learn the numbers—retail and service sales, balance sheets, profit and loss… all of this was very foreign to me at one time.

“Use Pureology Root Boost on dry hair at the base and rub it in. Then hit it with a little heat from your blow dryer and you have instant volume to freshen your style.” ~Holly Master Stylist What’s the most fun part of this business for you?

Michele: Aside from loving what I do, I really love the idea of enhancing someone’s appearance. I sometimes create a style for someone, then find myself redoing it on others because they were inspired by how great it looked. But a style has to work for that person, of course. If not, we suggest other styles.

Continued on next page....

The ArTful Mind June 2016 • 17

Attractive and colorful display of hair and skin products line the wall

do you stay up-to-the-minute on trending styles, to satisfy the city crowd?

Michele: Yes, as much as my team and I can we because it changes all the time. If someone wants one side shaved and one side long, I say great, lets do it.

I’m not afraid to do anything. We get inspired by watching people when we are in the city, and we bring that back with us. The diversity of the population—local and otherwise—is a big inspiration for us, and just because we’re not in the city doesn’t mean we’re not on the cutting edge. I love to peoplewatch in the Village, in Soho, NYC… it helps me to think out of the box. People think it’s different up here, but we know city people will have a great experience at the salon. They’ll know we are on that cutting edge. Also, getting to know a guest’s personality really helps us to give them the great look they want.

you recently went through a shocking time. your salon was flooded. What happened?

Michele: It was very upsetting. Everything downstairs was floating. But we had Wayne Wilkinson and crew come in, Carrie Herrington of C. Herrington Home & Design for the design of the walls, décor, and furniture—all of that needed to be redone. And since I am always behind the chair, I chose to work with a design team. They would run things by me and I would say yes, or no. We re-did it for the better. It’s similar to how it was before, but the colors are different. We have better flooring as well. But we already had everything… the massage rooms and manicure and pedicure stations were not changed, just moved around. We’ve now made the downstairs even better than before!

you always have great music playing, there is delicious coffee and homemade cakes, teas, water…

When a potential client comes in, what is the gen- all of the products are nicely displayed on glass shelves with attractive packaging and colors—not eral protocol that you and the team follow?

Michele: We ask a lot of questions during our con- to mention, all are high quality and performance sultations; what is their living situation, their style products, such as Aveda, dermologica, Jane needs, how much do they want to invest, how much iredale, Bumble & Bumble, Pureology, redken, maintenance are they looking for… a lot of conver- PcA... The mirrors at each station are huge, wellsation goes on. Hopefully we meet their individual lit and cast a bright and sparkling aura of light. not unrealistic, just very flattering. The waiting goals of exactly what they want. area is comfortable, and christy is there to greet people with her friendly conversation and professionalism behind the counter.

“Always use a serum or a light oil to break up happy staff with good dispositions walking, working and moving about. There is an outyour curls after using a curling iron. I persondoor porch with large blue umbrellas, ally love using Moroccan Oil Light or Hairdresser wooden tables and chairs, fresh flowers, and Invisible Oil by Bumble & Bumble.” well-chosen art on the walls everywhere.

Joe you put so much into this environment.

Why so much?

Junior Stylist Michele: Because I want this place to be where I would want to go myself and returning guests feel the same way. It’s where they want to be.

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We also had LB Creations design the Yin Yang coffee table upstairs and the mirrors in the coloring area. We have pottery cups for tea and coffee by Michael Wainwright. All help to give this salon a special, appealing look and feel.

i remember when my mom would go to the “beauty parlor.” Boy, times have changed since then!

Michele: Yes, it’s changed since the beauty parlor days. Every decade it goes through another change; 70s big hair, 80s flat hair. All the time the hair industry is evolving. Now we just tweak something from a certain era. Brigitte Bardot’s hair is still an inspiration to this day because she had such beautiful hairstyles. Oh, and we don’t use the word “dye” any more—we color hair. We work a lot with color and glazing now and bleaching isn’t so dangerous any more—they’ve got some good stuff out there now to get the platinum look, like Marilyn Monroe. You just need to know where you’re going with it. It’s all much safer and better now in terms of using those once-dangerous products. We know what’s out there, what is good to use, and what not to use.

The world has grown to be such a buy place. The impact of the computer and cell phone age is upon us! People are always on the move, juggling handfuls at a time. everything is so immediate. is it easy for you to accommodate people who have such busy schedules?

Michele: Yes it is. Things are different today because of social media, especially the internet. For example, I can get on Facebook and talk to a stylist. We can easily pick up a cell phone and get a quick appointment. So it’s easier to accommodate people, and not just through the front desk. You can request an appointment online and we’ll call you back.That helps those of us who are always on the go.

“To help tame or create movement in wavy hair-take a medium sized round brush and twirl with tension, almost the same as you would a curling iron. You can also use your finger to hold in place while curl is still hot. Allow to cool and then break up and smooth style using Bumble & Bumble’s Brilliantine.”

-Samantha New Talent Stylist

your team includes hairstylists, skin and body care specialists… do you all meet up to talk shop?

Michele: We have team meetings once a month, and each one is different. One of the reasons we have the meetings is to inspire our team and educate them on new products, services, techniques. Today we talked about offering Reiki, and new Dermologica products.

i don’t see that you advertise much. do you not need to because you already have such a strong following?

Michele: Many people come to us because we offer certain products that are excellent. They hear about us on the web, find us, and come see us and we then, get reviewed. I would much rather spend advertising dollars on educating my team.

Devyn and Aline Sosne

Women used to go to the salon on a weekly basis it was a time for them to socialize and catch up on the latest gossip. i don’t see that going on these days, at least not at Michele’s.

Michele: The biggest percentage of our guests come here to just take care of themselves and chill, rather than to do any socializing.

in your opinion, what makes your salon stand out above the others?

Michele: In terms of services, we aren’t a quickie kind of salon. People don’t come to us for just a haircut; we do more than just haircutting. We will bring you through the process, the consultation. We can take care of everyone’s needs. And everyone in this county can afford us, because we have different levels of stylists at different prices, sliding scale. People will be referred to me, a master stylist, or to others who may be just starting on the floor and who will charge less.

if you relocated anywhere in the world, would you still keep your passion for haircutting active?

Michele: Yes, because hair is considered a part of basic maintenance. You can go anywhere in the world and find everybody needs a haircut! Hairdressers will never be replaced by anything because we work hands-on.

“Brows are all the hype right now! Use the Bitty Brow Kit by Jane Iredale. Made to add subtle color to the brows and at the same time balance the entire face!”

Liz Aesthetician

There must be so many new tools in the hairstyling field. i would imagine they’ve made your work easier and more interesting!

Michele: Tourmaline ceramic ionic dryers, stylers and straighteners—all new and needed to keep hair in good shape. We educate our stylists to use these tools in order to keep the integrity of the hair. The razor is now a tool with many purposes—it’s not just a razor anymore! The Japanese razor, scissors are all part of the stylists investment. Everyone here has their own set of tools.

is peroxide still used in salons? i know most have taken the ammonia out.

Michele: Peroxide is an inexpensive gift, still used for many things—from coloring hair to disinfectant. do you keep your family and social life untangled from your salon life?

Michele: Yes. They need to stay separate. your daughter works for you, yes?

Michele: Yes. And also Joe, my son-in-law. They come over and we talk shop. We try not to, but it’s kind of impossible. It’s amazing to work with my daughter at the salon! She is my social media junkee.

She said she wasn’t going to get married, have kids, or work at the salon. Well, she’s done all three! And I’m a grandma three times over!

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The ArTful Mind June 2016 • 19

That’s a lot to be proud of. So, what did you specifically do that led to your success as a businesswoman, creator, leader?

Michele: A lot of hard work! I did lose time with my children, and I was lucky to have grandparents around for my kids.

There’s the energy in any business of everyone getting along, but it’s really about the guest. We are not catty, and even though drama comes up from time to time, it’s very seldom. There’s drama everywhere. It’s real-life stuff, and it’s what you make it. We keep the drama down, move through it and evolve. As much as our mind gets carried away with what’s going on tomorrow, the present moment is what we have.

Are you fashion-savvy? you must like to set an example that your stylists follow… clothes and jewelry that are trendy, but in good taste.

Michele: Yes, I follow designers, and some are my favorites, for example I’m wearing my Free People boots today. Any jewelry I wear is minimal. What I wear is what I love. I also only wear colors that go with my hair and skin color.

What’s your favorite local restaurant?

Michele: Oh… I love Old Inn On the Green, Café Adam… I am not a vegetarian!

do you sometimes run off to work without eating?

Michele: Sometimes. But I will do a smoothie in the morning with protein, bananas and berries before I go to work.

do you love the Berkshires?

Michele: The Berkshires is a real gift. It has everything. I love hibernating and being near fire in the wint ter, and just Being. You can reinvent yourself here.

When summer comes there is art, dance and theatre—

20 • June 2016 The ArTful Mind

Hot stones massage

Private steam shower room

“Hydrate following massage by drinking plenty of water as well as soaking in a warm Epsom Salt bath at home. Make sure to take advantage of our state-of-the-art steam shower here in the spa.”

-Peggy Licensed Massage Therapist

Aveda chakra aromatherapy

Aesthetician’s private room

“Everyone knows how much I love make-up! To make your cheekbones appear higher, use bronzer under your cheekbone and highlighter on your actual cheekbone. Then blend, blend, blend! I use Jane Iredale’s Sunbeam for an all in one blush, bronzer and highlighter.”

-Chelsea Senior Stylist so much to do. Even just walking around Great Barrington—this quaint gift we’ve got here. Okay, we’ve got our new traffic lights, and they’ve cut the pear trees down but the people are the same, that hasn’t changed. This area is so diverse, with many different kinds of people. This is our community, and I am very involved in it—there’s the Railroad Street Youth Project, for example, and I’m supporting Andrea Harrington in the senate; Fairview Hospital— it’s a really great little place to live. The way Michele Wilkinson works is: I give back. One hand washes the other. If your home burns down, if there are floods, tragedies, people are so supportive here.They have fundraisers to help out. It’s a lovely community.

So who makes up your creative, talented team these days?

Michele: Front desk manager is Christy Thorp, Amanda Johnston and Suede Wickwire. Master stylists are Holly Broga, Chelsea Brown and myself. Senior stylists are Joe Brown and Alicia Levanti, Junior Stylists are Victoria Roy; Samantha Candee is New Talent. Devyn McAlister, salon assistant. Massage therapists are Peggy Cooke and Wendy Nunnally.

Continued on next page...

The ArTful Mind June 2016 • 21

“Use a soft head toothbrush and Dermologica’s Skin Prep Scrub to give your pores a deep clean in blackhead prone areas. Use circular motions.”

-Krista Aesthetician

top: Downstairs

Above: yes, it’s good coffee and cake!

Skincare therapists are Elizabeth Aquino, Krista Sniezek and Suede Wickwire. Choose any one of these artists and you cannot go wrong. They are all focused and passionate about the art of making people beautiful! “We Do The Beautiful People!”

Thanks, Michele. I know you’ve worked very hard to get where you are today. People like you are truly an inspiration.

By the way: 413-528-9999!

“Use Jane Iredale Circle Delete under your concealer.

It always brightens up your eyes and gets rid of that tired eye look.”

-Christy Front Desk Manager 22 • June 2016 The ArTful Mind

Christy Thorp, front desk

Alison Wedd Photography

Come take a look!

alisonweddphotography@gmail.com alisonweddphotography.com

The ArTful Mind June 2016 • 23

fine line MulTiMediA live PerforMAnce PhoToGrAPhy And video

Fine Line Multimedia provides single or multi-camera video of music, dance and theater performances. Services include: scripting and storyboard art, videography with professional high definition cameras, high quality audio recording, sensitive lighting design and creative editing with the latest non-linear editing system.

For the past 45 years Fine Line Multimedia has provided audio/video performance production for The Boston Symphony Orchestra at Tanglewood, Berkshire Performing Arts Center, National Music Foundation, Recording for the Blind and Dyslexic, United Way of the Berkshires, Arlo Guthrie, Rising Son Records, Bobby Sweet, World Moja, Phil Woods, Grace Kelly, Heather Fisch, Opera Nouveau, Ellen Sinopoli Dance Company and many more.

Fine Line was established in 1970 by Lee Everett in Lenox, Massachusetts. Everett came to the Berkshires after studying Advertising Design and Visual Communications at Pratt Institute and working for years as an Art Director in New York. He taught Art in local schools and began a full-service multimedia studio in Lenox specializing in the Performing and Visual Arts and other business and industry.

With Photography, Graphic Design, Advertising, Marketing, Audio/Video Production, Website, Social Network Creation and Administration together under one roof, Fine Line can satisfy the artistic communications and promotional needs of a wide range of clients.

Please look at some examples from our portfolios of work on our website and use the contact information on the site to get further information, to see more samples, photographs or video reels, for professional and client references or for a free project consultation.

Fine Line Multimedia - 66 Church Street, Lenox, MA; www.finelinelenox.com Contact: Lee Everett, 413-637-2020, everett@berkshire.rr.com

SCOTT TAYLOR, FLOWER

roBerT forTe ROBERT FORTE, BIRCH

ShoWinG at SAinT frAnciS GAllery MonTh of June After recently completing a body of work for my featured artist's show at 510 Warren Street Gallery in Hudson, N.Y., titled "Iconic Imagery", I began to develop several new avenues for self-expression. Each builds directly upon my last show, which reinterpreted my childhood icons through an adult lens. The affinity with my current work lies in the use of strong color and simplified forms to establish mood and emotional impact. The focus of my new paintings, however, shifts from remembered subjects to internal psychological conflicts, reflections, confrontations and awareness.

These themes resonate throughout my placement, pairing and grouping of human figures, and the use of distortion for greater physical immediacy.

The second approach that I have adopted seeks the same results but is more indirect. Here I use subjects mostly drawn from nature to channel the psychological content. How often we experience the known and familiar through perceptions altered by context and outlook. These paintings work as semi-abstractions through bold and stark imagery that isolates and magnifies objects to heighten the underlying theme.

In addition to regular exhibitions at 510 Warren Street Gallery, I will be exhibiting at Saint Francis Gallery for the month of June, in Lee, MA., at Atlantic Gallery in Chelsea, in both group and solo shows. Locally I have also exhibited in Great Barrington and Housatonic, and I have participated in the New Marlborough summer shows at the Meeting House gallery for the past three years. After retiring from the practice of law, I studied painting with Cornelia Foss at The Art Students League in New York, and figurative drawing and painting with Philip Pearlstein and Minerva Durham. My works are held in many private collections throughout the country.

Robert Forte - www.robertforte.com

ScoTT TAylor & JoAnie ciolfi JOANIE CIOLFI

Good PurPoSe GAllery

Brilliant Colors is the name of the art show running June 24 – August 8 at the Good Purpose Gallery. The show opens on June 24 with an opening party from 5-7 pm. Both Scott Taylor and Joanie Ciolfi are well known for their dynamic use of color in their work.

Taylor has been creating art for most of his life and his use of color has become his signature, which is apparent when looking at his work. Vibrant color first catches the eye, and through its movement and energy one is drawn further into his work. Taylor’s work in Brilliant Colors will feature pieces he has painted over the past winter that include florals, landscapes and of course old trucks with attitude. Taylor said “I’m excited to be showing at the Good Purpose Gallery this summer, especially with Joanie. We’re good friends, we’ve shown together before… and it’s always a lot of fun!”

Inspired by the beauty of the Berkshire’s, artist Joanie Ciolfi will be showing selected oils on canvas. Known for her use of saturated color and interplay of light, Ciolfi’s subject matter ranges from expressive abstracts, to atmospheric landscapes, larger than life barns and dress portraits. As a former textile designer, the common thread that holds all of these works together is the passion she has for expressing herself through color.

Good Purpose Gallery - 40 Main Street, Lee, Massachusetts. The gallery is open 9am - 3pm Wednesday Monday. For more information on the Gallery, visit our website: Goodpurpose.org To see the exhibiting artists’ work visit the gallery or their websites at www.scotttaylorpaintings.com and www.joanpalanociolfi.com.

INFECT YOUR PARTNER. INFECT THE PERSON YOU ARE CONCENTRATING ON! INSINUATE YOURSELF INTO HIS VERY SOUL, AND YOU WILL FIND YOURSELF THE MORE INFECTED FOR DOING SO. AND IF YOU ARE INFECTED EVERYONE ELSE WILL BE MORE INFECTED. -- CONSTANTIN STANISLAVSKI 24 • June 2016 The ArTful Mind

fronT STreeT GAllery KATE KNAPP

GrouP ShoW

BerkShire viSionS MARGUERITE BRIDE, SECRET ALLEY, WATERCOLOR

TWo ArTiSTS - TWo MediuMS

The Old Chatham Country Store & Cafe will display the art of Berkshire County residents Marguerite Bride and Karen S. Jacobs in an exhibition entitled “BERKSHIRE VISIONS ~ Two Artists-Two Mediums”. The exhibit will run much of the summer, from June 3 - July 27. Join the artists, curator, and owner for the opening reception on Sunday, June 5, 3 -5 pm.

From April–December each year The Old Chatham Country Store & Cafe displays a wide variety of art, by accomplished regional artists. On display will be representational watercolors by Marguerite Bride and abstract oil paintings by Karen S. Jacobs. Viewers will see that although their styles and mediums are different there is a delightful synergy in the work being exhibited and that the work is clearly shaped by living and playing in the Berkshires. Who ever said water and oil don’t mix?

Marguerite Bride is an accomplished painter of local and regional scenes. This will be her fourth time exhibiting at OCCS. Her work clearly displays the beauty of the Berkshires and includes paintings of recognizable Berkshire and New England scenes including Hancock Shaker Village. Bride's work has been on magazine, catalog, and CD covers. One of her paintings will be displayed on the rounding board when the Berkshire Carousel, located in Pittsfield, opens in July.

Karen S. Jacobs is a first time exhibitor at the OCCS. Karen is an accomplished painter of abstract landscapes whose work has taken on a new flair since moving to the Berkshires a few years ago. Instead of skies over water or land, she now incorporates skies over treetops, sunsets over rolling hills, as well as ponds and natural flora into her work. Karen has exhibited work in numerous places in the Berkshires including galleries and other locations in Becket, Great Barrington, and Pittsfield. Prior to moving to Pittsfield, she lived in the Boston area and exhibited in numerous galleries in Boston and Eastern Massachusetts.

The café is open for breakfast and lunch 7am – 3pm daily. OCCS is a treat for the eyes and the belly!

Old Chatham Country Store & Cafe Store - 639 Albany Turnpike, Old Chatham NY. Hours and directions are listed at oldchathamcountrystore.com. For more information about the art, visit the artists’ websites: margebride-paintings.com, karensjacobs.com.

deniSe B chAndler DENISE B CHANDER, ABSTRACT CALLA

fine ArT liMiTed ediTion PhoToGrAPhy

Denise B Chandler is a fine art photographer who has had her work exhibited at The Berkshire Museum, Sohn Fine Art Gallery, Lichtenstein Center for the Arts, IS -183 Art School of the Berkshires, St. Francis Gallery, Chesterwood, The Hudson Opera House, Spencertown Academy Arts Center, and Tivoli Artists Gallery. In 2012, Chandler completed the Photography Residency Program at Maine Media Workshops & College. While in Maine, she was guided, encouraged and her work critiqued by renowned photographers: Michael Wilson, Andrea Monica, Peter Ralston, Arthur Meyerson, David Turner, Brenton Hamilton, David Wells, and Syl Arena. Chandler has continued her formal workshop training with master photographers, Seth Resnick, Greg Gorman, and John Paul Caponigro.

Denise B Chandler, a lifelong Lenox resident where she maintains her studio and private gallery. The majority of Chandler’s work is contemporary and concentrates on the details of a subject frequently embracing bold colors, geometric shapes and patterns.

Denise B Chandler is represented by Sohn Fine Art Gallery at 69 Church St. in Lenox, Massachusetts where various selections of her work can be seen throughout the year.

Chandler offers private gallery visits at her personal studio/gallery by appointment only...please call either number listed below.

A member of 510 Warren Street Gallery, Hudson, NY., her fine art photography can now be viewed Friday and Saturday 12 - 5, and Sunday 12-5 or by appointment.Denise B Chandler, Studio & Gallery visits by appointment only. 415 New Lenox Rd, Lenox, MA. Please call 413-637-2344 or 413-281-8461 (cell).

Website: denisebchandler.com / : info@denisebchandler.com

recent Work June 4 - June 29 opening reception Sunday June 12, 2 - 6pm Pastels, oils, acrylics and watercolors…..abstract and representational…..landscapes, still lifes and portraits….a unique variety of painting technique and styles….you will be transported to another world and see things in a way you never have before…. join us and experience something different.

Painting classes continue on Monday and Wednesday mornings 10-1:30pm at the studio and Thursday mornings out in the field. These classes are open to all...come to one or come again if it works for you. All levels and materials welcome. Private critiques available.

Classes at Front Street are for those wishing to learn, those who just want to be involved in the pure enjoyment of art, and/or those who have some experience under their belt. Perfect if you are seeking fresh insight into watercolors, and other mediums. A teacher for many years, Kate Knapp has a keen sense of each student’s artistic needs to take a step beyond. Perfect setting for setting up still lifes; lighting and space are excellent. Peek in to see!

Front Street Gallery – Front Street, Housatonic, MA. Gallery open by appointment or chance anytime.

413-528-9546 at home or 413-429-7141 (cell).

SOME DAYS WE FEEL UNINSPIRED, TIRED AND POSSESSING A LOWERED ENERGY. BUT STILL WE MUST PERFORM. IT IS INTEGRAL TO OUR ART THAT WE ESTABLISH A BLUEPRINT OR ROAD MAP

THAT IS OUR GROUND OF BEING, THAT IS OUR ESSENTIAL CHARACTER, SO THAT EVEN IN TIMES OF LOW ENERGY, THE CHARACTER IS NOT LOST.

--

BMAC.

The ArTful Mind June 2016 • 25

STEVEN MILLER Kent Studio

ABSTRACT ARTIST

photo: Lora Warnick

Interview by Harryet Candee

Harryet Candee: Steven, you can make a microscopic virus look beautiful!! how did you come upon this brilliant idea? My guess is that it has to do with there being a good deal of freedom in it, with regard to color and form. can you explain the origins of this angle of seeing, thinking and… feeling?

Steven Miller: I first became acquainted with photoelectronics while attending a summer program at Wesleyan University while in high school. There was an astronomer there who was predicting the appearance of a new comet. I became friendly with him and I spent a lot of time looking through their rather oversized telescope, which was scanning the outer universe for signs of planetary activity—and which, it just so happened, was able to produce electronic photographs of these events. I soon discovered a whole world of electronic photographs, and found these images to be vastly interesting. Yes, this is a gateway to a whole other dimension of color, structure, space, time and being, which goes literally unrecognized by the human eye.

26 • June 2016 The ArTful Mind

i feel like celebrating life when seeing your work on your website. it’s pure joy. do you think you could use your intuitive talents to actually help cure disease, by contributing your powerful visualizations and interpretations?Happiness is so happy.

Steven: Well although I would love to make such a claim, I personally cannot. However, there is a very real connection between art and healing. There is the whole field of art therapy, and one of the reasons so many hospitals and other institutions integrate art into their buildings is to create a positive effect on their patients, and for those who come into contact with the art. Of course, I do hope my paintings generally create a moment of clarity, enlightenment and happiness. Color and form can be very powerful.

how did you come up with the title Happiness? i’m very curious to know.

Steven: That was just the association that I had with the piece—happiness. I generally try to create more uplifting paintings, rather than dark and depressing work. There are enough negative issues in the world.

Why not create more positive images? I think back to the pure joy that Henri Matisse evoked in his use of simple forms and pure color. I try to replicate some of that same emotion in my paintings.

let’s backtrack. Before arriving at art-making, what were you doing?

Steven: I did a lot of writing. Ever since I was a young boy, people told me that I was good at making art and should continue with it. I won my first award for art when I was seven years old. I began to exhibit my work at age eleven. For a time I did not make any art and wrote instead. It was part of rebelling against what I was told that I was a natural at, and I wanted to switch gears and explore other things. But the draw back into art was too strong, and I returned to it full-blast. I primarily paint for myself; my main goal is not to exhibit and please others, but it is to please my most critical eye—myself. Although when I do exhibit, I hope that people will respond to my work positively. Gallery exhibitions are just one way to get your art out into the world. I find that gallery shows have a very limited audience for a spe-

Steven Miller, With You, 50 x 50”, oil on canvas photo: Scott Bond

cific time. The Internet really helps me reach many more people all around the world. So, again, my main focus is on my work.

Were you feeling a sense of success with art-making in other styles? i understand your keen sense of design, but what were the links from one style into another? nature? human form? Photography?

Steven: For a long time my work was very diverse. I was exploring all sorts of styles and applications.

People would respond by saying that the artwork looked like it came from different artists—almost like that is a bad thing. I know most galleries like an artist to stay with one identifiable style. I think that an artist should be able to encompass many different styles—it is all a mode of expression. Look at Picasso and all of the different media and styles that he had. I get my inspiration from many sources: pop culture, news, music, current events, the human form, nature and photography.

i’d love to know, why did you start painting on wooden doors? unconventionalism at its best!

Steven: I always loved the idea of painting on wood.

There is a great resistance that you get from applying paint to wood. I have also always loved diptychs,

and the idea of painting on doors literally as an aesthetic entryway into another world. I am waiting for the day when someone buys one of these diptychs and literally uses them as an artful door. It would be a door to releasing your imagination, and a portal into mine. I have not painted on doors in a while, but it’s a great place to revisit.

Would you explain the connection with Women’s fashion Week in Milan, and “Sensorium,” your exhibit that took place there?

Steven: I have always been friendly with fashion designers. Well, all designers, including furniture, jewelry, interior, product, landscape, etc. I have been approached by fashion designers to incorporate my work into their designs as well as by carpet manufacturers to produce lines. However, a friend of mine was having a show of his work in Milan during fashion week and we collaborated on throwing a really fun experience for those attending. We created a giant bubble in which we had a runway and had erected different structures for the models to strut on. We had a DJ who played music and projected images of my paintings all over this fashion microcosm. We were really ahead of our time—nothing like this had been done before, and the press loved it! The Italians loved it, as well as the models.

What do you think attracts people to your art? you have so many followers!

Steven: I think that my use of strong, rich, bold colors attracts people, as well as my forms. I am fortunate enough to have collectors from all over the United States, Europe and Asia. A lot of my art has found homes in California and London. I like the idea of that. I know that one of my largest canvases was just installed at the beachfront of a home in California. I love the beach, so I think it found a great home. I just recently sold a piece that is on its way to Japan. So my clients are literally all around the world. My art is sprinkled around the Northeast as well—including Berkshire and Litchfield Counties. My clients span the spectrum, but I think the one thing that they all have in common is that they have a more expansive view of the world in which they live, and they invite my artwork into theirs. It is a choice, and I am grateful that so many people enjoy my work.

The Big Dream, oil on canvas… what vision did you have in mind that drove you to create this work of art? it veers from but connects with your other art in so many ways. But the title, and what i see, revolves around a mountain scene and a love of nature.

Continued on next page...

The ArTful Mind June 2016 • 27

Steven Miller, The Path, 44 x 44”, oil on canvas photo: Scott Bond

The Big Dream is literally a very large canvas. When you stand in front of it you feel as though you could walk right into this landscape. It is a bit abstracted so I also like the idea that you can enter into this painted world both physically and mentally. I have always loved nature, and have spent many years living between NYC and my country house. The landscape of both the Berkshires and Litchfield County provides endless inspiration for my work, in terms of coloration and form. In the past I have done many small studies inspired by living in and observing the landscape in these counties, and I later produced larger, abstracted paintings based on these studies. Both counties also help me to unwind and digest all of the information and images that I process on a daily basis. I also get inspiration from international travel and interacting with other cultures.

i hope you don’t mind my praising your work.

The Path makes me smile with the thought: i can solve anything! Tell me about this piece.

Steven: It’s funny that this painting should evoke that feeling for you. I feel that our worlds are not getting any simpler with the use of technology. Yes some aspects might bring some ease into your life, but it really complicates things, and you are almost expected to be more connected and more readily available to 28 • June 2016 The ArTful Mind

almost everything. This painting is about dealing with all of life’s complexities—prioritizing and smoothing things out—like you can solve anything!

I started off with several base glazes, and built upon these glazes with layers of other pure pigments. On top of these areas I overlaid a linear element, which almost stands for a maze. So the eye follows along this colorful maze like a “path.” For a long time I did not title my pieces. This was a choice. I wanted the viewer to bring their own associations to each work and not be guided by what I had in mind when I was creating a work. Now I title my works and bring a hint of why I may have created a particular painting.

Where did you study?

Steven: I received my Masters of Fine Art from Parsons School of Design in NYC. Their program was based on the nineteenth-century French atelier, which meant hours of drawing/painting from the nude model under natural light (no electricity was allowed) and plein air painting—lots of landscapes. That meant many dark and grey months in an open air studio, especially in the winter months. (Maybe that’s why I use such vibrant and uplifting colors, to contradict the months I spent in such a grey world.) I have experienced completing a painting outside in

nature—taking a lunch break, and returning to my painting to find that a cow has completely licked off the surface of the painting. It was trying to get at the linseed oil. I mainly paint works inside of my studio now—too many animals would try to devour my paintings outdoors in Berkshire and Litchfield Counties. The majority of the painting that I do now is abstract, inspired by naturally occurring elements. how long have you lived in this region? do you find yourself taking advantage of all it has to offer culturally?

Steven: I am originally from CT and have had a house in Litchfield County for the past eleven years.

As a resident of Litchfield County, I travel and explore local areas including Berkshire County. I enjoy all of the music, arts and recreation the Berkshires affords. I enjoy the Clark Art Institute, the Massachusetts Museum of Contemporary Art (Mass MoCA), and the Williams College Museum of Art (WCMA).

At Williams College, the Chapin Library displays a wide selection of rare books and documents. Performing arts institutions in the Berkshires include Tanglewood Music Center and Boston University Tanglewood Institute in Lenox, the summer home of the Boston Symphony Orchestra, the Berkshire Choral Festival, the Bang on a Can Summer Festival

Steven Miller BIG SKY 50x50” oil on canvas photo: Scott Bond

for contemporary music in North Adams; Shakespeare & Company in Lenox; summer stock theatre festivals such as the Williamstown Theatre Festival in Williamstown, Barrington Stage Company in Pittsfield and the Berkshire Theatre Festival in Stockbridge; and America’s first and longest-running dance festival, Jacob’s Pillow. The Berkshires’ creative energy reinforces my own creative tendencies and helps to foster and support my art.

What was your childhood like, in relation to your art and your family? What was the inner world you traveled?

Steven: I have always spent time creating art, from about the age of four or five. I remember when I was about seven years old I had an art teacher who would play music and have us sketch our dreams. This was my foundation, and I have been creating my dreams ever since. My family thought that traveling provided

a good education, so we traveled a lot and I was exposed to many different cultures, including their art, food, design and architecture—all of which were hugely influential on my artwork. I have spent countless hours studying the Old Masters and Modern Masters in museums around the globe. I try to keep the valuable lessons that I have learned from such studies in mind when I am creating my work.

your paintings Trojan 8 and Everywhere show a more illustrative, abstract style. These pieces seem to have more of a retro feel to them. can you explain the history and the influences behind them?

Steven: Well Trojan 8 is my homage to the Greek culture and its marvelous architecture and sculptures.

Everywhere is really from my long-standing admiration of the work of Claude Monet, and his fascinating, very late abstract paintings of water lilies. I am influenced by the work of Philip Guston, Picasso,

Joan Mitchell, Willem DeKooning and Richard Diebenkorn. I love their use of form interacting with color. That is always the feat that I am trying to accomplish… a fine balance and tension between line, color and form.

Steven, of all of your work, what is your favorite, most beloved painting? have you sold it? When was it made? you must have at least one that generated so many that followed.

Steven: It’s very hard for me to be objective about my work. I used to be very emotionally attached to my work and still always want to make sure that it ends up in a “good home.” I used to feel like a part of me had disappeared when I sold a work and it would go out into the world. Over the years, I have gotten a bit more unattached and visualize that all of the work that I put into a particular painting will enhance and Continued on next page...

The ArTful Mind June 2016 • 29

enliven someone’s inner private life. I think my favorite painting has yet to be painted. Maybe it’s my next painting. I always love what I am immediately working on in the present moment.

have you ever thought of doing some artwork for children, or being involved with children’s art?

Steven: Yes that would be fun adventure, to make an illustrated book for children. I am consistently seeing beautiful children’s artwork. Maybe I will produce a book of collected children’s art… There’s still time.

I have done some small productions of my own artwork in book form, which have sold out. I find printed works in whatever form to be really interesting. I love drawings and prints. There is something to be said for holding a real book in one’s hands rather than a tablet or IPhone. Libraries and bookshops are lonely places these days, and I hope that a resurgence may take place where people get excited by books again. When I was young, I went to the library at least once a week and took out books on every subject that I had not encountered before. And I read every day from at least three or four books.

Now I scan the Internet and get mere glimpses of images. I think the return to quality time with printed matter is definitely in order—and almost a lost art.

30 • June 2016 The ArTful Mind

Inside studio

photo: Lora Warnick

When your art has been used for commercial purpose, as in a film, etc., does it change the feeling of it for you?

Steven: I love seeing my work on film or TV. There’s always a fun association with it. I have turned down many commercial projects which in hindsight I probably should have done. The artwork has been distilled in a perfect place in time. You can always revisit the work and it will be in the same location and contextual spirit, like an artful time capsule. So it is an enjoyable moment for me. My work has also been used on the frontispieces of books. I am always amused by where my art winds up. One time, a painting of mine was used for a textbook on the psychology of sexuality. It was humorous to me.

Are you a fan of the gallery scene, or are you the type to not be there? Maybe you are an outgoing person, maybe not so much?

Steven: I like being able to access the contemporary market that galleries provide, but am not always thrilled with the work that they are exhibiting. I used to skip going to my own art openings, but try and participate more fully now and be present. I feel like the brick-and-mortar way of exhibiting artwork is an old mode of getting your work seen. I almost prefer so-

cial media more. You can access a much wider and varied audience. It’s not the same homogenous subset of people who attend every opening. People say that Instagram is the preferred method of getting your work seen.

What was your best gallery experience? Tell us about it.

Steven: I had a show in Nashville once where I did not know a soul. I thought no one would show up.

Well, to my surprise the gallery was packed to overflowing, and everyone was just so nice and responded very well to my art. Nashville still has a small-community feel to it. People seem genuinely interested in seeing artwork and getting to know what lies behind it. When you exhibit in a more cosmopolitan arena, most of the folks seem to be more interested in attending a social function, and squeezing it in between their other social engagements. That’s not to say that I have not encountered more down-toearth folks while exhibiting in New York for instance—they are just fewer amongst the crowds, and in a way become more special.

how did you work with film and Tv to get your art on the walls? how does that happen? Were

Steven Miller, And Then It Was You, 44x44”, oil on canvas

you happy about the way they shot them?

Steven: Well, after I spent a few years in New York, I ran into members of the crew for Sex and the City.

They were looking for some artwork for the gallery in which the character Charlotte worked. They saw my work and filled the whole gallery with it for one of their episodes. Other TV and film directors saw it and contacted me to use my artwork in their shows/films. It has always been great to be associated with a film or TV show. My paintings would become their own celebrity. Yes, I always had a good working relationship and was happy with the results. In fact, the director for Sex and the City asked me to be in an episode but I said no. I had no real interest, but maybe if I had, who knows… Personal fame has never been of interest to me. It seems like a real burden and you lose your privacy and freedom—something that I would never want to give up.

Are there any connections between your art and other media, such as performing arts, literature, etc.? how much do you value that connection, and do you strive for more of it?

Steven: I used to read voraciously, see theatre and especially modern dance performances. Now I prefer

photo: Scott Bond

to more selectively filter what I allow into my visual thinking. Dancers have always been inspirational to me—how they interpret the music through their body language. I also prefer off-Broadway theatre to large Broadway productions, which I personally find too artificial. I love independent and foreign films and can also use these media as a storage chest of ideas.

All kinds of music also influence me, and I always have music playing while I am painting. The idea of a silent studio is a bit too sterile for me.

for artists who are just breaking into the gallery scene, can you explain how to get your foot into the door?

Steven: Unfortunately I think it still holds true that it’s who you know—in almost any field. You may be terrifically talented but if you don’t get that first break it may not happen for you, or it may take many more years then it should. That being said, social media can be very powerful. Conquer through Instagram and Twitter! It evens the playing field a bit.

What kind of art is not popular in the galleries?

My thinking is that the more impersonal it is, the more personal it is, as it allows people to move into the art and come up with their own feelings

about it. yours speaks out. But is there art that is just not popular these days? And why does gallery culture seem so based on trends, money, and who you know?

Steven: Well, surprisingly, painting veers in and out of popularity. Galleries tend to show conceptual art and experimental art. I am still an ardent fan of painting and think that it will always have its place in the world. Paintings swing back and forth from abstract to figurative work about every 10 years or so; it almost mimics swings in the stock market. The majority of the art market (like most other markets) is really manipulated by investors and a few select galleries. Investment bankers put funds together to prepurchase major artworks to artificially inflate prices.

A good example is the market for Andy Warhol.

When he died, you could purchase a work for about $10,000. The Mugrabis (art investors) bought his work in wholesale and drove up his prices. Now that same work might fetch $20 million dollars. The art market is the last of the wild-west frontiers that is, for the most part, unregulated. Hopefully there are still those artists making magnificent work who can operate outside of this system.

Continued on next page...

The ArTful Mind June 2016 • 31

Steven Miller, It’s Not So Complicated, 50x50”, oil on canvas photo: Scott Bond

interior decorators must adore your work. do you ever find your artworks on a wall alongside works that may be outrageously different from yours? What goes on in decorators’ minds, or their clients’ minds for that matter? Any thoughts?

Steven: Yes, I am always especially kind to interior decorators, but oftentimes they are fairly rigid in what they think their clients should have in terms of art, and do not think outside of the box. I find fiercely independent collectors gravitate towards my work. I have dealt with designers where the client gives them free range and expects them to purchase everything for them down to their toothbrush and Cokes in the fridge. To me, it’s an interesting world, where a complete stranger brings an acquired style to your life,

32 •June 2016 The ArTful Mind

but I have seen some lovely collaborations and have grown to appreciate this world—and have learned a thing or two along the way.

collectors may be waiting to see what you have up your sleeve. Any hints on where you would like to go next with your art-making? i wouldn’t be surprised if you said, for instance, Japanese printmaking. your talent is very broad.

Steven: For a while I used a lot of lines in my paintings. Then I met with someone at an art gallery who said I should give up using line. I have painted more or less this way for the past ten years. I think the time has arrived for my next series to employ line interacting with patches of color—almost a return to where I began. Who knows, I may keep them guess-

ing and on their toes.

has any of your travel experience given you the inspiration to turn back and go for traditional realism?

Steven: I painted realistically in graduate school. It’s a bit too academic for my own purposes now though.

If anything, my travels throughout England, Switzerland, Greece, Iceland, Hungary, Spain, Portugal, Italy, France, Germany, Africa, Asia and Indonesia have inspired me even further towards abstraction.

There are too many primitive and pure elements of design, and practices that you encounter if you are fortunate enough to uncover them—all of which can be very powerful aesthetic tools in your tool belt.

Steven Miller, I Think I’ve Found It, 42x42”, oil on canvas photo: Scott Bond

What was it like going to Parsons? i went to SvA, myself… wonderful years of learning, but lots of competition. Where did you stand with competition while attending Parsons?

Steven: Parsons was not my ideal school. I applied and was accepted into CalArts and probably would have gotten more out of attending there. Parsons was very regimented and backward-thinking. They provided a good base, but I had to unlearn what they had taught me in order to find myself again. It was very competitive; I think they accepted thirteen students from around the world. We were all pretty sure of ourselves so we were more supportive than competitive. We were not encouraged to be ourselves and find our own voices, but rather to adhere to what was related to the past. A gallerist once walked through the school’s studios, and offered me an exhibit. I spoke to one of the professors there and his response was, “You are not ready to have a show.” Well I did not listen to his advice. I had the show and it was

very well-received.

Where do you consider the boundaries between making fine art and producing commercial work?

Steven: I think there is such a mix now that it really does not matter. In my past, I turned down things that I thought were too commercial. Now I would have a different attitude and be more welcoming to all opportunities. You can always make a commercial venture artful. i think being an artist in our times is a great thing.

Many artists i meet were once lawyers and doctors… were you determined to make it as an artist from day one?

Steven: I have always been an artist. Now that is not saying that I have not supported myself with other occupations to help further my art. I have worked for lighting engineers, spent some time at Christie’s auction house, and was a gallery director. I think what-

ever it is that you need to do to help you make your art is fine. It would be brilliant if the United States supported its artists and the keepers of its heritage and culture more fully, like the Netherlands, who subsidize artist housing and studios. Artists generally make great sacrifices to produce their art. It can be a real struggle. I am not pursuing art; art is pursuing me.

Being a colorist might mean to you that in print, an image should always be in color for full experience. But to me, these shapes are just as interesting if they’re reproduced in black and white with tonal greys. how does that affect your colorist sensibilities?

I think good work can be in color or black and white.

I have a series all in black and white, but for me color has a certain evocative power. I also think that a good abstract painting should be able to be viewed right side up or upside down. Continued on next page...

The ArTful Mind June 2016 • 33

Steven Miller, Counting All, 42x42”, oil on canvas

A great painting should be able to be rotated and seen from every angle.

do you think successful art-making comes from confidence in your intuition and strength to trust your auto-pilot decisions? or something else?

Steven: I definitely fall into something of a trance and lose all sense of time when I am creating an artwork. It is a combination of intuition, something larger outside of yourself and years of experience.

Why do you paint three canvases at one time?

Steven: I like to develop work concurrently—maybe it’s that I have too many ideas that I am trying to work out, and these thoughts just cannot be contained in a single canvas. I always tend to think in terms of a series. I never know how long a series will last, but I do know when I have come to an end with a particular series and it is time to move on to something else.

i would love to know what your lifestyle is like… do you love antiques, do you travel to europe, do you like simple walks in the woods? do you need the pavement and the country life equally?

Steven: I love to travel and I love the experience of

34 •June 2016 The ArTful Mind

photo: Scott Bond

the unknown—turning down an unfamiliar road, ideally in a foreign environment, and not knowing what you are going to stumble upon. I absolutely adore Italy, Spain, France and Morocco. I return to them every year if I am lucky. I am always on the hunt for the unexpected. I love mid-century modern design, the beach and of course being in nature. I am a bit over being in NYC and would prefer to live full-time in the country, or in another country. Of course I love art and collect work myself. Also, my husband Scott Bond has developed a non-toxic personal care system that I help him with: www.bondstreethair.com We are also raising bees and veering towards a more organic and self-sustaining lifestyle. do you dream in color? What makes you incredibly content, and what makes you miserable? Are any of your moods reflected in your work?

Steven: Yes I do dream in color and hopefully am able to translate some of these dreams into my artwork. I am sleeping less and creating more. I am currently in a very productive mode and hope that it continues. I tend to slow down when the summer months are approaching and enjoy more time outdoors and near the beach wherever that may be. But this time is not necessarily unproductive. I am col-

lecting and storing mental images that I will use in my work in the future. My work is definitely a reflection of my mood. I am most content at home with my dog. I am miserable if I am under fluorescent lighting.

Are you a spiritual-minded person?

Steven: I try to be. I like to observe the world’s most compassionate teachings, not the ones that are very rigid and cut off your spirit, or try to contain it. I believe in being kind and treating others how you would like to be treated. I believe very strongly in intuition and self-guidance. If you are quiet it is amazing what you can hear. on your weekends in the city, what is your day like when you are free to roam the town? And when you are up in the country? do you paint in both locales?

Steven: The city is fast-paced, and I seem to never have enough time to unwind. I frequent museums and galleries, and walk along the water. I take long drives in the country, shop and relax with friends.

Yes, I maintain studios both in the country and the city and really have no preference for one over the other. I can be productive wherever I am—it’s a state

Steven Miller and his paintings photo: Lora Warnick

of mind that I need to have in order to produce solid work.

Are you still a fan of traditional art by the old Masters? often when artists start with the masters, they work their way up to abstract sheerly from the drive to not be bored, and perhaps end up putting the brush down.

Steven: I still find inspiration from masters from all centuries. Old Masterworks, Assyrian artworks, Japanese and Chinese art, Greek art, Italian seventeenth-century artists, and modern art. There is so much to be inspired by. Even a beautiful sunset in the Berkshires can motivate and influence me. I paint because I have to paint, and hopefully my encounters with beauty can be translated into my paintings.

Some artists think if they have a dry spell it’s the end of painting for them… others use it as a time to study, learn, get re-stimulated. do you ever have a dry spell, finding yourself wanting to do something else for a while?

Steven: I used to have the occasional dry spell in the past. Now I am fairly certain about what I want to do and how to achieve this on canvas. Breaks are always

a good thing, and help to clear your vision. Varying my daily routine can bring a refreshing sensibility to my work.

life should be simple, but God knows how complicated it can become for the artistic-minded… how do you discipline yourself in keeping it simple?

Steven: I spend time in the country, by the water, concentrate on breathing and play with my dog. And I put down the phone. There can be too many distractions. Eat, love and make art.

how does the internet and the new age of technology work in your favor? how do you use it as a working tool?

Steven: I find inspiration from the plenitude of images swirling through the universe of technology. I can spend hours looking at all sorts of images. I used to create notebooks filled with visual inspirations. I try and put a limit on how much time I spend on the Internet. Now photographs have filled that place. The Internet has become an effective tool for exposing my images to people all over the world and for getting instantaneous feedback.

your art work is a gift to our times. i thank you for sharing, wanting to share, and expressing your thoughts. one last question: if there was something that you had the ability to change, make better, simplify, what would that be?

Steven: To slow down, appreciate the moment you are in and tell your friends and family that you love them every day. Be the change that you wish to see in the world. And remember that soaring opens our wings.

Discover more about Steven Miller @ www.stevenwmiller.com

The ArTful Mind June 2016 • 35

noTe To reAderS

B. dockTor PHOTOGRAPHER

B. Docktor is a photographer who aims to show the kernel of magnificence of whatever she’s witnessing: children, families, weddings, pets, events, and the beauty of our region.

Why does she make photographs? To preserve the essence of something happening now in a way that brings joy, to spark our memories later, to show future generations who we are, what and who we love.

B says, “What I love to do is photograph you and the beings you adore in a way that will be fun and memorable and bring a smile to your face every time you see the images. My pictures let you relive the energy and emotion, the big events and small wonders, the amazing moments and minor miracles that make up your life. I don't just make your pictures, I tell your story. I know how close to get, when to snap, and when to wait and wait and wait until the essential moment is there.

“There is an easy, natural quality to my work that allows what's special about you and your life to shine through. I love photographing all facets of life. The people, places, animals, and events you want to hold onto. There's an urgency and importance in doing that. Children grow up, landscapes change, celebrations come to a close—but the pictures will last forever.”

B loves to create art that will last, and have an emotional impact—gorgeous albums, art for your walls, or slideshow videos for events. If you are planning a party to honor a loved one, these beautifully edited slideshows can incorporate old photos, new photos, and video that are very moving when projected for your family’s special event.

To see the range of B’s work: bdocktor.com Videos are on the page called “Moving Images.”

518-329-6239 or bd@bdocktor.com

36 •June 2016 The ArTful Mind

It’s with great mortification that I have to report some misinformation from last month’s interview between Harryet and me re: Joe Goodwin Artist. When I got my issue and calmly read it, I got to the question about the possibility of new colors. My answer included an anecdote about the Hadron Collider revealing a new color. I had googled “new discoveries in color” and found this article with an impressive photo of the collider and a convincing story about a new color witnessed by scientists in a split second collision of sub-atomic particles in a search for the HiggsBosson, better known as “the God Particle”. Seemed like a true synchronicity -just the thing to add dimension to a rather dull answer. A red flag appeared when the story proceeded to say that the color had revealed it’s own name, BJORK, (yes, the same as that Icelandic singer featured at MOMA a few months ago).

Another red flag went up when it said that the scientists had a measured increase in Iq after the experiment. Turns out this article was an week old April Fools gag that was still out in the Ether waiting for the gullible. Despite the red flags and a twinge when I proof read my answer, I submitted it for print. This is hard to explain. I could say it was late, I was tired, under a deadline…which is all true, but still. The main theme in discussing my work revolves around the unconscious (some say pre-conscious or sub-conscious) and that it serves as a source of my imagery.

But in this case it revealed itself as the trickster, showing that it can perform beyond the harness of the muse and put egg on the artist’s face. The rest of the article seemed fairly intelligent…..

-Joe Goodwin

l’ATelier BerkShireS JOHN RATAJKOWSKI

ART GALLERY AND STUDIO

L’Atelier Berkshires Art Gallery proudly presents “Ratajkowski Revealed” by renowned California painter John David Ratajkowski. Exhibition runs June 14-30. Art Reception will be held on Sunday, June 26th, 6-8pm. The artist will be present at the reception and there will be live classical guitar by local musician Mark Dufault.

John David Ratajkowski’s abstract pieces feature brilliant color and form - large and small canvases initially stun with their vibrancy and then draw the viewer in for the story the paintings tell. Ratajkowski has many stories to share: from his experiences painting in Ireland and Spain, to paintings riffing on ancient texts. Ratajkowski is an accomplished painter having exhibited in New York, Los Angeles, Poland, Ireland and Bulgaria. This summer his exhibition, “Los San Patricios- The Story of the Mexican and Irish Alliance” is at the Embassy of Mexico in Dublin, Ireland. He is the recipient of many awards, most notably the National Endowment for the Arts, the California Council for the Humanities, Artist-inResidence in Torun, Poland and Sofia, Bulgaria.

Critic Aidan Dunne, from the Irish Times, has praised Ratajkowski for “the open, expansive rural flavor of his brilliantly colored abstracts which suggest close affinities with the landscape, aiming for a sense of unity and harmony.”

Discover fresh and innovative contemporary art at L'Atelier Berkshires Art Gallery and Studio. Unique paintings and sculpture by masterful artists are on exhibition in a historic Great Barrington building.

Don’t miss the remarkable paintings by Kiki Dufault, the “LifeBlood” exhibition running until June 13th.

Exhibiting artists include John Ratajkowski, Kiki Dufault, Sarah Logan, Eva Connell, Natalie Tyler, Mick Galvin, Eamonn O’Boyle, Anthony Bianco and The Mongiardo Family.

Sculpture casting and mold making services are available for artists and designers.

L’Atelier Berkshires - 597 Main Street, Great Barrington, Massachusetts. Hours: WednesdaySunday 12pm-5pm or by appointment. For more information contact: Natalie Tyler, 510-469-5468, natalie.tyler@atelierberks.com. www.atelierberks.com.

The ArTful Mind June 2016 • 37

MonTerey GenerAl STore HARRY ORLYK HARRY ORLYK, THE WHITE CREEK

The Monterey General Store is pleased to be hosting a reception with the artist Harry Orlyk, whose work is currently being exhibited throughout the store. All are welcome to attend this event, Saturday, June 18th, from 5-7pm.

Refreshments will be served. This work will be on display through August, 2016.

Harry Orlyk, who resides in Salem, New York, describes his process of painting his exquisite landscapes in oils on linen: “A quarter century of painting has been an act of the imagination to determine who and what I am with respect to the earth and sky. Process, rather than product oriented, searching for the daily painting, has become a way of living in relationship with the earth. To become a human being, a part of nature rather than someone separate observing it from the outside, like hunter- gathers, I am led from one opportunity to the next, being directed by seasonal stages. The relationship has become the trust I give it to show me where my next painting will be. Each painting entails facing a swath of creation and observing something of its story, becomes a long log of small truths.”

448 Main Rd, Monterey, MA.

lAuren clArk fine ArT

ILLUSTRATION FROM ALICE IN WONDERLAND

Lauren Clark Fine Art presents the Alice In Wonderland 150th Anniversary Marathon. Well, it turns out it is really the 151st Anniversary, but who's counting! So please join us at the gallery for a 3 day marathon reading of Alice!

Local actors and other great read-alouders young and old will be reading chapters from the beloved book

by Lewis Carroll. There will be special editions of the book available for purchase provided by Matt Tannenbaum of The Bookstore in Lenox and audiobooks provided by local actor and comedienne, Alison Larkin. In addition to the usual gallery artists’ work, Alice inspired art by local children’s book author and illustrator, Adam Gudeon will be on view.

And last but not least, handmade teapots by local potters!

The gallery will be open as usual and readers will be taking turns reading throughout the day(s) in an engaging yet informal way. No reservations necessary, drop in any time for a chapter or two - you never know which fabulous local celeb might be reading at any time! Tea will be served.

The reading marathon takes place Friday, June 17 4-8pm, Saturday, June 18, 2-8pm, and Sunday from 2-6pm.

Lauren Clark Fine Art - 25 Railroad Street, Great Barrington, Massachusetts; Lauren@LaurenClarkFineArt.com, www.LaurenClarkFineArt.com, 413528-0432.

HANS HUEBERGER, ALONG THE TRACKS,2016, 14" x 20", WATERCOLOR

houSATonic vAlley ArT leAGue SUMMER SHOWS

The Housatonic Valley Art League will be back in Great Barrington this summer with two new, exciting art exhibitions. HVAL is one of the area’s largest art organizations and has been putting on these summer exhibitions since the mid 1970’s when it was known as the Sheffield Art League.

This year the HVAL Shows are being held at Berkshire Home & Antiques, in the north end of Great Barrington, 107 Stockbridge Rd., between the Cove Bowling Alley and Shiro’s Japanese Restaurant.

The first show is the annual HVAL Juried Show, which opens on June 30 and runs through July 31. It features the best, recent work of both HVAL members and non-members. In this Juried Show, all the work submitted must pass the scrutiny of the appointed judges to make it into the show. The judges will then give special awards to 6 works of art, which stand out from the rest. The public is invited to the opening reception, which will be held on Friday, July 1, from 5 to 7 p.m. Refreshments served, awards presented, and it’s a great time to meet and greet the artists in person.

The paintings all change on August 4, with the opening of the HVAL Members’ Show. This show, which runs through Labor Day, is open to HVAL members only and will have over 100 paintings on display as each member may submit up to three recent works of art, not previously shown. Everyone is welcome to the opening reception on Friday, August 5, from 5 to 7 p.m., with refreshments served, awards presented, and the artists present.

Both these shows offer a great opportunity to pick up some good art, by very talented artists at very reasonable prices.

Housatonic Valley Art League - HVart.org

UP THE STAKES! -- BMAC

38 •June 2016 The ArTful Mind

Jennifer PAzienzA

Spring Suite and Autumn Études, two groups of oil paintings, are ready for the 510 Warren Street Gallery June, 2016 Invitational Group Show that opens Saturday June 6 at 3pm. This is my first experience exhibiting at the artist owned gallery and I am amped.

Landscape, love and longing have been constant themes in my work. So too navigating the liminal spaces between earth and sky, matter and spirit, immanence and transcendence, representation and abstraction. Painted in four-part harmony basso profondo, Above the Chimney Tops 27 x 84 inches, sets the mood for Spring Suite, while Clouds Far Behind Me, Where You’ll Find Me, and Troubles Melt Like Lemon Drops, all 27 x 26 inches punctuate the melody above. Although arranged as a group each painting has its own distinctive sound. Spring Suite, at once consonant and dissonant, glories in renewal; as it lovingly calls viewers to peer through branches, look up to the heavens, and into themselves to resolve its formative and figurative tensions.

Making Spring Suite I learned that renewal is not synonymous with the modernist myth of “the new.”

Where all is left behind in order to produce something completely “other” than what has been. Something about my work had been nudging at me since I attended the Art & Psyche: Layers and Liminality conference last September (see TAM November, 2015 issue), my re-introduction to Carl Jung and his thoughts on the collective unconscious.

Some sense that my work should perhaps take a different tact. The conflict between the instinctual desire I have to re-create illusionistic space on the one hand, and the critical chatter in my head that says, “but it should look like” or “conform to” the still present modernist ideal of flatness and non-representation on the other comes into sharp focus.

So I consciously don imaginary blinders, bent on working abstractly, I studiously resist the impulse to re-create my experience of a slice of light, a bending branch, a blue soft and deep, anything that may corresponded to what I see outside my window. I hang the three blank canvases that will become part of

Spring Suite on my studio wall with the intention of working on them simultaneously.

I load a brush with my ritual mix of French Ultramarine, Alizarin Crimson and Cadmium Yellow Light and try to randomly make marks (as if there could be such a thing) on each of the three. Thoughts fly through my mind. Is it happening? Is this how the flow of universal consciousness really works? Will I finally realize the prized minimalist mantra that less is more? Is that what I hope to achieve, what I think I should achieve?

“Pay attention Jennifer!” I refocus again and again. My eyes flit from mark to mark; the strain is great. Anxiety mounts and there is stiffness in my legs, in my whole body, my heart races, but toward what? Where is the finish line? Incredibly uncertain of what my next move should be, feelings of being totally lost and scared overwhelm me. I feel like I have two left feet for hands. Yet, I determine to override old habits (the pejorative description for my painting practice) and try something new! Next I paint in some blues and push them around a bit, then some yellow.

Exhausted, I take a breath, step back and take a break. The marks look interesting, but I feel awful.

Disoriented, disconnected. To clear my head, I walk across the yard and into the house. I am mindful that irritability is present. I resist meditation, prayer and yoga and turn instead to Facebook. Divine intervention is indeed mysterious. I land on a friend’s post to Coldplay’s Yellow. I watch and watch, listen and listen. Then, Boom! It hits me. The verse, “Your skin, Oh yeah your skin and bones, Turn into something beautiful,” twigs a visceral reaction in me. With those haunting words I remove the imposed blinders, return to my studio, and look out onto the surrounding landscape where the treetops kiss the sky. “Look how they shine, look how they shine for you,” plays in my head and in that moment, faith in my way of working is renewed. I think about accomplished abstract artists and realize that like them, what matters most is that I stay true to my painting practice. Abstraction, or any other art brand, does not guarantee truth. Authentic mark making does.

Photos: Joy Cummings

Perception of the natural world is what grounds my painting practice. It is the source for discovering the truth about myself as an artist and for you the viewer. It is difficult to describe. The ineffable, by definition always is. The best I can say is that something of the world out there strikes a chord in me that I cannot ignore. Then a dance between out there and in here begins.

It is a dynamic dance between interior and exterior worlds, between inner and outer landscapes and I love it. It can be an exhausting way of working too, but that exhaustion derives from exhilaration and edification, which in the end renders it inexhaustible.

The steps are not predetermined, no 1- 2 - cha – cha – cha. Certainty about who leads dissolves. When the dance is over, I am left with shadows; echoes and traces filtered through my creative consciousness, my creative process, creative marks that call out to be experienced. The degree to which my paintings are works of abstraction or representation no longer matters. Those labels no longer hold sway.

Autumn Études, another group of four I painted in a warmer register. They assist me in better understanding, my painting practice too. In musical composition, or in painting—études—or studies usually inform larger works, but I tend to reverse the process and make smaller paintings from larger ones. Such is the case with Piacere 14 x 16 inches, Allegro 9 x10 inches, and Fuocoso 9 x 9 inches. Each plays from the original score, Dalla Mia Finestra, 36 x 36 inches. It is a way of working that I love. Yet, as any composer of études will tell you, making small paintings comes with its own set of lyrical challenges.

Jennifer Pazienza’s work is held in public, private and corporate collections in the US, Italy and Canada. She has exhibited her paintings in the Berkshires at both Good Purpose and St. Francis Galleries and 510 Warren Street Gallery’s for their June Invitational Show.

Jennifer Pazienza - Website: http://jenniferpazienza.com; Email: jennpazienza@gmail.com.

The ArTful Mind June 2016 • 39

oTiS’ dreAM

(DEDICATED TO THE FINCH THAT LANDED ON BERNIE’S PODIUM)

from, “no cure for the Medieval Mind” Part 2

by Richard Britell

When we read passages in “The Odyssey” where the gods take the form of birds and talk to humans we are not supposed to imagine that it is just some bird talking to a person. On the contrary, we are intended to understand that a god is momentarily talking through the bird. Unfortunately not much thought has been given as to how the bird felt about it, and what it was like for the poor thing after the event. Perhaps the bird felt like a person feels after electroshock therapy, or something worse. After long conversations with the Rooster, and various other birds I have come to understand that the birds actually do know what they are doing, and any suggestion otherwise is met in their communities with derision and scorn. Birds like to mock any questioning of their intelligence, understanding, and skills in communication with questions like these: “Dogs have eyes but do they really see; they have ears, but do they truly hear?”

However, in our story we can put all those questions to rest. Birds know a lot of things, and have their own lan-

40 •June 2016 The ArTful Mind

guage. They are always communicating with people, but the crux of the difficulty has always been human stupidity, and human inability to understand even the most simple bird communications. The ancient Greeks were the only people to gain some understanding of the importance of bird language, but even they had to resort to the sorry explanation of fowls being possessed by various gods.

So we can’t be surprised that Otis came to the Rooster for an explanation of his dream, and the Rooster’s explanation is very interesting and to the point, what he said, after long consideration is the following: “Your dream is about a dramatic performance for an audience in an outdoor amphitheater. Invariably the first detail—a scene, a person, or some object—is of the utmost importance in divining a dream’s meaning, and yours is no exception. The setting of the play outdoors symbolizes the idea that when you create anything you are ultimately presenting it not to any specific audience, but to the entire world for all time.

There is more to this detail however, and we will return to it later when we sum up our findings about this dream.”

Next we will consider the expectation of a sold-out house for your play. It always happens that when any artist creates a work they can’t help but imagine that it will be received well, and even acclaimed. This anticipation of success is only one side of the coin however, and the artist also fears failure at the launching of any new endeavor. Anticipation of success and fear of failure are foreshadowed in your dream by the combination of the sold-out house and the stack of cancellations. This is hardly surprising as it is a confused feeling of hope and dread that is present for the playwright on any opening night.

Now there enters into your dream a special sign, the blind and deaf man who is the only person who arrives to attend the play. He represents your realization that your audience will never really understand your play, and never will be able to truly comprehend anything you do no matter what. This is just the beginning of the things the blind man signifies; he also is the incarnation of the ignorant critic of creative endeavors. He is the personification of false praise, that person who heralds the genius of works for impure motives. At the same time, he throws rotten fruit at the stage but does not even know where the stage is.

Then, in the dream, the crows come to the amphitheater.

At first they are just as obtuse as the blind man, but later they settle down and watch. Being birds, they understand the subtleties of the drama, and appreciate it, although they do not show it. The crows are the true audience of the play

and they possess the minds on which you must hope to make your mark. But, as I said at the beginning, it is the amphitheater itself that is the most important image in the dream. The outdoor setting indicates that the artist’s work must never be intended for one specific audience only, because ultimately it is, of necessity, directed to all mankind for all time.

The amphitheater is yet more. It is also an indication that the universe is the audience for the work of art in the end. The mountains in the distance attend the play, the clouds in passing, may view just one act, but still they make up a part of the audience. If trees surround the amphitheater, then the trees are also important members of the audience. In short, it is God that is the ultimate audience of your little drama.

I am sure by now that you are expecting me to try to wax poetic and begin to describe the intelligence of rocks, and the sensitivity of the wind to subtleties and nuisances of a line of poetry. It is easy to dismiss ideas like that. I know, because there is no concrete evidence to support these notions. You may go further and trot out the wellworn idea that God is just a creation of mankind, and exists only as a sort of communal solipsism. You may even assert that God is only the creation of a single person’s daydream.

Nevertheless, even an atheist will dream a dream of God, and inadvertently adjust their actions accordingly, all the while heaping scorn on the notion.

The Rooster then and went on to conclude his explanation of Otis’ dream with some further comments about the Blacksmith’s boy. He said, “Even though I am convinced that the play you wanted to perform in your dream was a play ultimately destined for all time, the entire universe and everything in it, still the play had another audience, an audience of one single person.”

Every creative endeavor, be it a painting or a drawing, a play, a poem or a work of fiction, has all mankind as its audience, as I have just said. But more often than not, a given work has also just a single objective, and that is to win the affections of one person, even some as yet unknown person.

In this regard, a creative work can be understood as a love letter, even if that love letter has neither an address nor a destination. A series of works might be seen as series of requests for love, pure and simple. And who is the only person in this wide world that Otis loves the most? It is the Blacksmith’s boy, and therefore in the conclusion of the dream, he becomes the only person in the audience. So in your mind Otis, you must accept that your desire to be a playwright is of secondary importance, and must some day give way to your real purpose, which is to attempt to return to your first affection, even if that return is not possible, not even conceivable.

That was how the Rooster’s analysis of Otis’ dream ended and it led to an interesting discussion. The Rooster felt that everything about the dream pointed to a simple and obvious conclusion: if the three of them wanted to become serious theatrical performers, they should abandon people as their audiences altogether and not even bother creating works for the human population. “They are not worth it, and there is no point to it at all,” said the Rooster.

“Obviously when people see a dish and a spoon they know it is a dish and a spoon, but as soon as you start delving into what that dish and spoon mean, what they signify, what they portent, then the human tribe is left behind in a cloud of intellectual dust.”

It sometimes happens that some smart person pretends to understand the symbolism of things but it is never true, because people are in the habit of simply projecting their own thoughts and emotions onto anything that comes in handy. This habit of their thinkers, if you want to call them that, leads them into endless confusion. If I were to write a play and it was preformed in a huge theater and received endless praise and critical reviews, I would be entirely unmoved, but if some random finch found it to be dull and insipid, I would be devastated. H

The 24.9” scale of this OO guitar makes for a comfortable and intimate feel while an elegantly finished sound port provides real sound monitoring to the player of this sweet guitar. Add easy action and sweet, bright tone and this guitar almost embodies the magical qualities of the Berkshire breezes in which ALL of its tone woods grew.

Available at The Music Store in Great Barrington.

Ber ks hi re H and ma de CHAPTER 1

Innovation. Craftsmanship. Craft. Music. The Berkshires is known for and has ALL of it.

Most of us agree that using locally sourced materials beats importing. We love the idea of supporting local craftspeople before overseas mass-production. We like the idea of HANDMADE instruments, expertly and lovingly designed, and are delighted at those expertly made right here in Berkshire County. Local craftspeople are building guitars, ukuleles, ‘strum stick dulcimers,’ bamboo flutes and walking stick flutes, cigar box guitars and ‘canjos’ and we area fortunate to represent some of this wonderful collection!

And so, The Music Store is proud to present it’s Homegrown Musical Masterworks, extraordinary instruments made locally and often using locally sourced materials as well!

In each chapter of this series we will introduce a new instrument by a local maker, so stay tuned to the Artful Mind as the months progress into summer and beyond.

feATured inSTruMenT

Brier road Guitars

The Brier Road OO-Berkshire Guitar

by Luthier Nick Lenski

Using woods ENTIRELY SOURCED locally, here in Berkshire County, Nick Lenski has introduced this beautifully built and elegantly designed OO acoustic guitar. The top and internal bracing are Adirondack spruce from Savoy. The back, neck and sides, inside patches and purfling are crafted from figured maple harvested in Lenox, Stockbridge and Clarksburg. And the beautiful Black Walnut used to make the fretboard, bridge and bridge binding, ergonomic bevel and headstock grew in Sheffield, Pittsfield, Cheshire and Dalton.

In next month’s issue: Dr. Easy’s Drunk Bay Cigar Box Guitars: where Berkshire County meets the Old and New in the world. (Or Undermountain Ukuleles, OR Serenity Bamboo Flutes OR Rowe Stick Dulcimers OR Waite Gypsy Guitars, OR Whitmer Guitars or. . . we have a lot of locally made GREAT musical stuff! :^) )

"AN OUNCE OF BEHAVIOR IS WORTH A POUND

OF WORDS." -- SANFORD MEISNER

Showing your passion is my passion

Pets • Children • Family gatherings • Weddings • Events

(518) 329-6239 bd@docktor.com • bdocktor.com

The ArTful Mind June 2016 • 41

diAnA felBer GAllery PHOTOGRAPH BY MICHAEL FLOWER

neW MArlBorouGh VESSEL BY LINDA SKIPPER

MeeTinG houSe GAllery

veSSelS An inviTATionAl TheMe ShoW The Meeting House Gallery in New Marlborough opens its nineteenth summer season with an invitational theme show, Vessels. Twenty-one artists will show both three-dimensional, actual vessels and twodimensional variations on the theme, such as floating vessels and humans as vessels.

In the category of three-dimensional art, baskets crafted by experts Jo-Ann Kelly Catsos and Wendy Jensen will be exhibited along with creative pottery

by Daniel Bellow, Cookie Coyne, Marcia Kammel and Linda Skipper. Painters taking on this theme include Ann Getsinger, Nancy Goldberger, Pat Hogan, Elizabeth L. Lombardi, Marjorie Pollack, Abbe Stall Steinglass, Terry Wise, and Phyllis Kornfeld. Photographers include Lee Backer, Betsy Wells Farber, Peggy Reeves, and Larry Silk. Jeanne Marklin adds the spice of her highly acclaimed fabric art, and Serena W. Granbery contributes her sculptural work in metal .

The Meeting House Gallery is housed in a historic church building, which also hosts the fine Music and More concert and literary series later in the season.* The gallery on the lower level of the building feels cool on a hot summer’s day. The art work, professionally displayed, is well-lit by both natural light and spot lighting. Located on Route 57 in New Marlborough, the gallery is located next door to the acclaimed Old inn on the Green.

Supported by the New Marlborough Village Association, the Gallery is run by a volunteer Gallery Committee of artists and art lovers. Exhibiting artists contribute to the opening festivities and by sitting the gallery. As in past years, this collaborative enterprise offers work by outstanding artists from the Berkshires, some of whom are nationally and internationally recognized.

An opening reception for Vessels will be held Friday, June 17, from 5:00 to 7:00 p.m. The show runs June 18 through July 10, Fridays, Saturdays and Sundays from 11:00 a.m. to 4:00 p.m.

Two exhibits will follow: Wild Life, showing 23 artists’ work July 30 through August 21, and New Marlborough Artists, exhibiting the work of eight New Marlborough residents, September 3 through October 2. *The Music and More season, with six exciting events, begins Saturday, August 27, and runs through October 8. All programs begin at 4:30 p.m. and are followed by a reception in the Meeting House Gallery. For more information, visit: http:// newmarlborough.org./music-more/.

42 •June 2016 The ArTful Mind

A new Contemporary Fine Art and Craft Gallery will be opening in West Stockbridge soon, located around the corner from 6 Depot Café and Rouge Restaurant.

Diana Felber Gallery was begun and is operated

by Diana Felber, in a beautifully refurbished space, for the purpose of displaying and selling fine contemporary painting and crafts. Diana has long been an art aficionado, and decided to open a gallery to showcase some of her favorite artists and artisans and to discover and bring new wonderful artists and craftspeople to the Berkshires.

Known for her lovely garden, Diana has always loved and appreciated beauty in all its forms and looks for ways to enhance a relationship with nature.

The crafts featured are made of clay, wood, alabaster, glass plus jewelry.

The opening line-up of artists, for the first six week show are: Huge (150lbs) clay tablets by Paul Chaleff.

Paintings by Murray Hochman, a treasure of an artist from within our midst.

Four strong spiritual figurative images from Kathleen Cammarata's "Edgewater" series.

Amazing tulips and other plant life from the imagination of Petula Bloomfield.

A few dancing lines of Shawn Baker.

More of these to come in future.

The brilliant, strong, saturated watercolors of Nava Grunfeld, lighting up the crafts gallery.

Life-sized, wordy wire sculptures of Naomi Grossman, plus some really fun iPad paintings from her daily train rides to her studio.

And finally, some beautiful, subtle photographic images printed on metal

by Birgit Blyth.

Diana Felber Gallery - 6 Harris St, West Stockbridge, MA. Gallery Hours: Open daily 11-6pm; closed Tuesdays.

413-854-7002, dianafelbergallery.com, Diana@dianafelbergallery.com

Reach your audience!

Best ad rates in town!

Advertise this season in THE ARTFUL MIND 413. 854. 4400 artfulmind@Yahoo.com

ArTiSAn MArkeTPlAce June 18 HOSTED BY SPECTRUM PLAYHOUSE

The Artisan Marketplace will take place at the beautiful and newly renovated Spectrum Playhouse, formerly St. George’s Church, in Lee, Massachusetts.

This former church creates a distinctive setting for this multi-artisan marketplace. The free event takes place on Saturday, June 18 and will be open from 10 am to 4 pm featuring a curated selection of independent artisans from the Berkshires and beyond. The marketplace is an opportunity to buy one-of-a-kind artwork and foods directly from the artisans who make them. The event provides a chance to meet the artisans and to share their stories.

Shoppers will find a variety of outstanding handmade goods - ranging from one-of-a-kind journals and colored pencil carrying cases by Jan Charbonneau, delightful and wildly entertaining artwork by Linda Baker-Cimini, gorgeous prints by Susan Sabino, and beautiful mixed media pieces by Karen Andrews of Inner Vision Studios, to enjoying delicious tastings with Cindy Angelillo from Tastefully Simple and much more.

Spectrum Playhouse – 20 Franklin Street, Lee, Massachusetts. For more information, visit goodpurpose.org

Grandma Becky’s Recipes

by Laura Pian

MONKEY BREAD (Malpe Broyt)

As I recall, Grandma Becky’s Monkey Bread was an occasional, special treat. Grandma would have to make at least two of these beauties if all of her 13 grandchildren were gathered together at once. We’d never tire of it and always appreciate its fluffy, sweet and gooey texture. Today, you may find this amazing pull-apart bread referred to by many different names. The old world folks call it Hungarian Coffee Cake. My son came home from his kindergarten class with the same recipe entitled Cinnamon Snails. No matter what its called in your home, the taste is undeniably irresistible. Think mini-dough balls snuggled together into a circle of love cake. So easily pulled into bite sized pieces with one’s fingers, it has endearingly adopted the name Monkey Bread. Be sure to grab yours (before its gone) while its freshly warm out of the oven!

Dough: 1 cup milk 1/3 cup warm water 2 tablespoons melted butter ¼ cup sugar 2 ¼ teaspoons instant yeast 3 ½ cups flour (keep some aside for handling dough) 2 teaspoons salt (optional add-ins: nuts, raisins, chocolate chips, orange rind, flavorings such as vanilla, butterscotch, almond, etc.)

Sugar Mixture: 1 cup light brown sugar 3 teaspoons ground cinnamon 1 stick melted butter Glaze: 1 cup confectioner’s sugar 2 tablespoons milk 1/2 teaspoon vanilla extract Whisk together until smooth

Coat bundt pan with non-stick spray. in bowl, combine milk, water, 2 tablespoons melted better, sugar and lastly the yeast. Using stand mixer with dough hook attachment, mix flour and salt into mixing bowl on slow speed. Gradually add the milk mixture. increase speed and mix together until dough forms a ball (approx. 7 minutes). Add small amounts of flour until dough is sticky but not too wet. Place dough ball into a medium sized glass bowl coated with cooking spray and cover with dish towel. Keep in warm area until it rises to double in size (approx. 12 hours). While dough is doing it’s rising magic, prepare the sugar mixture in one bowl and melted stick of butter in a second bowl. Once risen, carefully remove dough from bowl and flatten into a sheet approximately 1” thick. Cut into 64 pieces equal in size. Roll each piece into a small ball. Dip each dough ball into melted butter, allowing excess to drip off back into bowl. Then roll into sugar mixture and place into bundt pan. Repeat butter and sugar process with all dough balls and layer them into the pan. Cover pan with dish town and repeat rising process (approx. 1 hour or until all balls have risen to 1-2” from top of pan). Remove dish towel and place pan into 350 degree pre-heated oven (tip: place a sheet of foil on grating underneath to catch any possible bubbling over while baking). Bake for 40-45 minutes. Remove when nicely browned and bubbly. Cool for 5 minutes, then turn out on platter. Cool for another 10 minutes, then drizzle glaze onto the bread, allowing it to drip down over the top and sides.

Time-saving tip: This recipe can be quickly made by using 4 cans of (Pillsbury-type) pre-made refrigerated biscuit dough. Cut each biscuit into quarters, then follow butter & sugar mixture instructions above.

Azoy geshmak, esen gezunt! “So delish, eat well!”

Keep the e-mail comments coming!! artfulmind@yahoo.com

The ArTful Mind June 2016 • 43

44 •June 2016 The ArTful Mind