The Artful Mind / November 2024

THE ART FUL MI N D

VISUAL ARTIST SCOOTER LAFORGE

PHOTOGRAPH BY BOBBY MILLER

the ARTFUL MIND

Scooter LaForge Visua Artist 16

Jay Tobin

Painter and Sculptor.. 26

Ricky Darell Barton Robot Paintings are Interactive 32

Richard Britell | FICTION

Something for Over the Couch “New York” ... 45

Mining My Life Diaries of Jane Gennaro ... 48

Publisher Harryet Candee

Copy Editor Marguerite Bride

Third Eye Jeff Bynack

Distribution Ruby Aver

Contributing Photographers

Edward Acker

Tasja Keetman Bobby Miller

Contributing Writers

Richard Britell Jane Gennaro

Advertising / Editorial inquiries and Subscriptions by mail: 413 - 645 - 4114 artfulmind@yahoo.com

Read the online version: ISSUU.COM

FB: ARTFUL MIND GALLERY for Artful Minds 23

THE ARTFUL MIND PO Box 985

Great Barrington, MA 01230

Drifting Through Time

Lyn Horton

“My 2024 work grasps at an essence of our world, no matter how narrow its parameters. For Repeated Forms and Leaves and Flowers, my world happened to include a camera, a studio table filled with drying leaves and flowers, boxes of pens and pencils, and an idea.“

https://www.instagram.com/lynhortonphotoart

Repeated Forms 2, 2024, 30 in h x 24 in w, ink and colored pencil on printed photograph

I am very reluctant to let go of things I love so my curtains clothes etc. are transformed as they change and deteriorate. Curtains become silk screened scarves and couches and jackets are transformed through a patchwork of different materials, so it is little wonder that I have started doing this with my art and am very excited with the results. I only hope that I don’t start searching frantically for the missing pieces.

For the first time I shall do Art Basle Miami from 4th to the 8th of December, and Satellite Gallery has chosen my “Down The Rabbit Hole” paintings so I shall make my area into a fun statement space; presently I am spending time checking the artwork to be exhibited.

Please visit me if you happen to be in Miami, there will be surprises. I was able to take advantage of this opportunity as it looks like my Retrospective at the Museum of Sunderland in the UK that I have been working on all year will be delayed a few months.

My Chinese Historical Drama series “Chimi” is not yet finished. Some big canvases are ready to go and I plan on doing story line paintings with lots of figures inspired by the more violent aspects of these dramas.

Now I need a commission of a large family or friends’ portrait to work on simultaneously as my portrait painting work gives me the breaks I need to return with a fresh eye to my other work. Linda Masonwww.lindamason.com, linda@lindamason.com for enquiries about the art or commissions.

LESLEE CARSEWELL

My artwork, be it photography, painting or collage embraces a very simple notion: how best to break up space to achieve more serendipity and greater intuition on the page. Though simple in theory, this is not so easy to achieve. I work to make use of both positive and negative space to create interest, lyricism, elegance, and ambiguity. Each element informs the whole. This whole, with luck, is filled with an air of intrigue.

Breaking up space to me has a direct correlation to music. Rhythm, texture, points of emphasis and silence all play their parts. Music that inspires me includes solo piano work by Debussy, Ravel, Mompou and of course, Schubert and Beethoven.

Working with limited and unadorned materials, I enhance the initial compositions with color, subtle but emphatic line work and texture. For me, painting abstractly removes restraints. I find the simplicity of line and subsequent forming of shapes quietly liberating.

Lastly, I want my work to feel crafted, the artist’s hand in every endeavor.

Leslee Carsewell413-229-0155 / 413.854.5757

lcarsewellart@icloud.com

@DEBORAH H CARTER

YOU AUGHTA BE IN PICTURES

UPCYCLED KODACHROME SLIDES

PHOTO: DEBORAH H. CARTER

DEBORAH H. CARTER

Deborah H. Carter is a multi-media artist from Lenox, MA, who creates upcycled sustainable wearable art. Her couture pieces are constructed from post-consumer waste such as food packaging, wine corks, cardboard, books, wire, plastic, and other discarded items and thrifted wares. She manipulates the color, shape, and texture of her materials to compel us to question our assumptions of beauty and worth and ultimately reconsider our habits and attitudes about waste and consumerism.

A sewing enthusiast since the age of 8, Deborah first learned her craft by creating clothing with her mother and grandmothers. Her passion took hold as she began to design and sew apparel and accessories. After graduating with a degree in fashion design from Parsons School of Design in New York City, she worked as a women’s sportswear designer on Seventh Avenue.

Deborah’s art has been exhibited in galleries and art spaces around the US. She was one of 30 designers selected to showcase her work at the FS2020 Fashion Show annually at the University of Saint Andrews, Scotland. She has featured in the Spring 2023 What Women Create magazine.

Deborah H. Carter has been featured in the Berkshire Magazine, What Women Create magazine and was a finalist in the World of WearableArt competition in Wellington, New Zealand 2023.

Deborah H Carter413-441-3220, Clock Tower Artists 75 S. Church St., Studio 315, 3rd floor. Pittsfield, Massachusetts

Instagram: @deborah_h_carter

Debhcarter@yahoo.com

LINDA MASON

THE ARC OF LIFE

How it all begins and ends Again and again

CRAIG KAY

Opening Reception: Friday, November 8 • 5:00 - 6:30 pm

THROUGH NOVEMBER 2024

Hours: Closed Monday; Tuesday-Friday 10am - 5pm; Saturday: 10am - 2pm; Sunday 2 - 5pm

Craig Kay: 130 North Egremont Road, Alford, MA 01230 • Phone: 413-528-2452 • Mobile: 508-228-9919

Departure, water soluble crayons, gold and silver leaf, pen and ink, 2024, 20” x 20”

Col - lage: A piece of art made by sticking various different materials such as photographs and pieces of paper or fabric onto a backing.

elizabeth cassidy Artist, Illustrator, Writer, Poet, Peace Lover

My Faovrite Album Covers Turn the Music Down

GHETTA HISCH

“End of the Day” is a perfect Berkshires view for our month of November. The sky is still clear and filled with light, the snow is only at the top of Mount Greylock, and the fields are providing us with an array of yummy colors. The dark green of the pines contrasts with the dried out pastels of our meadows and bushes. Our trees take on a purplish softness that will then stay in our view all winter. No wonder people label our landscape “purple mountains”.

Yes, we do have to be ready for the silence and peace that comes with this view. This is my favorite painting to face when I wish to meditate.

“End of the Day” will be exhibited from the 1st to the 30th of November at Gallery North, 9 Eagle Street in North Adams, MA. The opening for that exhibit will be on Friday, November 1st, 4-7. You are also welcome to visit my art studio in Williamstown by calling or texting. My website keeps you informed as well.

Ghetta Hirsch413-597-1716

ghetta-hirsch.squarespace.com

Gallery North - www.gallerynorthadams.com

REPEATED FORMS 2, 2024, 30” X 24” INK AND COLORED PENCIL ON PRINTED PHOTOGRAPH

LYN HORTON

At this time in my life, I can see my work coming full circle to a place where abstraction, imagery referring to nature, and the juxtaposition and integration of the two, rest in a space where conceptualism reigns.

I started out in the 70s making conceptual art. I was trained in that era. Sol LeWitt, Douglas Huebler, Donald Burgy, and Gerald Ferguson were my teachers.

Conceptualism affects how my idea for a piece is shaped. My work uses traditional means but asks challenging questions about how one can think about how one is looking at the art. The viewer has to find out where the emptiness is, where nothing is, and then as result where everything can be. It all depends on the angle. My work vibrates the answers to all inquiries.

Lyn Hortonhttps://www.instagram.com/lynhortonphotoart http://www.crossmackenzie.com https://lynhorton.net

LONNY JARRETT

JESSE TOBIN McCAULEY

Jesse Tobin McCauley is known for her vibrant abstractions that combine free-flowing mark making and a playful use of a modern vibrant palette. She hopes everyone feels a sense of happiness that is evoked by the flood of color interacting on the canvas.

Jesse lives and works in Pittsfield, Massachusetts where she creates in her studio at the Lichtenstein Center for the Arts. She studied design at Otis College of Art and Design in Los Angeles. She was the inaugural artist-in-residence at Miraval Resort 2021 where she created a 40’x11’ mural called “A Happy Balance”. Her solo exhibitions include “Electric Color” at Gallery on North, Massachusetts and “Happy” at The Lichtenstein Center for the Arts, Pittsfield, MA.

Jesse Tobin McCauleyjessetobin@gmail.com,;Insta: @mooreofthetobin; web: jessetobinmccauley.com

BLITZ

www.lcarsewellart.com n @carzeart n lcarsewellart@icloud.com

RUBY AVER STREET ZEN

Growing up on the South Side of Chicago in the ‘60s was a history, rich and troubled time. As a youth, playing in the streets demanded grit.

Teaching Tai Chi for the last 30 years requires a Zen state of mind. My paintings come from this quiet place that exhibits the rich grit of my youth. Movement, shape, and color dominate spontaneously combining raw as well as delicate impulses.

My recent series, Strike a Pose, is inspired by the dance genre Voguing. Colorful feminine images with amplified characters grace the canvas with their mystery.

Mauritshuis Museum has chosen my abstract painting, Girl With a Pearl , for the Vermeer show in Amsterdam now showing through December. Ruby AverHousatonic Studio open by appointment: 413-854-7007, rdaver2@gmail.com Instagram: rdaver2

ELIZABETH CASSIDY ARTIST, ILLUSTRATOR, WRITER, POET, PEACE LOVER

I was asked back in 2022, “ Where do I come from? “ I thought for a minute and wrote back, “I come from my art: peaceful and messy. Hidden and in your face. All the colors covered up by black and white. That is where I am hiding. Ready to jump out and bring you in.”

Elizabeth Cassidywww.elizabethcassidystudioworks.com, elizabethcassidyart@gmail.com

LIONEL DELEVINGNE

Lionel Delevingne is a French born photographer and author whose work has taken him all over the world for publications such as the New York Times, Mother Jones, Figaro magazine among many others. His work has been collected and exhibited widely in Europe and the US. His two most recent books “To The Village Square, from Montague to Fukushima 1975 to 2014” and “X-ING …My Adventures at the Carwash 2022” are emblematic of his commitment to environmental concerns as well as the uncovering the absurdity of today’s reality.

Lionel Delevingnelioneldelevingne@gmail.com, https://www.lioneldelevingne.com, 917-496-1863, https://www.instagram.com/Lioneldelevingne

Ghetta Hirsch

“Mossy Ravine”

Oil on canvas, 24” x 29” is right now at the Spring Street Market Cafe in Williamstown, MA

Ask if you prefer to visit my Art Studio, also in Williamstown

Call or text 413-597-1716

Ghetta-hirsch.squarespace.com @ghettahirschpaintings

GIRL WITH A PEARL NECKLACE ACRYLIC ON CANVAS 24”X30”

CAPE COD ABSTRACT SAND AND SKY 2 BRUCE PANOCK

I am a visual artist using photography as the platform to begin a journey of exploration. My journey began in earnest almost 14 years ago when I retired due to health issues and began devoting myself to the informal study of art, artists and particularly photography. Before retiring I had begun studying photography as a hobby. After my retirement, the effort took on a greater intensity.

My world had changed for reasons outside of my control and I looked for something different in my work. I wanted to do more than document what was around me. I wanted to create something that the viewers might join with me and experience. Due to my health issues, I found myself confined with my activities generally restricted. For the first time I began looking inward, to the world that I experienced, though not always through physical interaction. It is a world where I spend more time trying to understand what I previously took for granted and did not think about enough. The ideas ranged from pleasure and beauty to pain and loss; from isolation to abandonment; to walking past what is uncomfortable to see. During this period of isolation, I began thinking about what is isolation, how it can transition to abandonment and then into being forgotten. The simplest display of this idea is abandoned buildings. They were once beautiful, then allowed to run down and abandoned, soon to be forgotten. After a while they disappear. Either mankind knocks down these forgotten once beautiful structures, or remediates them, or Nature reclaims the space. Doesn’t mankind do the same with its own?

My work employs references to other photographers, painters, as well as sculptors. The brushwork of Chinese and Japanese artists is appealing for both its simplicity and beauty. Abstract art has its own ways of sharing ideas which are jarring and beautiful at the same time. Black and white and color works each add their own dynamic. My work is influenced by these art forms, often using many of them in a single composited image.

My studies have been informal, often on my own, though I am fortunate to have had several teachers and mentors who have guided me.

Bruce PanockPanockphotography.com bruce@panockphotography.com Instagram @brucepanock

LANDSCAPE, KATE KNAPP

FRONT ST. GALLERY

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. Kate Knapp413-528-9546 at home or 413-429-7141 (cell) Front Street, Housatonic, MA. Gallery open by appointment or chance anytime. www.kateknappartist.com

LONNY JARRETT BERKSHIRE SCENIC PHOTOGRAPHY

My initial memory of awakening to the creative impulse was hearing the first chord of the Beatles, Hard Day’s Night, when I was six years old. I knew something big was happening at that moment, and I had to get on board! I began studying at the Guitar Workshop, the first guitar school in America. I’ve performed music most of my life and play jazz fusion with my band Redshift.

My interest in photography blossomed as an electron-microscopist publishing neuro- and molecular-biological research out of UMASS/Amherst and the Albert Einstein College of Medicine in the Bronx in my early 20s.

As a lifelong meditator, martial artist, musician, and photographer, everything I engage with comes from the same unified intention toward engendering the true, the good, and the beautiful. I endeavor to capture the light that seeps through everything in landscape and nature photography. Lonny Jarrett -

Community: Nourishingdestiny.com

Books: Spiritpathpress.com

Art: Berkshirescenicphotography.com

Teaching: Lonnyjarrett.com

“It is not the language of painters but the language of nature which one should listen to, the feeling for the things themselves, for reality, is more important than the feeling for pictures.”

—Vincent Van Gogh

SCOOTER LAFORGE VISUAL ARTIST

Interview by Harryet Candee

Photographs by Bobby Miller & Courtesy of the Artist

“I discover something new every day when I paint...” —SCOOTER LAFORGE

Scooter's art is a vibrant, good-natured fusion of outsider art, graffiti, pop culture, and modern surrealism. It is spotted with inspiration and reflection from the old masters. Scooter's hand-painted garments resonate deeply with young people, while his paintings, murals, and sculptures carry a similar approach, captivating and inspiring audiences everywhere. Over 30 years, through his bright vision, intuitive values, and sense of humor in art-making, he freely weaves narratives challenging social norms and political and social issues culminating in magic on all the surfaces he touches. While based in New York City, Scooter ventured to Provincetown, MA, where he crossed paths with Bobby Miller at the AMP Gallery (Art Market Provincetown). Their instant connection and shared artistic spirit led to a photo shoot in 2014 at Bobby's studio in Provincetown, Massachusetts. Seeing Bobby's portrait photography of Scooter I wanted to know more about this fun artist and his work. One thing led to another, resulting in a phone conversation earlier this month with Scooter and ultimately leading to this interview.

Harryet Candee: I enjoyed our initial conversation—we both mentioned liking each other's first names. You later on answered my question: But what's your first real name? Answering: It is a secret never to be revealed. So how did you get the name Scooter LaForge? It's like La Force—as the force in your artwork. Scooter LaForge: I got the name Scooter by chance while living with my sister in Long Beach, California. At the time, I was working at a 7Eleven in San Pedro, and I chose Scooter for my name tag. It stuck, and now, almost 40 years later, it’s still with me. As for LaForge, it’s actually my father’s last name—he’s Mexican. I love how it sounds and how it rolls off the tongue. It’s memorable, and that makes me happy, which is what matters most. In a way, the name could be a metaphor for my paintings—scooting across the canvas, having fun, and feeling free. My two rules in life are simple: have fun and be free.

Can you tell me about “The Lotus Eaters”?

My Lotus Eaters painting was inspired by my love for Homer’s epic poem The Odyssey. In the story, Odysseus and his crew encounter the Lotus Eat-

ers, a group of people who live in a state of blissful forgetfulness, sustained by the lotus fruit. This part of the poem has always been my favorite— it’s both fascinating and serene, exploring themes of temptation and the allure of escaping reality into a world of pure bliss. I encourage you to read that section of The Odyssey—it’s incredibly inspiring.

You're free to paint immediately and passionately onto any canvas or surface— on anything you want. What is most fun about your creative process?

Painting floods me with endorphins. I discover something new every day when I paint, and I love the complete and total freedom it gives me. When I’m at the canvas, I don’t have to think—I can escape. It’s been the most constant part of my life, and at this point, it feels like I have paint running through my veins. I love getting messy with it, not worrying about what I put down. Sometimes I make really ugly paintings that go straight into the trash—and you know what, Harryet? I don’t care. Life’s too short to worry about that. It’s just a painting. Continued on next page...

The Lotus Eaters Acrylic on linen, 38”x40” 2018

Why do you think your cartoon characters and recognizable imagery have such a strong impact on people? They give us a fresh, storytelling way of understanding the world. Having lived through the AIDS epidemic in San Francisco, I witnessed the profound loss of so many lives in just a matter of months. Those experiences shaped me and left an indelible mark on my consciousness. My artwork reflects not only my personal journey but also the broader human experience.

Cartoons were a significant part of my upbringing; they were like my babysitters and best friends. They brought me immense happiness and comfort, providing a sense of safety during my childhood. I still find that same delight in them today. The vibrant colors, dynamic lines, and imaginative shapes of cartoons resonate with me deeply and serve as a foundation for my artistic expression.

This connection between cartoons and my painting practice is vital. They are both forms of visual

storytelling, intertwined with elements of composition and design. My cartoon characters and iconic images act as vehicles to convey complex themes, like compassion for animals, environmental issues, and the human condition, in a way that is both accessible and engaging. By utilizing recognizable imagery, I aim to spark conversations and invite viewers to see the world through a fresh lens. My hope is that this playful yet poignant approach helps people reflect on important issues and encourages a deeper understanding of the world around us.

Tell us about the face masks and costumes. They're intriguing, funny, and intimidating, with animal furry heads and clown-like spirits. Masks. We all wear them. It’s important to ask ourselves what these masks represent. Sometimes we embody the clown, the businessperson, or the demure figure. Everyone has different personalities, and we all have our masks. I just explore these themes more openly through my art. People

often ask me why I focus on clown masks, but I believe everyone understands their own masks on some level. I encourage people to look in the mirror and ask themselves, What mask will I wear today?

Some days, I feel like going out dressed all in black, channeling my inner Johnny Cash. Other days, I want to embrace the energy and confidence of a star athlete, putting on that mask to feel empowered and focused. Sometimes, I crave the brightness of a clown, using vibrant colors to attract all the birds, insects, and other creatures around me. And then there are times when I want to be like a spider, spinning a web to collect all my favorite things.

Beyoncé wears your art. You re-purpose, reconstruct Louis Vuitton handbags and creatively twist and turn many traditional art and design ideas into your art. How did you get to where you are today?

If you keep at something long enough, it comes

Donald Duck Amphora, Acrylic on clay pot, 22”x16”, 2017

Homo Eruptus at Howl! Happening gallery in New York City. Back wall: Vesuvius, Will You Be My Girlfriend?, Acrylic on canvas, 2019 Little sculptures

full circle. I'm lucky to be part of New York City's vibrant art scene, with deep roots in this town. I've been living in the East Village for almost 30 years. I've been painting full-time since 1985. I'm fortunate to have wonderful friends who support me, like Patricia Field, whom I support 100%. I sell my hand-painted garments through her store, and at this point, I consider her family. I'm so loyal to her that I'm stuck like glue. Patricia Field is wildly successful, and through her, my clothes have appeared on icons like Beyoncé, Madonna, Rihanna, and Debbie Harry. And that's just to name a few. Art Fashion emerged from my need to pay the rent. One day, I decided to paint on T-shirts and sell them on the street, and this caught the attention of a store owner in the Meatpacking District, who invited me to sell my painted garments at his shop on West 12th Street. From there, my work reached Patricia Field, and I never imagined I would venture into painted clothing. The concept of Art Fashion has taken me around the world, allowing me to participate in fashion

shows in Greece, Paris, Spain, and Italy, as well as conduct numerous workshops teaching my techniques for painting on clothes. People are drawn to these unique, one-of-a-kind pieces, and I love that they feel special wearing them. I never tire of painting garments; it excites me and brings me genuine happiness. Next semester, I'll be showcasing my painted garments at Lesley University in Cambridge, and I'm thrilled to share my experiences and techniques with the students there.

While I wouldn't say this journey has eliminated my shyness, it has certainly expanded my circle of friends, which is a beautiful outcome. Making people happy is incredibly rewarding, and I cherish every moment.

What are the Corona Cave Paintings about?

The Corona Cave Paintings are artworks I’ve created on the walls of my tiny East Village apartment. During the Covid quarantine, I discovered some paints under my sink and decided to paint

freely. Inspired by cave drawings and Goya’s black paintings, I transformed my space into a cozy, cave-like environment. I still work on them occasionally, and they make my apartment feel larger while maintaining a warm atmosphere. Each time I return from traveling, it feels wonderful to be back in my little cave.

Describe a typical day from your childhood in New Mexico, including insights into the cultural aspects, family life, and friendships.

A day in my life in New Mexico involved waking up, grabbing my bicycle, and riding over to my neighbor’s house. We would catch lizards and then head to the public swimming pool, splashing around before going to the pond to catch tadpoles. We rode our bikes all over Las Cruces, exploring hidden spots and areas perfect for stunts.

It was a memorable childhood, even with a few missteps, like the time I got caught smoking at ten. We also lived in Hatch, where my father Continued on next page...

Painted Owl T-shirt for The Odyssey Show Jealous Gallery, London England

Scooter painting one of his murals, Corona Cave Painting 2020

painted landscapes on our back wall, while my mother, a talented singer and actress, played Desdemona in Othello with James Earl Jones. They’ve both passed now, but their influence remains.

Our home was adorned with prints of Georgia O’Keeffe, Frida Kahlo, and Diego Rivera. We had goats, sheep, dogs, cats, and horses roaming around. It was a vibrant upbringing in New Mexico, the land of enchantment. I visit once or twice a year, and each time, I’m transported back to my childhood. The night skies, filled with billions of stars and a profound sense of wonder, are something I will never forget.

Tell me about the meaning behind the following artworks, Scooter. Skeleton Autopsy, Past Present and Future, and The Stage. Skeleton Autopsy is a reinterpretation of Rembrandt’s famous 1632 painting, The Autopsy. Past, Present, and Future serves as a self-portrait, as

does The Stage, which also captures my essence.

What is the difference between living in San Francisco and living in NYC?

San Francisco will always have my heart. I was there during the *Tales of the City* years, and I felt like a character in Armistead Maupin’s novels. I mostly related to Mouse, but every character in that book reminded me of people in my life—he really captured it perfectly. San Francisco has that hippie, loving vibe, with open hearts everywhere. New York City is a whole different animal. It’s so creative here, filled with amazing people doing wonderful things. I call my friends my ‘army of love,’ and each one of them is incredibly talented and special in their own way. I also see special and talented people all over the world, but San Francisco and New York City definitely hold my heart. Both cities are magical in their own ways. New York City never stops—people are walking on the sidewalks 24 hours a day, while San Fran-

cisco tends to wind down a bit earlier.

What part of history has a strong influence on you?

Every part of history has an influence on me. Every aspect of life, every experience I have, and every historical event shapes my work. I love history. I read history. It drives me and interests me. History weaves its way into my life and work in subtle, often unexpected ways. Each experience, every facet of existence, shapes my perspective and leaves its mark. I find that echoes of historical events resonate within my creations, lending depth and richness to what I make. My passion for history inspires my curiosity, driving me to explore the stories and nuances that shape our world.

What are some non-traditional materials that you use?

I use whatever materials I have at hand—buried Continued on next page...

The Stage Oil on canvas, 48”x 60” 2010

Skeleton Autopsy, Oil and mixed media on canvas, 30”x36” 2012

Past, Present and Future, Oil and mixed media on canvas, 60”x60” 2012

juice cartons, dirt, discarded house paint, old crayons—anything available to me.

When do you realize your feelings steer the ship?

If I’m mad, I paint with anger; if I’m happy, my colors reflect that joy. My mood determines my art, shifting with the time of day or even the moment.

What outstanding experiences shaped your life so far and motivated you to take on artistic and personal challenges?

Some pivotal experiences have shaped me into the person I am today. Living in San Francisco during the late 80s and early 90s was one of those moments. I watched many friends succumb to AIDS, and I vividly recall walking down Castro Street, witnessing men who had become mere shadows of themselves, their bodies resembling human skeletons. The fear was palpable; KS lesions were commonplace, and it was impossible to predict who would survive and who wouldn’t.

Another significant experience was my decision

to give up drugs and alcohol after eight years of using them in the vibrant San Francisco nightlife. While those years were filled with excitement, they ultimately led me to a dark, lonely place where I felt trapped by self-centered fear and overwhelming sadness. Choosing sobriety allowed me to reclaim my life. With clarity came the ability to confront life’s challenges and seek solutions rather than succumb to despair. Additionally, the death of my mother profoundly impacted me. She was my support system and my friend, and losing her after speaking almost every day was devastating. Each of these experiences has contributed to my growth and resilience, shaping the person I am today.

Congratulations on your current show in Cambridge, Massachusetts. I bet the art students at Lesley University love seeing your big, bold world before their eyes. What impact do you envision you’ll have on these students?

I just hope that the students at Lesley University experience complete freedom while creating their art. When I met with nine seniors at Lesley, I was

blown away by their talent. This gives me so much faith in the future of art! They reminded me of myself when I was at the University of Arizona. Having my 30-year survey of works presented at their beautiful gallery exceeded all my expectations. I was over the moon with happiness, and it felt like a natural dopamine hit. You really can’t ask for anything better than that!

Have you ever taught art?

I’ve never taught formally, and I don’t think I ever will—but who knows?

Well....I'm interested in taking your class called "Everything You Wanted to Know About Scooter’s Language but Were Afraid to Ask :101" If you ever offer this, I’ll be wondering what I should expect and what art supplies and books I’ll be needing?

For this class, there won’t be any expectations except to go wild and let your freak flag fly. You can ask me anything, and I’ll share my experience, strength, and hope. As for books and supplies, grab whatever you can find and bring it to class.

Interior shot of works from a private collector

Floral Still-life, Oil on canvas, 24”x30,” 2024

“Scooter just paints anything. He’ll paint the plates, he’ll paint you if you get too close. I used to like to call him Little Picasso.” —GAIL HACKER, ARTIST

Try not to spend too much money—we can make art out of anything, and the materials are often right at our fingertips if we just look around. We might even go out and collect discarded items from the street for sculptures. There’s often house paint that gets thrown away too, which we could use to create large mural paintings. The options are endless. The only requirement is to push beyond your creative limits.

Understood! It's impressive that you started drawing at six years old, telling us that art was likely your earliest of passions. Could you share any other significant interests or passions you have developed over the years?

I’ve always loved sports and staying active. Math has always come easily to me, so I enjoy working with numbers. I’m a big fan of the great outdoors—nature and animals really inspire me. Movies are another passion, and I admire people who can act, sing, dance, and write. Honestly, my list of loves is long; it could go on forever!

There are moments when everything seems so

unimpressive-&-unoriginal, and old! But then I went to the Louvre. I ask you, Scooter, how could art so old be so new?

For me, anything made by hand never loses its appeal. Just look at the oldest cave drawings in the world—they’re thrilling and hold a timeless magic that resonates even today.

The art forms of painting, singing, dancing, acting, storytelling, and writing all possess a unique ability to connect with us across time.

I truly believe that art is timeless. There’s a profound experience in revisiting a painting after many years. You might find that your perception has shifted, and you feel something entirely different than you did before. This transformative quality is the beauty of art and culture; it evolves with us, reflecting our growth and changes in perspective.

What calms you?

A nice warm cup of tea, my bed, and a beautiful book. Hearing the sound of the wind going through the trees and looking up at the night sky full of stars, seeing the Big and Little Dipper. Tak-

ing a bath. Painting always calms me; I paint with no music and no sound. All I can hear is the sound of my breath, and I try to go very slowly.

What's life all about? I mean, seriously, what is this whole thing?

I don’t believe anyone truly knows the essence of life. It unfolds day after day, minute by minute, hour by hour. Each morning, I awaken with gratitude for the gift of another day. I’m here, alive, and the point of life is simply to live. If we’re going to embrace our time here, let’s truly live it.

https://www.scooter-laforge.com

Scooter standing in front of install at Lesley University, Cambridge, MA

ERIKA LARSKAYA

Confinement and Breakaway examine the mental state of struggle to make sense of our environment, both physical and psychological. I incorporate childlike drawing to represent nonconformity; the unadulterated state before we get confined by rules, commitment, insecurities, and other “add-ons.”

“I distress and repair parts of the painting, as we do within ourselves. The drawings of floor plans and elevations, which I use as a starting point, create a sense of enclosure, which I expand by continuing the lines outward, breaking the structural pattern. This alters the sense of confinement, breaking away from the [rigid, static] norm”.

Erika Larskayahttps://www.erikalarskaya.art

BRUCE LAIRD

I am an abstract artist whose two- and threedimensional works in mixed media reveal a fascination with geometry, color and juxtapositions. For me it is all about the work which provides surprising results, both playful and thought provoking.

From BCC to UMASS and later to Vermont College to earn my MFA Degree. I have taken many workshops through Art New England, at Bennington College, Hamilton College and an experimental workshop on cyanotypes recently at MCLA. Two international workshops in France and Italy also.I am pleased to have a studio space with an exciting group of artists at the Clocktower Building in Pittsfield.

Bruce LairdClock Tower Business Center, Studio #307 75 South Church Street, Pittsfield, MA

MATT BERNSON

Matt Bernson is a figurative artist who intuitively uses bold lines and bright color to expressively portray the human figure in playful and provocative ways. Matt graduated from MassArt with a BFA in Animation & Painting and has worked as a caricaturist and tattoo artist. His style could be described as a flavor of illustrative expressionism: a combination of strong lines and graphic composition paired with vivid color and loose brush strokes to hint at a narrative for the viewer to feel through. Matt Bernson brings attention to the human body with unique methodologies to help the viewer find new levels of appreciation for the figure.

Matt BernsonArtByMattBernson.com / matthew.bernson@gmail.com Instagram @MattBernson.Art

CROSSTOWN CROSSHATCH

JAY TOBIN

PAINTER AND SCULPTOR

"My work is mostly geometric abstraction. It is based on what I see in buildings, landscapes, shadows, or anything that catches my eye, how color reacts with another color, and what they can do together."—JAY TOBIN

Interview by Harryet Candee Photographs Courtesy of the Artist

Jay comes from a family of artists. Growing up in Pittsfield, he became a fireman and pursued a full-time career as a visual artist. He has created collage sculptures using found objects and uses house paint (interior or exterior) instead of traditional artist’s oils and acrylics. This choice is not just about being frugal but also about the freedom to paint without somewhat of a limit. Jay’s canvases used for his paintings originated from outdated life nets he discovered discarded at the local firehouse. Jay has also created large-scale murals and sculptures in the cityscape of Pittsfield and was a member of the artist group, Group W.

Harryet Candee: Looking back on your artistic journey, how do you see your growth as an artist?

Jay Tobin: I do come from a family of artists. My two older brothers were artists, one a painter and one a sculptor, the same with the younger brothers, one a painter, one a sculptor. I am in the middle and do both, but I am probably a better painter. I think.

I primarily use house paint because it is acrylic and mixed with artist’s paint. The canvas from the life net is thick and coarse. You can’t stretch it so that I use it as collage material.

What were some memorable experiences working as a full-time artist? Looking back, if having the opportunity, would you change anything?

Twenty years ago, I took a course in painting using fresco, which is pigment in wet plaster. The Sistine Chapel is probably the most famous. It

was given at the Frelinghuysen-Morris house in Lenox. I painted a large mural using fresco at East Coast Refinishing on Industrial Drive in Pittsfield. It was great making the plaster and painting such a large piece. (10ft x 20ft). Looking at it now, I would change a lot.

Tell Us about the wall sculpture “Roadside”? “Roadside” is made from broken cast iron pipe and wood. The title comes from the Iraq war. Roadside bombs killed and injured a lot of American service personnel. I found the cast iron pieces on the side of my street. A snow plow had hit a water shut-off housing and smashed it to pieces. I knew from the start what I wanted to say.

It’s interesting how you turn the canvas around into a diamond shape rather than the

Photo: hcandee

traditional square before applying paint. Can you explain the basis for this?

The first diamond-shaped painting I saw was by Piet Mondrian. Other artists have done them. Ilya Bolotowsky and Max Bill come to mind. The diamond sets up different compositional problems than a square or rectangle. Because of the V shape, one upside down, one right side up, your eye wants to finish the shape cut off by the slant. I like the shape, but I am trying to get away from horizontal and vertical lines, primarily rectangles and squares that are cut off. You saw one I was working on in my studio. It has been completely different since then and is still unfinished.

Have you ever created artwork with a life/death theme to honor an artist you knew and respected?

Yes, my brother Bill died a couple of years ago. He was a great sculptor who was part of Group W. The first painting I completed after his death

is dedicated to Bill. It is a diamond-shaped painting titled “Dynamite,” his nickname from when he was very young.

Puzzle pieces interest you, as seen in a series of mixed media wall hangings using actual puzzle pieces. What was the premise behind this body of work? How did the series develop for you, and which is most successful?

My wife Lois, always did puzzles and we had boxes of puzzles. I thought the pieces would add an interesting element or texture to a painting. That didn't work out like I thought. I like asian calligraphy and painting, in particular Japanese screen painting or byobu. So I use large puzzle pieces as a type of calligraphy or compositional element along with gold paint. The series developed around the start of covid and finished a couple years later.

Most successful are called "Get Matched" and one "Untitled" gold and black abstraction. Not

many people liked them, which is okay. You have to try things in order to move forward.

When we consider early artists such as Giotto, do you believe their struggles and challenges parallel those of modern artists?

I don’t know if Giotto struggled too much; his patrons were bankers and merchants. Anyway, his challenges in becoming one of the first great figurative painters at the time probably parallel any artist in any field. It takes hard work to keep getting better in thinking and in practice.

I’m in my seventies and still learning how to paint, draw, and think about art. I think I sit and stare at my work for as many hours as I paint. I’ll look at them and think, what can I do better a better color or composition?

I’m interested in hearing about your perspective on the changes in the art scene from the Continued on next page...

Roadside, 2006. Cast iron, acrylic on wood, 12"x 6.5"

Seeing inside one’s art studio is like seeing inside one’s brain Jay Tobin’s work space / studio

Photo: hcandee

Displaced, 2016, Concrete, acrylic, 12"x12"x10"

Dynamite, 2022, Acrylic on masonite, 54"x54"

Inspiration, process and further exploration

Jay Tobin with sculpture

Jay’s inspiration in the photographs

Photos:hcandee

past to the present, especially coming from an artistic family in Pittsfield.

Nowadays there are more places to show art. I think that came about from the start of the Friday Arts Walk. The Arts Walk allows people who are afraid of approaching a gallery to show their work and put it in a restaurant, coffee shop, etc. You can sit there eating, drinking, and looking at art leisurely.

When creating your black-and-white paintings, what challenges tested your skill and ability to produce aesthetically pleasing work like these two pieces? They appear quite different from your other work due to the exclusive use of black and white.

I have been doing black and white paintings on and off since the late 1970’s. At Umass, I had

John Grillo for a painting class. I did a black-andwhite painting that he thought was awful. He told me about an artist he knew who used black and white almost exclusively. His name is Myron Stout. Stout has had a big influence on my work. I try to set up these paintings so the black shape or negative space and the white positive space are “nice looking shapes,” as Grillo called them. I try to get the black-and-white shapes to play off each other. One isn’t more important than the other. Certain objects lend themselves to just two colors. A firefighter’s facepiece or a drop of liquid, for example.

Murals began popping up all over Pittsfield; you were part of that movement. Describe your contribution to making Pittsfield City more vibrant. (Is the mural still up?)

Dan O'Connell started the mural movement when he was director of the Lichtenstein Gallery. I worked on a couple mostly touching up as the murals aged. I worked from the start on The firefighter mural, it was destroyed by the sun and the parking deck it was on was torn down. I was also the model for the firefighter. The police department wanted a mural after we finished the firefighter. Half of the police mural is still up, the other half has faded into oblivion by the sun.

Tell us about the artwork, which features King Tut’s iconic tomb image rising above a dark blue body of solid space next to two other square shapes, one in black and the bottom in brown. I sense a bit of your humor in this piece. Or is it to be taken in a totally serious way? Continued on next page...

Onota Infusion, 2021-24, Acrylic on canvas, 36"x32"

Drop 2, Acrylic on canvas, 28"x28", 2024

Firefighter, Acrylic on canvas, 25"x22", 2022

The painting with King Tut is an older painting with nine squares of awful color, so I painted it into four squares. I have no idea where it is going. I was looking at an old art history book, and King Tut told me to free him from the book and stick him on the painting at the intersection of the four squares. So I did.

What was most amazing about the Group W collaboration you participated in? It was a big deal, encompassing 28,000 square feet of industrial space in Pittsfield. It involved a group of artists who grew up in the same town and shared similar interests in the arts. What has become of Group W and its members as of today? I wonder if that could ever be done again.

Group W (the name came from our meeting on Wednesday nights to work on art, discuss art and drink beer). It was a great collaboration of very different artists. The last show was 2016 at the Whitney Gallery in Pittsfield. (now closed) Most of us are still around doing art. A couple of members have passed away, FX Tobin and Bill Tobin. They were two important members and I think it would be hard to have a show without them. The rest of us are in contact and members show art by themselves or group shows. One member is a writer still working hard.

Would you like to create a new group like this someday?

I don't want to start a new group, let younger artists. There are quite a few around the Berkshires.

You’re having a solo show at the Lichtenstein Center for the Arts in June 2025. Congrats on that! What are the plans for this show?

I have seven paintings now that will be in the show. I probably will put some sculptures and reliefs like “Roadside.” Some older paintings and drawings. I have a lot of stuff from the last 50 years in my studio to pick from. My last hurrah, so to speak.

Untitled, 2020, acrylic, spray paint, collage on canvas, 40"x 67"

Double Negative, 2006, toaster, glass, charcoal, spray paint, metal, 24"x 24"x 8.5"

King Tut Squared, 2020-24, acrylic, collage on canvas, 36"x36"

Erika Larskaya

"As an abstract artist, I search for ways to represent the invisible, subtle, and unexpressed. I am driven to lay out fleeting and intangible experiences on physical surfaces". —Erika Larskaya

Erika Larskaya Studio at 79 Main St. Torrington, CT www.erikalarskaya.art

Mind Games 4, Mixed Media on canvas, 36” x 36”

RICKY DARELL BARTON

Robot Paintings are interactive!

“Viewers complete the painting using their own visual vocabulary. Finding images

within

images in my work seems endless because Robot Paintings, in effect, keep making

themselves.”—RDB

Ricky's abstract "Robot Paintings" uses a specific color scheme and vocabulary. Ricky emphasizes the role of color in the process with foreground and background painting, allowing color to become the principal character in the painting process. Ricky begins by infusing energy into the canvas using specific colors, then adds letters and shapes to enhance that energy spatially, resulting in figurative "robotic" shapes.

One of Ricky’s influences stem from the age of Graphic Design in the 1890s, marked by the introduction of two-toned Valentine's greetings. The progress in multi-color printing during this time led to the widespread use and profitability of such cards. Inspired by this, Ricky conducted experiments with color com-

binations and discovered their visual impact, similar to the recognition the Color School artists received. Ricky paints using rags, his hands, and primitive tools to achieve a flat graphic feel.

Harryet Candee: Tell us about two significant paintings that have given you strength and confidence as an artist.

Ricky Darell Barton: Yes, the first is my very first Robot Painting, a small 8"x10" yellow painting. I painted it in 2007 when I was a member of an art group in Washington, DC, the 52 O St. Group. We had group showings, and one of the members, whom I very much respected, wanted to buy the painting, which increased my interest in this new painting. I declined the offer because

I felt that the painting had much to teach me, and the interest expressed in it gave me the confidence to explore the idea of Robot Paintings. That was when the first Robot Painting was born. The second painting is a 2018, 40”x40” red Robot Painting with a wave. I activated this painting at the edges, and the idea of doing that continued to interest me for some time, to keep the energy to the edges of the canvas. I've always thought of my Robot Paintings as art objects, and this series significantly ingrained that idea into my painting process.

As I have seen, your work looks very deliberate and controlled, yet you bring into your art process a form of subconscious drawing and painting called Automatic-ism. Can you

Interview by Harryet Candee Photography Courtesy of the Artist

explain more about how you work with this technique?

Robot Paintings are the outcome of process, color theory, and mark-making. I begin the process by creating a foreground and background painting. Then, I think of color ideas that build around color energy vibrations. I then apply my markmaking vocabulary as the last step. I have made so many Robot Paintings this way that they now seem to push themselves, and I can explore and enjoy employing color theories repeatedly in my work. In an artist statement I wrote 17 years ago after I created my first Robot Painting, I asked myself if I could keep making this painting. The answer is yes!

I'm just wondering if Artomatic will ever come to the Berkshires. Artomatic is an arts festival covering every genre and medium, including music performances. What is your opinion of this venue? What was your experience being a part of this in 2012 and 2014? Would North Adams be a suitable venue for such an event? Artomatic was a blast. It was like having your own little gallery, and since it was held in build-

ings about to be renovated, you could do whatever you wanted with it. In one of my Artomatic shows, I painted the carpet and walls in my space, made original Robot Painting murals, and showed my current work, so it was a kind of Robot Painting madness. It was a very free art experience. Any art festival, anywhere, anytime, is good for building an art community like that in North Adams and its exposure.

Design and color are the strongest features of your work. Aside from apparent skills, I want to know what social, political, economic, or ethical messages you relay.

I was told once, "Paint your time." I include painting your immediate surroundings. In winter, I paint in blues. Come spring, I've moved to Pinks. This past season, I painted red for a solo art show, pushing against blue (image sent). 2024 is a political year, after all. My world affects me, and I try to show it through Robot painting. To me, that is joy.

What are some constant challenges you face when you begin a new painting?

In The Robot Painting process, color is the most challenging part: choosing or breaking out of a color pattern. I like to limit the number of colors I use to explore those colors. So once that hurdle is cleared, then I really get going. Then, it is a matter of balancing energy, discovery, and markmaking.

All the symbols on your canvas come from a language I would love to decipher. Still, I let it alone because I am distracted and find myself focusing and enjoying how my eyes travel around the canvas. What significant symbols have you made part of your signature style? EAT is a tag I created for myself. It is also an acronym for Everlasting Art Treasure, which oil paintings are in more than one sense. The other vocabulary in my work derives from my name and common strokes on a typewriter. Each year, I add a new element mark to date the paintings for that year, and this was a part of the process from the beginning. To this day, I use almost all of the elements in every Robot Painting.

Continued on next page...

Robot Painting 8x12 oil, oil stick on linen 2007

Red Robot Painting 36x36 oil stick on canvas 2018

Robot Painting 36x36 oil stick on canvas 2024

Yellow Red Blue Robot Painting 36x36 oil stick on canvas 2024

We then find ourselves wearing 3-D glasses to look at your art work. I haven't had the opportunity yet, but I look forward to it when I revisit Eagle Street. What do you think viewers experience when wearing 3-D glasses?

This was actually a happy accident. I was watching a 3-D movie with friends when one said look at your Robot Painting; it's in 3-D. The painting was jumping out at you. Colors changed to silver hues, and depth became more present. So now, I always play with the idea, so some are activated that way as the result of a nice discovery.

Abstract Expressionism is merged with icons and symbols into the mix in your work. How does Abstract Expressionism inspire you, and can you describe how you combine it on one canvas?

I like abstract art because you can create the rules and move in and out of the style. Creating Robot Paintings has given me a great deal of freedom to discover more about my painting and the process I use each year. I grew up in the '80s, so animation and graffiti were my earliest visual land-

scape, and I have drawn inspiration from artists like Keith Haring, Warhol, and Basquiat. That was when I was inspired to begin painting in an abstract expressionist style.

Repeating patterns are evident in your art. It's a characteristic known to graphic and textile design. As an artist, I need to repeat patterns, symbols, and other elements in my work as part of my process. One reason is that I want to strengthen my technique, and the physical act of repeating on paper feels satisfying. I also need to add something to my work in progress a second or third time until I achieve a sense of peace and conclusion. Ricky, can you explain what is satisfying to you while in the physical process of creating a Robot Painting? I feel the same way about repeating work. I also always discover new things because I introduce new elements each year. I keep each painting as an echo from before, but each one is new and different. I place a green dot on the painting, as the last thing I do is to represent the viewer, and this part of the process completes the Robot Painting.

It is a great feeling knowing when to stop.

What were some of your first experiences with learning to see like an artist?

When I worked at The Phillips Collection in Washington, DC, I saw Adolf Gottlieb's grid paintings with mystical symbols for the first time, and they really made an impression on me. Later, when I visited Vancouver, the Indigenous art there also had a big impact on me, leading me to start painting with symbols in a black grid format in 2007. I took art classes every year in school. After a 2-year stint in theatre school and trying out acting in New York City, I decided to pursue painting and enrolled in art classes at the Corcoran School of Art in Washington, DC, in 2006. During this time, I started working at The Phillips Collection, and I realized that being an artist would be a continuing education. While working there I had the opportunity to meet some famous artists such as Robert Ryman, Sam Gilliam, and Christo, all of whom were very kind and showed an interest in my art. Their encouragement meant a great deal to me. Continued on next page...

War Dust, Robot Painting Diptych 30x80 oil stick on canvas 2022

Red Blue Robot Painting Diptych 18x40 oil stick on canvas 2024

Has your social life been exciting since moving to the Berkshires? How do you spend your free time?

It's been an exciting seven years since I arrived in the Berkshires, joined two art groups, and have had some 25 art shows. I'm a member of an art cooperative gallery called Future Lab[s], based in N. Adams, and a group of artists who began by meeting regularly for dinners. The members of these groups have a great association with area artists. I also volunteer for activities in my town of Cheshire and attend a lot of local live music. I enjoy making Robot Paintings and being with my husband of 35 years.

What are your truths about being an artist?

I keep true to my process, and that keeps working for me. I may not be a big success from others' point of view, but I have already exceeded my expectations, and cool art things still keep happening to me, such as this interview.

I wish to keep showing Robot paintings and one day have an international gallery representation. Another reason to be an artist is so my life is filled with joy.

We live in challenging times. What do you find being sensitive to these days?

I feel most sensitive to discrimination against one another. Too much hate on this planet.

When you first wake up, what do you see outside your window?

The forest. My studio is across the hall from my bedroom, where I go each morning to paint.

How do we keep tabs on you? Contacts, upcoming shows?

Facebook, Instagram, and Future Lab(s) webpage (https://www.futurelabsgallery.com/), and always a show on the horizon.

Red Red Robot Painting 30x40 oil stick on canvas 2023 Blue Blue Robot Painting 30x40 oil stick on canvas 2023 Robot Painting 30x4o oil stick on canvas 2023

JANE GENNARO

Jane Gennaro is an artist, writer, and performer based in New York City and Claverack. Solo exhibitions include the Fashion Institute of Technology, World Monuments Fund Gallery, The Claverack Free Library, Time and Space Ltd. and Rogue Space. Gennaro’s solo plays have been produced by The American Place Theatre, Culture Project's Impact Festival, and The Toyota Comedy Festival. Her work has been reviewed in the New York Times, her commentaries have aired on NPR’s All Things Considered, and her illustrated column "Mining My Life, Diaries of Jane Gennaro" is published monthly in The Artful Mind magazine.

B4 THE FALL, PAPER ON PAINTED PAPER, 9 X 12

Hello All -

Oh happy day! I’ve launched an Online Shop to showcase my “Scissor Drawings”; Originals and prints in various sizes. I’d love you to check it out and tell me WHAT YOU SEE in your faves. Enjoy Autumn! — Thanks, Jane

For an overview of the artist’s fine art, visit www.janegennaro.com shop.janegennaro.com

CLOSE ENCOUNTERS WITH MUSIC

VIVACE CHAMBER ORCHESTRA: TCHAIKOVSKY, GRIEG, BOCCHERINI, BARBER SUNDAY, DECEMBER 15TH 2024, 4PM

MAHAIWE PERFORMING ARTS CENTER

Composed by Tchaikovsky to counter a bout of insomnia and melancholy, Serenade for Strings immediately cheered him up, and he reported “feeling well, invigorated and content” - as gratified listeners have over the years.

Vivace Chamber Orchestra; Yehuda Hanani, cello. Join us for an Afterglow Reception on the Mahaiwe stage following the concert! You are invited to meet the artists and enjoy bites and beverages by Authentic Eats by Oleg.

Tickets are available through Mahaiwe Performing Arts Center by calling 413-528-0100. info@cewm.org

SHANY PORRAS

Shany is a visual sound artist who translates music into abstract paintings.

“My artistic journey explores the interplay between visual art and music, where I find inspiration and translate the emotional landscapes of various genres into vibrant and expressive abstract paintings. Through my work, I strive to bridge the gap between two art forms that share the power to move, provoke, and stir the human spirit.”

She accepts commission for your favorite music. Shany PorrasArtintheBerkshires.com

Art studio is located at the Clock Tower Mill in Pittsfield, MA. Email Shany for studio tour: shany@number5studios.com

ARTFULMIND10 to receive 10% off your purchase The perfect gift to show friendship & love.

Find charms that delight and fascinate. Hand-made beaded jewelry plus there’s so much more to see on Laura’s online site!

Commissioned pieces welcome!

promo

PHOTO: STEPHEN ZURROW

TRANSLATION OF “I’M GOING TO MAKE A CAKE” BY PHILIP GLASS

Carolyn M. Abrams

BERKSHIRE ROLLING HILLS ART CLOCK TOWER ARTISTS Studio 302, 3rd floor 75 South Church St, Pittsfield, MA (413)-446-8469 www.sallytiskarice.com sallytiskarice@gmail.com

Ruby Aver

Currently in Vermeer show in Amsterdam via Mauritshuis Museum through December

rdaver2@gmail.com | Instagram: rdaver2. Housatonic Studio open by appointment: 413-854-7007

Girl

Sally Tiska Rice

Circle of Serenity, Watercolor

I am incredibly pleased to announce that I will be one of the featured artists in...

VISIBLE

LICHTENSTEIN CENTER FOR THE ARTS

28 Renne Avenue, Pittsfield, MA

OCTOBER 4 — NOVEMBER 23

elizabeth cassidy studio works

Artist, Illustrator, Writer, Peace Lover, and Creativity Coach elizabethcassidystudioworks.com elizabethcassidyart@gmail.com

KATE KNAPP

LANDSCAPE, KATE KNAPP

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) www.kateknappartist.com Front Street, Housatonic, MA

LIONEL DELEVINGNE

510 WARREN STREET GALLERY, Hudson NY now offering Vintage Delevingne silver prints for these times

https://www.instagram.com/Lioneldelevingne http://www.lioneldelevingne.com/ http://www.510WarrenStreetGallery.com

MARY ANN YARMOSKY

My work is a collection of a variety of people, a collection of experiences and expressions. It’s about understanding their history, understanding the power of their history, the power of their power, the power of their vulnerability, the power of transformation, and the power of purpose.

My works are abstract in nature, but aren’t we all pieces put together by our life experiences? Who is to say what is real when we look at a person. Don’t we always project onto them some characteristic we think we see, some fleeting feeling that crosses their face, or some mannerism that indicates their comfort or discomfort?

I work mainly with acrylic on canvas, paper or wood and often add fabric, thread or other artifacts that seem to belong. My process unfolds unintentionally since my characters dictate what needs to be said. I invite you to weave your own story into my works. You can decide what is held in an expression, a certain posture or the clothes they wear. I hope you enjoy the adventure as much as I do.

Mary Ann Yarmoskymarymaryannyarmosky.com maryannyarmoskyart.shop

MARGUERITE BRIDE WATERCOLORS

Commissions and exhibits are on the docket this fall.

Jazz Visions II, the limited edition, is on exhibit at Dottie’s in Pittsfield through December 31. Paintings of local jazz celebrities are being featured. Grab a bite, enjoy some music and check out the funky art work.

Throughout the month of December, paintings of Pittsfield and other local and beloved Berkshire scenes will be on display at the new home of Downtown Pittsfield, Inc at 431North Street, Pittsfield. In addition to the hanging framed pieces, they will also carry fine art reproductions of “Christmas on Park Square, 1912” and some other holiday themed art pieces for sale. Check their website or call for open hours.

Venues that regularly carry my work (originals, repros and cards) include Whispered the Heart and Around the Corner at the Red lion in, both in Stockbridge; Miraval in Lenox, and Hancock Shaker Village Gift Shop.

There is still time to commission a special painting for holiday gift giving…just barely. You might also consider a gift certificate for a house portrait. Fine art reproductions are also available directly through the artist. All details are on the website.

Marguerite J. BrideDowntown Pittsfield, Inc.: 413-841-1659

MargeBride-Paintings.com, MargeBride@aol.com

“After tea, it’s back to painting – a large poplar at dusk with a gathering storm. From time to time instead of this evening painting session I go bowling in one of the neighboring villages, but not very often.”

–Gustav

Klimt

SALLY TISKA RICE BERKSHIRE ROLLING HILLS

Born and raised in the captivating Berkshires, Sally Tiska Rice possesses artistic prowess that breathes life into her canvases. As a versatile multi-media artist, Sally seamlessly employs a tapestry of techniques, working in acrylics, watercolors, oil paints, pastels, collages containing botanicals and mixed media elements. Her creative spirit draws inspiration from the idyllic surroundings of her rural hometown, where she resides with her husband Mark and cherished pets.

Sally's artistic process is a dance of spontaneity and intention. With each stroke of her brush, she composes artwork that reflects her unique perspective. Beyond her personal creations, Sally also welcomes commissioned projects, turning heartfelt visions into tangible realities. Whether it's capturing the essence of individuals, beloved pets, cherished homes, or sacred churches, she pours her soul into each personalized masterpiece.

Sally's talent has garnered recognition both nationally and internationally. Her career includes a remarkable 25-year tenure at Crane Co., where she lent her hand-painted finesse to crafting exquisite stationery. Sally is a member of the Clock Tower Artists of Pittsfield, Massachusetts, the Guild of Berkshire Artists, the Berkshire Art Association, and the Becket Arts Center. Follow on YouTube, Facebook, and Instagram.

Sally’s work is on the gallery walls of the Clock Tower, Open Monday-Friday 9:00-5:00 pm for self-guided tours.

SallyTiskaRice@gmail.com www.sallytiskarice.com https://www.facebook.com/artistsallytiskarice Fine Art Prints (Pixels), Twitter, LinkedIn, Instagram, YouTube, TikTok

BIRCH LEAVES, 11” X 14”

Something For Over The Couch PART 21

New York

Suddenly I wanted to go to New York City. I had never been there, and I was ashamed to admit that the idea was terrifying. I was obsessed with news items in the papers each day. There was the problem of the juvenile delinquents. The juvenile delinquents were doing outrageous, sadistic things. They would go into the parks and throw gasoline on old men sitting on benches and then set them on fire. These old men who were set on fire, and who died, invariably turned out to be, ‘Beloved,’ by everyone. They always had a wonderful sense of humor, so everyone said.

Back then I had a primitive idea of moral law, as if one could be certain that evil experiences would be invariably visited only on evil people. I wondered if the newspapers were just making it all up. How could it be that all these old people who were set on fire, were always beloved by everyone? Why was it that they were always, every one of them, just about to do something wonderful, something desired for years? This old man was just planning on attending his granddaughter's wedding, and this other fried corpse had just purchased tickets for his trip to the old country.

There was an old woman who was burned up in a park who would go there every day to feed the pigeons. The delinquents burned her up, and cooked the pigeons first, right before her terrified eyes. And so I thought that I would go to New York, even though I was convinced I would most likely never return alive.

My teacher made it abundantly clear to me that if I wanted to be an artist, I had to go to New York. I had mentioned to her in our arguments that Leonardo and Michangelo never had shows in galleries and she had said this. “They were Catholic, when the church was everything. They worked only for the church, and even their private commissions were created with the church in mind, especially the donated gifts for local churches. So, why don’t you go and visit some of the local churches down in the Italian section, and look at the art that has been created for their walls. See if you can find something like a Raphael Madonna, down there on Jay Street. See if you can find some marble low relief of the crucifixion, with Christ, his veins showing on his arms and hands, as life-like as the veins on the top of your hand. No, you will find plaster casts with sand blasted features, stenciled Madonna faces like you see sandblasted on tombstones in the cemetery.”

I took her up on her suggestion, but I did not go to all the churches in the city, and there were many, I just went to my own church, the one I mentioned in the first chapter of this account. The church I always attend once a year with my cousins, for Midnight Mass on Christmas eve. It was a small structure, hardly even church-like in its architecture, and painted a ridiculous pink color.

The entrance door was rather large, but it bore no resemblance to those bronze doors of Ghiberti, so praised by Janson in his art history book. On the contrary, the entry was one of those aluminum and glass doors or recent manufacture, like you might see going into McDonalds. The door was open and I went in. I took three steps and stood still for a while.

I imagine that anyone entering an unknown church for the first time, most likely stops for a minute and takes in the view, no matter what it might be. What was I actually doing there in the church? Had I come to ask for guidance in life from a plaster statue of Jesus. Did I want to pray for the successful outcome of a medical procedure? No, I was there to pass judgment on the interior decorations of the church. I wanted to look at a lot of inferior artwork and reproductions, and having seen and passed judgment on them, to leave the building, take a deep breath and embark on my life with renewed conviction. I am not going to attempt to describe the pictures and statues in the church, you can go any day into one of those neighborhood structures and see what I saw. Flaccid, anemic paintings and sculpture by artists, devoid of feeling or any actual religious convictions.

It was a question of life or death, and I had to make a commitment, so I made the decision to go to the city without any idea of how I would get my Mother’s permission. I wanted to introduce the idea gradually to her, so as not to alarm her. I began to drop hints about wanting to see the Statue of Liberty, and that kind of stupid thing, but she divined my intent immediately, and stopped what she was doing, which was frying some peppers on the stove, and went up to her bedroom. I knew what she was doing up there, she was doing her Bible Lesson, the lesson was a group of Bible verses she had to read each day. Resorting to the Bible lesson was automatic, when some disaster was threatening to fall down upon us.

The result of her doing the lesson could never be predicted. On the one hand she would be beseeching God to sabotage my plans to go to New York, but at the same time she would want to hedge her bets. She also would want to prepare herself for the disaster of my actual going, and so she might find something like the story of Daniel in the Lion’s Den. I would be Daniel, and New York would be the Lion’s den. But the odd thing about being fed such ideas since when I was in a highchair waving my arms about for no reason, was that I also believed that New York was the Lion’s Den. And just because you might ardently believe the story of Daniel and the Lion’s den, does not mean you are not afraid of lions. I went up to her room, and sat on the bed next to her. She took off her glasses and set her book on the other pillow on the double bed, my father’s pillow. She was not crying, but there was some kind of rage in her eyes I had never seen before. She was struggling to not say something. She started to speak twice, and then it came out, an impossible, idiotic remark, that went to the very heart of all her troubles over me. Venomously she said, “It’s that Jewish woman isn’t it?”

“What Jewish woman?”

“That art substitute you have been going to see all the time.”

“You think Hannah is Jewish?”

“Obviously she is, don’t you know that.”

It was true that my art teacher was Jewish, but I had simply never thought about it. There was something nailed by the door that had something to do with that religion, and a menorah on the mantle under my painting, but I had simply never thought about it at all. At first I did not react, I just sat on the bed looking at my hands. My mother, I discovered, was a bigot, the silent resentful kind, I would have never guessed.

During the month I spent preparing myself for my trip to the Lion’s Den an odd thing happened to me, it was a strange and completely unexpected thing, but it seemed to me as if it was a thing designed to prevent me from going on my trip. It was almost as if some persons had been hired to act parts in a little one act play with me as an unwitting lead character, a play designed to make me forever abandon the idea of going to the city. In short, I was attacked by juvenile delinquents. I was walking up Jewell street almost to where it intersects Genesee Street. It was Saturday in the middle of the day, but where I was coming from, and where I was going I have no idea. It was one of those long walks where, as a game with myself, I would not decide which direction to go in when I got to a corner. I would stand at the corner and not be able to decide if I would go left, right or straight ahead. It never made any difference, since I had no destination in mind, but on this unusual Saturday, going to the right at the corner had a long series of amazing and curious consequences. I was just a few steps from a convenience store. The convenience store was a one story cinder block structure quite close to some rundown boarded up building. There was an alley between these two buildings and as I passed a hand reached out and grabbed me by my shirt from behind. Then I was dragged backwards down the alley a short distance and pushed up against a wall. I was so completely amazed by what was happening that I was unable to think. It was such a strange thing to experience that I had no way to respond. Have you ever slipped on some patch of ice unexpectedly, and for a short moment you are in the air, and you don’t realize it at first. Before you hit the ground, suspended in space, your mind goes blank as you wait for some explanation for your predicament. Then my attackers, there were two of them, turned me around and I got my first introduction to real life juvenile delinquents. They were two boys about my age, pimply, anemic, badly dressed and very nervous and frightened, as if I was attacking them. They were looking around every which way like squirrels frozen in traffic.

I was wondering, what do they want, do they want money, do they want to harm me, do they want to kill me? But, as if they were truly actors in a play, they seemed to have forgotten their lines, eventually things came to a head, and one of them took out a knife, a stiletto, a switchblade knife, and snapped it open with a flourish. There is something truly fascinating, even hipnotic about a knife like that, but it was just the knife, no gasoline.

—RICHARD BRITELL, OCTOBER 2024

Parts 1 - 20 @ www.richardbritell.com (short stories)

JOANE CORNELL FINE JEWELRY

Apart from the designs I produce for my store inventory, I find great pleasure in creating pieces for customers, whether from scratch or repurposing and reimagining their prior purchases from years gone by. Collaborating with the customer in the design process gives the outcome more depth of appreciation.

Commission orders are welcome.

Joane Cornell Fine Jewelry9 Main St., Chatham, New York; JoaneCornellFineJewelry.com / Instagram.

BERKSHIRE DIGITAL

Since opening in 2005, Berkshire Digital has done Giclée prints/fine art printing and accurate photo-reproductions of paintings, illustrations and photographs.

Giclée prints can be made in many different sizes from 5”x7” to 42”x 80” on a variety of archival paper choices. Berkshire Digital was featured in Photo District News magazine in an article about fine art printing. See the entire article on the BerkshireDigital.com website.

Berkshire Digital does accurate photo-reproductions of paintings and illustrations that can be used for Giclée prints, books, magazines, brochures, cards and websites.

“Fred Collins couldn’t have been more professional or more enjoyable to work with. He did a beautiful job in photographing paintings carefully, efficiently, and so accurately. It’s such a great feeling to know I have these beautiful, useful files on hand anytime I need them. I wish I’d called Fred years ago.” ---- Ann Getsinger

We also offer restoration and repair of damaged or faded photographs. A complete overview of services offered, along with pricing, can be seen on the web at BerkshireDigital.com

The owner, Fred Collins, has been a commercial and fine art photographer for over 30 years having had studios in Boston, Stamford and the Berkshires. He offers over 25 years of experience with Photoshop, enabling retouching, restoration and enhancement to prints and digital files. The studio is located in Mt Washington but drop-off and pick-up is available through Frames On Wheels, 84 Railroad Street in Great Barrington, MA 413-528-0997 and Gilded Moon Framing 17 John Street in Millerton, NY 518-789-3428.

Berkshire Digital413-644-9663, or go online to www.BerkshireDigital.com

“The nude, if you tackle it, is a very fascinating subject, especially for a woman… Traditionally the Nude was used to express formulations about life as larger-than-life, as Heroic or Ideal… The nude is not a ‘genre’ subject.” -Isabel Bishop

JANET COOPER THE ART OF FIGURING OUT

WHAT KIND OF ARTIST I AM Fabrics, anatomy, stitches, colors and bricologue are words, imbued with intense emotionality for me, a maker, collector and lover of objects and places.

My first love was clay, so basic, earthy and obsessively compelling, I adored making pottery shapes and objects, resembling torsos. A period of fascination with vintage tin cans, bottle caps and junky metal discards followed. Metal was sheared, punched, riveted and assembled into figurative shapes. I began to use fabrics with these works and eventually abandoned metal for hand stitching doll sculptures, totems and collages, all with second hand or recycled fabrics.

Lately I have introduced paint and waxes into my work. I also am using animal bones, those armatures of mammal form. I am recycling old works into the new, a kind of synthesis of who I have been with whom I am now.

I am also returning to jewelry or ornament making. as well as fashioning a collection of garden and street wear art aprons.

Janet Cooperjanetcoop@gmail.com www.janetcooperdesigns.com

UNTITLED, 24” X 36” X6 ”

STACKS, RUBY GOLD BAND

BONE ART

CRAIG KAY

BUSHNELL-SAGE LIBRARY

It is often said that the way we leave this life is the same way we came in, the only difference being what we learned in between.

I was born into an artistic family. In my 20s and 30s I supported myself as a fine artist, working primarily with photography, film and stain glass. Through middle age, my attention turned to metaphysics, teaching, the healing arts, and fine art conservation. In these later years I have been blessed with a return to fine art as a means of inquiry and manifestation.

The language, symbols and imagery present in these works are derived from various wisdom traditions, including Buddhism, Egyptian, Alchemical, Spiritual Healings and Shamanic Plant Medicine. Throughout all these traditions and in my own life processes the fundamental questions are always the same, who are we?, where did we come from?, what are we doing here?, and finally, where are we going?.

This presented work is my answer to these questions. You can look on them as symbolic representations of psychic spaces, what I saw when I took the inner journey. Consider them portals into other realities, as when the strain of looking turns into the relaxed gaze. May they take you to unexpected places.

As artist we often work alone. Yet we are always accompanied by our teachers, friends, guides. As such, I wish to acknowledge four trusted souls on this journey of art and discovery. Foremost, my wife Annie B. Kay, fellow companion, enduring lover, and faithful co-conspirator on this life’s road, without whom most of this work would not have come to fruition.

To my spiritual teacher, Barbara Ann Brennan, for her loving kindness toward me and for opening up the vast array of spiritual realms, separated by only the thinnest of veils.

To my dear friend Jamy Faust, for her deep understanding of the wisdom traditions and the shamanic practices needed to access them.

Finally, to Viktoria Seavey, artist, teacher, seeker of truth, who week after week, cleared the space, laid out the tools, materials, lead the meditation, and with such integrity and love, held the sacred space for a group of cancer survivors to create life anew, again and again.

Craig Kay will be showing his work at the Bushnell-Sage Library in November. Reception is Friday, November 8, 5 - 6:30pm / 48 Main St, Sheffield, MA. Join us to meet this special artist.

JAYE ALISON MOSCARIELLO

Jaye Alison Moscariello harnesses water-based mediums like acrylic and watercolor, influenced by a creative upbringing and artistic journey. Through abstraction and intuitive color selection, she captures the interplay between forms, with lines that articulate deep-seated emotions. Her art resonates with joy and upliftment, transforming personal and worldly complexities into visual harmony.

The artist is passionate about creating art, painting on flat, smooth surfaces, and using materials that are environmentally friendly.

Moscariello’s work has been exhibited both nationally and internationally, and has appeared in print, film, television, the web and Off Off Broadway.

Jaye Alison Moscariello310-970-4517 / jayealison.com

STEPHAN MARC KLEIN

I have been sketching for most of my adult life, since a summer when, as an undergraduate architecture student, I bicycled through Europe with a friend. When I travel, I always carry a sketchbook. I find that drawing forces me to slow down and more deeply experience my surroundings.

I made the Ladakh Sketchbook some years ago during a month I spent in Ladakh, which included a two and a half week trek through the Markha Valley.

Ladakh is a high-altitude mountainous region comprising the northern tip of India in the Karakoram range of the Himalayas. Its control has been in dispute between India, Pakistan and China. In the area that I traveled through, the primary religion practiced is Tibetan Buddhism. Until politics intervened, Ladakh had close ties to Tibet, and Ladakh Buddhists recognize the authority of the Dalai Lama.

To understand the sketches in this month’s adpage in The Artful Mind: A “gompa” in Buddhism is a religious building, a “chorten” is a stupa or reliquary sculptural mound. The buildings on the cliff above the tents in the Markha Valley Campsite sketch were a small but still active monastery with a few monks and the ruins of an ancient fort.

Stephan Marc Kleinstephanmarcklein.com, smk8378@gmail.com

(TOP) TARGETED 3, ACRYLICGRAPHITE,12” X 16” 2022 (BELOW) ABSTRACTED MEMORIES I, ACRYLIC, LATEX AND GRAPHITE ON BOARD, 12” X 16” 2022

ANCESTRY, 20” X 20”

Panockphotography.com

bruce@panockphotography.com 917-287-8589

Lines and Shapes in the Forest