THE ARTFUL MIND
DECEMBER
JORGE CLAR
PHOTOGRAPH BY BOBBY MILLER
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”
the ARTFUL MIND
JOANE CORNELL
Artist Jess Frey 14
Jorge Clar
Poet, Performance Artist, Clairvoyant... 24
Artist Update Ruby Aver ... 38
Travel Journal to Daugavpils, Latvia 2024
Jaye Alison Moscariello ... 48
Richard Britell | FICTION
Something for Over the Couch PT.2 “The Voyage of Life” ... 51
Mining My Life
Diaries of Jane Gennaro ... 52
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
ARTFUL MIND
Sol & Luna, Oil on canvas, 40 x 40, $8,000
RICHARD TALBERT
Opt 125, (c), Acrylic and Mixed Media on Paper, 24” x 34”, 2022
“Back to the Future” 1976—2024
510 WARREN STREET GALLERY, Hudson NY now offering Vintage Delevingne silver prints for these times
richtalbert1@gmail.com | Richardtalbertdesign.com
https://www.instagram.com/Lioneldelevingne http://www.lioneldelevingne.com/ http://www.510WarrenStreetGallery.com
Jennifer Pazienza
Spring's flowering trees, their branches encumbered by blooms tinted with a magical mix of cadmium and crimson reds and sun warmed whites within a rush of greens vividly contrasted the winter palette I had been working. Overcome by the abundant splendour and grace of those labouring limbs, I saw in them how we carry beauty and suffering.
@Jennifer Pazienza | www.jenniferpazienza | jennpazienza@gmail.com
Blooms & Burdens, Diptych, Oil on canvas, 72 H x 36 D
maryannyarmosky.com
www.lcarsewellart.com n @carzeart n lcarsewellart@icloud.com
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
ABSTRACT MILKWEED
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
SAINT JAMES PLACE
Seven-time Grammy®-winning saxophonist Paul Winter, with the Paul Winter Consort, will headline a month of family friendly holiday activities, many of them free of charge, at Saint James Place in Great Barrington.
December is filled with performances, activities, an arts fair & more at Saint James Place in Great Barrington: Tuesday, Dec. 3 and Tuesday, Dec. 10 at 7pmGreat Barrington Public Theater presents Berkshire Voices: Staged Reading of two new plays. Seating is limited.
Saturday, Dec. 7 at 10am-4pm and Sunday, Dec. 8 at 10am – 3pm - Delightful & Delectable Holiday Market (Great Barrington Arts Market)
Saturday, Dec. 14 - Annual Holiday Shop, Sip & Stroll. All events are free including: 3pm7:30pm Charlie’s Trains – model train display; 3pm Aston Magna Family Event; 5pm Olga Dunn Dance Co.: “Nutcracker Seedling”; 7:30pm Vocalis Youth Choir concert: “Songs of the Season”
Sunday, December 15 12noon-5pm Charlie’s Trains – model train display (free event)
Sunday, Dec. 15 at 3pm Berkshire Lyric holiday concert: “Love’s Pure Light” Saturday, Dec. 21 3pm and 7pm Paul Winter Consort: Winter Solstice Celebration.
Sunday, December 29 at 4pm Crescendo: BachCircle - Christmas Oratorios & Contemporary Female Voices.
Seating is limited for the free Aston Magna and Olga Dunn Dance Company events – reservations are strongly recommended by sending an email to: info@saintjamesplace.net. All events are listed at saintjamesplace.net.
Saint James Place413-528-1996
352 Main Street, Great Barrington, MA.
“Without freedom, no art; art lives only on the restraints it imposes on itself, and dies of all others.”
~Albert Camus
UNTITLED, 24” X 36” X6 ”
BONE ART
LINDA MASON
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.
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
JANE GENNARO
Jane Gennaro is an artist/writer/performer. Solo exhibitions include the Fashion Institute of Technology, Westover, Klapper Center for Fine Arts, World Monuments Fund Gallery, The Claverack Free Library and TSL Ltd.
Gennaro’s solo plays have been produced by the American Place Theatre, The Culture Project’s Impact Festival, Toyota Comedy Festival and more.
Her work has been reviewed in the New York Times and featured in New York Magazine and Gennaro’s commentaries aired on NPR’s All Things Considered, and her graphic column “Mining My Life” (culled from decades of illustrated diaries) appears monthly in The Artful Mind magazine.
Jane Gennarowww.janegennaro.com
CORPORATE FLY, WOMAN’S GARTER, GRAY FLANNEL, FLY ON HEN EGG, PAINTED ALBUMEN, FAUX METAL “BALLS”
JANE GENNARO PHOTO: ANNE CARNEY
CHIMI DENG
CARDINALS, ACRYLIC, 16” X 20”
Artist JESS FREY
“We are in this together and together is how we find our way.” - JESS FREY
Interview by Harryet Candee Photographs By Sandy Panzella
Jess creates visual art using abstract textural layers and incorporates recycled paint, acrylics, ink, and everyday found objects. Her artwork expresses the multi-faceted nature of trauma, addiction, recovery, humanity, wholeness, love, and the journey of finding one's way home.
In addition to her artistic pursuits, Jess is a Kripalu Lead Staff member and embodiment teacher, a certified Kripalu Ayurvedic Yoga teacher, and an Ayurvedic bodyworker. She offers valuable insights into promoting a healthy and artistic lifestyle for everyone. Jess showcased her art at Stockbridge Coffee and Tea this past July and August, allowing visitors to enjoy her artwork alongside the poems, stories, and shared experiences accompanying each piece.
Through the relationship between written and visual art, Jess illuminates an unfolding journey of being "Born Again," awakening a sense of freedom and aliveness.
Can you show us your authentic voice through what you do best? What does your heart want to say?
Jess Frey: My authentic voice comes out every day through my work, relationships, and on Facebook. I have a daily morning writing practice, and then I post/offer life inspiration to the other people on that platform exploring life with me.
When I drop into my heart space and pause to listen, today my heart says, “Brave you, Jess, for being you and awakening your own life. Trust your Soul path you have been called to even
when you cannot see the journey ahead. Devote yourself fully to steward love, connection, intimacy, creativity, transformation, and the Sacred. Allow more of your heart to be seen- lay down the armor, dear one, and invite your being to be stretched beyond what you think/know is possible. Remember, you did not come this far only to come this far. There is more aliveness that lives in the unknown. Keep choosing love every step of the way, and love will guide you.” I take a breath to honor what came through. Then, I say thank you heart for speaking. The Palace of the Heart always talks, yet it can be easy to dismiss and ignore heart wisdom in our busy, distracted lives. Let’s listen more.
Exploring healing through visual art is a powerful therapeutic approach that can guide in-
dividuals toward a happier and healthier version of themselves. Reflecting on your own life experiences, have you encountered challenges that inspire self-discovery? Sharing your journey could provide valuable insights into your identity and creative process. Exploring the intersection of creative expression, healing, self-discovery, and spirituality is such a juicy topic. They are all so intertwined and woven together through the fabric of life. They are not separate. I am a creatrix. We all are. To create is to bring something into existence. We need to get out of our way and dissolve limiting beliefs and stories that stop our unique expression. Everyone is born creative. We all had a box of crayons when we were kiddos, and then life happened: judgments, not good enough, comparison with others, a right/wrong way to do art, right/wrong way to express yourself, and slowly aspects of ourselves start to wall up and shut down.
Reflecting on my own life since childhood, I remember being a “closet artist.” Creating behind closed doors: journals galore, collage books, stickers, designing prints, and murals on the wall. Challenge and suffering became the fuel that ignited creativity. The art/creativity became the embers and flames that evoked and ushered self-discovery, healing, and a transformational
process of the fire to alchemize childhood trauma, sexual abuse, a 25-plus-year eating disorder of bulimia and anorexia, and the journey of recovery into the woman person I am today. I needed all that challenge and suffering to be who I am today. This alchemy process was where I learned to use art as a sacred tool for self-discovery, self-awakening, and inviting suffering to be the pathway to healing and growth. The only way through is through—all the way through. Creativity became a portal to connect the dissociation, mend the broken heart, express unfathomable experiences that had no words, tend to the ache that could not be felt, release stories that needed to be heard, and bring the invisible life within that yearned to be seen and expressed (the unconscious to become conscious) to be seen. This reminds me of the Gospel of Thomas, “If you bring forth what is within you, then what you bring forth will save you. And if you do not bring forth what is within you, what you don’t bring forth will destroy you.” On some level, I had no choice. I had to bring forth what was within me in creative ways. It was live or die. I thank God every day I was offered the Faith, Grace, and power to choose life. Many people who struggle with eating disorders choose death, as eating disorders have some of the highest death rates among all mental health issues. For
me, this was and still is today the therapeutic process of exploring healing through visual art.
How did you discover visual arts and feel it was okay to jump on board to be an artist? I discovered visual arts first as a writer and poet. In high school, I dated a dear artist who attended college for art education. He helped open the door to painting and abstract expression, which felt so freeing to me. Through our relationship, I found my unique style of merging painting with poetry. The painting speaks to the poemthe poem speaks to the painting, and there is a big ol’ conversation happening between me, poetry, God, paints, and abstract art.
I am unsure if I have a choice about jumping on board to be an artist. It’s who I am, it’s why I was born, it’s my destiny, duty, and responsibility, and a soul calling to express in the way I do. If I don’t, I will slowly be killing my Soul and will be a disservice to the greater good. Some of the bravest work we will all do is to live the life we were born for. For me, it’s art and creative expression in all forms: sound, song, drum, teaching, facilitation, designing curriculum, mentorship, interior decoration, gardening, poetry, connecting conversations, dancing with life, making love to a lover, painting a picture– it’s Continued on next page...
Embrace, 4, mixed media on canvas, 40”x 40”
all the same- a creative way of being and living. We are all artists every day and have the potential to dream dreams alive and express ourselves in creative ways. Every day of our life is a fresh white canvas waiting to be played with.
Have you studied art history, and what and who influenced you to create artwork?
Big smiles; this question brings shyness inside because, no, I have never studied art, art history, or art technique. What influenced me to create artwork was suffering. Today, what influences my artwork is the process of transformation. Other important influences include my relationships with others, seasons/cycles of the land, the continuous untangling within myself to live more authentically and free, intuition, dreams, listening to the life that wants to be heard, God/Source/Divine. I am open to the moment’s mystery, allowing and surrendering to what needs to come through. I become a clear vessel for truth and wisdom to be expressed as needed. I am open to the energetic circulation of ideas and visions that expand perspective. I tap in, attune to, and participate in a larger universal act I am not in charge of. It has nothing to do with me and is more about being a conduit for what needs to come through for me and others. It’s a spiritual practice for me, and it’s more than just art and the things I do on my kitchen floor. It’s a
way of being- it’s a way of life.
Have you written any poetry related to ways of healing that you can share with us?
Yes. Every poem I have ever written is a tribute to the healing process. Every one of my paintings is accompanied by a poem about healing. You can find my art/poems on my website. My next project is a book. Nudge, Nudge to myself.
The whole is greater than some of the parts it’s made of.” What does this mean to you?
I have heard this before, but honestly, I don’t resonate with it. Where I go more is that each part is part of the whole. The whole is not “greater or better” than the parts. Each part is welcome. Each part is needed to make the whole. Each part makes up the wholeness of who we are, which includes all the parts of you: joy and sorrow, rage and love, fear and clarity. All the parts make up the greatness of the whole- the greatness of you.
What would you say ranks top of your most important principles for living a healthy life?
Can you explain it to us?
Ohhh…top greatest hits to living a healthy life include:
- Prayer and devotion to God/Source/Divine
- Authenticity
- Honesty
- Presence and active listening
- Creative expression
- Intimacy and connection to self, others, the world, and life
- Choose love (we always have a choice)
- Embrace laughter, humor, and play
- Continuously remember and embody the essence of who we are
- Understand, own, and claim my purpose and who I serve (clarity about why I do what I do)
- Be willing to self-reflect, remove the veil, and step out of the “Matrix.”
- Share lots of hugs
In your reality, how have you facilitated connectivity, curiosity, and co-creating brave spaces for yourself and others?
My reality includes working full-time and leading various regular educational and transformational retreats at Kripalu Center for Yoga and Health. I have learned some ingredients that seem to foster connectivity and curiosity, ask a lot of questions, invite the wisdom of the group to lead the way (not just what Jess Frey/facilitator has to say), calling upon the wisdom of each person in the room to come forth, speak up, and be themselves. Then connectivity begins to permeate the room- humans connecting to humans- hearts connecting to hearts- Soul to Soul in our shared fragile humanity. Brave spaces
Awakening, Mixed media on canvas with wood frame
mean all of us together learning about who we are- what works, what does not, and how to move forward together. The co-creation of brave spaces says all parts are welcome, the whole of you welcome, and you be you. When I can be me, and you can be you, then we all can be in space together in the inquiry, exploration, and discovery. We stop looking for answers or the destination. We savor the journey of compassionate curiosity and are open to the moment of life unfolding, showing us all the next steps. Brave space means we point the compass toward truth, wisdom, and love, even in our differences.
Do you think a complete understanding of one’s mind is necessary to transform oneself? Or can transformation occur without exploring the why and how of one’s state of mind? Is it possible to transform oneself through the powers of discipline?
Ha…will we ever completely understand the mind? Golly the mind is some wild terrain to navigate. AND the path of transformation is all about learning thy self and knowing of thy self. It’s a forever-lifetime journey, not a one-time event. It seems a byproduct of the process of healing and transformation, which is the natural revealing of why and how one’s mind functions, reacts, responds, etc., offering clear insight into the workings of the unique mental bundle we all
have. From clear seeing I can engage in new choices. New choices birth a new way of thinking and a new way of being. Healing and transformation need SO much more than powers of discipline. Sometimes, we transform through relaxation and often only release in the softening, not force or discipline. Transformation needs choice, willingness, perseverance, humility, humor, gentleness, understanding, gratitude, reverence, integration, and infinite LOVE. Lastly, self-discovery and mind/body/heart exploration must include others. We are wounded in a relationship, and we heal in a relationship. We need one another to help one another understand ourselves and awaken. We are stronger together. It’s not a solo adventure.
Do you also work from a spiritual and religious point of view?
Ahhh…I LIVE from a spiritual and religious point of view. Life, art, teaching, music, facilitation, the essence of who I am- it’s all spiritual and religious. All of us humans are spiritual beings in human form. I hope to help people connect to and remember the Soul being they are and embody the Divine living in and through us all the time. This Divine Union with life itself is spiritual and religious.
Where is your favorite place to be?
My favorite place is a sweet secret spot in these special sacred woods, where I can listen to the land. There are no humans. There is no cellphone. It’s the liminal of nothingness and everything simultaneously. Where I lose myself and find myself is the place I see there is more to my life than what I currently know and experience. This place helps me remember the sacredness of all of life.
Where did you grow up? What was your family like as a child?’
I grew up in a small apple farm town in Lake Ontario near Rochester, NY. My family included a mixology of love and rage, beauty and mess, connection and dysfunction. I was the rule breaker, danced to the sound of my drum, and was the eccentric of the family. Most of my time was spent with my very loud, expressive Italian side, which included regular Sunday gatherings of authentic homemade pasta, sauce, and excessive amounts of food for everyone and more.
What makes you feel joy?
Laughter with a good friend. Real intimate, honest, deep, dive heart conversations (soul to soul and eye to eye), star gazing into the great mystery with awe, binoculars at the top of the mounContinued on next page...
Thresholds
Palace of Heart, Mixed media on canvas with wood frame, 21” x 17”
tain, playing with my 8-year-old friends on the playground, singing, crystal bowls, drumming, headphones with loud music in my ears, driving in fast cars, and dancing like freedom dances… oh yeah and messy paint on canvas.
What always saddens you?
Aye…big breath…the holy longings within me often bring sadness because those longings invite me to release the armor around my heart into a sweet surrender of “Thy will not mine” and “Let God be God.” Our cultural addiction to cell phones and technology has always saddened me because humans have lost touch with the land, animals, spirits, and other humans. The way humans treat one another saddens me- violence, inequality, polarization, separation, isolation. Life is hard for every one of us. Let’s be kinder, please, because we all crave and need to be seen, connected, and have a sense of belonging. Why can’t we love and respect each other and be good humans to other humans, even in our differences?
What are we all to be wary of at this point?
I lead retreats at Kripalu about death/immortality/impermanence, and I am in the process of becoming a death doula. It is wise to never take this life for granted. In one breath, this could all change. It should not bring death to challenge you to live at your highest potential. (What) are you waiting for? (Why) are you waiting? Why wait for life, LOVE, creativity, health, happiness, friends, family, community, job, a lover, all of it to be taken away before you dig in and dig deep to live your full potential? Why wait to live your authentic, alive, beautiful life? We want to be wary of thinking we have time. We don’t. AND. We need to decide what to do with the time given to us.
What is your song?
Every day, I sing. It’s a creative expression of art for me and a connection to God/my ancestors/the big universe we all live in. Recently, my song has been a version of “You don’t have to know the way…the way knows the way,” inspired by
a dear friend, Lyndsey Scott. I have also been singing a song/prayer and asking for guidance. We have to ask for help and for what we want and need- “Dear Lord, please show me the way.” Lastly, a song that often comes through is a grandmother’s song about listening to your knowing, waking up to your wisdom, and standing in your power. My friends, we need to wake up, all of us. We need to trust our knowledge and stand in power if we want real change and healing for the greater good as a collective human race.
Thank you!
www.jessfrey.com
Holy Wars
Liberation
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
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
ELIZABETH CASSIDY
What if Love is the answer?
I created Little Love Letters: A Peaceful Revolution in 2016 These small cards have my art and messages of love and acceptance on them. My cards are all about creating a peaceful revolution. My hope is that people will feel a little love when they find a card. I have had people write to me saying that the right card showed up for them at the right time.
These cards are what someone described as “magical.”
If you would like to join this peaceful revolution, please go to my website, and look for info under, “Social Impact.”
We can make a difference. We need to make a difference.
The world needs a little more love. elizabeth cassidy studio workswww:elizabethcassidystudioworks.com
Marguerite Bride WATERCOLORS
Looking for the perfect holiday gift?
Wide selection of framed and unframed Original Paintings & Fine Art Reproductions
www.margebride-paintings.com margebride@aol.com
Visit the artist’s studio in Pittsfield by appointment — 413 - 841 - 1659
FRONT STREET GALLERY
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
Ruby Aver
rdaver2@gmail.com | Instagram: rdaver2. Housatonic Studio open by appointment: 413-854-7007
Early Snow, Watercolor 11” x 14”
Sally Tiska Rice
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
Woven Thoughts no. 2 Acrylic on canvas 24”x30”
JORGE CLAR
POET | PERFORMANCE ARTIST | CLAIRVOYANT
Interview by Harryet Candee
Jorge, thank you for allowing me to peek into your world exploding with spontaneity, exploration, and artistic freedom. Through performance, poetry, music, and visual art, you possess an innate sense and ability to interpret the diverse lifestyles around you, magically pulling fragments from people’s lives, turning them upside down, and giving us a moment to realize that life is a gift. Your interactive artistic responses to others’ creativity slow the pace of life as we know it, leaving us open to the chance to step back and see the human plight and adventure we are on while playing with ideas of reality. Jorge, your
Photography by Bobby Miller and Courtesy of the Artist
unique style is, in today’s world, a direct inspiration and fuel for our desire to learn more about who we are and what we are all about.
How can you tell if your level of creativity during a stream-of-consciousness, ad-lib, spontaneous performance will result in something good on the first attempt? Do you revisit and refine the pieces to which you genuinely connect?
Jorge Clar: To me, all of life is performative. The only difference between a “regular” moment and a “performance” is the boundary established by being introduced on a stage or
location and concluding with a “thank you.” When I present a performance on stage, it’s typically an extension of something I have already experienced in everyday life.
In my musings, I jot down ideas—a sort of road map with possible bifurcations that a performance can take. This approach shapes the way performances unfold, as seen in the Dadaist Karload of Klowns pieces I perform with Hapi Phace and Gail Thacker, for instance. In the moment, there are multiple directions the “car” can take, and the same is true when I perform in my solo pieces. If an idea calls for a repeat, I’ll create additional installments.
Photo by Bobby Miller
“I am most grateful for my relationships; my greatest purpose in life is to be of service to others.” -JORGE CLAR
In my Show and Tell performances, I show drawings from my sketchbook and ad-lib a poem. Since the drawings are cryptic, my words change depending on the moment. Another series I perform is called Dishwashing Meditation, where I wash dishes in front of the audience. This performance serves as an allegory for Buddhist tonglen practice, in which one breathes in the suffering of others and breathes out compassion, healing, and relief.
I performed one of these pieces at the Rudin Gallery of the Brooklyn Academy of Music for Ted Riederer’s Never Records project. The experience felt holistic as the performance was recorded on a vinyl acetate, mirroring my strong interest in DJing.
In what ways are your performances a collaborative effort with other artists? When do you decide on performances you do solo or with other people involved?
A significant part of my day-to-day involves visiting artist friends in their studios or simply hanging out and expressing ourselves. This environment naturally sparks new ideas. As a copywriter and bilingual editor, I often help
friends with editing artist statements, catalog copy, and press releases, which allows me to become deeply involved in the process of putting together exhibitions.
I also love to model, leading me to be depicted in pieces showcased in exhibitions or to be asked to perform or curate performance evenings. For instance, I curated Monster Salon for Scooter LaForge, a night of performance that complemented his show How to Create a Monsterpiece at Howl! Happening Gallery, where I collaborate closely with the legendary publicist and gallerist Jane Friedman. I also performed in his shows Everything Is Going to Be OK (as a sort of mad pharmacist) at Theodore|Art, and Please Don’t Feed the Animals (as an impromptu poet at a dinner party) at the SPRING/BREAK art fair.
While I typically perform solo, I sometimes collaborate with other performers for added context. I also participate in larger performance ensembles, such as Hapi Phace’s Karload of Klowns, or presentations by conceptual artist Yoshiko Chuma. In Joel Handorff’s show Blossoms, I performed by dropping large, handmade flower petals by artist and life-partner Van Wif-
vat onto the floor while singing my words in the melodic style of Michel Legrand. I curated the rest of the performance evening, which featured performers like Helixx C. Armageddon and Darke Attoms, who riffed on floral themes in their unique ways.
Your online presence showcases a wealth of photographic portraits of you; in many, you look different and portray a distinct persona. I see this as a form of self-expression and an opportunity for you to reveal a new chapter in your journey. Please explain more about this, Jorge.
Early on, as a painfully shy kid searching for ways to connect with others, I discovered the power of clothing and appearance as a form of expression. My parents encouraged my creativity by buying me any clothes I wanted, allowing me to craft a narrative through my presentation. This became so captivating that by the time I reached college, I sometimes dressed down—although that is also costume; it’s all costume in my eyes—to avoid being distracted by my “performance,” whether it was head-to-toe prepContinued on next page...
At the studio of artists Van Wifvat and Kelly Bugden, Jorge sits on a golden rocking chair, writing poems. Photo by Matt McGinley
school attire or layers of oversized black clothing for a priestly look.
Years later, at a party, photographer Richard Weaver overheard me sharing stories about an outfit and suggested I start a blog to showcase my looks and share anecdotes about their elements. My high-school friend Víctor García, who lived just a few houses away from me in Río Piedras Heights, the suburb where I grew up, pointed out that my poses with outfits mirrored those from my elementary school photos—essentially a “straight-up pose” with my arms at my sides and feet forward. This realization clicked for me, and for a class reunion, I decided to emphasize telling the story of my life journey through outfits, which led to the launch of my Tumblr blog, now continued on Instagram.
Each piece of clothing tells a story. As Gail puts it, they are “performances for the camera,” which is also how I view my participation as a model in art pieces by dear friends like Dietmar Busse, Bubi Canal, and Gail herself.
One performance for the camera involved a photo session with my dear friend Dominic Vine, an avid traveler and photographer. As I in-
teracted with a set of antique light bulbs (which I used to collect as a child), those photos became part of a poetry book titled Light, accompanied by a mix CD called Jorge 2010, intended to be listened to while reading the book. The playlist on the CD is one of my favorites because it maintains a midrange tone that unifies the music throughout the entire mix, creating an entrancing and exhilarating effect. I presented the books and CDs (each featuring unique custom covers, in an edition of 49 single CDs and 49 book-andCD sets) during a lecture I delivered as “Professor Estrella” at a poetry event organized by the late visual artist Lori Ellison at Sideshow Gallery in Williamsburg.
A super important element in these “photo-performances” is that, in many of the photos, I am wearing clothes that have been customized by my artist friends. I often wear clothes customized by Scooter, Joel, Dietmar, Van, and many more.
Living in the city means spending a lot of time in the corner diner, talking with friends about everything. During your last really productive encounter of this sort, what did you
decide to add to your art-making practice? Who was sitting across the table?
The other day, I was at the Glory Days Diner in Greenwich, Connecticut, with Paul Caranicas, Van, Kelly, Dan Romer, and Paul’s friend Feliciano, and we were sharing anecdotes. I somehow got into the story of how Dad wanted to be an opera singer and had joined the Metropolitan Opera House Experimental Company in the late 1940s. We were talking about stories of Hispanics in New York. Paul is the executor of Antonio López and Juan Ramos’ archive. Paul invited us all to visit his studio, and I look forward to seeing his collection of drawings, as I also love to draw and will feel inspired to do it even more.
Think about the people who motivated you to be yourself. Who were they, and what words resonated with you that made you feel free to be authentic? How did you perceive their support, and in what ways did it shape your journey?
My friend Josie Cruz, whom I’ve known since kindergarten and the closest I have to a sister, once told me, “You should understand that you
Karload of Klowns performance troupe, featuring (left to right) Gail Thacker, Hapi Phace, and Jorge.
Photo by Thomas R. Gordon
Still from Jorge’s first Show and Tell performance (2017) at the group exhibition the form is stone, the dress is rain — May Swenson, The Spine and the Cage (1958), curated by Rafael Sánchez at AMP Gallery, Provincetown.
have a quality that, when you speak, people will listen to you.” I always remember that, and although I don’t strive to make my voice heard above others—I don’t believe in competition or proving anything to anybody—I find comfort in those words, which helped me break through my shyness.
You mentioned feeling like part cheerleader, part conduit. What do you mean by this? I believe in the power of enthusiasm and saying “yes.” I know I’m not alone in this—Quentin Crisp, Edgar Oliver, and many others share the same belief. The greatest gift you can give someone is to listen to them and allow them to express themselves and their ideas. A long time ago, I stopped being critical of things that didn’t immediately resonate with me (though there are certain things I find triggering, which I address as part of my shadow work, done with awareness). As a result, I end up learning so much. I feel that if we listen, keep our energy positive, and our hearts open, we learn and help others discover new ways of doing things while experiencing the same growth ourselves.
I know New York City is filled with exciting new opportunities to discover and explore different forms of art-making. I was watching the DJing video you often share, and I’d like to know how this venue enriches your life, its purpose, and how it fits into the broader scope of your artistic mission.
One of the main reasons I initially wanted to move to New York City was to become part of the history of disco music. My interest in disco started as a natural progression from the classical music I loved as a child, primarily Tchaikovsky and all the Strausses. I vividly remember being mesmerized by the layered sound of London Phase 4 Stereo records and Quadraphonic sound. A particular favorite was the Great Strauss Waltzes by Werner Müller and the Reader’s Digest Festival of Light Classical Music collection, which I listened to endlessly. The transition to disco felt natural when I discovered the Blue Danube Hustle by the Rice and Beans Orchestra and Bebu Silvetti’s “Spring Rain”—Silvetti would later become a major producer of Latin pop. The fusion of strings and percussion, along with the intricate soundscapes of The Philadelphia Sound and productions by
Cerrone and Alec R. Costandinos, became my “medicine music.”
From there, my interest expanded to Kraftwerk, Giorgio Moroder, and Kano, followed by the synthpop sound and, later, house music. I knew New York was home to legendary discos, and after watching Saturday Night Fever seven times—sneaking into the theater because I was too young—I even recorded the entire movie on a two-hour cassette.
When I finally arrived in New York, I befriended many DJs and, with my friend Freddy Turner, an incredible DJ, wrote house music reviews for Chicago-based Underground News and Italy’s Disco-ID. Sharing my Spotify playlists on social media has become a modern substitute for the homemade CDs I used to gift to friends as art. During a record launch party at the record store, my friend Keith Connolly (aka L. Gray) told Adrian Rew of Ergot Records that he loved my writing about music. Adrian, one of the first DJs to play at The Lot Radio, invited me to substitute for him on his show, and I became his go-to substitute. DJing has since become part of my artistic practice, allowing me to express abstract Continued on next page...
Blossoms performance at Ivy Brown Gallery. Flower petals by Van Wifvat. Photo by Van Wifvat.
feelings through sound, much like drawing helps me express them through lines.
Another type of intervention I engage in is DJing at friends’ openings and open studios. When Flloyd’s exhibition Dicks and Divas opened at Howl! Happening, I played selections from the 1970s that alluded to the film The Eyes of Laura Mars. For the next show at Howl!, which was Scooter’s Tee Hee Hee, I curated a soundtrack of classic new-wave tunes. In Yoshiko’s presentation, Love Story, at the Gene Frankel Theatre, I combined my Show and Tell performance format with DJing.
There must have been a time in your early years when you experienced your first inspiration for poetry. Did it evoke a feeling of what love was? Did it reveal to you how vast the universe was, with doors you wanted to enter and others you wanted to avoid?
When I first started writing poetry, I was inspired by Allen Ginsberg’s Howl, which I read for a high school assignment. I remember sitting in my rocking chair on the porch of my house, captivated as I read the entire poem in one sitting. At that time, my best friend had chosen to graduate from high school in three years instead
of four, which left me feeling devastated. After a long journey toward self-actualization since elementary school, the thought of losing him during our final year together was heartbreaking.
One day, while waiting for Dad to pick me up after school, I lay on the hood of the car under a lime tree and resolved to write poems free from the constraints of rationality and narrative. I was also inspired by the Raffles Hotel in Singapore, where Somerset Maugham once wrote. I quickly penned a series of poems in my notebook and typed them on an IBM Selectric, resulting in my first collection titled In a Singapore Hotel Room. It wasn’t until the 1990s, through friendships with people like poet Douglas Rothschild and playwright Adam Rapp, that I was made clearly aware of my unique voice in poetry and started experimenting with narrative a bit. Romantic love is a construct, and for me, poetry is a way to express the spaces between words— the place between idea and language. I feel both a closeness to and a distance from language. This duality of closeness and distance feels, in a way, like life and death. Life is defined by language; if we eliminate language, the physical world disappears, which I suppose could be seen
as a form of death.
When I was at Syracuse University, my friend Betsy Prieto would sometimes be in an emo mood, and I would “transcribe” her feelings into poems. A few years ago, I wrote a monograph in which I discussed Bubi’s personal and artistic trajectory. This involved interviewing him and organizing the information to ensure accuracy and depth. To me, it felt like writing a prose poem, with the goal of placing myself in Bubi’s mental space and capturing the essence of his message in a flowing and clear way. I also pose for many of Bubi’s cryptic images, an intricate process of trial and error. It requires maintaining an exact prose frozen in time so that masks, props, and costumes evoke the desired effect from just the right angle.
At what moments do life and death play a significant role during your art creation? Does this amplify your emotions after the piece is completed or performed? Please give us deeper insight into this.
I tend to see life and death as constructs rather than definitive states. Neither feels more or less present than the other; they’re just two aspects of a continuum.
Jorge DJing at Gail Thacker’s recent open studio, with a portrait of Jorge by Gail displayed on the desk.
Photo by Gail Thacker.
No one truly dies; people don’t vanish into nothingness. Instead, they transition to another plane of existence. It’s not an end but a shift. You can still sense their presence, almost like a whisper at the edge of perception. You can communicate with them in subtle ways, just as you can connect with the different versions of yourself— each one representing a reflection of various stages and choices on a quantum plane. I believe we live in multiple timelines simultaneously, steering our lives as if navigating forks in the road.
Born in Puerto Rico and fluent in Spanish, how and when do you incorporate your native language into your life and work?
I use Spanish all the time. I’m a translator and have a lot of friends with whom I mainly speak Spanish. But when it comes to writing poetry, I usually go for English. I like how it has a more clinical, technical, almost commercial feel. It’s interesting because when I speak Spanish, the sound comes more from my chest, while English feels like it comes from my head.
The beauty of our native culture is something that should always be cherished. How do you
stay connected to and honor that part of yourself?
Having been born in Puerto Rico, the elegance, poise, and formality of the Caribbean—rooted in African, European, and Taíno cultures—are an integral part of who I am. There’s a common perception that Latinos are inherently exuberant, but for me, it’s more about restraint and composure. It’s also important to recognize that “Latino” is an Anglo marketing term designed to homogenize Spanish speakers, treating them as a monolithic audience.
I’ve heard you have a clairvoyance gift. Do you think that comes from being an only child, where you spent time listening to your inner voice and seeing deeper into things as only children often do?
I think it might be connected to what you’re describing. Once, I performed a piece called Prismatic for my dear friends, artists Kelly Bugden and Van Wifvat. It was an extension of their show Prism, and I joined as a third member to create a collective. The whole experience was inspired by a legend about a repaired broken cartwheel symbolizing the eight stages of ascension. The seventh stage represents expansion,
marked by a deeper connection to the universe and a better understanding of one’s purpose. I often feel a sense of unity with all beings and a desire to contribute to the greater good. Much of that comes from my intuition, which picks up on others’ energies and sends energy back to them.
My last name, Clar, means clarity or transparency—like seeing through things. And since Jorge means “farmer,” I like to think of myself as a “farmer of clarity.” Our names shape who we are in so many ways.
You need to be street-smart to make it in New York City. What do you do to stay thriving and surviving? And do you have a regular day job, or is your work more exciting?
I am the senior editor for Spanish language at Planned Parenthood Federation of America. I work from home, but I also have a cubicle at the office downtown if I choose to come in. My role is maintaining a consistent and effective Spanish-language voice for the federation. I translate and edit press releases, talking points, message frames, message triangles, and social media posts in Spanish. It’s a satisfying job, and I believe it serves a good cause.
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On Mother’s Day, Jorge strikes a Gladys-inspired pose, emulating a photo of her in Venice in front of the Basilica di San Marco.
For a Callen-Lorde fundraiser, Jorge and Scooter LaForge presented a Psychic Portraits table. Attendees received three lucky numbers and an aura-color reading from Jorge, while Scooter painted their portrait based on the perceived color and numbers. Jorge is wearing a City Poncho painted by Scooter, and Scooter is in a collaborative shirt and pants set from JCRT. Photo by Blane Charles.
Tell us about your home life, the immediate family you might live with, and your neighborhood.
I’ve lived in the Lower East Side of Manhattan since 1987. My dear friend, painter Michael C. Brown, and I start each day with coffee together in our apartment and share meals; since we both work from home, we’ve established a pleasant daytime routine. After work, I usually head out to visit friends in the East Village or Bushwick. Both neighborhoods share a spirit of creativity, with art galleries, vintage stores, and lively hangouts everywhere. There’s an electric energy in the air. Many things have come and gone, but I still “feel the love” as I walk through these neighborhoods. This is my family life here in New York. When I visit Puerto Rico, I reconnect with my friends there, and it feels as if no time has passed.
When you head out in the morning, you must get a lot of reflex responses from what you see going on, picking up on impulses about who is doing what, where, and what you will be doing in the upcoming evening. Friends are
everywhere; the joy of having found your peer group and having fun with them must mean a lot to you. Tell us about your social life—what you like to do, where you like to visit, that kind of thing.
In the mornings, I usually text my friends “good morning,” and we touch base, sometimes making plans for the evening. Often, I’ll meet Bubi in Bushwick or visit Van and Kelly’s studio. I spend the day working on my laptop and handling my day job. In the evenings, I might meet Joel in his studio, where we talk about drawing and painting. His husband, the mythical Jim Fouratt—founder of the Gay Liberation Front and Danceteria, the early 1980s club that brought together many subcultures—often makes popcorn for all of us. Some nights, I’ll go to an art opening or a concert or stop by Yoshiko’s house for tea and snacks, where our conversations twist and turn. I might visit Scooter’s or Dietmar’s studios to see their latest projects. On weekends, I often head to Ocean Grove, New Jersey, where Van has a house. Spending time there is a sanctuary and a much-needed respite.
I love exploring vintage stores in Bushwick, where Bubi and I have our route for finding great clothes. I might visit Gail’s studio, where we hang out, and sometimes I doze on the floor. Or I’ll stop by Rafael Sanchez’, where we play records and talk late into the night.
If we didn’t see one of your performances, we would love for you to describe your latest venture to us: sharing your favorite performance from the past, what you performed, where it took place, and how the audience responded. I recently performed with Rafael, actor Jim Fletcher of the Wooster Group, and trumpet player Tom King in Rafael’s performance titled Bog. Rafael asked me to accompany him and help with makeup and setup for his performance at the Soon Is Now event at Long Dock Park in Beacon, New York, as his assistant was unwell. While taking a break, I lay down on a blanket by a trail with a helium tank and balloons tied to it, which were meant to be attached to Rafael’s head. When Rafael saw me lying there, he thought the gesture was perfect for the performance, so I ended up becoming part of the pres-
Prismatic performance at Ivy Brown Gallery, with the sculptures of the Kelly Budgen and Van Wifvat exhibition Prism. Hat by Joel Handorff. Papier-mâché branches by Hapi Phace. Photo by Van Wifvat
Bubi Canal by Jorge Clar. Published by Pupa Press.
entation serendipitously, adding an unexpected element. Rafael’s piece involved wearing a wetsuit and applying harlequin makeup to enter the swamp as a mystical entity, embodying oneness with the bog.
Another recent performance was at the Gene Frankel Theatre, where I presented a piece titled Edgar at Mount Tom. It was a riff on Edgar Allan Poe’s “The Raven” and the nearby Mount Tom, a giant piece of slate on present-day Riverside Drive that used to be farmland next to Poe’s house. Edgar and I share a birthday, so it felt fitting to inhabit his character, portraying the moment when he wrote The Raven and then took a break at the rock, where he would look out at the Hudson River and meditate.
Reflecting on your life as you know it, what experience has changed you the most, and how did you meet that challenge? What was the positive outcome?
One experience that changed me was going through my dad’s death. As an only child, I had to step up and take care of my mom, who had epilepsy. For seven years, we were essentially
joined at the hip, living between our house in Puerto Rico and my apartment in New York while she underwent treatment at NYU Medical for a brain tumor. It all worked out, but during that time, I made peace with all the “demons” surrounding my experiences growing up in Puerto Rico. In short, it was about coming to terms with my sexuality in the complex culture of Puerto Rico in the 1970s. I remember thinking I was taking on every possible role with my mom: caregiver, son, husband, father, and companion. I discovered parts of myself that, in moments of reflection—like when I would go through drawers and see objects from my life in New York—I would ask myself, “Where is this person?”
Can you share a few lines from one of your poems and describe the physical acting accompanying it?
Here are a few lines from my latest poem: In shadowed depths where spirits dwell, A midnight bleak, a tale befell. A heart forlorn, a soul’s lament, Where shadows danced, a life was sent.
Oh, restless soul with haunted eyes, A raven cries in ink-stained skies. It speaks of sorrows, nevermore, Of dreams that fade, on Stygian shore.
The poem alludes to the process of Poe’s writing “The Raven.” In the performance, I stand on stage behind a silver-colored table, reading the lines and preparing to write the poem in a notebook. This is a poem about writing a poem. It exemplifies how, in many performances, I incarnate different characters and present my original writing, holding a mirror to the character in question.
What is your claim to fame, and do you consider yourself famous or a star in pop culture?
I don’t really think in terms of a “claim to fame.” To me, it’s all really a dream coming true as I go along, from the times in the 1990s when I was reading my poems at St. Mark’s Poetry Project and performing at Zinc Bar and No Bar, which are classic poetry-reading venues. From there, being part of an artistic community is a blessing
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From a photo session by Dietmar Busse for a feature in Walter Cessna’s Vaczine magazine. Shirt and jeans by Scooter LaForge. Hair color by Jeanise Avilés.
Intervention within Rafael Sánchez’ performance BOG, at Soon is Now, Beacon, NY. Photo by Flynn Larsen.
Interactive chalk mural event with Scooter LaForge at the Renaissance Hotel, Times Square. Jorge was one of the chalk masters, distributing chalk to participants. Hat by Luis de Jesús. T-shirt by Scooter.
With Scooter at his mid-career retrospective, Enchanted Anarchies and Other Realities, Lunder Gallery, Lesley University, Cambridge, MA. Blazer and jeans hand-painted by Scooter. Photo by Van Wifvat.
for which I’m grateful every day. I remember my first trip to New York with my parents; we took a tourist bus tour and drove past Greenwich Village, up Sixth Avenue. When the guide announced over the PA system that we were passing the Village, I was glued to the window, feeling deep down inside that I belonged in an artistic milieu. My dream comes true every day!
You have a solid online presence. How do you use the internet to benefit your specific needs as an artist? What have you let go of due to its obsolescence, and what have you discovered to use in its place?
Thank you! For me, the internet is a useful tool for disseminating my images and writing. It’s an uninterrupted line from the time when I distributed mimeographed newsletters to my neighbors as a child, filled with my writing and drawings, crudely typed on a cast-iron Remington typewriter. Now, through social media, which I mostly engage with through Instagram, I find a replacement for those mimeographs, and I appreciate the speed and efficiency of communication. However, social media, since becoming so affected by algorithms, has become a doubleedged sword. It can enhance the ease and efficiency of communication, but it can also divide by appealing to drama and base feelings in order to compete for attention. Therefore, I feel that to address the negative side of social media, it’s important to be a conscientious consumer, much
like one should be when consuming news media.
By the way, where do you get your great eyewear? They’re dynamic and frame your many faces so well.
Thank you! I love eyewear and have a collection of different glasses. I get most of my frames from a store called Artsee, in Hudson, New York.
The owner, Julio Santiago, is a longtime friend of mine, and he is an expert on beautiful, collectible frames. So, he always has incredible frames for me to try on. Some of my favorite brands are Sabine Be, Alain Mikli, Orgreen, Cutler and Gross, and many more…
It inspires me to know that you and Scooter LaForge are good friends! He is a let-loose, crazy, great-fun, good-vibe artist. What do you two share in terms of art and other interests? I know you went to his show in Boston; how did you like it? You feed ideas to each other and collaborate in some ways. Is that true?
Yes, Scooter is family. We talk on the phone often, and our conversations are very stream-ofconscious. Both Scooter and I appreciate the value of art as a means of spreading energy and beauty and exploring not just the light but also the shadow work that is an essential part of our evolution. During our hangouts or phone calls, ideas often come up that find their way into paintings or painted garments. As someone al-
ways experimenting with my appearance, I frequently bounce ideas off Scooter regarding motifs, themes, or references, making their way into our respective works.
The mid-career retrospective in Boston is thrilling. It showcases how Scooter, throughout his trajectory, has created an ever-evolving yet consistent body of work in sculpture, painting, and garments. His work is about form and feeling; there isn’t much planning involved—it just emerges through sheer intuition and engagement with the mediums. My process is similar in that I wear some of those garments in an intuitive way, often not knowing where it’s going until I see the output in hindsight.
When you take a moment to reflect, what do you consider to be the thing you are most thankful for in your life?
I am most grateful for my relationships; my greatest purpose in life is serving others. Ultimately, this elevates us all expeditiously and effortlessly. Having this awareness and appreciating it with gratitude are ideals for living.
Thank you, Jorge!
F
Illustration of a Rafael Sánchez sculpture, which, along with this artwork, was featured in his Tree of Heaven exhibition at the Marlborough Gallery Viewing Room in 2018.
Photos by Rafael Sánchez.
JORGE CLAR
Crosstown Crosshatch Acrylic on raw canvas
CANDACE EATON
Although it's my prerogative and artistic freedom to paint in two different styles - with two artistic voices, it presents problems for gallery representation in this current world of 'Branding' one's art to match one's name. However, for me, I am an artist first and use whatever visual means necessary to express myself and thoughts, feelings and reflections that are given to me. I always have drawn and found abstraction non-competitive with the representational visual expression; any style is subservient to the essence of one's perception; the key and challenge is to find the best method for expressive and effective communication of those perceptions, which is my goal and driving artistic impetus.
Candace Eatoncandaceeatonstudio@gmail.com
STEPHAN KLEIN INNER ME
I have been making self-portraits since I was 13 years old. At times, I’ve used myself as subject matter just because I was an available and handy model. However, I have also been drawn to self-portraiture to investigate other issues of aesthetics and meaning. My work may not answer the question, “Who am I?” but it explores diverse ways to ask. Through multiple ways of seeing and portraying myself, I endeavor to examine issues of subjectivity.
Inner Me is a self-portrait composed of x-rays, CT scans and MRI’s taken of my body over the years, all labeled with date taken. The few parts of me not yet scanned, e.g., my left toes, my eyes. are shown with surface photographs. It is about growing old, physical break down of bodies, the incursion on them of medical, surgical procedures and prosthetics. An often-asked question in critiquing portraits, self and other, is, how well does it express the “inner” person? Inner Me has taken this as a quite literal goal.
Creating Inner Me was a compelling, and at times disturbing experience. For 85 years I have seen only my surface in mirrors and photographs. Embarking on this project, poring on the computer through the thousands of medical images I have collected of myself across my lifetime, I felt like an explorer in a strange and unfamiliar inner world.
Stephan Kleinsmklein@ix.netcom.com
There are painters who transform the sun into a yellow spot, but there are others who, thanks to their art and intelligence, transform a yellow spot into the sun.”
— Pablo Picasso
MARGUERITE BRIDE
New Adventures
In the not-too-distant future (May 2025) I will be moving from the Berkshires to the Lakes Region of New Hampshire. After 30 years in the beautiful Berkshires, another adventure is calling me.
How will this affect my art career? My living and working space will be considerably smaller compared to what I have here. There are so many decisions yet to be made. Sometimes it is mindboggling. But there are many opportunities in NH as well.
What I do know, however, is that I am hoping to find homes for my art that is still here with me, and my studio equipment and lots of art materials/supplies. I am planning on a series of sales to be held at my home/studio here in Pittsfield. The first was held in November, but a couple more will be happening during the winter/spring. Please check my website, my watercolor Facebook page, or call/text/email me directly for more details about dates/times. I can also set up an appointment for you to visit privately. Just be in touch. I am very flexible.
Besides a lot of originals and fine art reproductions, I also have a fully equipped studio that will be dissembled, so, if you are looking to expand your studio, I have tables, flat files, print storage shelves, chairs, racks and so much more.
In the meantime, besides planning this move, I am also still painting and do commission work. Marguerite Bride –413-841-1659; margebride-paintings.com; margebride@aol.com; Facebook: Marguerite Bride Watercolors. Instagram: margebride.
CARLOS CAICEDO
Carlos’ award-winning graphic work has been shown throughout the United States, from Alaska to New York, and from South America to Europe. Museums include Museo La Tertulia in Cali, Colombia, The Anchorage Art Museum in Alaska, The Waterloo Arts Center in Iowa, The Ft. Wayne Museum in Indiana, The Springfield Art Museum in Missouri and the Housatonic Museum of Art in Connecticut.
In 2008 and one more time in 2025, he was invited to participate in the Florence Biennale of Contemporary Art in Florence, Italy. His work includes illustration, painting, and, most currently, photography.
During the last ten years, he has concentrated on exploring photography as an art form. Since 2019, he has won multiple National and International Silver and Gold Awards for his photo work with paper, including the well-known international publication Graphis. During the same consecutive years, he was honored with two Gold medals and two Best Of Show for his Photography series using pencils as a subject, by Trierenberg Super Circuit in Austria, the largest photo Art contest in the world. His photo artworks have also been translated into museum-quality apparel. As he put it, "Paper and pencil have been lifetime companions for me, not simply tools. In a digital age, these humble objects remain stubbornly useful, and our connection goes back to memory. It’s a physical relationship. A yellow pencil in a child’s fist moving on blue-lined paper. A word is being bo:n, MOM. The weight of a book and the sound of a page as it turns, the curve it makes, and how its shadow moves.These are pleasures that haptics can’t mimic. My photography is a journey of discovery with these old friends to see if we can still surprise each other.
He also published an award-winning book called “paperandpencilsbycarloscaicedo”.
Some of his work can be seen at https://500px.com/p/carloscaicedo1 and has over 75,000 followers. His page has been visited over 20 million times over the last 9 years. Carlos moved from Colombia to The United States in 1981.
Carlos Caicedocarlosart.net /
Apparel: https://www.legaleriste.com/33/carlos.caicedo
Prints: https://www.pictorem.com/profile/carlos.caicedo carloscedo@yahoo.com
Eclipse Mill, 243 Union St North Adams MA
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 FREECYCLED FLORA III
MODEL: NATALIE PARÉ@CATALIEPURRE
PHOTO: KORENMAN COM
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
ARTIST UPDATE RUBY AVE R
Ruby's initial interview took place in 2022 for The Artful Mind magazine. During this conversation, I gained valuable insights into Ruby's journey as an artist and a Tai Chi instructor. Her ability to engage in spontaneous, self-expressive movement in each discipline has fostered a unique synthesis of ideas, beautifully reflected in her artwork. This creative process has enriched her artistic expression and contributed to a more vibrant and nuanced representation of her experiences. One meaningful discipline I learned from Ruby is the importance of being in the moment, going with the flow of our intuitiveness, and listening to our core being. This understanding encourages a kinder, more mindful approach to a creative life, providing a sense of connection and peace.
Ruby, I have been buzzing alongside you when hearing that Mauritshuis Museum in
the Netherlands had chosen your abstract painting, Girl with a Pearl, for their Vermeer exhibit that runs through December of this year in Amsterdam. Can you unravel how this all took shape from start to finish?
I saw an open call from the Mauritshuis Museum on Instagram for contemporary renditions of Vermeer's Girl With a Pearl Earring. I entered this international search with my painting. Months went by without a return email, so it was no longer at the forefront of my mind. Then, in the summer, I received an email stating that my painting was nominated and a finalist. That in itself was an extraordinary honor. Again, as time passed, I assumed my work was not accepted. It was with great delight that I received the congratulatory acceptance email. The museum did not know I had lived in Amsterdam for 18 years. Happily, there has been some mutual appreciation between the Netherlands and myself.
What a fantastic art experience for you! With this "WOW" growth spurt, have you noticed any new developments or changes in your painting process?
I am extremely honored by this recognition. Regarding my process, I felt confirmation to follow my intuition as paintings revealed themselves to me. Not allowing internal or external room for censorship has also inspired a figurative series called "Strike a Pose." Colorful feminine images with amplified character grace the canvas with their mystery. Another series I enjoy working on is a drip series that involves pouring paint onto the canvas. The series is called "Woven Thoughts". The style is minimal, and I spend additional time before making a mark due to each mark's huge impact.
How would Tai Chi practice overlap and connect to painting?
In both tai chi and my painting process, I enjoy
Interview by Harryet Candee Photographs Courtesy of the Artist
“I love the zone when each brushstroke feels inevitable. ” —RUBY AVER
practicing the flow state, a conscious exercise of surrendering and allowing the present moment to reveal the next step.
You mentioned that familiar symbols/hieroglyphic shapes you've created in some of your paintings pop up sporadically and appear on fresh canvases. But, I am wondering, do you let them flow onto the canvas even with a particular theme you have going that you may not want them to interfere with?
All shapes, including symbols, are welcome if they resonate with the work, Not necessarily creating harmony. Sometimes, just creating visual dissonance is exciting to me.
If you described what some of those streamof-consciousness symbols mean to you, would they might relate to the movements you practice in Tai Chi?
I don't feel that they literally relate to Tai Chi. Yet, it is all energy flowing through us that gets expressed in our unique way. For example, I never draw first and then paint. I enjoy practicing surrendering to the flow of the moment and applying paint directly to the blank canvas.
I am intrigued by the many images of paint-
ings you have shared with me. One piece that particularly stands out is "Wind Sweeps the Plum Blossoms No. 3," an acrylic on canvas measuring 18x24. Could you refresh my memory and those of others what this painting is about?
Those paintings from last February just sold this summer. Wind Sweeps the Plum Blossoms series is named after a movement in the Tai Chi Sword form. Similar to the familiar Tai Chi
movements we see, yet with the addition of the grace of a slow, moving sword. With these paintings, I felt the urge to make the wind visible, combined with elements of the natural world.
What experiences have you had that capture the essence of what it means to be an artist? I imagine what it means "to be an artist" is an individual experience. For me, when I am the least aware of that identity, my day is permeated with artful moments. So, being an artist does not feel dependent on creating art. I feel it is a state of being that views life with an open, artful sensibility.
Your childhood in gritty Chicago during the 1960s has left you with indelible memories and images. They have shaped you into the strong, confident person and artist you are today. Even if you don't consciously recognize it, those experiences may strongly influence your paintings. Tell us your thoughts. I vividly remember seeing the first street mural in my neighborhood under the railroad tracks on the South Side of Chicago. I like that it looked and felt like my daily life, seeing beauty in the grit. It is not always a controlled, pretty sight yet
Wind Sweeps the Plum Blossoms, Acrylic on canvas, 36” x 48 , SOLD
Girl with a Pearl, Acrylic on canvas 10”x14”
soulful. Street art still inspires my confidence to "just go for it."
In art communities, we support our artistic goals and visions whenever needed. In what ways do your peers inspire and support your vision?
I totally have been nudged on by supportive art communities. Richard Britell was the first to show my earliest pop art collage via Spazi Fine Art Gallery. Then, you, Harryet, contacted me for an interview in The Artful Mind via a supportive Facebook community. The community Artful Mind creates is hugely supportive. For example, I met many inspiring artists here and by being in your shows at TSL in Hudson. Or at Kate Knapp's gallery in Housatonic. Further, having a solo show at the Mason Library in Great Barrington and being in collective shows at The Connector Gallery at Kimball Farms and Center for Peace through Culture expanded community support. I am greatly inspired by fellow risk-taking artists. Artistic expression can be a way to connect with humanity at large.
Is the mural you did on the side of the old schoolhouse in Housatonic still there? What lead up to that fun experience?
I was invited by Andreas Engel (former Director
of Center for Peace through Culture.) to paint four panels of six foot canvases. I loved the opportunity to paint so large and share with the Housatonic community. The canvases were laid on the floor as I climbed around and applied paint. A great expansive feeling! The canvases were recently removed for the building's renovation.
When you returned from visiting your daughter in Thailand, I noticed you were inspired by the vibrant colors of the tropics and the heartfelt connections with the people you met. This journey seemed captivating, enriching your understanding of color and shape. What experiences ignited your inspiration during your time there and enriched your artistic vocabulary?
The Thai culture just warms the heart and soul. And then, color everywhere! The profusion of tropical flowers, foliage, meals, and clothing. If you want to blend in with the culture and background, wearing bright, rich colors is best. Not the black and gray attire that is prevalent here. I also spent some time visiting a wonderful art village in Hua Hin; the lush paintings there deeply nourished me.
My daughter's traditional Thai wedding last December was full of orchids. The bride and groom wore gold silk while the saffron-robed
Attire Only,
monks chanted blessings. When I returned home, my paintings were bolder in palette and maybe more spontaneous and from the heart.
From Chicago to the graceful studios of ballet school and the serene landscapes of the Berkshires, each step of this journey tells a unique story. A dedicated Tai Chi master and a passionate visual artist, what wisdom and inspiration can these experiences teach us?
As a former soloist with the Chicago Ballet, I had the opportunity to live and work in Amsterdam for 18 years. Growing up in the theater and being exposed to expansive European sensibilities shaped me into more of a world citizen. That further developed with extended time in Southeast Asia and Japan. Practicing and teaching Tai Chi for 30 years in Berkshire has been a serene landing where I aspire to embody and paint this perspective.
Thank you Harryet, for creating such a far reaching art community and for all your ongoing support.
Thank you!
rdaver2@gmail.com
Woven Thoughts no.2, Acrylic on canvas 24”x30”
Valencia, Acrylic on canvas, 24” x 24”
Formal
Acrylic on canvas, 18” x 24”
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
SPARRING WITH PAINT
FIGURATIVE PAINTING
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 St. in Great Barrington, MA Berkshire Digital413-528-0997 and Gilded Moon Framing 17 John Street in Millerton, NY 518-789-3428 / 413-644-9663, or go online to www.BerkshireDigital.com
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
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
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!
“There is no substitute for feeling the stone, the metal, the plaster, or the wood in the hand; to feel its weight; to feel its texture; to struggle with it in the world rather than in the mind alone.”
~William M. Dupree
Commissioned pieces welcome!
LoopeyLaLa
"END OF THE DAY" 16" X 20"
LANDSCAPE, KATE KNAPP
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
RICHARD NELSON
I’ve recently been embroiled in controversy over a post I had made in a group for “OUTSIDER” artists. I had been curious about AI art. Was it legit art or normal? I was undecided. I have been a digital artist for the past five years, but other than that, the technology baffles the hell out of me. Still, I thought I would check it out.
I’ve seen other artists, especially Petr Valek, do some amazing things with it. I couldn’t find any instructions about what each button did, so I went for it.
And, WOW, my prompts produced some fascinating results. Surrealistic images; nightmarish, super detailed and totally unexpected. It was fun, it was quick and easy. Painless. The whole AI thing is creepy, I’ve seen all the movies, but this seemed harmless enough.
I picked my favorite image and posted it as my introduction to the Outside/Brut group I had joined. Lots of views, some nice comments, but all of a sudden, I had become a pariah.
How could I steal someone else’s work and call it my art. I don’t know, I didn’t understand how I did. What surprised me was the vitriol. Had I posted a picture of genitalia, I think, it would not have caused such a commotion. Though not evicted, it did lead to some, I thought, some surprisingly narrow-minded commentary.
So, the question remains, is it real art, can it be used as a viable tool? Or is it cheating? I think it’s cheating only if you use it to cheat. I intend to explore its possibilities, I mean, why not? I don’t feel I am victimizing anybody. What a crazy world, ain’t it?
Richard Nelson@ nojrevned@hotmail.com
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.
Transforming personal and worldly complexities into visual harmony. In celebration of her new studio, enjoy 10% off large paintings and 30% off small paintings.
Jaye Alison MoscarielloStudio Visits - By Appointment Only: Pond Shed (behind the Buggy Whip Factory), 208 Norfolk Road, Southfield, Massachusetts. 310-970-4517, jayealison.com, jaye.alison.art@gmail.com
PATAGONIA
ACRYLIC, LATEX, GRAPHITE ON CRESCENT BOARD, 40”X30”
BETWEEN THE LINES 2023, ACRYLIC ON CANVAS, 36.5”
Travel Journal to Daugavpils, Latvia 2024
Jaye Alison Moscariello
Russian Orthodox Church in Latvia
Buildings from the Russian Empire, Daugavpils, Latvia
Mark Rothko quote on fortress building At Svente Lake with Irena Paskali, fellow artist
Photo by Tomek K
In the past year I’ve been diligently working on a series Territories Blue, which considers the necessity and tragedy of continuous wars and conflicts. They are painted in hues of blue, white and earth tones representing the elements over which wars have been fought; power, land ,water and air. This abstract investigation led me to participation in the 2024 Mark Rothko Painting Symposium at his birthplace Daugavpils, Latvia at the Mark Rothko Museum.
A private studio was provided to each of the artists. The freedom I experienced by having a closed door and abundant light expanded my mind to the idea of having my own studio outside of the house. Within a day of those thoughts, my friend called letting me know that a space had become available at the Buggy Whip Factory in Southfield, minutes away from home! I said, Yes I want it!! It is perfect; bright light, white walls and situated in a quiet community of creators. I’m in heaven! Z JAYEALISON.COM
A building in Daugavpils
Sventes Rasa Saint Lake Church detail
Communist propaganda poster
Something For Over The Couch Part 22
“The Voyage of Life”
I was familiar with the switchblade knife. A friend in grade school had one, and so I had the great pleasure of handling it, and experiencing the thrill that only a switchblade gives. It is indeed a wonderful sensation. It has a special ‘clicking,’ sound, a very slight and threatening sound like a snake's hiss. Like any teenage boy I always wanted to have a switchblade knife of my own, I wanted a switchblade knife more than any other thing, and so I said “A switchblade, how much do you want for it?”
The question, so inappropriate under the circumstances, completely altered the nature of the encounter. Whatever my new hoodlum friends had in mind for me was suddenly abandoned, and I think they were even relieved to give up what they thought they might do to me. Now our meeting in the alley became one of those situations where some ten year old boys get together behind a garage to look at black and white photographs of women's breasts in a photo anthology.
It was a situation so altered that my attacker obliged me when I asked to handle the knife, handing it to me with evident pride. I closed and opened it three times, gave it back to him and said, “How much do you want for it?”
He took so long to decide that it seemed he wanted me to make an offer, but I said nothing. His partner in crime, getting nervous, walked to the entrance of the alley, I supposed, to stand guard.
“One hundred dollars,” I said. “I can give you a hundred for it but not right now, but tomorrow, I can have it tomorrow.” I actually did have a hundred dollars, it was money I had saved up for my trip to New York, but I was willing to part with it for such an important purchase. There was a mysterious part of my identity, some aspect of my personality, so suppressed, that I didn’t even know it existed. It had asserted itself, and when it appeared at the door of my consciousness it would not tolerate any interference.
It was a primal thing, it seemed to me to be the knife my father should have possessed when he encountered his executioner. I could see the knife in my father’s hand like one of those dream-like images that fade away behind your closed eyes.
“It cost me a hundred, it will cost me a hundred to replace it so I can’t do it,” was his reply, but I did not believe him, it seemed too likely.
“I have something to trade for the knife,” I suggested, “It is worth, or will be worth thousands of dollars, for certain. I can trade it to you for the knife.” He listened to me with skeptical expectancy and so I went on. “It is a painting, I am an artist, I am going to be famous, the next Picasso, just like Van Gogh. A painting of mine was in a show in the
museum.” At this point I gestured in the direction of the newly built “Munson,” the museum of modern art with its Pollack’s and Rothko’s. “They say at the museum I will be famous, and so my paintings will be worth thousands. I am willing to part with one of them, for the knife, but I am actually not allowed to part with any till my big show…in November.”
It really would not have been possible to rattle off such an impossible series of lies and fabrications except that some of it was actually true. In the previous summer I submitted a watercolor to the museum's annual show for local artists. Anyone could submit something and there was a fee. Everything was automatically accepted and it was promoted as an annual fundraiser for the institution. High school students submitted unframed drawings, and Sunday painters put up their impressionist landscapes. To accommodate all the art, portable walls were erected outside the museum all along the sidewalk, and the event was celebrated as a summer arts festival, created, I imagine, to placate the critics of the museum who said the institution existed entirely for the benefit of egg sucking intellectuals.
The portable sidewalk wall surfaces were hung top to bottom with every imaginable sort of thing people consider art. Among these thousands of drawings and paintings hung one of my own works, a picture of a tree and a telephone pole which I had titled, “Benito Cerino.”
I realize that what I am going to say now sounds stupid and childish, but the show was up for a month and I went every day to look at everything, sometimes twice a day. I looked at everything on the portable walls over and over, and especially my own work. I went so many times to view the show that eventually the elderly guard whose job it was to keep an eye on my particular section of the wall began to take notice of me.
The guard was one of those men with an enlarged purple nose indicative of heavy drinking, and a desire to engage in conversations with strangers. This desire he had to keep in check because he was not supposed to talk to the museum’s visitors, but my repeated visits to my painting got the better of him, and he said this to me, “Nice painting, is it yours?” I was reluctant to answer his question, but could not keep myself from nodding my head in reply. With that he walked up to me, stood too close to me and said, “You’ll be the next Picasso.”
That remark, which I had heard several times already, was usually uttered by people with no actual interest in art, especially modern art. It was really more of an insult than a compliment. Almost as soon as one of my uncles discovered that I was, ‘doing paintings,’ I would hear the Picasso comment, but it was always said as ridicule, as if the actual meaning was “Dicky is a simpleton, who likes to paint pictures.” In my mind, as soon as I heard anything about Picasso, I assumed that whomever was speaking was an idiot. But even though I thought they were idiots, I was often troubled by how universal this comment was.
So, when I was trying to buy the switchblade knife from the hoodlums at the end of an alley, I made use of the Picasso remark, because I assumed that I was dealing with characters of limited intelligence. I actually had my doubts about if my new hoodlum friends would even know who Picasso was, but I could see by the knife seller’s face that he knew what I was talking about. “What’s it a painting of?” he asked me.
“It's called, The Voyage of Life,” I answered. I had never done, or even considered painting any paint-
ing with such a trite title, but the title and the image of the painting sprang into my mind, apropos of the situation. The voyage of life was the title of four paintings that had their own room at our city's museum of contemporary art. They were painted by Thomas Cole, and I would describe them as what you get when you combine mawkish sentimentality with great technical skill. They were large paintings in ridiculously carved and ornamented gold frames. Why I appropriated Mr. Cole’s title in my project to cheat the hoodlum out of his knife I can’t say, but it was all part of a role I had adopted for myself because of the requirements of the moment.
“What does the painting look like?” I was asked, to which I replied. “It is a painting of a mountain, and the mountain represents the voyage of life, because climbing a mountain is what life is like. The mountain is represented by a triangle, and the triangle fills the whole picture. At the bottom of the mountain it is all dark gray, black and cloudy, but then further up various colors come out of the blackness. In the middle of the mountain the colors are bright and strong, but then near the top the colors begin to fade. At the very top is the place that represents death, death and a true understanding of life, and this space is filled with a kind of brilliant yellow orange.” At this point in my explanation I paused for dramatic effect, and then I said, “The yellow orange is the exact color that you see when, with your eyes closed, you look at the sun!”
This comment disturbed my adversary, and in an agitated voice he exclaimed, “You can’t see things with your eyes closed.”
If these boys had intended to rob me, it would have been a robbery in broad daylight, and since it was early afternoon the sun presented itself for an examination, as if it had been just waiting up there above us and between the two buildings, happy to be of use. I invited my new criminal acquaintance to have a look at the sun with his eyes closed and he complied with my request. At first he claimed to see nothing at all, insisting that with his eyes closed it was, “Black, all just black.” But finally he had to admit that he could see a color, and that it was red orange, just like I said. He was silent for several seconds as his mind digested what was for him a singular experience, and then in hushed tones he asked, “Why is it red?”
“Because it's your blood,” I said.
When he opened his eyes I could see that our relationship had now changed fundamentally. The blood orange color of his eyelids was some kind of proof that now I would be the next Picasso, It was agreed that we would exchange the knife for the painting. The deal was to happen the following day, at the same place and at the same time. We exchanged names, but nothing else. I told him my name and in return I discovered that I was dealing with John Pontormo, and his partner, Ivan. A Russian and an Italian, John Pontormo said. At this point Ivan said something for the first time, he said, “Russian and Italian, like in the great war.”
That ended the switchblade negotiation and I set off in a rush, I had to do a painting that would have some semblance or connection to the description I had made up.
—RICHARD BRITELL, OCTOBER 2024
Parts 1 - 21 @ www.richardbritell.com (short stories)
Panockphotography.com
Instagram @brucepanock
Broken Glass Portrait
Deborah H Carter
Freecycled Flora II
Photo: Korenman.com Model: Natalie Paré@cataliepurre Represented by the WIT Gallery Studio: Clock Tower Artists