The Artful Mind artzine / September 2024 by harryet candee

THE ARTFUL MIND

SEPTEMBER 2024

Visual Artist BRUCE LAIRD

Photograph by Edward Acker

Accurate Photo-Reproductions of Artwork

Photoshop Repairs - Paintings & Photographs

. Archival / Giclée Prints Up To 42"x 90"

. Artbook Design and Production

. Restoration of Damaged Photos

Drop-off & Pick-up Available in Great Barrington, MA and Millerton, NY Studio located in Mount Washington, MA l berkshiredigital.com l 413 644 9663

THE ARTFUL MIND

SEPTEMBER

2024

CALENDAR OF EVENTS ...4

Interview with BRUCE LAIRD

Cover and Inside Photograph by Edward Acker and other photographs courtesy of the Artist 20

Re-Visit with Photographer BRUCE PANOCK

Portrait of the Artist by Bobby Miller and other photographs courtesy of the Artist ...30

RICHARD BRITELL | FICTION “Mouse Face” from the Series Stories for Children...47

MINING MY LIFE. DIARIES OF JANE GENNARO ... 48

Publisher Harryet Candee

Copy Editor Marguerite Bride

Third Eye Jeff Bynack

Distribution Ruby Aver

Contributing Photographers

Edward Acker Tasja Keetman Bobby Miller

Contributing Writers

Richard Britell Jane Gennaro

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

Read the online version: ISSUU.COM FB: ARTFUL MIND GALLERY for Artful Minds 23 THE ARTFUL MIND PO Box 985 Great Barrington, MA 01230

CALENDAR OF EVENTS

September 8 @ 3:00 pm - 5:00 pm

Merz Trio

“Alma Mahler Goes West” musicmountain.org / 860-824-7126

Art

510 WARREN STREET GALLERY

510 Warren st, Hudson NY 518-822-0510 / 510warrenstgallery@gmail.com

Featured artists each month.

ART ON MAIN GALLERY

38 Main st, West Stockbridge, MA www.berkshireartists.org

September 12-22: ReVision: The Art of Seeing Beyond: Reception, Saturday, September 14, 2 – 4 pm Artist Talk, Saturday, September 21, 2 pm: Thom Lipiczky, Marcelene I. Mosca, Susan Sabino.

BECKET ARTS CENTER

7 Brooker Hill Rd, Becket , MA 413-623-6635 office@becketartscenter.org

September 10, 10am-1pm Plein Aire Painting Workshop

BERKSHIRE BOTANICAL GARDEN

5 West Stockbridge Rd, Stockbridge, MA 413-298-3926 BerkshireBotanical.org

June 1 through Oct. 6 (outdoor sculpture exhibit); Aug. 10 through Oct. 6 (indoor exhibition); Todd McGrain,“The Lost Bird Project” Opening reception

BERKSHIRE MUSEUM

39 South St, Pittsfield, MA

Through Sept 18: Black Woman as MUSE: Exhibition by Jerry Taliaferro

BILL ARNING EXHIBITIONS

17 Broad Street, Kinderhook, NY bill@billarning.com

Through October 13: Other Beings: Four Painters Bringing Roughly 20 Unique Faces: Hannah Barrett, Richard Butler, James Esber, Cruz Ortiz

CARRIE HADDAD GALLERY

622 Warren St, Hudson NY info@carriehaddadgallery.com

Through Oct 12: Understories, a group exhibition of painting and mixed-media works by Anne Francey, Allyson Levy, Eileen Murphy, Rinal Parikh, Ragellah

Eleventh Annual Berkshire Pottery Tour

September 28, 8 am - 5pm

Stockbridge, Richmond, Monterey, Great Barrington, Housatonic: Ben Evans, Paula Shalan, Berkshire Art Center, Lorimar Burns, Dan Bellow Pottery, Ellen Grenedier, Michael Marcus

Maps: lorimer@berkshireartcenter.org / 413-717-0798

Rourke and Annika Tucksmith. In the upstairs gallery, there will be a solo show of new paintings by David Konigsberg.

ECLIPSE MILL GALLERY

248 Union st, North Adams, MA

Carlos Caicedo : Paper and Pencils September 3 - 30.

Reception Sept 6, 5-7pm; Performance by Wendell Beavers

THE CLARK MUSEUM

225 South St, Williamstown, MA clarkart.edu

Through October 14, 2024

Guillaume Lethière : Born in Sainte-Anne, Guadeloupe, Guillaume Lethière (1760–1832) was a key figure in French painting during the late eighteenth and early nineteenth centuries.

CLOCK TOWER ARTISTS’ STUDIOS & GALLERY www.ArtintheBerkshires.com

See full schedule on their website. The Clock Tower Artists is a collective of working artists in the heart of Pittsfield, located in the beautiful Berkshires - a cultural destination in the hills of Western Massachusetts. The artist studios are on the 3rd floor of the Clock Tower Business Center, where many open studios and art events are held

GALLERY NORTH

9 Eagle St, North Adams, MA 802-379-0759

A fine art gallery featuring contemplative, exciting, and affordable art by Marilyn Cavallari, Ghetta Hirsch, Sean McCusker and Mallory Rich.

FENNIMORE ART MUSEUM

5798 State Highway 80, Cooperstown, NY info@fenireart.org www.fenimoreartmuseum.org

Bob Dylan Remastered: Drawings from the Road, thru Sept 15.

LABspace

2642 NY Route 23, Hillsdale, NY @labspace_art

Through Sept 29: ELEVATION In their first two per-

son show together, Adrian Meraz and Christina Tenaglia work separately and together, integrating ideas of influence, of commingling; and of entanglement.

LICHTENSTEIN CENTER for the ARTS

28 Renne Ave, Pittsfield, MA

Visible: Opening reception Oct 5, 3-5pm.

MAD ROSE GALLERY

5916 N Elm Ave, Millerton, NY

Photography / Fine Art

MASS MoCA

1040Mass MoCA Way, North Adams, MA info@massmoca.org

Through November 3: The Plastic Bag Store: The Plastic Bag Store is an immersive, multimedia experience by Brooklyn-based artist Robin Frohardt that uses humor, craft, and a critical lens to question our culture of consumption and convenience — specifically, the enduring effects of single-use plastics. The shelves are stocked with thousands of original, handsculpted items — produce and meat, dry goods and toiletries, cakes and sushi rolls — all made from discarded, single-use plastics in an endless cacophony of packaging.

PAMELA SALISBURY GALLERY

362 1/2 Warren St, Hudson, NY

Through Oct 5: Understory: Snakes, Snails, and the Forest Floor

SOUTHERN VERMONT ARTS CENTER

860 SVAC Drive, West Road, Manchester, VT

Through September 22: Sand to Splendor: The Nature of Glass; Through September 22: Pastel Panorama: Journeys with a Medium

SUSAN ELEY FINE ART

433 Warren St., Hudson, NY

Through October 13: Eighteen: Ted Dixon

THE RE INSTITUTE

1395 Boston Corners Rd, Millerton, NY

theReInstitute@gmail.com

September 21 - Octover 26: Kathleen Kucka, Janice Stemmermann

Music Mountain Summer Festival: Merz Trio

CARRIE MAE WEEMS: REMEMBER TO DREAM

Through December 1.

Remember to Dream revisits the range and breadth of Carrie Mae Weems’s prolific career through seldom displayed and lesser-known works that demonstrate the evolution of her pioneering, politically engaged practice.

Hessel Museum of Art CCS Bard / Bard College Annondale-on-Hudson ccs@bard.edu

THE WIT GALLERY

27 Church St, Lenox, MA

Contemporary Fine Art and Sculpture ongoing display of artists work

Theater

MAC-HAYDN THEATRE

1925 NY-203, Chatham NY 518-392-9292

September 5-15: The Fantasticks

SHAKESPEARE & COMPANY

70 Kemble St, Lenox, MA 413-637-3353 shakespeare.org

Through October 13, 2 / 7pm: Three Tall Persian Women

THEATRE on the ROAD Rosendale, NY www.theatreontheroad.com

September 26 / 27, 7pm: DRACULA. For the third consecutive year, Theatre on the Road, a traveling company based in Rosendale, New York, will produce and stage Dracula at the Widow Jane Mine.

Music

CLOSE ENCOUNTERS WITH MUSIC

Mahaiwe Performing Arts Center 14 Castle St, Gt Barrington, MA

October 20, 4 pm: Drama and Melodrama — The Schumanns

IVAN DALIA: BACH TO ROCK

Church on The Hill, Lenox

Saturdays: August 31, September 28 at 7pm |

A Journey through the generations & genres of music that bring people together in the Berkshires. Ivan creates a memorable evening of music, stories & smiles with original interpretations of great music performed in the Berkshires from 1950 to 2024.

After Summer

Exhibits: Doug Fitch: mixed media

Human/Nature

Through October 31.

James Holl: The Landscape Painter: The Book

September 14 - Oct 31

TurnPark Art Space

2 Moscow Rd, West Stockbridge, MA

EGREMONT BARN

17 Main st, South Egremont, MA theegremontbarn.com (Full schedule)

September 6, 7:30pm: Deadman’s Waltz; Oct 5, 7:30pm: King Kyote

MAHAIWE PERFORMING ARTS CENTER

14 Castle St, Gt. Barrington, MA mahaiwe.org

September 28, 7:30pm: Villalobos brothers The Villalobos Brothers are a Grammy-winning, violin-wielding, family band that has been recognized as one of the foremost Contemporary Mexican ensembles in the world.

MUSIC MOUNTAIN

225 Music Mountain Road, Falls Village, CT

September 7: Silent Film & Live Music. Internationally acclaimed silent film musicians Donnie Sosin and Joanna Seaton create a live score for Buster Keaton’s hilarious silver screen comedies SHERLOCK JR. (100th anniversary!) and his 1922 short COPS.

NEW MARLBOROUGH MEETING HOUSE

154 Hartsville-New Marlborough Rd, New Marlborough, MA https://nmmeetinghouse.org/

September 14, 4:30pm: From Mozart to Piazzolla: A Panarama of Musical Expression; violinist Eugene Drucker, cellist Roberta Cooper, and pianist Gili Melamed-Lev

RACEBROOK LODGE

864 Undermountain Rd, Sheffield, MA info@rblodge.com

September 15, 7 - 10pm: The InBetweens; September 22, 8pm: Tambacum; Spetember 26, 8pm: Alash; September 28, 8pm: Fire of the Heart: Brenda McMorrow & John De Kadt; October 18, 20; 7/6pm: Space Panorama by Andy Dawson

SANDISFIELD ARTS CENTER

Hammertown Rd, Sandisfield, MA www.sandisfieldartcenter.org

October 6, 4pm: Bill Taylor and Friends. This concert features Bill Taylor playing along with two woodwind players, Gerold Mohn and Cathy Mohn, and French

horn player Stewart Edelstein and singer Jaye Alison Moscariello.

TANNERY POND CONCERTS

110 Darrow Rd, New Lebanon, NY 888-820-1696

Capitalregionclassical.org/product/israeli-chamberproject-1/

September 7, 7:30 - 9:30pm: Israeli Chamber Project. Khachaturian: Trio, Bartók: Hungarian Peasant Songs (selections), Dvořák: G-major Sonatina, Op. 100. Gershwin: Three Preludes, Ben-Haim: Three Songs without Words, Bartók: Contrasts

FilmIMAGES CINEMA

50 Spring st, Williamstown MA 413-458-1039

MAHAIWE PERFORMING ARTS CENTER

14 Castle Street, Gt Barrington, MA

September 27, 7pm:Film: Crooklyn, 1994: Crooklyn is a semi-autobiographical film directed by Spike Lee and co-written with his siblings. Lee also co-stars in this family portrait about growing up in Brooklyn during the 1970s. To be included

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

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

Carolyn M. Abrams

RUBY AVER STREET ZEN

Growing up on the Southside of Chicago in the 60s was a history rich and troubled time. As a youth, playing in the streets demanded grit. Teaching Tai chi for the last 30 years requires a Zen state of mind. My paintings come from this quiet place that exhibit the rich grit of my youth . Movement, shape and color dominate, spontaneously combining raw as well as delicate impulses.

Ruby AverHousatonic Studio open by appointment: 413-854-7007, rdaver2@gmail.com, Instagram: rdaver2

And The Message is...

I am incredibly pleased to announce that “And the Message Is” created by yours truly will be one of the featured artworks at the “Visible” exhibit at the Lichtenstein Center for the Arts.

October 4 — November 23, 2024

VISiBLE Opening Reception: Saturday, October 5, 3-5 pm

Lichtenstein Center for the Arts 28 Renne Avenue Pittsfield, MA

Artist, Illustrator, Writer, Peace Lover, and Creativity Coach www:elizabethcassidystudioworks.com elizabeth cassidy studio works

WOVEN THOUGHTS ACRYLIC ON CANVAS 24X24” SOLD

www.janetcooperdesigns.com

Aver

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

We found these great artisens while on Av. Hidalgo, in I.M, Q.Roo, Mex. All handmade items using silver, wood, glass, natural fibers & mixed medium. That’s the life of an island artisan.

Flying Gallop, 2024, Bronze, Limited Edition of 4, 11.5w x 7”h

to Selﬁes Acrylic on canvas, 24”x 30” Ruby

Erika Larskaya

“68”, 10” x10” Mixed media on Paper

JOANNA KLAIN RICHARD CRIDDLE

On View: OCTOBER 3 - 30

RECEPTION: SATURDAY OCTOBER 5, 4-7PM

Artist’s Shared Talks: Saturday, October 19, 3 pm

Eclipse Mill Gallery, 243 Union St. North Adams (Half a mile east of MASSMoCA on Route 2)

Open Thursdays — Sunday’s noon til 6pm or by appointment or chance. Inquires: eclipsemill.com

Email: paperﬂats@icloud.com richardcriddle55@gmail.com

JOANNA KLAIN

RICHARD CRIDDLE

berkshirephotographer.com

Ghetta Hirsch

My oil painting “Stained Rocks” 10” x 10” is currently exhibited at Gallery North: www.gallerynorthadams.com 9 Eagle Street in North Adams.

I am now a renting member of this new gallery and this allows me to show my forgotten or favorite pieces freely. We are five artists friends in Gallery North: Marilyn Cavallari, Sean McCusker, Mallory Rich, Barbara Patton and Ghetta Hirsch and we change our exhibits each month. Different art mediums are offered to your eyes and an Opening Reception takes place every first of the month from 4 to 7. I am inviting you to see art chosen by our artists and visit our new Gallery North right on Eagle Street, a very historical part of North Adams.

My Home Studio is also welcoming you if you prefer visiting an Art Studio. Call or text at 413‐597 1716 to schedule.

Visit my Website at: ghetta‐hirsch.squarespace.com for more information.

CLOCK TOWER ARTISTS

3rd Floor 75 South Church St Pittsfield MA 914. 260. 7413 instagram@mellinger3301 markmellinger680@gmail.com

Stained Rocks, 10” x 10”

Ich sehe dich in Tausend Bilder-W Acrylic and collage on canvas 10x10

Ich sehe dich 3 Acrylic and collage on canvas 10x10

Jinga Falls Acrylic and gold leaf on canvas. 48x48 Collection of Berkshire Bank

Psilocybin Picnic Acrylic on canvas. 48x48

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

MARK MELLINGER

My two careers, art and psychoanalysis, concern what can be said and what remains mute. In painting, collage and constructions of wood and iron I’m interested in the eloquence of the materials.

Avoiding a recognizable style in favor of experimentation, I explore the possibilities of the media. Our world and culture are dissolving. Art can create precious islands of meaning and joy.

Mark will be showing his work at Hotel on North, February 2 - March 31, 2024, 297 North St., Pittsfield, MA 01201

Mark V. Mellinger, Ph.D.914-260-7413, 75 S Church St, Pittsfield MA, instagram@mellinger3301

JAYE ALISON MOSCARIELLO

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

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

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

Jaye Alison310-970-4517 / jayealison.com

“Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad,whether they love it or hate it. While they are deciding, make even more art.”

—Andy Warhol

UNTITLED, 24”X36”X6”

ABSTRACTED MEMORIES I, ACRYLIC, LATEX AND GRAPHITE ON BOARD, 12” X 16”, 2022

WHERE IS KIZER. ACRYLIC ON CANVAS 74” X 70”

RICHARD TALBERT

”Cape Cod” features a striking abstract composition created using watercolor on paper. The piece measures 30" x 22" and has a vibrant interplay of colors and forms. Dominant hues of greens, blues, and yellows overlap and blend, creating a sense of fluidity and depth. The edges of the painting show a hint of the paper's texture, enhancing the organic feel of the piece. Patches of washed color and subtle gradations indicate a mastery of watercolor techniques, allowing the translucent layers to interact harmoniously. This composition captivates with its serene yet dynamic essence, evocative of natural landscapes. I'm influenced by The Hudson River School of Landscape Painting and Peruvian Textiles. This piece is a testament to my mastery of watercolor and abstract expressionism. The ability to evoke a tranquil yet engaging atmosphere and this work inspires thought and reflection in a truly compelling manner.

Email: Richtalbert1@gmail.com

My Lenox Studio is open by appointment. 413.347.3888 richtalbert1@gmail.com website: richardtalbertdesign.com

B RUCE L A I R D

Interview by Harryet Candee

Photography by Edward Acker & Courtesy of the Artist

Mixing materials, for me, is just combining mediums to construct a composition. For example, I have a variety of mediums and materials in my studio. Balance is most important in my compositions. My MBA is in studio art with a focus on painting. I’ve expanded my vocabulary! —Bruce Laird

Harryet Candee: I've observed elements in your artwork such as grids, collage, toys, strong contrast, and photography. Can you elaborate on what these elements signify to you?

Bruce Laird: I can tell you have been checking out my studio.

Grids: Grids give me a basis for my larger paintings. They're easy to build on, and I work to step into the grid and make it mine.

Collage: I often cut up my photographs and then reassemble them, based on color or form, into visuals resembling mosaics. I also use various print paper and vintage dress patterns for contrast.

Toys: I collect toys and figurines from secondhand store tag sales. Sometimes, people (fellow artists) will give me pieces. I have collections in my studio for ideas for box assemblages, which can be themed-based. Sometimes, I'll use plastic people in real or imaginary environments.

Strong contrast: I enjoy combining bold colors, often less complementary ones, to see how they

read together. It doesn't always work, but it makes a strong contrast! I painted large geometric shapes and played with optics to create 3D effects.

Photography: I am intrigued with shadows at different times of the day—often cutting and overlaying images.

You often take what you see, crop it down, and create an abstract painting from this exploration. Can you explain this process?

BL: My process has evolved by developing a sense of creating a solid composition. My initial "style" was more representational but not realistic. I have moved to a more abstract vocabulary through artist workshops, logging time at the studio, collaborating with other artists, reading, and researching. My art will continue to evolve in this direction until I change!

In what ways do you work with illusion in your

art-making?

BL: With my photographic compositions, I move to illusion by overlapping geometric, angular shapes to create layers and tension for the viewer to discover. I like to blur the borders to create movement.

What is your definition of experimentation, and how do you approach it?

BL: For me, it creates an environment in the studio that gives me many reference points. For example, if I am working on a collage that needs a boost of something, some energy.

Have you ever reached a point where you need to move on to the next art project because something didn't work out as expected? What do you do in this case?

BL: I usually sense when I have flushed out an idea to the point where it is time to change direction. Continued on next page...

Inside the studio of Bruce Laird, visual artist

Think In The Box, Mixed media

Off The Surface, Acrylic, mixed media

For example, if it doesn't work out, I will leave it for a week or two and revisit it. Sometimes I see the solution immediately, but if not, I'll Gesso over the parts not working out and take off in a new direction.

The portraiture paintings you continually enjoy creating all seem to offer hommage to an individual. There is a consistent style using alphabet letters to convey a message, intense color, and high contrast. Please tell us more about this body of work.

BL: I have always enjoyed featuring friends and family or well-known people I've read about and found some aspects interesting. I've done surreal paintings of my dad and family. Usually, I'll include text as a border. I was inspired to do a painting of Anne Frank after visiting her family's hiding place in Amsterdam. I met Jane Randolph at a painting workshop in Umbria. She was quite a celebrity in Hollywood during the 40s. We developed a friendship through art.

What guidelines do you follow when sketching with a pencil? Do these sketches go to another level using color? What intrigues you about the simple art of sketching?

BL: When I sketch, I try not to think of rules but concentrate on capturing the image's immediacy. I usually use a pencil or a fine-ink pen, depending on how realistic the image needs to be. I've always enjoyed continuous line drawing and have sketchbooks from my time in Italy and France.

I am intrigued by the simplicity of materials, just paper and an instrument. It's also easier to carry, and I can use them almost anywhere. When I travel, I always have a pad and pencils with me. It's a good opportunity to do rubbings and keep a journal of places I've visited. I collect paper from the locations, such as posters on lampposts, newspapers, menus, tickets, and receipts. When I'm back in the studio, I create collages. Of course, I also photograph everything.

Bruce, how important is it for you to show your work in public spaces? I was honored to have your work in the Hudson art show, Fly On The Convas, this past May.

BL: I know it is important to get my work in front of as many eyes as possible to get reactions from viewers. Often, I am surprised by people's responses to my work, which show me things and new ways I had never thought of. My work has been shown in galleries in New York City, Long Island, Connecticut, and national and international juried shows. Success is always keeping my art-making in motion and not becoming static.

Do you feel a special connection between creating art and your hometown and boyhood memories now?

BL: I grew up in North Adams. I only had art instruction once I started at BCC. Great professors encouraged me to become more fluid and take risks. Continued on next page...

Floating Grid Acrylic, mixed media

Off The Surface Too Acrylic, mixed media

Hommage to Anne Frank, Acrylic on canvas

Hommage to Jane Randolph, Acrylic on canvas

Future Father, Acrylic on canvas

At BCC, I had art exhibits. I then transferred to the University of Massachusetts Amherst. My earliest art memories are of my father going out on weekends to do watercolors around Williamstown, as he would often take me with him. After graduating from the University of Massachusetts Amherst, I moved to Long Island in the '70s with a BFA in painting and art education. However, I was not able to find a teaching position.

I know you love working with shadows. Can you reveal how you work with shadows?

BL: I am intrigued by shadows in my photography because shadows are fluid and change based on sunlight. Every photo seems unique to that moment. I enjoy cutting up prints of shadow photographs to overlap or reconstruct to make a more interesting visual.

You have gathered a selection of found objects that inspire your artistic process.

BL: I am constantly aware of my surroundings,

always looking for interesting objects and inspiration to incorporate into my art. I always have my phone ready to capture anything that catches my eye.

We never stop learning. Do you agree?

BL: I agree that one can never stop learning. I attend workshops whenever I can. I just finished a week at the University of New Hampshire at Keene.

Do you know when the art piece you create will take on full color or perhaps be in black and white?

BL: I will transition to black and white to develop a different vocabulary if I have worked a lot in color.

You and Deborah H. Carter have been collaborating on art projects, which has been an excellent experience for both of you. Deborah creates 3-D artwork using recycled and upcycled materials from nature and various finds.

How has the collaboration been going? What projects have you been working on together?

BL: My collaboration with Deborah has been ongoing for several months. We are working on a dress design for the World of Wearable Art in New Zealand. We were delighted to be accepted for September 2024. Deb has excellent work discipline and endless creativity. We work well as a team, solving problems, and are happy to be part of an international wearable art design show.

Bruce, what makes you want to be an art creator?

BL: Art-making is a way to document my life's journey. I always incorporate "fun" elements into all my projects. At this point, if I'm not having fun, then I won't do it!

What are you recently working on?

BL: My latest work from this summer's workshop focused on deepening mark-making and creating more layering in my compositions. Continued on next page...

Redefining The Grid, Acrylic on canvas

Homage to New Hampshire, Acrylic on Watercolor paper

Technology has a way of rendering things obsolete. How do you appreciate the old and the new and combine them?

BL: It is important to me to appreciate the integrity of objects, old and new. I don't use any apps to enhance photos. I have used slide rulers and computer chips in my art toolbox in my work.

Tell us about how wonderful it is to work in your studio at the Clock Towers and about your equally exciting and talented neighbors. BL: Fortunately, I found and secured a space in Clock Towers. Working with such an accomplished group of artists is the best! Having conversations, sharing materials, and being open to suggestions is wonderful.

Is there something missing in your life? What big ideas are you daring to explore next? Please give us a good glimpse of your ingenious imagination, Bruce.

BL: I try not to overthink what I do in the studio or my life. I am a believer in fully experiencing one day at a time. I don't project what I'm going to do next. It is more exciting to let my art evolve. Come into my studio, and you can see my imagination on the walls!

What do you love about living and working in the Berkshires? Would you want to live anywhere else at this time?

BL: Life has been less hectic in the Berkshires,

and the area supports the arts. Sure, it would be fun to live in Aix-en-Provence or Amsterdam. Right now, I am content to be here.

"Every time I enter your studio, you greet me warmly, offer me a piece of candy, and share your handmade art, which I appreciate. When did you first start this gift-giving tradition? You have a unique talent for making anyone go from feeling sad to happy!"

BL: As long as I have had a studio, it has been important to make people feel welcome. I would give a handmade card—something people could leave with, sort of as a remembrance. Recently, I've been making "art pins," just clip-on pins made with photos that I cut to size. Come pick one up!

As you examine your life and its historical influences, which events have shaped your perception of art?

BL: The music and art of the 60s, which were exploding as I finished high school and entered BCC, definitely impacted my perceptions of life.

Aside from creating art, what other activities do you find fulfilling or enjoyable when you have spare time?

BL: In my spare time, I read different types of books, biographies, and poetry. Lately, I've been reading about Women and Art. I've also been teaching myself piano and being more consistent

with journaling.

What topics pique your interest when you overhear conversations at a gallery opening, in the elevator, or anywhere else?

BL: It is especially fun to hear people talk about your work when they don't realize the artist is standing beside them. Those statements are honest.

What interests you, and what do you like to discuss when sitting around with people?

BL: I try to listen to other people more than I speak. I have no desire to be in the spotlight, and I would never engage in specific topics.

"If you were granted three wishes, what would you wish for?"

BL: Three wishes—okay. 1) To eliminate hunger, 2) To put politicians who declare war on the front lines so that there would be world peace, and 3) for more people to practice kindness. It costs nothing, and it is easy once you have the awareness.

Clock Tower Artists Business Center

75 South Church Street, Pittsfield, MA

Studio #307

Studio photograph at Clock Towers of Bruce Laird by Edward Acker

Gallery

THE GUILD OF BERKSHIRE ARTISTS

Sept 12 - Sept 22

"ReVision- The Art of Seeing Beyond"

Thom Lipiczky

Marcelene I. Mosca

Susan Sabino

Sept 26 - Oct 6

"The Cold Waxers" Participants in the Guild's Advanced Cold Wax Workshops

Oct 10 - Nov 3 "ab-strac-tion"

Karen Dolmanisth

Chris Malcomson

Virginia Bradley

Nov 14 - Dec 1

"Canvas and Clay: Paintings and Pottery by Alice Dugan"

Alice Dugan

Art on Main - Gallery

38 Main Street, West Stockbridge, MA 01266

Gallery Hours: Thursday - Sunday, 11 - 4pm

For more information about the exhibit and current Art on Main Gallery Shows and hours go to our website www.berkshireartists.org

PRESENTED BY THE GUILD OF BERKSHIRE ARTISTS

T Lapinski

Susan Sabino

Alice Dugan

Virginia Bradley

Pat Hogan

Karen Dolmanisth

Chris Malcomson

Sarkan

ART ON MAIN GALLERY

The final round of artist member shows is coming up in September through November at Art on Main Gallery are as follows:

Woodworking artist Thom Lipiczky describes his work: "I always try to remember that wood comes from trees, and I try to demonstrate this connection in whatever I’m building in some way. Sometimes it’s highlighting grain or knots or accentuating a shape like a leaf or branching. Using “salvaged” materials like old beams and floorboards reminds me of the history people have had with wood."

Having written and taught poetry for many years Marcelene I. Mosca strives to translate the sensations and truths that inspire and inform it in her visual work… the stroke of a brush, interactions of color and texture in the abstract reflect the human experience.

Artist Susan Sabino combines natural light with macro photography to capture the harmony between light, color and texture to create an ethereal quality in her abstract botanical images.

Alice Dugan has been an oil painter for 30 years, both in the United States and Costa Rica. She discovered an affinity for wheel-thrown pottery when she moved to the area four years ago. In both mediums, her emphasis is on color combinations that reflect light and enhance form.

Karen Dolmanisth creates experiential sculpture environments, paintings, drawing, prints, video, photography, ceramic sculpture, and interdisciplinary performative work that communicate through an abstract and symbolic visual lexicon that are process based and often temporal, illuminating cycles of change, the science and mysteries of transformation and stages of integration and wholeness.

Alchemy and the performative aspects of painting are the basis of Virginia Bradley’s abstract painting practice. Environmental issues surrounding climate change have been formative in her practice.

Chris Malcomson’s abstraction paintings are often portals inviting the viewer to explore other layers of consciousness. Color and form are primary elements in his practice.

Artists participating in the exhibit “The Cold Waxers” are Elsa Karr, Jane Craker, S. R. Aiken, Pat Hogan, Annie Milfie, Cheryl Binder, Karen Carmean, Marcelene I. Mosca, Sue Arkan and Amy Pressman

Check out our full-page ad for dates of each show, receptions and artist talks or go to website www.berkshireartists.org for more info.

Art on Main Gallery- 38 Main Street, West Stockbridge, MA.

MARGUERITE BRIDE COMMISSIONS

For the past few years my professional painting career has led me to more commission work. While I still paint and love doing house/inn/business portraits, other scenes have become part of my portfolio as well….retirement paintings including special buildings and people, scenes where a proposal happened (and he said YES), nature scenes that capture the peace and spirit of the Berkshires, landscape views from windows, lots of wedding venues, college paintings for new graduates…the list goes on. Each painting is special, personal and meaningful.

The process is easy. If you are local to the Berkshires, I will visit the home/site, take many photos and do a few sketches on site. If now I will work from your photos. Drawing is the next phase and where your input is valuable…what to include, what to leave out or move, season, time of day, pets in or out? So many fun things to consider when creating and personalizing your treasure and future heirloom.

Once the drawing is approved, I paint. The painting process will take about a week….most of the time is spent in the preparation phase before the painting begins.

Is this a surprise gift for someone? I love surprises and do it all the time! I can be very stealth at taking photos. Or are you nervous that the scene might not be exactly what the recipient wants? A gift certificate is perfect, then I will work directly with the recipient.

Be in touch and I will answer all your questions. And check out the “House Portrait” pages of my website….lots of information and details. Marguerite Bride –413-841-1659; margebride-paintings.com; margebride@aol.com; Facebook: Marguerite Bride Watercolors. Instagram: margebride.

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

M.I MOSCA K CARMEAN E KARR

CANOE MEADOWS IN SPRING, WATERCOLOR

BRUCE PANOCK

Portrait by Bobby Miller Abstract Trees

“A journey of Exploration”—Bruce Panock

Harryet Candee: You have not stayed still since our last interview in September/October 2021, Bruce. What is new in your life?

Bruce Panock: I continue to work. It has been more than 10 years since my lung transplant, and the limitations remain, but I am making my path and finding how I want to interact with life and the world around me. I am finding what is important and how I want to express these ideas in my art.

I have come to realize that my art is part of the evolution of how my world has changed since the surgery and how I view the world. It is my visual diary of sorts.

Photographers, as with many artists, spend time alone developing their ideas and ways to express them. I find my world is yet a bit more isolated. I explore this isolation with my work. What it means, and how it evolves.

Interview by Harryet Candee

“For this body of work, everything starts with the search for shapes and patterns in the landscape. When I get back to the computer. I then mask out what doesn’t add to the subject. This could take days of effort. When the shapes and patterns have revealed themselves, I begin thinking about the background, the colors, and the textures. It all evolves … or fails magnificently.”

Can you tell me if the following statement still holds today, about the series of photographic art you created in the past, which included "Life, Death, Flight", "Doorway", "Abstract Rock Formation", and "Flight, Freedom Hope", Contrasting Ideas”? Have your creative ideas and processes changed since then? BP: The statement still holds, but the ideas continue to be developed. There are still many attempts that result in failures. These failures

remain as building blocks in the creation of the work. I still struggle with color. I have zero background in color theory, so there are many mistakes, but I keep moving.

My processes in creating the work and developing ideas have advanced (I hope). The ideas are still hard to “put down on paper.” I keep notes, try many different approaches to put a voice to the idea and make many mistakes. But the process always has the same starting point… . put in the effort and the ideas will come.

I have admired your fine art photography for many years. Each piece takes me to a door, then the door opens. I find myself in another evolving world that tells a story, often emotionally charged, without words. I see your work as exploratory and imaginative, pushing Continued on next page...

Contrasting Ideas

artistic boundaries and intricately designed. The viewer can only imagine the effort it takes to achieve such a remarkable outcome. Your work is always beautifully and professionally framed, an important selling point. Bruce, what series of photographs are you currently working on?

BP: What series? That I must admit is the hardest question for me to answer. Unlike documentary photographers who stick with projects that have a specific story to tell, or horror to share with us, my work does not, or at least, has not had such a focus to date. Unlike friends of mine who have passions for horses or dogs, their work shows their love affair with these beautiful creatures. I live in a different space. My art/story comes from the circumstances that have been part of my life for more than 10 years, and continue to be part of my life

I make photographs often. I collect shapes, lines, and movement. Some colors appeal for various

reasons. And then the basic effort begins. I remove (mask out in Photoshop) the features that do not strike a chord with me. These features do not add to the idea or thought that I want to share. It is a certain movement and flow that I am looking for, and then I begin to address what I want to say. The image may come together, or not. I never delete anything. One can never tell when the idea will gel or my Photoshop talents will catch up to my needs. There are groupings by subject which are added to over the years. But no one project at a time.

When you show work in an exhibition or a gallery, do you need to adjust your artwork to fit the venue? I hope this has only enhanced your art-making process and made it more inspiring for you.

BP: I rarely adjust my work to fit the needs of a venue, or its audience. It is hard to imagine that my work fits every gallery or exhibition. I have

been looking for a gallery in which my work fits. It is work that naturally fits within the vision of the gallery. I look for exhibitions in which my work naturally has a place. It is not that I do not think about how people will view my art, but I have a certain thought that I want to express, a certain idea that I want to share.

I have the good fortune to be part of a vibrant photography community where I share my work. People will offer suggestions, or try to note weaknesses in the work. I go home and review the work considering the comments and critiques. Sometimes I will make subtle changes if what I try to share is not compromised. After all, we learn from our mistakes.

I may have versions of an image, but that is part of the process of finding the best way to express a thought.

In your statement, you mentioned that the world contains both beauty and joy, as well as

Abstract Milkweed

In the Shadows

ugliness and pain. Can you give examples of how you express these contrasting experiences through art? It is interesting to think about what the world would be like without these contrasting emotions.

BP: The Berkshires are filled with beauty. Its forests, its fields its gardens, not to mention all of the arts that we have are within a short drive. The entire County inspires all art forms and the setting in which to create.

And yet, in all of this beauty, there is the risk of Nature being destroyed. Whether this destruction is to the waterways, our fields, or our wildlife and their habitat. It’s frightening what is possible if we do nothing. We are fortunate in that there are organizations that are trying to preserve what we value so much.

We have a history all around us. There are buildings throughout the county that have a beauty that is more than what is on display inside of them. The image made at the Mass Moca Power

Plant shares what would have happened had not people with vision made such a wonderful place to see inquisitive minds at work.

There is much in the world which is aggravating and frightening. I am trying to add my voice in protest of humanity’s ever-present desire/tendency to destroy itself. I try to share my fears of where we are headed if we don’t care for these treasures.

I find it fascinating how the time spent viewing art can feel both short and long. What message would you want viewers to take away from their time contemplating your work, regardless of how long it takes them to fully understand it?

BP: I hope that people will pause, just long enough to look at the work and let it touch them. Granted the art might not resonate, and they will move on. But for some viewers, they might pause for a few moments more and allow the

work to start a conversation that might allow the interaction to go further. I hope that I have opened a door through which the viewer might go.

I put a great deal of thought into the artwork. But once it is on the wall, it is up to the viewer to engage and decide whether the art has some meaning for them.

If you were to create a series, or just one piece that sums up your life and will receive great exposure, what elements of nature and theme would be at the top of your list to include, and why? What challenge would you enjoy taking on with this piece? What fears can you let go of and just create for the sake of creating with this, if that is at all possible?

BP: Hard question. The answer is a project that evolves from isolation to abandonment, to forgotten. All one needs to do is look around. Continued on next page...

What We’ve Done

How many fields have overgrown homes where people once lived and raised their families? They are forgotten and Nature has reclaimed the land. How many older, beautiful homes are purchased for the land? The buildings are knocked down to build something new and shiny without thinking of the beauty in the building that is being knocked down. How many factories are just knocked down, forgotten, and never to be used for some current need, before people with a vision can repurpose them, saving their history? How many people have a life filled with their accomplishments, however great or small, only to find themselves abandoned, and then forgotten?

It is hard for me to engage with people in a way that would tell the story. I am still trying to find a way. I think much of the art that I have made thus far is setting me on the path to telling this idea, this story. This is the project that I am trying

to find a way to give voice to.

Have you observed any current, trending, innovative, cutting-edge technical and creative processes in artmaking, specifically, photography, that interest you to try out? How brave would you need to be to add AI to your work?

BP: I think any of us who work in the digital space today use Artificial Intelligence (AI) unless we are limiting ourselves to dodging and burning. Even so, it is hard to say where AI can be found. The features of so many editing tools employ AI “under the hood” of the program. In my work, I use AI to edit out unwanted features (i.e. poles, branches, and wires). I often combine many images into one work, and at times I need to fill in small gaps, thus the need for AI to aid in filling the spaces. I do not use AI to add skies, or other features to the images. Technology is always evolving. But it will strug-

gle to exceed the creative process of a human being. It may do things faster, but at least at this time, it is hard to replace the creative human influence. As we look around, there are so many creatives who use these tools to express their ideas. Like many others, I use the tools to fit my needs.

I am always looking at the art made by others, regardless of genre. There are so many creative people making art. I admit to following in the steps of others, but with my methods, and my voice, and to a degree, I will use whatever tools are available to me. The ideas and voice are still mine.

Has your photography work ever led you into other areas such as portraiture, the animal kingdom, politics, or underground taboo subjects? Of those subjects which might you explore or never go near,?

End of the Slope

BP: I rarely do portraiture. I am just not good at directing people. I do some family photographs, but this is rare.

As I indicated earlier, I regularly employ politics as an influence for my work. I do not attend political gatherings due to my health restrictions but my frustrations with our political environment, and the lies and falsehoods that are often spread are sources for ideas to be incorporated into my art. I will explore how we are not so slowly damaging our environment. Living in the Berkshires, I have an appreciation for the beauty of Nature. I have never explored our Western United States but thankfully many photographers have, and I have a great appreciation for their work, and a great jealousy not being able to visit these open places.

When I lived in NYC, I would rent studio space and hire models to explore the nude. What interested me was the lines and the flow of the human

form. These images have found their way into the work that I am making today. I would make more work, but lacking studio space and the availability of models, at present this work is on hold.

Looking back over the past five years, what would you say have been your top achievements in art? Whether an internal or external achievement, or both. A progress report, perhaps of something you managed to break open and figure out?

BP: I have not given up the desire to have my work shown in galleries, though I think that I am closing in on achieving that goal.

With each passing year, I find more in Berkshire County that draws my interest. Things and places that we pass by and may not give a second thought. Yet, with a few minutes to pause and reflect on what I see in front of me, and how it

might help me express an idea, I find the Berkshires filled with opportunity.

I am surprised at the places where I find subjects. Almost all my work is photographed in the Berkshires. Very recently, I found that the northfacing wall of Berkshire Medical Center provided the subject for an image.

Panockphotography.com

bruce@panockphotography.com

Instagram @brucepanock

Reaching for the Heavens

Tree and Building at Night

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

Reseveratrol, Mixed Media Botanical Collage 3’x4’ (2023)

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

LANDSCAPE, KATE KNAPP

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

“

JOANNA KLAIN and RICHARD CRIDDLE

ECLIPSE MILL GALLERY

"Serendipity played a part when I happened on Richard Criddle’s sculptures at a gallery in North Adams. I had been thinking about finding a sculptor to share an exhibition with me at the Eclipse Mill Gallery in October. Immediately I recognized that Richard’s Imaginative sculptures would harmonize with the multimedia paintings that I am immersed in now” – Joanna Klain

“On the last day of a group exhibit I was deinstalling my sculptures when Joanna invited me to exhibit with her at the Eclipse Mill Gallery. As we talked, common threads emerged. Both of us are veterans in our respective fields of printmaking and metal working. We have both ”loosened up” from the type casting of these traditional mediums. We each are making narrative allusions from fragmented sources. Hence: " SOME ASSEMBLY REQUIRED” - Richard Criddle

A reception will be held on Saturday, October 5, 4-7pm. Artist’s Shared talks on Saturday, October 19, at 3pm. The exhibit is on view October 3 – 30.

Eclipse Mill Gallery243 Union St. North Adams ( half a mile east of MASSMoCA on Rte 2). Open Thursdays — Sunday, noon til 6pm. - or by appointment or chance. Inquires: eclipse mill.com; Emails: paperflats@icloud.com / richardcriddle55@gmail.com

RICHARD TALBERT

I am an Abstract Surrealist Painter and Architect. I’m also Celebrating the 100-year centennial of Surrealism.

My paintings and architecture address the complexities of form and space in a rectangular format. These forms are defined spaces and conscious “transformations” of transparent planes. Sometimes these abstract images of vision are distortions and trigger an insubordinate sense of color. As a Public Muralist, my work can be provocative as well as reflective of my daily surroundings. Yet, I am always conscious of Current American Landscape Painting, the Great Mexican Muralists of the 1940’s as well as Ancient Peruvian Textiles.

One man exhibitions include: Gallery Des Artistes, 533 Clematis Street, West Palm Beach, Florida, 33401. Bonwit Teller & Co., Atrium Gallery, Bal Harbour Shops, 9700 Collins Avenue, Bal Harbour Shops and Indoor/Outdoor Shopping Mall, Bal Harbour, Florida. 33154. Richard TalbertMy Lenox Studio is open by appointment: 413-347-3888

richtalbert1@gmail.com, Website: richardtalbertdesign.com

Fantasy, abandoned by reason, produces impossible monsters; united with it, she is the mother of the arts and the origin of marvels.

—Francisco

de Goya

JOANNA KLAIN, "SCHRODINGER'S CAT" MULTIMEDIA ON CANVAS

DUCK AND COVER” 2019 ( 50”X18”X18”) CERAMIC, WOOD, STEEL, CINDER BLOCK, ALUMINUM AND BRONZE MADE WHILST ON RESIDENCY AT SALEM ART WORKS, SALEM,NY.

GLISTEN NO. 2

HARTLEY

GHETTA HIRSCH

This painting is part of a new body of work focussing on details in a landscape. The paintings I am working on right now are seen from above or sideways giving me a raw view of the simplicity of nature. Contrasts in colors, shapes or textures are highlighted by the subtract I am using. I went to Miller’s Art Supply in Pittsfield with pieces of an 1880 linen sheet that I inherited. This coarse, irregular and handwoven linen texture provides an interesting surface to paint on and adds to the organic effect I am pursuing in my oil painting currently. It is also extremely taunt and solid. Enjoy this little piece of Maine, seaweed between wet rocks on the shore!

If you like seascapes, I have quite a few paintings on this topic exhibited at Gallery North in North Adams. www.gallerynorthadams.com

One of my new paintings has been selected to be exhibited as a banner by Eyes on Art Town 2024, a yearly event in Williamstown. The original of the painting will be placed at the Spring Street Market this fall.

Another Summer oil painting is exhibited at Beckets Art Center and I hope you will be able to attend the Opening of their “Nature is Wild” Show, September 20th 5-7, https://www.becketartscenter.org

My Home Studio will welcome you anytime if you like to browse privately. Just text or call Ghetta Hirsch413-597 1716 ghetta-hirsch.squarespace.com

2’6”X3’4” 2023

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.

Also, 51 Park Restaurant & Tavern in Lee, MA Berkshire Rolling Hills Art, 75 South Church St, 3rd Floor, Studio 302, Pittsfield, MA. 413-4468469.

@DEBORAH H CARTER

UPCYCLED WEARABLE ART

PHOTO: KORENMAN COM

MODEL: VICKI BONNINGTON

DEBORAH H. CARTER

SHOWING AT THE CAHOON MUSEUM OF AMERICAN ART THROUGH SEPTEMBER 15

Finalist World of Wearable Art 2024

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.

“I didn’t want a completely passive viewer. Art means too much to me. To be able to articulate something visually is really an important thing. I wanted to make work where the viewer wouldn’t walk away.”

– Kara Walker

SallyTiskaRice@gmail.com www.sallytiskarice.com

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

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

“SEAWEED HOLE” OIL ON VINTAGE LINEN, 24”X 30”

RICHARD NELSON “THE ALPHABET IN SO MANY WORDS”

I always like to have projects, some more ambitious than others. This particular project was to provide a context for the illustrations for some odd words. I like the words Zax and Zarf and wanted to illustrate them. But without illustrating the rest of the alphabet, it didn’t make sense. The first four or five were abstract, but that really didn’t make sense, so I opted to illustrate. I think, collectively these would work great in a book format. See what happens!

Richard Nelson@ nojrevned@hotmail.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.

Front Street, Housatonic, MA. Gallery open by appointment or chance anytime. 413-5289546 at home or 413-429-7141 (cell) www.kateknappartist.com

ELIZABETH CASSIDY LITTLE LOVE LETTERS: A PEACEFUL REVOLUTION

I created Little Love Letters: A Peaceful Revolution in 2016. These small cards have my art and messages of love and acceptance on them. They have been mailed to our local and international volunteers who have left over 70,000 cards in different public places for someone to find and know that they matter.

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

STILL LIFE BY KATE KNAPP

(TOP) Only One (Acrylic on Board) (BOTTOM) Homage To Hedy. (Acrylic on Canvas)

CANDACE EATON

Hello September Artful Mind issue! Featured in this issue is one of my favorite paintings, Genesis, using the Horse as a symbol of our carnal life and spirit, as I do in many of my works. My move up to the Berkshires is exciting me about doing plein air landscaping yet I know I will continue to do the Archetype series like my American Gypsy and the JazzHorse pieces like this small mixed media painting called Edge of Rage. I continue to personally object to the trend of Branding myself and create with artistic freedom, which is necessary for my muses’ whisperings. Candace Eaton631-413- 5057 candaceeatonstudio@gmail.com www.candaceeaton.com

BERKSHIRE DIGITAL

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

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

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

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

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

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

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

TW MCCLELLAND & DAUGHTERS CREATIVE FINE JEWELRY

Tim McClelland is a fine jeweler in Great Barrington, MA known for his 20+ years as the creative hands and mind behind McTeigue & McClelland Jewelers. He has been practicing the art of jewelry making for more than 50 years. Engagement rings from his Wildflower Collection are worn by editors of Vogue, Vanity Fair, W, Town & Country, Martha Stewart Weddings, and acclaimed by many more. TWM original pieces have graced the red carpets of the Oscars and Cannes.

Tim uses ancient and traditional jewelry making techniques to bring to life timeless, inspired jewelry. His work is known the world over by jewelry connoisseurs and those who seek out originality, beauty and quality. In his designs Tim is inspired by nature, humor, light, balance, and the materials themselves. He uses his work to create a joyful expression in a tiny space. Most importantly Tim hopes to be of service to his community and customers.

Beginning this Autumn the TWM atelier doors will open to the public, Thurs., Fri, Sat, 11 - 5pm! Please join our mailing list via twmcclelland.com for an invite to the opening.

Contact us directly about all things jewelry at info@twmcclelland.com or 413-654-3399. Follow along on Instagram and Pinterest at @twmcclelland

EDGE OF RAGE

AMERICAN GYPSY

“Mouse Face” FROM

THE SERIES “Stories For Children”

As soon as the fox was out of sight Rowena, (the chicken,) ran out from behind the tree, and stood in the path, uncertain what to do. She wanted to head straight for home, but couldn’t because she would be bound to run into the fox or his friends on the way. But to go the other way would be to get further from her home. As she stood there lost in thought and uncertain what to do, the crow flew down from his tree and landed right in front of her. It might have been simply a coincidence, but Jason, the crow, seemed to want Rowena to continue on the path down to the lake. He stood there in the path in front of the chicken, and took several bold and determined steps in the lake’s direction. When Rowen didn’t move to Rowena, he looked over his shoulder and made a loud cawing sound not once, but three times, and then a forth caw, somewhat quieter after a little pause. The little quieter exclamation, following three loud caws, is understood to act as a kind of question mark, or so I have been told.

All this was happening at a time before chickens and crows had really learned how to talk to each other. And even much later when they had learned to converse, there was often confusion and misunderstandings.

It was a situation like when a tourist in a foreign country asks directions, and the native, unable to explain, simply walks off in the correct direction waving a hand, so the crow indicated the way one hop at a time, looking over his shoulder to see if the chicken would follow him. So the two of them headed for the lake which was some distance away. Why was the crow so concerned to look after Rowena in the first place? First of all, because they were both birds, birds who hop along on two feet, and birds are not fond of foxes. Secondly, it was Rowena who had exclaimed, “Don’t chase the crows away, they probably think they are chickens, just like us.” Jason the crow, might not have exactly understood what Rowena was clucking when she clucked it, but he understood nevertheless. Rowena was extremely curious about the lake. From the chicken coop she had often looked at the lake in the distance and wondered what it could possibly be. This is what she thought. The lake must be a piece of the sky that fell down and landed on the ground in the distance. It was the same color as the sky, and it even had clouds in it, if there were clouds above. Rowena was completely shocked and confused when she arrived at the edge of the lake with the crow and discovered that it was completely wet, and made up entirely of water. Then she realized what a lake was because in the yard near the chicken coop the children had a little swimming pool, it also often looked like the sky,

and was wet all the time, and she had more than once gone swimming in it.

Rowena ventured out into the water and swam about for a while, and the crow stood by the shore and examined various twigs and leaves, but in the distance he noticed three sets of eyes looking at Rowena and himself. It was the three foxes who, not having found the chicken on the path to the farm, had returned in search of her.

Then it was evening, and as always, a little later it was night. Then it was cold and Rowena began to feel a little homesick. She wished she had never decided to go for a walk, and she did not care that lakes are made of water, and she had no interest in what foxes like to eat. She longed to be going to sleep nestled in the chicken coop, all in a heap with her brothers and her sisters, where it was simply impossible to tell where one chicken left off and another began. She looked around for a spot to settle down for the night and the crow, who was looking on from above, flew down and landed on a log that was floating near the shore.

The log the crow landed on was not all by itself, it had three brothers and one sister. The brothers were three logs from a similar tree, and the sister was a log from a birch tree with different markings and a different color bark, mostly flaked off. The five logs were tied together with clothesline rope that had been cut into three foot sections with a jackknife. The clothes that the clothesline rope had been holding up were scattered all over some persons yard, but that was over a year ago, and the rope had been long ago replaced. It was two brothers that took the rope, and used it to tie together the logs to make a raft. On their raft they had placed two milk crates containing a shoe box with six bananas, and several comic books all missing their covers. Stuffed in between the milk crates was a quantity of straw which has been intended to be used for pillows. There were also two pillow cases, also from the yard where the clothesline rope had come from. When the clothes from the yard had been folded it was discovered that the two pillow cases were missing, and the woman who discovered the missing laundry simply assumed that the wind blew them away, and spent a long time looking for them. The pillow cases were white with little blue flowers, and now, somewhat faded, were tucked between the milk crates and the straw.

The boys had been planning to run away from home but their plans were disrupted because their father moved the family to Alabama, where he had secured a job selling used shoes door to door, so the raft was never used.

Rowena settled down in the straw to go to sleep for the night. The crow also went to sleep, perched on the top of one of the milk crates, but the chicken had difficulty sleeping. She kept hearing rustling sounds behind her head, and sometimes she woke up because of tiny squeaking noises. The squeaks were coming from a little mouse who found herself trapped between Rowena’s head, and the back corner of her milk crate. I refer to the milk crate as ‘hers,’ because she and her family had been living there for almost a year, and no chickens had bothered to visit them.

During the night, as Rowena slept and the mouse struggled to get comfortable, a strong wind began to blow. It was a hurricane sort of wind. The little raft struggled up and down and shook back and

forth, until its rope broke and it launched itself out into the lake. When morning came the crow, the chicken, and the mouse were way out in the middle of the lake bobbing up and down, and all was calm. It was just a few minutes after Rowena woke up that the hay in the milk crate moved slightly and Rowena found herself face to face with the mouse. The mouse had not slept very well and so was not quite awake, but she completely understood her great danger; or what she imagined must be her great danger. She could see that she was trapped in the corner of her milk crate and was looking into the visage of the most hideous, gigantic face she had ever seen in her short life.

Just try to picture yourself in the situation of that mouse whose name, by the way, was Clara. She had been given the name Clara because her squeak had a very slight clarinet type of sound. Who named her Clara I have been unable to ascertain yet, but you will just have to take my word for it, but even so, it is not germane to the dire mouse situation I am trying to describe for you.

As I was saying, imagine you are like that mouse, and have found yourself trapped in the corner of a dark room. In an open door, just a few feet away from you there is a gigantic repulsive head about ten feet high, and eight feet from ear to ear. This is a face that has hysterically malevolent eyes the size of watermelons. Below the watery watermelon eyes is some sort of beak that looks like the jaws of one of those automobile wrecking machines found in junkyards. Death is inescapable, death is at your doorstep, but first there is going to be some dismemberment!

I'm sorry, this will not do. This is supposed to be a children’s story, of the kind that is read in the children's section of the library on Saturday morning, and therefore words like ‘dismemberment,’ would seem to be very out of place. Little children, even those eating chicken Mcnuggets, would have trouble visualizing things like dismemberment, even though it is actually part of their everyday carnivorish existence.

But in that situation, backed into a corner by a gigantic birdlike monster, and in the last moments of your earthly existence, you would have no idea what to do, would you? This is only because you do not have the intelligence of the average mouse. Either that, or Mother Nature did not bother to give you the necessary resources to deal with that eventuality.

But Clara knew exactly what to do. She leaped instantly from her corner directly onto Rowena’s face, and grabbed hold for dear life. Rowena did what you yourself would certainly do if you found a mouse suddenly attached to your face. She took two hops rapidly backwards, and then shook her head violently left and right. Clara was thrown completely from off of Rowena’s face, and also clear of the raft, and disappeared under the water leaving a trail of bubbles down into the depths. In the milk crate, under the straw, her little children, two boys and three girls huddled together in terror, not knowing if they would even see their Mommy ever again.

—-RICHARD BRITELL

AUGUST, 2024

Cape Cod Abstract Sand and Sky

Deborah H Carter Upcycled Wearable Art

Showing at the Cahoon Museum Of American Art through September 15

Represented by the Wit Gallery Studio: Clock Tower Artists

Photo: Korenman.com

Model: Vicki Bonnington