The Artful Mind July 2024

THE ARTFUL MIND

CARLOS CAICEDO GRAPHIC ARTIST

Photograph by Alex Baker

THE ARTFUL MIND

JULY 2024

“And to the little dragonfly we say welcome to summer.”

Calendar of Events ..4

Interview with CARLOS CAICEDO GRAPHIC ARTIST

Cover photograph by Alex Baker 8

Interview with LORRAINE KLAGSBRUN BLOCK PRINT | COLLAGE ARTIST ...20

Interview with CAROLINE KINSOLVING STAGE AND SCREEN ACTOR AND YOGA INSTRUCTOR...26

RICHARD BRITELL | FICTION “The Lost Chicken” FROM THE SERIES STORIES FOR CHILDREN...45

MINING MY LIFE DIARIES OF JANE GENNARO ... 47

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

HAND

CALENDAR OF EVENTS

Thursday, July 11, 2024, 8-11pm. Race Brook Lodge, 864 Undermountain Rd, Sheffield, MA

Tickets: https://rblodge.com/events

Art

510 WARREN STREET GALLERY

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

July 5-July 28: Paul Nueckel: “Cognitationes in Res”

Reception: Sat July 6, 2 -6pm

BARD MFA

bard.edu/mfa · mfa@bard.edu · 845-758-7481

JULY 11 - 21.

TIME & SPACE LTD

434 COLUMBIA STREET, HUDSON, NY and BASILICA HUDSON

110 FRONT STREET, HUDSON, NY

Milton Avery Graduate School of the Arts at Bard College presents: Off-Site: The Class of 2025: Thesis Performances and Exhibition. The title references the nature of this year’s exhibition as both a logistical reality and resilient methodology in which art activates pathways between malleable pasts and potential futures. Off Site marks a new era of openness for the program as this is the first Thesis Exhibition to occur off-campus.

BECKET ARTS CENTER

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

Paw Prints Exhibit: Reception Fri July 26, 5-7pm. Reaching, exhibit featuring Pat Gilhooly, Olwen Dowling, Elmer Orobio, Julian Craker & Polly Kurasch. Reception Fri June 28, 5-7pm, thru July 21, closing reception July 21, 2-4pm.

BERKSHIRE BOTANICAL GARDEN

5 West Stockbridge Rd, Stockbridge, MA BerkshireBotanical.org

June 7-Aug 4: “Microcosms: The creator of the “Spotted Owl Mosaic” – a site-specific public installation that resides in the BBG’s outdoor garden –Peter D. Gerakaris of Cornwall, Conn., will present an indoor solo exhibition of mixed-media artworks that engage myriad nature-culture motifs through vibrant, pluralistic strands.

BERKSHIRE MUSEUM

39 South St, Pittsfield, MA

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

BERNAY FINE ART

296 Main st Gt Barrington, MA 413-645-3421

July 12 - Aug 11: Summertime: Jay Taylor and Janet Rickus, also Jason Middlebrook and Lawre Stone. Aug 17: Stop Making Sense: Noah Post, Deborah Zlotsky, Will Hutnik and Kit Warren

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

Open studios: Saturday July 13, 1-5 pm Saturday August 3, 1-5 pm. 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

Mary Cavallari, Sean McCusker, Ghetta Hirsch, Mallory Rich; Third summer reception Thurs Aug 1, 47pm.

GREYLOCK GALLERY

74 Spring St, Williamstown, MA 413-884-6926

July: Tracy Helgeson, John MacDonald, Leslie Peck August: Teri Malo, Stanley Bielen, Curt Hanson

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; Marc Hom: Reframed, Thru Sept 2; Banksy: The Haight Street Rat:, thru Sept 8

HUDSON HALL

327 Warren St, Hudson NY 518-822-1438 / hello@hudsonhall.org

Through July 28: Ara Osterweil and Allan Osterweil:

A Body of Water

Shakespeare & Company

June 21-July 21, 3:30-7pm

72 Kemble St, Lenox MA

The Comedy of Errors, July 13 - Aug 18

The Islanders, July 25-Aug 25

See full schedule: shakespeare.org

Shapeshifters. This exhibition celebrates the use of shape and color in two abstract artists: Hudsonbased painter Allan Osterweil (b. 1943) and his daughter, Montreal-based painter, and writer Ara Osterweil (b. 1977).

JACK SHAINMAN GALLERY

25 Broad St, Kinderhook, NY

Nina Chanel Abney: Lie Doggo

Dynamic series of Cubist-inspired collages, site-specific murals, digital art installations, NFTs, prints, and sculpture. Several of Abney’s paintings surface the race-related structures that underpin familiar situations

KAREN J. ANDREWS / INNER VISION STUDIO

2 Furnace R, W. Stockbridge, MA 413-212-1394 / innervision-studio.com

Visit the Art Gallery and Studio. Watercolorist and photographer

LABspace

2642 Rte 23, Hillsdale, NY

July 13-Aug 11: Pauline DeCarmo: ins and outs and ups and downs. Solo exhibition of paintings

LAUREN CLARK FINE ART

CHILDS+CLARK GALLERY

684 Main St, Unit 2, Gt Barrington, MA

Lauren@LaurenClarkFIneArt.com

Fine art, glass, sculpture and paintings

PAMELA SALISBURY GALLERY

362 1/2 Warren St, Hudson, NY

Through July 21: Susan Jane Walp: Paintings and Drawings on Paper

SUSAN ELEY FINE ART

433 Warren St., Hudson, NY

Thursday - Monday 11-5pm

July 5 - Aug 18, Simple Gifts: Reception: Sat. July 13, 4 -6pm

THE RED LION INN

30 Main St, Stockbridge, MA 413-298-5545

Through July 20: Foreign Substances: The Red Lion Inn, in collaboration with @biffma, @shakeandco, and @norman_rockwell_museum, is honored to pres-

Vieux Farka Touré

Banksy: The Haight Street Rat Fennimore Art Museum 5798 State Highway 80, Cooperstown Through September 8, 2024 www.fenimoreartmuseum.org

ent the upcoming exhibit “Foreign Substances” featuring the works of Charlotte Rose and Billy Zane. A visionary exhibition co-presented by Michael M.A. Cash and Richard Post, “Foreign Substances” is not merely an exhibition; it’s a beacon for the arts, uniting diverse expressions and communities in a celebration of creativity and innovation in the heart of the Berkshires

TURNPARK ART SPACE

2 Moscow Rd, West Stockbridge, MA

Wed-Mon 10-5, closed Tues.

July 13 - Sept 8: Roberley Bell: Finding Form: drawings and small sculpture: Roberley Bell’s drawings, prints and sculptures study the role of the observer, seeing and recording the natural world around us.

CALL FOR ENTRIES

2024 New England Regional Juried Exhibition Guild of Boston Artists Prospectus: guildofbostonartists.org Submission deadline is July 20.

Theater

CHESTER THEATRE COMPANY

Town Hall Theatre 15 Middlefield Road, Chester, MA Box office: 413-354-7771

July 4-14: Unreconciled, Directed by James Barry; July 17-18: It Goes Without Saying, Written and performed by Bill Bowers; July 25-Aug 4: Will Sacrifice, Written by Julie McKee, Directed by Keira Naughton

MAC-HAYDN THEATRE

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

June 27-July14: Sister Act; July 18-28: Rent; Aug 111: All Shook Up; Aug 15-Sept1: Something Rotten!; Sept 5-15: The Fantasticks

PS21

CENTER FOR CONTEMPORARY PERFORMANCE Pavilion Theater, 2980 Route 66, Chatham, NY 518-392-6121 / info@ps21chatham.org (for full schedule)

Bang on a Can: Loud Weekend 2024

Aug 1-3: .....A genre-bending musical utopia for innovative composers and performers. 1040 MASS MoCA WAY, North Adams, MA boxoffice@massmoca.org

July 12-13, 8pm: SMASHED2 goes for the juggler. Gandini Juggling’s irreverent sequel to Smashed is a tale of retribution, the dark art of juggling revisited. Turning the tables on one of the most celebrated contemporary circus pieces of the last decade, Sean Gandini and Kati Ylä-Hokkala propel the cast of seven women and two men onto a trajectory that disrupts the rigid conventions of etiquette, dress, and body language.

WOODSTOCK FRINGE

Byrdcliffe Theatre

Upper Byrdcliffe Rd, Woodstock, NY www.woodstockfringe.org

August 23 - Sept 8: Greater Tuna, David Smilow and Wallace Norman. Meet Arles Struvie, Thurston Wheelis, Aunt Pearl, Petey Fisk, Phineas Blye and Rev. Spikes, just some of the upstanding citizens of Tuna, the third smallest town in Texas, where the Lion’s Club is too liberal and Patsy Cline never dies.

Music

EGREMONT BARN

17 Main st, South Egremont, MA

July 11, 7:30pm: FM- Steely Dan: Celebrating their 27th year of faithfully recreating the music of Steely Dan, this 12 piece NY powerhouse makes their Massachusetts debut at the Egremont Barn on July 11 at 7PM. Featuring lead singer Tom Bowes (formerly with Tower of Power and Blood, Sweat & Tears), FMA Steely Dan Tribute is a musical tour de force you won’t want to miss.

PS21

CENTER FOR CONTEMPORARY PERFORMANCE

Pavilion Theater, 2980 Route 66, Chatham, NY 518-392-6121 / info@ps21chatham.org (for full schedule)

July 7, 5pm: GLOBAL / LOCAL III: Kiki Valera y su Son Cubano. Global I Music Series. Fourth-generation descendant of La Familia Valera Miranda, the band that brought Son Cubano to worldwide popularity in the twentieth century, master cuatro player Kiki Valera continues the tradition at the head of his ensemble

JULY 2024

Frida Kahlo: Her Photos: Sus Fotos Through September 8: SpringfieldMuseums.org

TANGLEWOOD

Lenox, MA

Let Summer Sing! This season: Mandy Gonzalez, Jazon Mraz, Hanna Lintu, Leila Josefowicz, featuring Beethoven, Stravinsky, Brandy Carlile, John Williams, Yo-Yo Ma... See full schedule at tanglewood.org

THE FOUNDRY

2 Harris St, West Stockbridge, MA 413-232-5222 / info@thefoundryws.com

Sun July 7, 7pm: Cello Stories: A Life Under Broadway; Sun July 14, 7pm: Kora Duets; Sun July 21, 3pm: Telling a Story They’ll Remember

YIDSTOCK:

THE FESTIVAL OF NEW YIDDISH MUSIC

1021 West St, Amherst, MA / 413-256-4900 info@yiddishbookcenter.org

July 11 - 14. Now in its twelfth year, Yidstock brings the best in klezmer and new Yiddish music to the Yiddish Book Center in Amherst, Massachusetts. From July 11 to 14, this four-day festival will include musicians and performers at the forefront of the Yiddish music scene. In addition to seven concerts, the lineup also includes four workshops, nine talks, and one special film screening, all in celebration of Yiddish music, language, and culture.

LENOXLOVESMUSIC

Lilac Park, Main st, Lenox, MA

July 31, 6-8pm: Wanda Houston and the HBH Band Featuring Charlie Tokars

IMAGES CINEMA

50 Spring st, Williamstown MA 413-458-1039

Through July: Ghostlight; Janet Planet; An evening with Susan Seidelman, Director of Desparately Seeking Susan, Smithereens, and Sex in the City.

Nature of our Mind: Gail Gelburd at Art on Main Gallery

Opening reception July 20, 4 - 6pm

July 1 - 28

Installation of photography, sculpture and encaustics where nature is an analogy for our psyche gailgelburd.com

38 Main St West Stockbridge / 413. 298.2288 Gallery hours: Thursday — Monday

elizabeth cassidy studio works

“Sometimes I Love to Dream in Black and White.”

I am an award-winning mixed media artist who believes that the world is imperfect. I am imperfect. My art is imperfect. I am a lover of colors and movement, but I so appreciate the crispness of black & white and stillness. “Sometimes I love to Dream in Black and White” was created using pen and ink and by giving my hand permission to go wherever it wanted to go on the page.

elizabeth cassidy

Artist, Illustrator, Writer, Peace Lover, Creativity Coach

Learn more at: www.elizabethcassidystudioworks.com elizabethcassidyart@gmail.com

JESS FREY

July and August at Stockbridge Coffee and Tea 6 Elm Street, Stockbridge Mass

Thresholds- Mixed Media on canvas with wood frame 21x17

After the Storm.

Cowering in the Tsunami.

CARLOS CAICEDO GRAPHIC ARTIST

“You exist only in what you do.” —Federico Fellini

Harryet Candee: Carlos, my curiosity is sparked as I connect the dots between numerous aspects of your persona and artwork. Are you a fan of Latino-style dance? I see parallels between Latino dance and the elements present in your art, such as the angles, shapes, lighting, and shadows.

Carlos Caicedo: I do enjoy dancing. Movement at the rhythm of a melody is in my blood. On the other hand, I was brought up with classical music. The way I would describe it, Stravinsky was around my environment during the week. Still, the weekend belonged to Salsa and Cumbia. My life was part-time dancing to the rhythm of Petrushka and following the steps from “La Pollera Colorada” on Saturday night. The flow of movement found its way into my art. And color and light followed suit. Listening to the sound of color has always been a rewarding part of my artistry.

What is most significant to you in your life right now?

Carlos: At this time in my life, my priorities have changed. As I focus on myself, I realize I still have much to do and share. I find more satisfaction in helping others succeed rather than the success I can find for myself. We still need to eat, but money can’t buy the sparkle in a kid’s eye when they see your work or the reaction you get from people after they realize they could do something similar themselves. Trying doesn’t guarantee success, but not trying is a recipe for failure.

I gravitate to your paperwork because it reminds me of beautiful, imaginary places to hide and dream away the time, like being on a larger-than-life peach or even a hammock made of satin. Only you know if it will hold your weight. The colors are soft and have a

gentle, passionate quality. They are masculine, feminine, and softly sensual at the same time. The shadows, folds, and shapes are all visually poetic to me. Although I wouldn’t say I like getting paper cuts, it would terrify me if I were not careful where I crept or slid. The echoes I can imagine hearing are faint and, remarkably, not much staccato. Okay, wake me up, back to reality. Technically speaking, how large are these finished works, and what is the process involved in making one piece?

Carlos: You are right: the paperwork finds its place in the process. From a flat piece of material, it becomes a three-dimensional object. It takes the form of a sculpture, a building, or, as you suggested, a place. I don’t have a preconceived notion when I start the process. It all starts with a piece of white, heavy paper and a sharp knife. Sometimes a single cut in the middle will be enough to

Interviewed by Harryet Candee Cover Photograph by Alex Baker & Courtesy of the Artist

take form; sometimes, it needs several long slits to allow me to intertwine and convert it into a sculpture. The final piece is not larger than 18” x18” x 12”. Enters the camera, the lights, and the action. The beauty of the white paper is that it’s highly reflective. Not only in the way it takes the light and produces shadows but also reflects the color I bounce on it. Then my camera becomes my eye. By moving around, I discover forms. By getting closer, I discover simple shapes. By stepping, I find unexpected shapes. Here, I can echo your sentiment: gentle forms are mixed with strong shadows, creating a dichotomy of masculinity and femininity (those are your words). Like in a poem, the verses become shapes and hues that can trigger emotions, and we know that feelings closely relate to passion. I get that kind of reaction from my audience.

Carlos, you have a strong and sensual side when creating “Lines.” Are you indirectly saying that you are a dreamer?

Carlos: Yes, you could call me a dreamer. We wish we could be Quixotes in pursuit of a utopia and Sancho to keep us grounded. As in The Wizard of Oz, I wish we could see the world in color and live in the simplicity and honesty of black and white. I wish we could be as gentle to others as

we are to ourselves. Yes, you could define me as being a dreamer.

Tell us about your 25-year career at Ogilvy, one of the world’s top advertising agencies, where you held the Partner/Associate Creative Director position. In particular, can you tell us about your work for brands such as American Express and Hershey?

Carlos: The association with Ogilvy gave me a country, an office, invaluable lessons, unforgettable friends, and opportunities for myself and my kids. I also had the chance to work for major brands like American Express, Shell, and Kimberly-Clark. I savored the sweetness of Hershey’s chocolates and its chocolate factory. Awards galore came with them, and most importantly, I could devote plenty of time doing my art, both painting and photography. I was also lucky enough to travel the world.

I hear you are going to Ireland for a month! What will you be doing there? Paris is my dream city, and I hope to visit Ireland someday.

Carlos: My daughter Natalie Carey lives in Ireland with her family. I get to spend invaluable time recharging my batteries in a house her hus-

band Peter built for me, surrounded by my two grandchildren, Tessa and Casey. I love their unpredictability, their way of seeing the world with wonder, without fear of wandering in darkness. Only by sharing the world with kids can you become a kid. Finally, I’ll contribute to Natalie’s Horse Therapy Center by cleaning after the horses every morning. By the way, I’m with you…Paris is my dream city. I spent many hours doing sketches in the streets of Paris.

Do you have any personal snippets from your writing journals that you can share with us so we can better understand your thought process?

Carlos: Twenty years ago, I met Judy Scott, an American fiber sculptor. She was deaf and had Down Syndrome. She was abused in an institution for many years until her tween sister took her out and enrolled her at the Creative Growth Art Center in Oakland, California, which supports people with developmental disabilities. She became internationally renowned for her art. Knowing her in person and having a daughter with Down Syndrome has made me see the world with different eyes. Returning to the plane from Oakland, I wrote: “What a blessing it is to hear Continued on next page...

Carlos’s studio setup for paper photography

the silence of slower minds. To see their souls exposed on paper or clay for eternity. To allow them to show the world why less is more and simple doesn’t mean empty. To hear their canvases talk in color and scream for understanding and compassion. I can still see Judy sitting small in front of her enormous creation, adding a fraction of life to every knot she struggled with and making hours last for an eternity. Those simple minds might talk little but say tons. Art can’t be measured in IQs.

That’s a beautiful answer, Carlos....Do you currently follow any artists who bring a unique perspective to the art world? What intrigues you about their approach?

Carlos: William Turner is the first artist to come to mind. He painted some of his most important canvases after age sixty, constantly challenging his contemporaries and opening the road to the impressionists. He was a master of light. What impresses me about his art is to see how the light flows directly from the canvas, creating an atmosphere never seen before and copied multiple times after. It affected how I initially did my paintings and how I approached photography.

The world must look so different to you now compared to when you were younger. What changes have you noticed that have directly or indirectly affected you positively or negatively?

Carlos: Besides the reality of climate change, political unrest, evolving technology, and overwhelming uncertainty, I’ve learned to live in the present, ignore past nostalgia, and not worry about a future I can’t control. You could call it enjoying the moment.

How did your personal artistry and creative prowess evolve over the years, nurtured by your experiences at Ogilvy?

Carlos: Ogilvy and my education in the Humanities helped me think, to do things with a purpose, and to find a purpose for what I do.

As a writer, do you still feel the fierce nature of the competition that advertising is known for? How do you navigate through it?

Carlos: In advertising, you put together ads with the competition in mind. I currently write with the simple goal of expressing myself. There needs to be room for competition.

What inspired you to participate in competitions that spanned the globe and resulted in you winning the Art Directors Club of New York Award, the Clio, Effie, and many more accolades?

Carlos: Entering competitions of all sorts is a standard procedure in advertising. The company decides what to enter. It’s healthy for the company, rewarding for the clients, and good to feel recognized by your peers. I won some of the ones you mentioned after working for America Express, Shell, and The Texas Opera Theater. I was also a three-time recipient of the David Ogilvy award for my work for Kimberly Clark and Hershey chocolates. Some of the criteria for getting awarded were based on proven results. When I left Ogilvy, I became the Creative Director of an in-house agency at GAF, where, in 17 years, we won more than 400 National Graphic Design Awards.

Before I knew I would be doing an arts magazine, my first inspiration, aside from attending formal art school, came from reading Interview and Graphis magazines. Did you find these

Carlos Caicedo. “Something Fishy” Photography 30” x 20” print on metal ChromaLuxe panel. 2024

publications also useful as learning tools? Did you also have actual teachers who helped introduce you to the cutting-edge world of graphic design?

Carlos: Graphis has been part of my career all the way through. First as inspiration for Graphic Design and Photography, and most recently as a multiple award-winner. In the last few years, I’ve won two Silver and three Gold awards for my photography of paper, and my work has been published in every recent publication. Jaime Mendoza, a Colombian architect/graphic designer, influenced me early in my career. Oddly enough, some of my additional influences came from writers. The name Joe Kilgore comes on top.

You were born in Colombia, which intrigues me about your life and upbringing there. Please share some inspiring and challenging parts of your life that you can recall.

Carlos: I grew up in an upper-middle-class family. My father was a scientist/veterinarian—a great man. In Colombia, you have an easy-going time when you count on a good education and the right connections. I had both. But ordinary/pre-

dictable/middle-of-the-road was never enough for me. That’s why I ended up in advertising and took the parallel road of art. That drive and the lack of sources took me to the USA.

What is your main focus now in your North Adams studio at the Eclipse Mill?

Carlos: Since I’m new to the area, I’m focusing mainly on my photography, helping the talented community of artists at the Eclipse Mill, and finding ways to collaborate in multiple areas, including music and poetry. I believe art should be a multi-experience event.

In what ways are you now setting artistic challenges for yourself, including pushing the boundaries of the principles in art?

Carlos: Even projects like paper and pencils I focus on can find new ways and forms. That includes materials and techniques. Art has always been transformational when it defies traditions and rules. AI is on my radar, but I need more time to be ready to embrace it. I still feel that the brain we carry in our head is the best computer. As Federico Fellini expressed in my chosen quote, look-

ing for other venues is a healthy way to go without leaving those themes that have become part of our lives for years. “You exist only in what you do.”

How have you divided or merged your commercial, graphic design, literary, and fine art? What keeps them in their separate places?

Carlos: I never merged my commercial and my art career. You could call it double-persona. Graphic design became the PATRON for my art. I had bosses and clients on the commercial side, but I never got pressure, deadlines, or followed briefs for art. Results were a most in advertising. Art was liberated from it. Writing always found its way in both.

I am drawn to your “Lines” series, “Guitars,” and “Frutero.” What inspired these creations? They contain dramatic tension by using white space and variations in drawn lines. These elements lead directly to subline strength and highlight the beauty of the human/animal form.

Carlos: WOW! You got me by surprise there, Continued on next page...

CARLOS CAICEDO GRAPHIC

Carlos Caicedo. “Assemble” 30” x 20” Photography print on metal ChromaLuxe panel, . 2023

Harryet. I never pushed my “lines” series because I considered it a bit “risqué” and highly personal. But I always had a heart for it. One of the things that always drove the way I approach my art is to find the ultimate “simple.” If you wish, eliminate elements that take away from the expression you want to convey. You can see it on my pencils, my paper, and the “lines series” you relate to. You expressed it beautifully: tension in those thin lines seems to be at the edge of breaking at any given point. There is passion and sensuality expressed minimally. Those figures are, at times, sexless. Those empty spaces within the bodies seem to open the page and make room for thought and ownership on the part of the viewer. It’s take it or leave it.

Thank you!... Photography can become so sophisticated these days, way beyond our shared knowledge, that it’s mind-boggling, don’t you agree?

Carlos: Yes. Technology and usage are changing how photography is used, posted, and perceived. According to statistics, about 3 trillion photographs are taken daily worldwide. The reason is the camera on the phone. In 2022, there were around 8.5 billion cellular subscribers. It was the

year when subscriptions overtook population figures worldwide. And those little cameras have become more and more sophisticated every day. Fortunately, the eye of the photographer is one and unique, and what you see through the lens is your perception and only yours. As for any artist, it becomes more and more crucial to develop your style, which is different enough to be recognized at a glance.

What interests and challenges your eye, mind, and spirit with your photography work?

Carlos: The new, the unexpected, the surprise. Keeping up with the always-changing light and capturing the moment that won’t repeat itself. The world we perceive in one second won’t be there the next minute—there’s no way to go back. Your finger is a time machine. It has the power to freeze the moment and own it. It’s a divine feeling.

Fleeting moments! ... Can you spend hours in your studio feeling like a scientist, explorer, or inventor? How does that go?

Carlos: Explorer is the better word. Success, if you can prescribe it, depends on how far you want to go and how ready you are to react to unpredictability. Having the scientist’s rigid formula will

not open an unforeseeable happy twist. And as we know, we can only reinvent what others have looked at. Understanding light behavior is one of them.

What are the wearable fashions that you sell online?

Carlos: Getting into fashion has been a new experience, and it came inadvertently. I was trying to find new ways to display my work, and I stumbled into a company in Canada that produces ap parel for galleries and museums. I realized the walls are only one of the venues for showing my art. There is nothing better than the walking figure of an attractive woman to display the movement my art has. I’m just letting things develop naturally. It is a new way to replace the confined and rigid environment of a gallery wall.

You go home at the end of your day at the studio in Eclipse Mill, North Adams. Are they your top supporters of your long, remarkable artistry? Do they wear the clothes you sell?

Carlos: I live with my daughter, who has Down Syndrome. She is my sweet companion and an artist in her own right. Along with my clothes, Continued on next page....

ART 2 Wear. Museum-quality apparel. Sublimation. Model: Khrystsina Garay

Photo: Carlos Caicedo

“Frutero” Mixed media, 11” x 14”. 2018

“The Reader” Mixed media, 11” x 14”. 2018

“Guitar” Mixed media, 11” x 14”. 2019

people love the apparel made with her colorful artwork.

Do you speak Spanish with your family? How much Columbian culture do you still recognize and bring into your artistic world?

Carlos: You are a product of your experiences. Even when I speak in two languages, I express myself through my art in multiple ways. I’ve been touched by the tactile expression of pre-Columbian art, the timeless beauty of African and Native American masks, the sophistication of European sculptures and paintings, and the sound of the classic Russian symphonies. After many years, the storytelling and filmography of Fellini, Bergman, and Antonioni are still present in what I do. And I can’t ignore what the paintings of Fernando

Botero have meant to my creations or where the magic realism of Garcia Marquez has taken me. My art doesn’t reflect all of it, but the expression of it would be empty without it all.

I understand that you are a cyclist and hiker. Riding your bike and feeling the speed—your heart palpates simultaneously—must be exciting, especially living in an area with many up and downhills. Does this give you the chance to brainstorm new ideas for making art?

Carlos: Cycling and hiking are part of my DNA. Even when they’re tough to pursue, they are relaxing enough to enjoy. They take my mind away from everything else and make me feel one with nature. Having a “blank” mind opens possibilities

when the time comes to think, fantasize, and create. The stress of a cluttered mind can only lead to chaos. The creative process might have its uphills and downhills, but they’re part of the journey.

It’s show-and-tell time, Carlos. Talk about something that you have created. Why did you choose this one in particular?

Carlos: The piece I’d like to focus on is called “Beehive.” It’s a photograph of multiple pencils together resembling a beehive, and one of them is pictured out of the pack and drawing the image of a bee. I enjoy taking simple, familiar objects and converting them into storytellers. The pencil is one of them. I started working with pencils more

Carlos Caicedo. “Selfie” Mixed media. 2020

Carlos Caicedo. “God’s Pencil” Mixed media, 2022.

than 40 years ago. What began as a simple exercise developed into a complete series with a life of its own. Now I have hundreds of them. Pencils are a tool for thought. They’re familiar enough for even a child to be able to express themselves with them and to possess them. As I frequently put it, they’re an extension of our brain. My pencils were initially color sketches, then became color illustrations and paintings, and more frequently, they found their way into my photography. They’re the closest thing to what I am and have become: an artist looking for the ultimate simple, which people of all ages can relate to, own, identify with, and leave with a lasting smile. My pencils have won many awards, including a few for an animated video called Doodle that I made with my son Mo.

At this point in life, what is most dear to you?

Carlos: Making a difference in the lives of those who cross my path by sharing my experiences. What did you learn about yourself from the times of COVID?

Carlos: COVID had an impact on everybody’s

life. As we suffered, I learned many lessons and realized that being alone is not so bad after all. I recognized the value of introspection, of not being afraid of dealing with myself without outer distractions, of depending on my inner drive, and of following my unique path. Lack of focus is an upspring of distraction.

What do you currently consider to be the “truth”? Alternatively, what is your spontaneous attitude on an average day?

Carlos: Transparency. Be true to yourself so others can experience what you’re made of. As in art, the process is as important as the final result. And people can know and relate to you better when they meet you halfway and learn the process.

As for the second part of the question, I take every part of the day echoing the French motto “Vivre et laisser vivre” (live and let live). In my own words, making the time count without counting the time…for myself and others…

Thinking back to our pre-interview conversation, I’m wonder if you kept up watching the

“Mrs. Maisel” series? I was primarily drawn to its authenticity with costume and decor of the 1950s-60s.

Carlos: The mention of it comes as a surprise. I don’t mainly watch series because I don’t like to get hooked. When I watched the first episodes of Mrs. Maisel, I found them refreshing, fun, and colorful, and I enjoyed the writing. Then, it fell into the trap most series fall into, plummeting into a never-ending downward spiral. A good exception to the rule is The Queen’s Gambit. It’s smart and just long enough to make you wish for more.

Thank you, Carlos!

Carlos Caicedo. “Beehive”, Mixed media. 2020

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

Pastel by Eleanor Lord

Karen J. Andrews will be exhibiting her watercolors all summer at the Inner Vision Studio just north of West Stockbridge Village. Studio is open by appointment by calling 413-212-1394. Inner Vision Studio Corner of Furnace and Cone Hill Rd in West Stockbridge

“Still Life with Blue Inkjar” watercolor on paper 2023

“Farm, Lenox” watercolor on paper 2023

“Sisters” watercolor on paper 2024

LORRAIN E KLAGSBRUN BLOCK PRINT | COLLAGE ARTIST

Interviewed by Harryet Candee Photographs Courtesy of the Artist

“I like the range of possibilities collage allows. Using paper; commercial, billboard scraps, printed matter, I can express the formal qualities of a painting. Pattern, color, texture, shape and line can be manipulated with a freedom of expression I have not found in any other medium. In the woodblock medium, I combine carving, drawing, and imagining into a printmaking process that both recollects family histories and allows me to represent them in my own language. The graphic linearity of these black and white compositions reflect the cutting and gauging technique of sculpting a basswood surface, while the effect is a considerable transformation of the image.” —Lorraine Klagsbrun

Harryet Candee: I am interested in the woodblock print, The Visitor. Can you tell us about this piece of artwork?

Lorraine Klagsbrun: The Visitor comes from an old photo of my mother and me. I remember the day as not being a happy one, so I cropped the image to focus on the child, which revealed more closely the emotion I felt that day.

What is it you enjoy most about the woodblock printing process?

Lorraine: I enjoy the cutting and gauging process of working with wood. Years ago, I experimented with figurative wood sculpture. In woodblock printing, I especially love the bold and unexpected distortions of the finished woodblock print.

What areas in printmaking have you explored, and what is considered the most challenging to

work with?

Lorraine: I have experimented with practically every type of printmaking. I love the process, so I did etchings, aquatint, mezzotint, sugar lift, and monoprints for many years. Finally, I settled on woodcuts, which were more immediately satisfying. I have found color woodcuts most challenging and difficult.

Your painted paper collages are time-consuming, so there must be truth to your love for the process rather than the final product. Thoughts?

Lorraine: I have been creating collages for over 25 years. It came from my growing frustration with painting, which I have done all my life. Collage came about from a workshop I did at IS 183 with Philip Formica called "Painted Paper Collage." To my delight, I could create any portrait,

landscape, or abstract composition with painted paper, patterned, textured, or simply flat color. That was the beginning for me.

A completed artwork relies on the artist's deep understanding of design, color, and texture. When working with design elements, what fundamental principles do you focus on from start to finish when creating a piece?

Lorraine: When working on a collage, I approach it from many different viewpoints. I tend to work on the small side, because collage seems to lend itself to looking closely. The textural and detailed aspect of collage is something you really need to see close up.Sometimes, I have drawings of live models from classes. In that case, I'll start with the figures and then figure out the background. As I continue, I am not consciously aware of the design elements, only what is and is not working. I

Visitor, Block Print

Extended Family, Paper Collage

love this transient nature of collage. Other times, I am inspired by a family photo, which drastically changes as I move along, or a scrap of advertising I may spot on the ground. Getting started is hard for me, and I'm not very disciplined! But once I get involved, I am lost to the world.

Which artists, mentors, and teachers have opened your eyes to seeing better?

Lorraine: I had a wonderful painting instructor in my thirties, Archie Rand, who encouraged me to choose my favorite artist, Pierre Bonnard, at the time, "chew him up and spit him out." I've tried to follow this advice in all my artistic pursuits. Some of the collage artists I love are Hannelore Baron, Anne Ryan, and Kurt Schwitters, among many others.

Sisters and The Shadow are fascinating wood-

block prints to me. Can you tell us about them?

Lorraine: "Sisters" are my live-in grandmother and her very wealthy sister, Aunt Sadie. This photo depicted one of the rare times my grandmother was invited to visit Aunt Sadie at her summer hotel.

"The Shadow" was a commission I did from a photo of. The last time her husband photographed the family before he deserted them.

I love working with family photos. It's always interesting how the story changes and becomes distorted in the final print. There is always a big "reveal."

During COVID, you worked on a particular series using collage and paint. Can you tell us about this?

Lorraine: I knew I would be housebound for quite a while, so I took up weaving, which completely

transfixed me, and bought a loom, yarn, etc. Strangely enough, once Covid was over, I never touched it again. I guess until the next pandemic. I also worked on a painted wax paper collage series called "Pod Families," which is very cheerful and always makes me smile.

What are you presently working on now?

Lorraine: I recently rediscovered Romare Bearden, and the last few collages I have done have been heavily influenced by him. They have more extensive areas of flat color, distorted mask-like faces, and repurposed images from newspapers and magazines. They have a savage quality I like. Also, there is a series of small painted wax-paper icons. Heavily detailed.

What time in your artistic career do you feel Continued on next page...

Recent work. What Now? Paper Collage

The Shadow, Block Print

Sisters, Block Print

See-Saw, Paper Collage

Waiting For War, Paper Collage

Recent work. Waiting, Paper Collage

was the most successful, challenging, and daring?

Lorraine: I recently turned 80!!! At this point in my life, when I am aware of who I am and what is important to me, I can try not to be "everything, everywhere to everyone." I can focus my art-making more determinedly.

Lorraine, where did you grow up? What was your family life like?

Lorraine: Brooklyn, middle-class post-depression family; feeling very restricted, art was the only subject I was good at. Fortunately, for years, my father drove me to the Brooklyn Museum on Saturdays for Painting Classes, which reinforced my identity as an artist. Thanks to an encouraging art teacher, I went to FIT, which radically changed my life. I became a Fashion Illustrator, which you can see in many of my collages. My work career, after finishing my BA and Masters, was in Museum Education for 17 years.

Travelling for you has been important. Where have you gone that inspired the best-generated artwork you have in your portfolio today?

Lorraine: I traveled extensively for six months in Europe in my 20s with my best friend and on many wonderful family trips. I think the most

memorable art-wise was two trips to India. I found everything about India—people, colors, and patterns—magical, and it influenced many of my collages.

Your art work is beautiful. You must sell well! Where do you find your most art sales?

Lorraine: Sometimes, my work is shown in galleries. Much of my work can be seen at St. Francis Gallery on Rt. 102 outside Lee. Phillip Pryjma is a good friend who has sold a lot of my work over the years. Other galleries have included Tokonoma Gallery, Diana Felber Gallery, Berkshire Artists Guild, Becket Art Center, and the National Arts Club in NYC. Often, my work is bought by friends.

Living in the Berkshires is great. What have you found to be the most enjoyable about this area?

Lorraine: We've had a house in Becket for over 35 years, where we spend summers and parts of spring and fall. I love the natural beauty, music, art, and culture of the Berkshires. I've made many wonderful friends over the years and especially love being part of and inspired by the Arts Community. That is something that's hard to do in New York City, our other home.

If you were to study a new art form, what would interest you?

Lorraine: God Forbid!! Please tie my hands.

What would be one of your most experiential life challenges? What have you learned from that?

Lorraine: As far as my art goes, my life would also involve narrowing my focus on the things and people who are most precious to me. I feel very appreciative of my life right now.

If you were to have the opportunity to meet your utmost favorite artist, who would that be, and what would you want to ask this person?

Lorraine: Without a doubt, the painter Edouard Vuillard. I would like to have cocktails with him at his favorite Bistro in Paris and ask about his life, who influenced him, and what inspires his exquisitely cozy, claustrophobic interiors. I would like to live in one when I die.

In the meantime, I plan to keep "chewing it up and spitting it out."

Thank you, Lorraine! Z

Picnic In Prospect Park, Paper Collage

Gallery

THE GUILD OF BERKSHIRE ARTISTS

August 1 - August 11

“Glory Days”

Don Sexton

Karen Carmean

Natalie Tyler

August 15 - August 25

“Real, Surreal, Mannequins and More”

Julie Wosk and Richard Lerman

August 29 - September 8

Head Space-Earth Space

Christian Dewailly

Celia Kahn

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

Julie Wosk

Karen Carmean

Don Sexton

Christian Dewailly

Natalie Tyler

WHAT THE WORLD NEEDS NOW

I am an award-winning mixed media artist who believes that the world is imperfect. I am imperfect. My art is imperfect.

A dear friend asked me in April 2022, " Where do I come from? ''I thought for a minute and wrote back, "I come from my art: peaceful and messy. Hidden and in your face. All the colors covered up by B&W. That is where I am hiding. Ready to jump out and bring you in."

Elizabeth CassidyArtist, Illustrator, Writer, Creativity Coach, Peace Lover

Learn more at: www.elizabethcassidystudioworks.com elizabethcassidyart@gmail.com

MARY DAVIDSON

This body of artwork, “My New Hat Series” presents colorful, geometric, large scale feminine forms, that are mysterious, bold, dramatic, captivating and complex. The many elegant, amorphic, intricate shapes which flow through out, keep the eyes moving. These playful, dynamic, creative works, give the viewer a chance to pause, lifting your spirit to a happy place.

Stamped Abstract Series #35 is my latest work.

Mary Davidson will be showing her work at New Marlborough Meeting House Gallery exhibit—Farm and Table, July 26—August 25. Reception Friday July 26, 5-7 pm. 154 Hartsville New Marlborough Road, New Marlborough, MA Mary Davidsonmdavidsongio@aol.com www.davidsondesigncompany.net

KEITH DAVIDSON

A native of the Berkshires, Keith has been painting for the last 20 years, motivated by the natural beauty of his surrounding environment. Keith shares a studio with his wife Mary, at their home in South Egremont.

Keith Davidson will be showing work at New Marlborough Meeting House Gallery exhibit— Farm and Table, July 26—August 25. Reception Friday July 26, 5-7 pm. 154 Hartsville New Marlborough Road, New Marlborough, MA

Keith Davidson413-717-2152 kjdavidsongio@aol.com www.davidsondesigncompany.net

STAMPED ABSTRACT SERIES #35

CAROLINE KINSOLVING

STAGE AND SCREEN ACTOR | YOGA INSTRUCTOR

Interviewed by Harryet Candee All Photographs Courtesy of the Artist

Caroline Kinsolving: “Amor fati.”

Harryet Candee: Let’s catch up on what’s new in your life since our interview in The Artful Mind magazine in August 2016. Looking back over the years, what have you considered your most wonderful moments?

Caroline Kinsolving: Since 2016, I’ve played some great roles, created and taught many classes I’m really proud of, started writing and producing independent films, and met and got engaged to the man of my dreams.

Congratulations on your engagement to Gary Capozziello! He is a fantastic musician. How did you two meet, and how do your busy lifestyles work together?

Caroline: We met through a mutual friend who suggested I look him up. When I did, I thought, “Oh no, not a handsome musician! No way.” But

then, he contacted me, and I found him to be more kind, unique, and intelligent than anyone I’d ever met. We talked on the phone for two months before we ever met in person, and when we finally did, during the pandemic, our first date was walking six feet apart on a path in the woods. I noticed how up for adventure he was while being very caring and thoughtful.

Tell us about a day in Caroline’s life. Caroline: Waking up early feels good for my soul and circadian rhythms.

I have a quick breakfast in the breakfast nook that looks out on a brook in the back of our home. I love looking out at the water, birds, and vegetation and watching it change with the seasons. I write in my journal - usually my dreams, what I’m grateful for, or what happened the day before that

felt miraculous.

After meditating and doing a few chores, I’ll teach two to four yoga classes back to back, switching from studios to private clients to online students. Afterward, if the weather is nice, I’ll walk the dog around the farm or up a mountain. If not, I’ll walk on my treadmill and get some work done on my phone. I’ll read a few debriefs about what’s happening on stage in NY and in film and television in LA, email my agent, or write down ideas for future projects.

For lunch, I usually make a big salad with lots of beans. I’m really into beans these days.

I usually keep my afternoons unscheduled to audition, write, work at my desk, or have meetings. Then, I’ll teach an acting or yoga class in the early evening.

At dusk, we usually stroll as the sun goes down,

and then I’m ready for a bath. We love cooking and making gorgeous, nourishing dinners. Sometimes, we will go to our favorite restaurants nearby or treat ourselves to Deano’s pizza - he makes a delicious vegan pie for me - or cashew vegetable curry from Siam Square. At night, sometimes we will work, but we really prioritize recovering from our active days. I love reading in bed if I need peace, but I often watch a film or the pilot of a new series to educate myself about what’s happening in the television world. If it’s the weekend, I love catching the newest NTLive at the Mahaiwe or the Millerton Movie House after a day of spending time outdoors, either cross-country skiing, gardening, hiking, or paddle boarding. And our favorite way to relax at night, hilariously, is watching old Poirot episodes like a couple of British grannies!

If I’m working on a show or shooting something, I’ll do my morning routine, go to the gym, and head to the theatre or the set.

When I’m in New York, I usually run to auditions, lunch with a friend or my sister, and catch a show. To gain insight into your life, can you share

childhood experiences that inspired your love for the arts?

Caroline: I was surrounded by artists growing up. My mother is an accomplished poet, my father is a writer, playwright, screenwriter, singer, and former actor, and my neighbors were performers, ceramists, painters, and musicians. Creative articulation seemed to be in the water and the air we breathed. But the thing that incited my desire to pursue it for myself was the feeling I got when I experienced bravely honest artistic expression. In a world of posturing, social norms, and self-regulation, the arts were a place to be free.

When did you begin studying Yoga?

Caroline: I was a cross-country and track runner through high school and ran about 9 miles daily. I was at home the summer I was 18 with little to do that afternoon. My father invited me to tag along with him to this new class in town called Yoga. My curiosity led me to join him, and I found the class nearly impossible. My hamstrings were so tight that I could barely touch my knees. I remember sweating and tearing up when we did pi-

geon pose to open our hips. I couldn’t wait for it to be over. But I knew it was good for me, and the feeling afterward was like nothing I had ever experienced. So I went back and “suffered” through class after class.

I started to love the gentle progression of it, and after about two months, I could reach beyond my knees down to my toes. Two years later, I started teaching my friends and got certified, only to deepen my practice.

When I moved to Los Angeles and needed a job to support myself as an actor, I was grateful to be given opportunities to teach. My first job was at a preschool in the Palisades, where the three-yearolds of movie stars taught me the most about how to be an engaging and interesting teacher!

Now, after 20 years, I have taught at prep-schools, hospitals, studios, sports gatherings, bridal showers at relais chateaus, on the beach, in swimming pools, in parks, Malibu mansions, barns on farms, holiday family gatherings in living rooms, etc. One of the most surprising requests was to teach a group of women who wanted to do Yoga

Continued on next page...

Caroline stretches with her happy pup

while they sat at their mother’s bedside in hospice. Another was during the pandemic when my client asked to do Yoga outside by her pool during a snowstorm. I obliged and did downward dogs in ski pants and mittens. It’s always a whimsical adventure.

I love teaching. It’s so delightfully engaging because everyone is different, and I love that Yoga is so much about being an individual and honoring the present moment.

Tell us how Yoga has influenced or impacted your mental and physical well-being over the years?

Caroline: My yoga mat and the studio became a safe place to be with myself, calm my nervous system, and steadily move in quiet. It was a place where I could feel strong and flexible, physically and mentally.

When I lived in New York and then Los Angeles, I went to my mat during the hard times in my life. I was drawn to it. I could rest my weary head and move through my pain or sorrow. I could take things slowly and cry or laugh as needed. I could

meditate while moving without pushing or rushing through my thoughts and feelings. Yoga has always been my balancer and has been instrumental in helping me learn to listen to my spirit, gut, and body.

What insights have you gained from your experience as a seasoned yoga practitioner that you find invaluable to share with your students?

Caroline: Yoga is the practice of breath. Breathing fully, deeply, and easily calms the nervous system. With a calm nervous system, we have happier bodies and clearer minds. And a feeling of peace. If we learn to breathe while challenging ourselves on our mat, we can utilize that skill in challenging situations. If we can breathe deeply during a difficult conversation, in traffic, or when we read headlines, we can respond and react from a more peaceful place instead of a ratcheted, uncentered place in ourselves. And if we can do that, we and those around us will be all the better.

What critical messages do you need to consis-

tently communicate to your students, regardless of their level?

Caroline: Breathe. If you’re not breathing, you’re not doing Yoga.

Also, consistent yoga practice will change how you approach the world. Many find that their compassion increases. A heightened sense of compassion or a greater desire for peace can lead to a change in life choices, many of which won’t match the social norm. You may find yourself more concerned with waste, the environment, the treatment of animals, and economic gaps, all of which can be controversial.

A book that has helped me navigate this is “After the Ecstasy, the Laundry” by Jack Cornfield. It explores how to function in our shared world after feeling a certain level of enlightenment through an exploration of self. Even just the title speaks for itself.

When is Yoga most beneficial when taking on an acting role? How does it help improve your flexibility and increase your focus?

Caroline: 30-90 minutes in the morning makes

Caroline Kinsolving. Still shot from “Rescue Me”, B Street Theatre@The Sofia, 2024

me feel ready for anything: my body is open and warmed up, I’ve breathed deeply, I’ve centered and grounded, and I’ve cleared my head. And all of that is necessary when I’m acting. After practicing Yoga for 24 years, I feel pretty off when I don’t do it.

My two favorite things about Yoga are that it is a practice of peace and that it is a way to balance so much conflict on earth. The main goal of any practice is to bring peace into your body, your mind, and ultimately your world. I truly believe in this effort.

The other aspect of Yoga I enjoy is that it is a never-ending practice. You are never totally a master - there is always something new to do.

Regarding your recent accomplishments in acting, can you tell us what you have been up to?

Caroline: Last fall, I made a short film with my directing partner, David Palmieri, and sent it out to festivals. We made it with two people and no money just because we wanted to make something exciting and honest. I didn’t expect anything to come from it, so it was to my great surprise that

not only was it nominated by three prominent International Festivals, but more meaningful was that so many people responded so positively to it, especially people in the arts. So, that felt really great to put something out into the world that mattered and touched people.

Over the winter, I played the lead in a new play at a theatre in California. The piece was a very physical comedy with two other actors, and we did six shows a week to sold-out houses. There were deeply dramatic moments, which included me having to throw myself off of a cliff and give birth on stage. I loved the work of it all; my cast mates were very funny and professional, the company couldn’t have been nicer, and the theatre couldn’t have been shinier. I felt grateful to be working on a new piece in a new place and really putting my skills to use.

The week after I returned home, I booked a role in Law and Order. After 22 years in this business, it’s nice to finally have an L + A credit. I’m just starting work on a show I’ve been piecing together for the last two years. I’m excited to workshop it with the Connecticut Theatre Ex-

change this summer and have further interest in theatres in Connecticut and the Berkshires.

Which do you prefer, film or stage? What differences do you notice between them?

Caroline: I love the specificity and minutia of film and the athleticism of the stage. With the roles I’ve shot for film and television this year, it’s been fun to play with subtleties, like an artist with a million little colors in a paint box. But I was satisfied as if I’d finished a marathon after every show during my run of that new play in California this winter.

Could you tell us about your most demanding role and what made it challenging?

Caroline: Though this last show came close, the answer might always be Venus in Fur. It was a two-hander for two hours; we never left the stage, and there was no intermission; I was in a long, heavy lace gown for half of it and in my underwear for the other half; I threw the dress on and off as I jumped between three characters with Continued on next page...

Caroline Kinsolving

Best of luck to Gary and Caroline!

three different accents - NY, British RP, and German. We did it in the round, and I climbed up a pole and hung it by my leg over the audience. It was hard work, mentally, vocally, and physically, but more fun than anything, and I miss it every day.

I played Lady Macbeth a couple of years ago, and that was a different demanding role. She’s one of the most coveted and famous roles in the canon, so there was a lot of expectation to battle. I actually never wanted to play the role, but during rehearsal, I absolutely fell in love with her track. Though she required great focus, discipline, and inner strength, I had a ball during our run.

Discovering your strengths and weaknesses as an actor is crucial to unlocking your full potential. Can you share some insights into what you have learned about your acting abilities so far?

When I started, I had to get over my nerves in a

big way. I was at RADA [the Royal Academy of Dramatic Art], and we were working on our Shakespeare monologues. And I was just paralyzed with terror. And I thought, “If I don’t figure this out, I will need to quit. It’s one or the other.” So, I sort of had to outsmart the system and hurdle myself forward, over my nerves, and out onto the stage. And that psychological awareness has remained very interesting to me. Being an actor is challenging physically, mentally, and psychologically.

Can you tell us about your upcoming wedding?!

Caroline: I feel so lucky to be getting to marry Gary.

We will marry in Salisbury at a 160-acre former Equestrian Center where we live. Our ceremony will be in the field with the Berkshire mountains as our backdrop, and we will begin with a performance by a full chamber orchestra, Aaron Cop-

land’s Appalachian Spring. This piece was discussed during our first conversation and has been a theme throughout our relationship. My sister will be reading the Shaker hymn “Simple Gifts,” a gorgeous comment on life and one we believe in. I’ll be wearing Zac Posen, my dear friend who has been wearing it since childhood. Since I was 21, I have wanted to wear Zac to my wedding, and it’s happening! Festivities will be in a 150-person sailcloth tent, and June 22nd will be the night of the full moon (an extraordinary sight at the farm!) when the fireflies are at their peak.

Thank you, Caroline! u

Caroline, pre-wedding in Zac Posen dress

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

RICHARD TALBERT

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

The mixed media piece above, Saw Grass, is part of a large series of images from an installation piece about The Everglades National Park (U.S. National Park Service) after Hurricane Andrew hit South Florida in August 1992.

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 Talbert -

My Lenox Studio is open by appointment: 413-347-3888

richtalbert1@gmail.com, Website: richardtalbertdesign.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

“I am a lover of colors and movement, but I so appreciate the crispness of black & white and stillness. Whether I paint in watercolors or acrylics or draw in ink and colored pencils, my personal success comes from drawing people into my art and my world.” —E.C.

SAW GRASS

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

Monsoon Memory Acrylic on canvas 24x30”

Evelyn’s Poppies 60”x 48” Acrylic on Gallery Canvas

Marguerite Bride

THE GREAT SURRENDER JESS FREY BORN AGAIN

This creation comes in abstract textural layers using recycled paint, acrylic, ink and everyday found objects to portray the multi-dimensions of addiction, post traumatic growth, recovery and great voyages of Death, Birth, Love, God, Source, Spirit, Soul.

Each painting is accompanied by a poem, telling story, sharing experience and connecting word to visual art. Through the relationship between written and visual art, my hope is to illuminate an unfolding, a remembering and our forever continued journey of being Born Again – awakening, more free and alive.

Art will display July and August at Stockbridge Coffee and Tea 6 Elm St. Stockbridge, Massachusetts.

DEBORAH H CARTER

CUPS UPCYCLED WEARABLE ART

@DEBORAH H CARTER PHOTO: KORENMAN COM MODEL: @SHONDAEVETTE

DEBORAH H. CARTER

SHOWING AT THE CAHOON MUSEUM OF AMERICAN ART THROUGH SEPTEMBER 15

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

REMEMBRANCE

PALIMPSEST: REMNANT TALES

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

CANDACE EATON

My Jazz/Horse series spontaneously sprung onto my canvas after a model, posing for my very consciously controlled representational Archetype/Icon painting series, switched my classical station to a jazz station. This inspired these freeflowing and expressive works, and the acknowledged series’ name “Jazz”: These are Muse driven from the primal life force within each of us and show us a glimpse of life outside the perception of linear time …The use of the equine form represents the physical, powerful and beautiful carnal life force and opens a door to a more spirited and spiritual life; a celebration of passion and surrender of ones’ self to the Other - a total merging with the creative pulse of being... They are not precomposed and I let the curves of the human body and horse shapes intermingle with one shape calling for the next in the dance between them. —Candace Eaton

JazzHorse Trio Summer 56” x 64” | Oil on canvas $9,000

GREYLOCK

ACRYLIC STRETCHED CANVAS, 12” X 16”

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.

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

GAIL GELBURD

The artwork of Gail Gelburd will be on view at Art on Main Gallery, 38 Main Street, West Stockbridge, Massachusetts from July 18 -28, 2024. Entitled “The Nature of Our Mind”, the exhibition creates an installation that includes mixed media work with photography, encaustics, drawing, and sculpture. Opening reception is July 20, 4-6 pm. Artist talk will be July 27 at 4pm. Gallery hours are Thursday – Monday, 11-6.

Gelburd states that, “The Nature of Our Mind is found in the strength of a tree, an endless river, or a gentle pond. They represent the very stages of our psyche. And when the storm is incensed, and the Tsunami rages it is not our physical being that tames and controls the raging... it is our mind. We may fight the battles, cower and cry, stand up to the terror, or find a gentle path. We seek to find a balance between the mountains and the valleys, the storm and the pond, violence and peace”.

It seems that there is often a Tsunami brewing. It may be personal, social, political, economic, or global. We all experience them. It’s called life. But how we get through it, overcome it, is what really counts. Some of us might cry, huddle in a corner, ignore it, scream, and throw things, medicate, meditate, or perhaps fly fish. A storm is one part but so is a sunrise or a gentle stream which represents our mind in the same manner. We must know that it will pass and in the end we can find a sense of calm in quiet contemplation. This exhibition deals with these issues and shows how we confront the storm and discover peace, while exhibiting amazing images of nature.

Gail Gelburd has a PhD in Art and Asian philosophy. She has been a professor, curator, author, and artist who has exhibited extensively. Most recently she has been shown at the Cape Cod Museum of Art, Berkshire Botanical Gardens, Photoplace Gallery of Middlebury College, Sandisfield Art Center, Becket Art Center, and TSL Gallery in Hudson NY. She was also included in the Designer Showcase at Cassilis Farm in New Marlborough. Her work has been shown and collected in California, Colorado, New York City, Connecticut, Vermont, Los Angeles, Goa India, and Melbourne Australia as well as throughout Massachusetts.

Gail Gelburd413-298-2288. For more information go to berkshireartists.org gailgelburd.com meyburd@gmail.com

GUILD OF BERKSHIRE ARTISTS

Seven new artists will be exhibiting through August at the Guild of Berkshire Artists member gallery “Art on Main”. Since April, member artists have been exhibiting their work every two weeks with a reception the first Saturday of the exhibit.

Coming up are artists Don Sexton, Karen Carmean, Natalie Tyler, Julie Wosk, Richard Lerman, Christian Dewailly and Celia Kahn.

“I tell stories.” Don Sexton’s works are created in oils or mixed media (inks and oil pastels). With vivid colors, they show scenes of people going about their lives around the world.

Karen Carmean creates many of her works in plein air in oils with a limited palette while exploring the Berkshires. Karen says "Join me!” A schedule of painting dates can be found on the Guild’s website.

Natalie Tyler is a sculpture artist, who is inspired by the natural world. She creates sculptures using glass and bronze casting to explore the fragile and forceful elements of nature.

Julie Wosk has long been fascinated by the blurred line between the artificial and the real, the alluring world of simulations and the enticing world of nature through photographs and paintings.

Christian Dewailly explains how his art became a way to express his inner view of our wonderful world and nature through oil and pastels.

For Celia Kahn the medium of collage brings together disparate images to form a new reality based on color, shape, texture. Her current collection uses space as a way to explore the natural world and the illusions that appear within.

Artist Richard Lerman's work adds the unforeseen and imagined to the representational. He states his art speaks for itself and invites viewers to form their own interpretation based on their experiences and perceptions.

Come by the gallery any Thursday - Sunday from 11 - 4 to meet the artists, view their work and hear about their process and inspiration. For more information about the artists or the gallery check out the Guild’s website.

“Art on Main” is located at 38 Main Street in West Stockbridge. www.berkshireartists.org

PUSHING AGAINST THE TSUNAMI

CELIA KAHN

RICHARD LERMAN

MARYANN YARMOSKY

“Each person I meet intrigues me with their different stories and life experiences. My paintings are a dance of spontaneity and intention based on observation. With each stroke of my brush, I try to create a feeling, a story, challenge to the imagination of the viewer.”

— Maryann Yarmosky

To purchase one of Maryann’s art gifts, including Yoga mats, lamps, coasters, purses, beach bags sand greeting cards, please call 413-441-6963 or email: Myarmosky@comcast.net

Canvas Beach Bags with Original Art Coasters/set of four… acrylic with cork backing original art

Fourth of July at the Beach…Acrylic on Canvas… 16”X 20”

Beach Day and A Straw Hat

CANDACE EATON

I continue to paint what compels me despite my divergent styles which is antithetical to the marketing obsession of branding for artists. The picture shown in The Artful Mind, Jazz Horse Trio - Summer, is an earlier painting from my JazzHorse Series.

Lately, my icon and archetype figurative paintings are taking more of a political aspect due to the times we are living in. I’m currently working on a Mideast war theme and the impact on mothers.

I was fortunate enough several years ago to have a solo on Long Island’s East End’s Borghese Vineyards Gallery of my Horse Series and am looking forward to finding a venue to show my Archetype and Icon Series collection when I finish several images that are currently fermenting in my mind. These works are all carefully composed, as opposed to my Jazz paintings which are totally spontaneous, where I only guide the composition using the beautiful powerful shapes of the Horse, which represent the physical, carnal aspect of life.

My representative Archetypes engage the viewer directly and are often psychological studies of duality within the whole person. I invite you to view these worlds through my artworks. Candace Eatoncandaceeatonstudio@gmail.com

KAREN ANDREWS

Honing her eye as a photographer starting in the early 1980’s, Karen Andrews has been developing her skills as a watercolorist for the last twenty years. Her sense of color and composition are unique and powerful, and people often resonate with the emotion and spiritual connection she conveys.

Karen’s interests span a wide variety of subject matter, including landscape, figure & portraiture, dance & movement and buildings & ruins. She uses her own photographic references as an endless reservoir of ideas and subject matter. Mostly she loves capturing the fleeting beauty of the moment.

“I feel like life and spirit is always speaking to me through what I see. I find incredible beauty in the smallest and most ordinary things. I love opening people up to their own inner vision.”

Inner Vision Studio is also the name of Karen’s home-based gallery.

Karen is often working at home. Visitors are advised to please call ahead so she can come down to meet you.

In addition to original watercolors and photographic prints, Karen has also produced a line of beautiful and whimsical functional art for the body and the home, printed with her watercolor images. She currently makes yoga pants, scarves, aprons, placemats, charcuterie boards and more. The whole array of fine and functional products in various sizes and shapes can be found on her online gallery.

Visitors and local residents are invited to stop in and see the work first hand.

Karen Andrews –

Inner Vision Studio, 2 Furnace Road, West Stockbridge/Richmond, 413-212-1394. karen@innervision-studio.com, InnerVision-Studio.com

JANE HUDSON

“Throughout my art life I have been inspired, almost directed by spiritual impulses. This has taken a number of forms, many born from Sacred Geometry in a symbolic context.

In this body of work, I am exploring my minimalist roots within the language of primary geometry. I am seeking the invisible, the unseen within the territory of the seen, reducing the specifics of cosmic encounters to a primary set of forms. I had worked with plaster in the paint back in my early days and I liked the way it soaked up the light, like velvet. I’ve also always eschewed the use of tape to achieve perfect edges. I enjoy the challenge of committing myself to that practice and allowing for human presence in the work.”

Jane Hudson has been working with Sacred Geometry and its spiritual contexts for many years. She is a mystic modernist, owing her explorations to the early modernists like af Klimpt, Kandinsky and Sonia Delaunay. She has also found common threads with American Minimalists of the 70’s such as Frank Stella, Richard Diebenkorn and Agnes Martin. In her latest body of work Hudson reduces her vocabulary to the essentials. Working with plaster in the paint, she creates an hermetic surface, velvety and matte. Color and form create a dialog of geometric truths. Although the work is not illustrative of spiritual constructs, its purity speaks of universal forces.

Jane Hudsonjanehudsonpaintings.com, @antiquergirl on Instagram and youtube.com

”I’ve always had quite a rebellious and contrary attitude. The more I feel I am being pushed into a mold, the more I feel like going in the opposite direction.”

– Mona Hatoum

AMERICAN SCHOOLGIRL

NEWBURGH ALLEY

IN STUDIO

GRAVITY, ACRYLIC AND PLASTER ON CANVAS 30” X 24”

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

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

The perfect gift to show friendship and love. Find charms that delight and fascinate. Hand-made beaded jewelry, plus there’s so much more to see on Laura’s online site! — Commissioned pieces welcome —

LoopeyLaLa

MARGUERITE BRIDE 8TH ANNUAL HOME ART SALE

On Saturday, July 27, 2024, from 10am – 3pm, Marguerite Bride will be holding her 8th Annual Art Sale. Last year it was moved into the back yard with tents and fences and tables. There will be many paintings at very significantly reduced prices…but for this event ONLY. The rain date will be Sunday, July 28.

Over 100 of her framed originals…some quite old, some brand new and many never even seen before. Original watercolors on paper, canvas, all sizes from my Irish, Italian, Seacoast, Berkshires, New England, Shaker Village, Animals, some Jazz and Bicycle series and more will be for sale. There will also be many unframed pieces as well.

“These days I find my focus is more on commission work and teaching, with far fewer shows and exhibits. I have decided it is time to seriously decrease my inventory and offer my art to you at significantly reduced prices. I will put out basically all the original works I have (framed and unframed) that are in galleries or ear-marked for gallery exhibitions in the near future.

This sale will be held at the artist’s home at 46 Glory Drive in Pittsfield. The gateway entrance is just to the right of the garage. There will be plenty of signage. Cash of course is always welcome, but also accepted are credit cards and Venmo.

For more details, previews, and rain date information, please see the artist’s website or Facebook page for new dates.

Marguerite Bride –46 Glory Drive, Pittsfield, Massachusetts; margebride-paintings.com; margebride@aol.com; Facebook: Marguerite Bride Watercolors.

“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

UNVEILING, ACRYLIC ON CANVAS 24” X 30”

BAKSHEESH. 2018. ASSEMBLAGE OF TOOLS AND DOLL PARTS. 17”X 8” X 8”

RICHARD TALBERT

Richard Talbert's 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. These abstract images of vision are distortions and trigger an insubordinate sense of color. As a public muralist, Talbert's work can be provocative as well as reflective of daily surroundings. The mixed media piece above, Saw Grass, is a part of a large series of images from an installation piece about The Everglades National Park (U.S. National Park Service) after Hurricane Andrew hit South Florida in August 1992.

Email: Richtalbert1@gmail.com

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

Saw Grass, Acrylic on canvas, 2019, 14” x 16”

“

The Lost Chicken” FROM THE SERIES “STORIES FOR CHILDREN”

There was a little girl whose name was Ella and she never said a single word. Her brothers and her sisters, of whom there were six, would poke her on her shoulder, and tap her on the top of her head, and say various things to her but she remained obstinately silent. The reason that she never said anything to anybody was because she was only two years old, and so had not learned to talk yet. She did sometimes say Ma-Ma, or Pa-Pa, but those words really didn’t count because mice, cats, and even a dog would say those things if only they were able. But one day when all of the children were in the yard playing on the swing set, little Ella said her first word, she said the word,”Chicken.” She said the word chicken three times, and then she waved her arms all around and kicked her feet happily. All her brothers and sisters, of which there were six, as I said before in the previous paragraph, all jumped up at once and began screaming, and ran to the house shouting Mommy Mommy, Ella just said “Chicken.”

“She said it three times,” said Charles, who was four at the time, and had just recently learned how to count to three. Their Mother immediately came out into the yard, wiping her hands on a towel. She had been mixing up pancake batter on the stove, because it was nearly lunch time. She stood over Ella with her hands on her hips looking at her daughter expectantly, and the child, after a few moment's hesitation pointed at the ground, and said “Chicken,” and again, as before she said it three times, and again, as before she waved her arms and kicked her feet happily.

Now it just so happened that there were several chickens in the yard at the time, and they were running about and clucking as they always do, but when Ella pointed to the ground there was no chicken to be seen. On the ground where she pointed there happened to be a closepin, several stones, and a bottle cap, but she did not say any of those words. Indeed, she did manage to say “Stones,” just a few days later, but it would be another several months before the child would manage to say anything like “Clothespin,” or “Bottle cap.”

Just then a red truck pulled into the driveway and a man wearing overalls, and with a beard got out. This was the father of the children, who had just come home for lunch, which was going to be pancakes. Seeing that the children were gathered around the swing set, he came up to them and they all explained to him how Ella had said the word “Chicken,” but they all explained it to him at once, each shouting louder and louder so that he was unable to understand a single word. Finally he had

them all quiet down and he appointed one of them to give an explanation of what was going on. This task was given, to Ella’s older sister, Francisca, who was seven at the time, and was often called upon to explain things, clean up spills, put dishes away, and also to translate into English the things that Charles said, which were often very complicated, but sounded like Chinese, and could be readily understood by Francisca.

Francisca said, “Elle said a word, she said, “Chicken”, three times.” Charles wanted to say the thing about the three times, but he was quiet. “Did she say “Chicken,” or “Chickens,” the father asked, but nobody understood the question. They all went in the house and sat down at the table, and when the pancakes were ready everybody got three and they ate them all up with syrup. While they were eating Ella kept saying “Chicken,” over again, and also hitting the table with her hand which was sticky with the syrup that had spilled on the table. The father, whose name was Alaric, finished the last piece of his pancake, and then he said, “I think you better go out and count the chickens.” When he said this all the children became quiet, especially John, who was six, one year younger than Francisca. He became quite serious because his job was ‘Keeper of the Chickens.’ “Why do we need to count them?" he asked, but the father did not reply. They went out to the yard. The chickens were running all over the place, and up and down the wooden ramp that went up into the chicken coop.

Now it is extremely difficult to count chickens because they are so disobedient and refuse to stay still even for a short time. They will listen to directions but only because they want to do the opposite of the thing you tell them to do. It is no problem at all to count the chickens if there are just three of them. If there are three, they can be running all over the place, but even so, you just look at them all at once and you can see that there are three, only three. For this reason three is known as an ‘obvious number.’ Four is also quite obvious and sometimes five can be obvious, but it is with six that the problems start. If six chickens are running about in a yard and you count them, you may get seven by accident, or sometimes five, so the numbers after six are all called ‘not obvious.’

Twelve is considered an impossible number, and if you have to count twelve chickens you could easily get to twenty, and be none the wiser.

It is some help to try to herd the birds into little groups of four. If the children could have only managed to make the birds stay in four groups of three, or three groups of four they would have got to the number twelve, but it wouldn't work, because even the eldest child, Francisca, did not know how to multiply yet.

Finally in desperation, they got all the chickens to run into the chicken coop all at once, and then they let them come out one at a time. There were eleven, and so, one chicken was missing, because there was supposed to be twelve

All the children became alarmed about the missing chicken, but since she most likely had just flown over the fence they set to work to search all over for her. They lived on a farm in the country and all around were open fields, a little lake, and far in the distance could be seen mountains and forests. They searched and searched all afternoon and into the evening, but could not find her, or even any sign of her.

Foxes lived in the woods beyond the lake, and

sometimes their heads could be seen in the tall grass between the lake and the mountains. Foxes had been known to run off with chickens, and it happened a long time ago, the one to the neighbor's birds was thought to have been taken away by them. In front of the lake, and behind the house there was now a flock of geese, and the geese alway kept an eye out for any foxes. If they saw a fox in the tall grass, they would fly up into the air, and then fly down upon the foxes and make them run away, back up into the mountain. Because of the geese, they were not worried about the missing chicken, but still, even the next day she could not be found.

In the afternoon of the second day the postman stopped to deliver the mail, and, just like every other day, he called to the children in the backyard, and asked them what they were doing. “Looking for our lost chicken,” Fanceisca said. “Well, perhaps it has been….” but the postman suddenly stopped speaking, frowned, and said nothing more. Later the trash man stopped to pick up the trash, and he, like the postman talked to the children in the yard, amd when he heard about the missing bird he started to say, “Well, perhaps the bird has been…” but he, like the postman stopped speaking, dumped the trash cans and drove away, not forgetting to blow the horn.

That night, when the children were sound asleep their father Aleric, and their mother Maria were drinking tea at the kitchen table and they began to talk about the missing bird. Aleric said they might have to tell the children that it was possible the bird would never be seen again, and the Mother said that was probably the case. While they were talking Francesca was sitting on the top most stair with her head in her hands, and when she heard the chairs scrape on the kitchen floor, she ran to her bed, pulled up the blanket, and pretended to be asleep. In the morning she said to her Pa-Pa, “What does probably, mean,” and her Pa-Pa said, “Were you listening on the stairs?”

The next morning it was the third day after the chicken had disappeared, and John, who was six you will remember, and was the ‘Keeper of the Chickens,’ woke up early. It had been raining, and his window was all wet and everything outside looked blurry. Out of his window he could see that the chickens were all out in the yard, and he noticed that there were six of them in a row on one side of the yard, and also six on the other side of the yard. He thought to himself, “Six on one side, and six on the other, just like you see eggs in a carton, because six on one side and six on the other is a dozen, and a dozen is twelve. Then he jumped out of bed and screamed out, “The lost chicken is back.”

Indeed, the lost chicked was back, and although they all questioned her for a long time she remained obstinately silent. She did cluck a few times, but it was not in answer to any questions. But the chicken that had been lost was now somehow different. She walked with a slight limp. She would take two or three steps, and look to the right and cluck, then she would take a few more steps and look to the left and cluck. All the chickens did the same all the time, and yet somehow the one who had been lost did it differently. What had become of her while she was gone, and what adventures she had we shall find out, eventually.

—RICHARD BRITELL, JUNE 2024

Mining My Life Diaries of Jane Gennaro

"Mom said I should keep a diary of my funny stories so I'll be ready when they ask me to write my memoir." Ha! I wrote that in a red 1975 Daily Reminder. Despite a drastic change in my penmanship, I'm still at it! Still keeping diaries of all sizes, shapes, and colors. Still processing my response to an ever-changing world in an ever-changing human body, driven by a brain hard-wired for storytelling. Writing/drawing in a blank book is like conversing with a good friend, teacher, or therapist. Blank books are great listeners! They want you to use them. "Spill your guts!" "Pour your heart out!" "Fill me in!" Oh, the secret mortifications, rants, and flights of fancy! I have to laugh at the sheer entertainment value of the adventure. But do my memories match the truth on the page? What was I thinking? Artful Mind has invited me to use this page to find out! I'm ripe to mine my mountain of diaries, searching for insights, questions, and curious conundrums. Hope you'll join me next month!

From Jane’s Diary 2014

Pulling Out My Hair” Ink, colored pencil on page of paper.

Deborah H Carter

Edward

Upcycled Snip Scissors

@deborah_h_carter

Photo: Korenman.com

Model: @laragionedreamer

Showing at The Cahoon Museum of American Art through September 15, 2024

Represented by The WIT Gallery

Studio:Clock Tower Artists