Thee artful mind november 2016

THE ARTFUL MIND THE SOURCE FOR PROMOTING the ARTS SINCE 1994

TOM PATTI Artist

Free!

NOVEMBER 2016

PHOTOGRAPHY BY LEE EVERETT

EDWARD ACKER photographer

Time flies. Get pictures.

800-508-8373

edwardackerphotography.com

NINA LIPKOWITZ

iPaint on My iPad MEDITATIONS IN LIGHT &

COLOR CREATED IN LIGHT, PRINTED IN PIGMENT

OCTOBER 8 - NOVEMBER 28, 2016

My iPad paintings will be also featured in the

Artisan Pop Up Shop

November 25-December 31 802 447-1571

Bennington Museum

75 Main Street, Bennington, VT museumstore@benningtonmuseum.org

Roastery, Café & Gallery www.NinaLipkowitz.com nina@ninalipkowitz.com

6 Depot Street (the old train station) WEST STOCKBRIDGE, MA

GALLERY HOURS: DAILY 8AM - 4PM

Dalla Mia Finestra

Diana Felber Gallery, West Stockbridge

4 November - 31 December

Jennifer Pazienza

jennpazienza@gmail.com, jenniferpazienza.com

2 • NOVEMBER 2016 THE ARTFUL MIND

THE ARTFUL MIND ARTZINE NOVEMBER 2016

Life is a highway and I’m gonna ride it all day long TOM PATTI Interview....H.Candee Photography... Lee Everett ...24

Glass sculpture at Chesterwood, Stockbridge, MA

MS. VIPANA SITTHICHANATHIT Interview...H. Candee Photography...

Tasja Keetman ... 14

MIMI CZAJKA GRAMINSKI

Interview...H. Candee

... 34

FICTION: Alexander In India Richard Britell ...40 Grandma Becky’s Recipes Laura Pian ... 41 Berkshire Handmade Claudia D’Alessandro....42

Paintin’ the Town Photography and Event coverage by Natalie tyler

....43

Contributing Writers and Monthly Columnists Claudia D’Alessandro Richard Britell, Laura Pian, Natalie Tyler

Photographers Edward Acker, Lee Everett, Jane Feldman Sabine von Falken, Tasja Keetman, Alison Wedd Publisher Harryet Candee

Copy Editor

Marguerite Bride

Editorial Proofreading Kris Galli Advertising and Graphic Design Harryet Candee

Quote Meister Bruce MacDonald

Mailing Address: Box 985, Great Barrington, MA 01230

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

FYI: ©Copyright laws in effect throughout The Artful Mind for logo & all graphics including text material. Copyright laws for photographers and writers throughout The Artful Mind. Permission to reprint is required in all instances. In any case the issue does not appear on the stands as planned due to unforeseeable circumstances beyond our control, advertisers will be compensated on a one to one basis. Disclaimer rights available upon request.

Serving the Art community with the intention of enhancing communication and sharing positive creativity in all aspects of our lives. We at The Artful Mind are not responsible for any copyrights of the artists, we only interview

4 • NOVEMBER 2016 THE ARTFUL MIND

THE MUSIC STORE

As we begin to navigate the beautiful Berkshire Autumn and anticipate our business' Sixteenth Birthday, we are mindful that the benefits of shopping locally are many. And as more and more small, independent stores close we think how thankful we are for our many loyal and hugely supportive customers. We continue our support for many of our local schools' art programs and performance groups. And we are able to showcase some of the fine work that independent instrument makers and luthiers are creating ONE AT A TIME right here in Berkshire County including: - Don Waite's Gadjo Guitars - gorgeous and daring for a KILLER price!

- Brier Road's Guitars' gorgeous OM Acoustic Guitar made ENTIRELY from fine tonewoods sourced HERE in Berkshire County, and his extraordinary Redwood/Padauk Baritone Ukulele!

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

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

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

Come and join the fun . . .

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

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

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

TERRIFIC UKULELES! 60+ DIFFERENT models: Soprano, Concert, Tenor and Baritone, acoustic and acoustic/electric, six string, resonator, the Maccaferrilike Makala Waterman Uke (made all of plastic for easy portability almost anywhere!) the remarkable U-Bass, and the Solid Body Uke Bass prototype by the Magic Fluke Co.!

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

Experience the haunting sound of High Spirits Native American Flutes!

How about a West African Djembe?

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

ALVAREZ GUITARS - great tone and great value.

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

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

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

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

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

Handmade and international percussion instruments!

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

And the new Berkshire County Rowe Stick Dulcimers, easy to play and adore, the sales of which benefit Veteran's homes and outreach programs.

And there is more to delight the eyes, intrigue the ears and bring warm joy to the heart!

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

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

2016 A GREAT EDITORIAL LINE-UP! Advertise your event and business with

THE ARTFUL MIND e-mail: artfulmind@yahoo.com Don’t miss this one!

ROBERT FORTE

OCTOBER 7 — DECEMBER 19 2016 SAINT FRANCIS GALLERY ~ RTE 102, SOUTH LEE, MA Piaf Mourning Marcel Cerdan, Prize Fighter and Lover, with Autumn Leaves Acrylic on Canvas

robertforte.com

36x48 inches

ARTFUL CALENDAR NOVEMBER 2016

ART

represents Sabine Vollmer von Falken, Thatcher Hullerman Cook, Carolina Palermo Schulze and Tom Zetterstrom. (Open daily from 11-4pm closed on Wednesdays)

10, 20, 30, 40 EXHIBIT KENT GREENS AREA, ONE BLOCK EAST OF MAIN STREET, ROUTE 7 IN THE VILLAGE OF KENT. Presents New Work in Painting and Clay by Kathy Wismar. Public invited to Opening Reception Saturday, December 10 from 5:00 – 8:00 PM Multi-disciplined artist Kathy Wismar will present a 10 day open studio and gallery program from Thursday, December 8 through Sunday, December 18 at her studio, 8 Landmark Lane in the Kent Green Shopping Area in Kent. The event, entitled “10, 20, 30, 40” will run for 10 days, present 20 new paintings, highlight 30 new works in clay and offer 40 copies of “October Snow,” a collaborative book of paintings and poems written by her husband, writer CB Wismar.“For all of us, this has been a tumultuous year,” offered the artist. “10, 20, 30, 40 will give us the chance to find a more peaceful moment.

It’s our hope that friends, family and those who will become friends will join us to find a less hectic experience with visual and tactile works of art that capture a year of effort.”

510 WARREN STREET GALLERY 510 WARREN STREET, HUDSON, NY 518-822-0510 510warrenstreetgallery@gmail.com / 510warrenstreetgallery.com John Lipkowitz, Dakota territory. photographs on display thru Dec 2016; "CYANO-MONOTYPES" new work by PEGGY REEVES,thru Nov 27; Guest artist: paintings

by KATHLEEN MACKENZIE (Friday & Saturday, 12 - 6, Sunday 12 - 5 or by app) BERKSHIRE MUSEUM 39 SOUTH ST, PITTSFIELD, MA • 413-443-7171 Ongoing exhibits

CARRIE HADDAD GALLERY 622 WARREN ST, HUDSON, NY • 518-828-1915 Inside Outside, Landscapes, Cityscapes and Interiors Thru December 4, 2016

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

DEB KOFFMAN’S ARTSPACE 137 FRONT ST, HOUSATONIC, MA • 413-274-1201 Sat: 10:30-12:45 class meets. No experience in drawing necessary, just a willingness to look deeply and watch your mind. This class is conducted in silence. Adult class. $10, please & call to register.

DENISE B CHANDLER FINE ART PHOTOGRAPHY & PHOTO ART 413-637-2344 or 413-281-8461 (leave message) *Lenox home studio & gallery appointments available. *Exhibiting and represented by Sohn Fine Art, Lenox, MA. DIANA FELBER GALLERY 6 HARRIS ST., WEST STOCKBRIDGE, MA • 413-854-7002 dianafelbergallery.com HOLIDAY SHOW, Nov 4 - Dec 31, opening Nov 12, 57pm (Open 11-6pm, closed Tues.)

6• NOVEMBER 2016 THE ARTFUL MIND

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

MARGUERITE BRIDE HOME STUDIO AT 46 GLORY DRIVE, PITTSFIELD, MA • 413-841-1659 or 413-442-7718 MARGEBRIDE-PAINTINGS.COM FB: MARGUERITE BRIDE WATERCOLORS Original watercolors, house portraits, commissions, fine art reproductions. Seasonal scenes always on exhibit at Crowne Plaza, Pittsfield; Studio visits by appt.

NO. SIX GALLERY 6 DEPOT ST, WEST STOCKBRIDGE, MA Nina Lipkowitz, thru Nov 28

FERRIN CONTEMPORARY 1315 MASS MOCA WAY, NORTH ADAMS, MA KNOW JUSTICE: Brooke & Justin Rothshank through November 13. OPEN Wed–Sun 11–5

FRONT STREET GALLERY 129 FRONT ST, HOUSATONIC, MA • 413-274-6607 Kate Knapp oils and watercolors exhibit thru the summer

GOOD PURPOSE GALLERY 40 MAIN STREET, LEE, MA • 413-394-5045 its Holiday Show 2016, Nov 18 - January 2, 2017. The show will begin with a celebratory opening reception on Friday, Nov 18, 5:30 – 7:30 pm with the artists and crafts people. (9am - 4pm every day)

JOHN DAVIS GALLERY 362 1/2 WARREN ST, HUDSON, NY • 518-828-5907 art@johndavisgallery.com Thru Dec 4: Claude Carone: Paintings LAUREN CLARK FINE ART 25 RAILRD. ST, GT. BARRINGTON, MA • 413-528-0432 Lauren@LaurenClarkFineArt.com www.LaurenClarkFineArt.com

L’ATELIER BERKSHIRES 597 MAIN STREET, GREAT BARRINGTON, MASSACHUSETTS www.atelierberks.com. • 510-469-5468, natalie.tyler@atelierberks.com The First Annual Small Works Holiday Exhibition, The Gift, Nov 12-Dec 31, opening Nov 12, 7-9pm.

LISA VOLLMER PHOTOGRAPHY NEW STUDIO + GALLERY 325 STOCKBRIDGE ROAD, GT. BARRINGTON • 413-429-6511 / www.lisavollmer.com The Studio specializes in portrait, event, editorial and commercial photography : by appointment. The Gallery

NORMAN ROCKWELL MUSEUM 9 GLENDALE RD, STOCKBRIDGE, MA • 413-298-4100 Currently On View: Presidents, Politics, and the Pen: The Influential Art of Thomas Nast.

Thru December 4, 2016; The Art of Norman Rockwell: Highlights from the Permanent Collection. Always on display

R&F HANDMADE PAINTS 84 TEN BROECK AVENUE, IN MID-TOWN, KINGSTON, NY • 845-331-3112 Last Picture Show—FORCES & artifacts Works by Carol Bajen-Gahm & Pamela Blum Reception: Saturday, November 5th, 5-7pm. thru Sunday, January 15 SCHANTZ GALLERIES 3 ELM ST, STOCKBRIDGE, MA • 413-298-3044 schantzgalleries.com A destination for those seeking premier artists working in glass

SCOTT BARROW PHOTOGRAPHY & GALLERY 17 HOUSATONIC STREET, LENOX MA • 413-637-2299 Photography exhibits

SOHN FINE ART GALLERY, PRINTING, FRAMING & WORKSHOPS 69 CHURCH STREET, LENOX MA • 413-551-7353 Contemporary photography by local and international artists. We also offer photographic services, archival pigment printing and framing services. BENEATH THE SURFACE, A GROUP EXHIBITION OF PHOTOGRAPHY ON VIEW NOVEMBER 11, 2016 – JANUARY 22, 2017 SUSAN ELEY FINE ART, NYC 46 WEST 90TH STREET, 2ND FLOOR, NEW YORK, NY http://susaneleyfineart.com/index.php/Detail/fairs/110 Transitory Space, Nova Scotia, Canada and Prospect Park, BrooklynOpening Reception November 1st, 6-8pm On view to December 1st, 2016 ST. FRANCIS GALLERY RTE. 102, SOUTH LEE (just 2 miles east from the Red Lion Inn) Friday thru Monday 10-5pm.

Holiday Show

THE CLARK MUSEUM 225 SOUTH ST, WILLIAMSTOWN, MA • 413-458-2303 222.clarkart.edu/ Ongoing exhibitions, Degas

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

EVENTS / WORKSHOPS

MADE IN THE BERKSHIRES 413-997-4444 • INFO@MADEINTHEBERKSHIRES.ORG Locally grown weekend festival of new works including theatre, film, dance, poetry, music, short stories & more.

Nov 11-13. Please see complete schedule

MUSIC

CLOSE ENCOUNTERS WITH MUSIC THE MAHAIWE 4 CASTLE STREET GREAT BARRINGTON MA • 518-392-6677 www.cewm.org Shattering the Glass Ceiling:Conversations with Hannah Lash, Sun Nov 20, 3pm, Hudson Opera House, Hudson, NY; The Passion of Camille Saint Saens & Cesar Franck, Sat Dec 3, 6pm at the Mahaiwe

THEATRE

Finding the Center of Gravity

HELSINKI CAFE 405 COLUMBIA ST, HUDSON, NY • 518-828-4800 info@helsinkihudson.com Partial listing: Nov19: Murali Coryyell, CD release; Nov 26: Simi Stone; Nov 27: Wally’s Holiday Follies; Dec 2: Joey Alexander Trio; Dec 4: Darol Anger’s 5th Annual Keepin’-It-In-The-Family Holiday Show

PROCTORS 432 STATE ST. , SCHENECTADY, NY Nov: The Curious Incident of the Dog in the Night-Time; The Nutcracker, Dec 3, 4.ZZ Top: Feb 26, 2017, 8pm; March: Wicked; April: The Sound of Music Send in your events by the 5th of the month prior to publication. Welcome text files and images:

artfulmind@yahoo.com

Read back issues and new issues of The Artful Mind on

ISSUU.COM

JEFF BYNACK

“A rockpile ceases to be a rockpile the moment a single man contemplates it, bearing within him the image of a cathedral.”

- Antoine de Saint-Exupery

LARRY S. FRANKEL larryfrankelphotography.com

NEW MARLBOROUGH, MA

413. 645. 3246

THE ARTFUL MIND NOVEMBER 2016 • 7

Mary Carol Rudin

CROP

MARY CAROL RUDIN, INDIAN SUNSET, OIL ON CANVAS, 18 X 24

New Works from the Berkshires

Co-Curated by by Carrie Wright and Rebecca Weinman • Made in the Berkshires Weekend Festival

Opening November 11 • 6:30-7:30pm The Colonial Theatre, Pittsfield, MA

www.mcrudin.com 8 • 2016 NOVEMBER THE ARTFUL MIND

mcrudin123@gmail.com

WATERCOLORS MARGUERITE BRIDE MARGUERITE BRIDE, PANINI

Visit Bagels II on North Street in Pittsfield during the month of November for a visual/gastronomic treat. This month’s exhibit is all about great things to eat. Marguerite Bride has eight original tasty watercolors on display in this delightful group exhibit. Opening reception during Pittsfield’s First Friday Artswalk on Nov 4, from 5-8 pm.

Thinking about a commissioned painting for holiday gift-giving? Do not delay…. Marguerite Bride is still taking orders for commissions, but the deadline for guaranteed holiday delivery is Dec 1. Think about this – a beautiful scene painted just for you or a loved one, in exactly the size you want….could be your home, an old barn, your business, a town scene, practically anything.

Missed the deadline? A personally designed gift certificate is always fun and gives the recipient a chance to work directly with the artist.

For locations near the Berkshires, Marguerite Bride will do the photo shoot herself, but if you live afar, not a problem….send you own photos. The process is straight forward….she will do a drawing for you to approve; you may make additions, deletions, you can even decide on season and time of day. It’s a delightful journey for all involved. Visit Bride’s website for more details and a portfolio of custom house portraits and other special scenes she has done. Custom work is always welcome.

Although known primarily for her custom house portraits and watercolors of the Berkshires, Marguerite Bride’s repertoire includes far more than that. Take a look at her online portfolio for a visit to Italy, Ireland, France, Mexico, England and other far flung destinations. You will also see lighthouses from near and far (even Lake Superior), quaint New England scenes, and some fascinating moonscapes. And the most recently added “Jazz Visions” page.

Late Breaking Holiday Announcement – stay tuned for news of POP-UP galleries on North Street in Pittsfield during the month of December. Check Bride’s FB page for details.

Marguerite Bride – Home Studio at 46 Glory Drive, Pittsfield, Massachusetts by appointment only. Call 413841-1659 or 413-442-7718; margebride-paintings.com; margebride@aol.com; Facebook: Marguerite Bride Watercolors.

ROBERT FORTE

ROBERT FORTE, FLOOD WATERS, OIL ON CANVAS, 36" X 36"

Robert Forte's paintings continue to explore themes and ideas drawn from experiences in his life and in the world around him. The canvas used as a vehicle of expression as opposed to representation provides Forte with the excitement that makes painting an ongoing adventure and a source of limitless possibilities. Artists that have become increasingly inspirational are the great expressionists Soutine and Schiele and contemporaries such as Kitaj and Doig.

There has always been an element of spontaneity in Forte's work, but this has become more necessary to achieve the expression that he seeks. Although oils have made up the bulk of his work, Forte is finding that acrylics, employed without extenders, provide an immediacy that is challenging and intriguing. What initially might seem to be an undesirable effect can be captured and used to redirect the painting and open up previously unforeseen possibilities.

Forte has just completed his first group show at Atlantic Gallery in New York City. In 2017, Forte is scheduled to have a solo show in Chelsea, and also will be in a second group show there.

Robert will be exhibiting his work in a group show at the St. Francis Gallery October 7 through December 19.

The gallery is located on rte 102, South Lee, MA. Robert’s website: www.robertforte.com

THE GIFT L’ATELIER BERKSHIRES ART GALLERY

The first annual small works Holiday Exhibition entitled “The Gift” will be on display at L’Atelier Berkshires Art Gallery from November 12- December 31 with an opening reception onNovember 12 , 7-9pm.

Give the gift of art, find unique sculptures, paintings, and ceramics. Artworks from a variety of different artists will be available to buy for your loved ones.

Make this holiday season, one to remember.

The Gift is something the artist gives the world, making it a better place, with their talent, sense of aesthetics and vision. At L’Atelier Berkshires you will discover fresh and innovative contemporary art. Come see unique paintings, sculpture and furniture on exhibition in a historic Great Barrington building.

Glass sculpture classes offered in the sculpture studio. Sculpture casting and mold making services are available for artists and designers.

L’Atelier Berkshires Art Gallery - 597 Main Street, Great Barrington, MA, 01230. Natalie Tyler, 510-4695468, natalie.tyler@atelierberks.com, www.atelierberks.com

“My boyfriends back and your gonna be in trouble- hay-la! hay-la!

My boyfriends back!”

--From the second studio album released by the American pop girl group The Angels

THE ARTFUL MIND NOVEMBER 2016 • 9

GOOD PURPOSE GALLERY

AUCTION AND HOLIDAY SHOW

The Good Purpose Gallery will present a special Gallery Art Auction on Saturday, November 12at 4:00 pm. Partial proceeds from the auction will benefit Kidsart Productions, Inc. Our auctioneer will present a lively event consisting of a wide range of paintings, sculptures, and photographs from current and past artists of the gallery. It is guaranteed to be a night of fun, excitement, and wonderful purchases. Auction items are available for preview beginning at 3:30 pm.

The Good Purpose Gallery will host its Holiday Show 2016 from November 18through January 2, 2017. The show will begin with a celebratory opening reception on Friday, November 18 from 5:30 – 7:30 pm with the artists and crafts people.

Holiday Show 2016 will feature the striking and original artwork of Anne and Walter J. Pasco. Anne’s work encompasses a broad range from serene to wild – from monochromatic paper collage to vivid and highly textured mixed media paintings with found objects and acrylics. Her husband, Walt, has devoted his creative energy, for the past forty years, to the painting of landscapes directly from nature. His oil painting style has evolved from a need to capture the fleeting play of light and shadow patterns on the landscape. Although their artworks differ in form and nature, direct attention is drawn to each, as if by means of contrast. Anne and Walt exhibit very well together and we are looking forward to this show with much anticipation.

The gallery is also showcasing one of a kind holiday ornaments created by regional artists during Holiday Show 2016. Add some unique to your décor by purchasing an ornament and supporting a local creative artist.

Good Purpose Gallery - 40 Main Street, Lee, Massachusetts. The gallery is open 10am - 4pm daily, closed on Tuesdays.. For more information on the Gallery, visit our website: Goodpurpose.org

"In acting we must cultivate our mindfulness and our focused awareness. What does this mean?

In order to practice our art we must act in the here and now, and we must be aware of exactly what pushes our character onto the stage and what propels the character to do what (s)he must do in order to fulfill his/her intention."

-- bMac

10 • NOVEMBER 2016 THE ARTFUL MIND

MARY CAROL RUDIN

Hanna Lash

MARY CAROL RUDIN, INDIAN SUNSET, OIL ON CANVAS, 18 X 24

As a child and adolescent I was drawn to all of the arts. At an early age I expressed that interest by making my own greeting cards. As an adolescent I sewed my own clothes, and as an adult I was able to restore and decorate a beautiful stone house built in the 1920's.

I have a lifetime of visiting museums and historic sites in many parts of this country and the world. I consider these experiences important to my appreciation and understanding of the visual arts.

It was not until I was widowed that I decided to try to draw. I took my first classes in drawing and watercolor at the Brentwood Art Center in Brentwood, California. I followed with classes in pastel at University of California, Los Angeles and oil painting under the guidance of John Strong and acrylic abstract with Ilana Bloch, also in Los Angeles.

When I moved to New York in 2011 I studied drawing and painting at the Art Students League and Chelsea Classical Studio School of Fine Art with Brandon Soloff.

I continue to work in graphite, oil and acrylic and paint everything from still life to landscapes, skyscapes, and seascapes. I have experimented with static objects like pearls and am currently preparing studies for an abstract in mixed media on board. I am not sure where the studies will lead as far as a finished product, but the adventure is worth the effort.

This is my journey and I believe my inquisitive, adventurous mind simply needs to continue to explore. I am glad I have had the opportunity to live and experience urban life on both the west and the east coast as well as the natural beauty and rich artistic community of the Southern Berkshires.

My varied life experiences all contribute to the development of the fabric of my internal life, and my view of the world. I will never stop experimenting and growing as an artist.

"Indian Sunset" is a landscape done in oil based on an evening sunset while on a trip to Northern India with World Wildlife. I wanted to capture the color of the sun going down and the remaining rays of sunlight at the end of the day. I found Indian Yellow the perfect color to give the translucent orange in the sky. The dark images of trees in shadow was primarily achieved with the paint color, Perylene Black. While this is categorically black, it has a very dark green transparent quality; beautiful in landscape painting. Unlike most of my paintings which hang in a hall to continue to dry and not be on real display, this one hangs in my bedroom.

Mary Carol Rudin - mcrudin.com mcrudin123@gmail.com

CLOSE ENCOUNTERS WITH MUSIC THE YEAR OF THE WOMAN

“A Studio of Her Own – Shattering the Glass Ceiling” with Prize-Winning Composer Hannah Lash. Close Encounters With Music declares the 2016-2017 season "THE YEAR OF THE WOMAN" honoring the 100th anniversary of Women's Suffrage in New York State.

The Conversations With… series continues with intimate and stimulating discussions about music and ideas Sunday, November 20 at 3PM at the Hudson Opera House in Hudson, NY Just a century ago, you could count on one hand the number of women composers whose works were heard in public. As recently as the mid-19th century, Fanny Mendelssohn’s father declared it unseemly for her to publish her music—just a few decades before Edith Wharton's family compelled her to publish her literary works under the name of her father’s friend. On Sunday, November 20, at 3 PM, Yale composer Hannah Lash, who has been lauded, hailed by the New York Times for music that is “striking and resourceful…handsomely brooding,” will provide first-hand insights into what has changed and what remains of this restrictive legacy.

Tickets for this event are available on the Close Encounters website— www.cewm.org , at 800-843-0778, or at the door. For more information please email cewmusic@aol.com. Light refreshments, following the presentation, are included.

“A Studio of Her Own” is part of a series of intimate and stimulating conversations about music and ideas, an intrinsic part of the Close Encounters With Music season.

Close Encounters With Music stands at the intersection of music, art and the vast richness of Western culture. Entertaining, erudite and lively commentary from founder and Artistic director Yehuda Hanani puts composers and their times in perspective to enrich the concert experience.

The Hudson Opera House offers a year-round schedule of arts and cultural programming in the 1855 former Hudson City Hall which contains New York State’s oldest surviving theatre. Ongoing programs include concerts, readings, lectures, exhibitions, theatre and dance presentations, workshops, classes, and community arts events like the annual Winter Walk on Warren Street.

Close Encounters With Music - Post Office Box 34, Great Barrington, MA 01230; 800-843-0778, cewmusic@aol.com, www.cewm.org

NINA AND JOHN LIPKOWITZ

LYNNE M. ANSTETT PHOTOGRAPHER ARTIST VISION

Whether I’m traveling far from my native New England, hiking, or standing in my own back yard, I’m drawn to the endless variety of beautiful things outdoors.

It is a hurried world. Photography, to me, is a way of paying visual attention and tribute to what is otherwise often missed or taken for granted – the quiet dignity of buildings, the magnificence of sky, water and land, the mystery of old things, and the countless daily proofs in nature that the world is made for our eyes.

I aim to share what I see, by chance or by design, that is beautiful to me. The camera allows me to do that.

My work focuses on farms, environmental portraits, landscapes, structures and edibles. I like to explore beyond the traditional scenes and formats as well.

I launched a project two years ago to photograph “The Massachusetts’s Berkshires and Beyond”, taking a close look at the diverse beauty of neighborhoods including outdoor recreation, art, history, farms and more. I designed an Art Poster Calendar format to bring these images to life. Look for the 2017 calendar now in artist shops, hotels, bookshops and museums throughout the Berkshires.

My photography has been exhibited with the motif Cultural Pittsfield 10 x 10 Upstreet Arts Festival at the Sohn Fine Art Gallery, Lenox and Hotel on North, Pittsfield; Ethel Walker School Bell Library, Simsbury, CT; Whiting Mills - Open Studios, Winsted, CT and at The Gallery on the Green, Canton, CT, where I am juried artist member.

I’ve lived in Litchfield County, CT all my life but in recent years have been residing part-time in the Berkshires.

Lynne M. Anstett - Photography - Website: http://www.gicleeone.com/Lynne-Anstett-Giclee-Photography, ImageryArtWorks Facebook: https://www.facebook.com/LynneMAnstettPhotography/, Author of: Love Bound, The Journey – Lynne’s original poetry and photography, ImageryArtWorks@hotmail.com, 860-888-3672

HOLIDAY SHOW DIANA FELBER GALLERY

This will be our first holiday show, and it will be full of delights. The exhibit will run from Nov 4 – Dec 31, with an opening reception on Nov 12 from 5-7 pm.

We will be showing many small works by about 25 artists, including small weavings by Betty Vera, still lifes by Janet Rickus, Warner Friedman and Ellen Kaiden. Stephanie Anderson has some incredible drawings, plus a new collage.

You won't believe the beauty of Kathleen Cammarata's flower drawings. Lorraine Klagsbrun and Shellie Schneider too have been busy creating new collaged work. Landscapes, both realistic and fantastic will be represented by Murray Zimiles, Michael Filmus, Jennifer Pazienza plus Eunice Agar and Jim Youngerman.

We can't let the abstract work get away from us, and that will be covered by David Skillicorn and Joe Goodwin.

Several photographers are represented as well including Michael Lavin Flower, Judy Mauer, Maureen Sutter, Martin Greene and Jean Germaine.

Come, be inspired and enjoy!

Diana Felber Gallery - 6 Harris St, West Stockbridge, MA. Fall Gallery Hours: Open Thursday – Monday, 11-5pm. 413-854-7002, dianafelbergallery.com, Diana@dianafelbergallery.com.

Nina Lipkowitz’s iPad paintings will continue to be on exhibit at No. Six Depot in W. Stockbridge, MA through November 28, daily from 8-4pm and will be featured in a Pop Up Shop at the Bennington Museum, November 25-December 31, 75 Main Street, Bennington, Vermont.

Nina & John Lipkowitz will be participating in their first two-person show, The Apples of Our "i", featuring their iPad and iPhone photographs. This exhibit runs from January 10 - March 4, 2017 at the Warren Family Gallery, Kennard Arts Center, Berkshire School in Sheffield, Massachusetts. An opening reception will be held on January 10, 6-7:30 pm. Gallery hours are Monday - Saturday, 8am-5pm, or by appointment.

They will be co-teaching a 4-class Olli (Osher Lifelong Learning Institute) course to coincide with this show. “If you want to know how we do what we do on our “i” devices and learn how to do it, sign up when the Olli Winter Catalogue comes out.” Save the dates: January 19, 23, 26 & 30, 2017.

And of course, don’t miss John & Nina’s work along with 13 other brilliant and creative artists and photographers at 510 Warren Street Gallery in Hudson, NY. Fri. & Sat. 12-6 and Sun. 12-5 or by appointment.

Nina Lipkowitz - emails: nina@ninalipkowitz.com, jlipkowitz1@aol.com; websites:ninalipkowitz.com, johnlipkowitzimaging.co. Also visit 510warrenstreetgallery.com.

THE ARTFUL MIND NOVEMBER 2016 • 11

LARRY S. FRANKEL LEAF DROPLET, LARRY S. FRANKEL

Larry S. Frankel is a fine arts photographer specializing in landscapes and cityscapes. He has always be interested in the photograph and its relationship with truth and time. Does a photograph portray truth? Can an image expand itself into a different dimension of time and space rather then be based upon the fraction of time it took to create it? What are the underlying differences between painting and photography? Larry uses various techniques dealing with these ideas to alter landscapes and cityscapes in to imagery that represent a new reality.

His images have been widely exhibited and he has several pieces in the permanent collection of the Hebrew Union College Museum. In addition several of his written articles and photographs are published. He has also served as an artist in residence for photography at the Hudson River Museum.

He received his B.S. from Boston University and his Masters of Arts in Photography from New York University/International Center for Photography.

Please visit his web site, larryfrankelphotography.com to view his imagery.

Paintings

12 • NOVEMBER 2016 THE ARTFUL MIND

FINE LINE MULTIMEDIA LIVE PERFORMANCE PHOTOGRAPHY AND VIDEO

FRONT STREET GALLERY STILL LIFE, KATE KNAPP

Pastels, oils, acrylics and watercolors…..abstract and representational…..landscapes, still lifes and portraits….a unique variety of painting technique and styles….you will be transported to another world and see things in a way you never have before…. join us and experience something different.

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

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

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

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

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

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

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

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

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

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

ELIXIR

It is always a surprise when November arrives, seemingly from nowhere.We are still basking in the memory of colorful landscapes and warm indian summer days, when we realize that, in fact, the trees are now bare branched, the morning light comes later and the evening, swallows up the day earlier and earlier. I happen to love the starkness of the bare trees against the grey skies, the late autumn rainfall for days, the crisp air, and the geese silhouetted and honking on their journey south.

Growing up in New England, I have so many food associations from this time of year, and Thanksgiving is a time that highlights those foods.Over the years, my celebration of Thanksgiving has had many themes.

When I was young we celebrated in the formal dining room of our colonial home.The preparations were as exciting as the actual meal. My mother would begin days in advance and we were allowed to help with cookie and pie making as well as polishing the silver for our long colonial table, which was a ritual during those years.

Fire crackling in the fireplace, turkey, stuffing, cranberry sauce, pies (at least 5 kinds) wafting through the air as I fell asleep thinking of the story of the pilgrims, is a fond memory indeed. When I had my own children, we went to Nana and Grampy’s for Thanksgiving with the extended family. As a vegetarian, I would make our meatless dishes to share with everyone. I soon realized that the dishes I brought were being gobbled up (pun intended) by all of the non vegetarian guests.When I began private cooking, I prepared many of these “side” dishes for meat eaters that wanted unusual and delicious foods to accompany their traditional Thanksgiving meals or who were having vegetarian guests at their Thanksgiving table.

ELIXIR will be offering many of these dishes by special order, for you to take to your Thanksgiving feast, wherever you may be celebrating. Raw cranberry sauce with lemon verbena,tofu/seitan baked stuffing with currants and walnuts, caramelized onion gravy, white bean stew with kabocha squash & rosemary, and of course pies, cookies and muffins with the flavors of the season.

Come in and we will help you plan your menu with the addition of our delicious hand crafted holiday foods or check our website for offerings and prices which will be posted on November 7th.

Remember that ELIXIR prepares everything with love and intention using only the highest quality organic ingredients. Our baked goods are all made in house with spelt flour and maple sweetened. We have gluten free options as well.

We truly care about every aspect of food from the purity of the seed, the quality of life of the farmer, the fair trade for all involved, supporting our local economy as much as possible, the positive energy during food preparation, and the beautiful and delicious end product.

There is always a reason to be thankful, to be kind, and to be generous of heart.We wish everyone a blessed Thanksgiving and hope to see you at ELIXIR soon!

Nancy Lee chef owner ELIXIR, 70 Railroad Street Great Barrington Ma, 413.644.8999 www.elixirgb.com

DALLA MIA FINESTRA JENNIFER PAZIENZA

Colour and light mark the season and the November Artful Mind. How fortunate to be included in this issue with internationally respected glass artist, Tom Patti as well as all the other gifted Berkshire artists who like me, slug it out in their studios everyday. I have worked in glass, so know first hand the joys and challenges of the medium. Patti’s playfulness with colour so engages us, we may forget as only important artwork can generate, the knowledge, skill and understanding needed to produce work like his. I am also honored and delighted to have my work in the Diana Felber Gallery Holiday Group Show, 4 November- 31 December. This is the first time my work will appear in the luminous space, and what a more fitting time.

For years I have worked in from a colorist approach, using only cadmium yellows and reds, alizarin crimson, French ultramarine, manganese and cerulean blues and titanium white. Oil paintings produced by a colorist palette differ from tonal paintings in that contrast is achieved through mixing and layering primary colours.

There is no Payne’s Gray, or any gray for that used to achieve shade and tone. It is a demanding way to work, and although I have been doing so for over thirty years, with every painting I learn something new. Dalla Mia Finestra or, From My Window is no exception—stemming from what some might see as an unassuming clump of foliage that grabbed my attention as I passed my kitchen window one day. The colour, light and composition instantly appealed to my psyche and my painting palette. I am reminded of Mary Oliver’s poem, Praying in her collection titled, Thirst,

It doesn’t have to be the blue iris, it could be weeds in a vacant lot, or a few small stones; just pay attention, then patch

a few words together and don’t try to make them elaborate, this isn’t a contest but the doorway

into thanks, and a silence in which another voice may speak.

My work is held in Public and Corporate Collections in the Provinces of New Brunswick, Nova Scotia, Ontario and Alberta and in numerous private collections throughout the US, Canada and Italy. I regularly exhibit in the Berkshire area, with shows at Good Purpose and St. Francis Galleries in Lee, and the 510 Warren Street Gallery June 2016 Invitational Group Show in Hudson, NY. I am looking forward to my inaugural Holiday Group Show, 4 November-31 December at the Diana Felber Gallery in West Stockbridge. The opening is Saturday November 12 @ 5pm. Please introduce yourself!

I invite you to visit my Website & Blog: http://jenniferpazienza.com/, or Email me: jennpazienza@gmail.com if you have any questions, or would like to chat about art!

THE ARTFUL MIND NOVEMBER 2016 • 13

MS. VIPADA SITTHICHANATHIT INTERVIEW BY HARRYET

Harryet Candee: Vipada, I can only wish to be able to pronounce your name correctly! Fortunately, Tasja, from Bizen, says it’s “Pui” for short, so that works for me. I was wondering if your name could be interpreted into English? I’m sure the meaning of it is just as impressive as the artistic and skillful cooking you’ve brought from Asia to our hometown’s favorite Japanese restaurant, Bizen.

May I call you Pui? Vipada Sitthichanathit: People call me Pui but my real name is Vipada, so you can call me either one.

Thai people all have easy to remember nicknames so I guess mine is Pui. It doesn't really have any significant meaning except being easy to remember.

So if you went back home for a visit, where exactly would that be? And whom would you be visiting when you got there?

14 • NOVEMBER 2016 THE ARTFUL MIND

CANDEE

PHOTOGRAPHY BY TASJA KEETMAN

Pui: Home is the teeming city of Bangkok, Thailand, and I like to visit my parents and younger brother whenever I can. I can also visit my favorite restaurants, party with my chef friends and lose myself in the countless varieties of local Bangkok food stalls.

Do you have family in the United States?

Pui: My husband Natt and I traveled from Dubai, where we were both chefs, to live in the United States.

My sister-in-law, Sai, also lives in Great Barrington, so we have a close family here.

Pui, what have you brought to Bizen in terms of your talent and artistic chef abilities, and why these things, specifically?

Pui: I have had a very diverse culinary education, beginning with culinary school in Bangkok and then long stints of cooking in Thailand and Dubai, where I

became conversant with various European and Asian traditions - including Japanese, Indonesian, and Chinese techniques. In Dubai, I specialized mainly in Asian and Mediterranean cuisine. With all these techniques, I really want to share the beauty, diversity and subtle tastes of Asian cooking. My greatest asset, I think, is my curiosity and fearlessness in taking chances. With all my different ethnic experiences, I can boldly experiment by pairing various foods into dishes that perhaps have never been conceived before.

Without trusting myself and my basic instincts, I don't think I would be much of a fusion chef. Fusion means trust.

Of all the places you have worked in the world, which was your favorite, and why? Which was your least favorite experience, and why might that be?

Pui at Bizen’s farm, harvesting squashes for her dish

Pui: Dubai was a fascinating city, with so many chances to work with different chefs and genres, and unlimited resources and possibilities. In the Armani Hotel, for instance, we had 16 different nationalities working in my kitchen alone, which offered me many opportunities to learn about other cultures and viewpoints. I don't think I have ever really had a bad experience from which I didn't take something positive away with me.

How did you discover your passion for the art of cuisine? Was it an inspirational moment watching someone prepare food? Was it the taste and appearance of a particular dish? How did you decide to go further on this road?

Pui: I have been passionate about cooking for as long as I can remember, helping my mom cook in our Bangkok kitchen. What really inspired me to study the culinary arts was watching chefs on Youtube and exotic cooking shows on TV, which showed strange and wonderful dishes in faraway places like Japan and Dubai. I also subscribed to chef sites on Facebook, like Chef's Talk, that totally blew me away. Andrew Zimmern was inspirational because he tried totally outrageous foods like unborn eggs and local weird dishes. He was totally irreverent and had the mojo to

expose himself to experimentation and failure. Also, the more I traveled, the more it opened me up to new ideas and expressions, as I took more risks and my techniques began to improve.

So, how does one explain the ways of successfully combining Mediterranean, South American and the Caribe styles together? I would guess: spicy, hot, noodl-ee? And how does it all fit into the Japanese restaurant, Bizen?

Pui: All these cultures sound so different, but they share many similarities, so we can try a Japanese approach to Peruvian cuisine and a Thai approach to Mediterranean cuisine. Just by using different spices and chilies we can totally transform the predictable tastes of a familiar dish. Applying these “fusion” ideas to Bizen, I can bring a new look to Bizen's traditional, iconic cuisine. We can extrapolate by taking even a simple noodle dish and pairing it with a thick Thai hot sauce and fresh grapefruit. Add garnish and Soba noodles, and it becomes a wonderful, hearty Asian cioppino. It's not any particular dish, but the vision to take risks and find intuitive combinations.

What else is involved in the art of creating your dishes?

Photograph by Tasja Keetman

Pui: Two of my specialties are carving and flower decoration. I used carving in Thailand and Dubai to decorate dishes that required a unique and beautiful presentation. Carrots, daikon, chilies, cucumber, beetroot and watermelon cut into fabulous designs and, along with fresh flowers, add a special dimension to our presentation. The chef becomes a painter arranging her plate. The chef becomes a sculptor carving daikon into chrysanthemums. The more I can conceive of my dishes as feasts for the eye, the more artistic it appears, the more delicious it tastes.

Fusion/international music must be one of your favorite sounds. Am I on the mark?

Pui: Bossanova and jazz are my two favorite musical genres to work to that get me into that fusion zone, along with YoYo Ma's Silk Road. Music can keep me up, but it can also inspire and relax and infuse my food with the joy of heavenly sound.

You obtained a Bachelor of Science degree from Rajabhat Institute Bansomdejchaopraya University in 1997, where you first honed your culinary skills. Did you work with teachers that were not

Continued on next page...

THE ARTFUL MIND NOVEMBER 2016 • 15

only disciplined in culinary practices, but also in spiritual practice and various alternative lifestyles akin to this form of art-making? How did it change your life?

Pui: In college, I didn't have time for anything but cooking, restaurant management and related fields.

Hopefully my guests can feel the spiritual content of my preparations, and find nourishment that feeds the soul as well as the appetite. Our Thai culture is imbued with a very meditative, patient outlook. This comes from centuries of Buddhist practice, meditation and respect for human dignity and life. We are gentle and kind people by nature, so our food is delicious and begs to be liked and enjoyed. This is handed down from parents, teachers and professional interactions.

Before completing your studies, you were handpicked for the Institute’s coveted apprenticeship with executive chef Benjamin Rendell at the Meridien President Hotel in Bangkok. What was this like for you? How difficult was it?

Pui: I was very fortunate to work with Chef Rendell at Le Méridien in Bangkok, and to learn the standards and requirements of a bona fide five-star hotel. Since this was my first professional experience at a very good restaurant, I was always trying to exceed expectation and give my best. He had been a five-star chef, but also was a guru of restaurant and hotel management, so I got to see both sides of the picture - learning how to be cost-effective without compromising my vision. His guidance and confidence in me meant a great 16 • NOVEMBER 2016 THE ARTFUL MIND

Vipada Sitthichanathit (Pui) in the kitchen Photograph by Tasja Keetman deal.

What thrilled you about the difference between Asian fusion cooking and all-American, or say, Italian or English style cooking?

Pui: American cuisine was a sobering moment in culinary history compared to all the exotic tastes and great possibilities of Thai cuisine. America was thrilling as a melting pot of world cuisine, regionally compelling in its variety. One need travel only a few hundred miles or just blocks in New York City to experience every cuisine known to mankind.

Did you invent new dishes? Can you elaborate?

Pui: Today I cooked soba noodles with fresh seafood and miso sauce and grapefruit garnish. I also experimented with shrimp and coconut in a “farm-to-tatami” squash tempura nest. I was very inspired by all the glorious fall colors and the bountiful Kabocha squash harvest from Bizen’s own organic farm in Monterey, so I experimented and explored how to use squash in new, unusual, yet delicious ways. All these dishes, adorned with freshly picked flowers from Bizen’s garden, brought a certain Asian exoticism to the cuisine.

We are having fun pushing the envelope of Bizen's already exhaustive menu.

What do you always keep in mind when preparing dishes?

Pui: When you pour your emotion and intention into the food, only thinking of the guest, you feel chal-

lenged to do your best work without compromise.

What would you say is the most dangerous dish to prepare, and why?

Pui: Japanese Fugu is extremely toxic, and each year there are fatalities in Japan and elsewhere. One mistake in removing the toxic parts can lead to instantaneous death. While preparing fish for human consumption I use my utmost vigilance and professionalism.

Do you taste everything you prepare before it is served?

Pui: I always taste during the cooking process, to assure me that the customer will be eating something delicious.

In terms of the visual impact of a plate, what design concepts work best for you, and how do you decide what goes where on a plate?

Pui: Balance, texture and color are my guide to arranging food on a plate. Using handmade Bizenware adds a lot to the total artistic vision, and is the perfect balance of food and utensil.

From scratch to finish, preparing a dish for one person or two, to a large group, what factors are involved in what can and cannot be successfully created?

Pui: Cost, quality, customer preference and allergies are some of the factors. Making the customer comfort-

Photographs by Tasja Keetman (right) Turkey bacon wrapped shimeji mushrooms

with shiso leaf tempura, garden flower decoration

able with variety, taste and color as well as texture and diversity help make the guest feel satisfied. Feeding a hungry guest does not mean filling him with carbs.

The subtlety of fulfillment is most important, layering the palate with a myriad of tastes and textures, so that there is a gradual appreciation and contentment. When the Umami moment is achieved after much thoughtful preparation, there should also be a little more lingering appetite left over.

Can you give us a list of a few rules you must follow when cooking a meal? Are there any particular rituals you participate in?

Pui: Start with a clean kitchen that is well-organized so everything is in reach. Every vegetable and fish must be cooked properly to maintain health and taste.

Portions must be in balance, and vegetables cut and cooked to perfection. Always follow the recipe to maintain consistency. Maintain high-quality standards, and never compromise freshness and ingredients.

Dubai is one of my fantasy destinations to visit. Is Dubai as mysterious and enthralling as they say it

is? What fascinated you about your time living there? What strange or different cultural aspects caught your interest?

Pui: Dubai is certainly a unique city, especially its building design. Inside the buildings there are giant aquariums, where you can dine with sharks. Some buildings have kinetic properties and can turn. Outside the city is desert, so it's an alien environment. You can see the ocean from on top of the buildings, which are also surrounded by artificial lakes and bridges. It is a very rich city, so people have no budgets, and tend to flaunt their wealth, wearing golden jewelry and driving in the most expensive imported automobiles.

Dubai is a very open city politically, compared to other Muslim cities, and the extent of individual freedom is refreshing.

Have you competed at all with other chefs for awards and merits?

Pui: We have internal competitions in Dubai to come up with new dishes as a team. We work together to taste, experiment and excel.

Much of our town here is used to the all-American hamburger and hot dog. Have you found that you have to go a little below the cutting edge in order to gain a local following? Or do you feel comfortable continuing in your wildly creative fusion crafting?

Pui: Today, people are more open-minded to trying new things, and my fusion cuisine often contains hot dogs and hamburgers disguised in new clothes. That's why fusion is so much fun.

When cooking for yourself and your family at home, do you favor a modern or traditional approach to prep, cooking, etc.?

Pui: I like the modern approach more than traditional, because I have more flexibility in managing my particular vision, using whatever ingredients I want from many different disciplines.

Does organic mean a great deal to you in terms of ingredients? How was this kind of food prepared before organic food became the way to go?

Continued on next page....

THE ARTFUL MIND NOVEMBER 2016 • 17

Pui: Organic is good and necessary. That's an extra perk, working at Bizen. In Thailand, we always had local, organic food.

What do you find yourself doing in your free time, Pui? Pui: I travel as much as possible, and like spending time with my pet cat, squirrel and chipmunk. Even moments of rest and quiet time with Natt and my animal friends play into the overall expression of my cuisine.

What are your ambitions and goals - either unrelated to your career, or as an artist in general?

Win the Powerball and travel around the world with my family.

How do you feel, in today’s animal-conscious world, about preparing meat dishes - even odd meats that we don’t see in our cuisine all that often? Are you a vegetarian?

Pui: I tend towards vegetarian cuisine for myself but I'm open to using meats for my guests. It's about them, not me. Although I haven't eaten beef for 25 years, I have no moral inhibition to use and taste the dishes I make, beef or otherwise. Bizen offers 50 sashimi items on the menu every day, and we specialize in

18 •NOVEMBER 2016 THE ARTFUL MIND

Pui Cooking Soba noodles

fresh fish that we fillet in the restaurant, so my animal of choice is usually snapper, bass, yellowtail or bluefin tuna. If you like fish, Bizen is your restaurant.

What do you love about Great Barrington?

Pui: Great Barrington is a beautiful, safe town with gentle, caring people. People care about each other, and there is a safety factor, unlike New York, that is very calming and conducive to work. There is also a sophistication in GB that allows us to prepare unusual foods that people crave and are willing to support financially. The consciousness for natural foods in Great Barrington was so surprising to me when I got here, with all the organic markets and farm-to-table venues. I realize now how really fortunate I am to be living and working here in a restaurant that specializes in organic foods and natural food ingredients.

How important to you is the environment where you serve your dishes? Bizen is beautiful. Every inch of the restaurant is marvelous.

Pui: The restaurant's interior is very important, because it really looks like Japan, and the customer is transformed by the restaurant - which is further emphasized by the cuisine. When the restaurant is compelling, it makes the whole experience more genuine.

Bizen built a Kaiseki wing a few years ago that specializes in cuisine of the Japanese tea ceremony. Basically, it is a quaint Japanese village with private rooms, beautifully adorned with tatami mats and simple clay walls. This is the true environment of ancient

Pui and Michael discussing new fushion dishes for the menu

Photographs by Tasja Keetman

Maybe you will open your own restaurant one day?

Pui: The future is so mysterious. I would love to combine my love of cooking with the creative art forms of flower arrangement and clothing design.

What’s it like cooking next to Michael at Bizen?

Are you learning from him, or is he learning from you?

Pui: I can't say anything to boost his ego but I am so happy at Bizen, where I am loved and supported by the whole staff. We have a team spirit, like in Dubai.

Michael is eager for me to create more signature dishes and has encouraged me to take risks and experiment.

Pui: Okay, Pui, give it to me straight… HOW DOES ONE MAKE GOOD RICE? What kind of rice, and what is the real, true rule of thumb?

This is a proprietary question, but since I know you will keep this secret I will tell you to buy jasmine rice from Thailand and use the electric rice cooker to cook it. Usually one cup of rice per one cup of water, and let it steam 15 minutes after it's done in the cooker.

Is there a way to simplify a delicious dish, normally complex and time-consuming to prepare, down to a simple method, so that when we come home from a long day at the office, we can just mindlessly put it together and feel we are getting the same satisfaction in taste and quality?

Pui: You can make a complicated dish more simple just by your experience and using good ingredients.

A stir fry with quickly sliced veggies, left-overs and a spontaneous sauce using what you have available with rice is a wonderful dinner cooked expertly and deliciously. Experiment and don't be afraid of failure.

Taste and dominate. Continued on next page....

Japan and therefore a perfect place to dine in a Japanese mood. You dine quietly, undisturbed, and can really connect with your companion and the cuisine.

What practices in the food industry do you think should be outlawed? I always wonder about the waste involved, in a world like ours, when so many just need a piece of good bread and a glass of water.

Pui: I'm concerned with why my guests might not finish their food, and how to improve my technique and make them happy. Of course, waste is unacceptable.

But I am more concerned with my guests’ experience.

Artificial food, gmo's, herbicides, pesticides, fungicides are my nightmares.

When it comes to books on fusion cuisine, can you recommend one for the layman?

Pui: I don't usually use books, preferring personal experimentation - and videos on YouTube are very helpful. Pictures and tasting are more real than an untested book recipe.

THE ARTFUL MIND NOVEMBER 2016 • 19

Pui prepares fresh ingredients that go with dishes in Bizen’s kitchen

Photograph by Tasja Keetman

Do you ever watch Anthony Bourdain and his culinary adventures (No Reservations) on the Travel Channel? I happen to really like him. He is so honest and gutsy.

Pui: I agree. This is my favorite program and I really like him too.

Who was your primary, top-of-the-list mentor?

Why? Pui: My husband Natt is my main inspiration. We began by studying cuisine in Thailand. We always do things together, explore life together and share ideas freely. He always has my best interests at heart and we can talk about anything.

Why do we eat with chopsticks?

Pui: Chopsticks are the Asian utensils that make a nice soft sound and complement our environment.

Also, I can serve myself with both sides of the chop stick when we are sharing. Chopsticks help the shoveling motion succeed so you can eat quickly and get back to work. So if you see a young child eat rice quickly, or a worker shoveling rice into their mouth, it is because of the chopstick.

20 • NOVEMBER 2016 THE ARTFUL MIND

Which celebrities have you worked for, and who was the most enjoyable?

Pui: I cooked for Tom Cruise in Dubai, who was obsessed with steamed chicken breast. And Daniel Craig, who was just lovely, stayed with us for a month on location. John Cena, the boxer, stayed with us as well, but we were not allowed to take photographs

Fresh flowers are collected and used on dishes prepared by Pui

with any celebrities. Jackie Chan was a lot of laughs.

What is the most popular feedback you have gotten after the plate is clean?

Pui:That was amazing. I'm coming back again, so please cook for me. Very delicious‌ looked beautiful.

What are the magic dishes for children, something they all like?

Pui: They always like fish and chips, fried rice, chicken teriyaki and crispy chicken, shrimp, coconut shrimp and age tofu.

How would you like to change or grow with regard to your cooking, say, five years down the line?

Pui: Get more experience s I can be a better chef and take excellent care of my guests. I long to travel and experience more local foods all over the world. But as for now, I'll have to let YouTube do the traveling for me.

Thank you Pui.

Thank you Tasja.

Thank you Michael.

Pui enjoys the autumn in the Berkshires Photograph by Tasja Keetman

THE ARTFUL MIND NOVEMBER 2016 • 21

Beautiful Massachusetts Berkshires & Beyond

2017 Art Poster Calendars

Twelve Monthly Posters

Featuring the diverse beauty of our neighborhoods.

They include Outdoor Recreation, Farming, Farm-to-Table, History and more...

Available sizes: 5” x 7” • 11” x 14”

• 8.5” x 11”

(Traditional wall style)

I aim to share what I see by chance or by design. that is beautiful to me.

The camera allows me to do that.

-Lynne M. Anstett - Photography© Imagery Art Works

Lynne M. Anstett - Photography © Imagery Art Works 860-888-3672 ImageryArtWorks@hotmail.com • Imagery Art Works Facebook Website for prints: http://www.gicleeone.com/lynne-m-anstatt

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22 • NOVEMBER 2016 THE ARTFUL MIND

Time to commission your favorite scene. art.sfilmus@verizon.net

I

413-528-1253

ELEANOR LORD

Kris Galli

eleanorlord.com

krisgallifineart.com

Artist

FRONT ST. GALLERY

STILL LIFE BY KATE KNAPP

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

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

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

THE ARTFUL MIND NOVEMBER 2016 • 23

TOM PATTI INTERVIEW BY HARRYET CANDEE

Harryet Candee: Growing up in Pittsfield had a direct influence on you in terms of becoming an artist. Were you at one point thinking you would want to be an architect, or an engineer for General Electric?

Tom: The landscape behind my house was the GE factory and landfill. That’s where I spent my entire childhood discovering discarded oddities - disposed of in less environmentally careful times. Although that has been my project these past seven decades: to humanize the industrial junk that mesmerized me as a child, I never really thought much about what I wanted to do.

In high school, I tested high on some of the collegeprep exams but I enrolled in the Commercial (secretarial) Course – typing and shorthand, etc. – my teenage friends and I knew that’s where all the girls were. During high school I worked part time washing dishes at the hospital in Pittsfield and had applied for a job in the secretarial pool at GE. I just assumed that I would not get the job, but I could type 60 words a 24 • NOVEMBER 2016 THE ARTFUL MIND

PHOTOGRAPHY BY LEE EVERETT

minute and had passed the exam. Architecture and Engineering weren’t even on my radar.

How did you decide on glass to be your prime medium? Did you ever paint?

I was a social delinquent in my early high school years in the 50s with my friends, Because the judge in town knew most of the kids in the community – you pretty much had a choice: You went in the service or you went to jail. Most of them opted for the service and so by eleventh grade, most of my friends had left school. So I was pretty much alone there, and I had gotten into trouble again and I was on probation for two years. It was actually my probation officer who was trying to find something that I could do that was socially acceptable. Every Thursday I would meet with him (Mr. Primmer). He saw the tattoos that I had on my hands and he asked me about them. Because I was the only one who could draw, among my friends, I told him that I was the one responsible for all the tat-

toos in high school. We’d skip school and go up to the park at the Blue Anchor lawn on Pontoosac Lake and I would do all the tattooing. So he said, “Tom, all these tattoos – maybe you could show me some drawings or do some drawings.” So I figured, I’ll do some drawings for this guy and in six months, I’ll be out of here.

You know, I won’t do two years. I’ll do everything he says. Well, two years of drawing – I never did get out in six months. He loved my drawings. He loved my work. I started doing paintings for him, all kinds of stuff - very dreamlike. They were part tattoo art and very surreal. It was the late ’50s and early ’60s, and the age of bomb shelters and hiding under your desk at school. The space program was developing. My paintings were sort of visionary, science-fiction-like landscapes, and they all had a foreboding, ominous visual component to them. There was a dark and light that continues to appear in my work. Mr. Primmer recommended that I go over to the Berkshire Museum where were offering art classes. So I went up there

RINGED RED LUMINA ECHO WITH DISK Size:4 6/16"H x 3 13/16"L x 4 6/16"D Photo Credit: George Erml Collection of the artist

one evening and I met a teacher named Mr. Joseph, who was a draftsman at GE. He taught the painting class. For two dollars a class, I could join the class and he gave instructions. I was 15, 16 years old, and most people in there were in their 40s and 50s.

I went to one or two classes and painted, and he said, “Tom, you know, you have a unique interest in art and your painting is very accomplished. You don’t have to come to class. Why don’t you come over Saturday mornings and I’ll give you private lessons on my porch”. He didn’t live too far, so every Saturday, I would go over and he would give me drawing lessons and painting lessons, and we’d talk about art and his wife would make me a sandwich for lunch. I’d work there most of the day. Then I was exhibiting my paintings on the lawn at the Berkshire Museum with the BAA (Berkshire Art Association). People would come by and I would talk about the paintings and sell work to the local tourists. I made some money, and would give half of it to my parents, and have spending money for myself. One summer I was outside on the lawn at the Berkshire Museum, when I met Norman Rockwell.

He came by and he saw my paintings. He came over and was talking to me about my work. He was curious about what I was going to do, and I told him I didn’t know, that I didn’t have any plans. He called my home a few days later and invited my parents and me to his

studio. I didn’t know, really, who he was. My mother knew who he was. My parents and I drove to Stockbridge. He told us that I had talent and that he thought I should go to art school. I didn’t realize that you could go to art school, that it was a valid profession – that a trained artist could make a living. That was the thinking at the time. Rockwell recommended that I go to the best school for studying art, and it was called Pratt Institute in Brooklyn, NY. So I applied and received a full scholarship for the six years and went on to receive Bachelors and Masters degree in Industrial Design.

My life had been this constant wonder – never anticipating what the next thing was going to be. There were surprises that I kept turning the corner on and discovering, and they led to a path. There was no preconceived notion of what I was going to do or how I was going to do it or where I was going. Working with glass as my primary medium would come much later.

You must love how light and color diffuse and refract when paths are crossed. Also, you must adore the sense of movement in objects. In what ways do science and art fuse and diffuse for you when working with these concepts as a whole?

Tom: In my larger Works, it’s what I call “sight-line specific.” Depending on the viewer’s location to the artwork or the entry line (sight line) into the building,

the glass becomes clear, transparent, or appears opaque at times and changes color. It happens as you move, as the observer actually physically walks past a Work.

It isn’t unlike what I was trying to do with my smaller work, where you would move vertically and look at a piece – because it was in layers. Those layers open up, close, or compress, depending on your viewing angle to them. They function at arm’s length, because I made them for myself, for my eye at my arm’s length. But my Work on this larger scale animates the viewer. It becomes an element of the work- like Earth/Sky at Chesterwood. I am aware of the science (glass composite, lighting, sightline) that effects my art, but some is just happenstance.

This past spring you were selected for a specialized residency at Corning Research and design facility, Sullivan Park. What were your goals while you were there? Did you make some discoveries that you will incorporate into your own work?

Tom: When I was selected, Dr. David Morse, the chief technology officer of Corning Incorporated, said, “Tom’s own experimentations with glass compositions make him a particularly interesting artist to work with and we are eager to work with him and see what new discoveries he makes with our material.” My goal was not to focus on a specific specialty material, but instead

Continued on next page...

THE ARTFUL MIND NOVEMBER 2016 • 25

Artwork created during the artist’s six month Specialty Glass Residency at Sullivan Park, Corning Incorporated’s global research and development center.

Tom focused on an exclusive process using proprietary rare earth glasses developed by their scientists.

“To study and work at Corning was an opportunity to engage with the world’s elite scientists and engineers. Exploring material processes and ideas in a manner that disconnected me from my studio environment and afforded innovation and insight... pushed my work forward and offered a creative thinking that sparked innovations in art and science.” -Tom Patti

to explore the vast resources of personnel Corning had to offer. I wanted to learn from the collaborative dialogue that would take place with the scientists and process engineers at Corning. For me, the process was as important as the outcome; because my art is a result of the way I conceptualize and the vision I set for myself as I work, having a direction, but never knowing exactly what the results would be.

You have been a technical consultant on glass design for different corporations. Why do these companies come to you for research? What do they ask you to explore?

Tom: The technology I have used since the 70s and my interests in art have been established over the last 40 years and I was visionary in laminating and composite technology. When I began to exhibit my work, people started to know about it. Many Companies began to research and develop in these areas and they were looking for innovative and creative ways of form development using glass and plastics. So they approached me. I believe Glen Hiner saw that – in Pittsfield at GE and then again at Owens Corning.

26 • NOVEMBER 2016 THE ARTFUL MIND

Having an artist of my type in there – could benefit the employees on a conceptual level. I don’t think he separated the idea of searching and researching. He saw the common relationships of discovery that take place in the science lab or the artist’s studio. I have NDAs with the companies I work with, so am not able to discuss in detail.

How do you feel artists can be useful in innovation with technology? Where do the lines of art, science and engineering blur?

Tom: Working with scientists and large corporations is a unique experience. It can be very difficult. The searching that an artist does, the self-reflection and the need for discovery within the process can be a long one. When you’re an independent artist you give yourself the commission. But when you work with others you give some of the decision-making in that creative process to people outside of yourself.

But when you enter an advanced scientific-research institution setting like Corning there are also similarities.

Scientists, like any other curious beings, perform best when they are driven by inspiration.

Have you ever worked with other artists or scientists as a collaborative venture? {If so, please explain. If not, would that be of interest to you?

Tom: While at Pratt I would engage in programs throughout the school in engineering, fashion and interior design. I would go to lectures in the City, contact the speaker and write and share my notes and information that I was doing that would relate to their talk. I got to know Buckminster Fuller and Dr. [Michael] DeBakey who was developing the artificial heart, at the time. Because I was interested in art, technology and industry there was a program – called Experiments in Art and Technology, (E.A.T. - a non-profit organization formed to promote collaborations between artists and engineers and expand the artist’s role in social developments related to new technologies) where I met Bob Rauschenberg, Billy Klüver and other, and important contemporary artists. We would gather and meet there once a month and put out a small publication that I would bring around and drop off at specific areas around the City. I was the youngest person there, although they weren’t much older than me. There wasn’t a lot of interest outside of that program, at the time,

BLACK LUMINA SPECTRAL WITH DISK (detail) Size:4 13/16"H x 6 3/16"L x 4 1/2"D Photo Credit: George Erml

but within a few years, my work was published in DESIGN 1969. E.A.T. did the Pepsi Pavilion at Expo ‘70 in Japan. Although I did not go to Japan, I was participated in the early stages of it. I had become involved, through Pratt and E.A.T., with the Expo ‘67 in Montreal, where my work was exhibited in the area on global housing. I had begun to develop materials and inflatable structures that could be mass-produced, had infinite form possibility and could be spaces for habitation.

Since then I have frequently worked with scientists, engineers, architects, artists and writers to produce my Work. And have been involved with the design and fabrication of the Work of other artists.

Do you see yourself as a scientist and engineer as well as an artist? How can collaboration and cross over between these fields enhance possibilities?

Tom: I do not see myself as a scientist. Although my Industrial Design education trained me to think critically and design for form and function of objects, products and systems - engineers and scientists are uniquely trained to think more analytically and math-

ematically in determining means of testing specific ideas to prove them true or false. Both disciplines require creative processes, yet their purpose is different.

When experimenting with glass, what are the areas that intrigue you the most? Temperature, color, light, shape?

Tom: These are the manifestations for me, the infinite possibilities of the unknown.

What are some of the discoveries you have made in terms of materials science as it pertains to glass?

Do you play with the material and how?

Tom: During the 60s and 70s I developed glass-fusing technologies using commercial sheet glass and noncompatible glasses. And in the 90s I developed largescale architectural laminated glass for impact resistant artwork. I look at and select materials that I think are going to move my work and my ideas forward and I continue to experiment with new glass products that companies send me in order to explore their potential.

You are known for your visionary architectural in-

Collection of the artist

stallations, you have been selected to design largescale public commissions for art museums and places of mass transportation. What is the dialogue do you hope people feel in conjunction with your architectural glass art? What kind of reactions do you enjoy hearing?

Tom: My work is not about a specific reaction or insight, yet hopefully it enhances the space and creates viewer curiosity. My work should make the viewer search. People familiar with my work recognize it for its innovation, beauty and originality. I want my work to engage the public in an aesthetic dialogue and respond to a world of change (encouraging natural light to enter, creating secure places, engaging response).

My hope is that each individual observer will ask questions based upon their own experience and begin to discover more about art, life, nature, and themselves.

Do you feel working on a larger scale makes more of an impact on the public? Does it give you more experiential freedom within the design? What is your largest installation so far?

Tom: Experiential freedom is a prerequisite for all art Continued on next page...

THE ARTFUL MIND NOVEMBER 2016 • 27

PERIODIC MOTION Size: 8’H X 200’L

making not determined by location. The scale of my work is determines my ideas. Collectors and museums acquire my small-scale artworks and public spaces are accessible to anyone. So context is the only factor that distinguishes the two. Artists commission their own work. I do not take on public projects that would affect the content of the works. The BART station at the Oakland Airport in California is approximately 300 feet long and 8.5 feet high. It is a recent work and one of the largest.

Have you felt inspired by Calder’s mobiles at some point while studying and exploring glass and movement? Who in the art world do you most admire, and why?

Tom: Inspirational work leads to serious questions about ones own work. Major figures in art are gateways to new understanding. They have advanced our awareness within our time. I admire and respect anyone who is searching and scratching to enhance life’s meaning.

Many artists these days are interested in replacing the hands-on process of making with 3D printers.

How do you think that will change innovations learned by the artist? If you remove the human hand from creation do you feel the same discoveries during process are possible?

Tom: The evolution toward industrialization that began in the late 1700s in Britain has seen back and forth dialogues. The arts will use and embrace whatever tools are available at any given time. Innovation will con28 • NOVEMBER 2016 THE ARTFUL MIND

Photo Credit: Michael Short BART at Oakland Airport - South Wall

tinue, and the pioneering artist will always be drawn to new ways to express their most lingering questions.

Machines (printers) don’t make art, artists do.

Would you ever be interested to design a building because of your glass architectural systems?

Tom: Yes. I would like to collaborate with an architect to design a contemporary house someday. I have been contacted by architects over the years, and told how my work inspired them. Most architects do not want to embrace an artist as a project partner. On several occasions I have worked with visionary architects like Cesar Pelli, Bruce Fowle and locally David Rothstein.

What in nature has the greatest effect on you; inspire you to make sculpture in three dimensions?

Tom: Nature’s ability to constantly change. Standing motionless in front of a painting or sculpture is not my interest. Since the 1980s I have created five outdoor works at Chesterwood that all engage the natural environment. I think EARTH/SKY at Chesterwood is a good example. You need to back away from it, step to the side, and observe the cloud motion, images, and the sun as it traverses the sky. And when you finally walk away - and glance back quickly over your shoulder, it will surprise you again. Because your sightline has changed, the sculpture appears changed. It has altered our perception of nature’s reality. The same is true of MIAMI RAIN on the Marquee building in downtown Miami. However often you see the works; you are supposed to see something different over time.

What was the learning curve and path you followed in order to discover that you were not going to just blow glass and make vases? Did you struggle much to find out what you wanted to know?

Tom: Early in my career I seemed to have a very unique path, it was somewhat different than a lot of my peers. I essentially taught myself. Although I think you learn skills more quickly being taught by someone, to find your own voice within that formal training takes a longer period of time – because you’re so inundated with the experiences of other artists, other people and influences. When you’re self-taught, you’re often unaware – naïve - not in a negative sense, but naïve in that you just haven’t had experience. It doesn’t become baggage. To become sophisticated with your work – to find a specific truth within what you’re trying to do, requires intense work.

What do you learn from the properties of glass that you encounter in your life on a daily basis when not in the studio?

Tom: I am amazed how modern cultures are impacted by new material discoveries, and at the percentage and varieties of glasses used in cars, homes, skyscrapers, etc.

Manhattan has become a City of Glass. New environmental friendly glasses allow our need for energy conservation to become a reality. I am very aware of this because of my work with the glass companies testing their new products for the medical, military and aerospace industries.

What do you think you most important discovery in glass has been? What is your favorite glass sculpture? What about it made you so proud?

Tom: There have been many innovative discoveries I have made over my career. These discoveries were not the intent, but were an inherent part of the creative process. For me, each work has its place in the oeuvre of my work. All represent a distinct effort and each has its own meaning and history.

Do you feel the same passion for plastic? They look the same, but they feel different.

Tom: I will use whatever is most effective for my purpose. Materials don’t require loyalty. Each has its unique place in our world. Both are ubiquitous. Just look at the plastics floating on the surface of the ocean and the glass covering the bottom of the sea.

Tom’s work table.

Drawings for EARTH/SKY and Coming® Fibrance® Light Diffusing Fiber

In 2012, you had an exhibit of your work at the Berkshire Museum in Pittsfield and you created a permanent installation there… Describe the installation you built for the museum? What inspired it?

Tom: ECHOES IN SPACE and VELOCITY ECHO were completed June 2012. The Work is site-specific art in three interior locations: the vestibule entrance area, the admission reception area and the natural science room. These works transform the way patrons entering the museum interact with the space. Defined and influenced by our existence in the universe and the relationships between cell structure, particle physics and the forces of gravity and light, the pieces are abstract, non-objective art. No one portion of the work is more important than the whole essence. They create an experience of shapes and patterns open to the viewer’s personal interpretation. The visible surface depth within the reflective and light transmitting glass emulates infinite space, contained within a realm to stimulate curiosity and imagination. They were created to communicate to the visitor the excitement of fusing art, science, and natural history in the museum environment, in the context of the natural and industrial environment of the Berkshires region. Juxtaposing the

geometric and the organic, the industrial and the natural, the pieces reflect both my personal history and the history of the Berkshires itself. The Berkshire Museum has long held an important place in my career.

As a young person growing up in the community I had no formal art training. Wandering the Berkshire Museum’s galleries afforded an oasis of inspiration, and a world of discovery in natural history, science and fine art. It created an environment that I wanted to be a part of and served my imagination as a child without it ever occurring to me that I would become an artist.

I wanted the commission to stir the imagination of others – just as the museum inspired me as a boy growing up in Pittsfield.

I understand your daughter is a jewelry maker.

Who’s genes did she get handed down that caused her hunger for jewelry designing and why not glass?

Tom: Sienna Patti is an art dealer and has a gallery in Lenox where she represents international, contemporary studio jewelers and artists. She is not a jewelry maker.

Is working with glass considered to be dangerous to your health? How is glass recycled in your studio?

Tom: I suppose it depends. In 1993 I purchased an 18ton oven that was actually used by NASA, the National Aeronautics and Space Administration, to develop the graphite exterior for the stealth bomber. I was looking for a device where I could control the atmosphere inside the oven, could remove the oxygen because it was combustible and could raise the atmospheric pressure and temperature inside the oven. I wanted to create the experience that it was like working on another planet, and that materials in this environment would behave in a unique way than what I was accustomed to on earth. I had it inspected and began to take the oven apart and modify it. I brought in an engineer and we discussed the potential. It’s a very dangerous machine to use. If something goes wrong, it would remove the building from the site that I’m on and probably the adjoining buildings. It’s under full pressure, with tremendous energy load. I save and use all the glass for making prototypes of my work.

What project are you working on now? How is it different than any other project you have finished and had out in the public?

Tom: For the past six years I have been working on small-scale investigations of real and imagined space.

The works are flat vertical planes that are viewed from two sides in a walk around space.

Do any of your sculptures have a sense of humor?

Can you tell us of one that makes you smile and chuckle?

Tom: I find my work curious while creating them.

Stripping them bare of anything non-essential creates an essence of finality. My work is not about entertainment, yet the viewer is free to react in any way.

What would a young artist need to be really good at in order to work in the way you do? And what would you expect of them in terms of challenging themselves and gaining self-knowledge and expressiveness?

Tom: The further you go out on a limb, and the more risk, the deeper the investigation. – If you’re really out on the edge, you don’t bring many people with you. Working alone is where the discoveries are made and insight is gained. If everybody’s out there with you, you probably haven’t gone far enough. Realize that what I value the most is the serendipitous quality of hands on creativity and surprise - the anticipation,

Continued on next page...

THE ARTFUL MIND NOVEMBER 2016 • 29

VELOCITY ECHO Size: 12’H X 10’W X 2”D Photo Credit: Paul Rocheleau Berkshire Museum Commission - Exterior view of entrance wall

and the expectation that happens in the art world. For me, that’s how I think and work. I don’t want to think about what I’ll be doing tomorrow. I want to take care of it today. I work to be inspired, reflective and not imitated. Being an artist is hard work, yet is a process to be enjoyed. There is no substitute for your own voice.

Do you ever think about the great cathedrals in history, their glass windows? Or perhaps, can you at all relate to Chagall’s windows he made for Lincoln Center? They are obviously not three dimension but they do use other mediums in the construction.

Tom: I have respect for artisans of the past and the visual impact of stained glass in the cathedrals. Chagall’s windows illustrate the potential of glass in the mind of a modern artist. His creative freedom explored an old concept with new materials. What interests me more is the Crystal Palace in London for the Great Exhibition of 1851. The structures combined clear glass and an innovative cast-iron metal system.

IF you had to do a commissioned piece to honor the icebergs in Alaska, what ideas would come first to mind to explore?

Tom: I would probably imagine them inverted. I always wondered what the size and shape under the ocean 30 • NOVEMBER 2016 THE ARTFUL MIND

ECHOES IN SPACE (Detail) Photo Credit: Marilyn Holtz Patti

looked like. I would invert all the icebergs that exist on one day, and then connect them at touching edges to build a new landscape of frozen fresh water.

What was it that got you in the forefront of being an international glass sculpture artist? Was there a pivotal point in your career?

Tom: In 1976 Corning Museum acquired my work.

That was the first museum. But I went back home after Corning acquired that piece and was still struggling in Savoy with part-time jobs and doing my work. Sienna was now born - we were raising a child and another one was on its way. Marilyn and I were trying to figure it all out. Someone said, “Maybe you should take your work to New York and see if you can sell it”. I walked up and down Madison Avenue with work. Then I met Doug Heller. He didn’t know who I was at the time, but took several pieces. I wouldn’t let him take the work on consignment. I didn’t know who he was or what was going on in the art world. I said, “Well, if you’re going to take the work, you’re going to have to pay me for it.” And Doug said, okay, and he gave me some money. Doug presented the work in his gallery.

He hadn’t sold anything, but he said there was a lot of curiosity about my work, and that he thought that if I could clean up everything that I had been working on

Berkshire Museum

the last few years and could make it presentable in the gallery he would give me a one-person exhibition. So in 1977 the Museum of Modern Art purchased a piece, Untitled 1976 and in 1978 the Metropolitan Museum acquired Banded Flair 1977. Then by 1979, the Corning Museum had chosen Banded Bronze 1976 for the cover of the “New Glass” exhibition, which opened at the Corning Museum and traveled to the Metropolitan, the Victoria and Albert and other museums. At the same time, the Museum of Modern Art bought another work Solar Bronze Riser 1978. My work moved onto the public stage and was accepted. The New York Times wrote about it. The whole acceptance of glass was becoming established in the craft world and was moving into the art world in general. Artists were starting to work with glass and it was a valid artistic expression.

Working with a glass you find different textures as a piece evolves. What portion of the transitions are your most favorites? At what state do you love glass the most?

Tom: The human eye can distinguish subtle changes in the color and surface texture of glass. They are formal elements in the creative process. I select and develop those elements, which advance the purpose of each

Artist Tom Patti in the design and concept study area of his studio

work. I never loved glass. I continue to work with glass because of the qualities of form potential. In its transient state one can view the front, sides and back simultaneously. All of its states – from liquid to solid – interest me.

Do you have any interest in making smaller objects of art, like those pieces made by Lalique? That would fit into decorative crafts; do you stay away from the “craft” world as much as possible?

Tom: My innovations in glass have progressed from intimate, small-scale sculptures that have been described as “monumentality in miniature” to large-scale works developed in water and in trees as architectural and environmental installations.

I choose to ignore the distinction between Fine Art and Craft. Having made small and large works, it has never really mattered to me how others categorize my art. In museums it is exhibited next to contemporary paintings and sculpture, or in the architecture and design areas, or in decorative arts. It only matters that they exist. History will continually judge their worth to society.

On your free time, not that you have any, where do you like to travel? And Why?

My wife Marilyn and I travel for business – that is our pleasure. We enjoy the South of France. Serge Lechaczynski, the dealer who represents my work in Europe is there – in Biot, a small town outside of Nice.

We love the Berkshires. It is the most sustaining place for us that combines nature, culture, family and friends A technical question: How is colored glass made?

Typically, powdered metal oxides, sulfides, or other compounds are added to the sand (silica) during the melting stage. Color can also be added or removed during the cooling and rigid cold stage.

What was the most exciting discovery you have made while experimenting with glass, and not thinking of it as going to be finished product?

Tom: I had always been on the outside of my work looking in. Then in 1992 – when I started doing more architectural commissions - for the first time I had the feeling that I was on the inside of the work looking out.

I was making large, clerestory windows in buildings that I could walk through, and doors that I could open and enter into the space. It was like going into the work - and I could imagine myself inside of one of my objects. The three recent works at the Berkshire Museum in Pittsfield are good examples of where these investi-

Photograph by Lee Everett

gations have taken me. A sense of finite space, having no top or bottom, with edges that disappear – the work expand s your perception.

IF you were going to make something for yourself.

A beautiful piece of artwork. What medium would you want to work in? What would you want to create that you can reflect upon and contemplate over?

Tom: It I would not change anything I am doing. The work I make is to challenge myself.

What have you found to be most challenging part of working with glass?

Tom: Realizing that I have not done enough to discover more possibilities with the medium. Glass has two unique possibilities. One is aesthetic, and the other is about the potential for functional applications – as in space station windows, cell phones, medical, etc. I find it challenging to search all the possibilities.

Thank you Tom! THE ARTFUL MIND NOVEMBER 2016 • 31

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32 • NOVEMBER 2016 iTHE loveARTFUL JeffMIND

THE ARTFUL MIND NOVEMBER 2016 • 33

MIMI CZAJKA GRAMINSKI INTERVIEW BY HARRYET CANDEE

Harryet Candee: Mimi, where did you spend your childhood? Can you illustrate a picture of what your life was like—your family, friends, school?

Mimi Czajka Graminski: I grew up on a dairy farm in the Hudson Valley, where I spent a lot of time outdoors, and I have fond memories of the games we played in the fields, barns, corncribs. My two cousins were my constant companions, and we would be playing and exploring from early morning to dusk.

We had regular farm chores to do from an early age—picking raspberries, feeding calves, cleaning the barn, working in the garden, and then later helping with the plowing, planting, and never-ending milking. On paper it sounds idyllic, but it was hard work, with not a lot of return for the family. There was constant worry over the weather, the animals, the price of milk. I can appreciate some of the benefits of growing up on a farm, but I don’t look back at it as a carefree experience.

Although not an idyllic existence though, I feel I did learn about the land, the rhythm of seasons, the interconnectedness between animals, plants and people.

34 • NOVEMBER 2016 THE ARTFUL MIND

What was one of your most memorable childhood experiences?

Mimi: A New York artist had a weekend house nearby, and I spent some time with her. She was very supportive of me and conveyed her positive feelings about my work to my parents. She helped to give me confidence and credibility.

When did you decide it was your calling to make art? How did it unfold for you?

Mimi: As a child I always drew, made things, painted whenever I could. I loved working with my hands, creating something out of nothing, bringing an idea into the physical realm. As a teenager, I found making art to be a refuge and place of solace.

What is the general theme behind your artwork?

Mimi: I am often inspired by materials—the sensuous colors of fabrics, translucent vellum, wispy wool threads. I see my studio as a laboratory where I collect disparate specimens and then manipulate and transform them, sometimes contrasting them with unlikely pairings. In the piece His Eyes Were So Blue,

I have introduced colorful wool into glass vials, where the wool appears to be overflowing from the vials.

The delicate fabric, translucent paper and airy wool are made to define space, shape and volume. Gravity, invisible air currents and shadows play as large a role in the work as the physical media. In the wall installations Waning and Murmuration, the shadows can appear more solid than the physical media. The work appears to be fragile, but actually has an inherent strength. These qualities speak to the intersection of feminism and femininity—where strength and delicacy exist on the same plane.

Where do you find a sense of humor in art? We all need to laugh in order to grow, I think. Laughter cures, and awakens us to insights that other emotions just do not do… Your thoughts?

Mimi: I am always happy to encounter humor wherever I find it.

Do you work with other artists in the area?

Mimi: I have been collaborating with an artist from

Mimi Czajka Graminski Mumuration detail fabric, pins

Pawling, NY, Bibiana Huang Matheis, on a project called Bibi and Mimi’s Friday Adventures. We met in an art group and started the project when we found we had so many odd connections. We work for the same hour each week in our separate studios, trying to tune into the same creative channel. We don’t plan or speak beforehand but then compare notes after the hour is complete. We have found the synchronicity and similarities to be startling. We have started a blog detailing the work and associated journal entries: http://bibiandmimifridayadventures.blogspot.com/

Did you go to any art openings this past summer that knocked your socks off? Can you tell us where, what, who, and of course, why?

Mimi: I loved the El Anatsui exhibit at Jack Shaiman’s gallery, The School, in Kinderhook, NY. He creates large, luscious installations from waste.

How do you spiritually unravel yourself? It’s a personal question, but I feel we can appreciate and respect your thoughts.

Mimi: I depend on meditation, prayer and being in nature to support me.

Your past ten years: can you describe how they offered you the opportunity to grow as an individual, a woman, an artist? What were some of the

hard spots you got through?

Mimi: About 7 years ago while doing some house renovations, I had terrible allergic reactions to the insulation we put in, and had to move out of my house for several months. It took some time to figure out what the problem was, and the exposure affected my immune system. I became very chemically sensitive, and still deal with what have become chronic issues.

I can no longer use oil paint—and acrylic paint only in well-ventilated areas. My health has improved, but I am still affected by various chemicals and have to be very careful.

This election coming up is making women stand up for themselves politically, maybe more so than at any time since the suffragette movement. Although some of us tend to avoid politics, I am wondering about where you stand in this election.

You can hold back on who you would vote for, but how do you feel about a woman finally getting her chance at the presidency?

Mimi: Ah the election. It’s crazy and scary. I look forward to having the first of many women presidents.

I think we can bring a different point of view to the table, which I hope can help us tackle the pressing issues of our time.

Have you traveled to any faraway, strange lo-

cales? Have you ever had an opportunity to go off in search of your roots?

Mimi: A few years ago, on one sister’s request, my four siblings and I traveled to the town in Sicily where our grandparents were born. We met my mother’s first cousins, who were all in their eighties.

My mother had died thirty years earlier, so meeting them was an incredible experience. They brought us to pre-Roman ruins, from a society that was matriarchal, and shared stories and photos of our mother that we had never seen. My sister died shortly after our return, which made the trip even more meaningful.

I’m sorry to hear that. Mimi, what do you think most artists are concerned with today?

Mimi: It varies so much, but I see many artists looking at things in a different way. They are concerned with social practice and how they can affect dialogue within communities.

Where do you stand in terms of marketing your art? Over the years, have you sold enough pieces to know that your art is important to people and their lives? Your thoughts?

Mimi: I am heartened when collectors fall in love with and purchase works, but I feel that my success as an artist is also measured by the fact that I continue Continued on next page...

THE ARTFUL MIND NOVEMBER 2016 • 35

Mimi Czajka Graminski Installation PrimaVera yarn on vellum 22"x18"

to produce work and to grow over many years.

What kind of gallery do you think is ideal for showing your work? Have you found such a place yet?

Mimi: I have shown my work in many venues and, as my work can be varied, many different types of spaces can work. I look forward to establishing relationships with new galleries that fit with my work.

Is it important for an artist to belong to a guild or a co-op, or do you prefer to work individually, happily independent, alone within your studio walls?

Mimi: I have been fortunate to be a part of artist groups and cooperative galleries, which have provided communities which are important to me. As an introvert, I love time alone in my studio, but also need the interaction and feedback that colleagues bring.

36 •NOVEMBER 2016 THE ARTFUL MIND

What is your favorite time of year? Are you in the Berkshires the entire duration of our lovely

Mimi Czajka Graminski Waning , detail fabric, wool and pins 2. Mumuration detail fabric, pins

snowy winters? The next one is just about here!

Mimi: I enjoy each season, and find that there is always something new to discover. I just noticed a neighbor’s golden-leafed tree that I somehow never saw before. I am not fond of the extremes in temperature we seem to be getting more of lately, but I’m hoping for some good snow this winter for crosscountry skiing.

What feeds you as an artist, visually and spiritually?

Mimi: I have several things in my toolbox that I draw on to keep me in shape. I have a meditation and Chi Kung (an ancient Chinese yoga similar to Tai Chi) practice, which are essential. I also count on walks in the woods, oftentimes while talking with friends, to keep me nurtured.

Tell me about some of the skills you need to keep honed in order to complete a project. Working in three-dimensions requires tools… what do you use?

Mimi: Each project I do seems to give me an oppor-

tunity to learn new skills, tools and materials. I learn about adhesives, framing tools, clamps to hang installations on, I-beams, and on and on.

What’s on your schedule when you have a freedup weekend and want to do something fun?

Mimi: I like to take advantage of seeing art in our area, and also love to hike in the Catskills and the Berkshires.

Have you recently finished a good book you can recommend to all of us? I sure can use one…

Mimi: I love to read, and usually have a few books going at a time. I recently listened to The Little Paris Bookshop, which I can recommend highly.

What are your thoughts on color? Do you begin with a color scheme, or let it evolve with the idea of the piece?

Mimi: The idea usually dictates the use of color. The wall installations at Betsy Jacaruso Gallery are in rich, dense and translucent colors. Jacaruso and I chose these pieces keeping the space and her water-

colors in mind, which are also in the show. I have a series of related pieces which are all white. They are shapes of translucent materials—fabrics, papers, plastics—which are pinned to the wall using light to cast a shadow.

Do you use a camera for any of the work that you do?

Mimi: I use a camera, of course, to document artwork, but I also use it in another way, to view the world. I tend to take photographs of unusual images I find in nature. I took a series of shots of raindrops melting snow on blacktop. It looks like random black dots on a white texture, which I printed onto translucent paper. I used these in an installation now being exhibited at the Hyde Collection in Glens Falls called Hearts and Hawks.

Do you find yourself coming into the Berkshires a lot from your NY state home?

Mimi: I live close to the Berkshires, in the Hudson Valley, and can easily take advantage of the many opportunities the Berkshires have to offer.

THE ARTFUL MIND NOVEMBER 2016 • 37

Do you find that our communities up here are the best anywhere, or is this my imagination— because I certainly think so!

Mimi: We are so fortunate to have so many visual artists, writers, musicians and artists of all disciplines in this region. It seems to be a very fertile area, with so many opportunities to view and participate in art events.

How do you separate your art-making from your family and social time? Or, as with most of us, do they overlap and merge?

Mimi: My studio is in a building behind my house, which helps to keep things somewhat separate. But I realize more and more that it’s all art.

If you were to take on a new project using a medium you have never used before, what would that be? What do you think the challenges could be from this experience?

Mimi: I have recently been dreaming about ceramic sculpture, and am considering delving into that realm. I haven’t done much work with clay but have many colleagues who do. Jumping into a new medium provides a chance to grow, although there is usually quite a learning curve involved.

Sound of Wind

Mimi Czajka Graminski wool, vitrine Background- Waning fabric, wool, pins

He Looked at the Birds Behind the Glass and Said "Compassion"

wool, glass bell Installation

Do you feel that to move into another artistic area, you have to have acquired certain knowledge from history, from exhibitions, from speaking to other artists? We can’t all just produce from inspiration and intuition alone…

Mimi: I think, as artists, we need to continually renew skills and connections. We have to be mindful of refilling the well so it doesn’t run dry.

Fill in the blanks…

When I am by myself, I feel I can… Breathe and think.

Each day, I wake up and want to view my artwork with a sense of… Confidence and curiosity.

Other artists have different challenges than I do with… Art and how I interpret what I wish, and I relate to others when we find common ground.

Happiness to me is… When I am deeply engrossed in making artwork, in the ‘flow’ of it.

Who is your all-time, without-a-doubt, favorite artist, if you had to pick just one.

Mimi: If I had to pick just one favorite artist it would be Louise Bourgeois. I love her use of materials and the way she incorporates her entire life into her art.

Also, she pushes through any constraints, working on many different scales and subjects.

Self-expression is the way artists get through life.

Others have other ways. We are blessed to have the intuitiveness and insightfulness, the coordination skills to work hand and mind together. If you were to write a recipe for how one can get into this artists’ realm, what would the ingredients be?

Mimi: I think that desire comes first. Next are: putting in the time and hard work, acquiring skills and remaining open to chance and possibility.

38 • NOVEMBER 2016 THE ARTFUL MIND

Do you love to adorn yourself with jewelry?

Mimi: I enjoy and admire jewelry on others but take a minimalist approach to adornment for myself.

Is fashion important to you? What styles do you

Mimi Czajka Graminski Golden, detail

feel bring out the best in you?

Mimi: I love looking at cutting-edge fashion, especially Japanese designers. The interesting silhouettes, textures and fabrics are always inspiring. I tend to dress simply, with as many natural fibers as possible.

Can you tell me about your next project?

Mimi: I have been working on a new installation, which will fill up an entire room with just enough room to walk through. I have been collecting household packaging waste which cannot be recycled— the zip-lock part of zip-lock bags, plastic/foil combination bags, etc. I sew these together and will be using these composites to create the installation.

Do you also instruct students, teach, or give workshops?

Mimi: I am involved in teaching school-age children, doing specific cross-disciplinary projects. I also teach movement classes that draw on the work of Ruth Ingalls, combined with Chi Kung.

Wall Installation fabric, pins Overall size:

Some artists have no idea what is on the palette next. Is this true for you?

I usually have many things ‘cooking’ and sketchbooks full of ideas to draw from.

Do you work on more than one at a time?

Mimi: I usually have many projects going at the same time, in different states of development. This allows me to choose which one I feel most drawn to working on at any particular time.

What has been your most challenging struggle in life? Does art help with that, and how?

Mimi: Making art helps with many struggles. The act of bringing an idea into the physical plane is like being involved in a magical process, albeit one that can be painful and difficult. During the process I often enter into a meditative state, which brings everything in my life, struggles included, into a clearer focus.

I grant you three wishes, Mimi. But you have to

8'x4'x1" Detail size: 3"x3"x1"

tell me just TWO of the three.

Mimi: Hmmm… two wishes… good health and plenty of time.

Any great words of wisdom you might like to share with us?

Mimi: I always look for something I can think about when I wake up in the morning, and before I close my eyes at night. Rumi said: The longing is the thing we are longing for.

Thank you, Mimi!

THE ARTFUL MIND NOVEMBER 2016 • 39

Alexander in India RICHARD BRITELL

FROM THE BLOG, “LAUGHING AT MICHELANGELO”

I wanted this painting to symbolize an event in the life of Alexander the Great. The story goes like this: when Alexander had finally marched his armies into the far reaches of India he met there a holy man sitting under a tree. Through one of his interpreters he started a philosophical discussion with the holy man during which he explained that he was the ruler of all of the countries from India back to Macedonia.

The holy man replied, "The question is whether you can consider that you even rule the land on which you are standing." If he didn’t say that, then he said, "Please move over as you are blocking out my sunlight."

The tic-tac-toe game therefore represents the con-

40 • NOVEMBER 2016 THE ARTFUL MIND

versation between the holy man and Alexander in which the holy man wins because he says the wittiest remark.

But he also wins because he gets to go first, and the first one to move in tic-tac-toe usually wins. The fact that the holy man goes first is meant to signify that Indian religious and philosophical thought is much older than Greco-Roman thinking and therefore could be said to have "gone first." But now, some observant critic of my painting might object, and say, "Just because a person goes first in tic-tac-toe does not mean necessarily that they win. And, if the game was played against Alexander the Great, the great military tactician, how could it happen then, that he would lose the game rather than tie it?"

That question had me baffled for a very long time--so perplexed that I almost had to gesso out the canvas and start over. But then I realized that the painting is a work of art, and a metaphor, and therefore does not need to conform to the strict requirements of historical writing. And as a matter of fact there is a prerequisite for the "artistic defeat" of Alexander. In Handel’s Oratorio, "Alexander's Feast," the lyrics call for Alexander to be moved to tears by the sight of his dead opponent Darius as he lies in the dust. The lyrics, singing of Darius say, "Without a friend, without a friend to close his eyes.

And describing Alexander, they say, "And tears began to flow." So, if Handel can make Alexander weep over his enemy Darius, why can’t I have my Alexander let the holy man win at tic-tac-toe, as he might think, "Oh, what’s the harm, I’ve defeated them all in battle why not let them win at a little game like this."

But all of the above is pointless because I spent the day at the library trying to find that story of Alexander, and apparently it only exists in my head, as I was unable to find even the least mention of it.

And even if I had found it, who’s to say that some scholar might not come along years from now and completely debunk that story, which scholars just love to do in order to make a name for themselves in academic circles. And a fine fix that would put my painting in, stripped of its very reason and explanation for its existence, hanging on a wall, just a measly tic-tac-toe game of no consequence to anyone!

With that in mind I felt that this painting should have an alternative meaning, just like a spare tire in case of a blow out. The spare meaning is that the tictac-toe game symbolizes five kisses, and four hugs.

And I doubt if any scholar either now or in the future could ever debunk that symbol. And so if you owned this painting you could send it to a friend, and you could write a note that would begin, "When you first look at this painting I know that you will think of Alexander the Great, that time when he was in India, but it isn’t about that, not at all, this painting is about you and I that time when...”

-Richard Britell

"American actors suffer in hastily prepared and short-lived vehicles or in excessively long runs of a 'hit' show, neither of which provide the opportunity for artistic growth and development."

-- Toby Cole/Helen Krich Chinoy

Grandma Becky’s Recipes

by Laura Pian

BRISKET TIME!!

Name any Jewish holiday, and those who observe will always tell you they eat brisket. Back in Grandma Becky’s day, brisket was a favorite because it was an inexpensive, kosher cut of beef that could stretch a long way. The brisket cut comes from the front of the animal, it is a long piece that can feed many mouths, making it a perfect choice for Becky’s large family! There are so many different ways of cooking a brisket, ranging all the way from the old country style (below) to the smoked, bar-be-que southern Texas style. Either way, as long as you have a few hours set aside to cook this little gem, any sauce you put on it will get those taste buds a waterin! During Rosh Hashanah, the New Year, it is customary to wish for a happy, healthy and very importantly a sweet year ahead.

3+ pound beef brisket 1 large sweet onion, chopped 5 carrots, sliced 3 stalks celery, sliced 2 cloves sliced garlic 2 pounds whole baby red potatoes 1 can stewed tomatoes ketchup 1 cup beef broth salt & pepper to taste

Preheat the oven to 350 degrees. Place brisket in a heavy, rectangular roasting pan. Fill pan with beef broth enough to cover the bottom half of the meat. Scatter onions, carrots, celery, garlic and potatoes around the brisket into the liquid. Top brisket with ketchup, stewed tomatoes, salt and pepper.

Tightly cover with tented aluminum foil. The foil tent is important, as it will allow the meat to steam cook to delicious tenderness. Cook for 3 1/2 hours, until very soft when felt with fork. Uncover and cook for another 15 minutes to brown top slightly, while basting. Allow meat to stand for about 15 minutes. To serve, slice against the grain and serve topped with gravy & vegetables. Don’t worry if the ends fall apart, just scoop all that up and add to serving dish!

THE ARTFUL MIND NOVEMBER 2016 • 41

BERKSHIRE HANDMADE

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

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

And so, we proudly present our Homegrown Musical Masterworks, extraordinary instruments made locally and often using locally sourced materials as well!

Chapter 4

Claudia D’Alessandro

DON WAITE’S GADJO GUITARS: BERKSHIRE HANDMADE FOR THE GYPSY IN OUR SOULS

Every instrument maker is inspired differently, some by the sound that they hope to produce, some by the joy of creating art which sings and some simply by the joy of creation itself.

Woodworker and carpenter Don Waite has achieved a fine level of guitar building, inspired by the Gypsy Guitarist’s tradition. His Gadjo Guitars (the term ‘Gadjo’ referring to those of NonRomani ethnicity) do credit to those excellent players and builders and truly do make everyone who plays one feel a little Gypsy spirit stirring within.

A relatively new maker, Don Waite has priced his instruments to sell, offering a unique opportunity to own a USA handmade (all better for its Berkshire County origins!) guitar for a comparatively low price!

42 • NOVEMBER 2016 THE ARTFUL MIND

But perhaps the best description of what he does can be said in his own words, though to fully appreciate these lovely instruments, they should be played or heard (guitarist/performer David Reed can sometimes be heard playing his in concert!).

Says Don: “Art is what musicians do. Guitar builders are specialized carpenters, experimenters, seat of the pants engineers. We try to find the balance between sufficient strength and maximum response to the musician"s touch.

In the 1930"s two genius minds intersected; the master mandolin builder Mario Maccaferri and the street-wise gypsy musician Django Reinhardt.

Maccaferri designed and built, under the Selmer label, an innovative guitar, cutting and bright, with enough volume to be heard in a club atmosphere.

Swing music was the happening thing in those days, and Django brought the guitar from the rhythm section up to a new place as lead instrument with his mind-bending virtuosity.

I tried to build a few guitars back in the early 70's with varying degrees of disaster. At that time there was only one book in English on the subject, Irving Sloane's "Classical Guitar Construction", a slim, well written volume with just enough information to encourage a novice to jump in, never hinting at the hair-tearing frustration that might ensue. The photo of the author on the dust jacket

shows a sly look, as if to say " Good luck, you won't succeed....but you'll be hooked."

I've spent 35 years doing house carpentry here in the Berkshires, and been lucky enough to do some very interesting projects........complex roof framing, curved staircases, custom kitchens, doors, windows, timber framing, you name it. I still do occasional millwork for some local contractors, but my real interest is in the guitars.

My current model "Americain" tries to combine the volume and sustain of the old Selmers with the warmth and complexity of American xbraced guitars. As each one is completed and strung up I evaluate it and consider subtle changes that might be made to the next one. There is no mastering this craft...we are all lifelong students.”

In the beauty of a Berkshire Autumn, where a wild spirit blows all around us, we can’t imagine a better soundtrack than a Gypsy guitar, singing . . . . Thanks, Don! In next month’s issue: Whitmer Guitars: Beautiful Berkshire Handmade Tone

H

Paintin’ The Town

by Natalie Tyler

At Leslie Ferrin Contemporary October 15th was the Clay Politics talk for the exhibition KNOW JUSTICE: Brooke & Justin Rothshank showing at Ferrin Contemporary

Same night October 15th Nick Cave's exhibition Until opened at MassMOCA

THE ARTFUL MIND NOVEMBER 2016 • 43