THE A RTFUL MIND
NATALIE TYLER SCULPTOR AND ALCHEMIST
the ARTFUL MIND
IN PRINT SINCE 1994
Connecting people and places.
Elizabeth Cassidy In Other Words | POETRY 11
Natalie Tyler
Sculpting Amongst the Mystical Forces of Mother Nature
Interview by Harryet Candee
Cover by Emma K. Rothenberg-Ware 12
VEMiLO | Songwriter, Composer, Artist
Interview by Harryet Candee 24
Shoshana Candee | ESSAY
“Visit to Grandma’s House”...39
Richard Britell | FICTION
Something for Over the Couch
PART 25 “The Americano” 43
Diaries of Jane Gennaro
Mining My Life EPISODE TWO “Hip Story” .... 44
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“A hero is an ordinary individual who finds the strength to persevere and endure in spite of overwhelming obstacles.”
— Christopher Reeve
An American actor, director, activist, author and Superman
artist, illustrator, writer, poet, peace lover elizabeth cassidy studio works elizabethcassidystudioworks.com
Kate Knapp, Autumn Bouquet in Studio, Oil on canvas, 24”x 30”
LIONEL DELEVINGNE
“Histoires d’Eau”
Photographs by Lionel Delevingne April 4 - April 27, 2025
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Being Strong. Having Courage
You are not expected To remember your first entrance Into the world Of oceans, birds, mountains, Clouds, forget me nots and frogs. But you were so brave To trust that this short trip Down to greet the world was all about you Being strong. Having courage.
Do you remember when she yelled at you? And you swear to this day That smoke came out of her nostrils. And how you realized that she picked on you Because of her own joyless life. And you just happen to be in the crossfires Of her failing marriage and falling arches. You walked home alone with a bounce in your step and Delivered a bouquet of dandelions to Mrs. Hyde who only lived indoors. Your empathy was all about you. Being strong, Having courage.
Remember that the world Is not the world you entered into. It is worse. It could be better. It will shatter your heart. And your muscles will grow To protect those left out on their own. You will keep your front door unlocked So that they can come in To be seen and loved by you. You are. Being strong. Having courage.
Remember everything you survived Even when it felt you were barely getting through it alive. You are. Being Strong. Having Courage.
— 2025 elizabeth cassidy
elizabeth cassidy studio works artist, illustrator, writer, poet, peace lover elizabethcassidystudioworks.com
SCULPTING AMONGST THE MYSTICAL FORCES OF MOTHER NATURE
NATALIE TYLER
Interview by Harryet Candee Photography by Emma K. Rothenberg-Ware and courtesy of the artist
There is great admiration for Natalie Tyler's sculpture. Her creative process is mesmerizing, revealing her passion for transforming raw materials with fire. Each alluring piece is crafted with such care, while navigating a degree of danger when working with hot glass and metal. The meticulous way she navigates each stage of the sculpture process reflects her precision and patience. Embracing nature's surprises and imperfections are integral aspects of her work. Every sculpture embodies her beliefs; a commitment to honoring, protecting and caring for our natural world.
Visiting her studio nestled in the backstreets of Great Barrington offers a clear perspective on the artistic process in action. The spacious environment is designed for creativity, showcasing what can be achieved when passion meets purpose.
Having known Natalie for many years, I have
closely followed her journey. It's inspiring to see how she has honed her skills and become a master in her craft. Her dedication is a testament to the power of passion in life.
Also, it's excellent that Natalie has chickens. They provide a grounding influence for her. I wish I could have my own, but I worry about the coyotes in Monterey.
Dreaming is essential for creativity and the hands-on knowledge of making are vital skills.
An experienced sculptor, like Natalie, knows how to breathe life into her work while understanding the capabilities of material and space. This balance allows her to create sculptures that resonate deeply and find their rightful place in the world.
Harryet Candee: Natalie, could you tell us about some of the lessons you've learned along your artistic path?
Natalie Tyler: In my first year in college, I took a Bronze Casting class. I was hooked when I discovered that I could sculpt directly in wax and transform the work into bronze using molten metal. I felt all fluttery inside; I had found my first love and saw my future path in art.
Casting is an organic process, and using bronze allows me to capture a moment in time and make it eternal. Seeing the sculpture in metal was fascinating to me, with the rich golden texture of the bronze and the timeless nature of being.
Casting day is industrial, hot, dirty, and dangerous, with an epic finish. Watching the bright orange liquid metal filling the mold feels like watching a volcano's lava. Knowing that even a drop could burn through your foot, I immediately learned to be completely present. I have total attention to the process while running on pure adrenaline. That carefulness has kept each bronze pour safe and allows me to think quickly and clearly whenever needed.
“Art has the power to move people, spark conversation and inspire real change.”
–NATALIE TYLER
From early on, in this venue you are bonded to, what is it about glass and the manipulation of this natural material that attracts you and keeps your attention?
There came a time when I wanted to breathe life into the work by using color and light. When I started casting glass, I got that fluttery feeling all over again. I had found my next true love.
Casting in glass, it feels like the Wild West. There is room to be a pioneer, as it is still a niche art form. Coming from a metal casting background, I have no fear, so I experiment to push the boundaries of glass. The borders of the material extend farther and exceed my expectations.
Glass can be hot like fire, cold like ice, atmospheric like air, and liquid like water. The glass can capture a moment and change throughout the day, becoming alive with light. This luminosity pauses and changes direction inside the glass, drawing the eye inward and through the sculpture. Working with
glass is the closest to nature I can get through art.
Working with bronze, in addition to glass, what are your insights about this metal compared to glass?
For years, casting bronze allowed me to explore nature's reclamation by capturing moments that made the ephemeral permanent. Bronze's strength and enduring nature are very attractive. The luster of the surface allows me to enhance the work using textures and form. Now, I am combining the two materials, becoming polyamorous. I choose the materials based on the subject matter and what will best tell the story.
Combining metal and glass requires careful scientific compositions and experimentation to integrate the two materials successfully. For example, I have seen your Tornado sculpture in progress at your studio, where the glass is se-
curely housed within metal rings, enhancing its stability and strength. Could you elaborate on some of this work?
Attaching glass to metal is tricky. Sometimes, it can be fused with specific metals that can anneal (cool) at the same temperature as the glass, which does require science and experimentation to execute successfully. Otherwise, it takes engineering and design to develop systems for attaching the glass to the metal.
I am working on a 9-foot glass sculpture of a tornado, the most recent in the "Mother Nature" series. Figuring out how to attach the glass to the metal armature has been a challenge. I use a STEAM— Science, Technology, Engineering, Art, and Math—approach to artmaking.
Where and when can we see the Tornado sculpture?
Continued on the next page...
Natalie Tyler's first sculpture in Bronze, Contemplation, 1997, 12 x 3.5 x 3 inches
The Tornado will be at the 47th annual Chesterwood Contemporary Sculpture exhibition, opening June 7th. The exhibition "Global Warming, Global Warning" is an environmental exhibition curated by Michael Lynch. Chesterwood is the historic home and studio of sculptor Daniel Chester French in Stockbridge, Massachusetts.
When I started making the Tornado, many tornadoes broke out across the Nation. When warm, humid air from the earth rises and meets cooler air from above, the tension between the sky and the earth creates a spiral of powerful energy. I ladle cast glass over plaster molds to get the feeling of atmosphere with encapsulated air bubbles and internal whipping texture.
Can you explain the meaning and inspiration behind your creations, intentions, and visions, which are deeply rooted in a love for nature and a commitment to protecting the world from destruction?
"The illusion that we are isolated beings, unconnected to the rest of the universe, has led us to view the "outside" world with hostility and has fueled our misuse of technology and our violent and hostile subjugation of the natural world." – Alan Watts
Nature is at the core of our existence. When I was in high school, Alan Watts's “The Book: On the Taboo Against Knowing Who We Are” resonated with me. He had written about humans’ complex relationship with nature and warned of the dangers of technology further disconnecting us from nature back in 1966! He was so forward-thinking; this was way before the internet existed and took over our lives.
When left alone, the natural world has a perfectly interwoven balance. If we take a moment to study, listen, and learn, we can find the answers to our questions within nature. As our impact on the environment has become more destructive, and now the effects of climate change are upon us, my work has gone from raising awareness to a call for action.
Natural disasters level what we create in seconds. In the aftermath, it doesn't matter whether you are a millionaire or renting an apartment. Everyone is equal after a raging fire, tornado, or flood, and the loss becomes insurmountable.
After 400 homes burned to the ground in my father's neighborhood in California, the streets looked apocalyptic, leaving only blackened chimneys, metal shells of cars, and burned palm trees. This devastation was imprinted in my mind and led me to create WildFire, part of the "Mother Nature" series. This series of sculptures is about the impact climate change is having on our environment. WildFire is a large sculpture depicting a burning tree engulfed in flames. The flames are cast in amber, yellow, and red glass and illuminate as the sun passes. The flames on the tree glow brightly like it's on fire. I started working on WildFire in 2020, and when I was about halfway into it, fires and storms were raging on the West Coast and in Australia. It was a surreal and intense experience
Natalie Tyler, WildFire Cast Glass, Wood, and Bronze, 2021, 96 x16 x16 inches WildFire exhibiting at the Mount in Lenox, MA.
Natalie Tyler, WildFire, Cast Glass, Wood, and Bronze, 2021, 96 x16 x16 inches WildFire exhibiting at the United Nations in NYC in 2022
to be working with fire to make the work and create fire in glass while the devastating firestorms were breaking out around the world. Somehow, I felt like I was in the middle of it.
Have you found satisfaction in how nature and your art have collaborated?
I originally became fascinated with nature because I wanted to learn from it. I knew understanding nature would make me a better sculptor. The natural world is one of my greatest teachers. In the Berkshires, with the trees and green landscapes, my sculptures are nestled in nature while maintaining their voice. In these moments, they have their relationship with nature. The collaboration between the sun and the glass is one of the most magical things I have witnessed with the sculptures. As daylight passes, the sculpture changes, becoming lit internally.
When WildFire exhibited outside in New York City, it took on a very different feel next to the city landscape while maintaining a significant message. Diapause, the installation of large cocoons, has been seen both indoors in dark rooms and outside at night. When they were shown at TurnPark Art Space in West Stockbridge, outside at night, they
were truly magical illuminated amber. It felt like they had grown there, hanging from the trees under the stars.
There are moments when words fall short when capturing the beauty and clarity of your glass works. I'm eager to learn more about the techniques and processes you employ in crafting one of your pieces, from concept to completion. Let's explore Kaleidoscope, the butterfly piece together.
Kaleidoscope is a hanging bronze bittersweet vine covered in 50 glass butterflies. It highlights the delicate nature of our pollinators, inspired by the monarch migration I first saw, 25 years ago on a beach called Natural Bridges in Santa Cruz, California. At the time, about 4 million monarchs were making the trip from Canada to Mexico. Last year, only about 9000 monarch butterflies migrated, which is an all-time low. A combination of pesticides, habitat loss, and Climate Change have put the butterflies at risk of extinction.
Each glass butterfly is made individually using glass powder (Pate de Verre). I originally sculpted the butterflies in wax and then made a silicone mold. I use different colors of glass powder mixed
with water to fill each mold. I can paint with different colors, like using watercolor, to make each butterfly unique. The mold is filled with powdered glass and then goes into the freezer. After a few hours, I remove the frozen butterfly from the mold and place it in the kiln. Once all the butterflies are in the kiln, I fire it to about 1300 degrees. The glass powder fuses with the heat and becomes one piece of glass. After they are cool, I put the flat glass butterflies back in the kiln, laying them over ceramic valleys. I fire the kiln a second time, and the butterflies (with the heat) slump down in the middle, creating the feeling of flight.
When a piece is installed outside, immersed in the environment as a stage, can you predict the effects and toll that nature and the environment will have on the artwork?
When exhibiting the sculpture outside, I consider the effects weather and nature will have on the piece. For example, for WildFire, I chose a spot outside that would have sun all day long to keep the flames flared. I feel comfortable exhibiting my sculptures that have glass during the spring, summer, and fall. I do not see them as four-season Continued on next page...
Natalie Tyler, Kaleidoscope, Cast Glass and Bronze, 2024, 50 x 25 x 20 inches. A cluster of 47 Glass Butterflies on a Bronze Vine. PC Gregory Cherin
sculptures outside in the Northeast, as glass can be compromised by freezing conditions. These works can be indoor sculptures or exhibited year-round in more temperate territories.
Through your eyes, tell us how people have reacted to some of your outdoor work. You mentioned being elated by one person's reaction to WildFire.
WildFire was first exhibited on a hill in front of Edith Wharton's House during the outdoor sculpture exhibition at The Mount in Lenox in 2021. Often, I would find a group of people surrounding WildFire, just staring up and mesmerized by the colorful fire-bursting flames. They would exchange stories of people they knew affected by firestorms. One day, I saw a man running around WildFire "You have to see it from this side; with the sunlight passing through the flames, they are on fire!" He said to the group he had come with. I told him,
"You really get it," and he responded, "Yes, it's amazing!" I said thank you and that I am the artist, and he was so excited to meet me. He said he wanted to buy it and take it to his home in the Adirondacks. I felt flabbergasted, as I had just finished it a month earlier, and this was happening fast. After a studio visit, he and his wife gave me a deposit for the sculpture, a check with more zeros than I had ever seen my name next to. After the studio visit, I started to cry when I got home. Not knowing exactly why, I realized I couldn't go through with the sale. I knew I wanted more people to see WildFire before it sold. WildFire has a strong message. Against the better judgment of my family and friends, I backed out of the sale and sent the check back to the collector.
The following summer, WildFire exhibited at Chesterwood. And thenI received a phone call from Larry Sibrack, then President of the Art Alliance for Contemporary Glass, inviting me to exhibit
WildFire on the main plaza at the United Nations in New York City during the International Year of Glass in 2022. This was a "pinch me is this real moment?", WildFire was endorsed by the Permanent Mission to Spain, which actively addresses climate change and the environment. World leaders and the heads of international glass manufacturing companies were in attendance during the closing ceremonies. This exhibition at the United Nations made me understand the important role art can have in public policy; it can help inspire industry changes while impacting the world at large when shown in the public realm.
What aspects of a sculpture's physical and mental process are solely your responsibility? Do you enlist the help of others? How and who is involved? At what point do they offer assistance?
It is very important to me as an artist to be at the
Natalie Tyler's glass Tornado in process. PC Emma K. Rothenberg-Ware
Natalie pouring bronze in her studio. PC Emma K. Rothenberg-Ware
center of the creation of my artwork. I am a handson artist, and with this connection to the artwork, I can put my energy directly into the sculpture. The glass Tornado is a monumental piece, and I have needed the help of others. I hired two local metal artists to help me with the 9-foot steel Tornado armature: Rich Wansor and Frank Raczkowski. I have been travelling to The Corning Museum of Glass, to The Studio there, to cast the 40 sections of glass that make up every turn of the Tornado. At Corning, they have extremely knowledgeable artists. It takes four of us to ladle-cast the large atmospheric clear glass sections. The cost of making the Tornado has become quite a challenge for me. This project is possible with grants, a GoFundMe page, and the help of Shany Porres from Art in the Berkshires. We organized a fundraiser at the very cool Doctor Sax House in Lenox. I have a good friend, Courtney Maxwell, who has volunteered to help. The photographer Emma K. Rothenberg-Ware has been so generous with the photography of the Tornado in progress. I have received the Martha Boschen Porter Grant and Local Cultural Council Grants from the towns of Lee, Mount Washington, New Marlborough, and Sandisfield. I am so grateful to all the donors, artists, and grants who helped make glass sculpture possible. I am so excited to bring this Tornado to the public.
What has kept you busy through the winter? What's planned for the Spring and summer? What can we expect from you in the coming months?
This winter has been cold in Massachusetts, so it has been a good time to be creative. I finished some new sculptures that I exhibited at the Guild of Berkshire Artists' exhibition at The Berkshire Botanical Gardens. One was of cast glass icicles on a twisted bronze bittersweet vine. The other was a smaller cluster of butterflies on a twisted bronze vine. The third work was a cast glass honeycomb hanging from a window illuminated by the sun. This Spring, I am returning to Corning to finish the castings for the Tornado. I will assemble and finalize the Tornado and install it by June. I am working full steam ahead until then.
I know your passion and dedication to gardening, farming, building outdoor showers, and swimming in ponds. You're unafraid to get your hands dirty and genuinely love interacting with nature, including your fondness for chickens. This enthusiasm is a significant part of who you are. I'm curious to hear about your childhood; it may provide insight into how these interests became integral to your life as an artist. My grandparents lived on 20 acres in Southern California. When I visited them, I had so much fun playing in nature, climbing avocado trees, and reading a book in a hammock my grandfather hung inside a canopied pepper tree. When my grandfather and I picked cherry tomatoes that he had grown, I was amazed that tending the earth could feed me. One little tomato would go in the paper bag, the next one in my mouth, the third in the bag, Continued on next page...
Casting the glass Tornado at The Studio at The Corning Museum of Glass
Natalie Tyler, GlacierMelt, Cast Glass, 28 x33 x30 inches
Natalie Tyler, HoneyMelt, Cast Glass, 2024, 11x10 x 3 inches
Natalie Tyler, Icicles, Cast Glass, Bronze, 2025, 12x 15 x 4 inches
and the next in my mouth. As he watched the fruits of his labor disappearing in front of his eyes, my grandpa would shake his head and chuckle at me while we were picking. Life was simple and very happy in the country. It felt comfortable and healing to be surrounded by nature. In that calmness, the smell of the wild sage, feeling the sun on my face, I felt truly free.
I have created a life out in the country, living in the Berkshires. I have a good-sized vegetable garden, and yes, I am surrounded by a large flock of chickens. I have many different artsy chickens whom I love and enjoy taking care of. I sell their fresh eggs to friends and neighbors, sharing the health and regenerative wealth of the land.
Despite being originally from California, is the Berkshires home to you?
The Berkshires is the first place I have ever lived, that when I travel, I am so happy to return home. The mountains, lakes, forests, and farmlands are so beautiful. The people here are kind and creative and have fascinating lives.
Living here is like a Renaissance with live music, art, museums, and theater. Working on a larger scale and engaging with the public in the outdoor
sculpture exhibitions here has been a dream come true for me as a sculptor.
Could you share your educational experience in Italy?
Ahhh, studying art in Bologna, Italy, was also a dream come true! I learned from the works of artists Michelangelo, Da Vinci, and many other Masters. I studied human anatomy and drawing from actual human bones. I traveled to Carrara to pick out marble to carve. One Sunday, I was sitting in a park reading Vasari's biography of Michelangelo. He wrote about one of Michelangelo's first marble carvings, a sculpture of an angel in a Gothic chapel under a Basilica in Bologna. I shut the book and jumped on a bus to the town center. I found Michelangelo's angel in St. Dominic's Chapel, which he had sculpted at 19. It was incredible to be able to study the original works of the Italian Masters.
Knowing your sculptures interact with nature, how does it become an interactive piece when people are directly involved?
Diapause is an interactive installation of humansize cocoons that are interactive. In nature, Diapause is a pause, a time when an insect suspends its
growth to save energy during unfavorable conditions, like a harsh winter. The large cocoons hang in the dark, emitting only a soft amber glow. As the viewer approaches, the cocoons brighten slowly to reveal their form, and with stillness, the cocoons return to their dimmer state of being. The result is a living installation in which people interact with the sculptures, an energetic dialogue. The cocoon is a metaphor, highlighting delicate potential and powerful creativity.
I exhibited Diapause for the first time in Soho, New York City, with seven cocoons hanging from the ceiling. This installation is a mysterious and meditative experience, and it changes depending on how many people are present. The cocoons are sensitive and can be triggered to brighten with even just a breath.
The installation was exhibited with dancers responding to the cocoons at Cornell University. As a US Embassy-sponsored artist, I was able to take Diapause to exhibit internationally in Ireland and Estonia.
Being an artist can often lead to extremes— great success or significant struggle. It's not an Continued on next page...
Natalie Tyler, Diapause, Interactive Human-size Cocoons, Mixed Media, 2010
easy path. We give up a lot for the work we are passionate about. Sometimes, our dedication to being Creators, Communicators, or Performers can lead us on a different path rather than pursuing a more traditional lifestyle. With that in mind, could you share your perspective on how your life has evolved? What brings you happiness, and what do you hope to seek and ultimately find in your journey?
When I was very young, my family went on a boat in the swamps of Louisiana. We were looking over the side of the boat for gators, trying to find them in the muddy waters. My cousin Mat wasn't with us; instead, he was sitting at a table. I was perplexed because I couldn't understand what could be more exciting than looking for alligators. So, I went to see what he was doing. He was drawing wizards and dragons. I was in awe. He was so talented, and I couldn't believe he could make the visions in his mind come out of his hands. It was at that moment that I decided to be an artist. I realized that one of the most powerful abilities is communicating without words. Art can break down language and cultural barriers and connect us, unifying us on a soul level.
As it turns out, my life has been unconventional. I create my life like I create my art. I have a vision of what I want and spend my life working on get-
ting there. My sculptures take time, labor, perseverance, and true grit. Creating my life has also taken the same path. It isn't easy to be an artist, and it is even more challenging the larger my work is getting. This is the path that feels right to me deep down inside, so I continue on it.
Sculpture seems more demanding physically and mentally than other mediums, such as painting. Still, it's easier for you to envision things in 3-D. In a sense, you're like a wizard who weaves reality with visions. Do you see yourself as being an alchemist?
On a recent trip to Iceland, I was amazed at how the volcano had erupted and sent molten lava-like fire rivers down the mountain until it reached the sea. The ocean's cold water had frozen the hot lava in the shape of a wave crashing back in the direction it had come from. I realized that this dynamic combustion of fire, water, and air created our earthland. These elements are at the core of our world's existence.
Yes, I am an alchemist, as my art is the result of curiosity, vision, spirituality, experimentation, and labor. While doing one project, through the transformation process, I envision the possibilities of the next sculpture. Often, the work turns out better than I had imagined, which feels mystical, like other uni-
versal forces aligning with me, encouraging me to continue pushing the boundaries of what is possible and continuing to innovate.
I feel flattered to be called a wizard, as my cousin's inspirational drawing of a wizard was my first experience ever seeing art.
Speaking of 3-D, what about painting and drawing?
When I get time to draw and paint, I consider it a luxury. Most of my ideas I work out in the third dimension, testing the process on a smaller scale. When I scale up, though, it is a larger, new, and organically created version of the sculpture.
I don't use calipers or enlargement tools and have yet to use any 3D printers or technology to do the work. Having a direct connection to art and nature is of the utmost importance to me.
What message can you convey about today's world, a world that reinforces your future work and ideas? Are you a positive thinker and planner?
The most important message I have is that we humans live harmoniously with the environment. If we nurture the land, animals, and environment rather than deplete them, we will change the direction in which we are quickly heading.
Natalie Tyler, Eagle's Nest, Cast Crystal Glass & White Gold Leaf Egg, 2019, 33 x 28 x 16 inches
“I have created a life out in the country, living in the Berkshires. I have a good-sized vegetable garden, and yes, I am surrounded by a large flock of chickens. I have many different artsy chickens whom I love and enjoy taking care of. I sell their fresh eggs to friends and neighbors, sharing the health and regenerative wealth of the land.”
-Natalie Tyler
I believe I am a realistic thinker of cause and effect.
I hear you are a fantastic teacher. I really enjoy teaching, as it allows me to share my knowledge and help others thrive in their own creativity. I often teach small classes in my sculpture studio. I also sculpt and cast for other artists, like a ghost artist.
Is there always a challenge in the art you make and when are mistakes considered part of the learning process for you?
Each project I make is challenging, and that is what I like about it. I cast complex forms. The first attempts sometimes don't turn out perfectly. I will do the project repeatedly until I get a perfect casting. Once I get it perfect, I often move on to a new challenge. Usually, the earlier castings that are not perfect are my favorites; I learn more from those pieces, as they can be exciting so I don't see them as mistakes.
There is art you've created as a gift to the world, but what art have you made for yourself and only for yourself?
This is a good question because it made me think about something I am unaware of. The only sculpture I can think of that I made for myself was my
first sculpture in bronze. Contemplation is a tall, thin, standing woman with one hand on her hip and the other on her heart. She is looking down, deep in thought, contemplating something very close and personal to her.
If you had three wishes granted to you, regardless of how wild or crazy they might seem, what would those wishes be?
My first wish is to own a farmhouse, land, and a barn that I can convert into a sculpture studio. My second wish is to return to Pietrasanta, Italy, and spend several months or perhaps years working on marble sculptures.
The third wish would be for a peaceful consciousness to emerge worldwide to nurture and protect all environments, a true unity between humans, animals, and the natural world.
I'd love to hear a story that holds significant meaning for you—maybe an experience that led to an epiphany or something intriguing that challenged your understanding of the world. I'm curious how it has shaped who you are today and how it might continue influencing you. When I was a child, I read a National Geographic article about the Bald Eagle facing extinction. I felt so shocked that the brave raptor that is our Nation's
symbol of freedom was facing extinction. It was because of humans; hunting, pesticides, and habitat loss. I created The Eagle's Nest with 13 individually cast crystal antlers. They are weaved together and intertwine to make a large nest that holds a single white gold gilded egg. The golden egg represents hope for the future. The moral of the "Golden Egg" in the Aesop’s Fable, The Goose and the Golden Egg is that greed leads man to destroy the very thing that sustains him.
The Bald Eagles are an environmental success story, proof that if humans change their ways and nurture and protect the natural world, all creatures, including us, will be given the chance to thrive again.
Tell us why you chose the opening quote, Natalie. "Art has the power to move people, spark conversation and inspire real change."
It is the reason, I do what I do.
F
www.natalietylerart.com
Instagram: @natalietylerart
Natalie Tyler with her Frizzle chicken, Puppy
LESLEE CARSEWELL
My artwork, be it photography, painting, or collage, embraces a very simple notion: how best to break up space to achieve more serendipity and greater intuition on the page. Though simple in theory, this is not so easy to achieve. I work to make use of both positive and negative space to create interest, lyricism, elegance, and ambiguity. Each element informs the whole. This whole, with luck, is filled with an air of intrigue. Breaking up space, to me, has a direct correlation to music. Rhythm, texture, points of emphasis, and silence all play their parts. Music that inspires me includes solo piano work by Debussy, Ravel, Mompou, and, of course, Schubert and Beethoven.
Working with limited and unadorned materials, I enhance the initial compositions with color, subtle but emphatic line work, and texture. For me, painting abstractly removes restraints. The simplicity of lines and the subsequent forming of shapes is quite liberating.
Lastly, I want my work to feel crafted, the artist's hand in every endeavor.
Leslee CarsewellPrints available, please inquire. 413-229-0155 / 413-854-5757 lcarsewellart@icloud.com www.lcarsewellart.com
BRUCE LAIRD / DEBORAH H CARTER
UPCYCLED FLOOR SQUARE
KORENMAN COM @JOYDEROSE MUSIC
REPRESENTED BY THE WIT GALLERY CLOCK TOWER ARTISTS, PITTSFIELD, MA
DEBORAH H. CARTER
Deborah H. Carter is a multi-media artist from Lenox, MA, who creates upcycled, sustainable wearable art. Her couture pieces are constructed from post-consumer waste such as food packaging, wine corks, cardboard, books, wire, plastic, and other discarded items and thrifted wares. She manipulates her materials' color, shape, and texture to compel us to question our assumptions of beauty and worth and ultimately reconsider our habits and attitudes about waste and consumerism.
Since she was 8, Deborah has been a sewing enthusiast, and she learned her craft by creating clothing with her mother and grandmothers. Her passion took hold as she began to design and sew apparel and accessories. After graduating with a degree in fashion design from Parsons School of Design in New York City, she worked as a women's sportswear designer on Seventh Avenue.
Deborah's art has been exhibited in galleries and art spaces around the US. She was one of 30 designers selected to showcase her work at the FS2020 Fashion Show annually at the University of Saint Andrews, Scotland. She has been featured in the Spring 2023 What Women Create magazine.
Deborah H. Carter has been featured in The Artful Mind, Berkshire magazine, and What Women Create magazine and was a finalist in the World of WearableArt competition in Wellington, New Zealand, 2023.
Deborah H Carter413-441-3220, Clock Tower Artists
75 S. Church St., Studio 315, 3rd floor Pittsfield, Massachusetts
Instagram: @deborah_h_carter
Debhcarter@yahoo.com
ARTFULMIND@YAHOO.COM
CAROLYN M. ABRAMS
Carolyn's work is about relationships. Connecting with her creative spirit and the world around her, especially Mother Nature, in all her beauty and challenges. As a Guild of Berkshire Artists member, Carolyn has had the privilege of connecting with nature here in the Berkshires. Using mediums such as oils and cold wax medium, she feels that relationship as she works layering, adding, subtracting, constructing, and deconstructing on canvas, paper, and wood panels. Mark-making is a must to infuse her energy in each work, and you will find each of her atmospheric "soulscapes" intuitively honors this affinity with Mother Nature.
Cold wax is an oil painting medium composed mainly of beeswax, with a small amount of solvent to soften it and other ingredients to aid in drying time. It has a soft, paste-like consistency at room temperature and dries to a matte surface. Unlike encaustic processes, it requires no heat to use it. Many luminous and unique effects are possible using CWM. Some form of cold wax was likely used in ancient times, including in the creation of famous mummy portraits in Egypt and Rembrandt's later years.
Cold Wax can be used in all painting styles, including landscape, abstract, still life, and anything from realism to abstraction. The working properties of CWM allow for expressive brush marks and the ability to carve into paint layers with palette knives and household tools. Cold Wax also gives oil colors a beautiful translucent quality, similar to the seductive surfaces of encaustic paintings. Cold Wax Painting utilizes experimental approaches, including brayers, stencils, and textural elements like bubble wrap or wire screens. The possibilities are endless.
CWM generally uses oil paper, birch wood panels, cradleboards, and metal or other substrates. Working on wood takes a lot of abuse. There are many layers, digging in, excavating with lifting solvents, and a firm surface gives the finished work a very artsy, raw feel. It dries to a hard finish that can be buffed to a satin sheen. Working on paper is much more economical, so it lends itself to the artist, who feels free to experiment and explore new techniques.
Carolyn M. Abrams is a mixed media artist from upstate New York, presently residing in Lenox, Massachusetts.
Carolyn M. Abramswww.carolynabrams.com
EARTHEN WHISPERS, COLD WAX METHOD (CWM)
VEMilO
SONGWRITER | COMPOSER | ARTIST
“I’ve created a space within myself that feels safe, a kind of personal oasis where I can process emotions in a healthy way.” —VEMiLO
Interview
VEMiLO is a young, compelling pop performance artist committed to transcending boundaries and fostering unity through his vibrant music and visuals. His artistic style draws inspiration from the iconic collaborations of Lady Gaga and Prince, embodying a celebration of inclusivity and self-acceptance across diverse cultures.
VEMiLO brings a remarkable blend of talent and charisma to every performance, inspiring audiences and establishing profound connections through the sheer joy of his artistry.
Harryet Candee: How do your life experiences shape your music? Could you share a song that
by Harryet Candee
Photographs courtesy of the artist
encapsulates a significant moment in your life?
VEMilO: My albums are like diaries; each marks a different chapter of my life. They're capturing the highs, the struggles, and the lessons I've learned along the way. If there's one that truly represents a moment of self-reflection, it's the Javon album, which I created under my old name. I started working on it in 2015 but hadn't lived through some of the hardest lessons I was writing about. Revisiting it nine years later felt like having a grown-up conversation with my younger self—finally bringing real experience to the words I had written. It was a full-circle moment that made me realize how much I've grown and how music has always been a space to process life in real time.
Would you describe yourself as emotionally sensitive and attuned?
Absolutely. As an artist, I feel most vulnerable when I release a body of work—it's like putting a piece of my soul out into the world. But over time, I've learned how to navigate that sensitivity, using it as a tool for self-reflection and growth. I've created a safe space, a personal oasis where I can healthily process emotions. That helps me show up for myself and others meaningfully and authentically.
How do your sensitivities and perspectives on gender relationships influence your art and music?
Gender is not affecting my work so much. I would-
n't say gender plays a defining role in my work. I'm not beholden to one or the other. Think about how Prince teaches the audience to be hypnotized by both, which aligns with my upcoming unisex fragrance, VETREUS. The lavender, black pepper, and patchouli put focus on individual preferences. Creating a connection to the fragrance based on personality and mood allows wearers to express themselves authentically.
What experiences have shaped who you are today, especially at age 28?
Right now, I see life as a whole rather than a series of isolated moments, like puzzle pieces coming together to make a complete image. I'm stepping back, letting things marinate, and giving time for reflection. My experiences have shown me that our lives are as much about looking back as they are about moving forward. Lately, my focus has been on legacy and prioritizing my mental health, which has given me a better understanding of how everything
has connected to bring me to this point of 28.
Could you share a story about your grandmother? How did she support and show kindness in your life?
My grandmother Mary was the embodiment of true, authentic love. She was one of the most prominent figures in my life because she believed in my artistic endeavors and actively invested in them. She created a nurturing and safe space where I felt free to express myself in any way I wanted. That could mean anything from trying on her pink stilettos or modeling for her sketches. One of my fondest memories with her was baking 7-layer cookies together. We'd mix coconut, caramel, chocolate chips, and graham crackers. But never peanuts because I didn't like them. Through these moments, big and small, she showed me the true essence of unconditional love. Her presence made me feel seen, supported, and completely free to be myself.
Have you created any music or visual art that pays tribute to or connects with her?
I've written a song or two about her, but I know there's so much more I want to say. I'm planning a full project dedicated to her in 2026 because, honestly, I'm still in my grieving era. I want the project to be a tribute that resonates with grandchildren everywhere, honoring the kind of bond that a grandchild and grandparent have forever.
Who is your best friend right now?
Right now, my best friend isn't just one person—it's my community. It's the people I connect with daily, the ones who make even the simplest moments meaningful. Whether going to the Millerton Diner and checking in with the girls, sharing stories and laughter, or just feeling that sense of belonging, that's what friendship means to me.
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Music videos playable on
Grandma Mary Portrait by Paco.May
The VEMiLO’s chosen family portrait: Brooke, VEMiLO, Kassandra and Gregg
being present for one another. It's about those small yet powerful interactions that remind you who you are and why you do what you do. My community keeps me grounded, inspired, and constantly evolving.
Where do you typically find inspiration to kickstart your creativity when composing music? My creative process always starts with the album cover. The visual comes first—an image that captures my feelings or the story I want to tell. Then I ask myself, What does this image sound like? How can I translate its emotion into music and poetry that people can understand and move to? From there, the sound starts taking shape—melodies, rhythms, and lyrics all weaving together to bring the vision to life. It's about creating an experience where the art, the music, and the message all feel like one.
How do you integrate performance with your music? What elements or themes connect the two in your creative process?
For me, music and performance are inseparable and
feed off each other, creating an immersive world. For instance, my show "A Night with Vemilo" draws inspiration from Cabaret. I'm telling the audience stories about what I've been through, and now I'm learning ways to hold attention while being still and reflective. I've chosen a song to make a beautiful intro with. For this show, I chose to open with I have changed; it has an angelic sound, and the piano goes from a small chord and slowly builds. The first song is the answer to the conversation of the entire show. This is about radical acceptance and changes for better or worse. The goal is always to create an experience people can see, hear, and feel—something that lingers long after the last note fades.
What are your aspirations for becoming a successful artist in music and art?
Success as an artist is about creative fulfillment and authenticity—staying true to my ideas and expressing them without hesitation. If I have a vision, I need to act on it, whether that means getting up to sketch a dream or composing a song the moment inspira-
tion strikes. But beyond the work itself, real success comes from having a solid foundation—trusting myself, surrounding myself with the right people, and creating from a place of truth rather than seeking outside validation. When that foundation is strong, the art flourishes naturally, and success becomes deeper than recognition—a life fully lived through creativity.
If you could perform your music live anywhere worldwide, where would that be and why?
I would love to perform at the Trevi Fountain in Italy. Fendi once did a fashion show there, using a plexiglass stage over the water, and it was one of the most beautiful and innovative ways to create a performance. Blending history, art, and music in such an iconic, ethereal setting inspires me. It would be a dream to transform that space into an immersive experience—where sound, visuals, and architecture all come together to create something unforgettable.
Talk to us about your life experiences in Miller-
VEMilO Live - Photograph by DJ flow
VEMiLO’s page
ton, New York – both in your childhood and current situation.
From age 16 to 28, Millerton gave me the space to grow, experiment, and be unapologetically myself. One of my most defining moments was the Fall for Art Festival in 2013, a time that felt like a rebirth for me as an artist. The people in this town made it possible for me to grow creatively. At 16, though, I pushed my boundaries with my style, and the town embraced me. From 2012 to 2014, I was committed to self-expression; that's when people really started taking notice. My fashion choices are never kitschy. They are deeply personal; they're an extension of myself. Jonathan B., a mentor of mine, once told me that when you're truly yourself, you attract the right people. Millerton showed me that firsthand.
I loved watching your short film Lie To Me. Can you tell us how that came to be and its story?
Thank you! That short film is one of the most personal visual projects I've ever put out in a very long time. The Haus of V worked hard on that short film, and I am so proud to have it in the world. Everybody
Put their heart and soul into making it a reality. I'm so thankful to my videographer, Liam. This was our first short film together, and I just loved how driven he was to make sure every frame was perfect —and it was. My Aunt Crystal, who you see at the end of the film, inspired me to be confident about navigating life with parents who battled substance abuse.
Who is responsible for designing your album covers and videos? Tell us about the Haus of V Team. How do you promote your art? Who collaborates with you in shaping and evolving your public image?
The Haus of V is my creative family—a collective of artists, designers, filmmakers, and visionaries who help bring my world to life. My album covers, videos, and visuals are a collaborative effort between me and this team, where every detail is intentional, every image tells a story, and every project pushes the boundaries of how music and art intertwine.
My creative journey with them has been all about evolution. We started as a small group of like-
minded artists, and over time, we've built something bigger than just visuals—it's a movement, a shared vision of artistry without limits. From styling to directing, photography to performance, the Haus of V shapes every era of my work.
When promoting my art, I believe in creating experiences, not just content. Whether it's performing in unconventional spaces, releasing visuals that feel cinematic, or curating moments that allow people to step into my world, the goal is always to connect. Social media, word of mouth, and live performances play a role, but authenticity is key. I want my visuals and music to reflect my truth, my growth, and the bold, boundary-pushing spirit of VEMilO.
From where do you draw your fashion inspiration? Do you admire particular figures in the fashion industry?
I'm a huge Lady Gaga fan, as everyone knows. Her fashion has been a blueprint for me, not just in style but in the fearless way she uses clothing as self-expression. I love her fashion to the moon and back.
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Instagram- video
A Night With VEMiLO PosterThe Moviehouse, Millerton NY Photograph by Aly Morrissey
She's given me confidence, and from her, I learned that fashion isn't just about looking good. I've taken to calling it "wearapy," a way to heal, empower, and tell your story without saying a word. That being said, I always take inspiration and make it my own. I love mixing high fashion with streetwear, pulling from thrifted gems, and finding. pieces that feel both bold and effortless. Fashion Nova is fun for trend-driven pieces, but nothing beats the thrill of thrift stores like L Train Vintage, which hold unexpected garments just waiting for me. Fashion is armor and art. It's a second skin that shifts with me through all the different phases of my life.
Your voice is truly beautiful and soothing. What message do you wish to convey to the world as you navigate your journey with music?
Thank you; that means so much to me. My message to the world is to create what you love, be your biggest fan, and make art that truly represents yourself. Never put something out just to please others; just make the music you will listen to for the rest of your life. Each project I've created reflects a different part
of my story. My album Immigrant is a complex synth, EDM-grunge album that explores the experience of being foreign, in the literal sense, but in a personal, emotional way. It's about coming to terms with yourself, learning to trust, stepping into the unknown, and accepting the pain of the past. It's about leaving, evolving, and ultimately embracing who you are.
I want every song, every visual, every performance to be something I'm proud of and something that, if it were my last piece of art, would tell the world exactly who I am. At the core of it all, my message is about authenticity, self-celebration, and leaving behind something real.
Could you explain what "Healing at the Watershed" is about?
Healing at the Watershed is about renewal, connection, and self-exploration. More than a place, the Watershed symbolizes healing by confronting past wounds, embracing growth, and finding clarity. Through music, visuals, and storytelling, I explore identity and resilience, creating a space for others to reflect on their journeys. It's an invitation to step
into vulnerability and leave feeling lighter, stronger, and more whole.
I understand that your father is a remarkably talented artist. Can you tell us about him?
My father is a brilliant artist and one of the most creative, spiritual, and intelligent people I've ever known. But he's also someone who got in his way. His talent was undeniable, yet his struggles with addiction and then prison have been a constant presence throughout my life. Despite everything, our moments together have always been raw and honest. He never sugarcoated his demons, and in a way, that was a gift. He encouraged self-discovery, pushing me to consider my trials and tribulations. And while his life has been turbulent, I know in my heart that I am one of his greatest achievements. Some of my favorite memories are of him being proud of me, especially when I was performing music. I inherited his creativity, and I couldn't be more grateful for that. One of my biggest dreams is to create something with him, maybe an EP, even. Me singing, him rapping, or doing spoken word poetry. That kind of collaboration would mean everything to me. Our re-
Remedy Productions publicity poster
Permission granted to use this image by VEMiLO
VEMiLO’s instagram page
JAVON, Album Cover 2023, Photograph by VEMiLO
lationship is complicated, but it's real. And in the end, that's what matters most.
How did your relationship with Brooke and Gregg from the Gypsy Joint in Great Barrington develop? How has it evolved since you mentioned they are your Godparents?
Brooke and Gregg attended the Gypsy Joint open mic night to enjoy local talent. And that space became where our connection began. My first-ever open mic happened there, and in some way, they were already a part of my journey before we officially crossed paths. They saw me before they even met me. They became my Godparents, not just in title but in how they truly see and support me. Over time, our relationship deepened into something more meaningful. Our bond has evolved from a shared love of music and creativity to something deeper.
With 14 albums under your belt, how would you define your musical style? In what ways has it evolved?
I would describe my musical style as Vivid Pop—a
blend of cinematic storytelling and immersive soundscapes. I like to create what I call Sonic Cinema, where every song isn't just something you hear but something you see and feel. My goal is for listeners to envision and visualize the emotions, the story, and the world I'm building within each track. Over time, my music has evolved in depth and intention. Each album is connected, like chapters in a larger narrative, reflecting my growth as a human being. In the beginning, I was experimenting, finding my voice. Now, I create with a sharper vision, blending genres, pushing boundaries, and crafting music that feels more like an experience than just a sound.
What steps have you taken to ensure your voice feels intense and focused?
A powerful voice isn't just about technique—it's about feeling. I dive deep into my lyrics' meaning, ensuring every note carries real emotion. When I sing, I want people to believe it, to feel it with me. I work on breath control, resonance, and projection to ensure my voice carries the emotion I want. Warm-ups, vocal exercises, and exploring different
dynamics help me maintain strength and flexibility. Hydration, rest, and knowing when to give my voice a break are crucial. I avoid strain and listen to my body to keep my vocals in peak condition. Through all of this, my goal is to keep my voice authentic, powerful, and deeply connected to my artistry.
@vemilo.pa
vemilomusic.com
Photograph of VEMiLO by Aly Morrissey
One of VEMiLO’s short films, vemilo.com
Ruby Aver
rdaver2@gmail.com | Instagram: rdaver2. Housatonic Studio open by appointment: 413-854-7007
ABSTRACT PAINTER & MURAL ARTIST
Upcoming Exhibit in June at The New Marlborough Library 1 Mill River Great Barrington Rd, Mill River, MA 01244
Studio visits welcome at The Lichtenstein Center for the Arts and current work on view at Boema in Lenox
jessetobinmccauley.com
jessetobin@gmail.com
instagram: @mooreofthetobin
GHETTA HIRSCH
“Sunny" was painted in 2018. The world felt different then. Yes, we were all younger. We had not been through Covid yet… in 2018, I painted it just because I found the flower to be pretty. Now, I am attracted to this painting again. I pulled out this oil to give my support to a suffering country: Ukraine.
Did you know that the sunflower is Ukraine's National Flower? Sunflowers are a beloved symbol of that country. Ukrainians relate to this flower as it represents "peace" and "resilience" as well as "hope." In the summer, when I see a sunflower, I sense its vitality and strength, and it makes me happy. The stem is sturdy. They last a long time in a vase. They radiate light and beauty. If you ever watched them in a field, sunflowers turn all together on their stem just to face the sun.
This loyal reverence for our planet of fire can represent what Ukraine is going through right now. Facing the enemy, fire and bombs, this country does not give up - strong and resilientUkraine led by a loyal president continues to fight for life. Its tenacity and faith in what is right is an example to the world.
I honor Ukraine with my rendition of a sunflower and will paint more to replenish the happiness lost in this long war. May we have PEACE again in our world!
Ghetta Hirsch is currently exhibiting at Gallery North, 9 Eagle Street in North Adams, MA. Those interested in visitng Ghetta’s studio to see her work, please call or text: 413-597-1716.
Ghetta Hirschghetta-hirsch.squarespace.com
SUSAN GILBERT
Through my work, I tell the stories of my observations about iconic activities, events, traditions, and customs inherent in American culture and everyday life. Some examples are television programs, baseball, trailer park camping, and pride parades.
The themes from my own life include a painting on paper about my father's love for baseball called Fenway Fred. Needless to say, he was a player who hit the ball out of the park. Another was a series of five pieces based on my experiences at a coffee cafe and the characters I met there, one of which I named Breakfast at Peets. At times, I have painted on paper, but of late, it's been primarily on pieces I construct using masonite, plywood, and roofing aluminum. I love three dimensions and wish all of my work to take shape related to the theme of each piece.
This harks back to my childhood and the doll houses, toy gas stations, and Western forts I played with. My choices for themes are then illustrated with a cartoony figurative style, lots of colors, exaggerated activity between the characters, and my sense of humor. Sometimes I'm poking a little fun, and other times just having a little laugh.
I have been inspired by several other artists, including Red Grooms, Roy Deforest, Chicago's Hairy Who, Florence Stetheimer, and Frida Kahlo. Each of these artists takes from American life and their own to present their version of what they see or experience—often with a great sense of humor.
One of my other great passions is literature. When I realized that writing was not my forte and started painting, I realized I could tell stories through visual arts. That's what I try to do through my work. Have a little fun telling tales.
JANE GENNARO
April's Mining My Life unveils Episode Three of Hip Story, my quest to reclaim my bone after hip replacement surgery. News that pathology will only release my bone to a priest or rabbi resurrects my Catholic upbringing. The Church's claim on my seven-year-old mind and body spirited me off on My First Holy Communion Day.
Like a child bride, wearing a white veil, dress, gloves, shoes, socks, and petticoat, I knelt before a priest holding a communion wafer in front of my face. I stuck out my tongue to receive the Holy Eucharist from his consecrated fingers.
Then I blessed myself, stood up, and solemnly walked down the aisle with my hands folded in prayer. Trying not to look like I was NOT chewing, I entered the pew, knelt down, put my head in my hands, and swallowed. I prayed to believe I was eating the actual body of Christ.
At twenty-one, I illustrated a songbook published by Chappell Music. My drawing for "The Bells of Saint Mary's" is a body of nuns (brides of Christ), signed Jane S. Gennaro; "S" in honor of Sister Sabina, a nun who befriended my mother when she was a young woman working for The Family Rosary Crusade.
“Great things are done by a series of small things brought together.”
—Vincent Van Gogh
Susan will have her art work exhibited at the Knox Gallery, Monterey Library, 452 Main Rd, Monterey MA., May 2-June7, 2025. Reception: May 2, 5:30-7pm. sgflexart1@gmail.com www.flexart.space
Catholicism's reverence for our animality as human creatures and our seeking to be more than animals illuminates parts of my body of work to this day, but my faith is in the creative process that allows me to celebrate the sovereignty of my own truth.
Jane Gennarowww.janegennaro.com
LOUD TALKER, 32" X 25"
SUNNY, OIL IMPASTO ON WOOD PANEL, 6”X 8”
THE
STEPHAN MARC KLEIN
I have been sketching and making art for all my adult life, since my undergraduate education as an architect in the late 1950’s. What interests me most at present about creating art, besides the shear visceral pleasure of making things, of putting pencil or pen or brush or all of them to paper, and of manipulating images on the computer, is the aesthetic tension or energy generated in the metaphoric spaces between the abstract and the representational, between individual work and reproduction, and between analog and digital processes. I enjoy creating images that result from working back and forth between the computer and the handmade.
My wife, artist Anna Oliver, and I have made our home in the Berkshires for the past three years and I am still entranced with its beauty. I think much of my work is in part a kind of visual rhapsody to the area. The idea for Snowstorm, Alford Village, came from an interest I have had in exploring the dimension of time in the plastic arts.
Also, I love snowy winters.
Stephan Marc Kleinstephanmarcklein.com smk8378@gmail.com
Member 510 Warren Street Gallery, Hudson, NY
SALLY TISKA RICE BERKSHIRE ROLLING HILLS
Born and raised in the captivating Berkshires, Sally Tiska Rice possesses artistic prowess that breathes life into her canvases. As a versatile multimedia artist, Sally seamlessly employs a tapestry of techniques, working in acrylics, watercolors, oil paints, pastels, collages containing botanicals, and mixed media elements. Her creative spirit draws inspiration from the idyllic surroundings of her rural hometown, where she resides with her husband, Mark, and cherished pets.
Sally's artistic process is a dance of spontaneity and intention. With each brush stroke, she composes artwork that reflects her unique perspective. Beyond her creations, Sally also welcomes commissioned projects, turning heartfelt visions into tangible realities. Whether it's capturing the essence of individuals, beloved pets, cherished homes, or sacred churches, she pours her soul into each personalized masterpiece.
Sally's talent has garnered recognition both nationally and internationally. Her career includes a remarkable 25-year tenure at Crane Co., where she lent her hand-painted finesse to crafting exquisite stationery. Sally is a member of the Clock Tower Artists of Pittsfield, Massachusetts, the Guild of Berkshire Artists, the Berkshire Art Association, and the Becket Arts Center. Follow on YouTube, Facebook, and Instagram.
Sally’s work is on the gallery walls of the Clock Tower, Open Monday-Friday 9:00-5:00 pm for self-guided tours.
SallyTiskaRice@gmail.com www.sallytiskarice.com https://www.facebook.com/artistsallytiskarice Fine Art Prints (Pixels), Twitter, LinkedIn Instagram, YouTube, TikTok
JAYE ALISON MOSCARIELLO
Jaye Alison Moscariello harnesses water-based mediums like acrylic and watercolor, influenced by a creative upbringing and artistic journey. Through abstraction and intuitive color selection, she captures the interplay between forms with lines that articulate deep-seated emotions. Her art resonates with joy and upliftment, transforming personal and worldly complexities into visual harmony.
The artist is passionate about creating art, painting on flat, smooth surfaces, and using environmentally friendly materials.
Moscariello's work has been exhibited nationally and internationally and has appeared in print, film, television, the web, and Off Off Broadway.
Transforming personal and worldly complexities into visual harmony. In celebration of Jaye's new studio, enjoy 10% off large paintings and 30% off small paintings.
Jaye Alison Moscariello310-970-4517
Studio visits by appointment only: Pond Shed (behind the Buggy Whip Factory), 208 Norfolk Road, Southfield, Massachusetts jayealison.com jaye.alison.art@gmail.com
RESVERATROL MIXED MEDIA BOTANICAL COLLAGE 30”X 40”
PATAGONIA, ACRYLIC, LATEX, GRAPHITE ON CRESCENT BOARD, 40”X 30”
BETWEEN THE LINES 2023, ACRYLIC ON CANVAS, 36.5” X 31.5”
DURING
STORM, MID PANEL FROM SNOWSTORM, ALFORD VILLAGE, TRIPTYCK
JANET COOPER
THE ART OF FIGURING OUT
WHAT KIND OF ARTIST I AM
Fabrics, anatomy, stitches, colors and bricologue are words, imbued with intense emotionality for me, a maker, collector and lover of objects and places.
My first love was clay, so basic, earthy and obsessively compelling, I adored making pottery shapes and objects, resembling torsos. A period of fascination with vintage tin cans, bottle caps and junky metal discards followed. Metal was sheared, punched, riveted and assembled into figurative shapes. I began to use fabrics with these works and eventually abandoned metal for hand stitching doll sculptures, totems and collages, all with second hand or recycled fabrics.
Lately I have introduced paint and waxes into my work. I also am using animal bones, those armatures of mammal form. I am recycling old works into the new, a kind of synthesis of who I have been with whom I am now.
I am also returning to jewelry or ornament making. as well as fashioning a collection of garden and street wear art aprons.
Janet Cooperjanetcoop@gmail.com www.janetcooperdesigns.com
AN
FRONT ST. GALLERY
Pastels, oils, acrylics and watercolors, abstract and representational, landscapes, still lifes and portraits, a unique variety of painting technique and styles you will be transported to another world and see things in a way you never have before join us and experience something different.
Painting classes continue on Monday and Wednesday mornings 10-1:30pm at the studio and Thursday mornings out in the field. These classes are open to all...come to one or come again if it works for you. All levels and materials welcome. Private critiques available. Classes at Front Street are for those wishing to learn, those who just want to be involved in the pure enjoyment of art, and/or those who have some experience under their belt.
Kate Knapp413-528-9546 at home or 413-429-7141 (cell) Front Street, Housatonic, MA. Gallery open by appointment or chance anytime. www.kateknappartist.com
RICK NELSON
Today would be Ed's birthday. I'm a horrible friend; I know he was around my age, but I think I was a year older. We were co-inhabitants in a condo on the outskirts of State College, Pa. Both of us were in art. I was floundering; Ed was confident in his painting.
My favorite piece of his was a large canvas with a guy jumping off of a cliff into a swimming hole. Simple, but you wanted to jump next. I don't know. Anyway, this is a rendering from the memory of Ed's painting in recognition of his birthday.
Yaggah Hewtie, Zoilo!
Richard Nelsonnojrevned@hotmail.com
A woman’s name raises doubts until her work is seen… I will show your illustrious lordship what a woman can do. —Artemisia Gentileschi
KATE KNAPP, A VIEW OF THE PATIO, OIL ON CANVAS, 30” X 40”
INTERPRETATION OF ED SHERBERT’S MASTERPIECE, “THE PLUMMETING MAN”
Visit to Grandma’s House
by Shoshana Candee
As I pull into my grandmother's driveway, a road I remember so comfortably, I park where she used to park her car, and I get out of my car. As I walk up the two jagged, rough stone steps, I approach a spacious, semi-flattened rock that serves as a specially designed entryway to the basement door. As a child, I had crossed this uneven stone many times, feeling the cool stone prickling against my bare feet. Each step connected me to my younger self and the stories held within this house, its surrounding grounds, and with my grandparents.
I stand beneath the upstairs porch on the entryway landing and look around the driveway. My grandfather's large red garage caught my eye. The muddy stone driveway and its spread of land stretches out before me. To the side, a natural stone wall surrounds a small garden. This wall separates the yard from the driveway and leads to the ranchstyle house. Next to me, there are wooden stairs that go up to the porch. A wooden trellis leans against the first set of stairs; it is old, warped, and broken in a few places. The trellis used to support beautiful pink climbing flowers that my grandmother nourished with love each Spring, but now weeds have taken over. I feel a gust of wind blow through my hair; I sense past time and neglect through the air. Everything looks the same as I remember from childhood, except now the rock wall garden has overgrown grass and weeds. The garden my grandmother once habitually pruned and weeded is now forgotten, overgrown with weeds and grass.
I can remember that rock wall and how grandfather had spent his mornings, after a significant snowfall, plowing and maneuvering the snow up against it with his big yellow John Deer backhoe tractor, like a magician, into a big mountain for my sister and I to slide down. After breakfast, Grandma patiently helped us put on our snowsuits, hats, gloves, and boots, and with a flicker of excitement in her eye, she gently nudged us out the door into the winter paradise that awaited us. My sister and I were thrilled, eagerly grabbing our blue and red sleds and bolting to the top of the big pile of glistening snow. Our giggles filled the wintery, crisp air
like the jubilant songs of Chickadees in the Spring. As we slid down together, I could feel the shared thrill and exhilaration of gliding over the bumpy, uneven snow. Time would fly by as we spent hours sledding and digging caves in the mountain of snow. Time at Grandma and Grandpa's house was a period of pure and innocent joy when the world felt alive with imagination and play, and the thought of adulthood did not exist.
The John Deer Backhoe catches my eye, resting next to the garage. Its once shining yellow exterior has deceased to time and now has a faded hue. I see the rust clinging to its surfaces like an unwelcome reminder of the years that have passed. During fall clean-ups, the chance to climb into the enormous, rumbling backhoe felt like winning a blue-ribbon prize. As I settled onto his lap, a wave of nervousness and excitement coursed through me; the grey seat cradled us as I reached for the controls, my small hands ready to learn fromhim. Below, I can see Grandma amidst the deep orange, yellow, and red autumn leaves and the big pile of burning brush, her face glowing with pride and happiness as she waves up at me.
As I stare at the backhoe at that moment, there is a profound sense of melancholy about the tractor, as if it is longing for the days when it was a busy part of the Candee Family, ambitiously waiting to be driven once more.
I walk over to the garage and open the door. It is dark, cold, and lonely, and memories of laughter and hard work echo through the building. Once a busy workshop where my grandfather toiled with passion and creativity, mostly on rainy or wintery days, now stands deserted, whispering a story of a man that once flickered in life; well-loved tools hang from the walls, a worn golf cart sits where it was last parked, cans of paint with a layer of dust, a sawmill, and even one of his soiled oil filled hand towel still lay on his workbench, a decade's worth of wood dust carpets the floor. Stacks of cut wood lean against the walls, some still holding the pencil marks of unfinished projects, including half-constructed birdhouses and footstools that lay scattered, ready to be assembled. The old radio is still playing his favorite country station like it has since I was little. I can remember how I loved the smell of the garage as a kid; as I get wafed with the familiar aroma of gas, pine, and varnish, I take a deep breath through my nose and imagine Grandpa busy at work on the sawmill. He wore bright orange earmuffs and his red flannel shirt, speckled with sawdust; the obnoxiously loud roar of the mill filled the air. I see him look at me with a joyful smile and wave.
My sister and I spent most of our days at my grandparents' house; it was every weekend and even some of the week, depending on when our parents went away, which was often. A second home where Grandma and Grandpa instilled values and life lessons, and the opportunity to play and imagine was endless. It is a time that haunts my heart today, leaving it sad and desperate to return to the past when I was nurtured and felt safe and warm in Grandma's presence. As I stand there, gazing at the rock wall and the overgrown gardens, I see my sister and me as kids—innocent, small, and shining with fearlessness—climbing up the rugged surface of the rock wall to see who could reach the top without falling. Smiles radiated on our faces, laughter ballets through the air as pure joy wrapped around us like a warm kiss on the cheek. I take a deep breath, take one last look around, and notice the hand-built shed my grandfather built to store his firewood for the
wood stove is now chipping its brown paint. Remaining on the roof lay his wrench, a pair of gardening gloves with a rose print, and some old green plastic flowerpots. These remnants stand still, stuck in time, while the people around them age, encompassing them in encapsulated love and memories held close.
Preparing myself to go inside for a long-overdue visit to my Grandma, I can smell the air. A spring breeze hits my face. The sun is shining, making the puddle in the driveway glisten. I see my sister and me playing barefoot in the driveway mud puddles, our feet covered in dark, cold spring mud. I hear my grandmother yelling to come in for lunch from the top porch.
My heart aches. I open the basement door and go in. As I step inside, I notice my grandfather's jackets still hanging on the wall; amongst them, a particular jacket—his favorite, worn so often—rests on the stair railing, exactly where he placed it a year ago before he passed away; a silent reminder of his absence, it entangles my senses like passing by someone with an overwhelming amount of perfume that makes you rub your nose. His desk, overwhelmed with papers, has been untouched for months, proof of the life he once lived. The wood stove, once upon a time filled with warmth and the glow of the fire, now stands dead and cold. I remember how my grandfather always sat in his red swivel chair, tending to the wood stove, carefully placing pieces of firewood into it. A newspaper lies stretched on the table beside him, and next to it rests a plate with a slice of my Grandma's banana bread, accompanied by a glass of milk. Walking down the stairs in the early morning light, I find him in his usual spot by the fireplace. I climb onto his lap, and he begins to share stories of his past—a rich tapestry of memories that fill the room with his comedic spirit. The heat from the fireplace burns my knees a little, though I find comfort in it, allowing me to stay close as I listen intently to his words. My sister comes down the stairs shortly after me, and I feel an added sense of relief, knowing I am not alone. After a brief time, I head upstairs, eager to see if Grandma has finished making breakfast.
I make my way up the familiar wooden basement steps, the familiar sound of my feet as I climb the steep-angled steps that lead me directly into the kitchen, noticing once again the familiar old photographs and plastic magnets organized neatly on the fridge. I see Grandma sitting comfortably in her chair; her eyes, bright and soft, are fixed looking outside the sliding glass door that looks out to the garage and land. A glass table on the porch laced with birdseed attracts birds and squirrels, and she focuses on them like she is watching a movie. The afternoon sunlight streams in, casting a warm glow around her; she looks up as I approach, her eyes sparkling with recognition, and a wave of joy surges through me at the sight of her smile, a beautiful reminder of what home feels like. I walk over, the familiar scent of her perfume surrounding me; I embrace her warmly, planting a gentle kiss on her cheek that mirrors our history. As I settle into the chair beside her, I feel happy to be here in this home next to Grandma, just as I always remembered.
—Shoshana Candee
ENGLISH 101-02 PROFESSOR GRACE VON MORTIZ
Essay
BRUCE LAIRD
I am an abstract artist whose two- and three-dimensional works in mixed media reveal a fascination with geometry, color and juxtapositions. For me it is all about the work which provides surprising results, both playful and thought provoking.
From BCC to UMASS and later to Vermont College to earn my MFA Degree. I have taken many workshops through Art New England, at Bennington College, Hamilton College and an experimental workshop on cyanotypes recently at MCLA. Two international workshops in France and Italy also.I am pleased to have a studio space with an exciting group of artists at the Clocktower Building in Pittsfield.
Bruce LairdStudio #307, Clock Tower Business Center, 75 South Church Street, Pittsfield, MA Instagram: @ecurbart
RUBY AVER STREET ZEN
Growing up on the Southside of Chicago in the 60s was a history rich and troubled time. As a youth, playing in the streets demanded grit.
Teaching Tai chi for the last 30 years requires a Zen state of mind. My paintings come from this quiet place that exhibit the rich grit of my youth . Movement, shape and color dominate, spontaneously combining raw as well as delicate impulses. My recent series, Strike a Pose, is inspired by the dance genre Voguing. Colorful feminine images with amplified characters grace the canvas with their mystery.
Ruby AverHousatonic Studio open by appointment: 413-854-7007 / rdaver2@gmail.com Instagram: rdaver2
Matt
Bernson
mattbernson.art
I went to a workshop with Jim Peters and my friend @jiggles_burlesque was modeling.
Was nice to draw her again and also be doing life drawing in a group. Saw some friends I haven't seen in a while and it was also nice to meet Jim, and I realized I had a book of his work when he had some books out for us to look at for inspiration and reference.
BRUCE PANOCK
I am a visual artist using photography as the platform to begin a journey of exploration. My journey began in earnest almost 14 years ago when I retired due to health issues and began devoting myself to the informal study of art, artists and particularly photography. Before retiring I had begun studying photography as a hobby. After my retirement, the effort took on a greater intensity.
My world had changed for reasons outside of my control and I looked for something different in my work. I wanted to do more than document what was around me. I wanted to create something that the viewers might join with me and experience. Due to my health issues, I found myself confined with my activities generally restricted. For the first time I began looking inward, to the world that I experienced, though not always through physical interaction. It is a world where I spend more time trying to understand what I previously took for granted and did not think about enough. The ideas ranged from pleasure and beauty to pain and loss; from isolation to abandonment; to walking past what is uncomfortable to see. During this period of isolation, I began thinking about what is isolation, how it can transition to abandonment and then into being forgotten. The simplest display of this idea is abandoned buildings. They were once beautiful, then allowed to run down and abandoned, soon to be forgotten. After a while they disappear. Either mankind knocks down these forgotten once beautiful structures, or remediates them, or Nature reclaims the space. Doesn’t mankind do the same with its own?
ArtByMattBernson.com matthew.bernson@gmail.com Instagram@MattBernson.Art
My work employs references to other photographers, painters, as well as sculptors. The brushwork of Chinese and Japanese artists is appealing for both its simplicity and beauty. Abstract art has its own ways of sharing ideas which are jarring and beautiful at the same time. Black and white and color works each add their own dynamic. My work is influenced by these art forms, often using many of them in a single composited image. Bruce PanockPanockphotography.com bruce@panockphotography.com Instagram @brucepanock
ACRYLIC ON WATERCOLOR PAPER, 18” X 24”
TAXI, ACRYLIC ON CANVAS, 16” X 20”
TREE AND SHRUBS
JWS WE’VE MOVED!
Welcome to JWS Art Supplies at our new location, 291 Main St in Great Barrington. We're excited to offer a wide variety of art supplies and craft materials for artists of all ages and skill levels. Whether you're a parent looking for fun projects for kids or a professional artist seeking high-quality materials, we have something for everyone.
Our knowledgeable staff is here to assist you with whatever project you're working on. Don't hesitate to ask for recommendations or guidance—we're dedicated to helping you find exactly what you need to bring your creative vision to life.
Visit us and explore our extensive selection of art supplies!
JWS Art Supplies413-644-9838
291 Main St, Great Barrington, MA. info@jwsartsupplies.com
MARGUERITE BRIDE BERKSHIRES FAREWELL
In May, I will be moving from the Berkshires to another beautiful New England area….the Lakes Region of New Hampshire. After 30 years in paradise, another adventure is calling me. I can hear the loons on Squam Lake now.
While I will be living elsewhere, you can still see my work at Miraval in Lenox, The Red Lion Inn and Whispered the Heart in Stockbridge. And actually I will be back in the area every couple of months, so you may see me around.
I will continue to do commission work…house and business portraits, well, just about anything that is special to you. If you can send me pictures, I can draw and paint it. My new studio space should be set up by July, and that is a good time to consider a painting for the holidays.
Marguerite Bride –413-841-1659; margebride-paintings.com; margebride@aol.com; Facebook: Marguerite Bride Watercolors. Instagram: margebride.
JOANE CORNELL
“WHERE THE MAGIC HAPPENS”
You wouldn't think this small jeweler's bench could be so mighty. This is where the magic happens, mostly. Other "stations/surfaces" in my cozy, light-filled studio aid in producing my oneof-a-kind jewelry designs.
I've considered, many a time, over the years, buying a larger, more spacious workbench. But I'm the type of artist who likes "the struggle." This bench is challenging. Cramped. But I do believe the challenge fires my spirit/creativity. I truly like small, compact spaces. Psychology 101, anybody?
Visit by boutique in Chatham, New York. Joane Cornell Fine Jewelry917-971-4662.
Spring Schedule; Thurs., Fri.and Sat. 11-4. Summer/Fall schedule to be determined. JoaneCornellfinejewelry.com Instagram; Joane Cornell Fine Jewelry
CUSTOM HISTORIC HOUSE PORTRAIT, WATERCOLOR
Something for Over the Couch PART 26
“The Americano”
Uncle Firp’s beautiful house was a mystery to me, and I always looked at it afresh each time I passed it, but I began to notice a new and unsettling detail about the place. There was often a black Ford convertible in the driveway, a car belonging to the suitor of Claudia, the waitress in the Italian cafe.
So I thought I had discovered that Claudia's boyfriend was a man named Carlo, and Carlo was the violent son of old Uncle Firp. It seemed to me that Carlo was probably almost thirty, and Claudia looked to be about 16, the same age as myself. I freely admit that I was terribly attracted to Claudia, but I had no idea at all about trying to create any kind of a relationship with her. She was “From the old country,” an epithet that applied to anything considered archaic and old fashioned, and Claudia was strictly from the old country. She could easily have been a sister to my many cousins who were Italian Catholic girls. But regardless of the gulf and obscure fog that seperated me from her, I wanted simply to establish some connection to her. Because of this I no longer avoided the cafe when the boyfriend’s black convertible was parked nearby, and began to frequent the cafe more often, being careful to park my bicycle a block away.
To establish a relationship with her I self consciously decided on an action, something I would do as a first step in her direction. This is what I did, I placed my order and she handed me my eclair and an espresso in one of those ridiculous tiny cups. As I took the cup from her I said, “Thank You, Claudia.”
When I look at what I just wrote, it seems to be nothing at all. Almost everyone said the same thing to her day in and day out, everybody said “Thank you Claudia,” and some of the people even added little endearments to the remark such as ‘dear,’ or even substituting ‘sweetheart,’ for her name. I noticed also that the older the customer was the more given they were to such expressions. But for me to address her by name was a thing entirely different, and not only that but I deliberately put a long pause between the ‘thank you,’ and the ‘Claudia.’ Perhaps you think I am making too much of what was obviously a meaningless gesture, and you are probably correct to think it is really evidence of weak mindedness on my part. You are probably correct to chalk it up to weak mindedness. On any day that I might frequent the place, I might see all sorts of people engaged in polite conversations with her, and even right in front of her boyfriend, but thanking her by name was the best I could do under the circumstances.
About a week later I did something much more ambitious, so much so that, when I think back on it
I am amazed at my stupidity. I asked her to make me a cafe Americano. She had no idea what an Americano was and asked for an explanation, so I told her to make me a regular espresso but to, “Just put it in a teacup along with hot water.” The making of an Americano seemed to be utterly incomprehensible to her, and she even screwed up her face in a skeptical questioning look. I tried to point out that there was really nothing to it, demonstrating the idea using one hand as an example of a cup of tea, and the other as a shot of espresso. I was trying to explain with gestures how easy it was to put one into the other, but right then the old man, the owner, who must have heard my unusual request, poked his head out from the kitchen and shook his head at me in a rather stern, judgmental way.
Apparently I had crossed some kind of unwritten law in my interaction with his niece, or his daughter, I didn’t know which.
Americanos were not allowed, explanations of what Americanos consisted of were also not allowed. My new idea was a total and instant failure. A failure that involved the management. A total and complete failure, so much so that I suddenly began to feel like a ‘Persona non grata.’ I felt like I had descended to the level of the kind of person who is waited on in an establishment in such a way as to indicate that the establishment would much prefer they would take their money, and their tip and just go somewhere else.
I sat down and wondered practically out loud what I could have done that was so unacceptable as to earn an actual rebuke from the old man himself, and he was one of those old men, interchangable with my grandfather, an old Italian man smelling of stogie smoke. He was one of those old men I instinctively, practically from birth, had an automatic special respect for.
So I sat down with my eclair and my tiny cup of espresso in a cup about the size of a thimble, and plunged into the depressing analysis of my failure. And right then, with half an eclair halfway to my mouth, I saw clearly the significance of what I had done. I had asked some Italians, Italians whose entire identity, and the total significance of their business and their lives, to stop what they were doing and become Americans, and to make me an “Americano.” I was insulting them and making fun of them at the same time. I had to repress a sudden impulse to rush up to the counter and apologize to somebody, but fortunately I overcame the urge.
I am not going to hope that you will understand the significance of what I did, I am going to spell it out for you. In Utica, in 1964, there were two kinds of Italian families, most could not shed their background, religion and language fast enough. But there was a tiny minority, for whom Italy was not the land of the Mafia, organized crime, and Mussolini, but instead, the land of Michelangelo. They were of the second category and I was of the first.
I waited over a week before I went back to the cafe, and I went on a day when I knew Claudia would not be there. Her sister was there and began preparing my order of an espresso and an eclair without my asking, but then, holding the expresso in one hand, she took a tea cup and made a gesture as if asking if she should put the shot into the tea cup and so, add hot water to make me the outlawed Americano mixture. This happened silently, and my only reaction was to look at the door to the kitchen, as if I expected the owner's judgmental face to appear.
Why? What had happened? Why would the sister know about my request? Did she make my order in spite of the owner, or because he had changed his mind? Did some conversation happen about me that caused this change? Possibly someone recognized me as the son of the deceased insurance salesman, who, years ago perhaps was a customer. I was anxious to see how I would be waited on by Claudia herself.
Claudia, when she waited on me again showed no sign that I was allowed to order something not on the menu, so to speak, and so I thought to myself, “This idea that these people know who I am, who my father was, and even that I painted the painting on their wall, is just silly conjecture. The explanation was obvious, the other sister made me an ‘Americano,’ simply because that’s the kind of person she was, and it meant nothing at all.
In a way the cafe was a small museum of Italian culture that I was visiting once a week. There are people who go to a museum to look at one special painting, and ignore everything else in the place. Some person might get in a cab, pay the fare to go all the way to the Met. At the Met they will pay the admission, go up some stairs, walk through various rooms until they get to their special picture. Then they will stand in front of their special picture for about a minute, even two minutes, and then they will go back out into the street, and take a taxi back to where they came from.
Furthermore, the fact that you do not own, and could never own the painting or anything like the one you make your pilgrimage to visit once or twice a year is a part of the charm and importance of the ceremony.
If the painting was in your house you would most surely forget all about it. The things a person owns very gradually disappear over time. Even some fortunate person who has purchased some small Impressionist painting by Degas, might even leave it with its face to the wall for some long period of time.
Not only that, but when you go to visit your favorite painting in the museum, you might have the pleasure of seeing some stranger standing in your spot, and admiring the picture you care so much about. And so you can assume that there is some meaningful special bond between yourself and that stranger. Actually, it is sometimes the stranger that is more important than the painting, but I am not going to pursue that aspect of the museum visit.
Like a museum visit to my favorite painting! That now became the reason for my visit to the Italian Cafe Bakery. Claudia was the painting, and the cafe was the museum, a museum to Italian culture as it had been, ideally, when my grandparents fled from the place, and Claudia was the painting I wanted to admire from a distance, and like in a museum, I thought there was an invisible velvet rope in front of her.
—RICHARD BRITELL, MARCH, 2025 PARTS 1 THROUGH 25 SPAZIFINEART COM/SHORT-STORIES/
