THE ARTFUL MIND
JOANE CORNELL
JEWELRY DESIGNER
PHOTOGRAPH BY EDWARD ACKER
the ARTFUL MIND
IN PRINT SINCE 1994
2025 “ IN GOOD COMPANY” And the red balloon flies over Paris And the Red Balloon flies over 11 Eagle Street, N.A. ART SHOW AUGUST 2025.
CALENDAR for Spring and Summer... 4
Elizabeth Cassidy In Other Words | POETRY 11
Interview: Joane Cornell Jewelry Designer
Cover Photograph by Edward Acker ... 24
Interview: Robin Crofut-Brittingham Visual Artist ... 34
Richard Britell | FICTION
Valeria and the Ants CHAPTER 1 47
Diaries of Jane Gennaro
Mining My Life EPISODE THREE “Hip Story” .... 48
Publisher Harryet Candee
Copy Editor Elise Francoise
Contributing Photographers
Edward Acker Tasja Keetman Bobby Miller
Contributing Writers
Richard Britel Jane Gennaro
Third Eye Jeff Bynack
Distribution Ruby Aver Calendar / Advertising/ Editorial inquiries and Subscriptions by mail: 413-645-4114 Email: artfulmind@yahoo.com Read online: ISSUU.COM YUMPU.COM Join the FB group: ARTFUL MIND GALLERY for Artful Minds 23 THE ARTFUL MIND PO Box 985, Great Barrington, MA 01230
JOANE CORNELL FINE JEWELRY
Nancy Z. Commission order rings
COMMISSION ORDERS WELCOME
Hand Forged Designs
www.JoaneCornellFineJewelry.com 9 Main St. Chatham, NY
CALENDAR OF EVENTS
JON BATISTE
June 28, 7pm
Tangelwood Popular Artist Series
BS | Tanglewood
Koussevitsky Music Shed 297 West St, Lenox/Stockbridge, MA
ART
510 WARREN STREET GALLERY
510 Warren st, Hudson NY 518-822-0510 / 510warrenstgallery@gmail.com Featured artists each month.
ART ON MAIN GALLERY
38 Main St, West Stockbridge, MA www.berkshireartists.org
June 5 - 29, Thurs - Sun 11-4.: “Go Figure” Representing berkshire artists Jane Craker, Julie Love Edmonds, Pattie Lipman and John Huffaker and their interpretations of being human through paint, sculpture and prints. Reception: June 7, 2-4
BECKET ARTS CENTER
7 Brooker Hill Rd, Becket , MA 413-623-6635 office@becketartscenter.org
June 13-July 6: Berkshire LGBTQ+ Pride Exhibit; June 13-July 6: Special Members Exhibition; Macrocosm: July 25 - Aug 17.
BERKSHIRE BOTANICAL GARDEN
5 West Stockbridge Rd, Stockbridge, MA 413-298-3926 BerkshireBotanical.org
June 6- Aug 11: Day Dream, Curated by James Salomon; Reception: Sat, June 14. Also: S;eepwalkers, in conjunction with “DayDream”, an outdoor exhibit by renowned sculptor Mark Mennin
BERNAY FINE ART
296 Main st Gt Barrington, MA 413-645-3421
June 7 - July 7: Shifting Views: The show will feature the work of Noah Post, Simona Prives, Karin Schaefer and Chenta Laury. The works in this exhibition explore how meaning evolves depending on what we notice, how we look, and what we bring to the experience.
CARRIE HADDAD GALLERY
622 Warren St, Hudson, NY info@carriehaddadgallery.com
June 6 - July 27: The Summer Show
THE CLARK ART INSTITUTE
225 South St, Williamstown, MA 413-458-2303
July 12 - Oct 5: Berenice Abbott’s Modern Lens Berenice Abbott (1898–1991) was one of the most
TRINITY IRISH COMPANY
July 10 - 13
Jacob’s Pillow 358 George Carter Road, Becket MA 358 George Carter Road, Becket MA 413-243-0745
important American photographers of the twentieth century, known for her pioneering documentary style, unpretentious compositions, and technical innovations. A woman photographer working in the relatively early days of the medium, Abbott demonstrated that women could hold a prominent place in cutting-edge artistic communities. The Clark marks the 100-year anniversary of Abbott’s first photographs with an exhibition examining the relationship between her portraits of people and her “portraits” of places.
CLOCK TOWER ARTISTS’ STUDIOS & GALLERY
75 S. Church St, 3rd fl, Pittsfield, MA clocktowerartists.com
The Clock Tower Artists is a collective of working artists, see website for artists and open studio visits.
CHESTERWOOD
4 Williamsville Rd, Stockbridge, MA chesterwood@savingsplaces.org
June 7 marks the opening of its 47th annual contemporary outdoor sculpture exhibition, which will run throughout the season, ending October 31. This season’s exhibition, entitled Global Warming / Global Warning! addresses the issue of climate change and will be curated by preservation engineer and restoration architect Michael F. Lynch, with works by sculptors Kathleen Jacobs, Ann Jon, Harold Grinspoon, Natalie Tyler, and DeWitt Godfrey.
FRONT ROOM GALLERY
205 Warren St, Hudson, NY
Front Room Gallery specializes in contemporary photography, painting, sculpture, installation and limited edition prints. June 21-July 13: Thomas Broadbent
FUTURE LAB(S) GALLERY
43 Eagle St, North Adams, MA
June 6 - 28: Portals: Life, Death, and the little red house. Dawn Nelson / Carolyn Newberger
Opening: Friday, June 6, 6-8 pm
Closing: Saturday, June 28, 6-8 pm
Gallery hours: 1-5, Saturday and Sunday
GALLERY NORTH
9 Eagle St, North Adams, MA 413-663-1509
A fine art gallery featuring artists in many mediums
LAPIN CONTEMPORARY
Studio 308, 60 Roberts Dr. North Adams, MA
FUZZY
July 8 - July 27
Barrington Stage Company St. Germain Stage, Pittsfield, MA info@barringtonstageco.org
Through June 15: An Ode to Spring – Celebrating Nature’s Renewal, a stunning group exhibition featuring works by: Emily Bunnell, Wendy Hybl Fannin, Douglas Gilbert Elisa Gilbert, John Lanterman, Natalie Tyler and Jen Violette
LAUREN CLARK FINE ART
684 Main St, Gt Barrington, MA Lauren@LaurenClarkFIneArt.com
Fine art, glass, sculpture and paintings
MASS MoCA
1040 MASS MoCA WAY, Hunter Center, North Adams, MA info@massmoca.org
Through August 2026: Jeffrey Gibson: Power Full Because We’re Different. A commissioned immersive installation filling MASS MoCA’s signature Building 5 gallery that follows Gibson’s highly celebrated United States representation at the 60th edition of La Biennale di Venezia.
PAMELA SALISBURY GALLERY
362 1/2 Warren St, Hudson, NY
June 21 - July 20: Daisy Craddock, Michael Meehan, Nisha Bansil & Bryan Whitney, Rachel Rickert, Ron Milewicz and Scott Brodie
SANDISFIELD ARTS CENTER
Hammertown Rd, Sandisfield, MA www.sandisfieldartcenter.org
Through July 6: Celebrating the 30th anniversary and long anticipated renovations of the Arts Center, this exhibition pays tribute to Sandisfield—the topography, trees, totems, rocks, rivers, animals, and artists who call it home.
SOHN FINE ART
69 Church St, Lenox, MA 413-551-7353 info@sohnfineart.com
May 10 - July 28: Heredity: Joseph La Piana. Heredity explores the concept of artistic lineage and transformation through Joseph La Piana’s signature blend of scientific inquiry and material experimentation.
SUSAN ELEY FINE ART
433 Warren St., Hudson, NY
June 12 - July 27, Reception: June 14: Quotidiana: Rituals and Passages, New Works by Francie Heter
SOUTERRAIN GALLERY
413 Sharon Goshen Tnpk, West Cornwall CT Til’ June 30: Ken Krug: Country Roads & City Street
BLUE SKIES AND OTHER CONVERSATIONS: PAINTINGS BY ANNE LEVITT
June 6 - 29, 2025 Reception on June 7, 2 - 6. 510 Warren Street Gallery 510 Warren St. Hudson, NY 510warrenstgallery@gmail.com
THE JAMES GAGARIN GALLERY
The Owl Library 160 S St, Litchfield, CT May 29 - July 10: Impermanence: Solo show: Erika Larskaya
TURNPARK ART SPACE
2 Moscow Rd, West Stockbridge, MA
May 17 - Aug 3: Paul Chaleff: Sculpture - TablesChargers; May 17-Aug 10: Jim Morris: Leaving Traces; Aug 13-Oct 31: John Clarke: Passing Through.
NEW MARLBOROUGH MEETING HOUSE
154 Hartsville, New Marlborough Rd New Marlborough, MA
June 20-July 20: “Botanically Speaking” Reception June 20, 5-7pm. “Botanically Speaking” celebrates the intrinsic beauty and complexity of plant life. July 25 -Aug 24. “Elemental: earth / air / water”
Reception July 25, 5-7pm. Aug 29-Oct 5: “Black and White and What Lies Between” Reception: Aug 29, 5-7 pm
Theater
BERKSHIRES THEATRE GROUP
www.berkshiretheatregroup.org
June: THe Elephant Man; Legendary Comedian George Wallace; Pink Floyd’s The Wall. A Theatrical Concert July: Out of Character; The Mousetrap. Check website for locations and sepcific times.
HUDSON HALL
327 Warren St, Hudson, NY hello@hudsonhall.org
July 18 - Aug 17: Hudson Terminus, Jon Kinzel. Interdisciplinary Exhibition with Site Specific Performances.
MAC-HAYDN THEATRE
1925 NY-203, Chatham NY 518-392-9292
June 5 - 15: Rodgers & Hammerstein’s A grand Night for Singing; June 19 - July 6: Guys & Dolls; July 1020: A Bronx Tale..see website for more.
SHAKESPEARE & COMPANY
70 Kemble St, Lenox, MA 413-637-3353 shakespeare.org
June 19 - July 20: The Victim, by Lawrence Goodman; July 12 - Aug 10: Shakespeare’s Romeo and Juliet; July 25- Aug 24: August Wilson’s The Piano Lesson.See website for more.
THE THIRD ANNUAL DAVID GROVER SCHOLARSHIP CONCERT
July 18 5:30pm Berkshire Theatre Group
Balderdash Cellars 81 State Rd, Richmond, MA 413-997-4444
SHARON PLAYHOUSE
49 Amenia Rd, Sharon CT info@sharonplayhouse.org
June 20 - July 6: Million Dollar Quartet; Aug 29Sept 7: Sylvia; July 26 - Aug 10: Annie; Sept 26 - Oct 5: The Mousetrap, plus much more, go to website.
TIME & SPACE LTD
434 Columbia Street, Hudson, NY 518-822-8100 fyi@timeandsace.org instagram @sharonplayhouse
Music /Fairs
BECKET ARTS CENTER
7 Brooker Hill Rd, Becket , MA 413-623-6635 office@becketartscenter.org
https://www.theluckyfive.com/ Music Brings Communities Together: The Lucky 4 Saturday, June 28, 5 - 7pm.
BERKSHIRE OPERA FESTIVAL
Mahaiwe Performing Arts CEnter, 14 Castle st, Great Barrington, MA
Aug 14: 10th Anniversary Concert. Aug 23, 26, 29: La Traviata, Composer Giuseppe Verdi.
CLOSE ENOUNTERS WITH MUSIC Mahaiwe Performing Arts Center Gt Barrington, MA May 8: L’Amour Toujours. Commissioning Program World Premiere
DOTTIE’S / DOROTHY’S 438/444 North St., Pittsfield 413-443-1792 www.dottiescoffeelounge.com
June 13: 6-9pm: Music of Lonny Jarrett and Friends; June 28: Music of Chantell and Friends, earlier Event, June 27: Latin Night with Prashad and Luana. See website for full schedule.
HANCOCK SHAKER VILLAGE
1843 West Housatonic St. Pittsfield MA
413-443-0188
Aug 3: SUMMER GALA in the Village. Stroll through the Village and enjoy a magical evening, where rolling hills meet a stunning sunset off the Round Stone Barn.
ROSANNE CASH WITH JOHN LEVENTHAL
July 23 8pm
Mahaiwe Performing Arts Center Gt Barrington, MA 413-528-0100
TURNPARK ART SPACE
2 Moscow Rd, West Stockbridge, MA
June 14: TurnPark Summer Festival 2025: Roots and Wings (admission tickets, see website)
ARRIVAL ART FAIR
915 State Rd, North Adams, MA Free!
June 13 - 15: Arrival is an invitational, biannual art fair situated in the Berkshires mountains of western Massachusetts, equidistant from New York City and Boston. Founded as an antidote to the frenetic pace of the art fair circuit, the inaugural edition features exhibitors from across the United States, nominated by an esteemed team of Curatorial Ambassadors.
Education
BERKSHIRE ART CENTER
13 Willard Hill Road, Stockbridge MA
Make Art, Buy Art! Visual art classes, workshops, events year-round for all ages/skill levels. Shop artwork by local artists, discounted art supplies, books and more in our gallery stores.
Film
IMAGES CINEMA
50 Spring st, Williamstown MA 413-458-1039
June 7, 8, 10, 11: A Hard Day's Night (1964).
June 14, 15, 17, 18 Xanadu,(1980). June 21, 22, 24, 25: The Adventures of Priscilla, Queen of the Desert (1994). June 28, 29, July 1, 2: Straight Out of Compton (2015).
“In Good Company.”
The Artful Mind
Art Exhibit
Off the pages and onto the walls
Reception
Sat. Aug. 9TH 5 - 8pm
August 2025
11 Eagle street north adams massachusetts
FOLLOW US ON: FB / instagram for update/details
FRONT STREET GALLERY
Painting classes on Monday and Wednesday Mornings 10-1pm at the studio in Housatonic and Thursday mornings 10am - 1pm out in the field. Also available for private critiques. Open to all. Please come paint with us!
Gallery hours: Open by chance and by appointment anytime 413. 274. 6607 (gallery) 413. 429. 7141 (cell) 413. 528. 9546 (home) www.kateknappartist.com Front Street, Housatonic, MA
BRUCE LAIRD
Clock Tower Artists
Business Center Studio #307
75 South Church Street, Pittsfield, MA Instagram- ecurbart
Untitled. Latest Work Acrylic on watercolor 24” x 24” inches
www.janetcooperdesigns.com
You Have Permission To…
You have permission to Envy the ones whose losses Never amount to much growth. Be thankful that you cry Every time you see a cat food commercial. Just like me. Just like you. We can’t adopt them all. I am talking about cats. Just to be clear.
You have permission to Carry the weight of the world On your shoulders. They are expansive enough To hold the sleeping dreams Of those not yet born.
You have permission to Feel like the Walking Lost Living on this planet That wants nothing to do with you. But let’s turn this around. You have permission To lead them out of their mess. They just might be shy And afraid to ask for clean-up in aisle 5.
You have permission to Covet the ones with babies And the stretch marks That are the opening lines Of a love letter.
You have permission to Believe that things will work out. Push back to a time When you were in the throes Of childhood games. Playing make believe. And move time back further Into a scene where you Played baseball with your brothers Until the streetlights came on. And your stomach signaled That a bowl of pasta Would do just right. Right then.
—2025 elizabeth cassidy
Ruby Aver
Housatonic : Our River Acrylic on canvas 25”x 24”
rdaver2@gmail.com | Instagram: rdaver2. Housatonic Studio open by appointment: 413-854-7007
Sally Tiska Rice
BERKSHIRE ROLLING HILLS ART CLOCK TOWER ARTISTS
Studio 302, 3rd floor 75 South Church St, Pittsfield, MA (413)-446-8469 www.sallytiskarice.com sallytiskarice@gmail.com
“It is not our differences that divide us. It is our inability to recognize, accept, and celebrate those differences.” —Audre Lorde
Audre Lorde was an American writer, professor, philosopher, intersectional feminist, poet and civil rights activist. She co-founded the 'Kitchen Table: Women of Colour Press, a pioneering initiative that focused on the publications of works from LGBTQ+ women of colour.
artist, illustrator, writer, poet, peace lover elizabeth cassidy studio works elizabethcassidystudioworks.com
The Shed” At Tanglewood Watercolor on 300lb. cold press sheet. Matted and framed in a 16"x20"
Erika Larskaya
"As an abstract artist, I search for ways to represent the invisible, subtle, and unexpressed. I am driven to lay out fleeting and intangible experiences on physical surfaces.”
On view at Lauren Clark Gallery in Gt Barrington, MA
Erika Larskaya Studio at 79 Main St. Torrington, CT www.erikalarskaya.art
Summer Dance 2 Mixed media on canvas. 30” x 24”
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 Carsewell— Prints available, please inquire. 413-229-0155 / 413-854-5757 lcarsewellart@icloud.com www.lcarsewellart.com
JANET COOPER THE ART OF FIGURING OUT WHAT KIND OF ARTIST I AM
Fabrics, anatomy, stitches, colors and bricologue are words, imbued with intense emotionality for me, a maker, collector and lover of objects and places.
My first love was clay, so basic, earthy and obsessively compelling, I adored making pottery shapes and objects, resembling torsos. A period of fascination with vintage tin cans, bottle caps and junky metal discards followed. Metal was sheared, punched, riveted and assembled into figurative shapes. I began to use fabrics with these works and eventually abandoned metal for hand stitching doll sculptures, totems and collages, all with second hand or recycled fabrics.
Lately I have introduced paint and waxes into my work. I also am using animal bones, those armatures of mammal form. I am recycling old works into the new, a kind of synthesis of who I have been with whom I am now.
I am also returning to jewelry or ornament making. as well as fashioning a collection of garden and street wear art aprons.
Janet Cooper— janetcoop@gmail.com www.janetcooperdesigns.com
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 Aver— Housatonic Studio open by appointment: 413-854-7007 / rdaver2@gmail.com Instagram: rdaver2
Where ordinary charms become wearable magic — keychains, bracelets, earrings, boot charms and more.
Find a charm that speaks to you!
TAXI, ACRYLIC ON CANVAS, 16” X 20”
Buzzy Bees on a Ring Enamel Clipon Charms
CARYN KING
Caryn King Studio has evolved over the years, starting in Sharon, MA, then moving to Vineyard Haven, MA, and later to Newfane, VT. We have now found our permanent home in Southfield, MA where Rick and I have established our new studio. Visits to our studio are warmly welcomed! Our work is inspired by form and the power of art to evoke joy, reflection, peace, and delight. During your visit you'll get a behind-the-scenes look at a range of ceramic sculptures, both finished pieces and works in progress. We look forward to sharing our and inviting you into our studio and garden, a space full of imagination and inspiration. Studio visits by appointment.
Caryn King— 802-380-7006
Caryn King Studio, Southfield, MA www.carynking.com
JUNE 7-NOVEMBER 30 SENDING MESSAGES
THE SHAKERS REFERRED TO PEOPLE WHO WERE NOT IN THEIR SECT AS “PEOPLE FROM THE WORLD”. AS WOMEN OF THE WORLD, DEBORAH CARTER AND JOANIE CIOLFI, INSPIRED BY SHAKER ICONIC ELEMENTS AND THE SHAKER DESIGN POSTAGE STAMPS, CREATE THREE STUNNING DRESSES THAT BRING THE PAST TO THE PRESENT PHOTO: KORENMAN COM
DEBORAH H. CARTER
Deborah H. Carter is a multi-media artist from Lenox, MA, who creates upcycled, sustainable wearable art. Her couture pieces are constructed from post-consumer waste such as food packaging, wine corks, cardboard, books, wire, plastic, and other discarded items and thrifted wares. She manipulates 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.
“Sending Messages” on display at Hancock Shaker Village, 34 Lebanon Mountain Rd, Hancock, MA. Through November 30th. Deborah H Carter — 413-441-3220, Clock Tower Artists
75 S. Church St., Studio 315, 3rd floor Pittsfield, Massachusetts Instagram: @deborah_h_carter Debhcarter@yahoo.com
BRUCE PANOCK
I am a visual artist using photography as the platform to begin a journey of exploration. My journey began in earnest almost 14 years ago when I retired due to health issues and began devoting myself to the informal study of art, artists and particularly photography. Before retiring I had begun studying photography as a hobby. After my retirement, the effort took on a greater intensity.
My world had changed for reasons outside of my control and I looked for something different in my work. I wanted to do more than document what was around me. I wanted to create something that the viewers might join with me and experience. Due to my health issues, I found myself confined with my activities generally restricted. For the first time I began looking inward, to the world that I experienced, though not always through physical interaction. It is a world where I spend more time trying to understand what I previously took for granted and did not think about enough. The ideas ranged from pleasure and beauty to pain and loss; from isolation to abandonment; to walking past what is uncomfortable to see. During this period of isolation, I began thinking about what is isolation, how it can transition to abandonment and then into being forgotten. The simplest display of this idea is abandoned buildings. They were once beautiful, then allowed to run down and abandoned, soon to be forgotten. After a while they disappear. Either mankind knocks down these forgotten once beautiful structures, or remediates them, or Nature reclaims the space. Doesn’t mankind do the same with its own?
My work employs references to other photographers, painters, as well as sculptors. The brushwork of Chinese and Japanese artists is appealing for both its simplicity and beauty. Abstract art has its own ways of sharing ideas which are jarring and beautiful at the same time. Black and white and color works each add their own dynamic. My work is influenced by these art forms, often using many of them in a single composited image.
Bruce Panock— Panockphotography.com bruce@panockphotography.com
Instagram @brucepanock
“Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad,whether they love it or hate it. While they are deciding, make even more art.”
—Andy Warhol
END OF THE SLOPE
Jennifer Pazienza & Paul Édouard Bourque
Water Street Gallery - Sunbury Shores Arts & Nature Centre - St. Andrews, NB Canada jenniferpazienza.com pauledouardbourque.com sunburyshores.org
GHETTA HIRSCH
Sometimes as artists we are reminded to be more humble. And something happened to me recently to teach me a lesson!
Having suffered extensive ankle and leg surgery after a bad fall in October -visiting an art museum, no less!- I surprised myself finding ways to keep painting. In the process my new body of work is more abstract but still I had my artistic needs met and my painter’s pride saved.
My work was still exhibited at Gallery North in North Adams and I managed with the help of a cane to attend Exhibits and Openings. Now we return to the lessons I learned in humility!
One of the Gallery guests at the May Opening excitedly grabbed my arm and said “Oh! Ghetta! I love your work but I will not need to buy one!” I puzzled for a moment on the meaning of this sentence but smiled politely. She went on: “On my visit to Goodwill I found one of your old paintings for $4.99!” I think my smile must have disappeared at the same time as another guest joined this visitor. I still do not know which of my paintings was dumped in a Goodwill box. I was sad but realized that this could have been a very old painting… of no value… maybe one I gifted generously to a friend… sad, but it happens! This is how One can find a Picasso I reasoned! However as I was not able to find out which painting it was, I went on with my life. This is when the Universe decided to teach me another lesson in humility! Looking for art items on a social network I found a 2017 miniature painting of mine for 69 dollars. This time I laughed at the surprising find! It is not sold yet in case you wish to buy it. After the Goodwill story I believe that this 2017 painting must be much too expensive! I think I learned my lesson!
By the way, you can still find my more recent work in the galleries in North Adams. But if you care to see old work, ask to visit my studio in Williamstown, MA.
Ghetta Hirsch—
Call or text me at 413-597-1716
Ghetta-hirsch.squarespace.com @ghettahirschpaintings
MARY ANN YARMOSKY
My work is a collection of a variety of people, a collection of experiences and expressions. It’s about understanding their history, understanding the power of their history, the power of their power, the power of their vulnerability, the power of transformation, and the power of purpose.
My works are abstract in nature, but aren’t we all pieces put together by our life experiences? Who is to say what is real when we look at a person. Don’t we always project onto them some characteristic we think we see, some fleeting feeling that crosses their face, or some mannerism that indicates their comfort or discomfort?
I work mainly with acrylic on canvas, paper or wood and often add fabric, thread or other artifacts that seem to belong. My process unfolds unintentionally since my characters dictate what needs to be said. I invite you to weave your own story into my works. You can decide what is held in an expression, a certain posture or the clothes they wear. I hope you enjoy the adventure as much as I do.
Mary Ann Yarmosky — marymaryannyarmosky.com maryannyarmoskyart.shop
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
BLUEBERRIES AND MOUNTAIN WITH PINES LANDSCAPE
MIXED MEDIA ON CANVAS, 12” X 24”
JWS ART SUPPLIES WE’VE MOVED!
Welcome to JWS Art Supplies at our new location, 291 Main Street 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 Supplies — 413-644-9838 - 291 Main St, Great Barrington, MA. info@jwsartsupplies.com
ERIKA LARSKAYA
Confinement and Breakaway examine the mental state of struggle to make sense of our environment, both physical and psychological. I incorporate childlike drawing to represent nonconformity; the unadulterated state before we get confined by rules, commitment, insecurities, and other “add-ons.”
“I distress and repair parts of the painting, as we do within ourselves. The drawings of floor plans and elevations, which I use as a starting point, create a sense of enclosure, which I expand by continuing the lines outward, breaking the structural pattern. This alters the sense of confinement, breaking away from the [rigid, static] norm”.
Erika Larskaya — https://www.erikalarskaya.art WAKING UP TO A NEW DAY FROM BREAKAWAY SERIES MIXED MEDIA ON CANVAS, 36"X48"
MATT BERNSON
Matt Bernson is a figurative artist who intuitively uses bold lines and bright color to expressively portray the human figure in playful and provocative ways. Matt graduated from MassArt with a BFA in Animation & Painting and has worked as a caricaturist and tattoo artist. His style could be described as a flavor of illustrative expressionism: a combination of strong lines and graphic composition paired with vivid color and loose brush strokes to hint at a narrative for the viewer to feel through. Matt Bernson brings attention to the human body with unique methodologies to help the viewer find new levels of appreciation for the figure.
Matt Bernson— ArtByMattBernson.com matthew.bernson@gmail.com Instagram @MattBernson.Art
LIONEL DELEVINGNE
https://www.instagram.com/Lioneldelevingne http://www.lioneldelevingne.com/ http://www.510WarrenStreetGallery.com
FROM THE MODEL
JENNIFER PAZIENZA & PAUL ÉDOUARD BOURQUE
Conversatia, at Water Street Gallery, Sunbury Shores Arts & Nature Centre in St. Andrews, New Brunswick, Canada celebrates our fourth collaboration exploring the boundaries of two artists exhibiting together. Showcasing the spectrum of our artistic ecosystem Conversatia highlights the importance of dialogue in shaping artistic expression and creating meaningful connections between artists and viewers.
Our discussion centres on how individual and cocreated artistic identity, memory and time can influence art. Jennifer Pazienza’s landscape based works and Paul Édouard Bourque’s portraits evoke heightened understanding of how humans are both a part of and interact with nature.
Water Street Gallery - Sunbury Shores Arts & Nature Centre - St. Andrews, NB Canada jenniferpazienza.com pauledouardbourque.com sunburyshores.org
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 Klein — stephanmarcklein.com smk8378@gmail.com
Member 510 Warren Street Gallery, Hudson, NY
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. Abrams — www.carolynabrams.com
DISRUPTED INSPIRATION, OILS/COLD WAX, 9” X 12”
DURING THE STORM, MID PANEL FROM ‘SNOWSTORM’ ALFORD VILLAGE. TRIPTYCK
2025 CONCERT SEASON
JULY 10 —AUGUST 3, 2025
Aston Magna, the renowned historical instrument ensemble led by Artistic Director Daniel Stepner has announced its 52nd Season in the Boston area and in the Berkshires.
Over four concert weekends we offer a broad spectrum of works by composers both familiar and lesser known, representing several centuries and styles. Our lineup of musicians includes many of our audience’s favorite artists from past seasons, as well as other celebrated artists performing with us for the first time.
Concerts will take place Thursday evenings at the Allen Center, Newton Cultural Alliance at 35 Webster St, Newton, and three Saturday afternoons and one Sunday afternoon at Saint James Place at 352 Main Street, Great Barrington.
The programs will include the following: Music from Thomas Jefferson’s Library
Geminiani, Balbastre, Arne, Purcell, Mozart, Weber
Thursday July 10 at 7:00PM at Allen Center
Saturday, July 12 at 3:00PM at Saint James Place
Late Mozart
Adagio and Fugue, G Minor Viola Quintet, Clarinet Quintet
Thursday July 17 at 7:00PM at Allen Center
Saturday, July 19 at 3:00PM at Saint James Place
From Castello to Canzano Baroque Chamber MusicInto the 21st Century!
Works of Dario Castello (1602-1631), LouisGabriel Guillemain (1705-1770), Jean-Joseph Cassanéa de Mondonville (1711-1772), Nathan Adam Mondry (b.1991), and Nicola Saraceni Canzano (b. 1991)
Thursday July 24 at 7:00PM at Allen Center
Saturday, July 26 at 3:00PM at Saint James Place
Fiddlers Four
Vivaldi’s “The Four Seasons”and music by Purcell, Pachelbel, Legrenzi, and Telemann
Thursday July 31 at 7:00PM at Allen Center
Sunday, August 3 at 3:00PM at Saint James Place
Tickets prices are $40 in advance, $50 on day of show purchased at the venue. Under 30s: $15 with ID, full time students (with ID) and children Free. To order tickets by phone call 888-4921283 or online at astonmagna.org
POSSIBILITIES
JAYE ALISON MOSCARIELLO
"I was really anxious because we were pretty much snowbound in our homes, being in a particularly cold 2025 winter. I had moved many of my art supplies to my studio in Southfield, and had begun organizing works. The idea of playing with them, cutting some of the ones to which I felt drawn to do so, this had been playing around in my mind for a looooooong time, but this weather allowed me to take advantage of the opportunity- I couldn't go anywhere, so I could just focus and play."
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 Moscariello — 310-970-4517
Studio visits by appointment only: Pond Shed (behind the Buggy Whip Factory), 208 Norfolk Road, Southfield, Massachusetts jayealison.com jaye.alison.art@gmail.com
RICHARD NELSON
For me there is a strong connection between my visual and my sound arts. I use shapes derived from (mostly) Asian alphabets. Using these shapes, I draw along with music. I get very involved in it. Sucked in! Totally random actions, inspired by the music and the markings are the record of those actions in that moment.
I use transparent colors and layer them, creating new colors where they overlap. It’s the same process I use in my music. I start with a sound bite, a bar or two of music or perhaps a found sound, arranged in a pattern. As more layers are added, it creates a sense of depth. That’s true in both cases; art and music. The creation of a complex piece comprised of layers of simple parts and happy accidents. I get the most satisfaction from the “ happy accidents”! I feel incoherent sometimes. I worry about Early Onset Dementia.
My Mom had it, as did my Grandma! Now that I’m a card carrying Artiste, we will never know the difference.
Richard Nelson—
See his alphabet “M” page in this issue. nojrevned@hotmail.com / Rick Nelson on FB
I like to be the right thing in the wrong place and the wrong thing in the right place. Being the right thing in the wrong place and the wrong thing in the right place is worth it because something interesting always happens.
—Andy Warhol
FROM DARKNESS TO LIGHT COLLAGE, CRADLED WOODEN BOARD, 10” X 10” X 2”
BELIEF IN THE
OF SPRING COLLAGE, CRADLED WOODEN BOARD, 12” X 12” X 2”
SHIMMY, DIGITAL DRAWING
JOANE CORNELL
JEWELRY DESIGNER
“A chance encounter, at the age of thirteen, on a beach in the Bronx, finding a lost, chunky, solid gold man’s chain, half buried in the sand, at the intersection of water/shore, started me on a magical journey…” —JC
Harryet Candee: When observing your jewelry, I sense the years of deep contemplation and practice you have undergone. You have become your own greatest teacher, and your creations spark my curiosity about how your journey began. Joane Cornell: Thank you for your observations, Harryet. You're spot on. A winding path, starting in 1979, brings me to the present. Having been initiated into the "jewelry world" by a friend asking if I wanted to interview for a sales position, at a company she was working with, selling all jewelry manufacturing tools, machines, etc., started the journey, unbeknownst to me at the time, of what turned out to be my biggest love/passion. With many iterations throughout the years, which, as a somewhat final
chapter at this time in my life, with hopefully many more years to practice, has brought me to the stage, the last 9+ years, of hand forging my artisanal designs.
I see how you have embraced freedom in designing each piece of jewelry, breaking away from rules, boundaries, and conventional styles. What ideas and principles have you developed that reinforce your unique creativity and have become essential to your understanding of your identity as a distinctive and imaginative designer? I spent many years learning the retail side of the jewelry industry, from the manufacturing process to retail sales (after segueing away from the equipment
supply business). While working at 578 5th Ave, NY, a now-defunct building that wrapped the corner of 47th St. and 5th Avenue in the diamond district, I gained first-hand knowledge dealing with the general public, understanding how fine jewelry psychologically affects a woman's personality/expression of self. I noted that these women of a certain demographic prefer sophisticated designs that enhance their strong, independent personalities. Being leaders in their industries and independent thinkers, they abhorred anything "cookie cutter" or mass-produced. This aligned with my personality and helped hone my understanding of what I wanted to pursue. When I began designing my pieces in the early/mid 1990's, I knew that my direction was already formed." As I do now, I
Photography by Edward Acker and courtesy of the artist Interview by Harryet Candee
created then, one of a kind items, working with an independent jewelry manufacturer, who brought my designs to life using the ancient process of the "Lost Wax Casting Process" and CAD/CAM, but was a far cry from what I'm producing now, hand forged/formed bold designs.
Take me to your workbench, Joane. As artists, we often find that the initial threads leading to our brilliant ideas can be the most challenging part of the creative process. I'm curious about what happens when you are at your workbench. Is the physical, labor-intensive aspect of making jewelry often the most challenging part? How do you see it?
My workbench is actually the last piece of the process. I derive my ideas/designs through a purely organic approach. I never sit down in my studio and try to conjure. Concepts come to me any which way, morning-evening, and most certainly while sleeping! I can't begin to tell you how many Post-it notepads I have exhausted by my bedside over the years! And, not to say that once I'm ready to begin the physical process of working the metal while hammering or rolling out the prospective design, an idea comes to mind that changes the course of the intended. Usually those serendipitous moments turn out to be my most favorite pieces. It's as though a higher power spoke
Commission order cuff bracelet for MM. Gold came from customers repurposed jewelry. The Tourmalines and Aquamarine stones were all set in bezels end to end when finished.
and said, Oh Joane, go this way instead. And who am I to deny a Divine intervention!
The idea that nothing in life is perfect resonates with me; the irregularities and flaws make life more authentic and are truly a gift of being alive. I'm curious about your thoughts on perfection and how you perceive your creativity. To what extent do you intentionally incorporate the natural flaws in the gems and materials in your designs? I don't have much knowledge about this, nor do I understand what your clients might expect. Perfection is overrated. I understand when my pieces are "done" and not to pursue every little nuance of imperfection. I've never strived for that perfect polished veneer. Not with me personally or otherwise. My hair is a great example! A little on the wild side is so much more exciting than the typical, expected, contrived "finish." My "gems," mostly semi-precious, Beryl and Tourmalines primarily, whether fac-
eted or cabochon cut, are typically very difficult to find "clean" in the larger sizes I prefer to work with. I embraced that reality. The inclusions present in these stones add so much character and depth! It would be easy to use most of the transparent quartz family stones, i.e., Amethyst, Citrine, Blue or Brown Topaz, etc., because these are typically clean and very reasonably priced, but ohh, so BORING! Not for me. This is also the reason I gravitate to people with eccentric personalities.
I've noticed that some of your jewelry designs seem to defy gravity, achieving a magical balance that elicits a "wow" reaction. The tension and flow of the pieces make them highly desirable and a bit mysterious. How did you master the delicate interplay of materials and gems? It's clear that you don't just glue stones onto gold; there's so much more to it. I am specifically looking at the cuff bracelet as seen on this page.
Harryet, you truly "see" me/my designs. Your understanding is also gravity-defying! With great confidence, through trial and not too much error, I've been able to figure things out as I went along. My abilities shock even me! I am regularly asked where I received my formal or otherwise training. The answer is, "by the seat of my pants," an age-old expression. More...
Statement Gem Cross. Tourmaline center. Surrounding stones: Tourmalines, Pink Spinel & Peridot. Silver.
I follow my intuitive understanding of engineering. Everything I have produced over the 9+ years since I've been creating by hand is devised in my head. I grew up with a single mother, raising four children, who had to manage quite a bit on an average salary. She had to depend on her abilities to fix the washing machine and car, to some degree, when they broke down.
Watching her handling tools is ever imbedded and gave me the understanding/confidence to "just do it"! When I approached the hand-forging prospect without knowledge, I just "figured it out"! Example; How am I going to make this bezel setting sit on this curved surface? How to make multiple hinges, during a construction, to "match" and function, for a multi section bracelet? Most would take the easy way out with castings, which naturally would be the easiest route to reproduce a single item multiple times. I don't. It was quite a learning curve. The bracelet you're referring to in the photo started with me applying the stones with wax to hold it in place so the customer could visually understand the configuration. M.M. and I collaborated on a design that would work best for her fabulous public lifestyle. The rest is in the details of the design.
What are you currently working on? What's new
and exciting in your life that you can share with us?
I'm currently working on multiple commission orders, which supersede my time in the studio each 1st quarter when I'm normally producing my inventory for the upcoming Summer/Fall/Winter seasons. Making enough new, no repeat designs to satisfy my customers is a prolific undertaking. Since repurposing customers' stones/metals and straight-out new commission designs have taken precedence, my routine has been interrupted delightfully. So, long story short (lol, never), I need to scramble now to bring the many new ideas hanging around on post-its to fruition! I'll work my tail off, typically in the evenings, once my store schedule expands to 5 days at the end of May to make inventory. This doesn't leave much availability for socializing! The most exciting thing, at this time, is this wonderful interview/front page photo!
You have a strong sense of design that hits you immediately when you enter your showroom gallery on Main Street in Chatham. First impressions are important, as visitors get the sense that everything in the space makes a strong statement. It's a beautiful shop. What were your initial intentions in designing the shop to reflect your jewelry and connect the warmth and inviting nature of the
jewelry and the environment you created?
My initial reasoning behind the design aesthetic of my store—both in Chatham, NY and during my 15.5 years in Lenox, MA—was to create a welcoming and elegantly chic atmosphere for the brick-and-mortar spaces. Throughout the 22 years in business in this region, and spending 90% of my time within those years in my store, I needed it to embrace me as my 2nd home! Which, essentially, it does! My jewelry certainly compliments the theme!
Which place do you prefer to spend your time: in the shop or at the workbench? I have an idea of your answer, but I'd like to hear your thoughts. Why do you prefer that location? Do you find it challenging to balance your time between the two?
YES to the last question! As much as I love meeting new people/prospective customers, saying hello to them, and working with return customers, which is a large part of my socialization, my heart cries to be in my studio when I'm away. It's akin to a holy place/shrine for me. I am perched on a hill overlooking a valley, with the Catskill Mountains as a backdrop. Quite a sweeping view! My large 41" sq. windows all around, and my double glass pane doors let in the most magnificent light. I am surrounded in-
Joane Cornell’s jewelry boutique in Chatham, New York
teriorly with all of my oh-so-familiar and well-used tools and equipment. These elements have given me such joy. And not to leave out, a wonderful source of independence and income.
When it comes to commissioned pieces, how does that work, and what is the challenge you savor? It takes exceptional listening skills to truly hear and feel what your customer(s) relays. I've heard many times, over many years, women and some men express their deep disappointment when working with other jewelers who didn't "get them." It's an art to develop a mutually effective language. It's similar to psychology in certain instances. Not only do customers want a "nice" piece of jewelry, whether commissioned or otherwise, but they also want it to reflect their personality. I take on these commission orders with honor and pure dedication to bring the perspective item to fruition.
Which period of history has the most exquisite jewelry designs? Do these designs inspire your work? Did you not bring up Athena in one of the many great conversations we've shared?
Ohh, where to start….! Without any formal training/education in the arts, and strictly through many years of observation, I consider any era/decade,
from ancient Byzantine, Greek Mythology, Gods/Goddesses (I use ancient, certified, Roman and Greek coins throughout my designs), Alexander Calder, Suzanne Belperron, (one of my favorites), and a plethora of others, to be fascinating in each of their rights. It's all wonderful art to me.
Back at your workbench for a moment, Joane. Can you tell us about the tools you use most often and their function? Are you in the market to keep up with the latest innovative tools used in making jewelry, or are you a traditionalist?
Strictly a traditionalist. I dabbled with sand casting because it takes quite a bit of prep, preparing the sand beds for pouring the molten metal into, carving my wax models, or forging metal models to make a small, one-at-a-time process, limited batch series. Otherwise, it's my large antique anvil and sledgehammer that I use to initially shape the beginnings of the design in either gold/silver. My three manual rolling mills each offer different uses for flat sheet, round, triangular, 1/2 round, and square wire production. And then there's the 60 or so hand pliers for every purpose. My file collection, and so on… There's something so meditative that I experience while using my hands, and not sophisticated machinery, that brings the joy.
How did you learn the skills to make jewelry? Trial and error. One mistake at a time.
Are you influenced by traditional or current styles in fashion and jewelry? Have you encountered anything that you find controversial, trending, contrary to your beliefs, outstanding, or inspiring about which you would like to share your insights? For example, I saw a magnificent marble water fountain in France dating back to the Renaissance period, and I LIKED how it was adorned with modern graffiti. Call me crazy. What are your thoughts on today's art world?
I truly make an effort NOT to look at other designers' designs. I don't want to be visually influenced. It is a pet peeve of mine when other jewelers come into my store, and I typically can sense one from 50 yards away to investigate my showcase contents. It's happened in Lenox enough times, and Chatham as well. I prefer to rely on what inspiration I draw for this amazing organic world we live in. I don't want people to view my pieces and remark how much a piece reminds them of this or that jeweler. Awful! I have a brain/imagination to use, and not take the shortcuts that others might.
More...
Some of many tools of the trade
Flora Overload. Solid 18kt gold Flower Link Necklace. Pink Spinel/Peridot/18kt Flower Pendants.
Speaking of one's travels and adventures, where do you love to be when you want to rejuvenate your soul, sit and ponder, and let out your aggressions and woes of the day?
My bench, store, and home are a good part of my gathering of myself—time to ponder, ruminate, dream. I've traveled a bit before moving north, here, 25 years ago. And maybe I'll do some more in a few years if lucky enough. For now, my travels are to the Berkshires and Columbia County. I'm very satisfied with my homebody lifestyle. I burned the bridges between my teens and late 30s and have no desire at this time to do anything but enjoy my beautiful environment and produce my art. I have no aggressions or woes. Life is good. The beauty of the late 60's embraces me, and me, it.
I haven't asked you how you would describe Joane Cornell. I mean, who are you? What are you about?
I'm an enigma. It's an intentional recluse as of late. I do, though, leave myself open to dinner and event invitations.
Interactions with customers, whether familiar or new to your jewelry, often rely on your understanding of people. What experience do you offer when a new face enters your shop?
The experience happens as you step over the threshold. It doesn't require an initial conversation. I allow people to absorb my jewelry and decor envelope first.
My environment speaks volumes. My showcases are antique. My chandeliers are dramatic. My textured, metallic-painted walls are art in themselves. (Thanks to Kim Brignull, Vinecote Restoration & Design, for all interior design). It doesn't take long for amazing conversations to ensue! Not all experiences/conversations lead to a sale(s). I don't believe in rushing to the result. I like organic results. It's the interchange between people that make it a rich experience. A sale is the icing.
What is their intention when customers approach you to reimagine/repurpose their collection or a single piece of jewelry, purchased or inherited?
My business now reflects 1/3 % of repurposing, a 1/3 of new commissions, and a 1/3 of retail sales of existing inventory. So I do a lot of repurposing. To answer your question, a variety of reasons. The obvious is they don't wear it any longer. The item(s) are mostly passe and need a revamp or a total overhaul. We had lots of fun and creative discussions to get from point A to point B. The other incentive for some is to take a purely sentimental item inherited from generation to generation, refresh it, and gift it to a
Open Petal Flower eternity bands. 2 rings to stack. 18kt gold. Moonstone Cabochon pendant earrings with a single Diamond mounted below. 18kt gold.
Pink Tourmaline Cabs/White Buffalo Turquoise earrings. 18kt gold
Commission order wedding band. White VS clarity Rose cut and small brilliant cut VS clarity White Diamonds alternating. 18kt gold.
Alexander the Great coin, Yellow Diamonds surround. Pink Tourmaline above. 1.5” diameter. 18kt gold/silver.
daughter, daughter-in-law, granddaughter, etc., to keep the tradition moving forward. These are very special projects, with memories being shared and great family relationships spoken of. It's truly an honor and privilege to work on these projects. And to see the expressions when completed is priceless.
How do you figure out which piece of jewelry to present first? Or do you just let them wander and observe for themselves?
I'm typically in my small office, working on my laptop, sitting in one of my comfy chairs in the front of the store, or engaged with a customer when people come in. My somewhat rehearsed dialogue is to let anyone know that I'm readily available to show them anything but to take their time to look through the showcases (3) first. If I'm working with someone, I let others know that I'll be with them momentarily. It seems to work well enough if someone's not in a hot hurry. I'm not a fan of pressured sales. I don't have a structured quota to meet each month. Organic development is my philosophy.
No one knows what goes on behind the scenes in
making art. Backstage is often a mystery and kept that way. Sometimes, no one cares who the artist is. What have you seen, and how has it been for you since you have probably seen things from many different angles throughout your career? At times, I have joked, when entering the showroom from my office behind the center showcase, that I'm the Wizard, coming out from behind the curtain. Most people expect to see a huge workshop behind me until I explain otherwise. An opening statement like that opens the door for conversation about my studio, process, etc. I find that so many people are truly interested to know this information. They love that I hand-fabricate my designs. I appreciate their interest in the investment and time/labor it takes to develop my designs.
The flower pendant jewelry you created is sophisticated and minimalist in style. It fits well with today's girl. Do you make men's jewelry? I do make gender-fluid designs geared more toward men. Not an entire line, though. I focus on the one gender that LOVES to shop my designs. Women! I do take requests for men's jewelry at any time. Hav-
ing such a tight schedule to develop a full comprehensive line for women leaves little time for much else.
But getting back to it—wait for a second here...
Joane, how did your ideas develop from one theme, such as the heavier style with big gems, to light like the Flower pendants? What transition did this go through for you to create the Flower pattern? Are these styles all coinciding and being made side by side, or does each kind have its own time and focus?
I came to the realization, after Covid, that I needed to pivot quickly to capture the oncoming Summer/Fall season in 2022 and develop something fresh and exciting. What better way to express new beginnings for Spring/Summer, other than FLORA! Flowers are an eternal, perennial part of our existence. Bringing visions of renewal and hope. I also knew I needed to capture a slightly younger crowd buying smaller, finer-proportioned jewelry. And ran with that. Art design is one thing. Marketing/sales another. I wear all caps and wove the two perspectives together. A marriage in essence. More...
Commission order I.D. bracelet. 5 sections, hand stamped with grandson’s names. 18kt gold.
Multi Flower Hoop Earrings in 18kt gold/silver. 2 5/8” L x 2 1/8” W
Important, graduating Flower Garland Necklace. Yellow Diamonds set in 18kt at center on both sides of all flowers. Silver/18kt 59"
Assorted stacking rings. 18kt gold. Diamonds.
Multiple stacking inventory cuff bracelets. Round silver wire set with a single Diamond in 18kt gold. 18kt gold cuff with a 1 carat Champagne Diamond. Etc. Multi Diamond/18kt gold pendant earrings. Multi color natural Diamonds for all.
Parts before assembly and setting.
I wish you a beautiful set of pearls because you deserve them! If I were to make a necklace, what would I need to know to create it? What kind of clasp would you prefer? Which type of string or wire would you recommend using? Do I need to solder anything? What if I accidentally drop one of the pearls, which falls into the floor's cracks forever? Imagine you were my client!
A big, bodacious (one of my favorite descriptive words) toggle clasp in 18kt yellow gold—strictly South Sea Baroque pearls—silvery white and medium golden yellow color. Diamond accent spacers in different widths and metals, dispersed irregularly throughout the long length of 70+ inches. Only silk to string. The classic knotted technique. No soldering is necessary. This was given to my favorite and only stringer in NYC, with whom I've worked for over 22 years. My dream necklace. The answer to the last sentence of your marvelous question is, Ne t'inquiete pas, cheri. (Not to worry). I would ask you to rip up the floorboards and retrieve them!! But of course!! As I would do for my clients!!! Lol. Don't take things too seriously. There's always a remedy!
You have a fully integrated website and an Instagram page. How do these platforms help facilitate your business/sales?
My website, www.joanecornellfinejewelry.com, is a
comprehensive platform. The majority of sales that are produced through my website are mostly from people who have already experienced my designs within my store. Most of my artisanal designs require try-ons. My jewelry isn't standard fare. The dimensions/proportions and weight do not translate well in photos. Although I supply videos on each of my product pages, the best way to experience my designs is in person for scale, sparkle, and color purposes. It is not very convenient for out-of-state prospective customers. I have a policy that addresses that dilemma. I attempt to make any process, whether in-store, website purchase, or commission orders, as seamless as possible. Customer service is tantamount to my business. It's kept me going strong all these years. Instagram has obviously enabled so many businesses to grow and expand—a brilliant marketing tool. My Instagram posts/presence is playful and gives insight when making my designs in my studio—a peek into the process. I plan to include/post more of that aspect, with more consistency, of my process. My Insta page, Joane Cornell Fine Jewelry, has a website link embedded at the top area of the page."
If you had your druthers, would you prefer another avenue to conduct your business besides a brick-and-mortar establishment?
At this point in my lengthy career of 46 years this
year, I would love to have an abbreviated store schedule throughout the year, market my website presence with a professional, and have my designs installed in small boutiques/galleries that are suitable for my design aesthetic and relax and enjoy a bit more of life. My intensive work schedule, over 22 years in the Berkshires/Columbia County, has incorporated a seven day week work schedule for many of those years. As much as I enjoy interacting with wonderful people, it's time to scale back a bit within the next few years. If this can be accomplished, my website will be the main avenue for shopping, including any locations carrying my designs. See you in Mallorca!
CORNELL
9 MAIN ST, CHATHAM, NEW YORK 917-971-4662
JOANECORNELLFINEJEWELRY@GMAIL COM
JOANE
FINE JEWELRY
Planetary Cuff Bracelet, Cloud Mountain Turquoise and Tourmaline Cabochons. 18 kt/ Silver. 2”L x 2”L x 2.25” W
Commission order engagement ring. 2.85 carat Diamond. Setting constructed from customer’s re‐purposed gold.
Commission order wedding band. White VS clarity Rose cut and small brilliant cut VS clarity White Diamonds alternating. 18kt gold.
The Power Stack Goddess Cuffs. Aquamarine. Tourmalines. Diamonds. 18kt gold/silver. Sold independently.
RICHARD TALBERT
Richard Talbert c, “Diary of an Art Historian”, 8x10 photograph, The Chateaux Marquise De Sade, Lacoste, France, 1978.
Richard Talbert, c, Lacoste, France; The Chateaux Marquise De Sade - “Diary of an Art Historian”. John Rewald and Bernard Pfreim had invited me to dinner at Bernard’s House in Lacoste. It was my initiation to the Surrealist Movement in Provence, France, in 1978. Later, in 1985, the Red Countess, Countess Katherine Karolyi, granted me a one-year art and architectural fellowship to the Karolyi Foundation at 22 Boulevard de Lattre, Vence, France, where I had a one-person exhibition at the Maison Hotel that was organized by the English publisher Stephen Hayward and the US novelist, playwright, poet, and essayist James Baldwin.
richtalbert1@gmail.com | Richardtalbertdesign.com
ROBIN CROFUT-BRITTINGHAM
VISUAL ARTIST
Interview by Harryet Candee Photographs courtesy of the artist
“Imagination, working at full strength, can shake us out of our fatal, adoring self-absorption and make us look up and see—with terror or with relief—that the world does not in fact belong to us at all.”
Harryet Candee: Robin, could you explain your artistic vision and mission and how it has evolved? Were you very young when art became the first love in your life?
Robin Crofut Brittingham: I've been making art since I was a kid—it's always been something I loved. That said, I've always had a wide range of interests, a bit of an "eyes bigger than my stomach" situation when it comes to creative pursuits. As a teenager, I was set on going to art school, but I pivoted at the last minute and ended up at Bard College, where I studied writing. I returned to visual art when I moved to San Francisco for my MFA at the San Francisco Art Institute.
What's changed most over time is how I've learned to bring all those seemingly disparate creative passions together. It used to feel like I was bouncing be-
tween different worlds, but now, I'm finding ways to integrate them into a single, cohesive practice that feels very fulfilling.
Congratulations on your upcoming illustrated book, "The Illuminated Book of Birds." This book is the first in a new series of nature books you are writing and illustrating, set to be published in October 2025 by Hachette through Timber Press. How did this project begin, and can you give us a hint about what will come next in the series?
Thank you! This project has been incredibly rewarding—it actually emerged from one of the lowest points in my career. In 2020, the gallery that represented me closed during the pandemic, and a number of major projects I'd been working on were canceled. I was at a real crossroads, seriously questioning
—URSULA K. LE GUIN
whether I wanted to continue making art professionally.
So, I gave myself a kind of "artistic bucket list" year—time to try out all the projects I'd dreamed about but never pursued. Around that time, I participated in a show at the North Branch Nature Center in Vermont and added some last-minute bird paintings to the exhibition. One of my bucket list ideas was to write and illustrate a book, and after making those paintings, it suddenly clicked—maybe it could be a book about birds.
What began as a personal experiment turned into something much bigger. The Illuminated Book of Birds found a home with a publisher, and now I've signed on to create two more books with Hachette: one focused on plants and another on animals. This series has brought together so many of my pas-
Photo: Melissa Gamache
sions—birds, painting, storytelling, mythology—and has really expanded my art practice.
Since starting the book, I've connected with new galleries, including one here in Montreal that now represents me. I've also got several shows coming up this year, including a solo exhibition in Denver and group shows in New York, Toronto, and Montreal. This book feels like a natural extension of my studio work, which has always explored themes of biodiversity and ecological awareness.
In what ways have you been inspired by David Attenborough, and who else has inspired you similarly?
Oh, I love David Attenborough. The first series I saw of his was The Private Life of Plants, and I was immediately struck by how deeply his passion for nature comes through. He has this rare ability to make anything fascinating — his enthusiasm just lights everything up. From someone else, it might feel dry or academic, but from him, it's completely captivating. He's been especially inspirational for my book project. The way he uses nature as a lens to explore the world really resonated with me. I wanted my book to have that same sense of discovery — to feature birds from all over the world, not just as a regional guide,
but more like an adventure through biodiversity. I am also very inspired by reading fiction and a lot of my ideas have come from science fiction and fantasy. I love Margaret Atwood and Ursula Le Guin and I did a whole show a few years ago that was inspired by a passage from The Drowned World by JG Ballard.
How does creating a book compare to other art forms you have experience working with?
I really, really loved it. In my usual studio practice, there's a lot of trial and error—it can take me ages to find the right approach to a painting and there is a lot of experimenting. With the book, there was still plenty of planning involved, but once I had the structure in place, I was able to just dive into the painting. Working within that framework felt like a refreshing change. It has also been nice to be able to go back and forth between my book work and my other work since they use different parts of my energy and time. When I am feeling tired of one I can switch to the other.
Finding a book publisher isn't easy; many artists must explore alternative avenues to get their books into the world. What was your experience like?
I was very lucky I think. I have a dear writer friend who advised me on how to start the process of finding a literary agent, which is how I ultimately found a publisher. I think there is a lot of opacity to the process of submitting a book proposal when you are doing it for the first time so I was very lucky to have guidance from someone who had done it. He helped me revise and refine my initial proposal many times before I sent it out. My agent happened to be a bird lover herself, which probably didn't hurt! She took on the project and helped find it a home with Hachette's Timber Press, which specializes in natural history books.
Creating a book combines exciting moments with challenges. What were some of the highlights and obstacles you faced during this process? What learning curves have you achieved so far?
One of the toughest parts was having to create so much of the book before I even knew if it would go anywhere. You're working on this huge project without any guarantee that it'll ever see the light of day— it's definitely a leap of faith. But seeing it come together has been incredibly rewarding. I did certain things in the hardest or most time-consuming way Continued on next page...
Robin Crofut-Brittingham Most Efficacious When Picked at the Full Moon, Watercolor on Paper, 16" x 24"
Robin Crofut‐Brittingham, A Better World than this one, Watercolor on Paper, 40" x 40"
Robin Crofut‐Brittingham, After the Flood, Watercolor on Paper, 30" x 66"
possible for the first book, so I have streamlined my process significantly now that I am working on my second.
You were captivated by the cobblestone streets, rich history, stunning architecture, the French language spoken everywhere, and perhaps the delicious food once you discovered Montreal. Share your inspiration for being a thriving artist in Montreal and the journey that led you there. My husband has family in Montreal, so after grad school we decided to give the city a try. At first, it was tough—I didn't speak French yet, and the winters were definitely a shock, even as a New Englander! But once I got my bearings and learned the language, I really fell in love with it here.
Montreal is such a creative city. It's more affordable than a lot of major cities but still offers all the things you'd hope for: great galleries, museums, performances, and a vibrant arts scene. Now, it's hard to imagine living anywhere else. I am also happy to be able to live close enough to family and friends in the Berkshires that I can visit often.
Tell us about the art exhibits you have been in over the past few years and how it compares to the ones you have currently participated in while living in Canada.
Over the past few years, I've shown my work at several commercial galleries in Canada, and I'm now represented by TIAN Contemporain here in Montreal. Because my work is grounded in ecological themes, I'm always looking for opportunities to show in spaces that intersect with science or education— not just traditional art venues. It's really important to me that my art resonates beyond the art world that it draws people in visually and then encourages them to engage with deeper, more critical, or subversive ideas.
My first solo show out West also opens this month in Denver, Colorado. I am really excited to share my work with a new audience. The gallery, Visions West Contemporary, specializes in artists whose work has ecological and natural themes so it's a good fit. I also have an upcoming show at the Berkshire Botanical Garden in Stockbridge this October that coincides with the launch of my book. I am very excited to be having a show in the Berkshires after many years and
hopefully to reconnect with artists and friends in the area.
In your framing, how do you go beyond the traditional, and how does it relate to the art? "After the Flood" and "A Better World Than This One" are beautifully framed with curved shapes. It's nice that the framing and the art are directly connected when telling a story.
I got interested in making triptychs at one point because, traditionally, they were used to share stories — often religious ones — with people. I really liked the idea of art as a way to spread a story. At the time, I wasn't sure how I could make something like that happen for works on paper, but my husband's a woodworker, and he figured out how to make it happen. I've now been working with triptychs for almost ten years, and over time I've started experimenting with other unconventional frame shapes, too, most recently the arched top ones. I am also starting to make multi-panel works in different shapes that feel a bit like a landscape when viewed from a distance, which I find interesting.
Continued on next page...
Robin Crofut‐Brittingham, Portals, Watercolor on Paper, 74" x 38"
I became really drawn to frames that felt like terrariums or enclosed natural spaces — they echo a lot of the themes in my work. I also think drawing and watercolor are often treated as preparatory mediums, like a step before the "real" painting happens. I'm interested in pushing that perception — treating these materials with the same reverence, presenting them in a way that feels intentional and unique.
Can you tell us about one of your art pieces that signifies with icons and symbols how you feel about certain subjects that could or do affect you?
One of my goals with my work is to create a kind of personal cosmology or a set of evolving symbols that live within this imaginary world I keep exploring through my paintings. One early symbol that's stayed with me really from the beginning of this series came from my time living in California. I loved California but found it such a place of contradiction — lush and fertile, but also marked by environmental extremes and overuse and with so many climate threats looming.
I remember driving through miles and miles of citrus farms and being struck by the image: these endless rows of oranges, both so beautiful and so troubling. They're a symbol of abundance, but also of control and consumption and these problematic monocultures. That image really stuck with me, and piles of oranges started to appear in my work as a way of referring to those contradictions. You can see them most recently in After the Flood
What is your technical thought process in framing, starting with the shape you choose for the canvas before applying paint?
I design most of my frames in advance and my partner custom builds them for me. However, occasionally, he will surprise me with a new shape or frame he has come up with, and then I have to come up with something to suit the shape, which is a fun challenge. That was the case with Most Efficacious When Picked at the Full Moon, which is one of my favorites. I work exclusively on paper — never canvas — so the frame becomes a really integral part of
the overall presentation. I am incredibly lucky to have a collaborator for the frames and I love working with him.
In your work, you are influenced by textile design, particularly by using repeat patterns found in nature. Additionally, the scientific drawings of animals and plants, such as those created by Peter Brown and Sydenham T. Edwards, play a significant role in your artistic approach. These sources of inspiration are presented on exquisite paper and crafted with great care, as they require meticulous attention to detail. Could you share how these influences are reflected in your art and explain their connection?
Yes — I absolutely love patterns and textile design. It's a huge influence for me. I'm especially drawn to repeat patterns found in nature and also to the precision and care in old scientific illustrations. There's something so meticulous and intentional about them. That kind of attention to detail and the balance beContinued after next page...
Robin Crofut‐Brittingham, Birds of Costa Rica, Page from the Book, Watercolor on Paper
Robin Crofut‐Brittingham, Birds of the Arctic Circle, Page from the book, Watercolor on Paper
ways trying to capture in my own work. Another huge source of inspiration for me that uses a lot of patterning is traditional Indian miniature painting. They are these tiny, tiny little worlds that contain multitudes of animals and people. There are beautiful photo reproductions of them available, but I was lucky enough to see an exhibition of them on a trip to London last year, and seeing them in real life totally blew my mind. They are something that is really worth seeing in person.
The commissioned mural you created in South Africa is beautiful. Can you share your inspiration behind the concept? What factors influenced your design choices based on the space, and how did you decide on your color palette?
That mural was one of those "bucket list" projects I mentioned earlier — I had been wanting to do more mural work, so I reached out to a few people, and this opportunity came from that. I really wanted to try painting on a dark background, since most of my paintings are done on white paper.
I've always loved chinoiserie and the style of traditional hand-painted wallpaper, so I wanted to create
my version of that — but using African wildlife instead. It was such a rewarding project and a special trip, especially since I got to do it when my son was only ten months old. We also got the experience of going out to see a lot of the birds and animals that I ended up including in the mural which was very special. I went to South Africa for the first time when I was 21, and it was the first place that really sparked my interest in birding, so it was special to return there in the midst of this huge bird project.
You are a visual artist who has created artwork celebrating the beautiful yet vulnerable natural world. Please tell us about the scientific research and the things you must be involved with to accurately represent themes such as animals, nature, and the human form.
That's actually one of the things I've loved most about working on my book project — it's given me a way to bring together all the behind-the-scenes research I've been doing for years on plants and animals to inform my paintings. It's become its own project that grows out of and into my other work.
For a while, I was really focused on extinct and en-
dangered species so I was doing a lot of reading about the extinction of various animals and what factors caused it. I had read about this idea that there are still wild, untouched parts of the world where species we think are extinct might still exist. That kind of mystery really stuck with me. I'm also drawn to the tension between nature's beauty and its danger — things like poisonous flowers or animals that are both stunning and threatening. That contradiction is something I keep coming back to in my work.
Can you explain the thematic interpretations in your work related to overconsumption and environmental degradation?
In a lot of my work, I imagine this fantasy world where nature has reclaimed the earth, and the people who remain live in balance with it — not trying to control or exploit it like we do so often now. I like including small remnants of human presence — bits of trash, objects left behind — as quiet reminders of the world that came before. It's subtle, but it adds to the idea that something has shifted, and nature is leading again. My most recent work has to do with a mythical flood that has cleansed the earth and left be-
Robin Crofut‐Brittingham, Mirage, Watercolor on Paper, Detail
hind a new world. I'm fascinated by the way floods come up in creation myths across cultures worldwide.
What advice would you give aspiring artists seeking their unique voice while imagining a harmonious future where humans and nature coexist?
It really does take time, and you have to let go. You don't need to rush into having a defined style or message. My own work is still evolving, and I think it always will be. Before I started my MFA, I was making work that looked nothing like what I do now. Living and studying in San Francisco shifted everything — not just my art but my entire way of thinking. The most important thing, I think, is to make work that feels true to you. Artistic trends and styles come and go, but the work that genuinely excites you — the kind you'd make even if no one was watching — that's what lasts. When I look back at the work I made right after college, I feel really self-conscious. Strangely, what I'm making now has a lot more in common with the things I used to draw as a kid just for fun when I didn't even know to be self-conscious or worried about showing it to anyone. There's some-
thing really freeing about reconnecting with that. When I was in grad school, I was surrounded by these brilliant, very conceptual artists. And I remember feeling like maybe my silly drawings didn't quite fit. But I stuck with them because they felt real to me — and I'm glad I did. Over time, I've learned that you can't make art that pleases everyone, and once you completely let go of that idea, you can focus on making work that truly interests you and pleases you. I really believe that people can feel that when they look at the work and I think it resonates.
Tell us about your favorite place you like to visit, where you can sit and think and enjoy the surroundings and the sky during all of its transitions. And… you remind yourself of what you are grateful for. What might that be?
There's a lake in Northern Ontario my family has been visiting since I was a kid, and it's still one of my favorite places in the world. It's not easy to get to — no electricity, totally quiet. At night, all you hear are loon calling and the wind on the water. Sometimes the lake is so still, and the stars are so clear that you can't tell where the water ends and the
sky begins. It's this chillingly beautiful moment of stillness and awe and every time I'm there; I'm just overwhelmed with gratitude for the quiet, the space to think, and the reminder of how small we are — in the best way. I often bring painting supplies up there and spend time painting and listening to audiobooks. There is no cell service or distractions, and it's incredibly peaceful.
Robin Crofut-Brittingham's first book, The Illuminated Book of Birds will be released on October 21st and is available now for preorder wherever books are sold. She will exhibit original paintings from the book in the Leonhardt Galleries at Berkshire Botanical Garden this coming October. Her show After the Flood is currently on view at Visions West Contemporary in Denver, CO.
To see more of her work visit her website www.robincb.com or follow her on Instagram @robincbstudio
Robin Crofut‐Brittingham, Mural, South Africa
DON LONGO
II" Acrylics and Enamel Paint 10" x 20"
"Art is often a metaphor for what's going on in the environment around us. Sometimes it can be tumultuous and other times very calming. I chose three colors for this painting, one cool, one warm and one neutral. I merged them together in a fluid motion to create a unified whole. It's this beauty that can be created while also holding its own distinct quality."
“Generally speaking, color directly influences the soul. Color is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another purposively, to cause vibrations in the soul.” ~ Wassily Kandinsky
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 Knapp — 413-528-9546 at home or 413-429-7141 (cell) Front Street, Housatonic, MA. Gallery open by appointment or chance anytime. www.kateknappartist.com
JANE GENNARO
This is not a painting. Each element was cut out of unique paper, including vintage pantone, and my own hand painted or drawn on paper. Each element is shaped by hand with small scissors and adhered to the background paper.
The original has sold. It can be purchased as a vibrant artisanal print in a variety of sizes at shop.janegennaro.com
Jane Gennaro is an artist, writer, and performer based in New York City. Jane’s work has been widely exhibited, performed, and broadcast. She has been featured in The New York Times, New York Magazine, and NPR among others. Her illustrated column, “Mining My Life” appears monthly in The Artful Mind magazine. Jane’s art studio is in Claverack, NY.
Jane Gennaro — www.janegennaro.com
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 Laird — Studio #307, Clock Tower Business Center, 75 South Church Street, Pittsfield, MA Instagram: @ecurbart
or text 413-597 1716 Ghetta-hirsch.squarespace.com @ghettahirschpaintings
KATE KNAPP, FRENCH LACE AND DANCING TULIPS OIL PAINT ON CANVAS, 16” X 20”
REM TRAVEL, SCISSOR DRAWING, 9” X 12”
MARY ANN YARMOSKY
“Each person I meet intriqgues me with their different stories and life expereinces. My paintings are a dance of spontaneity and intention based on observation. With each stroke of my brush, I try to create a feeling, a story, challenge to the imagination of the viewer.” —Mary Ann Yarmosky
Valeria and the Ants CHAPTER 1
When Valeria was seven years old she liked to play with the ants in the yard in front of the trailer she lived in. I will describe the trailer, and then I will have something to say about the ants.
The trailer had wheels, and could be moved, but it had remained in one place since she was four, and so Valeria did not have any idea yet of the transient nature of things. The trailer was red and black and had a circular window in the door. Tall weeds obscured the wheels but the grass in the yard was trimmed and consisted of patches of grass and dirt.
Valeria was puzzled by the behavior of the ants. She put down a piece of white paper and with a stick she encouraged the ants to run across it, but the ants were apprehensive, and ran away in all directions. Sometimes an ant would walk timidly across the paper and then, for no reason whatsoever, the ant would back up a little and then go right back where it came from.
She attempted to keep the ants from running off her paper. She tried blocking their way by putting down several twigs in a square around them, possibly it was a trapezoid, I’m not sure.
Valeria noticed that when an ant got trapped in the jail of trapezoid twigs, they became frightened, and when they were frightened they would just sit there, entirely still, without moving, as if lost in thought. Whenever an ant decided that they were trapped in the twigs, Valeria, after a while would begin to feel bad for them. She would remove one twig, and then another, but still, sometimes they would just sit there, apparently afraid to run away, not being able to know all the implications and considerations of their situation.
Valeria was not in the second grade, which is the place you might find a seven year old. She had not been in first grade either, and you can put out of your mind that she was home schooled. She came from a long line of completely unschooled persons, a line of relatives going back to before the stone age. I feel it is very important to mention that Valeria was neither in school, nor home schooled because I might have inadvertently given you the impression that she might have known the difference between a square and a trapezoid. If her twig houses for the ants took on some geometric shape, it was entirely coincidental.
So, when Valeria made houses of twigs for her ant family, she could have used three twigs, which would have been a triangle. She could make nothing at all with two twigs, but preferred four twigs in a square, simply for aesthetic reasons, and not because she knew what a square was. Having made a house with four twigs you can guess that after a while she would hit on the idea of a house shape with four twigs in a box, and two more forming a roof. But Valeria lived in a trailer you will remember.
There are some scholars of Valeria’s life that have suggested that her use of the schematic diagram for the house of the ants indicates that she was jealous of the so-called normal children, normal children being those who live in houses that have a triangle on top. I think that idea is obviously wrong. First of all, you can’t represent a trailer having curved ends with twigs. Everybody knows that if you try to make curves with twigs they break. Even disregarding the obvious technical difficulties of drawing things with twigs, you have to consider that Valeria, even before she was born, was in a category entirely different from so-called normal children, normal families, and conventional society.
Oh, I admit that there might have been times when Valeria, riding her tricycle around the nearby village, might have seen children getting on the bus to go to school, and she might have felt a tremor and wondered what life was like for them, and as the bus pulled away from the curb, didn’t she consider some other seven year old’s face looking at her dreamily out of the bus window, and wonder what the school might be like.
Just because Valeria was not in school does not mean that she was not educated in her own way. She had some remarkable skills, one of which was a memory like flypaper and burdocks, especially for things overheard in conversation. The odd thing about this skill was that although she could remember what she heard, she often had no idea what the words actually meant.
Many highly perceptive children can remember things they hear, but Valeria’s skill had this oddity, she could also accurately imitate the accent in which the words were spoken. Also, she could remember the various facial expressions of the speaker. It was exactly like for a few moments when she was performing one of her “imitations,” she became the person down to fine details.
Certainly there are those who dismissed that skill of hers as the obvious result of being raised in the middle of a carnival troupe, in which she was the youngest member when she was seven. Regardless of how it came about, that skill of her’s was talked about, and one visitor who heard her performance even wrote an article about her which was published in an important journal somewhere.
But how is one to explain the several various unrelated languages she could speak. She was not exactly fluent in other languages, it was just that she could say various unexpected things in foreign tongues, and the things she said always had the necessary accents. However, someone pointed out that usually she did not exactly know what the words meant, and so it was just dismissed as an example of her, “skill of remembrance,” seeing as a carnival entertains people from various places, and she was often exposed to a stranger’s conversation. Valeria thought it completely natural, and even logical that she should be able to have conversations with the ants in the front yard of her trailer. To this end she began to give the ants various names. She gave them obvious simple names like Tom, and Jack but she found right away that they simply did not know, or were unable to remember what they were called, and this defect on their part made it seem to her that conversations with them would be next to impossible.
Furthermore, she was actually confused to realize that she was unable to tell them apart. This is how she reasoned about not being to tell them apart, she thought, “If I go into the circus tent and I see a great crowd of people, no matter how many there are in
the tent, each one will seem to be entirely different, in every way, from any other person in the tent. Now, suppose the ants have a big meeting and they all come together in a group to decide about something important to ants. Don’t you think Valeria,” (She liked to address herself with her name when she was thinking to herself.)
“Don’t you think Valeria,” she continued, “that the ants would know each other apart, and without any difficulty. Obviously they would all be naked, but even so, clothes only conceal a person's identity.”
She was correct obviously, that the ants would know each other apart, but try as she might she could not perceive any differences.
She did manage to make friends with one of the ants who recommended himself to Valeria because he walked with a limp. He seemed to list to one side as he walked and because of this trait he made himself known to her. His limp was the result of having lost a small part of one of his legs in a mishap.
She gave the ant with the short leg the name Syracuse; why she named him that I confess I don’t know and will not offer any theories. The ant Syracuse soon knew his name and would come out of the ground to visit with Valeria when summoned. Syracuse frustrated Valeria because he did not seem to be very intelligent, and knew very few words. When Valeria became frustrated with trying to conduct a conversation with Syracuse the Ant, she went to have a chat with Bruno, the carnival elephant. I will have to say some things about Bruno, and I am aware that some of my notions about him are very much disputed.
My ideas about Bruno are so much looked down upon in scientific circles that I am really apprehensive to talk about him at all, aware as I am that I might subject myself to ridicule.
But, really, even though my ideas about him are entirely circumstantial, and apocryphal hearsay, nevertheless I know of no other way to explain the relationship between the huge brute, and the child. If one had the patience to just sit and watch them for a few hours, as I did, I feel certain you would come to the very same conclusions I have come to. It was as if they were so much of one single mind that they were somehow directly connected to each other, even though she was but a seven year old, and he was fifty, at the least. You could see clearly that they were often engaged in some kind of complicated conversation simply by the wonderful coordination of their head movements, replete with those little noodling motions, and laughter.
So it was obvious, to me at least, that the Elephant was engaged in the education of Valeria, but it was not some intentional course of study, or any kind of programmatic series of lectures or exercises. You could see that Bruno was simply talking to the child, perhaps relating his various experiences.
And to a little child it doesn’t matter if they understand even just a hundredth part of what they hear, because the child’s mind will seize upon the one thing it can comprehend, and hold it in the consciousness like a single puzzle piece, and then wait patiently for the next piece to fit it to, and so over time patiently establishes their picture of the world. The innocent conversation with Bruno the elephant and Valeria about the ants led to an unexpected disaster, which I will have the tragic duty to describe for you in the next chapter.
—RICHARD BRITELL,
MAY, 2025
Snake and Sunflower
