the artful mind . november 2024

BERKSHIRE’S ART MAGAZINE FOR PROMOTING ARTISTS TO THE NEXT LEVEL | IN PRINT & FREE SINCE 1994

THE ARTFUL MIND

NOVEMBER

VISUAL ARTIST SCOOTER LAFORGE

PHOTOGRAPH BY BOBBY MILLER

the

NOVEMBER 2024

ARTFUL MIND

IN PRINT SINCE 1994

...Finding our inner peace through Art

Scooter LaForge Visua Artist... 16

Jay Tobin

Painter and Sculptor... 26

Ricky Darell Barton

Robot Paintings are Interactive ... 32

Hand Forged Designs

“STACKS”

Richard Britell | FICTION

Something for Over the Couch “New York” ... 45

Mining My Life

Diaries of Jane Gennaro ... 48

Publisher Harryet Candee

Copy Editor Marguerite Bride

Third Eye Jeff Bynack

Distribution

Ruby Aver

Contributing Photographers

Edward Acker

Tasja Keetman Bobby Miller

Contributing Writers

Richard Britell Jane Gennaro

www.JoaneCornellFineJewelry.com

9 Main St. Chatham, NY

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THE ARTFUL MIND OCTOBER 2024 • 1

2 • NOVEMBER 2024 THE ARTFUL MIND

Drifting Through Time

BRUCE LAIRD

Clock Tower Artists

Business Center

Studio #307

75 South Church Street, Pittsfield, MA


Lyn Horton

“My 2024 work grasps at an essence of our world, no matter how narrow its parameters. For Repeated Forms and Leaves and Flowers,

my world happened to include a camera, a studio table filled with drying leaves and flowers, boxes of pens and pencils, and an idea.“

Repeated Forms 2, 2024, 30 in h x 24 in w, ink and colored pencil on printed photograph

Repeated Forms 5, 2024, detail 1. Leaves and Flowers 21, 2024

https://www.instagram.com/lynhortonphotoart http://www.crossmackenzie.com https://lynhorton.net

THE ARTFUL MIND NOVEMBER 2024 • 5

LINDA MASON

I am very reluctant to let go of things I love so

my curtains clothes etc. are transformed as they

change and deteriorate. Curtains become silk

screened scarves and couches and jackets are

transformed through a patchwork of different materials,

so it is little wonder that I have started

doing this with my art and am very excited with

the results. I only hope that I don’t start searching

frantically for the missing pieces.

For the first time I shall do Art Basle Miami

from 4th to the 8th of December, and Satellite

Gallery has chosen my “Down The Rabbit Hole”

paintings so I shall make my area into a fun statement

space; presently I am spending time checking

the artwork to be exhibited.

Please visit me if you happen to be in Miami,

there will be surprises. I was able to take advantage

of this opportunity as it looks like my Retrospective

at the Museum of Sunderland in the UK

that I have been working on all year will be delayed

a few months.

My Chinese Historical Drama series “Chimi”

is not yet finished. Some big canvases are ready

to go and I plan on doing story line paintings with

lots of figures inspired by the more violent aspects

of these dramas.

Now I need a commission of a large family or

friends’ portrait to work on simultaneously as my

portrait painting work gives me the breaks I need

to return with a fresh eye to my other work.

Linda Mason -

www.lindamason.com, linda@lindamason.com

for enquiries about the art or commissions.

Art is You Being Free from

All the Worlds Heaviness

LESLEE CARSEWELL

My artwork, be it photography, painting or collage

embraces a very simple notion: how best to

break up space to achieve more serendipity and

greater intuition on the page. Though simple in

theory, this is not so easy to achieve. I work to

make use of both positive and negative space to

create interest, lyricism, elegance, and ambiguity.

Each element informs the whole. This whole, with

luck, is filled with an air of intrigue.

Breaking up space to me has a direct correlation

to music. Rhythm, texture, points of emphasis and

silence all play their parts. Music that inspires me

includes solo piano work by Debussy, Ravel,

Mompou and of course, Schubert and Beethoven.

Working with limited and unadorned materials,

I enhance the initial compositions with color, subtle

but emphatic line work and texture. For me,

painting abstractly removes restraints. I find the

simplicity of line and subsequent forming of

shapes quietly liberating.

Lastly, I want my work to feel crafted, the artist’s

hand in every endeavor.

Leslee Carsewell -

413-229-0155 / 413.854.5757

lcarsewellart@icloud.com

@DEBORAH_H_CARTER

YOU AUGHTA BE IN PICTURES

UPCYCLED KODACHROME SLIDES

PHOTO: DEBORAH H. CARTER

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 the color, shape, and texture of her

materials to compel us to question our assumptions

of beauty and worth and ultimately reconsider

our habits and attitudes about waste and

consumerism.

A sewing enthusiast since the age of 8, Deborah

first learned her craft by creating clothing with her

mother and grandmothers. Her passion took hold

as she began to design and sew apparel and accessories.

After graduating with a degree in fashion

design from Parsons School of Design in New

York City, she worked as a women’s sportswear

designer on Seventh Avenue.

Deborah’s art has been exhibited in galleries

and art spaces around the US. She was one of 30

designers selected to showcase her work at the

FS2020 Fashion Show annually at the University

of Saint Andrews, Scotland. She has featured in

the Spring 2023 What Women Create magazine.

Deborah H. Carter has been featured in the

Berkshire Magazine, What Women Create magazine

and was a finalist in the World of Wearable-

Art competition in Wellington, New Zealand

2023.

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


THE ARC OF LIFE

How it all begins and ends

Again and again

Departure, water soluble crayons, gold and silver leaf, pen and ink, 2024, 20” x 20”

CRAIG KAY

Opening Reception: Friday, November 8 • 5:00 - 6:30 pm

THROUGH NOVEMBER 2024

BUSHNELL-SAGE LIBRARY

48 MAIN STREET, SHEFFIELD, MA

Hours: Closed Monday; Tuesday-Friday 10am - 5pm; Saturday: 10am - 2pm; Sunday 2 - 5pm

Craig Kay: 130 North Egremont Road, Alford, MA 01230 • Phone: 413-528-2452 • Mobile: 508-228-9919


Col - lage: A piece of art made by sticking various different materials

such as photographs and pieces of paper or fabric onto a backing.

My Faovrite Album Covers

Turn the Music Down

elizabeth cassidy

Artist, Illustrator, Writer, Poet, Peace Lover

elizabethcassidystudioworks.com

| elizabethcassidyart@gmail.com



ARTFULMIND@YAHOO.COM

"END OF THE DAY" 16" X 20"

GHETTA HISCH

“End of the Day” is a perfect Berkshires view

for our month of November. The sky is still clear

and filled with light, the snow is only at the top

of Mount Greylock, and the fields are providing

us with an array of yummy colors. The dark green

of the pines contrasts with the dried out pastels of

our meadows and bushes. Our trees take on a purplish

softness that will then stay in our view all

winter. No wonder people label our landscape

“purple mountains”.

Yes, we do have to be ready for the silence and

peace that comes with this view. This is my favorite

painting to face when I wish to meditate.

“End of the Day” will be exhibited from the

1st to the 30th of November at Gallery North, 9

Eagle Street in North Adams, MA. The opening

for that exhibit will be on Friday, November 1st,

4-7. You are also welcome to visit my art studio

in Williamstown by calling or texting. My website

keeps you informed as well.

Ghetta Hirsch -

413-597-1716

ghetta-hirsch.squarespace.com

Gallery North - www.gallerynorthadams.com

REPEATED FORMS 2, 2024, 30” X 24”

INK AND COLORED PENCIL ON PRINTED PHOTOGRAPH

LYN HORTON

At this time in my life, I can see my work coming

full circle to a place where abstraction, imagery

referring to nature, and the juxtaposition and

integration of the two, rest in a space where conceptualism

reigns.

I started out in the 70s making conceptual art.

I was trained in that era. Sol LeWitt, Douglas Huebler,

Donald Burgy, and Gerald Ferguson were my

teachers.

Conceptualism affects how my idea for a piece

is shaped. My work uses traditional means but

asks challenging questions about how one can

think about how one is looking at the art. The

viewer has to find out where the emptiness is,

where nothing is, and then as result where everything

can be. It all depends on the angle. My work

vibrates the answers to all inquiries.

Lyn Horton -

https://www.instagram.com/lynhortonphotoart

http://www.crossmackenzie.com

https://lynhorton.net

BLITZ

JESSE TOBIN McCAULEY

Jesse Tobin McCauley is known for her vibrant

abstractions that combine free-flowing mark making

and a playful use of a modern vibrant palette. She

hopes everyone feels a sense of happiness that is

evoked by the flood of color interacting on the canvas.

Jesse lives and works in Pittsfield, Massachusetts

where she creates in her studio at the Lichtenstein

Center for the Arts. She studied design at Otis College

of Art and Design in Los Angeles. She was the

inaugural artist-in-residence at Miraval Resort 2021

where she created a 40’x11’ mural called “A Happy

Balance”. Her solo exhibitions include “Electric

Color” at Gallery on North, Massachusetts and

“Happy” at The Lichtenstein Center for the Arts,

Pittsfield, MA.

Jesse Tobin McCauley -

jessetobin@gmail.com,;Insta: @mooreofthetobin;

web: jessetobinmccauley.com

LONNY JARRETT FINE ART PHOTOGRAPHY

413-298-4221 Berkshirescenicphotography.com Lonny@berkshirescenicphotography.com


www.lcarsewellart.com n @carzeart n lcarsewellart@icloud.com


RICHARD NELSON

THE ALPHABET SERIES FROM A TO Z

Digital Art

nojrevned@hotmail.com

Rick Nelson on FB


GIRL WITH A PEARL NECKLACE

ACRYLIC ON CANVAS 24”X30”

RUBY AVER

STREET ZEN

Growing up on the South Side 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 exhibits 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.

Mauritshuis Museum has chosen my abstract

painting, Girl With a Pearl , for the Vermeer show

in Amsterdam now showing through December.

Ruby Aver -

Housatonic Studio open by appointment:

413-854-7007, rdaver2@gmail.com

Instagram: rdaver2

ELIZABETH CASSIDY

ARTIST, ILLUSTRATOR,

WRITER, POET, PEACE LOVER

I was asked back in 2022, “ Where do I come

from? “ I thought for a minute and wrote back, “I

come from my art: peaceful and messy. Hidden

and in your face. All the colors covered up by

black and white. That is where I am hiding. Ready

to jump out and bring you in.”

Elizabeth Cassidy -

www.elizabethcassidystudioworks.com,

elizabethcassidyart@gmail.com.

LIONEL DELEVINGNE

Lionel Delevingne is a French born photographer

and author whose work has taken him all

over the world for publications such as the New

York Times, Mother Jones, Figaro magazine

among many others. His work has been collected

and exhibited widely in Europe and the US.

His two most recent books “To The Village

Square, from Montague to Fukushima 1975 to

2014” and “X-ING …My Adventures at the Carwash

2022” are emblematic of his commitment to

environmental concerns as well as the uncovering

the absurdity of today’s reality.

Lionel Delevingne -

lioneldelevingne@gmail.com, https://www.lioneldelevingne.com,

917-496-1863,

https://www.instagram.com/Lioneldelevingne.

Ghetta Hirsch

“Mossy Ravine”

Oil on canvas, 24” x 29”

is right now at the

Spring Street Market Cafe

in Williamstown, MA

Ask if you prefer to visit my Art Studio,

also in Williamstown

Call or text 413-597-1716

Ghetta-hirsch.squarespace.com

@ghettahirschpaintings


janet cooper

Mixed Media Collage 41”x 38”

www.janetcooperdesigns.com

MARY ANN YARMOSKY

“ I Wonder” mixed media on canvas 18”x22” framed

maryannyarmosky.com | maryannyarmoskyart.shop


CAPE COD ABSTRACT SAND AND SKY 2

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.

My studies have been informal, often on my

own, though I am fortunate to have had several

teachers and mentors who have guided me.

Bruce Panock -

Panockphotography.com

bruce@panockphotography.com

Instagram @brucepanock

LANDSCAPE, KATE KNAPP

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

“It is not the language of painters

but the language of nature

which one should listen to,

the feeling for the things

themselves, for reality, is more

important than the feeling

for pictures.”

—Vincent Van Gogh

LONNY JARRETT

BERKSHIRE SCENIC

PHOTOGRAPHY

My initial memory of awakening to the creative

impulse was hearing the first chord of the Beatles,

Hard Day’s Night, when I was six years old. I

knew something big was happening at that moment,

and I had to get on board! I began studying

at the Guitar Workshop, the first guitar school in

America. I’ve performed music most of my life

and play jazz fusion with my band Redshift.

My interest in photography blossomed as an electron-microscopist

publishing neuro- and molecular-biological

research out of UMASS/Amherst

and the Albert Einstein College of Medicine in the

Bronx in my early 20s.

As a lifelong meditator, martial artist, musician,

and photographer, everything I engage with comes

from the same unified intention toward engendering

the true, the good, and the beautiful. I endeavor

to capture the light that seeps through

everything in landscape and nature photography.

Lonny Jarrett -

Community: Nourishingdestiny.com

Books: Spiritpathpress.com

Art: Berkshirescenicphotography.com

Teaching: Lonnyjarrett.com


SCOOTER LAFORGE

VISUAL ARTIST

Interview by Harryet Candee

Photographs by Bobby Miller & Courtesy of the Artist


The Lotus Eaters Acrylic on linen, 38”x40” 2018

“I discover something new every day when I paint...” —SCOOTER LAFORGE

Scooter's art is a vibrant, good-natured fusion

of outsider art, graffiti, pop culture, and modern

surrealism. It is spotted with inspiration

and reflection from the old masters. Scooter's

hand-painted garments resonate deeply with

young people, while his paintings, murals, and

sculptures carry a similar approach, captivating

and inspiring audiences everywhere. Over

30 years, through his bright vision, intuitive

values, and sense of humor in art-making, he

freely weaves narratives challenging social

norms and political and social issues culminating

in magic on all the surfaces he touches.

While based in New York City, Scooter ventured

to Provincetown, MA, where he crossed

paths with Bobby Miller at the AMP Gallery

(Art Market Provincetown). Their instant connection

and shared artistic spirit led to a photo

shoot in 2014 at Bobby's studio in Provincetown,

Massachusetts. Seeing Bobby's portrait

photography of Scooter I wanted to know more

about this fun artist and his work. One thing

led to another, resulting in a phone conversation

earlier this month with Scooter and ultimately

leading to this interview.

Harryet Candee: I enjoyed our initial conversation—we

both mentioned liking each other's

first names. You later on answered my question:

But what's your first real name? Answering:

It is a secret never to be revealed. So how

did you get the name Scooter LaForge? It's like

La Force—as the force in your artwork.

Scooter LaForge: I got the name Scooter by

chance while living with my sister in Long Beach,

California. At the time, I was working at a 7-

Eleven in San Pedro, and I chose Scooter for my

name tag. It stuck, and now, almost 40 years later,

it’s still with me. As for LaForge, it’s actually my

father’s last name—he’s Mexican. I love how it

sounds and how it rolls off the tongue. It’s memorable,

and that makes me happy, which is what

matters most. In a way, the name could be a metaphor

for my paintings—scooting across the canvas,

having fun, and feeling free. My two rules in

life are simple: have fun and be free.

Can you tell me about “The Lotus Eaters”?

My Lotus Eaters painting was inspired by my love

for Homer’s epic poem The Odyssey. In the story,

Odysseus and his crew encounter the Lotus Eaters,

a group of people who live in a state of blissful

forgetfulness, sustained by the lotus fruit. This

part of the poem has always been my favorite—

it’s both fascinating and serene, exploring themes

of temptation and the allure of escaping reality

into a world of pure bliss. I encourage you to read

that section of The Odyssey—it’s incredibly inspiring.

You're free to paint immediately and passionately

onto any canvas or surface— on anything

you want. What is most fun about your creative

process?

Painting floods me with endorphins. I discover

something new every day when I paint, and I love

the complete and total freedom it gives me. When

I’m at the canvas, I don’t have to think—I can escape.

It’s been the most constant part of my life,

and at this point, it feels like I have paint running

through my veins. I love getting messy with it, not

worrying about what I put down. Sometimes I

make really ugly paintings that go straight into the

trash—and you know what, Harryet? I don’t care.

Life’s too short to worry about that. It’s just a

painting. Continued on next page...


Donald Duck Amphora, Acrylic on clay pot, 22”x16”, 2017

Little sculptures

Homo Eruptus at Howl! Happening gallery in New York City.

Back wall: Vesuvius, Will You Be My Girlfriend?, Acrylic on canvas, 2019

Why do you think your cartoon characters and

recognizable imagery have such a strong impact

on people? They give us a fresh, storytelling

way of understanding the world.

Having lived through the AIDS epidemic in San

Francisco, I witnessed the profound loss of so

many lives in just a matter of months. Those experiences

shaped me and left an indelible mark on

my consciousness. My artwork reflects not only

my personal journey but also the broader human

experience.

Cartoons were a significant part of my upbringing;

they were like my babysitters and best

friends. They brought me immense happiness and

comfort, providing a sense of safety during my

childhood. I still find that same delight in them

today. The vibrant colors, dynamic lines, and

imaginative shapes of cartoons resonate with me

deeply and serve as a foundation for my artistic

expression.

This connection between cartoons and my painting

practice is vital. They are both forms of visual


storytelling, intertwined with elements of composition

and design. My cartoon characters and

iconic images act as vehicles to convey complex

themes, like compassion for animals, environmental

issues, and the human condition, in a way

that is both accessible and engaging.

By utilizing recognizable imagery, I aim to spark

conversations and invite viewers to see the world

through a fresh lens. My hope is that this playful

yet poignant approach helps people reflect on important

issues and encourages a deeper understanding

of the world around us.

Tell us about the face masks and costumes.

They're intriguing, funny, and intimidating,

with animal furry heads and clown-like spirits.

Masks. We all wear them. It’s important to ask

ourselves what these masks represent. Sometimes

we embody the clown, the businessperson, or the

demure figure. Everyone has different personalities,

and we all have our masks. I just explore

these themes more openly through my art. People

often ask me why I focus on clown masks, but I

believe everyone understands their own masks on

some level. I encourage people to look in the mirror

and ask themselves, What mask will I wear

today?

Some days, I feel like going out dressed all in

black, channeling my inner Johnny Cash. Other

days, I want to embrace the energy and confidence

of a star athlete, putting on that mask to

feel empowered and focused. Sometimes, I crave

the brightness of a clown, using vibrant colors to

attract all the birds, insects, and other creatures

around me. And then there are times when I want

to be like a spider, spinning a web to collect all

my favorite things.

Beyoncé wears your art. You re-purpose, reconstruct

Louis Vuitton handbags and creatively

twist and turn many traditional art and

design ideas into your art. How did you get to

where you are today?

If you keep at something long enough, it comes

SCOOTER LAFORGE / VISUAL ARTIST

Painted Owl T-shirt for The Odyssey Show

Jealous Gallery, London England

Scooter painting one of his murals, Corona Cave Painting 2020

full circle. I'm lucky to be part of New York City's

vibrant art scene, with deep roots in this town. I've

been living in the East Village for almost 30 years.

I've been painting full-time since 1985. I'm fortunate

to have wonderful friends who support me,

like Patricia Field, whom I support 100%. I sell

my hand-painted garments through her store, and

at this point, I consider her family. I'm so loyal to

her that I'm stuck like glue. Patricia Field is wildly

successful, and through her, my clothes have appeared

on icons like Beyoncé, Madonna, Rihanna,

and Debbie Harry. And that's just to name a few.

Art Fashion emerged from my need to pay the

rent. One day, I decided to paint on T-shirts and

sell them on the street, and this caught the attention

of a store owner in the Meatpacking District,

who invited me to sell my painted garments at his

shop on West 12th Street. From there, my work

reached Patricia Field, and I never imagined I

would venture into painted clothing.

The concept of Art Fashion has taken me around

the world, allowing me to participate in fashion

shows in Greece, Paris, Spain, and Italy, as well

as conduct numerous workshops teaching my

techniques for painting on clothes. People are

drawn to these unique, one-of-a-kind pieces, and

I love that they feel special wearing them.

I never tire of painting garments; it excites me and

brings me genuine happiness. Next semester, I'll

be showcasing my painted garments at Lesley

University in Cambridge, and I'm thrilled to share

my experiences and techniques with the students

there.

While I wouldn't say this journey has eliminated

my shyness, it has certainly expanded my circle

of friends, which is a beautiful outcome. Making

people happy is incredibly rewarding, and I cherish

every moment.

What are the Corona Cave Paintings about?

The Corona Cave Paintings are artworks I’ve

created on the walls of my tiny East Village apartment.

During the Covid quarantine, I discovered

some paints under my sink and decided to paint

freely. Inspired by cave drawings and Goya’s

black paintings, I transformed my space into a

cozy, cave-like environment. I still work on them

occasionally, and they make my apartment feel

larger while maintaining a warm atmosphere.

Each time I return from traveling, it feels wonderful

to be back in my little cave.

Describe a typical day from your childhood in

New Mexico, including insights into the cultural

aspects, family life, and friendships.

A day in my life in New Mexico involved waking

up, grabbing my bicycle, and riding over to my

neighbor’s house. We would catch lizards and

then head to the public swimming pool, splashing

around before going to the pond to catch tadpoles.

We rode our bikes all over Las Cruces, exploring

hidden spots and areas perfect for stunts.

It was a memorable childhood, even with a few

missteps, like the time I got caught smoking at

ten. We also lived in Hatch, where my father

Continued on next page...



The Stage Oil on canvas, 48”x 60” 2010

painted landscapes on our back wall, while my

mother, a talented singer and actress, played Desdemona

in Othello with James Earl Jones.

They’ve both passed now, but their influence remains.

Our home was adorned with prints of Georgia

O’Keeffe, Frida Kahlo, and Diego Rivera. We had

goats, sheep, dogs, cats, and horses roaming

around. It was a vibrant upbringing in New Mexico,

the land of enchantment. I visit once or twice

a year, and each time, I’m transported back to my

childhood. The night skies, filled with billions of

stars and a profound sense of wonder, are something

I will never forget.

Tell me about the meaning behind the following

artworks, Scooter. Skeleton Autopsy, Past

Present and Future, and The Stage.

Skeleton Autopsy is a reinterpretation of Rembrandt’s

famous 1632 painting, The Autopsy. Past,

Present, and Future serves as a self-portrait, as


does The Stage, which also captures my essence.

What is the difference between living in San

Francisco and living in NYC?

San Francisco will always have my heart. I was

there during the *Tales of the City* years, and I

felt like a character in Armistead Maupin’s novels.

I mostly related to Mouse, but every character in

that book reminded me of people in my life—he

really captured it perfectly. San Francisco has that

hippie, loving vibe, with open hearts everywhere.

New York City is a whole different animal. It’s so

creative here, filled with amazing people doing

wonderful things. I call my friends my ‘army of

love,’ and each one of them is incredibly talented

and special in their own way. I also see special

and talented people all over the world, but San

Francisco and New York City definitely hold my

heart. Both cities are magical in their own ways.

New York City never stops—people are walking

on the sidewalks 24 hours a day, while San Francisco

tends to wind down a bit earlier.

What part of history has a strong influence on

you?

Every part of history has an influence on me.

Every aspect of life, every experience I have, and

every historical event shapes my work. I love history.

I read history. It drives me and interests me.

History weaves its way into my life and work in

subtle, often unexpected ways. Each experience,

every facet of existence, shapes my perspective

and leaves its mark. I find that echoes of historical

events resonate within my creations, lending

depth and richness to what I make. My passion

for history inspires my curiosity, driving me to explore

the stories and nuances that shape our world.

What are some non-traditional materials that

you use?

I use whatever materials I have at hand—buried


Skeleton Autopsy, Oil and mixed media on canvas, 30”x36” 2012

Past, Present and Future, Oil and mixed media on canvas, 60”x60” 2012


Floral Still-life, Oil on canvas, 24”x30,” 2024

Interior shot of works from a private collector

juice cartons, dirt, discarded house paint, old

crayons—anything available to me.

When do you realize your feelings steer the

ship?

If I’m mad, I paint with anger; if I’m happy, my

colors reflect that joy. My mood determines my

art, shifting with the time of day or even the moment.

What outstanding experiences shaped your life

so far and motivated you to take on artistic and

personal challenges?

Some pivotal experiences have shaped me into the

person I am today. Living in San Francisco during

the late 80s and early 90s was one of those moments.

I watched many friends succumb to AIDS,

and I vividly recall walking down Castro Street,

witnessing men who had become mere shadows

of themselves, their bodies resembling human

skeletons. The fear was palpable; KS lesions were

commonplace, and it was impossible to predict

who would survive and who wouldn’t.

Another significant experience was my decision

22 •NOVEMBER 2024 THE ARTFUL MIND

to give up drugs and alcohol after eight years of

using them in the vibrant San Francisco nightlife.

While those years were filled with excitement,

they ultimately led me to a dark, lonely place

where I felt trapped by self-centered fear and

overwhelming sadness. Choosing sobriety allowed

me to reclaim my life. With clarity came

the ability to confront life’s challenges and seek

solutions rather than succumb to despair.

Additionally, the death of my mother profoundly

impacted me. She was my support system and my

friend, and losing her after speaking almost every

day was devastating. Each of these experiences

has contributed to my growth and resilience, shaping

the person I am today.

Congratulations on your current show in Cambridge,

Massachusetts. I bet the art students at

Lesley University love seeing your big, bold

world before their eyes. What impact do you

envision you’ll have on these students?

I just hope that the students at Lesley University

experience complete freedom while creating their

art. When I met with nine seniors at Lesley, I was

blown away by their talent. This gives me so

much faith in the future of art! They reminded me

of myself when I was at the University of Arizona.

Having my 30-year survey of works presented at

their beautiful gallery exceeded all my expectations.

I was over the moon with happiness, and it

felt like a natural dopamine hit. You really can’t

ask for anything better than that!

Have you ever taught art?

I’ve never taught formally, and I don’t think I ever

will—but who knows?

Well....I'm interested in taking your class called

"Everything You Wanted to Know About

Scooter’s Language but Were Afraid to Ask

:101" If you ever offer this, I’ll be wondering

what I should expect and what art supplies and

books I’ll be needing?

For this class, there won’t be any expectations except

to go wild and let your freak flag fly. You can

ask me anything, and I’ll share my experience,

strength, and hope. As for books and supplies,

grab whatever you can find and bring it to class.


Scooter standing in front of install at Lesley University, Cambridge, MA

“Scooter just paints anything. He’ll paint the plates, he’ll paint you

if you get too close. I used to like to call him Little Picasso.” —GAIL HACKER, ARTIST

Try not to spend too much money—we can make

art out of anything, and the materials are often

right at our fingertips if we just look around. We

might even go out and collect discarded items

from the street for sculptures. There’s often house

paint that gets thrown away too, which we could

use to create large mural paintings. The options

are endless. The only requirement is to push beyond

your creative limits.

Understood! It's impressive that you started

drawing at six years old, telling us that art was

likely your earliest of passions. Could you

share any other significant interests or passions

you have developed over the years?

I’ve always loved sports and staying active. Math

has always come easily to me, so I enjoy working

with numbers. I’m a big fan of the great outdoors—nature

and animals really inspire me.

Movies are another passion, and I admire people

who can act, sing, dance, and write. Honestly, my

list of loves is long; it could go on forever!

There are moments when everything seems so

unimpressive-&-unoriginal, and old! But then

I went to the Louvre. I ask you, Scooter, how

could art so old be so new?

For me, anything made by hand never loses its appeal.

Just look at the oldest cave drawings in the

world—they’re thrilling and hold a timeless

magic that resonates even today.

The art forms of painting, singing, dancing, acting,

storytelling, and writing all possess a unique

ability to connect with us across time.

I truly believe that art is timeless. There’s a profound

experience in revisiting a painting after

many years. You might find that your perception

has shifted, and you feel something entirely different

than you did before. This transformative

quality is the beauty of art and culture; it evolves

with us, reflecting our growth and changes in perspective.

What calms you?

A nice warm cup of tea, my bed, and a beautiful

book. Hearing the sound of the wind going

through the trees and looking up at the night sky

full of stars, seeing the Big and Little Dipper. Taking

a bath. Painting always calms me; I paint with

no music and no sound. All I can hear is the sound

of my breath, and I try to go very slowly.

What's life all about? I mean, seriously, what

is this whole thing?

I don’t believe anyone truly knows the essence of

life. It unfolds day after day, minute by minute,

hour by hour. Each morning, I awaken with gratitude

for the gift of another day. I’m here, alive,

and the point of life is simply to live. If we’re

going to embrace our time here, let’s truly live it.

https://www.scooter-laforge.com

Z


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

CROSSTOWN CROSSHATCH

BRUCE LAIRD

I am an abstract artist whose two- and threedimensional

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-

Clock Tower Business Center, Studio #307

75 South Church Street, Pittsfield, MA

FIGURATIVE PAINTINGS IN THREE

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



JAY TOBIN

PAINTER AND SCULPTOR

Photo: hcandee

"My work is mostly geometric abstraction. It is based on what I see in buildings, landscapes, shadows, or anything

that catches my eye, how color reacts with another color, and what they can do together."—JAY TOBIN


Photographs Courtesy of the Artist

Jay comes from a family of artists. Growing

up in Pittsfield, he became a fireman and pursued

a full-time career as a visual artist. He

has created collage sculptures using found objects

and uses house paint (interior or exterior)

instead of traditional artist’s oils and acrylics.

This choice is not just about being frugal but

also about the freedom to paint without somewhat

of a limit. Jay’s canvases used for his

paintings originated from outdated life nets he

discovered discarded at the local firehouse.

Jay has also created large-scale murals and

sculptures in the cityscape of Pittsfield and

was a member of the artist group, Group W.

Harryet Candee: Looking back on your artistic

journey, how do you see your growth as an artist?


Jay Tobin: I do come from a family of artists.

My two older brothers were artists, one a painter

and one a sculptor, the same with the younger

brothers, one a painter, one a sculptor. I am in the

middle and do both, but I am probably a better

painter. I think.

I primarily use house paint because it is acrylic

and mixed with artist’s paint. The canvas from

the life net is thick and coarse. You can’t stretch

it so that I use it as collage material.

What were some memorable experiences

working as a full-time artist? Looking back, if

having the opportunity, would you change

anything?

Twenty years ago, I took a course in painting

using fresco, which is pigment in wet plaster. The

Sistine Chapel is probably the most famous. It

was given at the Frelinghuysen-Morris house in

Lenox. I painted a large mural using fresco at

East Coast Refinishing on Industrial Drive in

Pittsfield. It was great making the plaster and

painting such a large piece. (10ft x 20ft). Looking

at it now, I would change a lot.

Tell Us about the wall sculpture “Roadside”?

“Roadside” is made from broken cast iron pipe

and wood. The title comes from the Iraq war.

Roadside bombs killed and injured a lot of American

service personnel. I found the cast iron

pieces on the side of my street. A snow plow had

hit a water shut-off housing and smashed it to

pieces. I knew from the start what I wanted to say.

It’s interesting how you turn the canvas

around into a diamond shape rather than the

Roadside, 2006.

Cast iron, acrylic on wood, 12"x 6.5"

Photo: hcandee

Seeing inside one’s art studio is like seeing inside one’s brain

Jay Tobin’s work space / studio

traditional square before applying paint. Can

you explain the basis for this?

The first diamond-shaped painting I saw was by

Piet Mondrian. Other artists have done them. Ilya

Bolotowsky and Max Bill come to mind. The diamond

sets up different compositional problems

than a square or rectangle. Because of the V

shape, one upside down, one right side up, your

eye wants to finish the shape cut off by the slant.

I like the shape, but I am trying to get away from

horizontal and vertical lines, primarily rectangles

and squares that are cut off. You saw one I was

working on in my studio. It has been completely

different since then and is still unfinished.

Have you ever created artwork with a

life/death theme to honor an artist you knew

and respected?

Yes, my brother Bill died a couple of years ago.

He was a great sculptor who was part of Group

W. The first painting I completed after his death

is dedicated to Bill. It is a diamond-shaped painting

titled “Dynamite,” his nickname from when

he was very young.

Puzzle pieces interest you, as seen in a series

of mixed media wall hangings using actual

puzzle pieces. What was the premise behind

this body of work? How did the series develop

for you, and which is most successful?

My wife Lois, always did puzzles and we had

boxes of puzzles. I thought the pieces would add

an interesting element or texture to a painting.

That didn't work out like I thought. I like asian

calligraphy and painting, in particular Japanese

screen painting or byobu. So I use large puzzle

pieces as a type of calligraphy or compositional

element along with gold paint. The series developed

around the start of covid and finished a couple

years later.

Most successful are called "Get Matched" and

one "Untitled" gold and black abstraction. Not

many people liked them, which is okay. You

have to try things in order to move forward.

When we consider early artists such as Giotto,

do you believe their struggles and challenges

parallel those of modern artists?

I don’t know if Giotto struggled too much; his patrons

were bankers and merchants. Anyway, his

challenges in becoming one of the first great figurative

painters at the time probably parallel any

artist in any field. It takes hard work to keep getting

better in thinking and in practice.

I’m in my seventies and still learning how to

paint, draw, and think about art. I think I sit and

stare at my work for as many hours as I paint. I’ll

look at them and think, what can I do better a

better color or composition?

I’m interested in hearing about your perspective

on the changes in the art scene from the



Inspiration, process and further exploration

Jay Tobin with sculpture

Photos:hcandee

Displaced, 2016, Concrete, acrylic, 12"x12"x10"

Jay’s inspiration in the photographs


Dynamite, 2022, Acrylic on masonite, 54"x54"

JAY TOBIN PAINTER / SCULPTOR / ASSEMBLAGE

Onota Infusion, 2021-24, Acrylic on canvas, 36"x32"

Drop 2, Acrylic on canvas, 28"x28", 2024

Firefighter, Acrylic on canvas, 25"x22", 2022

past to the present, especially coming from an

artistic family in Pittsfield.

Nowadays there are more places to show art. I

think that came about from the start of the Friday

Arts Walk. The Arts Walk allows people who are

afraid of approaching a gallery to show their

work and put it in a restaurant, coffee shop, etc.

You can sit there eating, drinking, and looking at

art leisurely.

When creating your black-and-white paintings,

what challenges tested your skill and

ability to produce aesthetically pleasing work

like these two pieces? They appear quite different

from your other work due to the exclusive

use of black and white.

I have been doing black and white paintings on

and off since the late 1970’s. At Umass, I had

John Grillo for a painting class. I did a black-andwhite

painting that he thought was awful. He told

me about an artist he knew who used black and

white almost exclusively. His name is Myron

Stout. Stout has had a big influence on my work.

I try to set up these paintings so the black shape

or negative space and the white positive space are

“nice looking shapes,” as Grillo called them. I try

to get the black-and-white shapes to play off each

other. One isn’t more important than the other.

Certain objects lend themselves to just two

colors. A firefighter’s facepiece or a drop of liquid,

for example.

Murals began popping up all over Pittsfield;

you were part of that movement. Describe

your contribution to making Pittsfield City

more vibrant. (Is the mural still up?)

Dan O'Connell started the mural movement when

he was director of the Lichtenstein Gallery. I

worked on a couple mostly touching up as the

murals aged. I worked from the start on The firefighter

mural, it was destroyed by the sun and the

parking deck it was on was torn down. I was also

the model for the firefighter. The police department

wanted a mural after we finished the firefighter.

Half of the police mural is still up, the

other half has faded into oblivion by the sun.

Tell us about the artwork, which features King

Tut’s iconic tomb image rising above a dark

blue body of solid space next to two other

square shapes, one in black and the bottom in

brown. I sense a bit of your humor in this

piece. Or is it to be taken in a totally serious

way? Continued on next page...


JAY TOBIN PAINTER / SCULPTOR / ASSEMBLAGE

Untitled, 2020, acrylic, spray paint, collage on canvas, 40"x 67"

Double Negative, 2006, toaster, glass, charcoal, spray paint, metal, 24"x 24"x 8.5"

King Tut Squared, 2020-24, acrylic, collage on canvas, 36"x36"

The painting with King Tut is an older painting

with nine squares of awful color, so I painted it

into four squares. I have no idea where it is going.

I was looking at an old art history book, and King

Tut told me to free him from the book and stick

him on the painting at the intersection of the four

squares. So I did.

What was most amazing about the Group W

collaboration you participated in? It was a big

deal, encompassing 28,000 square feet of industrial

space in Pittsfield. It involved a group

of artists who grew up in the same town and

shared similar interests in the arts. What has

become of Group W and its members as of

today? I wonder if that could ever be done

again.


Group W (the name came from our meeting on

Wednesday nights to work on art, discuss art and

drink beer). It was a great collaboration of very

different artists. The last show was 2016 at the

Whitney Gallery in Pittsfield. (now closed) Most

of us are still around doing art. A couple of

members have passed away, FX Tobin and Bill

Tobin. They were two important members and I

think it would be hard to have a show without

them. The rest of us are in contact and members

show art by themselves or group shows. One

member is a writer still working hard.

Would you like to create a new group like this

someday?

I don't want to start a new group, let younger artists.

There are quite a few around the Berkshires.

You’re having a solo show at the Lichtenstein

Center for the Arts in June 2025. Congrats on

that! What are the plans for this show?

I have seven paintings now that will be in the

show. I probably will put some sculptures and reliefs

like “Roadside.” Some older paintings and

drawings. I have a lot of stuff from the last 50

years in my studio to pick from. My last hurrah,

so to speak.

R

Erika Larskaya

Mind Games 4, Mixed Media on canvas, 36” x 36”

"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". —Erika Larskaya

Erika Larskaya Studio at 79 Main St. Torrington, CT www.erikalarskaya.art


RICKY DARELL BARTON

Robot Paintings are interactive!

“Viewers complete the painting using their own visual vocabulary. Finding images within images

in my work seems endless because Robot Paintings, in effect, keep making themselves.”—RDB


Photography Courtesy of the Artist


Ricky's abstract "Robot Paintings" uses a specific

color scheme and vocabulary. Ricky emphasizes

the role of color in the process with

foreground and background painting, allowing

color to become the principal character in

the painting process. Ricky begins by infusing

energy into the canvas using specific colors,

then adds letters and shapes to enhance that

energy spatially, resulting in figurative "robotic"

shapes.

One of Ricky’s influences stem from the age of

Graphic Design in the 1890s, marked by the

introduction of two-toned Valentine's greetings.

The progress in multi-color printing during

this time led to the widespread use and

profitability of such cards. Inspired by this,

Ricky conducted experiments with color combinations

and discovered their visual impact,

similar to the recognition the Color School artists

received. Ricky paints using rags, his

hands, and primitive tools to achieve a flat

graphic feel.

Harryet Candee: Tell us about two significant

paintings that have given you strength and

confidence as an artist.

Ricky Darell Barton: Yes, the first is my very

first Robot Painting, a small 8"x10" yellow painting.

I painted it in 2007 when I was a member of

an art group in Washington, DC, the 52 O St.

Group. We had group showings, and one of the

members, whom I very much respected, wanted

to buy the painting, which increased my interest

in this new painting. I declined the offer because

I felt that the painting had much to teach me, and

the interest expressed in it gave me the confidence

to explore the idea of Robot Paintings.

That was when the first Robot Painting was born.

The second painting is a 2018, 40”x40” red

Robot Painting with a wave. I activated this painting

at the edges, and the idea of doing that continued

to interest me for some time, to keep the

energy to the edges of the canvas. I've always

thought of my Robot Paintings as art objects, and

this series significantly ingrained that idea into

my painting process.

As I have seen, your work looks very deliberate

and controlled, yet you bring into your

art process a form of subconscious drawing

and painting called Automatic-ism. Can you

Robot Painting 8x12 oil, oil stick on linen 2007

explain more about how you work with this

technique?

Robot Paintings are the outcome of process, color

theory, and mark-making. I begin the process by

creating a foreground and background painting.

Then, I think of color ideas that build around

color energy vibrations. I then apply my markmaking

vocabulary as the last step. I have made

so many Robot Paintings this way that they now

seem to push themselves, and I can explore and

enjoy employing color theories repeatedly in my

work. In an artist statement I wrote 17 years ago

after I created my first Robot Painting, I asked

myself if I could keep making this painting. The

answer is yes!

I'm just wondering if Artomatic will ever come

to the Berkshires. Artomatic is an arts festival

covering every genre and medium, including

music performances. What is your opinion of

this venue? What was your experience being a

part of this in 2012 and 2014? Would North

Adams be a suitable venue for such an event?

Artomatic was a blast. It was like having your

own little gallery, and since it was held in buildings

about to be renovated, you could do whatever

you wanted with it. In one of my Artomatic

shows, I painted the carpet and walls in my space,

made original Robot Painting murals, and

showed my current work, so it was a kind of

Robot Painting madness. It was a very free art experience.

Any art festival, anywhere, anytime, is

good for building an art community like that in

North Adams and its exposure.

Design and color are the strongest features of

your work. Aside from apparent skills, I want

to know what social, political, economic, or

ethical messages you relay.

I was told once, "Paint your time." I include

painting your immediate surroundings. In winter,

I paint in blues. Come spring, I've moved to

Pinks. This past season, I painted red for a solo

art show, pushing against blue (image sent). 2024

is a political year, after all. My world affects me,

and I try to show it through Robot painting. To

me, that is joy.

What are some constant challenges you face

when you begin a new painting?

In The Robot Painting process, color is the most

challenging part: choosing or breaking out of a

color pattern. I like to limit the number of colors

I use to explore those colors. So once that hurdle

is cleared, then I really get going. Then, it is a

matter of balancing energy, discovery, and markmaking.

All the symbols on your canvas come from a

language I would love to decipher. Still, I let it

alone because I am distracted and find myself

focusing and enjoying how my eyes travel

around the canvas. What significant symbols

have you made part of your signature style?

EAT is a tag I created for myself. It is also an acronym

for Everlasting Art Treasure, which oil

paintings are in more than one sense. The other

vocabulary in my work derives from my name

and common strokes on a typewriter. Each year,

I add a new element mark to date the paintings

for that year, and this was a part of the process

from the beginning. To this day, I use almost all

of the elements in every Robot Painting.



RICKY DARELL BARTON ROBOT PAINTINGS ARE INTERACTIVE

Red Robot Painting 36x36 oil stick on canvas 2018

Robot Painting 36x36 oil stick on canvas 2024

Yellow Red Blue Robot Painting 36x36 oil stick on canvas 2024


TABITHA VEVERS VISUAL ARTIST

War Dust, Robot Painting Diptych 30x80 oil stick on canvas 2022

Red Blue Robot Painting Diptych 18x40 oil stick on canvas 2024

We then find ourselves wearing 3-D glasses to

look at your art work. I haven't had the opportunity

yet, but I look forward to it when I

revisit Eagle Street. What do you think

viewers experience when wearing 3-D glasses?

This was actually a happy accident. I was watching

a 3-D movie with friends when one said look

at your Robot Painting; it's in 3-D. The painting

was jumping out at you. Colors changed to silver

hues, and depth became more present. So now, I

always play with the idea, so some are activated

that way as the result of a nice discovery.

Abstract Expressionism is merged with icons

and symbols into the mix in your work. How

does Abstract Expressionism inspire you, and

can you describe how you combine it on one

canvas?

I like abstract art because you can create the rules

and move in and out of the style. Creating Robot

Paintings has given me a great deal of freedom to

discover more about my painting and the process

I use each year. I grew up in the '80s, so animation

and graffiti were my earliest visual landscape,

and I have drawn inspiration from artists

like Keith Haring, Warhol, and Basquiat. That

was when I was inspired to begin painting in an

abstract expressionist style.

Repeating patterns are evident in your art. It's

a characteristic known to graphic and textile

design. As an artist, I need to repeat patterns,

symbols, and other elements in my work as

part of my process. One reason is that I want

to strengthen my technique, and the physical

act of repeating on paper feels satisfying. I also

need to add something to my work in progress

a second or third time until I achieve a sense

of peace and conclusion. Ricky, can you explain

what is satisfying to you while in the

physical process of creating a Robot Painting?

I feel the same way about repeating work. I also

always discover new things because I introduce

new elements each year. I keep each painting as

an echo from before, but each one is new and different.

I place a green dot on the painting, as the

last thing I do is to represent the viewer, and this

part of the process completes the Robot Painting.

It is a great feeling knowing when to stop.

What were some of your first experiences with

learning to see like an artist?

When I worked at The Phillips Collection in

Washington, DC, I saw Adolf Gottlieb's grid

paintings with mystical symbols for the first time,

and they really made an impression on me. Later,

when I visited Vancouver, the Indigenous art

there also had a big impact on me, leading me to

start painting with symbols in a black grid format

in 2007. I took art classes every year in school.

After a 2-year stint in theatre school and trying

out acting in New York City, I decided to pursue

painting and enrolled in art classes at the Corcoran

School of Art in Washington, DC, in 2006.

During this time, I started working at The Phillips

Collection, and I realized that being an artist

would be a continuing education. While working

there I had the opportunity to meet some famous

artists such as Robert Ryman, Sam Gilliam, and

Christo, all of whom were very kind and showed

an interest in my art. Their encouragement meant

a great deal to me. Continued on next page...


RICKY DARELL BARTON ROBOT PAINTINGS ARE INTERACTIVE

Red Red Robot Painting 30x40 oil stick on canvas 2023

Blue Blue Robot Painting 30x40 oil stick on canvas 2023

Robot Painting 30x4o oil stick on canvas 2023

Has your social life been exciting since moving

to the Berkshires? How do you spend your free

time?

It's been an exciting seven years since I arrived

in the Berkshires, joined two art groups, and have

had some 25 art shows. I'm a member of an art

cooperative gallery called Future Lab[s], based

in N. Adams, and a group of artists who began by

meeting regularly for dinners. The members of

these groups have a great association with area

artists. I also volunteer for activities in my town

of Cheshire and attend a lot of local live music.

I enjoy making Robot Paintings and being with

my husband of 35 years.


What are your truths about being an artist?

I keep true to my process, and that keeps working

for me. I may not be a big success from others'

point of view, but I have already exceeded my expectations,

and cool art things still keep happening

to me, such as this interview.

I wish to keep showing Robot paintings and one

day have an international gallery representation.

Another reason to be an artist is so my life is

filled with joy.

We live in challenging times. What do you find

being sensitive to these days?

I feel most sensitive to discrimination against one

another. Too much hate on this planet.

When you first wake up, what do you see outside

your window?

The forest. My studio is across the hall from my

bedroom, where I go each morning to paint.

How do we keep tabs on you? Contacts, upcoming

shows?

Facebook, Instagram, and Future Lab(s) webpage

(https://www.futurelabsgallery.com/), and always

a show on the horizon.

Y




ArtByMattBernson.com

Fly on the Canvas

PORTRAITS • PIN UPS • NUDES

matthew.bernson@gmail.com

Instagram @MattBernson.Art


PHOTO: STEPHEN ZURROW

JANE GENNARO

Jane Gennaro is an artist, writer, and performer

based in New York City and Claverack. Solo exhibitions

include the Fashion Institute of Technology,

World Monuments Fund Gallery, The

Claverack Free Library, Time and Space Ltd. and

Rogue Space. Gennaro’s solo plays have been

produced by The American Place Theatre, Culture

Project's Impact Festival, and The Toyota

Comedy Festival. Her work has been reviewed in

the New York Times, her commentaries have

aired on NPR’s All Things Considered, and her illustrated

column "Mining My Life, Diaries of

Jane Gennaro" is published monthly in The Artful

Mind magazine.

CLOSE ENCOUNTERS

WITH MUSIC

VIVACE CHAMBER ORCHESTRA:

TCHAIKOVSKY, GRIEG, BOCCHERINI, BARBER

SUNDAY, DECEMBER 15TH 2024, 4PM

MAHAIWE PERFORMING ARTS CENTER

Composed by Tchaikovsky to counter a bout of

insomnia and melancholy, Serenade for Strings

immediately cheered him up, and he reported

“feeling well, invigorated and content” - as gratified

listeners have over the years.

Vivace Chamber Orchestra; Yehuda Hanani,

cello. Join us for an Afterglow Reception on the

Mahaiwe stage following the concert! You are invited

to meet the artists and enjoy bites and beverages

by Authentic Eats by Oleg.

Tickets are available through Mahaiwe Performing

Arts Center by calling 413-528-0100.

info@cewm.org

TRANSLATION OF “I’M GOING TO MAKE A CAKE”

BY PHILIP GLASS

SHANY PORRAS

Shany is a visual sound artist who translates

music into abstract paintings.

“My artistic journey explores the interplay between

visual art and music, where I find inspiration

and translate the emotional landscapes of

various genres into vibrant and expressive abstract

paintings. Through my work, I strive to

bridge the gap between two art forms that share

the power to move, provoke, and stir the human

spirit.”

She accepts commission for your favorite music.

Shany Porras-

ArtintheBerkshires.com

Art studio is located at the Clock Tower Mill in

Pittsfield, MA. Email Shany for studio tour:

shany@number5studios.com

B4 THE FALL, PAPER ON PAINTED PAPER, 9 X 12

Hello All -

Oh happy day! I’ve launched an Online Shop to

showcase my “Scissor Drawings”; Originals and

prints in various sizes. I’d love you to check it out

and tell me WHAT YOU SEE in your faves.

Enjoy Autumn! — Thanks, Jane

For an overview of the artist’s fine art,

visit www.janegennaro.com

shop.janegennaro.com


The perfect gift to show friendship & love.

Find charms that delight and fascinate. Hand-made

beaded jewelry plus there’s so much more

to see on Laura’s online site!

Commissioned pieces welcome!

LoopeyLaLa

www.LoopeyLaLa.Etsy.com

Enter promo code ARTFULMIND10 to receive 10% off your purchase


Circle of Serenity, Watercolor

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

Carolyn M. Abrams

Ruby Aver

Girl with a Pearl, Acrylic on canvas 11” x 14”

Red Moon Rising oils/cold wax 20 x 20

Atmospheric and Inspirational Art

www.carolynabrams.com

MEMBER GUILD OF BERKSHIRE ARTISTS

Currently in Vermeer show in Amsterdam via

Mauritshuis Museum through December

rdaver2@gmail.com |

Instagram: rdaver2.

Housatonic Studio open by appointment: 413-854-7007


LIONEL DELEVINGNE

I am incredibly pleased to announce

that I will be one of the featured artists in...

VISIBLE

LICHTENSTEIN CENTER FOR THE ARTS

28 Renne Avenue, Pittsfield, MA

OCTOBER 4 — NOVEMBER 23

“Back to the Future” 1976—2024

510 WARREN STREET GALLERY, Hudson NY now offering

Vintage Delevingne silver prints for these times

elizabeth cassidy studio works

Artist, Illustrator, Writer, Peace Lover, and Creativity Coach

elizabethcassidystudioworks.com

elizabethcassidyart@gmail.com

https://www.instagram.com/Lioneldelevingne

http://www.lioneldelevingne.com/

http://www.510WarrenStreetGallery.com

KATE KNAPP

LANDSCAPE, KATE KNAPP

Painting classes on Monday and Wednesday

mornings 10-1pm at the studio in Housatonic and

Thursday mornings 10am - 1pm out in the field.

Also available for private critiques. Open to all.

Please come paint with us!

Gallery hours: Open by chance and by appointment anytime

413. 274. 6607 (gallery) 413. 429. 7141 (cell)

413. 528. 9546 (home) www.kateknappartist.com

Front Street, Housatonic, MA


BIRCH LEAVES, 11” X 14”

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

MARGUERITE BRIDE

WATERCOLORS

Commissions and exhibits are on the docket

this fall.

Jazz Visions II, the limited edition, is on exhibit

at Dottie’s in Pittsfield through December 31.

Paintings of local jazz celebrities are being featured.

Grab a bite, enjoy some music and check

out the funky art work.

Throughout the month of December, paintings

of Pittsfield and other local and beloved Berkshire

scenes will be on display at the new home of

Downtown Pittsfield, Inc at 431North Street,

Pittsfield. In addition to the hanging framed

pieces, they will also carry fine art reproductions

of “Christmas on Park Square, 1912” and some

other holiday themed art pieces for sale. Check

their website or call for open hours.

Venues that regularly carry my work (originals,

repros and cards) include Whispered the Heart

and Around the Corner at the Red lion in, both in

Stockbridge; Miraval in Lenox, and Hancock

Shaker Village Gift Shop.

There is still time to commission a special

painting for holiday gift giving…just barely. You

might also consider a gift certificate for a house

portrait. Fine art reproductions are also available

directly through the artist. All details are on the

website.

Marguerite J. Bride -

Downtown Pittsfield, Inc.: 413-841-1659

MargeBride-Paintings.com,

MargeBride@aol.com

“After tea, it’s back to painting – a large poplar at dusk with a gathering storm.

From time to time instead of this evening painting session I go bowling in one of the

neighboring villages, but not very often.”

–Gustav Klimt

SALLY TISKA RICE

BERKSHIRE ROLLING HILLS

Born and raised in the captivating Berkshires,

Sally Tiska Rice possesses artistic prowess that

breathes life into her canvases. As a versatile

multi-media artist, Sally seamlessly employs a

tapestry of techniques, working in acrylics, watercolors,

oil paints, pastels, collages containing

botanicals and mixed media elements. Her creative

spirit draws inspiration from the idyllic surroundings

of her rural hometown, where she

resides with her husband Mark and cherished

pets.

Sally's artistic process is a dance of spontaneity

and intention. With each stroke of her brush, she

composes artwork that reflects her unique perspective.

Beyond her personal creations, Sally

also welcomes commissioned projects, turning

heartfelt visions into tangible realities. Whether

it's capturing the essence of individuals, beloved

pets, cherished homes, or sacred churches, she

pours her soul into each personalized masterpiece.

Sally's talent has garnered recognition both nationally

and internationally. Her career includes a

remarkable 25-year tenure at Crane Co., where

she lent her hand-painted finesse to crafting exquisite

stationery. Sally is a member of the Clock

Tower Artists of Pittsfield, Massachusetts, the

Guild of Berkshire Artists, the Berkshire Art Association,

and the Becket Arts Center. Follow on

YouTube, Facebook, and Instagram.

Sally’s work is on the gallery walls of the Clock

Tower, Open Monday-Friday 9:00-5:00 pm for

self-guided tours.

SallyTiskaRice@gmail.com

www.sallytiskarice.com

https://www.facebook.com/artistsallytiskarice

Fine Art Prints (Pixels), Twitter, LinkedIn,

Instagram, YouTube, TikTok


Something For Over The Couch

PART 21

New York

Suddenly I wanted to go to New York City. I had

never been there, and I was ashamed to admit that

the idea was terrifying. I was obsessed with news

items in the papers each day. There was the problem

of the juvenile delinquents. The juvenile delinquents

were doing outrageous, sadistic things. They would

go into the parks and throw gasoline on old men sitting

on benches and then set them on fire. These old

men who were set on fire, and who died, invariably

turned out to be, ‘Beloved,’ by everyone. They always

had a wonderful sense of humor, so everyone

said.

Back then I had a primitive idea of moral law, as

if one could be certain that evil experiences would

be invariably visited only on evil people. I wondered

if the newspapers were just making it all up. How

could it be that all these old people who were set on

fire, were always beloved by everyone? Why was it

that they were always, every one of them, just about

to do something wonderful, something desired for

years? This old man was just planning on attending

his granddaughter's wedding, and this other fried

corpse had just purchased tickets for his trip to the

old country.

There was an old woman who was burned up in a

park who would go there every day to feed the pigeons.

The delinquents burned her up, and cooked

the pigeons first, right before her terrified eyes. And

so I thought that I would go to New York, even

though I was convinced I would most likely never

return alive.

My teacher made it abundantly clear to me that if

I wanted to be an artist, I had to go to New York. I

had mentioned to her in our arguments that Leonardo

and Michangelo never had shows in galleries

and she had said this. “They were Catholic, when

the church was everything. They worked only for

the church, and even their private commissions were

created with the church in mind, especially the donated

gifts for local churches. So, why don’t you go

and visit some of the local churches down in the Italian

section, and look at the art that has been created

for their walls. See if you can find something like a

Raphael Madonna, down there on Jay Street. See if

you can find some marble low relief of the crucifixion,

with Christ, his veins showing on his arms and

hands, as life-like as the veins on the top of your

hand. No, you will find plaster casts with sand

blasted features, stenciled Madonna faces like you

see sandblasted on tombstones in the cemetery.”

I took her up on her suggestion, but I did not go to

all the churches in the city, and there were many, I

just went to my own church, the one I mentioned in

the first chapter of this account. The church I always

attend once a year with my cousins, for Midnight

Mass on Christmas eve. It was a small structure,

hardly even church-like in its architecture, and

painted a ridiculous pink color.

The entrance door was rather large, but it bore no

resemblance to those bronze doors of Ghiberti, so

praised by Janson in his art history book. On the

contrary, the entry was one of those aluminum and

glass doors or recent manufacture, like you might

see going into McDonalds. The door was open and

I went in. I took three steps and stood still for a

while.

I imagine that anyone entering an unknown church

for the first time, most likely stops for a minute and

takes in the view, no matter what it might be. What

was I actually doing there in the church? Had I come

to ask for guidance in life from a plaster statue of

Jesus. Did I want to pray for the successful outcome

of a medical procedure? No, I was there to pass

judgment on the interior decorations of the church.

I wanted to look at a lot of inferior artwork and reproductions,

and having seen and passed judgment

on them, to leave the building, take a deep breath

and embark on my life with renewed conviction.

I am not going to attempt to describe the pictures

and statues in the church, you can go any day into

one of those neighborhood structures and see what

I saw. Flaccid, anemic paintings and sculpture by

artists, devoid of feeling or any actual religious convictions.

It was a question of life or death, and I had to

make a commitment, so I made the decision to go

to the city without any idea of how I would get my

Mother’s permission. I wanted to introduce the idea

gradually to her, so as not to alarm her. I began to

drop hints about wanting to see the Statue of Liberty,

and that kind of stupid thing, but she divined my intent

immediately, and stopped what she was doing,

which was frying some peppers on the stove, and

went up to her bedroom. I knew what she was doing

up there, she was doing her Bible Lesson, the lesson

was a group of Bible verses she had to read each

day. Resorting to the Bible lesson was automatic,

when some disaster was threatening to fall down

upon us.

The result of her doing the lesson could never be

predicted. On the one hand she would be beseeching

God to sabotage my plans to go to New York, but at

the same time she would want to hedge her bets. She

also would want to prepare herself for the disaster

of my actual going, and so she might find something

like the story of Daniel in the Lion’s Den. I would

be Daniel, and New York would be the Lion’s den.

But the odd thing about being fed such ideas since

when I was in a highchair waving my arms about

for no reason, was that I also believed that New York

was the Lion’s Den. And just because you might ardently

believe the story of Daniel and the Lion’s

den, does not mean you are not afraid of lions.

I went up to her room, and sat on the bed next to her.

She took off her glasses and set her book on the

other pillow on the double bed, my father’s pillow.

She was not crying, but there was some kind of rage

in her eyes I had never seen before. She was struggling

to not say something. She started to speak

twice, and then it came out, an impossible, idiotic

remark, that went to the very heart of all her troubles

over me. Venomously she said, “It’s that Jewish

woman isn’t it?”

“What Jewish woman?”

“That art substitute you have been going to see all

the time.”

“You think Hannah is Jewish?”

“Obviously she is, don’t you know that.”

It was true that my art teacher was Jewish, but I

had simply never thought about it. There was something

nailed by the door that had something to do

with that religion, and a menorah on the mantle

under my painting, but I had simply never thought

about it at all. At first I did not react, I just sat on the

bed looking at my hands. My mother, I discovered,

was a bigot, the silent resentful kind, I would have

never guessed.

During the month I spent preparing myself for my

trip to the Lion’s Den an odd thing happened to me,

it was a strange and completely unexpected thing,

but it seemed to me as if it was a thing designed to

prevent me from going on my trip. It was almost as

if some persons had been hired to act parts in a little

one act play with me as an unwitting lead character,

a play designed to make me forever abandon the

idea of going to the city. In short, I was attacked by

juvenile delinquents. I was walking up Jewell street

almost to where it intersects Genesee Street. It was

Saturday in the middle of the day, but where I was

coming from, and where I was going I have no idea.

It was one of those long walks where, as a game

with myself, I would not decide which direction to

go in when I got to a corner. I would stand at the

corner and not be able to decide if I would go left,

right or straight ahead. It never made any difference,

since I had no destination in mind, but on this unusual

Saturday, going to the right at the corner had

a long series of amazing and curious consequences.

I was just a few steps from a convenience store. The

convenience store was a one story cinder block

structure quite close to some rundown boarded up

building. There was an alley between these two

buildings and as I passed a hand reached out and

grabbed me by my shirt from behind. Then I was

dragged backwards down the alley a short distance

and pushed up against a wall. I was so completely

amazed by what was happening that I was unable to

think. It was such a strange thing to experience that

I had no way to respond. Have you ever slipped on

some patch of ice unexpectedly, and for a short moment

you are in the air, and you don’t realize it at

first. Before you hit the ground, suspended in space,

your mind goes blank as you wait for some explanation

for your predicament. Then my attackers,

there were two of them, turned me around and I got

my first introduction to real life juvenile delinquents.

They were two boys about my age, pimply,

anemic, badly dressed and very nervous and frightened,

as if I was attacking them. They were looking

around every which way like squirrels frozen in traffic.

I was wondering, what do they want, do they want

money, do they want to harm me, do they want to

kill me? But, as if they were truly actors in a play,

they seemed to have forgotten their lines, eventually

things came to a head, and one of them took out a

knife, a stiletto, a switchblade knife, and snapped it

open with a flourish. There is something truly fascinating,

even hipnotic about a knife like that, but it

was just the knife, no gasoline.

—RICHARD BRITELL,

OCTOBER 2024

Parts 1 - 20 @ www.richardbritell.com

(short stories)


STACKS, RUBY GOLD BAND

BERKSHIRE DIGITAL

Since opening in 2005, Berkshire Digital has

done Giclée prints/fine art printing and accurate

photo-reproductions of paintings, illustrations and

photographs.

Giclée prints can be made in many different

sizes from 5”x7” to 42”x 80” on a variety of archival

paper choices. Berkshire Digital was featured

in Photo District News magazine in an

article about fine art printing. See the entire article

on the BerkshireDigital.com website.

Berkshire Digital does accurate photo-reproductions

of paintings and illustrations that can be

used for Giclée prints, books, magazines, brochures,

cards and websites.

UNTITLED, 24” X 36” X6 ”

JOANE CORNELL

FINE JEWELRY

Apart from the designs I produce for my store inventory,

I find great pleasure in creating pieces for

customers, whether from scratch or repurposing and

reimagining their prior purchases from years gone

by. Collaborating with the customer in the design

process gives the outcome more depth of appreciation.

Commission orders are welcome.

Joane Cornell Fine Jewelry -

9 Main St., Chatham, New York;

JoaneCornellFineJewelry.com / Instagram.

“Fred Collins couldn’t have been more professional

or more enjoyable to work with. He did a

beautiful job in photographing paintings carefully,

efficiently, and so accurately. It’s such a

great feeling to know I have these beautiful, useful

files on hand anytime I need them. I wish I’d

called Fred years ago.” ---- Ann Getsinger

We also offer restoration and repair of damaged

or faded photographs. A complete overview of

services offered, along with pricing, can be seen

on the web at BerkshireDigital.com

The owner, Fred Collins, has been a commercial

and fine art photographer for over 30 years having

had studios in Boston, Stamford and the Berkshires.

He offers over 25 years of experience with

Photoshop, enabling retouching, restoration and

enhancement to prints and digital files. The studio

is located in Mt Washington but drop-off and

pick-up is available through Frames On Wheels,

84 Railroad Street in Great Barrington, MA

413-528-0997 and Gilded Moon Framing

17 John Street in Millerton, NY

518-789-3428.

Berkshire Digital -

413-644-9663,

or go online to www.BerkshireDigital.com

“The nude, if you tackle it, is a very fascinating subject, especially for a woman… Traditionally

the Nude was used to express formulations about life as larger-than-life, as Heroic or Ideal…

The nude is not a ‘genre’ subject.” -Isabel Bishop

BONE ART

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


ANCESTRY, 20” X 20”

CRAIG KAY

BUSHNELL-SAGE LIBRARY

It is often said that the way we leave this life

is the same way we came in, the only difference

being what we learned in between.

I was born into an artistic family. In my 20s

and 30s I supported myself as a fine artist, working

primarily with photography, film and stain

glass. Through middle age, my attention turned

to metaphysics, teaching, the healing arts, and

fine art conservation. In these later years I have

been blessed with a return to fine art as a means

of inquiry and manifestation.

The language, symbols and imagery present in

these works are derived from various wisdom traditions,

including Buddhism, Egyptian, Alchemical,

Spiritual Healings and Shamanic Plant

Medicine. Throughout all these traditions and in

my own life processes the fundamental questions

are always the same, who are we?, where did we

come from?, what are we doing here?, and finally,

where are we going?.

This presented work is my answer to these

questions. You can look on them as symbolic representations

of psychic spaces, what I saw when

I took the inner journey. Consider them portals

into other realities, as when the strain of looking

turns into the relaxed gaze. May they take you to

unexpected places.

As artist we often work alone. Yet we are always

accompanied by our teachers, friends,

guides. As such, I wish to acknowledge four

trusted souls on this journey of art and discovery.

Foremost, my wife Annie B. Kay, fellow companion,

enduring lover, and faithful co-conspirator on

this life’s road, without whom most of this work

would not have come to fruition.

To my spiritual teacher, Barbara Ann Brennan,

for her loving kindness toward me and for opening

up the vast array of spiritual realms, separated

by only the thinnest of veils.

To my dear friend Jamy Faust, for her deep understanding

of the wisdom traditions and the shamanic

practices needed to access them.

Finally, to Viktoria Seavey, artist, teacher,

seeker of truth, who week after week, cleared the

space, laid out the tools, materials, lead the meditation,

and with such integrity and love, held the

sacred space for a group of cancer survivors to

create life anew, again and again.

Craig Kay will be showing his work at the

Bushnell-Sage Library in November. Reception

is Friday, November 8, 5 - 6:30pm / 48 Main St,

Sheffield, MA. Join us to meet this special artist.

(TOP) TARGETED 3, ACRYLICGRAPHITE,12” X 16” 2022

(BELOW) ABSTRACTED MEMORIES I, ACRYLIC, LATEX AND

GRAPHITE ON BOARD, 12” X 16” 2022

JAYE ALISON

MOSCARIELLO

Jaye Alison Moscariello harnesses water-based

mediums like acrylic and watercolor, influenced

by a creative upbringing and artistic journey.

Through abstraction and intuitive color selection,

she captures the interplay between forms, with

lines that articulate deep-seated emotions. Her art

resonates with joy and upliftment, transforming

personal and worldly complexities into visual harmony.

The artist is passionate about creating art, painting

on flat, smooth surfaces, and using materials

that are environmentally friendly.

Moscariello’s work has been exhibited both nationally

and internationally, and has appeared in

print, film, television, the web and Off Off Broadway.

Jaye Alison Moscariello -

310-970-4517 / jayealison.com


Join us for the December

Anniversary issue!

Send an email for details

STEPHAN MARC KLEIN

I have been sketching for most of my adult life,

since a summer when, as an undergraduate architecture

student, I bicycled through Europe with a

friend. When I travel, I always carry a sketchbook.

I find that drawing forces me to slow down

and more deeply experience my surroundings.

I made the Ladakh Sketchbook some years ago

during a month I spent in Ladakh, which included

a two and a half week trek through the Markha

Valley.

Ladakh is a high-altitude mountainous region

comprising the northern tip of India in the Karakoram

range of the Himalayas. Its control has

been in dispute between India, Pakistan and

China. In the area that I traveled through, the primary

religion practiced is Tibetan Buddhism.

Until politics intervened, Ladakh had close ties to

Tibet, and Ladakh Buddhists recognize the authority

of the Dalai Lama.

To understand the sketches in this month’s adpage

in The Artful Mind: A “gompa” in Buddhism

is a religious building, a “chorten” is a

stupa or reliquary sculptural mound. The buildings

on the cliff above the tents in the Markha Valley

Campsite sketch were a small but still active

monastery with a few monks and the ruins of an

ancient fort.

Stephan Marc Klein -

stephanmarcklein.com, smk8378@gmail.com



BRUCE PANOCK

Lines and Shapes in the Forest

Panockphotography.com

bruce@panockphotography.com

917-287-8589

Instagram @brucepanock

Deborah H Carter

The Seedy Side of the News

Upcycled Berkshire Eagle Bags

and Bird Seed Bag

Photo: Korenman.com

Model: @laragionedreamer

Represented by the Wit Gallery

Studio: Clock Tower Artists

the artful mind . november 2024

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