the artful mind artzine december 2024

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

THE ARTFUL MIND

DECEMBER 2024

POET / PERFORMANCE ARTIST / CLAIRVOYANT

JORGE CLAR

PHOTOGRAPH BY BOBBY MILLER

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

THE ARTFUL MIND DECEMBER 2024 • 1

2 • DECEMBER 2024 THE ARTFUL MIND

the

DECEMBER 2024

ARTFUL MIND

IN PRINT SINCE 1994

December Issue is dedicated to Eli Newberger

JOANE CORNELL

FINE JEWELRY

Artist Jess Frey... 14

Jorge Clar

Poet, Performance Artist, Clairvoyant... 24

Artist Update Ruby Aver ... 38

Travel Journal to Daugavpils, Latvia 2024

Jaye Alison Moscariello ... 48

Richard Britell | FICTION

Something for Over the Couch

PT.2 “The Voyage of Life” ... 51

Mining My Life

Diaries of Jane Gennaro ... 52

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

Hand Forged Designs

www.JoaneCornellFineJewelry.com

9 Main St. Chatham, NY

Advertising / Editorial inquiries

and Subscriptions by mail:

413 - 645 - 4114

artfulmind@yahoo.com

Read the online version: ISSUU.COM

FB: ARTFUL MIND GALLERY

for Artful Minds 23

THE ARTFUL MIND

PO Box 985, Great Barrington, MA 01230

FYI— Disclaimer: : ©Copyright laws in effect throughout The Artful Mind for logo & all graphics

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Mind. Permission to reprint is required in all instances. In any case the issue does not appear

on the stands as planned due to unforeseeable circumstances beyond our control, advertisers

will be compensated on a one to one basis. All commentaries by writers are not necessarily

the opinion of the publisher and take no responsibility for their facts and opinions. All photographs

submitted for advertisers are the responsibility for advertiser to grant release permission

before running image or photograph.


janet cooper

Fabric Shards and Other Remnents

www.janetcooperdesigns.com

Ghetta Hirsch

Call or text 413-597-1716

Ghetta-hirsch.squarespace.com

@ghettahirschpaintings

“Frozen Tracks” 2019

Oil and Cold Wax Medium on Wood Panel, 8”X10” with grey wood frame 1/2” wide




CANDACE EATON

Sol & Luna, Oil on canvas, 40 x 40, $8,000

"This is an early painting from my Jazz/Horse Series where I am expressing the union of opposites, a theme that is

recurrent in most of my works,both expressionistic and figurative ( the Archetype and Icon Series)"

Candace Eaton

(631) 413-5057 | candaceeatonstudio@gmail.com | www.candaceeaton.com


RICHARD TALBERT

LIONEL DELEVINGNE

“Back to the Future” 1976—2024

Opt 125, (c), Acrylic and Mixed Media on Paper, 24” x 34”, 2022

510 WARREN STREET GALLERY, Hudson NY now offering

Vintage Delevingne silver prints for these times

richtalbert1@gmail.com

| Richardtalbertdesign.com

https://www.instagram.com/Lioneldelevingne

http://www.lioneldelevingne.com/

http://www.510WarrenStreetGallery.com


May peace rain down upon the world in 2025

elizabeth cassidy studio works

Artist, Illustrator, Writer, Poet, Peace Lover

elizabethcassidystudioworks.com

Jennifer Pazienza

Blooms & Burdens, Diptych, Oil on canvas, 72 H x 36 D

Spring's flowering trees, their branches encumbered by blooms tinted with a magical mix of cadmium and crimson reds

and sun warmed whites within a rush of greens vividly contrasted the winter palette I had been working. Overcome by the

abundant splendour and grace of those labouring limbs, I saw in them how we carry beauty and suffering.

@Jennifer Pazienza | www.jenniferpazienza | jennpazienza@gmail.com


MARY ANN YARMOSKY

BLUE EYED LADY

maryannyarmosky.com | maryannyarmoskyart.shop


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


UNTITLED, 24” X 36” X6 ”

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


ABSTRACT MILKWEED

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

SAINT JAMES PLACE

Seven-time Grammy®-winning saxophonist

Paul Winter, with the Paul Winter Consort, will

headline a month of family friendly holiday activities,

many of them free of charge, at Saint

James Place in Great Barrington.

December is filled with performances, activities,

an arts fair & more at Saint James Place in Great

Barrington:

Tuesday, Dec. 3 and Tuesday, Dec. 10 at 7pm -

Great Barrington Public Theater presents Berkshire

Voices: Staged Reading of two new plays.

Seating is limited.

Saturday, Dec. 7 at 10am-4pm and Sunday, Dec.

8 at 10am – 3pm - Delightful & Delectable Holiday

Market (Great Barrington Arts Market)

Saturday, Dec. 14 - Annual Holiday Shop, Sip

& Stroll. All events are free including: 3pm-

7:30pm Charlie’s Trains – model train display;

3pm Aston Magna Family Event; 5pm Olga

Dunn Dance Co.: “Nutcracker Seedling”; 7:30pm

Vocalis Youth Choir concert: “Songs of the Season”

Sunday, December 15 12noon-5pm Charlie’s

Trains – model train display (free event)

Sunday, Dec. 15 at 3pm Berkshire Lyric holiday

concert: “Love’s Pure Light”

Saturday, Dec. 21 3pm and 7pm Paul Winter

Consort: Winter Solstice Celebration.

Sunday, December 29 at 4pm Crescendo: Bach-

Circle - Christmas Oratorios & Contemporary

Female Voices.

Seating is limited for the free Aston Magna and

Olga Dunn Dance Company events – reservations

are strongly recommended by sending an

email to: info@saintjamesplace.net. All events

are listed at saintjamesplace.net.

Saint James Place -

413-528-1996

352 Main Street, Great Barrington, MA.

“Without freedom, no art; art lives only

on the restraints it imposes on itself,

and dies of all others.”

~Albert Camus

JANE GENNARO

PHOTO: ANNE CARNEY

CHIMI DENG

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.

CARDINALS, ACRYLIC, 16” X 20”

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

CORPORATE FLY, WOMAN’S GARTER, GRAY FLANNEL, FLY ON

HEN EGG, PAINTED ALBUMEN, FAUX METAL “BALLS”

JANE GENNARO

Jane Gennaro is an artist/writer/performer.

Solo exhibitions include the Fashion Institute of

Technology, Westover, Klapper Center for Fine

Arts, World Monuments Fund Gallery, The Claverack

Free Library and TSL Ltd.

Gennaro’s solo plays have been produced by

the American Place Theatre, The Culture Project’s

Impact Festival, Toyota Comedy Festival

and more.

Her work has been reviewed in the New York

Times and featured in New York Magazine and

Gennaro’s commentaries aired on NPR’s All

Things Considered, and her graphic column

“Mining My Life” (culled from decades of illustrated

diaries) appears monthly in The Artful

Mind magazine.

Jane Gennaro -

www.janegennaro.com

ARTFULMIND@YAHOO.COM


Artist JESS FREY

“We are in this together and together is how we find our way.” - JESS FREY

Interview by Harryet Candee

Photographs By Sandy Panzella

Jess creates visual art using abstract textural

layers and incorporates recycled paint,

acrylics, ink, and everyday found objects. Her

artwork expresses the multi-faceted nature of

trauma, addiction, recovery, humanity,

wholeness, love, and the journey of finding

one's way home.

In addition to her artistic pursuits, Jess is a

Kripalu Lead Staff member and embodiment

teacher, a certified Kripalu Ayurvedic Yoga

teacher, and an Ayurvedic bodyworker. She

offers valuable insights into promoting a

healthy and artistic lifestyle for everyone.

Jess showcased her art at Stockbridge Coffee

and Tea this past July and August, allowing

visitors to enjoy her artwork alongside the

poems, stories, and shared experiences accompanying

each piece.


Through the relationship between written

and visual art, Jess illuminates an unfolding

journey of being "Born Again," awakening a

sense of freedom and aliveness.

Can you show us your authentic voice

through what you do best? What does your

heart want to say?

Jess Frey: My authentic voice comes out every

day through my work, relationships, and on

Facebook. I have a daily morning writing practice,

and then I post/offer life inspiration to the

other people on that platform exploring life with

me.

When I drop into my heart space and pause to

listen, today my heart says, “Brave you, Jess, for

being you and awakening your own life. Trust

your Soul path you have been called to even

when you cannot see the journey ahead. Devote

yourself fully to steward love, connection, intimacy,

creativity, transformation, and the Sacred.

Allow more of your heart to be seen- lay down

the armor, dear one, and invite your being to be

stretched beyond what you think/know is possible.

Remember, you did not come this far only

to come this far. There is more aliveness that

lives in the unknown. Keep choosing love every

step of the way, and love will guide you.” I take

a breath to honor what came through. Then, I say

thank you heart for speaking. The Palace of the

Heart always talks, yet it can be easy to dismiss

and ignore heart wisdom in our busy, distracted

lives. Let’s listen more.

Exploring healing through visual art is a powerful

therapeutic approach that can guide in-

Embrace, 4, mixed media on canvas, 40”x 40”

dividuals toward a happier and healthier version

of themselves. Reflecting on your own life

experiences, have you encountered challenges

that inspire self-discovery? Sharing your

journey could provide valuable insights into

your identity and creative process.

Exploring the intersection of creative expression,

healing, self-discovery, and spirituality is such a

juicy topic. They are all so intertwined and

woven together through the fabric of life. They

are not separate. I am a creatrix. We all are. To

create is to bring something into existence. We

need to get out of our way and dissolve limiting

beliefs and stories that stop our unique expression.

Everyone is born creative. We all had a box

of crayons when we were kiddos, and then life

happened: judgments, not good enough, comparison

with others, a right/wrong way to do art,

right/wrong way to express yourself, and slowly

aspects of ourselves start to wall up and shut

down.

Reflecting on my own life since childhood, I remember

being a “closet artist.” Creating behind

closed doors: journals galore, collage books,

stickers, designing prints, and murals on the

wall. Challenge and suffering became the fuel

that ignited creativity. The art/creativity became

the embers and flames that evoked and ushered

self-discovery, healing, and a transformational

process of the fire to alchemize childhood

trauma, sexual abuse, a 25-plus-year eating disorder

of bulimia and anorexia, and the journey

of recovery into the woman person I am today. I

needed all that challenge and suffering to be who

I am today. This alchemy process was where I

learned to use art as a sacred tool for self-discovery,

self-awakening, and inviting suffering to be

the pathway to healing and growth. The only

way through is through—all the way through.

Creativity became a portal to connect the dissociation,

mend the broken heart, express unfathomable

experiences that had no words, tend

to the ache that could not be felt, release stories

that needed to be heard, and bring the invisible

life within that yearned to be seen and expressed

(the unconscious to become conscious) to be

seen. This reminds me of the Gospel of Thomas,

“If you bring forth what is within you, then what

you bring forth will save you. And if you do not

bring forth what is within you, what you don’t

bring forth will destroy you.” On some level, I

had no choice. I had to bring forth what was

within me in creative ways. It was live or die. I

thank God every day I was offered the Faith,

Grace, and power to choose life. Many people

who struggle with eating disorders choose death,

as eating disorders have some of the highest

death rates among all mental health issues. For

me, this was and still is today the therapeutic

process of exploring healing through visual art.

How did you discover visual arts and feel it

was okay to jump on board to be an artist?

I discovered visual arts first as a writer and poet.

In high school, I dated a dear artist who attended

college for art education. He helped open the

door to painting and abstract expression, which

felt so freeing to me. Through our relationship,

I found my unique style of merging painting

with poetry. The painting speaks to the poemthe

poem speaks to the painting, and there is a

big ol’ conversation happening between me, poetry,

God, paints, and abstract art.

I am unsure if I have a choice about jumping on

board to be an artist. It’s who I am, it’s why I was

born, it’s my destiny, duty, and responsibility,

and a soul calling to express in the way I do. If I

don’t, I will slowly be killing my Soul and will

be a disservice to the greater good. Some of the

bravest work we will all do is to live the life we

were born for. For me, it’s art and creative expression

in all forms: sound, song, drum, teaching,

facilitation, designing curriculum,

mentorship, interior decoration, gardening, poetry,

connecting conversations, dancing with life,

making love to a lover, painting a picture– it’s

Continued on next page...


ARTIST JESS FREY

Awakening, Mixed media on canvas with wood frame

all the same- a creative way of being and living.

We are all artists every day and have the potential

to dream dreams alive and express ourselves

in creative ways. Every day of our life is a fresh

white canvas waiting to be played with.

Have you studied art history, and what and

who influenced you to create artwork?

Big smiles; this question brings shyness inside

because, no, I have never studied art, art history,

or art technique. What influenced me to create

artwork was suffering. Today, what influences

my artwork is the process of transformation.

Other important influences include my relationships

with others, seasons/cycles of the land, the

continuous untangling within myself to live

more authentically and free, intuition, dreams,

listening to the life that wants to be heard,

God/Source/Divine. I am open to the moment’s

mystery, allowing and surrendering to what

needs to come through. I become a clear vessel

for truth and wisdom to be expressed as needed.

I am open to the energetic circulation of ideas

and visions that expand perspective. I tap in, attune

to, and participate in a larger universal act I

am not in charge of. It has nothing to do with me

and is more about being a conduit for what needs

to come through for me and others. It’s a spiritual

practice for me, and it’s more than just art

and the things I do on my kitchen floor. It’s a


way of being- it’s a way of life.

Have you written any poetry related to ways

of healing that you can share with us?

Yes. Every poem I have ever written is a tribute

to the healing process. Every one of my paintings

is accompanied by a poem about healing.

You can find my art/poems on my website. My

next project is a book. Nudge, Nudge to myself.

The whole is greater than some of the parts

it’s made of.” What does this mean to you?

I have heard this before, but honestly, I don’t resonate

with it. Where I go more is that each part

is part of the whole. The whole is not “greater or

better” than the parts. Each part is welcome.

Each part is needed to make the whole. Each part

makes up the wholeness of who we are, which

includes all the parts of you: joy and sorrow, rage

and love, fear and clarity. All the parts make up

the greatness of the whole- the greatness of you.

What would you say ranks top of your most

important principles for living a healthy life?

Can you explain it to us?

Ohhh…top greatest hits to living a healthy life

include:

- Prayer and devotion to God/Source/Divine

- Authenticity

- Honesty

- Presence and active listening

- Creative expression

- Intimacy and connection to self, others, the

world, and life

- Choose love (we always have a choice)

- Embrace laughter, humor, and play

- Continuously remember and embody the essence

of who we are

- Understand, own, and claim my purpose and

who I serve (clarity about why I do what I do)

- Be willing to self-reflect, remove the veil, and

step out of the “Matrix.”

- Share lots of hugs

In your reality, how have you facilitated connectivity,

curiosity, and co-creating brave

spaces for yourself and others?

My reality includes working full-time and leading

various regular educational and transformational

retreats at Kripalu Center for Yoga and

Health. I have learned some ingredients that

seem to foster connectivity and curiosity, ask a

lot of questions, invite the wisdom of the group

to lead the way (not just what Jess Frey/facilitator

has to say), calling upon the wisdom of

each person in the room to come forth, speak up,

and be themselves. Then connectivity begins to

permeate the room- humans connecting to humans-

hearts connecting to hearts- Soul to Soul

in our shared fragile humanity. Brave spaces

Thresholds

Palace of Heart, Mixed media on canvas with wood frame, 21” x 17”

mean all of us together learning about who we

are- what works, what does not, and how to

move forward together. The co-creation of brave

spaces says all parts are welcome, the whole of

you welcome, and you be you. When I can be

me, and you can be you, then we all can be in

space together in the inquiry, exploration, and

discovery. We stop looking for answers or the

destination. We savor the journey of compassionate

curiosity and are open to the moment of

life unfolding, showing us all the next steps.

Brave space means we point the compass toward

truth, wisdom, and love, even in our differences.

Do you think a complete understanding of

one’s mind is necessary to transform oneself?

Or can transformation occur without exploring

the why and how of one’s state of mind?

Is it possible to transform oneself through the

powers of discipline?

Ha…will we ever completely understand the

mind? Golly the mind is some wild terrain to

navigate. AND the path of transformation is all

about learning thy self and knowing of thy self.

It’s a forever-lifetime journey, not a one-time

event. It seems a byproduct of the process of

healing and transformation, which is the natural

revealing of why and how one’s mind functions,

reacts, responds, etc., offering clear insight into

the workings of the unique mental bundle we all

have. From clear seeing I can engage in new

choices. New choices birth a new way of thinking

and a new way of being.

Healing and transformation need SO much more

than powers of discipline. Sometimes, we transform

through relaxation and often only release

in the softening, not force or discipline. Transformation

needs choice, willingness, perseverance,

humility, humor, gentleness,

understanding, gratitude, reverence, integration,

and infinite LOVE. Lastly, self-discovery and

mind/body/heart exploration must include

others. We are wounded in a relationship, and we

heal in a relationship. We need one another to

help one another understand ourselves and

awaken. We are stronger together. It’s not a solo

adventure.

Do you also work from a spiritual and religious

point of view?

Ahhh…I LIVE from a spiritual and religious

point of view. Life, art, teaching, music, facilitation,

the essence of who I am- it’s all spiritual

and religious. All of us humans are spiritual beings

in human form. I hope to help people connect

to and remember the Soul being they are

and embody the Divine living in and through us

all the time. This Divine Union with life itself is

spiritual and religious.

Where is your favorite place to be?

My favorite place is a sweet secret spot in these

special sacred woods, where I can listen to the

land. There are no humans. There is no cellphone.

It’s the liminal of nothingness and everything

simultaneously. Where I lose myself and

find myself is the place I see there is more to my

life than what I currently know and experience.

This place helps me remember the sacredness of

all of life.

Where did you grow up? What was your

family like as a child?’

I grew up in a small apple farm town in Lake Ontario

near Rochester, NY. My family included a

mixology of love and rage, beauty and mess,

connection and dysfunction. I was the rule

breaker, danced to the sound of my drum, and

was the eccentric of the family. Most of my time

was spent with my very loud, expressive Italian

side, which included regular Sunday gatherings

of authentic homemade pasta, sauce, and excessive

amounts of food for everyone and more.

What makes you feel joy?

Laughter with a good friend. Real intimate, honest,

deep, dive heart conversations (soul to soul

and eye to eye), star gazing into the great mystery

with awe, binoculars at the top of the moun-



ARTIST JESS FREY

Liberation

Holy Wars

tain, playing with my 8-year-old friends on the

playground, singing, crystal bowls, drumming,

headphones with loud music in my ears, driving

in fast cars, and dancing like freedom dances…

oh yeah and messy paint on canvas.

What always saddens you?

Aye…big breath…the holy longings within me

often bring sadness because those longings invite

me to release the armor around my heart into

a sweet surrender of “Thy will not mine” and

“Let God be God.” Our cultural addiction to cell

phones and technology has always saddened me

because humans have lost touch with the land,

animals, spirits, and other humans. The way humans

treat one another saddens me- violence, inequality,

polarization, separation, isolation. Life

is hard for every one of us. Let’s be kinder,

please, because we all crave and need to be seen,

connected, and have a sense of belonging. Why

can’t we love and respect each other and be good

humans to other humans, even in our differences?


What are we all to be wary of at this point?

I lead retreats at Kripalu about death/immortality/impermanence,

and I am in the process of becoming

a death doula. It is wise to never take this

life for granted. In one breath, this could all

change. It should not bring death to challenge

you to live at your highest potential. (What) are

you waiting for? (Why) are you waiting? Why

wait for life, LOVE, creativity, health, happiness,

friends, family, community, job, a lover, all

of it to be taken away before you dig in and dig

deep to live your full potential? Why wait to live

your authentic, alive, beautiful life? We want to

be wary of thinking we have time. We don’t.

AND. We need to decide what to do with the

time given to us.

What is your song?

Every day, I sing. It’s a creative expression of art

for me and a connection to God/my ancestors/the

big universe we all live in. Recently, my song

has been a version of “You don’t have to know

the way…the way knows the way,” inspired by

a dear friend, Lyndsey Scott. I have also been

singing a song/prayer and asking for guidance.

We have to ask for help and for what we want

and need- “Dear Lord, please show me the way.”

Lastly, a song that often comes through is a

grandmother’s song about listening to your

knowing, waking up to your wisdom, and standing

in your power. My friends, we need to wake

up, all of us. We need to trust our knowledge and

stand in power if we want real change and healing

for the greater good as a collective human

race.

Thank you!

www.jessfrey.com


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

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

ELIZABETH CASSIDY

What if Love is the answer?

I created Little Love Letters: A Peaceful Revolution

in 2016. These small cards have my art

and messages of love and acceptance on them.

My cards are all about creating a peaceful revolution.

My hope is that people will feel a little

love when they find a card. I have had people

write to me saying that the right card showed up

for them at the right time.

These cards are what someone described as

“magical.”

If you would like to join this peaceful revolution,

please go to my website, and look for info under,

“Social Impact.”

We can make a difference. We need to make a

difference.

The world needs a little more love.

elizabeth cassidy studio works -

www:elizabethcassidystudioworks.com



Marguerite Bride

WATERCOLORS

Ruby Aver

Beaver Dam, watercolor

Looking for the perfect holiday gift?

Wide selection of framed and unframed

Original Paintings & Fine Art Reproductions

Woven Thoughts no. 2

Acrylic on canvas 24”x30”

www.margebride-paintings.com margebride@aol.com

Visit the artist’s studio in Pittsfield by appointment —

413 - 841 - 1659

rdaver2@gmail.com |

Instagram: rdaver2.

Housatonic Studio open by appointment: 413-854-7007

FRONT STREET GALLERY

STILL LIFE

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


Early Snow, Watercolor 11” x 14”

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

SCOOTER LAFORGE / VISUAL ARTIST


Photo by Bobby Miller

JORGE CLAR

POET | PERFORMANCE ARTIST | CLAIRVOYANT

Interview by Harryet Candee

Photography by Bobby Miller and Courtesy of the Artist

Jorge, thank you for allowing me to peek into

your world exploding with spontaneity, exploration,

and artistic freedom. Through performance,

poetry, music, and visual art, you

possess an innate sense and ability to interpret

the diverse lifestyles around you, magically

pulling fragments from people’s lives,

turning them upside down, and giving us a

moment to realize that life is a gift. Your interactive

artistic responses to others’ creativity

slow the pace of life as we know it, leaving

us open to the chance to step back and see the

human plight and adventure we are on while

playing with ideas of reality. Jorge, your


unique style is, in today’s world, a direct inspiration

and fuel for our desire to learn more

about who we are and what we are all about.

How can you tell if your level of creativity

during a stream-of-consciousness, ad-lib,

spontaneous performance will result in something

good on the first attempt? Do you revisit

and refine the pieces to which you

genuinely connect?

Jorge Clar: To me, all of life is performative.

The only difference between a “regular” moment

and a “performance” is the boundary established

by being introduced on a stage or

location and concluding with a “thank you.”

When I present a performance on stage, it’s typically

an extension of something I have already

experienced in everyday life.

In my musings, I jot down ideas—a sort of road

map with possible bifurcations that a performance

can take. This approach shapes the way

performances unfold, as seen in the Dadaist Karload

of Klowns pieces I perform with Hapi

Phace and Gail Thacker, for instance. In the moment,

there are multiple directions the “car” can

take, and the same is true when I perform in my

solo pieces. If an idea calls for a repeat, I’ll

create additional installments.

At the studio of artists Van Wifvat and Kelly Bugden, Jorge sits on a golden rocking chair, writing poems. Photo by Matt McGinley

“I am most grateful for my relationships; my greatest purpose in life is to be of service to others.” -JORGE CLAR

In my Show and Tell performances, I show

drawings from my sketchbook and ad-lib a

poem. Since the drawings are cryptic, my words

change depending on the moment. Another

series I perform is called Dishwashing Meditation,

where I wash dishes in front of the audience.

This performance serves as an allegory

for Buddhist tonglen practice, in which one

breathes in the suffering of others and breathes

out compassion, healing, and relief.

I performed one of these pieces at the Rudin

Gallery of the Brooklyn Academy of Music for

Ted Riederer’s Never Records project. The experience

felt holistic as the performance was

recorded on a vinyl acetate, mirroring my strong

interest in DJing.

In what ways are your performances a collaborative

effort with other artists? When do

you decide on performances you do solo or

with other people involved?

A significant part of my day-to-day involves visiting

artist friends in their studios or simply

hanging out and expressing ourselves. This environment

naturally sparks new ideas. As a

copywriter and bilingual editor, I often help

friends with editing artist statements, catalog

copy, and press releases, which allows me to become

deeply involved in the process of putting

together exhibitions.

I also love to model, leading me to be depicted

in pieces showcased in exhibitions or to be

asked to perform or curate performance evenings.

For instance, I curated Monster Salon for

Scooter LaForge, a night of performance that

complemented his show How to Create a Monsterpiece

at Howl! Happening Gallery, where I

collaborate closely with the legendary publicist

and gallerist Jane Friedman. I also performed in

his shows Everything Is Going to Be OK (as a

sort of mad pharmacist) at Theodore|Art, and

Please Don’t Feed the Animals (as an impromptu

poet at a dinner party) at the

SPRING/BREAK art fair.

While I typically perform solo, I sometimes collaborate

with other performers for added

context. I also participate in larger performance

ensembles, such as Hapi Phace’s Karload of

Klowns, or presentations by conceptual artist

Yoshiko Chuma. In Joel Handorff’s show Blossoms,

I performed by dropping large, handmade

flower petals by artist and life-partner Van Wifvat

onto the floor while singing my words in the

melodic style of Michel Legrand. I curated the

rest of the performance evening, which featured

performers like Helixx C. Armageddon and

Darke Attoms, who riffed on floral themes in

their unique ways.

Your online presence showcases a wealth of

photographic portraits of you; in many, you

look different and portray a distinct persona.

I see this as a form of self-expression and an

opportunity for you to reveal a new chapter

in your journey. Please explain more about

this, Jorge.

Early on, as a painfully shy kid searching for

ways to connect with others, I discovered the

power of clothing and appearance as a form of

expression. My parents encouraged my creativity

by buying me any clothes I wanted, allowing

me to craft a narrative through my presentation.

This became so captivating that by the time I

reached college, I sometimes dressed down—although

that is also costume; it’s all costume in

my eyes—to avoid being distracted by my “performance,”

whether it was head-to-toe prep-



JORGE CLAR POET | PERFORMANCE ARTIST | CLAIRVOYANT

Karload of Klowns performance troupe, featuring (left to right) Gail Thacker, Hapi Phace, and Jorge.

Photo by Thomas R. Gordon

Still from Jorge’s first Show and Tell performance (2017)

at the group exhibition the form is stone, the dress is rain —

May Swenson, The Spine and the Cage (1958),

curated by Rafael Sánchez at AMP Gallery, Provincetown.

school attire or layers of oversized black clothing

for a priestly look.

Years later, at a party, photographer Richard

Weaver overheard me sharing stories about an

outfit and suggested I start a blog to showcase

my looks and share anecdotes about their elements.

My high-school friend Víctor García,

who lived just a few houses away from me in

Río Piedras Heights, the suburb where I grew

up, pointed out that my poses with outfits mirrored

those from my elementary school photos—essentially

a “straight-up pose” with my

arms at my sides and feet forward. This realization

clicked for me, and for a class reunion, I decided

to emphasize telling the story of my life

journey through outfits, which led to the launch

of my Tumblr blog, now continued on Instagram.

Each piece of clothing tells a story. As Gail puts

it, they are “performances for the camera,”

which is also how I view my participation as a

model in art pieces by dear friends like Dietmar

Busse, Bubi Canal, and Gail herself.

One performance for the camera involved a

photo session with my dear friend Dominic

Vine, an avid traveler and photographer. As I in-


teracted with a set of antique light bulbs (which

I used to collect as a child), those photos became

part of a poetry book titled Light, accompanied

by a mix CD called Jorge 2010, intended to be

listened to while reading the book. The playlist

on the CD is one of my favorites because it

maintains a midrange tone that unifies the music

throughout the entire mix, creating an entrancing

and exhilarating effect. I presented the books

and CDs (each featuring unique custom covers,

in an edition of 49 single CDs and 49 book-and-

CD sets) during a lecture I delivered as “Professor

Estrella” at a poetry event organized by the

late visual artist Lori Ellison at Sideshow Gallery

in Williamsburg.

A super important element in these “photo-performances”

is that, in many of the photos, I am

wearing clothes that have been customized by

my artist friends. I often wear clothes customized

by Scooter, Joel, Dietmar, Van, and many

more.

Living in the city means spending a lot of

time in the corner diner, talking with friends

about everything. During your last really productive

encounter of this sort, what did you

decide to add to your art-making practice?

Who was sitting across the table?

The other day, I was at the Glory Days Diner in

Greenwich, Connecticut, with Paul Caranicas,

Van, Kelly, Dan Romer, and Paul’s friend Feliciano,

and we were sharing anecdotes. I somehow

got into the story of how Dad wanted to be

an opera singer and had joined the Metropolitan

Opera House Experimental Company in the late

1940s. We were talking about stories of Hispanics

in New York. Paul is the executor of Antonio

López and Juan Ramos’ archive. Paul

invited us all to visit his studio, and I look forward

to seeing his collection of drawings, as I

also love to draw and will feel inspired to do it

even more.

Think about the people who motivated you to

be yourself. Who were they, and what words

resonated with you that made you feel free to

be authentic? How did you perceive their

support, and in what ways did it shape your

journey?

My friend Josie Cruz, whom I’ve known since

kindergarten and the closest I have to a sister,

once told me, “You should understand that you

Blossoms performance at Ivy Brown Gallery.

Flower petals by Van Wifvat. Photo by Van Wifvat.

have a quality that, when you speak, people will

listen to you.” I always remember that, and although

I don’t strive to make my voice heard

above others—I don’t believe in competition or

proving anything to anybody—I find comfort in

those words, which helped me break through my

shyness.

You mentioned feeling like part cheerleader,

part conduit. What do you mean by this?

I believe in the power of enthusiasm and saying

“yes.” I know I’m not alone in this—Quentin

Crisp, Edgar Oliver, and many others share the

same belief. The greatest gift you can give

someone is to listen to them and allow them to

express themselves and their ideas. A long time

ago, I stopped being critical of things that didn’t

immediately resonate with me (though there are

certain things I find triggering, which I address

as part of my shadow work, done with awareness).

As a result, I end up learning so much. I

feel that if we listen, keep our energy positive,

and our hearts open, we learn and help others

discover new ways of doing things while experiencing

the same growth ourselves.

I know New York City is filled with exciting

new opportunities to discover and explore

different forms of art-making. I was watching

the DJing video you often share, and I’d like

to know how this venue enriches your life, its

purpose, and how it fits into the broader

scope of your artistic mission.

One of the main reasons I initially wanted to

move to New York City was to become part of

the history of disco music. My interest in disco

started as a natural progression from the classical

music I loved as a child, primarily Tchaikovsky

and all the Strausses. I vividly remember

being mesmerized by the layered sound of London

Phase 4 Stereo records and Quadraphonic

sound. A particular favorite was the Great

Strauss Waltzes by Werner Müller and the

Reader’s Digest Festival of Light Classical

Music collection, which I listened to endlessly.

The transition to disco felt natural when I discovered

the Blue Danube Hustle by the Rice and

Beans Orchestra and Bebu Silvetti’s “Spring

Rain”—Silvetti would later become a major

producer of Latin pop. The fusion of strings and

percussion, along with the intricate soundscapes

of The Philadelphia Sound and productions by

Cerrone and Alec R. Costandinos, became my

“medicine music.”

From there, my interest expanded to Kraftwerk,

Giorgio Moroder, and Kano, followed by the

synthpop sound and, later, house music. I knew

New York was home to legendary discos, and

after watching Saturday Night Fever seven

times—sneaking into the theater because I was

too young—I even recorded the entire movie on

a two-hour cassette.

When I finally arrived in New York, I befriended

many DJs and, with my friend Freddy Turner,

an incredible DJ, wrote house music reviews for

Chicago-based Underground News and Italy’s

Disco-ID. Sharing my Spotify playlists on social

media has become a modern substitute for the

homemade CDs I used to gift to friends as art.

During a record launch party at the record store,

my friend Keith Connolly (aka L. Gray) told

Adrian Rew of Ergot Records that he loved my

writing about music. Adrian, one of the first DJs

to play at The Lot Radio, invited me to substitute

for him on his show, and I became his go-to substitute.

DJing has since become part of my artistic

practice, allowing me to express abstract




Jorge DJing at Gail Thacker’s recent open studio, with a portrait

of Jorge by Gail displayed on the desk.

Photo by Gail Thacker.

feelings through sound, much like drawing helps

me express them through lines.

Another type of intervention I engage in is DJing

at friends’ openings and open studios. When

Flloyd’s exhibition Dicks and Divas opened at

Howl! Happening, I played selections from the

1970s that alluded to the film The Eyes of Laura

Mars. For the next show at Howl!, which was

Scooter’s Tee Hee Hee, I curated a soundtrack

of classic new-wave tunes. In Yoshiko’s presentation,

Love Story, at the Gene Frankel Theatre,

I combined my Show and Tell performance format

with DJing.

There must have been a time in your early

years when you experienced your first inspiration

for poetry. Did it evoke a feeling of

what love was? Did it reveal to you how vast

the universe was, with doors you wanted to

enter and others you wanted to avoid?

When I first started writing poetry, I was inspired

by Allen Ginsberg’s Howl, which I read

for a high school assignment. I remember sitting

in my rocking chair on the porch of my house,

captivated as I read the entire poem in one sitting.

At that time, my best friend had chosen to

graduate from high school in three years instead


of four, which left me feeling devastated. After

a long journey toward self-actualization since

elementary school, the thought of losing him

during our final year together was heartbreaking.

One day, while waiting for Dad to pick me up

after school, I lay on the hood of the car under a

lime tree and resolved to write poems free from

the constraints of rationality and narrative. I was

also inspired by the Raffles Hotel in Singapore,

where Somerset Maugham once wrote. I quickly

penned a series of poems in my notebook and

typed them on an IBM Selectric, resulting in my

first collection titled In a Singapore Hotel Room.

It wasn’t until the 1990s, through friendships

with people like poet Douglas Rothschild and

playwright Adam Rapp, that I was made clearly

aware of my unique voice in poetry and started

experimenting with narrative a bit.

Romantic love is a construct, and for me, poetry

is a way to express the spaces between words—

the place between idea and language. I feel both

a closeness to and a distance from language.

This duality of closeness and distance feels, in a

way, like life and death. Life is defined by language;

if we eliminate language, the physical

world disappears, which I suppose could be seen

as a form of death.

When I was at Syracuse University, my friend

Betsy Prieto would sometimes be in an emo

mood, and I would “transcribe” her feelings into

poems. A few years ago, I wrote a monograph

in which I discussed Bubi’s personal and artistic

trajectory. This involved interviewing him and

organizing the information to ensure accuracy

and depth. To me, it felt like writing a prose

poem, with the goal of placing myself in Bubi’s

mental space and capturing the essence of his

message in a flowing and clear way. I also pose

for many of Bubi’s cryptic images, an intricate

process of trial and error. It requires maintaining

an exact prose frozen in time so that masks,

props, and costumes evoke the desired effect

from just the right angle.

At what moments do life and death play a significant

role during your art creation? Does

this amplify your emotions after the piece is

completed or performed? Please give us

deeper insight into this.

I tend to see life and death as constructs rather

than definitive states. Neither feels more or less

present than the other; they’re just two aspects

of a continuum.

On Mother’s Day, Jorge strikes a Gladys-inspired pose, emulating a

photo of her in Venice in front of the Basilica di San Marco.

For a Callen-Lorde fundraiser, Jorge and Scooter LaForge presented a

Psychic Portraits table. Attendees received three lucky numbers and an

aura-color reading from Jorge, while Scooter painted their portrait based

on the perceived color and numbers. Jorge is wearing a City Poncho

painted by Scooter, and Scooter is in a collaborative shirt and pants set

from JCRT. Photo by Blane Charles.

No one truly dies; people don’t vanish into nothingness.

Instead, they transition to another plane

of existence. It’s not an end but a shift. You can

still sense their presence, almost like a whisper

at the edge of perception. You can communicate

with them in subtle ways, just as you can connect

with the different versions of yourself—

each one representing a reflection of various

stages and choices on a quantum plane. I believe

we live in multiple timelines simultaneously,

steering our lives as if navigating forks in the

road.

Born in Puerto Rico and fluent in Spanish,

how and when do you incorporate your

native language into your life and work?

I use Spanish all the time. I’m a translator and

have a lot of friends with whom I mainly speak

Spanish. But when it comes to writing poetry, I

usually go for English. I like how it has a more

clinical, technical, almost commercial feel. It’s

interesting because when I speak Spanish, the

sound comes more from my chest, while English

feels like it comes from my head.

The beauty of our native culture is something

that should always be cherished. How do you

stay connected to and honor that part of

yourself?

Having been born in Puerto Rico, the elegance,

poise, and formality of the Caribbean—rooted

in African, European, and Taíno cultures—are

an integral part of who I am. There’s a common

perception that Latinos are inherently exuberant,

but for me, it’s more about restraint and composure.

It’s also important to recognize that “Latino”

is an Anglo marketing term designed to

homogenize Spanish speakers, treating them as

a monolithic audience.

I’ve heard you have a clairvoyance gift. Do

you think that comes from being an only

child, where you spent time listening to your

inner voice and seeing deeper into things as

only children often do?

I think it might be connected to what you’re describing.

Once, I performed a piece called Prismatic

for my dear friends, artists Kelly Bugden

and Van Wifvat. It was an extension of their

show Prism, and I joined as a third member to

create a collective. The whole experience was

inspired by a legend about a repaired broken

cartwheel symbolizing the eight stages of ascension.

The seventh stage represents expansion,

marked by a deeper connection to the universe

and a better understanding of one’s purpose. I

often feel a sense of unity with all beings and a

desire to contribute to the greater good. Much of

that comes from my intuition, which picks up on

others’ energies and sends energy back to them.

My last name, Clar, means clarity or transparency—like

seeing through things. And since

Jorge means “farmer,” I like to think of myself

as a “farmer of clarity.” Our names shape who

we are in so many ways.

You need to be street-smart to make it in New

York City. What do you do to stay thriving

and surviving? And do you have a regular

day job, or is your work more exciting?

I am the senior editor for Spanish language at

Planned Parenthood Federation of America. I

work from home, but I also have a cubicle at the

office downtown if I choose to come in. My role

is maintaining a consistent and effective Spanish-language

voice for the federation. I translate

and edit press releases, talking points,

message frames, message triangles, and social

media posts in Spanish. It’s a satisfying job, and

I believe it serves a good cause.




Bubi Canal by Jorge Clar. Published by Pupa Press.

Prismatic performance at Ivy Brown Gallery, with the sculptures of the

Kelly Budgen and Van Wifvat exhibition Prism. Hat by Joel Handorff.

Papier-mâché branches by Hapi Phace. Photo by Van Wifvat.

Tell us about your home life, the immediate

family you might live with, and your neighborhood.

I’ve lived in the Lower East Side of Manhattan

since 1987. My dear friend, painter Michael C.

Brown, and I start each day with coffee together

in our apartment and share meals; since we both

work from home, we’ve established a pleasant

daytime routine. After work, I usually head out

to visit friends in the East Village or Bushwick.

Both neighborhoods share a spirit of creativity,

with art galleries, vintage stores, and lively

hangouts everywhere. There’s an electric energy

in the air. Many things have come and gone, but

I still “feel the love” as I walk through these

neighborhoods. This is my family life here in

New York. When I visit Puerto Rico, I reconnect

with my friends there, and it feels as if no time

has passed.

When you head out in the morning, you must

get a lot of reflex responses from what you see

going on, picking up on impulses about who

is doing what, where, and what you will be

doing in the upcoming evening. Friends are


everywhere; the joy of having found your

peer group and having fun with them must

mean a lot to you. Tell us about your social

life—what you like to do, where you like to

visit, that kind of thing.

In the mornings, I usually text my friends “good

morning,” and we touch base, sometimes making

plans for the evening. Often, I’ll meet Bubi

in Bushwick or visit Van and Kelly’s studio. I

spend the day working on my laptop and handling

my day job. In the evenings, I might meet

Joel in his studio, where we talk about drawing

and painting. His husband, the mythical Jim

Fouratt—founder of the Gay Liberation Front

and Danceteria, the early 1980s club that

brought together many subcultures—often

makes popcorn for all of us.

Some nights, I’ll go to an art opening or a concert

or stop by Yoshiko’s house for tea and

snacks, where our conversations twist and turn.

I might visit Scooter’s or Dietmar’s studios to

see their latest projects. On weekends, I often

head to Ocean Grove, New Jersey, where Van

has a house. Spending time there is a sanctuary

and a much-needed respite.

I love exploring vintage stores in Bushwick,

where Bubi and I have our route for finding

great clothes. I might visit Gail’s studio, where

we hang out, and sometimes I doze on the floor.

Or I’ll stop by Rafael Sanchez’, where we play

records and talk late into the night.

If we didn’t see one of your performances, we

would love for you to describe your latest venture

to us: sharing your favorite performance

from the past, what you performed, where it

took place, and how the audience responded.

I recently performed with Rafael, actor Jim

Fletcher of the Wooster Group, and trumpet

player Tom King in Rafael’s performance titled

Bog. Rafael asked me to accompany him and

help with makeup and setup for his performance

at the Soon Is Now event at Long Dock Park in

Beacon, New York, as his assistant was unwell.

While taking a break, I lay down on a blanket

by a trail with a helium tank and balloons tied

to it, which were meant to be attached to Rafael’s

head. When Rafael saw me lying there, he

thought the gesture was perfect for the performance,

so I ended up becoming part of the pres-

From a photo session by Dietmar Busse for a feature in

Walter Cessna’s Vaczine magazine. Shirt and jeans by

Scooter LaForge. Hair color by Jeanise Avilés.

entation serendipitously, adding an unexpected

element. Rafael’s piece involved wearing a wetsuit

and applying harlequin makeup to enter the

swamp as a mystical entity, embodying oneness

with the bog.

Another recent performance was at the Gene

Frankel Theatre, where I presented a piece titled

Edgar at Mount Tom. It was a riff on Edgar Allan

Poe’s “The Raven” and the nearby Mount Tom,

a giant piece of slate on present-day Riverside

Drive that used to be farmland next to Poe’s

house. Edgar and I share a birthday, so it felt fitting

to inhabit his character, portraying the moment

when he wrote The Raven and then took a

break at the rock, where he would look out at the

Hudson River and meditate.

Reflecting on your life as you know it, what

experience has changed you the most, and

how did you meet that challenge? What was

the positive outcome?

One experience that changed me was going

through my dad’s death. As an only child, I had

to step up and take care of my mom, who had

epilepsy. For seven years, we were essentially

joined at the hip, living between our house in

Puerto Rico and my apartment in New York

while she underwent treatment at NYU Medical

for a brain tumor. It all worked out, but during

that time, I made peace with all the “demons”

surrounding my experiences growing up in

Puerto Rico. In short, it was about coming to

terms with my sexuality in the complex culture

of Puerto Rico in the 1970s. I remember thinking

I was taking on every possible role with my

mom: caregiver, son, husband, father, and companion.

I discovered parts of myself that, in moments

of reflection—like when I would go

through drawers and see objects from my life in

New York—I would ask myself, “Where is this

person?”

Can you share a few lines from one of your

poems and describe the physical acting accompanying

it?

Here are a few lines from my latest poem:

In shadowed depths where spirits dwell,

A midnight bleak, a tale befell.

A heart forlorn, a soul’s lament,

Where shadows danced, a life was sent.

Oh, restless soul with haunted eyes,

A raven cries in ink-stained skies.

It speaks of sorrows, nevermore,

Of dreams that fade, on Stygian shore.

The poem alludes to the process of Poe’s writing

“The Raven.” In the performance, I stand on

stage behind a silver-colored table, reading the

lines and preparing to write the poem in a notebook.

This is a poem about writing a poem. It

exemplifies how, in many performances, I incarnate

different characters and present my original

writing, holding a mirror to the character in

question.

What is your claim to fame, and do you consider

yourself famous or a star in pop culture?

I don’t really think in terms of a “claim to fame.”

To me, it’s all really a dream coming true as I go

along, from the times in the 1990s when I was

reading my poems at St. Mark’s Poetry Project

and performing at Zinc Bar and No Bar, which

are classic poetry-reading venues. From there,

being part of an artistic community is a blessing



Intervention within Rafael Sánchez’ performance BOG, at Soon is Now, Beacon, NY. Photo by Flynn Larsen.

Interactive chalk mural event with Scooter LaForge at the Renaissance Hotel, Times

Square. Jorge was one of the chalk masters, distributing chalk to participants.

Hat by Luis de Jesús. T-shirt by Scooter.


With Scooter at his mid-career retrospective, Enchanted Anarchies and Other Realities,

Lunder Gallery, Lesley University, Cambridge, MA. Blazer and jeans hand-painted by

Scooter. Photo by Van Wifvat.


Illustration of a Rafael Sánchez sculpture, which, along with this artwork,

was featured in his Tree of Heaven exhibition at the Marlborough Gallery Viewing Room in 2018.

Photos by Rafael Sánchez.

for which I’m grateful every day. I remember

my first trip to New York with my parents; we

took a tourist bus tour and drove past Greenwich

Village, up Sixth Avenue. When the guide announced

over the PA system that we were passing

the Village, I was glued to the window,

feeling deep down inside that I belonged in an

artistic milieu. My dream comes true every day!

You have a solid online presence. How do you

use the internet to benefit your specific needs

as an artist? What have you let go of due to

its obsolescence, and what have you discovered

to use in its place?

Thank you! For me, the internet is a useful tool

for disseminating my images and writing. It’s an

uninterrupted line from the time when I distributed

mimeographed newsletters to my neighbors

as a child, filled with my writing and drawings,

crudely typed on a cast-iron Remington typewriter.

Now, through social media, which I

mostly engage with through Instagram, I find a

replacement for those mimeographs, and I appreciate

the speed and efficiency of communication.

However, social media, since becoming so

affected by algorithms, has become a doubleedged

sword. It can enhance the ease and efficiency

of communication, but it can also divide

by appealing to drama and base feelings in order

to compete for attention. Therefore, I feel that to

address the negative side of social media, it’s important

to be a conscientious consumer, much

like one should be when consuming news media.

By the way, where do you get your great eyewear?

They’re dynamic and frame your

many faces so well.

Thank you! I love eyewear and have a collection

of different glasses. I get most of my frames

from a store called Artsee, in Hudson, New York.

The owner, Julio Santiago, is a longtime friend

of mine, and he is an expert on beautiful, collectible

frames. So, he always has incredible frames

for me to try on. Some of my favorite brands are

Sabine Be, Alain Mikli, Orgreen, Cutler and

Gross, and many more…

It inspires me to know that you and Scooter

LaForge are good friends! He is a let-loose,

crazy, great-fun, good-vibe artist. What do

you two share in terms of art and other interests?

I know you went to his show in Boston;

how did you like it? You feed ideas to each

other and collaborate in some ways. Is that

true?

Yes, Scooter is family. We talk on the phone

often, and our conversations are very stream-ofconscious.

Both Scooter and I appreciate the

value of art as a means of spreading energy and

beauty and exploring not just the light but also

the shadow work that is an essential part of our

evolution. During our hangouts or phone calls,

ideas often come up that find their way into

paintings or painted garments. As someone always

experimenting with my appearance, I

frequently bounce ideas off Scooter regarding

motifs, themes, or references, making their way

into our respective works.

The mid-career retrospective in Boston is thrilling.

It showcases how Scooter, throughout his

trajectory, has created an ever-evolving yet consistent

body of work in sculpture, painting, and

garments. His work is about form and feeling;

there isn’t much planning involved—it just

emerges through sheer intuition and engagement

with the mediums. My process is similar in that

I wear some of those garments in an intuitive

way, often not knowing where it’s going until I

see the output in hindsight.

When you take a moment to reflect, what do

you consider to be the thing you are most

thankful for in your life?

I am most grateful for my relationships; my

greatest purpose in life is serving others. Ultimately,

this elevates us all expeditiously and effortlessly.

Having this awareness and

appreciating it with gratitude are ideals for living.

Thank you, Jorge!

F


Carolyn M. Abrams

On the Fence oils/cold wax

Visit me at the Holiday Small Works Show at Art on Main

Gallery in West Stockbridge and

District Kitchen and Bar in Pittsfield

Atmospheric and Inspirational Art

www.carolynabrams.com

MEMBER GUILD OF BERKSHIRE ARTISTS

FLIGHT OF BIRDS Acrylic and enamel paint 24” x 36”

The spiritual meaning of a flight of birds can be transcendence, liberation,

and connection between the physical and the spiritual worlds. Watching

birds in flight can inspire a sense of liberation, encouraging people to rise

above their struggles and see life from a broader perspective.

DON LONGO

http://www.donlongoart.com


Crosstown Crosshatch

Acrylic on raw canvas

BRUCE LAIRD

Clock Tower Artists

Business Center

Studio #307

75 South Church Street, Pittsfield, MA


CANDACE EATON

Although it's my prerogative and artistic freedom

to paint in two different styles - with two artistic

voices, it presents problems for gallery

representation in this current world of 'Branding'

one's art to match one's name. However, for me,

I am an artist first and use whatever visual means

necessary to express myself and thoughts, feelings

and reflections that are given to me. I always

have drawn and found abstraction non-competitive

with the representational visual expression;

any style is subservient to the essence of one's

perception; the key and challenge is to find the

best method for expressive and effective communication

of those perceptions, which is my

goal and driving artistic impetus.

Candace Eaton -

candaceeatonstudio@gmail.com

There are painters who transform the sun into a yellow spot,

but there are others who, thanks to their

art and intelligence,

transform a yellow spot into the sun.”

— Pablo Picasso

STEPHAN KLEIN

INNER ME

I have been making self-portraits since I was

13 years old. At times, I’ve used myself as subject

matter just because I was an available and

handy model. However, I have also been drawn

to self-portraiture to investigate other issues of

aesthetics and meaning. My work may not answer

the question, “Who am I?” but it explores

diverse ways to ask. Through multiple ways of

seeing and portraying myself, I endeavor to examine

issues of subjectivity.

Inner Me is a self-portrait composed of x-rays,

CT scans and MRI’s taken of my body over the

years, all labeled with date taken. The few parts

of me not yet scanned, e.g., my left toes, my eyes.

are shown with surface photographs. It is about

growing old, physical break down of bodies, the

incursion on them of medical, surgical procedures

and prosthetics. An often-asked question in

critiquing portraits, self and other, is, how well

does it express the “inner” person? Inner Me has

taken this as a quite literal goal.

Creating Inner Me was a compelling, and at

times disturbing experience. For 85 years I have

seen only my surface in mirrors and photographs.

Embarking on this project, poring on the computer

through the thousands of medical images I

have collected of myself across my lifetime, I felt

like an explorer in a strange and unfamiliar inner

world.

Stephan Klein -

smklein@ix.netcom.com

MARGUERITE BRIDE

New Adventures

In the not-too-distant future (May 2025) I will

be moving from the Berkshires to the Lakes Region

of New Hampshire. After 30 years in the

beautiful Berkshires, another adventure is calling

me.

How will this affect my art career? My living

and working space will be considerably smaller

compared to what I have here. There are so many

decisions yet to be made. Sometimes it is mindboggling.

But there are many opportunities in NH

as well.

What I do know, however, is that I am hoping

to find homes for my art that is still here with me,

and my studio equipment and lots of art materials/supplies.

I am planning on a series of sales to

be held at my home/studio here in Pittsfield. The

first was held in November, but a couple more

will be happening during the winter/spring.

Please check my website, my watercolor Facebook

page, or call/text/email me directly for more

details about dates/times. I can also set up an appointment

for you to visit privately. Just be in

touch. I am very flexible.

Besides a lot of originals and fine art reproductions,

I also have a fully equipped studio that

will be dissembled, so, if you are looking to expand

your studio, I have tables, flat files, print

storage shelves, chairs, racks and so much more.

In the meantime, besides planning this move,

I am also still painting and do commission work.

Marguerite Bride –

413-841-1659; margebride-paintings.com; margebride@aol.com;

Facebook: Marguerite Bride Watercolors.

Instagram: margebride.


CARLOS CAICEDO

Carlos’ award-winning graphic work has been

shown throughout the United States, from Alaska

to New York, and from South America to Europe.

Museums include Museo La Tertulia in Cali, Colombia,

The Anchorage Art Museum in Alaska,

The Waterloo Arts Center in Iowa, The Ft. Wayne

Museum in Indiana, The Springfield Art Museum

in Missouri and the Housatonic Museum of Art

in Connecticut.

In 2008 and one more time in 2025, he was invited

to participate in the Florence Biennale of

Contemporary Art in Florence, Italy. His work includes

illustration, painting, and, most currently,

photography.

During the last ten years, he has concentrated

on exploring photography as an art form. Since

2019, he has won multiple National and International

Silver and Gold Awards for his photo

work with paper, including the well-known international

publication Graphis. During the same

consecutive years, he was honored with two Gold

medals and two Best Of Show for his Photography

series using pencils as a subject, by Trierenberg

Super Circuit in Austria, the largest photo

Art contest in the world. His photo artworks have

also been translated into museum-quality apparel.

As he put it, "Paper and pencil have been lifetime

companions for me, not simply tools. In a digital

age, these humble objects remain stubbornly useful,

and our connection goes back to memory. It’s

a physical relationship. A yellow pencil in a

child’s fist moving on blue-lined paper. A word

is being bo:n, MOM. The weight of a book and

the sound of a page as it turns, the curve it makes,

and how its shadow moves.These are pleasures

that haptics can’t mimic. My photography is a

journey of discovery with these old friends to see

if we can still surprise each other.

He also published an award-winning book

called “paperandpencilsbycarloscaicedo”.

Some of his work can be seen at

https://500px.com/p/carloscaicedo1 and has over

75,000 followers. His page has been visited over

20 million times over the last 9 years. Carlos

moved from Colombia to The United States in

1981.

Carlos Caicedo -

carlosart.net /

Apparel: https://www.legaleriste.com/33/carlos.caicedo

Prints: https://www.pictorem.com/profile/carlos.caicedo

carloscedo@yahoo.com

Eclipse Mill, 243 Union St North Adams MA

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

FREECYCLED FLORA III

MODEL: NATALIE PARÉ@CATALIEPURRE

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 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

ARTFULMIND@YAHOO.COM


ARTIST UPDATE RUBY AVER

Interview by Harryet Candee Photographs Courtesy of the Artist

Ruby's initial interview took place in 2022 for

The Artful Mind magazine. During this conversation,

I gained valuable insights into

Ruby's journey as an artist and a Tai Chi instructor.

Her ability to engage in spontaneous,

self-expressive movement in each

discipline has fostered a unique synthesis of

ideas, beautifully reflected in her artwork.

This creative process has enriched her artistic

expression and contributed to a more vibrant

and nuanced representation of her

experiences. One meaningful discipline I

learned from Ruby is the importance of being

in the moment, going with the flow of our intuitiveness,

and listening to our core being.

This understanding encourages a kinder,

more mindful approach to a creative life,

providing a sense of connection and peace.

Ruby, I have been buzzing alongside you

when hearing that Mauritshuis Museum in


the Netherlands had chosen your abstract

painting, Girl with a Pearl, for their Vermeer

exhibit that runs through December of this

year in Amsterdam. Can you unravel how

this all took shape from start to finish?

I saw an open call from the Mauritshuis Museum

on Instagram for contemporary renditions

of Vermeer's Girl With a Pearl Earring. I entered

this international search with my painting.

Months went by without a return email, so it

was no longer at the forefront of my mind.

Then, in the summer, I received an email stating

that my painting was nominated and a finalist.

That in itself was an extraordinary honor. Again,

as time passed, I assumed my work was not accepted.

It was with great delight that I received

the congratulatory acceptance email. The museum

did not know I had lived in Amsterdam for

18 years. Happily, there has been some mutual

appreciation between the Netherlands and myself.

What a fantastic art experience for you! With

this "WOW" growth spurt, have you noticed

any new developments or changes in your

painting process?

I am extremely honored by this recognition. Regarding

my process, I felt confirmation to follow

my intuition as paintings revealed

themselves to me. Not allowing internal or external

room for censorship has also inspired a

figurative series called "Strike a Pose." Colorful

feminine images with amplified character grace

the canvas with their mystery. Another series I

enjoy working on is a drip series that involves

pouring paint onto the canvas. The series is

called "Woven Thoughts". The style is minimal,

and I spend additional time before making a

mark due to each mark's huge impact.

How would Tai Chi practice overlap and connect

to painting?

In both tai chi and my painting process, I enjoy

Wind Sweeps the Plum Blossoms, Acrylic on canvas, 36” x 48 , SOLD

“I love the zone when each brushstroke feels inevitable. ” —RUBY AVER

practicing the flow state, a conscious exercise

of surrendering and allowing the present moment

to reveal the next step.

You mentioned that familiar symbols/hieroglyphic

shapes you've created in some of your

paintings pop up sporadically and appear on

fresh canvases. But, I am wondering, do you

let them flow onto the canvas even with a

particular theme you have going that you

may not want them to interfere with?

All shapes, including symbols, are welcome if

they resonate with the work, Not necessarily

creating harmony. Sometimes, just creating visual

dissonance is exciting to me.

If you described what some of those streamof-consciousness

symbols mean to you, would

they might relate to the movements you practice

in Tai Chi?

I don't feel that they literally relate to Tai Chi.

Yet, it is all energy flowing through us that gets

expressed in our unique way. For example, I

never draw first and then paint. I enjoy practicing

surrendering to the flow of the moment and

applying paint directly to the blank canvas.

Girl with a Pearl, Acrylic on canvas 10”x14”

I am intrigued by the many images of paintings

you have shared with me. One piece that

particularly stands out is "Wind Sweeps the

Plum Blossoms No. 3," an acrylic on canvas

measuring 18x24. Could you refresh my

memory and those of others what this painting

is about?

Those paintings from last February just sold this

summer. Wind Sweeps the Plum Blossoms

series is named after a movement in the Tai Chi

Sword form. Similar to the familiar Tai Chi

movements we see, yet with the addition of the

grace of a slow, moving sword. With these

paintings, I felt the urge to make the wind visible,

combined with elements of the natural

world.

What experiences have you had that capture

the essence of what it means to be an artist?

I imagine what it means "to be an artist" is an

individual experience. For me, when I am the

least aware of that identity, my day is permeated

with artful moments. So, being an artist does not

feel dependent on creating art. I feel it is a state

of being that views life with an open, artful sensibility.

Your childhood in gritty Chicago during the

1960s has left you with indelible memories

and images. They have shaped you into the

strong, confident person and artist you are

today. Even if you don't consciously recognize

it, those experiences may strongly influence

your paintings. Tell us your thoughts.

I vividly remember seeing the first street mural

in my neighborhood under the railroad tracks on

the South Side of Chicago. I like that it looked

and felt like my daily life, seeing beauty in the

grit. It is not always a controlled, pretty sight yet


Valencia, Acrylic on canvas, 24” x 24”

Woven Thoughts no.2, Acrylic on canvas 24”x30”

soulful. Street art still inspires my confidence to

"just go for it."

In art communities, we support our artistic

goals and visions whenever needed. In what

ways do your peers inspire and support your

vision?

I totally have been nudged on by supportive art

communities. Richard Britell was the first to

show my earliest pop art collage via Spazi Fine

Art Gallery. Then, you, Harryet, contacted me

for an interview in The Artful Mind via a supportive

Facebook community. The community

Artful Mind creates is hugely supportive. For

example, I met many inspiring artists here and

by being in your shows at TSL in Hudson. Or at

Kate Knapp's gallery in Housatonic.

Further, having a solo show at the Mason Library

in Great Barrington and being in collective

shows at The Connector Gallery at Kimball

Farms and Center for Peace through Culture expanded

community support. I am greatly inspired

by fellow risk-taking artists. Artistic

expression can be a way to connect with humanity

at large.

Is the mural you did on the side of the old

schoolhouse in Housatonic still there? What

lead up to that fun experience?

I was invited by Andreas Engel (former Director


of Center for Peace through Culture.) to paint

four panels of six foot canvases. I loved the opportunity

to paint so large and share with the

Housatonic community. The canvases were laid

on the floor as I climbed around and applied

paint. A great expansive feeling! The canvases

were recently removed for the building's renovation.

When you returned from visiting your

daughter in Thailand, I noticed you were inspired

by the vibrant colors of the tropics and

the heartfelt connections with the people you

met. This journey seemed captivating, enriching

your understanding of color and

shape. What experiences ignited your inspiration

during your time there and enriched

your artistic vocabulary?

The Thai culture just warms the heart and soul.

And then, color everywhere! The profusion of

tropical flowers, foliage, meals, and clothing. If

you want to blend in with the culture and background,

wearing bright, rich colors is best. Not

the black and gray attire that is prevalent here. I

also spent some time visiting a wonderful art

village in Hua Hin; the lush paintings there

deeply nourished me.

My daughter's traditional Thai wedding last December

was full of orchids. The bride and

groom wore gold silk while the saffron-robed

Formal Attire Only,

Acrylic on canvas, 18” x 24”

monks chanted blessings. When I returned

home, my paintings were bolder in palette and

maybe more spontaneous and from the heart.

From Chicago to the graceful studios of ballet

school and the serene landscapes of the

Berkshires, each step of this journey tells a

unique story. A dedicated Tai Chi master and

a passionate visual artist, what wisdom and

inspiration can these experiences teach us?

As a former soloist with the Chicago Ballet, I

had the opportunity to live and work in Amsterdam

for 18 years. Growing up in the theater and

being exposed to expansive European sensibilities

shaped me into more of a world citizen.

That further developed with extended time in

Southeast Asia and Japan. Practicing and teaching

Tai Chi for 30 years in Berkshire has been a

serene landing where I aspire to embody and

paint this perspective.

Thank you Harryet, for creating such a far

reaching art community and for all your ongoing

support.

Thank you!

rdaver2@gmail.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

SPARRING WITH PAINT

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 PAINTING

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

LONNY JARRETT FINE ART PHOTOGRAPHY

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


RICHARD NELSON

THE ALPHABET SERIES FROM A TO Z

Digital Art

nojrevned@hotmail.com

Rick Nelson on FB


BERKSHIRE DIGITAL

Since opening in 2005, Berkshire Digital has

done Giclée prints/fine art printing and accurate

photo-reproductions of paintings, illustrations

and photographs.

Giclée prints can be made in many different

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

paper choices. Berkshire Digital was featured

in Photo District News magazine in an

article about fine art printing. See the entire article

on the BerkshireDigital.com website.

Berkshire Digital does accurate photo-reproductions

of paintings and illustrations that can be

used for Giclée prints, books, magazines, brochures,

cards and websites.

“Fred Collins couldn’t have been more professional

or more enjoyable to work with. He did a

beautiful job in photographing paintings carefully,

efficiently, and so accurately. It’s such a

great feeling to know I have these beautiful, useful

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

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

We also offer restoration and repair of damaged

or faded photographs. A complete overview of

services offered, along with pricing, can be seen

on the web at BerkshireDigital.com

The owner, Fred Collins, has been a commercial

and fine art photographer for over 30 years

having had studios in Boston, Stamford and the

Berkshires. He offers over 25 years of experience

with Photoshop, enabling retouching, restoration

and enhancement to prints and digital files. The

studio is located in Mt Washington but drop-off

and pick-up is available through Frames On

Wheels, 84 Railroad St. in Great Barrington, MA

Berkshire Digital -

413-528-0997 and Gilded Moon Framing

17 John Street in Millerton, NY

518-789-3428 / 413-644-9663, or go online to

www.BerkshireDigital.com

“There is no substitute for feeling the stone,

the metal, the plaster, or the wood in the hand;

to feel its weight; to feel its texture; to struggle

with it in the world rather than

in the mind alone.”

~William M. Dupree

"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

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

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


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

RICHARD NELSON

I’ve recently been embroiled in controversy

over a post I had made in a group for “OUT-

SIDER” artists. I had been curious about AI art.

Was it legit art or normal? I was undecided. I

have been a digital artist for the past five years,

but other than that, the technology baffles the hell

out of me. Still, I thought I would check it out.

I’ve seen other artists, especially Petr Valek,

do some amazing things with it. I couldn’t find

any instructions about what each button did, so I

went for it.

And, WOW, my prompts produced some fascinating

results. Surrealistic images; nightmarish,

super detailed and totally unexpected. It was fun,

it was quick and easy. Painless. The whole AI

thing is creepy, I’ve seen all the movies, but this

seemed harmless enough.

I picked my favorite image and posted it as

my introduction to the Outside/Brut group I had

joined. Lots of views, some nice comments, but

all of a sudden, I had become a pariah.

How could I steal someone else’s work and

call it my art. I don’t know, I didn’t understand

how I did. What surprised me was the vitriol.

Had I posted a picture of genitalia, I think, it

would not have caused such a commotion.

Though not evicted, it did lead to some, I

thought, some surprisingly narrow-minded commentary.

So, the question remains, is it real art, can it

be used as a viable tool? Or is it cheating? I think

it’s cheating only if you use it to cheat. I intend

to explore its possibilities, I mean, why not? I

don’t feel I am victimizing anybody.

What a crazy world, ain’t it?

Richard Nelson -

@ nojrevned@hotmail.com

PATAGONIA

ACRYLIC, LATEX, GRAPHITE ON CRESCENT BOARD, 40”X30”

BETWEEN THE LINES

2023, ACRYLIC ON CANVAS, 36.5” X31.5”

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.

Transforming personal and worldly complexities

into visual harmony. In celebration of her

new studio, enjoy 10% off large paintings and

30% off small paintings.

Jaye Alison Moscariello -

Studio Visits - By Appointment Only: Pond Shed

(behind the Buggy Whip Factory), 208 Norfolk

Road, Southfield, Massachusetts. 310-970-4517,

jayealison.com, jaye.alison.art@gmail.com.



Travel Journal to Daugavpils, Latvia 2024

Jaye Alison Moscariello

Buildings from the Russian Empire, Daugavpils, Latvia

Russian Orthodox Church in Latvia

Mark Rothko quote on fortress building At Svente Lake with Irena Paskali, fellow artist Photo by Tomek K


A building in Daugavpils

Communist propaganda poster

Sventes Rasa Saint Lake

Church detail

In the past year I’ve been diligently working on a series Territories Blue, which considers the necessity and tragedy of continuous wars and conflicts.

They are painted in hues of blue, white and earth tones representing the elements over which wars have been fought; power, land ,water

and air. This abstract investigation led me to participation in the 2024 Mark Rothko Painting Symposium at his birthplace Daugavpils, Latvia

at the Mark Rothko Museum.

A private studio was provided to each of the artists. The freedom I experienced by having a closed door and abundant light expanded my mind

to the idea of having my own studio outside of the house. Within a day of those thoughts, my friend called letting me know that a space had

become available at the Buggy Whip Factory in Southfield, minutes away from home! I said, Yes I want it!!

It is perfect; bright light, white walls and situated in a quiet community of creators. I’m in heaven! Z JAYEALISON.COM


ArtByMattBernson.com

River Nymph, Graphite and Watercolor, 12” x 18”

PORTRAITS • PIN UPS • NUDES

matthew.bernson@gmail.com

Instagram @MattBernson.Art


Something For Over The Couch

Part 22

“The Voyage of Life”

I was familiar with the switchblade knife. A friend

in grade school had one, and so I had the great pleasure

of handling it, and experiencing the thrill that

only a switchblade gives. It is indeed a wonderful

sensation. It has a special ‘clicking,’ sound, a very

slight and threatening sound like a snake's hiss. Like

any teenage boy I always wanted to have a switchblade

knife of my own, I wanted a switchblade knife

more than any other thing, and so I said “A switchblade,

how much do you want for it?”

The question, so inappropriate under the circumstances,

completely altered the nature of the encounter.

Whatever my new hoodlum friends had in

mind for me was suddenly abandoned, and I think

they were even relieved to give up what they

thought they might do to me. Now our meeting in

the alley became one of those situations where some

ten year old boys get together behind a garage to

look at black and white photographs of women's

breasts in a photo anthology.

It was a situation so altered that my attacker obliged

me when I asked to handle the knife, handing it to

me with evident pride. I closed and opened it three

times, gave it back to him and said, “How much do

you want for it?”

He took so long to decide that it seemed he wanted

me to make an offer, but I said nothing. His partner

in crime, getting nervous, walked to the entrance of

the alley, I supposed, to stand guard.

“One hundred dollars,” I said. “I can give you a hundred

for it but not right now, but tomorrow, I can

have it tomorrow.” I actually did have a hundred

dollars, it was money I had saved up for my trip to

New York, but I was willing to part with it for such

an important purchase. There was a mysterious part

of my identity, some aspect of my personality, so

suppressed, that I didn’t even know it existed. It had

asserted itself, and when it appeared at the door of

my consciousness it would not tolerate any interference.

It was a primal thing, it seemed to me to be the knife

my father should have possessed when he encountered

his executioner. I could see the knife in my

father’s hand like one of those dream-like images

that fade away behind your closed eyes.

“It cost me a hundred, it will cost me a hundred to

replace it so I can’t do it,” was his reply, but I did

not believe him, it seemed too likely.

“I have something to trade for the knife,” I suggested,

“It is worth, or will be worth thousands of

dollars, for certain. I can trade it to you for the

knife.” He listened to me with skeptical expectancy

and so I went on. “It is a painting, I am an artist, I

am going to be famous, the next Picasso, just like

Van Gogh. A painting of mine was in a show in the

museum.” At this point I gestured in the direction of

the newly built “Munson,” the museum of modern

art with its Pollack’s and Rothko’s. “They say at the

museum I will be famous, and so my paintings will

be worth thousands. I am willing to part with one of

them, for the knife, but I am actually not allowed to

part with any till my big show…in November.”

It really would not have been possible to rattle off

such an impossible series of lies and fabrications except

that some of it was actually true. In the previous

summer I submitted a watercolor to the

museum's annual show for local artists. Anyone

could submit something and there was a fee. Everything

was automatically accepted and it was promoted

as an annual fundraiser for the institution.

High school students submitted unframed drawings,

and Sunday painters put up their impressionist landscapes.

To accommodate all the art, portable walls

were erected outside the museum all along the sidewalk,

and the event was celebrated as a summer arts

festival, created, I imagine, to placate the critics of

the museum who said the institution existed entirely

for the benefit of egg sucking intellectuals.

The portable sidewalk wall surfaces were hung top

to bottom with every imaginable sort of thing people

consider art. Among these thousands of drawings

and paintings hung one of my own works, a picture

of a tree and a telephone pole which I had titled,

“Benito Cerino.”

I realize that what I am going to say now sounds stupid

and childish, but the show was up for a month

and I went every day to look at everything, sometimes

twice a day. I looked at everything on the portable

walls over and over, and especially my own

work. I went so many times to view the show that

eventually the elderly guard whose job it was to

keep an eye on my particular section of the wall

began to take notice of me.

The guard was one of those men with an enlarged

purple nose indicative of heavy drinking, and a desire

to engage in conversations with strangers. This

desire he had to keep in check because he was not

supposed to talk to the museum’s visitors, but my

repeated visits to my painting got the better of him,

and he said this to me, “Nice painting, is it yours?”

I was reluctant to answer his question, but could not

keep myself from nodding my head in reply. With

that he walked up to me, stood too close to me and

said, “You’ll be the next Picasso.”

That remark, which I had heard several times already,

was usually uttered by people with no actual

interest in art, especially modern art. It was really

more of an insult than a compliment. Almost as soon

as one of my uncles discovered that I was, ‘doing

paintings,’ I would hear the Picasso comment, but it

was always said as ridicule, as if the actual meaning

was “Dicky is a simpleton, who likes to paint pictures.”

In my mind, as soon as I heard anything

about Picasso, I assumed that whomever was speaking

was an idiot. But even though I thought they

were idiots, I was often troubled by how universal

this comment was.

So, when I was trying to buy the switchblade knife

from the hoodlums at the end of an alley, I made use

of the Picasso remark, because I assumed that I was

dealing with characters of limited intelligence. I actually

had my doubts about if my new hoodlum

friends would even know who Picasso was, but I

could see by the knife seller’s face that he knew

what I was talking about. “What’s it a painting of?”

he asked me.

“It's called, The Voyage of Life,” I answered. I had

never done, or even considered painting any painting

with such a trite title, but the title and the image

of the painting sprang into my mind, apropos of the

situation. The voyage of life was the title of four

paintings that had their own room at our city's museum

of contemporary art. They were painted by

Thomas Cole, and I would describe them as what

you get when you combine mawkish sentimentality

with great technical skill. They were large paintings

in ridiculously carved and ornamented gold frames.

Why I appropriated Mr. Cole’s title in my project to

cheat the hoodlum out of his knife I can’t say, but it

was all part of a role I had adopted for myself because

of the requirements of the moment.

“What does the painting look like?” I was asked, to

which I replied. “It is a painting of a mountain, and

the mountain represents the voyage of life, because

climbing a mountain is what life is like. The mountain

is represented by a triangle, and the triangle fills

the whole picture. At the bottom of the mountain it

is all dark gray, black and cloudy, but then further

up various colors come out of the blackness. In the

middle of the mountain the colors are bright and

strong, but then near the top the colors begin to fade.

At the very top is the place that represents death,

death and a true understanding of life, and this space

is filled with a kind of brilliant yellow orange.” At

this point in my explanation I paused for dramatic

effect, and then I said, “The yellow orange is the

exact color that you see when, with your eyes

closed, you look at the sun!”

This comment disturbed my adversary, and in an

agitated voice he exclaimed, “You can’t see things

with your eyes closed.”

If these boys had intended to rob me, it would have

been a robbery in broad daylight, and since it was

early afternoon the sun presented itself for an examination,

as if it had been just waiting up there

above us and between the two buildings, happy to

be of use. I invited my new criminal acquaintance

to have a look at the sun with his eyes closed and he

complied with my request. At first he claimed to see

nothing at all, insisting that with his eyes closed it

was, “Black, all just black.” But finally he had to

admit that he could see a color, and that it was red

orange, just like I said. He was silent for several seconds

as his mind digested what was for him a singular

experience, and then in hushed tones he asked,

“Why is it red?”

“Because it's your blood,” I said.

When he opened his eyes I could see that our relationship

had now changed fundamentally. The blood

orange color of his eyelids was some kind of proof

that now I would be the next Picasso,

It was agreed that we would exchange the knife for

the painting. The deal was to happen the following

day, at the same place and at the same time. We exchanged

names, but nothing else. I told him my

name and in return I discovered that I was dealing

with John Pontormo, and his partner, Ivan. A Russian

and an Italian, John Pontormo said. At this point

Ivan said something for the first time, he said, “Russian

and Italian, like in the great war.”

That ended the switchblade negotiation and I set off

in a rush, I had to do a painting that would have

some semblance or connection to the description I

had made up.

—RICHARD BRITELL, OCTOBER 2024

Parts 1 - 21 @ www.richardbritell.com

(short stories)



BRUCE PANOCK

Broken Glass Portrait

Panockphotography.com

bruce@panockphotography.com

917-287-8589

Instagram @brucepanock

Deborah H Carter

Freecycled Flora II

Photo: Korenman.com Model: Natalie Paré@cataliepurre Represented by the WIT Gallery Studio: Clock Tower Artists

the artful mind artzine december 2024

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