the artful mind. APRIL 2025

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

THE ARTFUL MIND

APRIL 2025

NATALIE TYLER

SCULPTOR AND ALCHEMIST

“TORNADO”

PHOTOGRAPH BY EMMA K. ROTHENBERG-WARE

the

IN PRINT SINCE 1994

APRIL 2025

ARTFUL MIND

Connecting people and places.

Elizabeth Cassidy In Other Words | POETRY ... 11

JOANE CORNELL

FINE JEWELRY

Natalie Tyler

Sculpting Amongst the Mystical Forces of Mother Nature

Interview by Harryet Candee

Cover by Emma K. Rothenberg-Ware... 12

VEMiLO | Songwriter, Composer, Artist

Interview by Harryet Candee... 24

Shoshana Candee | ESSAY

“Visit to Grandma’s House”...39

Richard Britell | FICTION

Something for Over the Couch

PART 25 “The Americano” ... 43

Diaries of Jane Gennaro

Mining My Life EPISODE TWO “Hip Story” .... 44

Publisher Harryet Candee

Coin Ring, Signet Ring, Moonstone Earrings

Hand Forged Designs

www.JoaneCornellFineJewelry.com

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Contributing Photographers

Edward Acker Tasja Keetman Bobby Miller

Contributing Writers

Richard Britell Shoshana Candee Jane Gennaro

Third Eye Jeff Bynack

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THE ARTFUL MIND APRIL 2025 • 1

Untitled. Latest Work

Acrylic on Arches watercolor paper 18” x 24” inches

BRUCE LAIRD

Work on view through April 6 at—

Starving Artist Gallery, Main St, Lee MA.

Clock Tower Artists

Business Center Studio #307

75 South Church Street, Pittsfield, MA

Instagram- ecurbart

2 • APRIL 2025 THE ARTFUL MIND

GHETTA HIRSCH

Loved how the sky took on a pink color!

Visit my Williamstown Studio

to see this painting!

Call or text 413-597 1716

Ghetta-hirsch.squarespace.com

to browse the Website!

“Naked Tree” Oil on canvas,14”x18”

Carolyn M. Abrams

Northerm Lights Over Jamestown Oils/cold wax medium

Atmospheric and Inspirational Art

www.carolynabrams.com

MEMBER GUILD OF BERKSHIRE ARTISTS


LESLEE CARSEWELL - ARTIST

A place filled with intrigue.

Intense history and subtle color.

Deep in the French countryside, an abandoned manor house.

Magical stories and mysterious events.

From My Series: From Another Time

As seen in the New York Times


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

FRONT STREET GALLERY

Kate Knapp, Autumn Bouquet in Studio, Oil on canvas, 24”x 30”

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

“A hero is an ordinary individual who finds the strength

to persevere and endure in spite of overwhelming obstacles.”

— Christopher Reeve

An American actor, director, activist, author and Superman

artist, illustrator, writer, poet, peace lover

elizabeth cassidy studio works

elizabethcassidystudioworks.com



LIONEL DELEVINGNE

“Histoires d’Eau”

Photographs by Lionel Delevingne

April 4 - April 27, 2025

Opening reception April 5, 2-5pm

510 Warren Street Gallery, Hudson NY

https://www.instagram.com/Lioneldelevingne

http://www.lioneldelevingne.com/

http://www.510WarrenStreetGallery.com

THE ARTFUL MIND APRIL • 9


Being Strong. Having Courage

You are not expected

To remember your first entrance

Into the world

Of oceans, birds, mountains,

Clouds, forget me nots and frogs.

But you were so brave

To trust that this short trip

Down to greet the world was all about you

Being strong. Having courage.

Do you remember when she yelled at you?

And you swear to this day

That smoke came out of her nostrils.

And how you realized that she picked on you

Because of her own joyless life.

And you just happen to be in the crossfires

Of her failing marriage and falling arches.

You walked home alone with a bounce in your step and

Delivered a bouquet of dandelions

to Mrs. Hyde who only lived indoors.

Your empathy was all about you.

Being strong, Having courage.

Remember that the world

Is not the world you entered into.

It is worse. It could be better.

It will shatter your heart.

And your muscles will grow

To protect those left out on their own.

You will keep your front door unlocked

So that they can come in

To be seen and loved by you.

You are. Being strong. Having courage.

Remember everything you survived

Even when it felt you were barely getting through it alive.

You are. Being Strong. Having Courage.

— 2025 elizabeth cassidy

elizabeth cassidy studio works

artist, illustrator, writer, poet,

peace lover

elizabethcassidystudioworks.com


SCULPTING AMONGST THE MYSTICAL FORCES OF MOTHER NATURE

NATALIE TYLER


Photography by Emma K. Rothenberg-Ware and courtesy of the artist

There is great admiration for Natalie Tyler's

sculpture. Her creative process is mesmerizing,

revealing her passion for transforming raw materials

with fire. Each alluring piece is crafted

with such care, while navigating a degree of

danger when working with hot glass and metal.

The meticulous way she navigates each stage of

the sculpture process reflects her precision and

patience. Embracing nature's surprises and imperfections

are integral aspects of her work.

Every sculpture embodies her beliefs; a commitment

to honoring, protecting and caring for our

natural world.

Visiting her studio nestled in the backstreets of

Great Barrington offers a clear perspective on

the artistic process in action. The spacious environment

is designed for creativity, showcasing

what can be achieved when passion meets purpose.

Having known Natalie for many years, I have


closely followed her journey. It's inspiring to see

how she has honed her skills and become a

master in her craft. Her dedication is a testament

to the power of passion in life.

Also, it's excellent that Natalie has chickens.

They provide a grounding influence for her. I

wish I could have my own, but I worry about

the coyotes in Monterey.

Dreaming is essential for creativity and the

hands-on knowledge of making are vital skills.

An experienced sculptor, like Natalie, knows

how to breathe life into her work while understanding

the capabilities of material and space.

This balance allows her to create sculptures that

resonate deeply and find their rightful place in

the world.

Harryet Candee: Natalie, could you tell us about

some of the lessons you've learned along your

artistic path?

Natalie Tyler: In my first year in college, I took a

Bronze Casting class. I was hooked when I discovered

that I could sculpt directly in wax and transform

the work into bronze using molten metal. I

felt all fluttery inside; I had found my first love and

saw my future path in art.

Casting is an organic process, and using bronze allows

me to capture a moment in time and make it

eternal. Seeing the sculpture in metal was fascinating

to me, with the rich golden texture of the bronze

and the timeless nature of being.

Casting day is industrial, hot, dirty, and dangerous,

with an epic finish. Watching the bright orange liquid

metal filling the mold feels like watching a volcano's

lava. Knowing that even a drop could burn

through your foot, I immediately learned to be

completely present. I have total attention to the process

while running on pure adrenaline. That carefulness

has kept each bronze pour safe and allows

me to think quickly and clearly whenever needed.

“Art has the power to move

people, spark conversation

and inspire real change.”

–NATALIE TYLER

Natalie Tyler's first sculpture in Bronze, Contemplation, 1997, 12 x 3.5 x 3 inches

From early on, in this venue you are bonded to,

what is it about glass and the manipulation of

this natural material that attracts you and keeps

your attention?

There came a time when I wanted to breathe life

into the work by using color and light. When I

started casting glass, I got that fluttery feeling all

over again. I had found my next true love.

Casting in glass, it feels like the Wild West. There

is room to be a pioneer, as it is still a niche art form.

Coming from a metal casting background, I have

no fear, so I experiment to push the boundaries of

glass. The borders of the material extend farther

and exceed my expectations.

Glass can be hot like fire, cold like ice, atmospheric

like air, and liquid like water. The glass can capture

a moment and change throughout the day, becoming

alive with light. This luminosity pauses and

changes direction inside the glass, drawing the eye

inward and through the sculpture. Working with

glass is the closest to nature I can get through art.

Working with bronze, in addition to glass, what

are your insights about this metal compared to

glass?

For years, casting bronze allowed me to explore nature's

reclamation by capturing moments that made

the ephemeral permanent. Bronze's strength and

enduring nature are very attractive. The luster of

the surface allows me to enhance the work using

textures and form. Now, I am combining the two

materials, becoming polyamorous. I choose the materials

based on the subject matter and what will

best tell the story.

Combining metal and glass requires careful scientific

compositions and experimentation to integrate

the two materials successfully. For

example, I have seen your Tornado sculpture in

progress at your studio, where the glass is securely

housed within metal rings, enhancing its

stability and strength. Could you elaborate on

some of this work?

Attaching glass to metal is tricky. Sometimes, it can

be fused with specific metals that can anneal (cool)

at the same temperature as the glass, which does

require science and experimentation to execute successfully.

Otherwise, it takes engineering and design

to develop systems for attaching the glass to

the metal.

I am working on a 9-foot glass sculpture of a tornado,

the most recent in the "Mother Nature" series.

Figuring out how to attach the glass to the metal armature

has been a challenge. I use a STEAM—

Science, Technology, Engineering, Art, and

Math—approach to artmaking.

Where and when can we see the Tornado sculpture?

Continued on the next page...


NATALIE TYLER SCULPTOR

The Tornado will be at the 47th annual Chesterwood

Contemporary Sculpture exhibition, opening

June 7th. The exhibition "Global Warming, Global

Warning" is an environmental exhibition curated

by Michael Lynch. Chesterwood is the historic

home and studio of sculptor Daniel Chester French

in Stockbridge, Massachusetts.

When I started making the Tornado, many tornadoes

broke out across the Nation. When warm,

humid air from the earth rises and meets cooler air

from above, the tension between the sky and the

earth creates a spiral of powerful energy. I ladle cast

glass over plaster molds to get the feeling of atmosphere

with encapsulated air bubbles and internal

whipping texture.

Can you explain the meaning and inspiration

behind your creations, intentions, and visions,

which are deeply rooted in a love for nature and

a commitment to protecting the world from destruction?

"The illusion that we are isolated beings,

unconnected to the rest of the universe, has

led us to view the "outside" world with hostility

and has fueled our misuse of technology

and our violent and hostile subjugation

of the natural world." – Alan Watts

Natalie Tyler, WildFire Cast Glass, Wood, and Bronze, 2021, 96 x16 x16 inches

WildFire exhibiting at the Mount in Lenox, MA.

Natalie Tyler, WildFire, Cast Glass, Wood, and Bronze, 2021, 96 x16 x16 inches

WildFire exhibiting at the United Nations in NYC in 2022

Nature is at the core of our existence. When I was

in high school, Alan Watts's “The Book: On the

Taboo Against Knowing Who We Are” resonated

with me. He had written about humans’ complex

relationship with nature and warned of the dangers

of technology further disconnecting us from nature

back in 1966! He was so forward-thinking; this was

way before the internet existed and took over our

lives.

When left alone, the natural world has a perfectly

interwoven balance. If we take a moment to study,

listen, and learn, we can find the answers to our

questions within nature. As our impact on the environment

has become more destructive, and now

the effects of climate change are upon us, my work

has gone from raising awareness to a call for action.

Natural disasters level what we create in seconds.

In the aftermath, it doesn't matter whether you are

a millionaire or renting an apartment. Everyone is

equal after a raging fire, tornado, or flood, and the

loss becomes insurmountable.

After 400 homes burned to the ground in my

father's neighborhood in California, the streets

looked apocalyptic, leaving only blackened chimneys,

metal shells of cars, and burned palm trees.

This devastation was imprinted in my mind and led

me to create WildFire, part of the "Mother Nature"

series. This series of sculptures is about the impact

climate change is having on our environment.

WildFire is a large sculpture depicting a burning

tree engulfed in flames. The flames are cast in

amber, yellow, and red glass and illuminate as the

sun passes. The flames on the tree glow brightly

like it's on fire. I started working on WildFire in

2020, and when I was about halfway into it, fires

and storms were raging on the West Coast and in

Australia. It was a surreal and intense experience


Natalie Tyler, Kaleidoscope, Cast Glass and Bronze, 2024, 50 x 25 x 20 inches. A cluster of 47 Glass Butterflies on a Bronze Vine. PC Gregory Cherin

to be working with fire to make the work and create

fire in glass while the devastating firestorms were

breaking out around the world. Somehow, I felt like

I was in the middle of it.

Have you found satisfaction in how nature and

your art have collaborated?

I originally became fascinated with nature because

I wanted to learn from it. I knew understanding nature

would make me a better sculptor. The natural

world is one of my greatest teachers. In the Berkshires,

with the trees and green landscapes, my

sculptures are nestled in nature while maintaining

their voice. In these moments, they have their relationship

with nature. The collaboration between the

sun and the glass is one of the most magical things

I have witnessed with the sculptures. As daylight

passes, the sculpture changes, becoming lit internally.

When WildFire exhibited outside in New York City,

it took on a very different feel next to the city landscape

while maintaining a significant message. Diapause,

the installation of large cocoons, has been

seen both indoors in dark rooms and outside at

night. When they were shown at TurnPark Art

Space in West Stockbridge, outside at night, they

were truly magical illuminated amber. It felt like

they had grown there, hanging from the trees under

the stars.

There are moments when words fall short when

capturing the beauty and clarity of your glass

works. I'm eager to learn more about the techniques

and processes you employ in crafting one

of your pieces, from concept to completion. Let's

explore Kaleidoscope, the butterfly piece together.

Kaleidoscope is a hanging bronze bittersweet vine

covered in 50 glass butterflies. It highlights the delicate

nature of our pollinators, inspired by the monarch

migration I first saw, 25 years ago on a beach

called Natural Bridges in Santa Cruz, California. At

the time, about 4 million monarchs were making

the trip from Canada to Mexico. Last year, only

about 9000 monarch butterflies migrated, which is

an all-time low. A combination of pesticides, habitat

loss, and Climate Change have put the butterflies

at risk of extinction.

Each glass butterfly is made individually using

glass powder (Pate de Verre). I originally sculpted

the butterflies in wax and then made a silicone

mold. I use different colors of glass powder mixed

with water to fill each mold. I can paint with different

colors, like using watercolor, to make each

butterfly unique. The mold is filled with powdered

glass and then goes into the freezer. After a few

hours, I remove the frozen butterfly from the mold

and place it in the kiln. Once all the butterflies are

in the kiln, I fire it to about 1300 degrees. The glass

powder fuses with the heat and becomes one piece

of glass. After they are cool, I put the flat glass butterflies

back in the kiln, laying them over ceramic

valleys. I fire the kiln a second time, and the butterflies

(with the heat) slump down in the middle,

creating the feeling of flight.

When a piece is installed outside, immersed in

the environment as a stage, can you predict the

effects and toll that nature and the environment

will have on the artwork?

When exhibiting the sculpture outside, I consider

the effects weather and nature will have on the

piece. For example, for WildFire, I chose a spot outside

that would have sun all day long to keep the

flames flared. I feel comfortable exhibiting my

sculptures that have glass during the spring,

summer, and fall. I do not see them as four-season

Continued on next page...


Natalie pouring bronze in her studio.

PC Emma K. Rothenberg-Ware

Natalie Tyler's glass Tornado in process. PC Emma K. Rothenberg-Ware

sculptures outside in the Northeast, as glass can be

compromised by freezing conditions. These works

can be indoor sculptures or exhibited year-round in

more temperate territories.

Through your eyes, tell us how people have reacted

to some of your outdoor work. You mentioned

being elated by one person's reaction to

WildFire.

WildFire was first exhibited on a hill in front of

Edith Wharton's House during the outdoor sculpture

exhibition at The Mount in Lenox in 2021.

Often, I would find a group of people surrounding

WildFire, just staring up and mesmerized by the

colorful fire-bursting flames. They would exchange

stories of people they knew affected by firestorms.

One day, I saw a man running around WildFire.

"You have to see it from this side; with the sunlight

passing through the flames, they are on fire!" He

said to the group he had come with. I told him,


"You really get it," and he responded, "Yes, it's

amazing!" I said thank you and that I am the artist,

and he was so excited to meet me. He said he

wanted to buy it and take it to his home in the Adirondacks.

I felt flabbergasted, as I had just finished

it a month earlier, and this was happening fast.

After a studio visit, he and his wife gave me a deposit

for the sculpture, a check with more zeros

than I had ever seen my name next to. After the

studio visit, I started to cry when I got home. Not

knowing exactly why, I realized I couldn't go

through with the sale. I knew I wanted more people

to see WildFire before it sold. WildFire has a strong

message. Against the better judgment of my family

and friends, I backed out of the sale and sent the

check back to the collector.

The following summer, WildFire exhibited at Chesterwood.

And thenI received a phone call from

Larry Sibrack, then President of the Art Alliance

for Contemporary Glass, inviting me to exhibit

WildFire on the main plaza at the United Nations

in New York City during the International Year of

Glass in 2022. This was a "pinch me is this real moment?",

WildFire was endorsed by the Permanent

Mission to Spain, which actively addresses climate

change and the environment. World leaders and the

heads of international glass manufacturing companies

were in attendance during the closing ceremonies.

This exhibition at the United Nations made

me understand the important role art can have in

public policy; it can help inspire industry changes

while impacting the world at large when shown in

the public realm.

What aspects of a sculpture's physical and mental

process are solely your responsibility? Do

you enlist the help of others? How and who is

involved? At what point do they offer assistance?

It is very important to me as an artist to be at the

center of the creation of my artwork. I am a handson

artist, and with this connection to the artwork, I

can put my energy directly into the sculpture.

The glass Tornado is a monumental piece, and I

have needed the help of others. I hired two local

metal artists to help me with the 9-foot steel Tornado

armature: Rich Wansor and Frank

Raczkowski. I have been travelling to The Corning

Museum of Glass, to The Studio there, to cast the

40 sections of glass that make up every turn of the

Tornado. At Corning, they have extremely knowledgeable

artists. It takes four of us to ladle-cast the

large atmospheric clear glass sections. The cost of

making the Tornado has become quite a challenge

for me. This project is possible with grants, a Go-

FundMe page, and the help of Shany Porres from

Art in the Berkshires. We organized a fundraiser

at the very cool Doctor Sax House in Lenox. I have

a good friend, Courtney Maxwell, who has volunteered

to help. The photographer Emma K. Rothenberg-Ware

has been so generous with the

photography of the Tornado in progress. I have received

the Martha Boschen Porter Grant and Local

Cultural Council Grants from the towns of Lee,

Mount Washington, New Marlborough, and Sandisfield.

I am so grateful to all the donors, artists,

and grants who helped make glass sculpture possible.

I am so excited to bring this Tornado to the

public.


What has kept you busy through the winter?

What's planned for the Spring and summer?

What can we expect from you in the coming

months?

This winter has been cold in Massachusetts, so it

has been a good time to be creative. I finished some

new sculptures that I exhibited at the Guild of

Berkshire Artists' exhibition at The Berkshire Botanical

Gardens. One was of cast glass icicles on a

twisted bronze bittersweet vine. The other was a

smaller cluster of butterflies on a twisted bronze

vine. The third work was a cast glass honeycomb

hanging from a window illuminated by the sun.

This Spring, I am returning to Corning to finish the

castings for the Tornado. I will assemble and finalize

the Tornado and install it by June. I am working

full steam ahead until then.

I know your passion and dedication to gardening,

farming, building outdoor showers, and

swimming in ponds. You're unafraid to get your

hands dirty and genuinely love interacting with

nature, including your fondness for chickens.

This enthusiasm is a significant part of who you

are. I'm curious to hear about your childhood;

it may provide insight into how these interests

became integral to your life as an artist.

My grandparents lived on 20 acres in Southern California.

When I visited them, I had so much fun

playing in nature, climbing avocado trees, and

reading a book in a hammock my grandfather hung

inside a canopied pepper tree. When my grandfather

and I picked cherry tomatoes that he had

grown, I was amazed that tending the earth could

feed me. One little tomato would go in the paper

bag, the next one in my mouth, the third in the bag,


Casting the glass Tornado at The Studio at The Corning Museum of Glass


Natalie Tyler, GlacierMelt, Cast Glass, 28 x33 x30 inches

Natalie Tyler, HoneyMelt, Cast Glass, 2024, 11x10 x 3 inches

Natalie Tyler, Icicles, Cast Glass, Bronze, 2025, 12x 15 x 4 inches



Natalie Tyler, Diapause, Interactive Human-size Cocoons, Mixed Media, 2010

and the next in my mouth. As he watched the fruits

of his labor disappearing in front of his eyes, my

grandpa would shake his head and chuckle at me

while we were picking. Life was simple and very

happy in the country. It felt comfortable and healing

to be surrounded by nature. In that calmness,

the smell of the wild sage, feeling the sun on my

face, I felt truly free.

I have created a life out in the country, living in the

Berkshires. I have a good-sized vegetable garden,

and yes, I am surrounded by a large flock of

chickens. I have many different artsy chickens

whom I love and enjoy taking care of. I sell their

fresh eggs to friends and neighbors, sharing the

health and regenerative wealth of the land.

Despite being originally from California, is the

Berkshires home to you?

The Berkshires is the first place I have ever lived,

that when I travel, I am so happy to return home.

The mountains, lakes, forests, and farmlands are so

beautiful. The people here are kind and creative and

have fascinating lives.

Living here is like a Renaissance with live music,

art, museums, and theater. Working on a larger

scale and engaging with the public in the outdoor

sculpture exhibitions here has been a dream come

true for me as a sculptor.

Could you share your educational experience in

Italy?

Ahhh, studying art in Bologna, Italy, was also a

dream come true! I learned from the works of artists

Michelangelo, Da Vinci, and many other Masters.

I studied human anatomy and drawing from actual

human bones. I traveled to Carrara to pick out marble

to carve. One Sunday, I was sitting in a park

reading Vasari's biography of Michelangelo. He

wrote about one of Michelangelo's first marble

carvings, a sculpture of an angel in a Gothic chapel

under a Basilica in Bologna. I shut the book and

jumped on a bus to the town center. I found Michelangelo's

angel in St. Dominic's Chapel, which he

had sculpted at 19. It was incredible to be able to

study the original works of the Italian Masters.

Knowing your sculptures interact with nature,

how does it become an interactive piece when

people are directly involved?

Diapause is an interactive installation of humansize

cocoons that are interactive. In nature, Diapause

is a pause, a time when an insect suspends its

growth to save energy during unfavorable conditions,

like a harsh winter. The large cocoons hang

in the dark, emitting only a soft amber glow. As the

viewer approaches, the cocoons brighten slowly to

reveal their form, and with stillness, the cocoons return

to their dimmer state of being. The result is a

living installation in which people interact with the

sculptures, an energetic dialogue. The cocoon is a

metaphor, highlighting delicate potential and powerful

creativity.

I exhibited Diapause for the first time in Soho, New

York City, with seven cocoons hanging from the

ceiling. This installation is a mysterious and meditative

experience, and it changes depending on

how many people are present. The cocoons are sensitive

and can be triggered to brighten with even

just a breath.

The installation was exhibited with dancers responding

to the cocoons at Cornell University. As

a US Embassy-sponsored artist, I was able to take

Diapause to exhibit internationally in Ireland and

Estonia.

Being an artist can often lead to extremes—

great success or significant struggle. It's not an



Natalie Tyler, Eagle's Nest, Cast Crystal Glass & White Gold Leaf Egg, 2019, 33 x 28 x 16 inches


easy path. We give up a lot for the work we are

passionate about. Sometimes, our dedication to

being Creators, Communicators, or Performers

can lead us on a different path rather than pursuing

a more traditional lifestyle. With that in

mind, could you share your perspective on how

your life has evolved? What brings you happiness,

and what do you hope to seek and ultimately

find in your journey?

When I was very young, my family went on a boat

in the swamps of Louisiana. We were looking over

the side of the boat for gators, trying to find them

in the muddy waters. My cousin Mat wasn't with

us; instead, he was sitting at a table. I was perplexed

because I couldn't understand what could be

more exciting than looking for alligators. So, I went

to see what he was doing. He was drawing wizards

and dragons. I was in awe. He was so talented, and

I couldn't believe he could make the visions in his

mind come out of his hands. It was at that moment

that I decided to be an artist. I realized that one of

the most powerful abilities is communicating without

words. Art can break down language and cultural

barriers and connect us, unifying us on a soul

level.

As it turns out, my life has been unconventional. I

create my life like I create my art. I have a vision

of what I want and spend my life working on getting

there. My sculptures take time, labor, perseverance,

and true grit. Creating my life has also

taken the same path. It isn't easy to be an artist, and

it is even more challenging the larger my work is

getting. This is the path that feels right to me deep

down inside, so I continue on it.

Sculpture seems more demanding physically

and mentally than other mediums, such as

painting. Still, it's easier for you to envision

things in 3-D. In a sense, you're like a wizard

who weaves reality with visions. Do you see

yourself as being an alchemist?

On a recent trip to Iceland, I was amazed at how

the volcano had erupted and sent molten lava-like

fire rivers down the mountain until it reached the

sea. The ocean's cold water had frozen the hot lava

in the shape of a wave crashing back in the direction

it had come from. I realized that this dynamic

combustion of fire, water, and air created our earthland.

These elements are at the core of our world's

existence.

Yes, I am an alchemist, as my art is the result of curiosity,

vision, spirituality, experimentation, and

labor. While doing one project, through the transformation

process, I envision the possibilities of the

next sculpture. Often, the work turns out better than

I had imagined, which feels mystical, like other universal

forces aligning with me, encouraging me to

continue pushing the boundaries of what is possible

and continuing to innovate.

I feel flattered to be called a wizard, as my cousin's

inspirational drawing of a wizard was my first experience

ever seeing art.

Speaking of 3-D, what about painting and drawing?

When I get time to draw and paint, I consider it a

luxury. Most of my ideas I work out in the third dimension,

testing the process on a smaller scale.

When I scale up, though, it is a larger, new, and organically

created version of the sculpture.

I don't use calipers or enlargement tools and have

yet to use any 3D printers or technology to do the

work. Having a direct connection to art and nature

is of the utmost importance to me.

What message can you convey about today's

world, a world that reinforces your future work

and ideas? Are you a positive thinker and

planner?

The most important message I have is that we humans

live harmoniously with the environment. If

we nurture the land, animals, and environment

rather than deplete them, we will change the direction

in which we are quickly heading.


“I have created a life out in the country,

living in the Berkshires. I have a good-sized

vegetable garden, and yes, I am surrounded

by a large flock of chickens. I have many

different artsy chickens whom I love and

enjoy taking care of. I sell their fresh eggs

to friends and neighbors, sharing the health

and regenerative wealth of the land.”

-Natalie Tyler

Natalie Tyler with her Frizzle chicken, Puppy

I believe I am a realistic thinker of cause and effect.

I hear you are a fantastic teacher.

I really enjoy teaching, as it allows me to share my

knowledge and help others thrive in their own creativity.

I often teach small classes in my sculpture

studio. I also sculpt and cast for other artists, like a

ghost artist.

Is there always a challenge in the art you make

and when are mistakes considered part of the

learning process for you?

Each project I make is challenging, and that is what

I like about it. I cast complex forms. The first attempts

sometimes don't turn out perfectly. I will do

the project repeatedly until I get a perfect casting.

Once I get it perfect, I often move on to a new challenge.

Usually, the earlier castings that are not perfect

are my favorites; I learn more from those

pieces, as they can be exciting so I don't see them

as mistakes.

There is art you've created as a gift to the world,

but what art have you made for yourself and

only for yourself?

This is a good question because it made me think

about something I am unaware of. The only sculpture

I can think of that I made for myself was my

first sculpture in bronze. Contemplation is a tall,

thin, standing woman with one hand on her hip and

the other on her heart. She is looking down, deep

in thought, contemplating something very close and

personal to her.

If you had three wishes granted to you, regardless

of how wild or crazy they might seem, what

would those wishes be?

My first wish is to own a farmhouse, land, and a

barn that I can convert into a sculpture studio.

My second wish is to return to Pietrasanta, Italy,

and spend several months or perhaps years working

on marble sculptures.

The third wish would be for a peaceful consciousness

to emerge worldwide to nurture and protect all

environments, a true unity between humans, animals,

and the natural world.

I'd love to hear a story that holds significant

meaning for you—maybe an experience that led

to an epiphany or something intriguing that

challenged your understanding of the world. I'm

curious how it has shaped who you are today

and how it might continue influencing you.

When I was a child, I read a National Geographic

article about the Bald Eagle facing extinction. I felt

so shocked that the brave raptor that is our Nation's

symbol of freedom was facing extinction. It was

because of humans; hunting, pesticides, and habitat

loss. I created The Eagle's Nest with 13 individually

cast crystal antlers. They are weaved together and

intertwine to make a large nest that holds a single

white gold gilded egg. The golden egg represents

hope for the future. The moral of the "Golden Egg"

in the Aesop’s Fable, The Goose and the Golden

Egg is that greed leads man to destroy the very

thing that sustains him.

The Bald Eagles are an environmental success

story, proof that if humans change their ways and

nurture and protect the natural world, all creatures,

including us, will be given the chance to thrive

again.

Tell us why you chose the opening quote, Natalie.

"Art has the power to move people, spark

conversation and inspire real change."

It is the reason, I do what I do.

F

www.natalietylerart.com

Instagram: @natalietylerart

THE ARTFUL MIND APRIL • 21

LESLEE CARSEWELL

My artwork, be it photography, painting, or collage,

embraces a very simple notion: how best to

break up space to achieve more serendipity and

greater intuition on the page. Though simple in

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

make use of both positive and negative space to

create interest, lyricism, elegance, and ambiguity.

Each element informs the whole. This whole, with

luck, is filled with an air of intrigue.

Breaking up space, to me, has a direct correlation

to music. Rhythm, texture, points of emphasis, and

silence all play their parts. Music that inspires me

includes solo piano work by Debussy, Ravel,

Mompou, and, of course, Schubert and Beethoven.

Working with limited and unadorned materials, I

enhance the initial compositions with color, subtle

but emphatic line work, and texture. For me, painting

abstractly removes restraints. The simplicity of

lines and the subsequent forming of shapes is quite

liberating.

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

hand in every endeavor.

Leslee Carsewell -

Prints available, please inquire.

413-229-0155 / 413-854-5757

lcarsewellart@icloud.com

www.lcarsewellart.com

BRUCE LAIRD / DEBORAH H CARTER

UPCYCLED FLOOR SQUARE

KORENMAN.COM @JOYDEROSE.MUSIC

REPRESENTED BY THE WIT GALLERY.

CLOCK TOWER ARTISTS, PITTSFIELD, MA

DEBORAH H. CARTER

Deborah H. Carter is a multi-media artist from

Lenox, MA, who creates upcycled, sustainable

wearable art. Her couture pieces are constructed

from post-consumer waste such as food packaging,

wine corks, cardboard, books, wire, plastic, and

other discarded items and thrifted wares. She manipulates

her materials' color, shape, and texture to

compel us to question our assumptions of beauty

and worth and ultimately reconsider our habits and

attitudes about waste and consumerism.

Since she was 8, Deborah has been a sewing enthusiast,

and she learned her craft by creating clothing

with her mother and grandmothers. Her passion

took hold as she began to design and sew apparel

and accessories. After graduating with a degree in

fashion design from Parsons School of Design in

New York City, she worked as a women's sportswear

designer on Seventh Avenue.

Deborah's art has been exhibited in galleries and

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

selected to showcase her work at the

FS2020 Fashion Show annually at the University

of Saint Andrews, Scotland. She has been featured

in the Spring 2023 What Women Create magazine.

Deborah H. Carter has been featured in The Artful

Mind, Berkshire magazine, and What Women

Create magazine and was a finalist in the World of

WearableArt competition in Wellington, New Zealand,

2023.

Deborah H 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

EARTHEN WHISPERS, COLD WAX METHOD (CWM)

CAROLYN M. ABRAMS

Carolyn's work is about relationships. Connecting

with her creative spirit and the world around

her, especially Mother Nature, in all her beauty

and challenges. As a Guild of Berkshire Artists

member, Carolyn has had the privilege of connecting

with nature here in the Berkshires. Using

mediums such as oils and cold wax medium, she

feels that relationship as she works layering, adding,

subtracting, constructing, and deconstructing

on canvas, paper, and wood panels. Mark-making

is a must to infuse her energy in each work,

and you will find each of her atmospheric "soulscapes"

intuitively honors this affinity with

Mother Nature.

Cold wax is an oil painting medium composed

mainly of beeswax, with a small amount of solvent

to soften it and other ingredients to aid in

drying time. It has a soft, paste-like consistency

at room temperature and dries to a matte surface.

Unlike encaustic processes, it requires no heat to

use it. Many luminous and unique effects are

possible using CWM. Some form of cold wax

was likely used in ancient times, including in the

creation of famous mummy portraits in Egypt

and Rembrandt's later years.

Cold Wax can be used in all painting styles, including

landscape, abstract, still life, and anything

from realism to abstraction. The working

properties of CWM allow for expressive brush

marks and the ability to carve into paint layers

with palette knives and household tools. Cold

Wax also gives oil colors a beautiful translucent

quality, similar to the seductive surfaces of encaustic

paintings. Cold Wax Painting utilizes experimental

approaches, including brayers,

stencils, and textural elements like bubble wrap

or wire screens. The possibilities are endless.

CWM generally uses oil paper, birch wood

panels, cradleboards, and metal or other substrates.

Working on wood takes a lot of abuse.

There are many layers, digging in, excavating

with lifting solvents, and a firm surface gives the

finished work a very artsy, raw feel. It dries to a

hard finish that can be buffed to a satin sheen.

Working on paper is much more economical, so

it lends itself to the artist, who feels free to experiment

and explore new techniques.

Carolyn M. Abrams is a mixed media artist

from upstate New York, presently residing in

Lenox, Massachusetts.

Carolyn M. Abrams -

www.carolynabrams.com



VEMilO

SONGWRITER | COMPOSER | ARTIST

“I’ve created a space within myself that feels safe, a kind of personal oasis

where I can process emotions in a healthy way.” —VEMiLO


Photographs courtesy of the artist

VEMiLO is a young, compelling pop performance

artist committed to transcending boundaries

and fostering unity through his vibrant

music and visuals. His artistic style draws inspiration

from the iconic collaborations of Lady

Gaga and Prince, embodying a celebration of inclusivity

and self-acceptance across diverse cultures.

VEMiLO brings a remarkable blend of talent

and charisma to every performance, inspiring

audiences and establishing profound connections

through the sheer joy of his artistry.

Harryet Candee: How do your life experiences

shape your music? Could you share a song that


encapsulates a significant moment in your life?

VEMilO: My albums are like diaries; each marks

a different chapter of my life. They're capturing the

highs, the struggles, and the lessons I've learned

along the way. If there's one that truly represents a

moment of self-reflection, it's the Javon album,

which I created under my old name. I started working

on it in 2015 but hadn't lived through some of

the hardest lessons I was writing about. Revisiting

it nine years later felt like having a grown-up conversation

with my younger self—finally bringing

real experience to the words I had written. It was a

full-circle moment that made me realize how much

I've grown and how music has always been a space

to process life in real time.

Would you describe yourself as emotionally sensitive

and attuned?

Absolutely. As an artist, I feel most vulnerable when

I release a body of work—it's like putting a piece of

my soul out into the world. But over time, I've

learned how to navigate that sensitivity, using it as

a tool for self-reflection and growth. I've created a

safe space, a personal oasis where I can healthily

process emotions. That helps me show up for myself

and others meaningfully and authentically.

How do your sensitivities and perspectives on

gender relationships influence your art and

music?

Gender is not affecting my work so much. I would-

Music videos playable on vemilomusic.com

The VEMiLO’s chosen family portrait:

Brooke, VEMiLO, Kassandra and Gregg

Grandma Mary Portrait by Paco.May

n't say gender plays a defining role in my work. I'm

not beholden to one or the other. Think about how

Prince teaches the audience to be hypnotized by

both, which aligns with my upcoming unisex fragrance,

VETREUS. The lavender, black pepper, and

patchouli put focus on individual preferences. Creating

a connection to the fragrance based on personality

and mood allows wearers to express

themselves authentically.

What experiences have shaped who you are

today, especially at age 28?

Right now, I see life as a whole rather than a series

of isolated moments, like puzzle pieces coming together

to make a complete image. I'm stepping back,

letting things marinate, and giving time for reflection.

My experiences have shown me that our lives

are as much about looking back as they are about

moving forward. Lately, my focus has been on legacy

and prioritizing my mental health, which has

given me a better understanding of how everything

has connected to bring me to this point of 28.

Could you share a story about your grandmother?

How did she support and show kindness

in your life?

My grandmother Mary was the embodiment of true,

authentic love. She was one of the most prominent

figures in my life because she believed in my artistic

endeavors and actively invested in them. She

created a nurturing and safe space where I felt free

to express myself in any way I wanted. That could

mean anything from trying on her pink stilettos or

modeling for her sketches. One of my fondest memories

with her was baking 7-layer cookies together.

We'd mix coconut, caramel, chocolate chips, and

graham crackers. But never peanuts because I didn't

like them. Through these moments, big and small,

she showed me the true essence of unconditional

love. Her presence made me feel seen, supported,

and completely free to be myself.

Have you created any music or visual art that

pays tribute to or connects with her?

I've written a song or two about her, but I know

there's so much more I want to say. I'm planning a

full project dedicated to her in 2026 because, honestly,

I'm still in my grieving era. I want the project

to be a tribute that resonates with grandchildren everywhere,

honoring the kind of bond that a grandchild

and grandparent have forever.

Who is your best friend right now?

Right now, my best friend isn't just one person—it's

my community. It's the people I connect with daily,

the ones who make even the simplest moments

meaningful. Whether going to the Millerton Diner

and checking in with the girls, sharing stories and

laughter, or just feeling that sense of belonging,

that's what friendship means to me.

We share a love for creativity, conversation, and

connection—whether through music, art or just



VEMilO Live - Photograph by DJ flow

VEMiLO’s page

being present for one another. It's about those small

yet powerful interactions that remind you who you

are and why you do what you do. My community

keeps me grounded, inspired, and constantly evolving.

Where do you typically find inspiration to kickstart

your creativity when composing music?

My creative process always starts with the album

cover. The visual comes first—an image that captures

my feelings or the story I want to tell. Then I

ask myself, What does this image sound like? How

can I translate its emotion into music and poetry that

people can understand and move to? From there,

the sound starts taking shape—melodies, rhythms,

and lyrics all weaving together to bring the vision

to life. It's about creating an experience where the

art, the music, and the message all feel like one.

How do you integrate performance with your

music? What elements or themes connect the

two in your creative process?

For me, music and performance are inseparable and


feed off each other, creating an immersive world.

For instance, my show "A Night with Vemilo"

draws inspiration from Cabaret. I'm telling the audience

stories about what I've been through, and

now I'm learning ways to hold attention while being

still and reflective. I've chosen a song to make a

beautiful intro with. For this show, I chose to open

with I have changed; it has an angelic sound, and

the piano goes from a small chord and slowly

builds. The first song is the answer to the conversation

of the entire show. This is about radical acceptance

and changes for better or worse. The goal

is always to create an experience people can see,

hear, and feel—something that lingers long after the

last note fades.

What are your aspirations for becoming a successful

artist in music and art?

Success as an artist is about creative fulfillment and

authenticity—staying true to my ideas and expressing

them without hesitation. If I have a vision, I need

to act on it, whether that means getting up to sketch

a dream or composing a song the moment inspiration

strikes. But beyond the work itself, real success

comes from having a solid foundation—trusting

myself, surrounding myself with the right people,

and creating from a place of truth rather than seeking

outside validation. When that foundation is

strong, the art flourishes naturally, and success becomes

deeper than recognition—a life fully lived

through creativity.

If you could perform your music live anywhere

worldwide, where would that be and why?

I would love to perform at the Trevi Fountain in

Italy. Fendi once did a fashion show there, using a

plexiglass stage over the water, and it was one of

the most beautiful and innovative ways to create a

performance. Blending history, art, and music in

such an iconic, ethereal setting inspires me. It would

be a dream to transform that space into an immersive

experience—where sound, visuals, and architecture

all come together to create something

unforgettable.

Talk to us about your life experiences in Miller-

VEMILO SONGWRITER | COMPOSER | ARTIST

Instagram- video

A Night With VEMiLO PosterThe Moviehouse, Millerton NY

Photograph by Aly Morrissey

ton, New York – both in your childhood and current

situation.

From age 16 to 28, Millerton gave me the space to

grow, experiment, and be unapologetically myself.

One of my most defining moments was the Fall for

Art Festival in 2013, a time that felt like a rebirth

for me as an artist. The people in this town made it

possible for me to grow creatively. At 16, though, I

pushed my boundaries with my style, and the town

embraced me. From 2012 to 2014, I was committed

to self-expression; that's when people really started

taking notice. My fashion choices are never kitschy.

They are deeply personal; they're an extension of

myself. Jonathan B., a mentor of mine, once told me

that when you're truly yourself, you attract the right

people. Millerton showed me that firsthand.

I loved watching your short film Lie To Me. Can

you tell us how that came to be and its story?

Thank you! That short film is one of the most personal

visual projects I've ever put out in a very long

time. The Haus of V worked hard on that short film,

and I am so proud to have it in the world. Everybody

Put their heart and soul into making it a reality. I'm

so thankful to my videographer, Liam. This was our

first short film together, and I just loved how driven

he was to make sure every frame was perfect —and

it was. My Aunt Crystal, who you see at the end of

the film, inspired me to be confident about navigating

life with parents who battled substance abuse.

Who is responsible for designing your album

covers and videos? Tell us about the Haus of V

Team. How do you promote your art? Who collaborates

with you in shaping and evolving your

public image?

The Haus of V is my creative family—a collective

of artists, designers, filmmakers, and visionaries

who help bring my world to life. My album covers,

videos, and visuals are a collaborative effort between

me and this team, where every detail is intentional,

every image tells a story, and every project

pushes the boundaries of how music and art intertwine.

My creative journey with them has been all about

evolution. We started as a small group of likeminded

artists, and over time, we've built something

bigger than just visuals—it's a movement, a shared

vision of artistry without limits. From styling to directing,

photography to performance, the Haus of V

shapes every era of my work.

When promoting my art, I believe in creating experiences,

not just content. Whether it's performing

in unconventional spaces, releasing visuals that feel

cinematic, or curating moments that allow people

to step into my world, the goal is always to connect.

Social media, word of mouth, and live performances

play a role, but authenticity is key. I want my

visuals and music to reflect my truth, my growth,

and the bold, boundary-pushing spirit of VEMilO.

From where do you draw your fashion inspiration?

Do you admire particular figures in the

fashion industry?

I'm a huge Lady Gaga fan, as everyone knows. Her

fashion has been a blueprint for me, not just in style

but in the fearless way she uses clothing as self-expression.

I love her fashion to the moon and back.



VEMiLO’s instagram page

Remedy Productions publicity poster

Permission granted to use this image by VEMiLO

JAVON, Album Cover 2023, Photograph by VEMiLO

She's given me confidence, and from her, I learned

that fashion isn't just about looking good. I've taken

to calling it "wearapy," a way to heal, empower, and

tell your story without saying a word.

That being said, I always take inspiration and make

it my own. I love mixing high fashion with streetwear,

pulling from thrifted gems, and finding.

pieces that feel both bold and effortless. Fashion

Nova is fun for trend-driven pieces, but nothing

beats the thrill of thrift stores like L Train Vintage,

which hold unexpected garments just waiting for

me. Fashion is armor and art. It's a second skin that

shifts with me through all the different phases of my

life.

Your voice is truly beautiful and soothing. What

message do you wish to convey to the world as

you navigate your journey with music?

Thank you; that means so much to me. My message

to the world is to create what you love, be your biggest

fan, and make art that truly represents yourself.

Never put something out just to please others; just

make the music you will listen to for the rest of your

life. Each project I've created reflects a different part


of my story. My album Immigrant is a complex

synth, EDM-grunge album that explores the experience

of being foreign, in the literal sense, but in a

personal, emotional way. It's about coming to terms

with yourself, learning to trust, stepping into the unknown,

and accepting the pain of the past. It's about

leaving, evolving, and ultimately embracing who

you are.

I want every song, every visual, every performance

to be something I'm proud of and something that, if

it were my last piece of art, would tell the world exactly

who I am. At the core of it all, my message is

about authenticity, self-celebration, and leaving behind

something real.

Could you explain what "Healing at the Watershed"

is about?

Healing at the Watershed is about renewal, connection,

and self-exploration. More than a place, the

Watershed symbolizes healing by confronting past

wounds, embracing growth, and finding clarity.

Through music, visuals, and storytelling, I explore

identity and resilience, creating a space for others

to reflect on their journeys. It's an invitation to step

into vulnerability and leave feeling lighter, stronger,

and more whole.

I understand that your father is a remarkably

talented artist. Can you tell us about him?

My father is a brilliant artist and one of the most creative,

spiritual, and intelligent people I've ever

known. But he's also someone who got in his way.

His talent was undeniable, yet his struggles with

addiction and then prison have been a constant presence

throughout my life. Despite everything, our

moments together have always been raw and honest.

He never sugarcoated his demons, and in a way,

that was a gift. He encouraged self-discovery, pushing

me to consider my trials and tribulations. And

while his life has been turbulent, I know in my heart

that I am one of his greatest achievements. Some of

my favorite memories are of him being proud of me,

especially when I was performing music. I inherited

his creativity, and I couldn't be more grateful for

that. One of my biggest dreams is to create something

with him, maybe an EP, even. Me singing, him

rapping, or doing spoken word poetry. That kind of

collaboration would mean everything to me. Our re-

VEMILO SONGWRITER | COMPOSER | ARTIST

One of VEMiLO’s short films, vemilo.com

Photograph of VEMiLO by Aly Morrissey

lationship is complicated, but it's real. And in the

end, that's what matters most.

How did your relationship with Brooke and

Gregg from the Gypsy Joint in Great Barrington

develop? How has it evolved since you mentioned

they are your Godparents?

Brooke and Gregg attended the Gypsy Joint open

mic night to enjoy local talent. And that space became

where our connection began. My first-ever

open mic happened there, and in some way, they

were already a part of my journey before we officially

crossed paths. They saw me before they even

met me. They became my Godparents, not just in

title but in how they truly see and support me. Over

time, our relationship deepened into something

more meaningful. Our bond has evolved from a

shared love of music and creativity to something

deeper.

With 14 albums under your belt, how would you

define your musical style? In what ways has it

evolved?

I would describe my musical style as Vivid Pop—a

blend of cinematic storytelling and immersive

soundscapes. I like to create what I call Sonic

Cinema, where every song isn't just something you

hear but something you see and feel. My goal is for

listeners to envision and visualize the emotions, the

story, and the world I'm building within each track.

Over time, my music has evolved in depth and intention.

Each album is connected, like chapters in a

larger narrative, reflecting my growth as a human

being. In the beginning, I was experimenting, finding

my voice. Now, I create with a sharper vision,

blending genres, pushing boundaries, and crafting

music that feels more like an experience than just a

sound.

What steps have you taken to ensure your voice

feels intense and focused?

A powerful voice isn't just about technique—it's

about feeling. I dive deep into my lyrics' meaning,

ensuring every note carries real emotion. When I

sing, I want people to believe it, to feel it with me.

I work on breath control, resonance, and projection

to ensure my voice carries the emotion I want.

Warm-ups, vocal exercises, and exploring different

dynamics help me maintain strength and flexibility.

Hydration, rest, and knowing when to give my

voice a break are crucial. I avoid strain and listen to

my body to keep my vocals in peak condition.

Through all of this, my goal is to keep my voice authentic,

powerful, and deeply connected to my artistry.

n

@vemilo.pa

vemilomusic.com


ABSTRACT PAINTER & MURAL ARTIST

Upcoming Exhibit in June at The New Marlborough Library

1 Mill River Great Barrington Rd, Mill River, MA 01244

Studio visits welcome at The Lichtenstein Center for the Arts

and current work on view at Boema in Lenox

jessetobinmccauley.com

jessetobin@gmail.com

instagram: @mooreofthetobin

Ruby Aver

Cheers no.2 Acrylic on canvas 16”x20”

rdaver2@gmail.com |

Instagram: rdaver2.

Housatonic Studio open by appointment: 413-854-7007


janet cooper

RICHARD TALBERT

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

Wall Tapestry

www.janetcooperdesigns.com

richtalbert1@gmail.com

| Richardtalbertdesign.com

DON LONGO

I chose to do this painting with all the colors

of the rainbow. As a whole, these colors represent

PRIDE, POWER and UNITY that exists when

they are all celebrated together.

We need this in our world. ‐Don Longo

www.donlongoart.com

Field of Hope, 16” x 20” Acrylics and Oil Pastels on canvas board


SUNNY, OIL IMPASTO ON WOOD PANEL, 6”X 8”

GHETTA HIRSCH

“Sunny" was painted in 2018. The world felt

different then. Yes, we were all younger. We had

not been through Covid yet… in 2018, I painted

it just because I found the flower to be pretty.

Now, I am attracted to this painting again. I

pulled out this oil to give my support to a suffering

country: Ukraine.

Did you know that the sunflower is Ukraine's

National Flower? Sunflowers are a beloved symbol

of that country. Ukrainians relate to this

flower as it represents "peace" and "resilience"

as well as "hope." In the summer, when I see a

sunflower, I sense its vitality and strength, and it

makes me happy. The stem is sturdy. They last a

long time in a vase. They radiate light and beauty.

If you ever watched them in a field, sunflowers

turn all together on their stem just to face the sun.

This loyal reverence for our planet of fire can

represent what Ukraine is going through right

now. Facing the enemy, fire and bombs, this

country does not give up - strong and resilient -

Ukraine led by a loyal president continues to

fight for life. Its tenacity and faith in what is right

is an example to the world.

I honor Ukraine with my rendition of a sunflower

and will paint more to replenish the happiness

lost in this long war. May we have PEACE

again in our world!

Ghetta Hirsch is currently exhibiting at Gallery

North, 9 Eagle Street in North Adams, MA.

Those interested in visitng Ghetta’s studio to see

her work, please call or text: 413-597-1716.

Ghetta Hirsch -

ghetta-hirsch.squarespace.com

“Great things are done by a series of

small things brought together.”

—Vincent Van Gogh

LOUD TALKER, 32" X 25"

SUSAN GILBERT

Through my work, I tell the stories of my observations

about iconic activities, events, traditions,

and customs inherent in American culture and everyday

life. Some examples are television programs,

baseball, trailer park camping, and pride

parades.

The themes from my own life include a painting

on paper about my father's love for baseball called

Fenway Fred. Needless to say, he was a player who

hit the ball out of the park. Another was a series of

five pieces based on my experiences at a coffee cafe

and the characters I met there, one of which I named

Breakfast at Peets. At times, I have painted on

paper, but of late, it's been primarily on pieces I construct

using masonite, plywood, and roofing aluminum.

I love three dimensions and wish all of my

work to take shape related to the theme of each

piece.

This harks back to my childhood and the doll

houses, toy gas stations, and Western forts I played

with. My choices for themes are then illustrated

with a cartoony figurative style, lots of colors, exaggerated

activity between the characters, and my

sense of humor. Sometimes I'm poking a little fun,

and other times just having a little laugh.

I have been inspired by several other artists, including

Red Grooms, Roy Deforest, Chicago's

Hairy Who, Florence Stetheimer, and Frida Kahlo.

Each of these artists takes from American life and

their own to present their version of what they see

or experience—often with a great sense of humor.

One of my other great passions is literature. When

I realized that writing was not my forte and started

painting, I realized I could tell stories through visual

arts. That's what I try to do through my work. Have

a little fun telling tales.

Susan will have her art work exhibited at the Knox

Gallery, Monterey Library, 452 Main Rd, Monterey

MA., May 2-June7, 2025. Reception: May 2,

5:30-7pm.

sgflexart1@gmail.com

www.flexart.space

JANE GENNARO

April's Mining My Life unveils Episode Three

of Hip Story, my quest to reclaim my bone after

hip replacement surgery. News that pathology

will only release my bone to a priest or rabbi resurrects

my Catholic upbringing. The Church's

claim on my seven-year-old mind and body spirited

me off on My First Holy Communion Day.

Like a child bride, wearing a white veil, dress,

gloves, shoes, socks, and petticoat, I knelt before

a priest holding a communion wafer in front of

my face. I stuck out my tongue to receive the

Holy Eucharist from his consecrated fingers.

Then I blessed myself, stood up, and solemnly

walked down the aisle with my hands folded in

prayer. Trying not to look like I was NOT chewing,

I entered the pew, knelt down, put my head

in my hands, and swallowed. I prayed to believe

I was eating the actual body of Christ.

At twenty-one, I illustrated a songbook published

by Chappell Music. My drawing for "The

Bells of Saint Mary's" is a body of nuns (brides

of Christ), signed Jane S. Gennaro; "S" in honor

of Sister Sabina, a nun who befriended my

mother when she was a young woman working

for The Family Rosary Crusade.

Catholicism's reverence for our animality as

human creatures and our seeking to be more than

animals illuminates parts of my body of work to

this day, but my faith is in the creative process

that allows me to celebrate the sovereignty of my

own truth.

Jane Gennaro -

www.janegennaro.com



DURING THE STORM, MID PANEL FROM SNOWSTORM,

ALFORD VILLAGE, TRIPTYCK

STEPHAN MARC KLEIN

I have been sketching and making art for all my

adult life, since my undergraduate education as an

architect in the late 1950’s. What interests me most

at present about creating art, besides the shear visceral

pleasure of making things, of putting pencil

or pen or brush or all of them to paper, and of manipulating

images on the computer, is the aesthetic

tension or energy generated in the metaphoric

spaces between the abstract and the representational,

between individual work and reproduction,

and between analog and digital processes. I enjoy

creating images that result from working back and

forth between the computer and the handmade.

My wife, artist Anna Oliver, and I have made

our home in the Berkshires for the past three years

and I am still entranced with its beauty. I think

much of my work is in part a kind of visual rhapsody

to the area. The idea for Snowstorm, Alford

Village, came from an interest I have had in exploring

the dimension of time in the plastic arts.

Also, I love snowy winters.

Stephan Marc Kleinstephanmarcklein.com

smk8378@gmail.com

Member 510 Warren Street Gallery, Hudson, NY

RESVERATROL

MIXED MEDIA BOTANICAL COLLAGE 30”X 40”

SALLY TISKA RICE

BERKSHIRE ROLLING HILLS

Born and raised in the captivating Berkshires,

Sally Tiska Rice possesses artistic prowess that

breathes life into her canvases. As a versatile multimedia

artist, Sally seamlessly employs a tapestry

of techniques, working in acrylics, watercolors, oil

paints, pastels, collages containing botanicals, and

mixed media elements. Her creative spirit draws

inspiration from the idyllic surroundings of her

rural hometown, where she resides with her husband,

Mark, and cherished pets.

Sally's artistic process is a dance of spontaneity

and intention. With each brush stroke, she composes

artwork that reflects her unique perspective.

Beyond her creations, Sally also welcomes commissioned

projects, turning heartfelt visions into

tangible realities. Whether it's capturing the essence

of individuals, beloved pets, cherished homes, or

sacred churches, she pours her soul into each personalized

masterpiece.

Sally's talent has garnered recognition both nationally

and internationally. Her career includes a

remarkable 25-year tenure at Crane Co., where she

lent her hand-painted finesse to crafting exquisite

stationery. Sally is a member of the Clock Tower

Artists of Pittsfield, Massachusetts, the Guild of

Berkshire Artists, the Berkshire Art Association,

and the Becket Arts Center. Follow on YouTube,

Facebook, and Instagram.

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

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

self-guided tours.

SallyTiskaRice@gmail.com

www.sallytiskarice.com

https://www.facebook.com/artistsallytiskarice

Fine Art Prints (Pixels), Twitter, LinkedIn

Instagram, YouTube, TikTok

PATAGONIA, ACRYLIC, LATEX,

GRAPHITE ON CRESCENT BOARD, 40”X 30”

BETWEEN THE LINES 2023,

ACRYLIC ON CANVAS, 36.5” X 31.5”

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 environmentally

friendly materials.

Moscariello's work has been exhibited nationally

and internationally and has appeared in print, film,

television, the web, and Off Off Broadway.

Transforming personal and worldly complexities

into visual harmony. In celebration of Jaye's new

studio, enjoy 10% off large paintings and 30% off

small paintings.

Jaye Alison Moscariello -

310-970-4517

Studio visits by appointment only:

Pond Shed (behind the Buggy Whip Factory),

208 Norfolk Road, Southfield, Massachusetts

jayealison.com

jaye.alison.art@gmail.com


Susan Flex Gilbert

JUST IN FROM EUROPE 35" x 26" WHINEY WARHOL 30" x 27"

Art Exhibit

May 2 - June 7, 2025

Reception for Artist: May 2, 5:30pm - 7pm

at the

KNOX GALLERY

Monterey Library 452 Main Rd., Monterey MA

sgflexart1@gmail.com | www.flexart.space | 781‐444‐1335



ASSEMBLAGE 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

KATE KNAPP, A VIEW OF THE PATIO,

OIL ON CANVAS, 30” X 40”

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

AN INTERPRETATION OF ED SHERBERT’S MASTERPIECE,

“THE PLUMMETING MAN”

RICK NELSON

Today would be Ed's birthday. I'm a horrible

friend; I know he was around my age, but I think

I was a year older. We were co-inhabitants in a

condo on the outskirts of State College, Pa. Both

of us were in art. I was floundering; Ed was confident

in his painting.

My favorite piece of his was a large canvas with

a guy jumping off of a cliff into a swimming hole.

Simple, but you wanted to jump next. I don't

know. Anyway, this is a rendering from the memory

of Ed's painting in recognition of his birthday.

Yaggah Hewtie, Zoilo!

Richard Nelson -

nojrevned@hotmail.com

A woman’s name raises doubts until her

work is seen… I will show your illustrious

lordship what a woman can do.

—Artemisia Gentileschi

ARTFULMIND@YAHOO.COM

Where ordinary charms become wearable magic —

keychains, bracelets, earrings, boot charms and more.

Find a charm that speaks to you!

www.TheCharmBug.etsy.com


RICHARD NELSON

THE ALPHABET SERIES FROM A TO Z: “K ”

&

Ai

ART

Digital Art

nojrevned@hotmail.com

Rick Nelson on FB

Visit to

Grandma’s House

Essay by Shoshana Candee

As I pull into my grandmother's driveway, a road

I remember so comfortably, I park where she used

to park her car, and I get out of my car. As I walk up

the two jagged, rough stone steps, I approach a spacious,

semi-flattened rock that serves as a specially

designed entryway to the basement door. As a child,

I had crossed this uneven stone many times, feeling

the cool stone prickling against my bare feet. Each

step connected me to my younger self and the

stories held within this house, its surrounding

grounds, and with my grandparents.

I stand beneath the upstairs porch on the entryway

landing and look around the driveway. My

grandfather's large red garage caught my eye. The

muddy stone driveway and its spread of land

stretches out before me. To the side, a natural stone

wall surrounds a small garden. This wall separates

the yard from the driveway and leads to the ranchstyle

house. Next to me, there are wooden stairs that

go up to the porch. A wooden trellis leans against

the first set of stairs; it is old, warped, and broken

in a few places. The trellis used to support beautiful

pink climbing flowers that my grandmother nourished

with love each Spring, but now weeds have

taken over. I feel a gust of wind blow through my

hair; I sense past time and neglect through the air.

Everything looks the same as I remember from

childhood, except now the rock wall garden has

overgrown grass and weeds. The garden my grandmother

once habitually pruned and weeded is now

forgotten, overgrown with weeds and grass.

I can remember that rock wall and how grandfather

had spent his mornings, after a significant

snowfall, plowing and maneuvering the snow up

against it with his big yellow John Deer backhoe

tractor, like a magician, into a big mountain for my

sister and I to slide down. After breakfast, Grandma

patiently helped us put on our snowsuits, hats,

gloves, and boots, and with a flicker of excitement

in her eye, she gently nudged us out the door into

the winter paradise that awaited us. My sister and I

were thrilled, eagerly grabbing our blue and red

sleds and bolting to the top of the big pile of glistening

snow. Our giggles filled the wintery, crisp air

like the jubilant songs of Chickadees in the Spring.

As we slid down together, I could feel the shared

thrill and exhilaration of gliding over the bumpy, uneven

snow. Time would fly by as we spent hours

sledding and digging caves in the mountain of snow.

Time at Grandma and Grandpa's house was a period

of pure and innocent joy when the world felt alive

with imagination and play, and the thought of adulthood

did not exist.

The John Deer Backhoe catches my eye, resting

next to the garage. Its once shining yellow exterior

has deceased to time and now has a faded hue. I see

the rust clinging to its surfaces like an unwelcome

reminder of the years that have passed. During fall

clean-ups, the chance to climb into the enormous,

rumbling backhoe felt like winning a blue-ribbon

prize. As I settled onto his lap, a wave of nervousness

and excitement coursed through me; the grey

seat cradled us as I reached for the controls, my

small hands ready to learn fromhim. Below, I can

see Grandma amidst the deep orange, yellow, and

red autumn leaves and the big pile of burning brush,

her face glowing with pride and happiness as she

waves up at me.

As I stare at the backhoe at that moment, there is

a profound sense of melancholy about the tractor, as

if it is longing for the days when it was a busy part

of the Candee Family, ambitiously waiting to be

driven once more.

I walk over to the garage and open the door. It is

dark, cold, and lonely, and memories of laughter and

hard work echo through the building. Once a busy

workshop where my grandfather toiled with passion

and creativity, mostly on rainy or wintery days, now

stands deserted, whispering a story of a man that

once flickered in life; well-loved tools hang from

the walls, a worn golf cart sits where it was last

parked, cans of paint with a layer of dust, a sawmill,

and even one of his soiled oil filled hand towel still

lay on his workbench, a decade's worth of wood

dust carpets the floor. Stacks of cut wood lean

against the walls, some still holding the pencil

marks of unfinished projects, including half-constructed

birdhouses and footstools that lay scattered,

ready to be assembled. The old radio is still playing

his favorite country station like it has since I was little.

I can remember how I loved the smell of the garage

as a kid; as I get wafed with the familiar aroma

of gas, pine, and varnish, I take a deep breath

through my nose and imagine Grandpa busy at work

on the sawmill. He wore bright orange earmuffs and

his red flannel shirt, speckled with sawdust; the obnoxiously

loud roar of the mill filled the air. I see

him look at me with a joyful smile and wave.

My sister and I spent most of our days at my

grandparents' house; it was every weekend and even

some of the week, depending on when our parents

went away, which was often. A second home where

Grandma and Grandpa instilled values and life lessons,

and the opportunity to play and imagine was

endless. It is a time that haunts my heart today, leaving

it sad and desperate to return to the past when I

was nurtured and felt safe and warm in Grandma's

presence. As I stand there, gazing at the rock wall

and the overgrown gardens, I see my sister and me

as kids—innocent, small, and shining with fearlessness—climbing

up the rugged surface of the rock

wall to see who could reach the top without falling.

Smiles radiated on our faces, laughter ballets

through the air as pure joy wrapped around us like

a warm kiss on the cheek. I take a deep breath, take

one last look around, and notice the hand-built shed

my grandfather built to store his firewood for the

wood stove is now chipping its brown paint. Remaining

on the roof lay his wrench, a pair of gardening

gloves with a rose print, and some old green

plastic flowerpots. These remnants stand still, stuck

in time, while the people around them age, encompassing

them in encapsulated love and memories

held close.

Preparing myself to go inside for a long-overdue

visit to my Grandma, I can smell the air. A spring

breeze hits my face. The sun is shining, making the

puddle in the driveway glisten. I see my sister and

me playing barefoot in the driveway mud puddles,

our feet covered in dark, cold spring mud. I hear my

grandmother yelling to come in for lunch from

the top porch.

My heart aches. I open the basement door and go

in. As I step inside, I notice my grandfather's jackets

still hanging on the wall; amongst them, a particular

jacket—his favorite, worn so often—rests on the

stair railing, exactly where he placed it a year ago

before he passed away; a silent reminder of his absence,

it entangles my senses like passing by someone

with an overwhelming amount of perfume that

makes you rub your nose. His desk, overwhelmed

with papers, has been untouched for months, proof

of the life he once lived. The wood stove, once upon

a time filled with warmth and the glow of the fire,

now stands dead and cold. I remember how my

grandfather always sat in his red swivel chair, tending

to the wood stove, carefully placing pieces of

firewood into it. A newspaper lies stretched on the

table beside him, and next to it rests a plate with a

slice of my Grandma's banana bread, accompanied

by a glass of milk. Walking down the stairs in the

early morning light, I find him in his usual spot by

the fireplace. I climb onto his lap, and he begins to

share stories of his past—a rich tapestry of memories

that fill the room with his comedic spirit. The

heat from the fireplace burns my knees a little,

though I find comfort in it, allowing me to stay close

as I listen intently to his words. My sister comes

down the stairs shortly after me, and I feel an added

sense of relief, knowing I am not alone. After a brief

time, I head upstairs, eager to see if Grandma has

finished making breakfast.

I make my way up the familiar wooden basement

steps, the familiar sound of my feet as I climb the

steep-angled steps that lead me directly into the

kitchen, noticing once again the familiar old photographs

and plastic magnets organized neatly on the

fridge. I see Grandma sitting comfortably in her

chair; her eyes, bright and soft, are fixed looking

outside the sliding glass door that looks out to the

garage and land. A glass table on the porch laced

with birdseed attracts birds and squirrels, and she

focuses on them like she is watching a movie. The

afternoon sunlight streams in, casting a warm glow

around her; she looks up as I approach, her eyes

sparkling with recognition, and a wave of joy surges

through me at the sight of her smile, a beautiful reminder

of what home feels like. I walk over, the familiar

scent of her perfume surrounding me; I

embrace her warmly, planting a gentle kiss on her

cheek that mirrors our history. As I settle into the

chair beside her, I feel happy to be here in this home

next to Grandma, just as I always remembered.

—Shoshana Candee

ENGLISH 101-02 PROFESSOR GRACE VON MORTIZ


ACRYLIC ON WATERCOLOR PAPER, 18” X 24”

BRUCE LAIRD

I am an abstract artist whose two- and three-dimensional

works in mixed media reveal a fascination

with geometry, color and juxtapositions. For

me it is all about the work which provides surprising

results, both playful and thought provoking.

From BCC to UMASS and later to Vermont College

to earn my MFA Degree. I have taken many

workshops through Art New England, at Bennington

College, Hamilton College and an experimental

workshop on cyanotypes recently at MCLA. Two

international workshops in France and Italy also.I

am pleased to have a studio space with an exciting

group of artists at the Clocktower Building in Pittsfield.

Bruce Laird-

Studio #307, Clock Tower Business Center,

75 South Church Street, Pittsfield, MA

Instagram: @ecurbart

TAXI, ACRYLIC ON CANVAS, 16” X 20”

RUBY AVER

STREET ZEN

Growing up on the Southside of Chicago in the

60s was a history rich and troubled time. As a youth,

playing in the streets demanded grit.

Teaching Tai chi for the last 30 years requires a

Zen state of mind. My paintings come from this

quiet place that exhibit the rich grit of my youth .

Movement, shape and color dominate, spontaneously

combining raw as well as delicate impulses.

My recent series, Strike a Pose, is inspired by the

dance genre Voguing. Colorful feminine images

with amplified characters grace the canvas with

their mystery.

Ruby Aver -

Housatonic Studio open by appointment:

413-854-7007 / rdaver2@gmail.com

Instagram: rdaver2

Matt

Bernson

I went to a workshop with Jim Peters

and my friend @jiggles_burlesque was

modeling.

mattbernson.art

Was nice to draw her again and also

be doing life drawing in a group. Saw

some friends I haven't seen in a while

and it was also nice to meet Jim, and I

realized I had a book of his work when

he had some books out for us to look

at for inspiration and reference.

ArtByMattBernson.com

matthew.bernson@gmail.com

Instagram@MattBernson.Art

TREE AND SHRUBS

BRUCE PANOCK

I am a visual artist using photography as the

platform to begin a journey of exploration. My

journey began in earnest almost 14 years ago when

I retired due to health issues and began devoting

myself to the informal study of art, artists and particularly

photography. Before retiring I had begun

studying photography as a hobby. After my retirement,

the effort took on a greater intensity.

My world had changed for reasons outside of

my control and I looked for something different in

my work. I wanted to do more than document what

was around me. I wanted to create something that

the viewers might join with me and experience.

Due to my health issues, I found myself confined

with my activities generally restricted. For the first

time I began looking inward, to the world that I experienced,

though not always through physical interaction.

It is a world where I spend more time

trying to understand what I previously took for

granted and did not think about enough. The ideas

ranged from pleasure and beauty to pain and loss;

from isolation to abandonment; to walking past

what is uncomfortable to see. During this period of

isolation, I began thinking about what is isolation,

how it can transition to abandonment and then into

being forgotten. The simplest display of this idea is

abandoned buildings. They were once beautiful,

then allowed to run down and abandoned, soon to

be forgotten. After a while they disappear. Either

mankind knocks down these forgotten once beautiful

structures, or remediates them, or Nature reclaims

the space. Doesn’t mankind do the same

with its own?

My work employs references to other photographers,

painters, as well as sculptors. The brushwork

of Chinese and Japanese artists is appealing for

both its simplicity and beauty. Abstract art has its

own ways of sharing ideas which are jarring and

beautiful at the same time. Black and white and

color works each add their own dynamic. My work

is influenced by these art forms, often using many

of them in a single composited image.

Bruce Panock -

Panockphotography.com

bruce@panockphotography.com

Instagram @brucepanock



JWS

WE’VE MOVED!

Welcome to JWS Art Supplies at our new location,

291 Main St in Great Barrington. We're excited

to offer a wide variety of art supplies and

craft materials for artists of all ages and skill

levels. Whether you're a parent looking for fun

projects for kids or a professional artist seeking

high-quality materials, we have something for everyone.

Our knowledgeable staff is here to assist you

with whatever project you're working on. Don't

hesitate to ask for recommendations or guidance—we're

dedicated to helping you find exactly

what you need to bring your creative vision

to life.

Visit us and explore our extensive selection of

art supplies!

JWS Art Supplies-

413-644-9838

291 Main St, Great Barrington, MA.

info@jwsartsupplies.com

CUSTOM HISTORIC HOUSE PORTRAIT, WATERCOLOR

MARGUERITE BRIDE

BERKSHIRES FAREWELL

In May, I will be moving from the Berkshires

to another beautiful New England area….the

Lakes Region of New Hampshire. After 30 years

in paradise, another adventure is calling me. I can

hear the loons on Squam Lake now.

While I will be living elsewhere, you can still

see my work at Miraval in Lenox, The Red Lion

Inn and Whispered the Heart in Stockbridge. And

actually I will be back in the area every couple of

months, so you may see me around.

I will continue to do commission work…house

and business portraits, well, just about anything

that is special to you. If you can send me pictures,

I can draw and paint it. My new studio space

should be set up by July, and that is a good time

to consider a painting for the holidays.

Marguerite Bride –

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

margebride@aol.com; Facebook: Marguerite

Bride Watercolors. Instagram: margebride.

JOANE CORNELL

“WHERE THE MAGIC HAPPENS”

You wouldn't think this small jeweler's bench

could be so mighty. This is where the magic

happens, mostly. Other "stations/surfaces" in my

cozy, light-filled studio aid in producing my oneof-a-kind

jewelry designs.

I've considered, many a time, over the years,

buying a larger, more spacious workbench. But

I'm the type of artist who likes "the struggle."

This bench is challenging. Cramped. But I do believe

the challenge fires my spirit/creativity. I

truly like small, compact spaces. Psychology 101,

anybody?

Visit by boutique in Chatham, New York.

Joane Cornell Fine Jewelry -

917-971-4662.

Spring Schedule; Thurs., Fri.and Sat. 11-4.

Summer/Fall schedule to be determined.

JoaneCornellfinejewelry.com

Instagram; Joane Cornell Fine Jewelry


Something for Over the Couch

PART 26

“The Americano”

Uncle Firp’s beautiful house was a mystery to me,

and I always looked at it afresh each time I passed

it, but I began to notice a new and unsettling detail

about the place. There was often a black Ford convertible

in the driveway, a car belonging to the suitor

of Claudia, the waitress in the Italian cafe.

So I thought I had discovered that Claudia's boyfriend

was a man named Carlo, and Carlo was the

violent son of old Uncle Firp. It seemed to me that

Carlo was probably almost thirty, and Claudia

looked to be about 16, the same age as myself. I

freely admit that I was terribly attracted to Claudia,

but I had no idea at all about trying to create any

kind of a relationship with her. She was “From the

old country,” an epithet that applied to anything

considered archaic and old fashioned, and Claudia

was strictly from the old country. She could easily

have been a sister to my many cousins who were

Italian Catholic girls. But regardless of the gulf and

obscure fog that seperated me from her, I wanted

simply to establish some connection to her. Because

of this I no longer avoided the cafe when the boyfriend’s

black convertible was parked nearby, and

began to frequent the cafe more often, being careful

to park my bicycle a block away.

To establish a relationship with her I self consciously

decided on an action, something I would

do as a first step in her direction. This is what I did,

I placed my order and she handed me my eclair and

an espresso in one of those ridiculous tiny cups. As

I took the cup from her I said, “Thank You, Claudia.”

When I look at what I just wrote, it seems to be

nothing at all. Almost everyone said the same thing

to her day in and day out, everybody said “Thank

you Claudia,” and some of the people even added

little endearments to the remark such as ‘dear,’ or

even substituting ‘sweetheart,’ for her name. I noticed

also that the older the customer was the more

given they were to such expressions. But for me to

address her by name was a thing entirely different,

and not only that but I deliberately put a long pause

between the ‘thank you,’ and the ‘Claudia.’ Perhaps

you think I am making too much of what was obviously

a meaningless gesture, and you are probably

correct to think it is really evidence of weak mindedness

on my part. You are probably correct to chalk

it up to weak mindedness. On any day that I might

frequent the place, I might see all sorts of people engaged

in polite conversations with her, and even

right in front of her boyfriend, but thanking her by

name was the best I could do under the circumstances.

About a week later I did something much more

ambitious, so much so that, when I think back on it

I am amazed at my stupidity. I asked her to make

me a cafe Americano. She had no idea what an

Americano was and asked for an explanation, so I

told her to make me a regular espresso but to, “Just

put it in a teacup along with hot water.” The making

of an Americano seemed to be utterly incomprehensible

to her, and she even screwed up her face in a

skeptical questioning look. I tried to point out that

there was really nothing to it, demonstrating the idea

using one hand as an example of a cup of tea, and

the other as a shot of espresso. I was trying to explain

with gestures how easy it was to put one into

the other, but right then the old man, the owner, who

must have heard my unusual request, poked his head

out from the kitchen and shook his head at me in a

rather stern, judgmental way.

Apparently I had crossed some kind of unwritten

law in my interaction with his niece, or his daughter,

I didn’t know which.

Americanos were not allowed, explanations of

what Americanos consisted of were also not allowed.

My new idea was a total and instant failure.

A failure that involved the management. A total and

complete failure, so much so that I suddenly began

to feel like a ‘Persona non grata.’ I felt like I had descended

to the level of the kind of person who is

waited on in an establishment in such a way as to

indicate that the establishment would much prefer

they would take their money, and their tip and just

go somewhere else.

I sat down and wondered practically out loud what

I could have done that was so unacceptable as to

earn an actual rebuke from the old man himself, and

he was one of those old men, interchangable with

my grandfather, an old Italian man smelling of stogie

smoke. He was one of those old men I instinctively,

practically from birth, had an automatic

special respect for.

So I sat down with my eclair and my tiny cup of

espresso in a cup about the size of a thimble, and

plunged into the depressing analysis of my failure.

And right then, with half an eclair halfway to my

mouth, I saw clearly the significance of what I had

done. I had asked some Italians, Italians whose entire

identity, and the total significance of their business

and their lives, to stop what they were doing

and become Americans, and to make me an “Americano.”

I was insulting them and making fun of them

at the same time. I had to repress a sudden impulse

to rush up to the counter and apologize to somebody,

but fortunately I overcame the urge.

I am not going to hope that you will understand

the significance of what I did, I am going to spell it

out for you. In Utica, in 1964, there were two kinds

of Italian families, most could not shed their background,

religion and language fast enough. But

there was a tiny minority, for whom Italy was not

the land of the Mafia, organized crime, and Mussolini,

but instead, the land of Michelangelo. They

were of the second category and I was of the first.

I waited over a week before I went back to the

cafe, and I went on a day when I knew Claudia

would not be there. Her sister was there and began

preparing my order of an espresso and an eclair

without my asking, but then, holding the expresso

in one hand, she took a tea cup and made a gesture

as if asking if she should put the shot into the tea

cup and so, add hot water to make me the outlawed

Americano mixture. This happened silently, and my

only reaction was to look at the door to the kitchen,

as if I expected the owner's judgmental face to appear.

Why? What had happened? Why would the sister

know about my request? Did she make my order in

spite of the owner, or because he had changed his

mind? Did some conversation happen about me that

caused this change? Possibly someone recognized

me as the son of the deceased insurance salesman,

who, years ago perhaps was a customer. I was anxious

to see how I would be waited on by Claudia

herself.

Claudia, when she waited on me again showed no

sign that I was allowed to order something not on

the menu, so to speak, and so I thought to myself,

“This idea that these people know who I am, who

my father was, and even that I painted the painting

on their wall, is just silly conjecture. The explanation

was obvious, the other sister made me an

‘Americano,’ simply because that’s the kind of person

she was, and it meant nothing at all.

In a way the cafe was a small museum of Italian

culture that I was visiting once a week. There are

people who go to a museum to look at one special

painting, and ignore everything else in the place.

Some person might get in a cab, pay the fare to go

all the way to the Met. At the Met they will pay the

admission, go up some stairs, walk through various

rooms until they get to their special picture. Then

they will stand in front of their special picture for

about a minute, even two minutes, and then they

will go back out into the street, and take a taxi back

to where they came from.

Furthermore, the fact that you do not own, and

could never own the painting or anything like the

one you make your pilgrimage to visit once or twice

a year is a part of the charm and importance of the

ceremony.

If the painting was in your house you would most

surely forget all about it. The things a person owns

very gradually disappear over time. Even some fortunate

person who has purchased some small Impressionist

painting by Degas, might even leave it

with its face to the wall for some long period of

time.

Not only that, but when you go to visit your favorite

painting in the museum, you might have the

pleasure of seeing some stranger standing in your

spot, and admiring the picture you care so much

about. And so you can assume that there is some

meaningful special bond between yourself and that

stranger. Actually, it is sometimes the stranger that

is more important than the painting, but I am not

going to pursue that aspect of the museum visit.

Like a museum visit to my favorite painting! That

now became the reason for my visit to the Italian

Cafe Bakery. Claudia was the painting, and the cafe

was the museum, a museum to Italian culture as it

had been, ideally, when my grandparents fled from

the place, and Claudia was the painting I wanted to

admire from a distance, and like in a museum, I

thought there was an invisible velvet rope in front

of her.

—RICHARD BRITELL, MARCH, 2025

PARTS 1 THROUGH 25

SPAZIFINEART.COM/SHORT-STORIES/


44 • APRIL THE ARTFUL MIND

BRUCE PANOCK

Transition

Panockphotography.com

bruce@panockphotography.com

917-287-8589 | Instagram @brucepanock

Bruce Laird

Deborah H Carter

Upcycled Floor Square

Korenman.com

@joyderose.music

Represented by the WIT Gallery

Clock Tower Artists

the artful mind. APRIL 2025

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