tam-MAY-2022

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THE SOURCE AND SOUL FOR PROMOTING THE ARTS SINCE 1994 MAY 2022

THE ARTFUL MIND

LONNY JARRETT An Integral Life Art, Music, Movement and Medicine

Cover photograph by Lonny Jarrett, Mount Greylock




PAT HOGAN

THE ARTFUL MIND

MAY 2022

IS ART NOT A LOVE AFFAIR WITH LIFE?

SUSAN ELEY FINE ART, HUDSON

TEXT BY LIZ LORENZ | INTERVIEW WITH SUSAN ELEY...8

KATHRYN LYNCH ARTIST

INTERVIEW BY H. CANDEE ... 14

LONNY JARRETT

AN INTEGRAL LIFE - ART, MUSIC, MOVEMENT, MEDICINE

INTERVIEW BY H. CANDEE

PHOTOGRAPHY BY EDWARD ACKER...22

“Sweet Spring” Watercolor 14 x 10”

May 12 to June 19, 2022

Opening Reception: May 21, 3 to 5 PM

GALLERY NORTHEAST

CONTEMPORARY REGIONAL IMPRESSIONISTIC ART

Ruth Moore, Owner

12 BROAD STREET, KINDERHOOK, NEW YORK • 519. 697. 9984

gallerynortheast@gmail.com • gallerynortheast.com

VIRTUAL ART GALLERY

FINE ART AND PHOTOGRAPHY BY ARTISTS FOR SALE ...28

POETRY N ART ...35

ARTIST UPDATE

LINDA KAYE-MOSES JEWELRY DESIGNER

INTERVIEW BY H. CANDEE ...36

CAROLYN KAY BRANCATO AUTHOR

INTERVIEW BY H. CANDEE...42

RICHARD BRITELL | FICTION

SOMETHING FOR OVER THE COUCH CHAPTER 10 ...48

Publisher Harryet Candee

Copy Editor

Marguerite Bride

Third Eye Jeff Bynack

Advertising and Graphic Design Harryet Candee

Contributing Writers

Richard Britell

Liz Lorenz

Photographers

Edward Acker

Tasja Keetman

Bobby Miller

ADVERTISING RATES 413 ‐ 645 ‐ 4114

artfulmind@yahoo.com

issuu.com | Instagram

FB Open Group:

ART GALLERY for artful minds

The Artful Mind

Box 985 Great Barrington, MA 01230

2 • MAY 2022 THE ARTFUL MIND

YFI: ©Copyright laws in effect throughout The Artful Mind for logo & all graphics including text material. Copyright laws

for photographers and writers throughout The Artful Mind. Permission to reprint is required in all instances. In any case

the issue does not appear on the stands as planned due to unforeseeable circumstances beyond our control, advertisers

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THE ARTFUL MIND MAY 2022 • 3



CAROLYN NEWBERGER | NEW WORK

DANCING WITH THE ANCESTORS, KHARKIV MIXED MEDIA, WATERCOLOR, PASTEL, CHARCOAL, DECOUPAGE, 30 X 40 INCHES

cnewberger@me.com www.carolynnewberger.com 6178775672

Mark Mellinger

Paintings - Collage - Construction

100 North St Pittsfield #322

914. 260. 7413

markmellinger680@gmail.com

Subterranean mark gallery pr Pyroclasm. Acrylic on canvas 2018. 60" x 48"



TAKE THE BERKSHIRES HOME WITH YOU

Lonny Jarrett

Fine Art Photography

Berkshirescenicphotography.com

413‐298‐4221

Lonny@berkshirescenicphotography.com



LIANG WANG, OBOIST

TAMAR ZORMAN, VIOLINIST

CLOSE ENCOUNTERS

WITH MUSIC

REEDS AND STRINGS

CEWM presents “Reeds and Strings” – Mozart,

Beethoven, Cimarosa, Britten and Tchaikovsky

competition winning violinist Itamar

Zorman, plus NY Philharmonic first chair oboist

Liang Wang, performed Live at the Mahaiwe Performing

Arts Center in Great Barrington, MA,

Sunday, May 29, at 4 PM.

The organic voice of the oboe, a member of

the woodwind family, meets kindred wood string

instruments. First oboist of the New York Philharmonic

leads the way from Mozart’s Oboe

Quartet to Cimarosa’s Oboe Concerto and Benjamin

Britten’s Six Metamorphoses after Ovid, a

musical masterpiece that will be accompanied by

images of historic paintings of the mythological

tales.

The Metamorphoses is Ovid’s longest extant

work, a continuous epic poem in fifteen books.

Based on the poetry of Hesiod and Callimachus,

it features a collection of separate stories linked

by the common theme of transformation. A tour

de force for oboe players, the programmatic work

is a refresher course in Roman mythology and a

rare experience for listeners to enjoy the full

range of the oboe—from seductive to weeping to

simulating flying chariots and thunderbolts, fountains,

and drunken feasts.

Oboist Liang Wang is joined by violinists Itamar

Zorman and Susan Heerema, violist Michael

Strauss, and Close Encounters With Music artistic

director and cellist Yehuda Hanani. Zorman,

Strauss and Hanani also perform the Beethoven

String Trio in C minor, written in his dramatic,

misterioso key, with constant dialogue between

minor and major, darkness and light. s also an

actiClose Encounters With Music - 800-843-

0778; Web: cewm.org; cewmusic@aol.com

MATT CHINIAN

PROSAIC REALISM

I am a prosaic realist. That means I paint what

I see and depict places and objects without sentiment

or romance. My subjects are taken from

daily life, things I see in passing, things I’m

drawn to; they are mundane and often overlooked.

I unlock patterns and relationships and do

not judge. I practice ruthless honesty, and let the

paint be paint.

Open studio May 14 and 15,

cambridgevalleyart.org for info.

Visit: www.mattchinian.com

DREAMING OF JOHN HENRY. ACRYLIC 30" X 36", 2021

MARK MELLINGER

ABSURDIST ARTIST STATEMENT

My work explores the interconnectedness of

Bauhausian sensibilities and Trobriand Island

chants. With influences as diverse as Noble Sissle

and Shemp Howard, new insights are created

from both mundane and transcendant dialogues.

Ever since I was a child I have been disturbed

by the essential ephemerality of space/time. What

starts out as circumlocutory vision soon becomes

corrupted into a hegemony of greed, leaving only

a sense of ennui and little chance of a new paradigm.

As spatial miasmas become transformed

through emergent Unabhängigkeitserklärungen,

the viewer is left with a catafalque for the prognostication

of our future.




Installation View: Flora Inhabited, featuring Angela A’Court and Ellen Hermanos, SEFA Hudson, 2022

SUSAN ELEY FINE ART, HUDSON

A contemporary art gallery’s new adventures in Upstate New York

Text by Liz Lorenz

Interview with Susan Eley

On the 400 block of Warren Street, there is a striking brick building with an

arched doorway, a blue and white painted cornice, and two sprawling windows

overlooking the passersby on the main artery of downtown Hudson,

New York. Originally constructed in 1920, the ground floor of this space is

now home to Susan Eley Fine Art (SEFA), a contemporary art gallery that

has recently become an engaged participant and a true player within Upstate

NY’s vibrant cultural scene.

I first approached this distinguished yet charming facade in June 2020 for a

job interview as Assistant Director of the new gallery. I had just graduated

from the Center for Curatorial Studies at nearby Bard College. We were still

overwhelmed by the early stages of the pandemic—when all was uncertain

and, frankly, quite frightening on a most basic human level. When I was able

to temporarily shift my focus from the immediate suffering and daily

tragedies that we collectively experienced—I wondered what value my

Masters degree in Curatorial Studies could actually possess. How could my

hours spent in the library pouring over tomes of art theory possibly contribute

to making our fraught world a more meaningful, equitable, and beautiful

place? I found that answer at SEFA Hudson—renewing my idealism and reenergizing

my belief in the power of sharing art with others: caring for our

artists, welcoming diverse communities, and activating artworks to spark

those internal experiences and interpersonal connections that, I believe, are

essential elements of a fulfilling existence. Perhaps my feelings here were

amplified by the fact that I was separated from my closest friends and family

and unable to travel freely, even to NYC—but the Gallery became my friend,

my passion project. Whether I was patching and painting the walls between

exhibitions or writing press release text about an artist’s practice, SEFA Hudson

was the motivation that got me through the pandemic fog.


SEFA is the brainchild of Susan Eisner Eley, the founder and owner of the

Gallery since the establishment of its first location in New York City in 2006.

SEFA hosts a dynamic roster of American and international creators, and focuses

on contemporary works in a range of media by emerging and mid-career

artists. Initially, SEFA Hudson was intended to be a satellite space functioning

as a six-month “pandemic pop-up” in Upstate NY—where the more

spacious environment made it plausible to continue exhibiting art in a safe

setting. Yet, from the outset, I was determined to help make the Hudson

space a permanent second location for SEFA. Together, Susie and I began

to immerse ourselves in the multifaceted Hudson Valley arts communities.

We made a concerted effort to interface with local artists and audiences, and

to not merely act as an “NYC transplant.” Since SEFA Hudson’s opening

nearly two years ago, we have conducted studio visits with many area artists.

Some of these conversations have materialized into exhibitions at the Gallery—for

example, the presentation of wood sculptures by Joe Sultan who

is based in Germantown, and the recent show pairing Sarah Lutz and Katharine

Dufault, who Susie first met via our Hudson space. We routinely review

portfolio submissions by artists and are always on the hunt for new

talent.

Susie and I have also built networks with a number of other galleries in the

area, both professionally and personally. Along with D’Arcy Simpson Artworks

and Window On Hudson, SEFA was a founding partner of 2econd

Saturday Hudson Gallery Crawl, a local initiative where arts venues and select

businesses commit to stay open late to welcome visitors on Warren

Street. SEFA has participated as a headlining gallery in The Hudson Eye, an

acclaimed festival for the visual and performing arts curated by Aaron Levi

Garvey. Additionally, the Gallery is proud to be part of Upstate Art Weekend

in May 2022. This event is curated by Helen Toomer to highlight the top

museums, non-profits, and galleries in the greater Hudson Valley region. Indeed,

it is fulfilling to reflect on SEFA Hudson’s achievements while writing

here—from pandemic pop-up to permanent location, from guest to neighbor.

Whether hanging a new exhibition or chatting with potential collectors, Susie

and I constantly strive for the continued, thoughtful evolution of SEFA as a

hub for supporting artists and for sharing art.


Liz Lorenz: As you know, it’s such a rewarding endeavor to work at Susan

Eley Fine Art, Hudson. I can’t believe it has been almost two years now! I

truly admire your commitment to establishing the Gallery in Upstate, both

in its initial form—as a creative way to continue sharing art safely during

the early phases of the pandemic—and now, as a permanent second location

that works to increasingly engage with locals and visitors in the Hudson Valley

region. To provide some additional context about your journey in the art

world, perhaps we can start our discussion by moving back in time a bit.

What inspired you to found SEFA in 2006?

Susan Eley: I founded SEFA in New York City in 2006 with a mission to

offer an alternative to the typical “white cube” gallery. Conceived as a salonstyle

gallery, SEFA NYC is situated in a Victorian townhouse on the Upper

West Side. Its interior features the original brick walls and fireplace, reflecting

an organic aesthetic and creating an intimate space for visitors. SEFA

exhibits a range of contemporary painters, sculptors, photographers, and

printmakers from around the globe—primarily emerging and mid-career artists.

Also, we have participated in art fairs in NYC, Miami, Houston, San

Francisco, and Toronto. These larger gatherings of art enthusiasts are always

an excellent way to make new connections, especially with people that I

would not usually have the opportunity to meet, due to our NYC geography.

LL: For you, what does it mean to have a gallery in this “salon-style” model?

Specifically, I am thinking back to the tradition of Parisian salons at the turn

of the century—notably Gertrude Stein’s mentorship and connoisseurship

for artists and collectors alike.

SE: At first, the salon-style methodology was my reaction to differentiate

SEFA from all of the galleries that felt so cold and clinical: stark white walls;

no one to greet you or to discuss the artworks with; basically, an uncomfortable

feeling. For me, it’s so important to talk about the art and to foster dialogue

between viewers and artworks. I structured SEFA to be both a more

personable and socially engaged environment. In addition to its regular exhibition

programming, SEFA has hosted artist talks, political fundraisers,

literary and poetry salons, and panel discussions on a variety of cultural and

political topics. I have curated shows to benefit the causes that I believe in,

often raising funds for institutions and nonprofits. For example, in response

to the Muslim Ban, SEFA NYC organized the exhibition Beyond the Ban

whose sales helped support a humans rights oprganization in Iran. After the

Parkland shooting, we presented portraits and interviews of survivors by Jeff

Vespa and hosted a related panel, both benefiting a charity opposing gun violence

in America. Thus, SEFA’s larger mission and regular programming

are a reflection of my values and an attestation to using art for social and

activist purposes.

LL: What are the particularities of working with these non-traditional physical

spaces? How do you embrace the unique architecture of each Gallery?

SE: It’s both a challenge and a benefit: the brick and fireplace in NYC; the

windows, shelves, and columns in Hudson. As mentioned, SEFA NYC really

evokes an intimate home space. Of course, as a former apartment, you can

sense someone lived there before. The interior fuels ideas for collectors as

they consider purchasing artworks—almost a preview that can be mirrored

within their own homes. For Hudson, when I saw the space for the first time,

I just knew this was the spot! We are literally at street level, allowing us to

wave at people outside and invite them in. The artworks in the windows are

illuminated throughout the night. In fact, I believe that the layout of the Hudson

Gallery allows us to draw in so many new audiences—from locals to

visiting collectors that we would not have met at our NYC space. There is a

very different kind of networking that happens here in downtown, which

works in tandem with our more intimate NYC space.

LL: Is there a difference in your curatorial approach between the two

spaces? Do you feel that you can take more risks in Hudson?

SE: Yes, and that is also thanks to you pushing me to experiment more! For

example—with exhibition pairings of artists that would not immediately

seem related, but possess genuine connections upon further analysis, like

Karin Bruckner and Charles Buckley; with exhibition design concepts and

creating relationships in the physical layout of the hang, as in Saints and

Sisters; and with fun new proposals, like producing custom wallpaper based

on Angela A’Court’s work because her practice considers domesticity and

decoration. There’s a lot of dynamism possible for the shows at SEFA Hudson,

and I think such ideas keep our audiences interested and our artists inspired.

LL: Now for a question that I’m sure many practicing artists are curious

about—what do you look for when reviewing emerging artists whose work

is new to you? Whether for an initial studio visit or for more serious consideration

for an exhibition—what are the qualities that are important to you?

SE: Since beginning my career as a gallerist, my principal motivation is to

exhibit artists who make work that has been rendered with excellent technical

skill and, most importantly, that expresses a unique vision of the world.

I am always seeking that “Aha! moment.” When I find it, I know that this is

an artist I want to explore further. Continued on next page...

Installation View: These In-Between Days, Rachelle Krieger, SEFA NYC, 2021



Installation View: Counterbalance II, Liz Rundorff-Smith, SEFA Hudson, 2020

Often, this can be a very intuitive and personal feeling, yet it translates into

confidence and knowledge as I dive deeper into their practices. The artwork

I choose to hang on the walls in NYC and Hudson must reveal an aesthetic,

a response or a way of thinking that I personally have never seen before.

Also, the artists I work with are regular practitioners; they wake up every

morning and make art. Thus, they demonstrate a consistent creative practice,

as seen in Francie Hester’s “Daily Drawings” series and in James Isherwood’s

landscapes that he is always eager to share with us to offer. If an

artist can achieve this—and is professional, reliable and personable—there’s

a fit for them with SEFA!

LL: I have noticed that the majority of the artists on SEFA’s roster are

women. Was this a strategic motivation from the beginning, or more of an

organic evolution?

SE: My roster and exhibitions have organically evolved to highlight female

artists. While this was not a conscious strategy, I realize that I naturally connect

with their creative approaches and interests—the stories that they tell.

Additionally, there are thematic arcs within SEFA’s exhibition programming.

Throughout the years, I have organized a number of shows that focus on

ideas surrounding domesticity, home, and interiors—as well as the transformative

power of the natural world—for example, Allison Green’s work. In

fact, SEFA’s emphasis on female creators is a source of pride for me, especially

as the gallery has always been female owned and operated.

LL: Agreed! To me, it certainly seems like a holistic approach—the fact that

your exhibitions frequently manifest such feminist values in a totally natural

way. That is one of the aspects I most admire about your work as a curator

and gallerist—as well as your sustained commitment to your artists.

SE: I have worked with a number of my artists for many years now, such as

Angela A’Court, Francie Hester and, Allison Green. For me, it is a delight to

establish these long-term relationships of creativity and care, and to foster

their practices as their vision evolves. Additionally, SEFA engages with new

artists through exhibitions like student-based shows and open-call juried

shows—as well as with new collectors by making artworks accessible

through our online selling platforms, Artsy and 1stDibs.

LL: What advice do you have for folks that are new to collecting contemporary

art?

SE: Before you purchase a work of art, learn all that you can about the artist:

comb their biographies and artist statements. Visit as many art fairs and galleries

as you can to hone in on your own tastes and sensibilities. At the end

of the day, buy art that you love and wish to live with—not as an investment—but

as an object that will bring you joy. Of course, you can buy a

work of art to place above your couch while still maintaining the integrity

of the individual artworks. I don’t think these motivations are inherently at

odds with each other, and I am happy when collectors come to me to find

works to cherish on a daily basis in their homes.

LL: I would love to speak further about SEFA’s future programming, both

at the Hudson Gallery and beyond. Notably, we will be participating in the

fair VOLTA 2022, which opens in late May in NYC. This is the first art fair

that SEFA has participated in since the beginning of the pandemic. What are

your thoughts on this year’s fair and the significance of it?

SE: Certainly, this is an exciting event—a triumphant moment even! The

2020 edition of VOLTA was the last large public event that SEFA participated

in before the “pandemic era” began. We presented a solo booth of works by

Francie Hester—her 3-D vessels and wall sculptures. Then, basically a day

after the fair ended in March 2020, everything shut down. Thus, in a way,


Installation View: Redefine, Francie Hester, SEFA Hudson, 2021


VOLTA 2022 marks us coming full circle—especially in terms of meeting

new collectors and showing new artworks to such a broad public. It is also

a pleasure to re-enter the international art fair scene in our homebase of NYC,

where we have an excellent network of support from long-term collectors,

represented artists, and other Gallery friends.

LL: SEFA’s booth features recent works, primarily paintings, by artist Rachelle

Krieger. Could you further describe Krieger’s practice?

SE: Currently based in Port Washington, NY, Rachelle had her first exhibition

with SEFA in 2010. Since then, her work has been presented in a

number of solo and group shows in both of our locations. To me, the great

appeal of Krieger’s paintings is how her compositions dance on that sublime

edge between abstraction and representation. Inspired by the surrounding

landscape and the energy and cyclical events of the natural world—Rachelle’s

imagery clearly evokes nature, from trees to wildflowers to swamps.

Yet, her saturated colors and fantastical, even otherworldly, forms convey

an aura of surreal abstraction.

LL: And what specifically is Krieger planning to exhibit at VOLTA?

SE: Rachelle is debuting new pieces from her series “These In-Between

Days,” which she began during the pandemic. It consists of large-scale paintings

and works on paper that are primarily rendered in acrylic, flashe and,

spray paint. These exuberant abstractions pulse with motion and fluorescent

hues. She builds up her pigments in multiple layers to create interweaving

constellations of undulating shapes—transforming branches, leaves, rivers,

suns. Additionally, our booth will feature a series of new ceramics that evoke

similar forms to Krieger’s paintings. The ceramics are currently in-progress,

and we are thrilled to first present them to the public at VOLTA!

LL: Any thoughts about the future of Susan Eley Fine Art overall?

SE: I suppose that I have always had an entrepreneurial streak, and so was

born my eponymous contemporary art gallery sixteen years ago. For now, I

am super excited to keep going and digging deeper into Hudson by interacting

with our surrounding communities. Admittedly, the success of this space

has given me the bug to keep expanding. In the future, there might even be

a third location for SEFA—perhaps downtown in NYC, or a totally new

place like Park City, UT or Sante Fe, NM. For now though, that’s still a question

mark, and I am taking things one day at a time in order to best serve my

current artists and clients.

LL: It seems that your guiding force is your intuition. Would you agree with

this assessment?

SE: Yes, intuition is my rock. Yet, I would characterize it more precisely as

intuition and instinct backed with knowledge and experience. Often, my

moves as a gallerist are inspired by a gut feeling of “I want and need to do

this.” If I had talked to too many people and listened to too many naysayers,

SEFA would not be what it is now: a multi-city Gallery that works with

emerging contemporary artists. Also, my approach reflects my former training

as a professional ballet dancer: you have to master the techniques and

have the knowledge, then you can add the creativity and emotion to it.

LL: Finally, I would like to discuss this idea of the Gallery as a family, which

I see as throughline in your approach. This collaborative, caring vibe rings

true to me while working with you at SEFA.

SE: Yes, I would agree with that assessment. In Hudson, there is an instant

community if you are open to it and embrace it. As gallerists, we see each

other's shows and send over clients. I really feel the support here. Interestingly,

it is primarily a sharing between other women gallerists. There is definitely

a collaborative and encouraging spirit with our neighbors, and I feel

lucky to have found like-minded entrepreneurs whose goals I respect. There

is a level of care amongst our Upstate friends that I truly appreciate, and

they’re increasingly becoming an extended family—much like SEFA’s close

relationships with all of our artists.

Installation View: Flora Inhabited, wallpaper by Angela A’Court,

Information

Susan Eisner Eley is the Owner and Director of Susan Eley Fine Art, NYC

and Hudson. Before founding her eponymous gallery in NYC in 2006, she

was an editor and writer for national and regional publications featuring articles

on fine art, dance, and travel. Eley worked in public relations and education

at the Morgan Library & Museum in NYC and the Mayor's Art

Commission of the City of New York; she interned at the Peggy Guggenheim

Collection in Venice, Italy. Eley is also a former professional ballet dancer

with the Feld Ballet, NY. Eley has a BA in Art History from Brown University

and an MA in Visual Arts Administration from New York University.

Liz Lorenz is a curator and writer based in Upstate New York. She graduated

from New York University in 2015 with a BA in Art History and French. In

2020, Lorenz received an MA from the Center for Curatorial Studies, Bard

College, NY. At CCS, her Masters thesis focused on the application of contemporary

queer feminist theories to reimagine the traditional Western art

historical canon. Lorenz has worked and interned in museums and galleries

since 2011—holding positions at Martos Gallery, NYC; The Studio Museum

in Harlem, NYC; New Museum of Contemporary Art, NYC; Whitney Museum

of American Art, NYC; and Palais de Tokyo, Paris. Currently, Lorenz

is the Assistant Director of Susan Eley Fine Art, Hudson and has worked at

the Gallery since its establishment in June 2020.

Susan Eley Fine Art, Hudson

433 Warren Street

Hudson, NY, 12534

Thursday-Monday, 11AM-5PM

susaneleyfineart.com

SEFA Hudson, 2022

Current & Upcoming Programming

These In-Between Days: Rachelle Krieger - VOLTA New York Art Fair -

May 18th to May 22nd

SPRUNG: Group Exhibition - SEFA NYC - On view through May 30th

Malia’s Garden: Allison Green - SEFA Hudson - On view through June 19th

Earthen Energies, Ancient Roots: Ashley Norwood Cooper & Jacqueline

Shatz - SEFA Hudson - June 23rd to July 31st

Featured Gallery in “Upstate Art Weekend” (curated by Helen Toomer) -

SEFA Hudson - July 22nd to July 24th

All images Courtesy of the Artist and Susan Eley Fine Art



A PATH, WATERCOLOR 11” X 14”

CLARKSBURG STATE PARK, WATERCOLOR, 15” X 22”

ANDREA JOYCE

FELDMAN

We had no shades on the windows. There was

no one around to look in. The view changed with

the seasons: new growth green in spring, hot

summer - yellow and reds, full color in fall and

the stark blacks and whites of winter.

It’s summer as I write this. Massive pine trees

stand quietly on guard, firmly rooted. The trees

are so tall and stately. How does one capture the

splendor and preciousness of this sketch? I paint,

I scratch my head. Is the paper too small?

How can I show how tall these trees really are?

Finally, I see the answer. I rotate the paper to

vertical. Perspective is everything.

Andrea Feldman - Andreajoycefeldmanart.com,

413-655-7766.

“It is important to express oneself...

provided the feelings are

real and are taken from you own experience.”

- Berthe Morisot

JOE PARLETT, CLOUDSCAPE, 2017, INK ON PAPER, 30 X 22”

TURLEY GALLERY

FLORESCENCE

Florescence is,

a time of flowering,

a period of great vigor,

blooming,

success and achievement,

spring.

Florescence is the way Leah Guadagnoli

shapes her paintings and sculpts her surfaces. Florescence

is Sarah E. Brook’s poetic verticality in

How We Talk To Each Other When There is

Enough. It is in the playful yet structured steel

work of Alexi Antoniadis. It is embodied in Jordany

Genao’s pieces, whether they allude to or actually,

physically in bloom.

Florescence is harnessed, framed and recontextualized

in Martine Kaczynski’s Estate Corners

in Yellow and Mauve, while it is lifted up to the

sky and ethereally humanized in Gracelee Lawrence’s

Lack of Permanent Connection.

Amelia Toelke and Andrea Miller’s Underpin &

Overcoat punctuate a quasi (non?) socio-political

florescence while Emily Kiacz’s brushstrokes

sweep elegantly beyond the shaped canvas’s

edge.

Florescence is feminized in radiator like, lipstick

hued, strangely enticing sculptures by Alyssa

McClenaghan.

Florescence weaves in and out of

Casey Jex Smith’s deep and intricately drawn

worlds and is inherent throughout Joey Parlett’s

investigations into otherworldly naturescapes.

When choosing the artists for the inaugural exhibition,

Florescence at Turley Gallery, I wanted

to present a group of artists who personify the

mission of the gallery. These 12 artists and the

ones to follow all push the boundaries of their respective

mediums and create work that is fresh,

relevant and significant.

The exhibit will run May 7 – June 19. Opening

reception May 7, from 3-5 PM

Turley Gallery 98 Green St., Hudson, NY -

Open Thursday–Sunday, 12–5 PM and by appointment;

518-212-7889, info@turley.gallery.

Please visit www.turley.gallery for more information.

STAMPED ABSTRACT SERIES # 23

MARY DAVIDSON

Mary Davidson has been painting on a regular

basis for the last 16 years. Davidson’s paintings

are a two-dimensional decorative visualization of

line, color, design, shape, patterns, and stamping.

As you begin to study the paintings, you will find

the foreground and background tend to merge,

with overlaid patterns. “I love the intense complexity

and ambiguity of space and dimension.”.

The effect can be startling: the longer you look at

the piece, the more you see.

With style more design than literal, she hopes

to convey lightheartedness, playfulness and

whimsey. “One of my favorite art teachers along

the way used to say, ‘It is only a piece of paper

and/or canvas. NO RULES’. Painting is a way to

express my creativity. I always work in a series,

which keeps me focused. I work with acrylic

paint because it is so forgiving.”

Davidson’s New Hat series consist of 70 paintings.

“I start with a basic drawing, building with

color and shape, coming to life with gesture and

flow. As the title suggests, the hats are important,

and the millinery designs emerge. There is much

joy in their creation and my passion for playful

designs is reinforced by their bright colors, linear

rhythms and patterns leading our eyes around and

through the painting. My newest series is even

more abstract, with an even stronger emphasis on

design. I do like to use stamping, along with

painting, because I love the result. When I finish

with a painting, I adhere the canvas with mat gel

to gator board, creating a nice tight surface. My

paintings are always framed.”

In addition to an Associate Degree in Fashion

Design from Newbury College in Boston, Davidson

has taken many classes in drawing and painting,

and participated in many art workshops. “I

feel as though I have developed my own unique

style at this point. I am a member of three local

art clubs, along with two other clubs not so close

to home.”

Mary Davidson - PO Box 697, South Egremont,

Massachusetts; 413-528-6945,

Cell 1-413-717-2332; mdavidsongio@aol.com,

marydavidson83155@gmail.com, www.davidsondesigncompany.net



STEVE PROCTER IN STUDIO

PARADISE CITY ARTS

FESTIVAL

It’s Springtime in Paradise! The best way to

spend your holiday weekend is in Northampton,

the cultural heart of New England, at one of

America’s most spectacular fairs of fine craft,

painting and sculpture. The Paradise City Arts

Festival (literally) rolls out the carpet for this season’s

splendidly curated collection of hundreds

of artists and fine craft makers, coming from

every corner of the country. It’s three great days

of astounding visual arts, eye-popping design,

scrumptious food and, of course, great fun!

It’s a short, lovely ride from the Berkshires

for the chance to see the remarkable work and

hear the stories of 220 extraordinary artists and

makers. Yankee Magazine wrote “the Northampton

visual arts scene explodes at the twice-yearly

Paradise City Arts Festival, an extravaganza of

200-plus top-notch craftspeople and fine artists

that’s been dazzling shoppers since 1995.”

The festival is held inside three airy buildings

connected by covered walkways, keeping patrons

comfortable and protected, rain or shine.

The 12,000 square-foot Dining Tent commands

a grassy lawn surrounded by outdoor sculpture.

With scores of brand-new artists, delicious food

by local chefs, a craft cocktail bar and the sensational

themed exhibit “Something Wild!”, attendees

are kept entertained, enthralled and well

fed all weekend long.

Ceramic sculptor Stephen Procter demonstrates

his huge talent making human-sized vessels,

using two potter’s wheels. Watch as he

throws and stacks sections, uses flame to stiffen

the clay, and involves you in his decisions about

form, proportion, and decoration. Shibumi Silk

offers a fantastic hands-on experience in silk

marbling techniques. Make your own patterned

scarf using a rainbow of vibrant dyes! Alan and

Rosemary Bennett, known for their life-sized, realistic

renditions of fish and sea creatures, lead

very popular clay sculpture workshops for children

(and the young at heart).

Paradise City Arts Festival, May 28, 29 & 30,

at Northampton’s 3 County Fairgrounds, 54 Old

Ferry Road off Rt. 9. For complete show and

travel information, advance online tickets and

discount admission coupons, visit

www.paradisecityarts.com or call 800-511-9725.

VIRGINIA BRADLEY

CORALLIUM 1

The new Corallium Series is a celebration of

the rejuvenated coral reefs in the Playa Santa

Bay, in southwest Puerto Rico, where my Winter

studio is located. Fifteen years ago, the reefs

were almost completely dead due to pollution

from raw sewage and boat traffic. In 2011 the

Obama administration undertook a federal project

to build a pumping station and a 5-mile sewer

line from Ensenada to Playa Santa. Today the

coral reefs are thriving. I swim and snorkel in

them several times a day while I am in residence

at my winter studio and am in awe of their beauty

and miraculous nature every time.

Coral reefs are some of the most diverse and

valuable ecosystems on Earth. Coral reefs support

more species per unit area than any other

marine environment, including about 4,000

species of fish, 800 species of hard corals and

hundreds of other species. Scientists estimate

that there may be millions of undiscovered

species of organisms living in and around

reefs. This biodiversity is considered key to finding

new medicines for the 21st century. Coral

reef structures also buffer shorelines against 97

percent of the energy from waves, storms, and

floods, helping to prevent loss of life, property

damage, and erosion. When reefs are damaged

or destroyed, the absence of this natural barrier

can increase the damage to coastal communities

from normal wave action and violent storms. The

coral reefs protected Playa Santa during Hurricane

Maria and there was minimal damage to the

village.

The Corallium series continues my exploration

of alchemy utilizing oil paint and seawater

on archival transparent film. The 95-degree Caribbean

sun acts as catalyst to the ingredients and

which then creates unusual surfaces reminiscent

of coral. The images are composed of many thin

layers of poured paint which are then edited by

adding and subtracting into the surfaces.

You are welcome to visit my Great Barrington

studio in person or virtually.

Virginia Bradley -

virginiabradleyart@gmail.com or cell 302-540-

3565; www.virginiabradley.com

12”X12” LOOKING UP, 2022,

OIL AND COLD WAX MEDIUM ON WOOD PANEL

GHETTA HIRSCH

ARTIST

What I appreciate as spring appears is the increase

in light. It illuminates everything around

us and if you look at our Berkshires you notice

how this light adds contrast and depth to the landscape.

First it changes the sky from a cool blue or

grey to a brighter blue. As the day advances, you

see happy, gentle yellows or warm oranges as

well. It enters the landscape subtly, transforming

our purple winter mountains in tones of pinks,

pale ochres and birthing greens.

When my walks take me to a higher ground, I

look up or down and appreciate the different

movements of the light in the spaces, foliage and

forests. I can tell where there are pines, maples or

birches by the way they suggest rather than impose

their colors in early spring. I can tell where

there might be a lower ground with a stream or a

path by the darker tones. I can guess where that

light has prompted earlier blossoming here or

there in the valley by the definition in the colors.

As I painted “Looking Up” I enjoyed sharing

with you how the light enters the spaces and how

it impacts the colors I perceive.

Please enjoy my other pieces in the pages of

this magazine, visit Southern Vermont Arts

Center where I exhibit or ask for a tour of my

home Studio.

Ghetta Hirsch – call or text 413-597-1716 to

visit; ghetta-hirsch.squarespace.com

Instagram: ghettahirschpaintings

“You are smart, you are funny, you are more

important than money. If I could have one wish,

it is that your day be filled with bliss.”

- Catherine Pulsifer



KATHRYN LYNCH

Interview by Harryet Candee

Tug, Oil on canvas, 5’ x 7’

Harryet Candee: Private Public Gallery in

Hudson is exhibiting your paintings right now.

The show is called, Restless, and goes through

the month of May. Here is a well described excerpt

from the gallery’s press release about

your work:

“Lynch illuminates scenes that are both a metaphor

and balm for the passing of time. Hovering

between realism and abstraction she presents

urban scenes that typically flash by in the corner

of a commuter’s eye. Lynch’s canvases tap into the

unconscious looking to reveal the solitary explorer

in each of us. Like no other painter I know

Lynch has been obsessed with her city - her New

York is one of bright lights and traffic - high rise

buildings, boats and bridges.”

Kathryn, How did this show come about for

you? I hear the building is very interesting.

Kathryn Lynch: Chris Freeman bought an old

synagogue and turned it into a gallery called Private

Public Hudson, specifically to show largscale

art. I met Chris through a super talented

curator named Michael Klein, who I have worked

with for years. Chris Freeman visited my studio,

and picked out the works he wants to show, including

large recently painted oil paintings and

older works.


How would you describe some of the ways you

see your art?

Direct, immediate and current. …My paintings

are accessible, perhaps due to their simplicity and

directness. I don’t think of them as having an audience.

I am always happy when someone responds

to them, but It isn’t anything I ever think

about. I paint because it makes sense to paint. It

feels like common sense, painting. I think my pictures

convey my love for the medium.

Where do you paint, and what is your focus?

I only paint in my studio, I love to make a mess.

Subject matter is everywhere. I am drawn towards

water, I like seeing the edge of land, boats,

bridges, I also always want to be able to see the

sun rise and set. I make a conscious effort to find

the moon at night and gaze at stars when visible -

water, moon, sun, stars keep wonder alive.

How do you go about finding a subject for a

painting?

Painting requires me to get out of the way. When

I walk for subject matter, I leave myself behind, I

leave looking for subject matter behind and walk

with an invisible antenna that picks up shapes and

light that I can use in my paintings.

What are some of your initial goals when pondering

a blank canvas?

I start with an idea and after the initial few brush

strokes the painting starts to take the lead and

once that occurs anything can happen. I am not

completely in control of the process. …A blank

canvas has no meaning. I react quickly to its threat

of nothingness. Once I start, the canvas takes on

a life of its own, and becomes a set of challenges

that I wrestle with.

What was it that inspired the desire to become

an artist?

Nothing else pulled me in. I have a magnetic attraction

to paint. When I am in my studio, I feel

like I am in the right place and where I should be.

Per Kirkeby was the artist in residence while I was

at Skowhegan in 1991. I love his paintings and his

artist talk. He said he painted because behind

every tree there was death. That made sense to me

and is also why I paint. As a child, I was very

aware of my imagination. I always wanted to live

in a magical world…painting is the closest thing

to magic I can come up with.

Is oil your only painting medium you work in?

Oil paints are muscular. You can manipulate and


Kathryn Lynch, SIrens, Oil on canvas, 53” x 48”

stretch out the pigment. It’s my first choice of a

medium. Watercolors are delicate, it’s hard for

me to use them as I am heavy handed. Acrylics

tend to be flat in my hands, but it is fun changing

around your mediums.

In retrospect, how do you look at the ways your

artistic life has evolved over the years?

When I started painting I had very little money

for art supplies, every time I sold a painting, I

bought better supplies. Now I can have lots of

paint and canvas around and I find that really

helps my ability to keep working without running

out of surfaces and paint. …In graduate school we

had visiting artists and each artist would come in

and say something different. It was there that I realized

I was on my own. I had to be my own editor,

no one could really teach me painting. Visiting

museums and going to artists shows helps me

paint, I can always take away something from a

great painting.

And, who is Kathryn Lynch?

I am the Tug Boat that keeps showing up in my

paintings.

Can you reveal a secret to us about Kathryn?

I have an infrangible spirit.

Where did you grow up?

I grew up in Philadelphia. My formative years

were spent in Germantown which was super liberal

and diverse. I lived in an area filled with professors,

artists and young people. My early

memories are my clearest, they are textured. We

lived on a block where all the backyards connected

so you could go out your back door, meet

other kids and play all day long with little supervision.

The first time I saw a sunflower I ran home

as I was convinced it meant there were giants

close by, I was the youngest on the block and was

often left behind with the adults. We got to know

all our neighbors quickly and I could visit everyone

easily. Living closely to so many people and

their stories made me super aware of the time I

was living in.

What events took place in your life that reinforce

and encourage you to paint; to keep

going and not look back?

My mother gave me a lot of love and very little

discipline…my sister and I could skip school

when we were super little if we went to the Philadelphia

Museum of Art…my mother thought

you could learn more by visiting museums than

you could at school. Philadelphia was a culturally

rich city to grow up in. I had an excellent high

school art teacher that inspired and encouraged

me to continue taking art courses. Art has always

been something I craved to be around.

What thoughts and realizations do you have

regarding your life as an artist?

If you stay curious and interested in other people

and the world around you then every day, is interesting.

I find ordinary moments to hold the most

surprises. This past summer I was selected to attend

an Alumni Residency at Skowhegan, in

Maine. The first time I went, I was insecure and

felt like a branch on a tree blowing in the wind.

When I returned, I was surprised by how sturdy I

felt. Instead of the branch, I was the trunk of a

tree. I realized I had become the artist I longed to

be. It was truly rewarding to return to a place

where I started out. Skowhegan is an incredible

experience. A once-in-a-lifetime experience that

I got to have twice.

Have you had a ‘most memorable’ art exhibition

experience, or are they all equally memorable

to you? Continued on next page...



KATHRYN LYNCH

Kathryn Lynch, Yellow Cab, Oil on canvas, 20” x 18”?, 2022

Kathryn Lynch, Orange Boat, 2022, Oil on canvas, 60” x 48”

Exhibitions often represent years of work, and

with every picture I know exactly what was happening

during the time the picture was painted.

All exhibitions are memorable because it’s a reason

to gather your friends. I love people and am

so happy we can visit each other again and have

openings.

Do you follow other artists?

I scour the art world searching for really good

painters. There are so many people right now

making interesting work. I’m in love with many

a dead painter: Goya, Guston, Neel. There are so

many past and present painters I want to hang

around.

Kathryn, what are some galleries and museums

you enjoy visiting?

It all depends on who is showing where. I love

wandering the Metropolitan Museum of Art and

The Morgan Museum, again, it depends on specific

shows. My favorite museum in Europe is the

Prado, but I would go to any art museum in every

country if I could. The Philadelphia Museum

helped grow my interest in art as well as the

Barnes Foundation.


What art show can you recall left a lasting impression

on you?

Alice Neel’s most recent show at the Met was

beautifully curated. I was glad they showed her

early work. Her landscapes and city scenes, her

work is brilliant, honest and emotive. Her pictures

are alive and do everything I want a painting to

do.

And where do you think the world is headed?

I think we are where we were, we are still back in

the stories I witnessed as a child. There is still racism,

misery caused by war, pollution. Luckily

there are still art supplies for sale, bookstores and

hardware stores, museums, galleries and interesting

and talented people everywhere.

Do you have a favorite quote?

Dorothy from the Wizard of Oz:

“Never give up, Ojo, No one knows what’s going

to happen next.”

Glinda the good witch:

“You always had the power, my dear, you just

had to learn it for yourself.”

“and all you have to do is follow the Yellow

Brick Road”

I think the Wizard of Oz offers a lot of good. Wise

advice for both, living and painting.

What do you like to do on your free time?

All my time is free because I spend all my time

painting.

I believe you veer away from the maddening

crowds and like to paint from the gut, not caring

too much of what others think. You paint

free, with sheer enjoyment in each brush

stroke. Sloppy, accurate, wild and tamed.

I like what you said …sloppy, accurate, wild and

tamed. Thank you. I hope my paintings add something

positive to the world.

Where can we see your paintings?

Come see my work at Private Public Gallery, 530

Columbia Street, Hudson New York. The work

will be there until May 22.

Thank you, Kathryn! Z




DANCING WITH OUR ANCESTORS

CAROLYN

NEWBERGER

During the past two months, I, as with many

of you, feel drawn into and overwhelmed by the

invasion of Ukraine. I also feel personally connected

as Ukraine is the country of my maternal

ancestors. Much of my work at this time expresses

these feelings, especially through dancing

figures who represent both resistance and cohesion.

Carolyn Newberger - Cnewberger@me.com,

617-877-5672, www.carolynnewberger.com

Over the years people have suggested that I

blog and I have at times considered it. I have been

putting it off because well, everything has been

said and done before, and I wasn’t sure I needed

to add to the wordiness in this vast sea of information

and ideas.

Then I realized that although there is nothing

new under the sun, the way in which one expresses

it something varies and perhaps my way

of expressing can inspire others as I have been

inspired by blogs I have read and vlogs I have

watched.

To me it is of utmost importance that we inspire

each other, to try new things, to expand our

perspective, to reach beyond our comfort zone,

to go as far and wide outside of ourselves and

within.

ELIXIR

Another reason I have shied away from blogging

is because I have seen so much narcissism and

superficiality throughout social media that I did

not want to be a part of that. That said, I want the

focus here to be, not me, but my life experiences

as a way of connecting, to finding our commonality,

the universal themes of life and our search

for meaning here and beyond. The only way I can

do this is to share my life with the reader/ observer

not as a “look at me” but as an open window

to my experiences that could perhaps be of

help to the onlooker.

As I am now an elder, I have a few areas of

knowledge and experience that I know can be

valuable to others and this is a way of reaching

more people and to pass it on to the next generations.

The topics covered will be very broad, as the

scope of my interests is just that. Nutrition, cooking

instruction & recipes, growing food, flowers

& herbs, & foraging will of course lead the way,

but literature, poetry, nature, music, art, crafting,

philosophy, spirituality and all things that inspire

will be explored. I am looking forward to developing

a relationship with any & all who decide

to come along on this adventure with me.

After having a cafe for 7 years, I know that

putting myself in the public “eye” can come with

criticism. I will take that risk as I am not trying

at all to portray myself as the authority on anything.

I am a humble sojourner seeking the Truth

just as we all are. I have behaved well and poorly

in my life, I have done my best and my worst, all

according to what level of consciousness I was in

at any given time. Sadly, I have always learned

the hard way, but I think that may be true for

most. I have a strong remorse mechanism that

keeps me in check and brings me back to the reality

of “judge not lest ye be judged” which

makes a larger space for forgiveness and compassion

for others and myself.

So I embark on this adventure as “an open

book”. I am technologically challenged so please

bear with me as I learn how to navigate this blogging

& vlogging, in other words, please no flogging.

The blog can be found on my website.

Elixir - www.elixirgb.com, organictearoom@gmail.com,

413-644-8999.



Matt Chinian

ANDREA JOYCE FELDMAN

WATERCOLOR

Chinian, #1906 NAPA Greenwich, NY 12-19-21 14x16”

Dusk, Watercolor, 11 x 14”

Visit: andreajoycefeldmanart.com

Prosaic Realism

Open studio May 14 and 15, cambridgevalleyart.org for info.

mattchinian.com

ELEANOR LORD

Artist

FRONT ST. GALLERY

Kate Knapp

Painting classes on Monday and Wednesday mornings

10-1pm at the studio in Housatonic and

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

Also available for private critiques. Open to all.

Please come paint with us!

Eleanor begins a new pastel landscape Front Street Gallery April 2022

Enjoy the Art, visit -

www.eleanorlord.com

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



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.

Front Street, Housatonic, MA. Gallery open

by appointment or chance anytime. 413-528-

9546 at home or 413-429-7141 (cell)

www.kateknappartist.com

DINA MARTINA

BOBBY MILLER

PHOTOGRAPHER

My teacher, master photographer Lisette

Model, taught me that the secret behind a great

portrait is the relationship between the photographer

and his subject and the artistic capture of the

moment. In my studio in Great Barrington, I do

hair, make-up, styling, lighting and photography,

thereby creating a finished portrait that tells a

story even in its simplicity. I believe in incorporating

both the classic tools of the camera and

newer technologies like Photoshop. In that way

my portraits correct the small flaws that nature

has bestowed on us. I create images that show us

not only as who we are but who we can be as

well. So, if you feel daring and inspired to have

a portrait that defines you at your very best, I encourage

you to come sit before my camera.

Bobby Miller Studio, 22 Elm St, Gt Barrington

508-237-9585. By Appointment Only.

MARY ANN YARMOSKY

When I first started painting, I was asked why

I usually painted women. This simple question

helped me to clarify. Why did I feel the need to

paint at all and why did my subjects most often

involve women?

I have been blessed both professionally and

personally to know many incredible women.

Some have climbed the corporate ranks through

hard work and tenacity, some have struggled as

single parents barely making ends meet. Some

have lost parents, spouses and even children and

somehow, they keep moving forward with grace

and dignity. The stories vary, but the inspiration

remains. My paintings represent my curiosity

about what makes each of us tick. What gives us

the courage to move forward with faith and determination

and yes, with love and compassion.

It’s up to you to decide who my ladies are and

what they are thinking. They only came to me

with the first stroke of a brush and a little paint. I

don’t know their stories or where they hale from.

I only know that they now exist, and some will

love them, and some will not. Such is the life of

a woman.

I have always had an artist’s heart and insights.

I studied fashion design in Boston, worked for the

Boston Opera Company designing costumes and

later for Sardella of Newport in Newport, Rhode

Island, where we designed and made clothes for

Newport’s elite, outfits that were photographed

for Vogue and National Geographic and were

worn to events held at the cliff walk mansions

and beyond. My artistic ability then was confined

to fashion sketches, imagining how fabric could

be transformed into something beautiful and intriguing

and then sewing what I visualized into

something wearable. Designing outfits and seeing

them worn was a heady experience, dealing with

the women for whom those outfits were designed

and their spouses, was often a challenge since

egos prevailed.

MaryAnn Yarmosky - myarmosky@comcast.net,

413-441-6963,

maryannyarmoskyeclecticart.com



Bruce Panock

Carolyn M Abrams

A Sense of Place, 11 x 14” on cradled panel oils/cold wax collage

LINES AND SHAPES OF GRASSES

www.panockphotography.com

bruce@panockphotography.com

917-287-8589

Carolyn M Abrams Art

Atmospheric and Inspirational Art

Brunswick New York

www.carolynabrams.com

Studio visits welcome — Call for appointment

Ghetta Hirsch

Home Studio Visits

by appoinment: 413. 597. 1716

ghetta-hirsch.squarespace.com

“Illusion” 12” x 12” Oil on canvas



LONNY JARETT

AN INTEGRAL LIFE ART, MUSIC, MOVEMENT AND MEDICINE

Photography by Edward Acker


Harryet Candee: Hi Lonny. How are you

today?

Lonny Jarrett: I am fine Harryet, thank you for

your time and engagement.

Lonny, you have been living and working for

quite some time in the Berkshires. How long

has it been now? What originally brought you

here?

I moved to Lenox in May 1986 after graduating

from acupuncture school. I loved the Berkshires

since skiing here every winter when I was young.

While in college I would frequently visit the Pillow,

Shakespeare at the Mount, and the Music

Inn. I’d also come out to swim in various quarries

and hike. I was determined to settle here whatever

it took and moved here as soon as I was able.

I understand you have a background in training

and studying of Chinese medicine. Where

did you do most of your formal studies and

training for this?

I began my formal study of Chinese medicine in

1980, attained a Masters in neurobiology from the

University of MI in 1983, and graduated from

acupuncture school and moved to the Berkshires.

I then apprenticed for ten years studying pulse


diagnosis with Dr. Leon Hammer who is renowned

in the medicine. He is now 97 and still

teaching and writing.

The high school and college I went to did not

have tests or grades and supported students to design

their own curriculum. In high school, my

courses included psychology, philosophy, comparative

religious literature, consciousness

studies, yoga, and science fiction—and I was totally

engaged. It was rare that I was reading less

than three books at a time. Most of what I read related

to consciousness and its development. At 17

I took up the study of psychopharmacology a

topic I studied through graduate school.

Where did you grow up? What do you remember

as being your most favorite of times

spent with your family? What can you share

with us about those early years?

I grew up in Roslyn, Long Island with the rest of

my family in the Bronx.

My parents took my sister and I traveling all

over the world camping, hiking, and on constant

adventures. By the time I was 13, we had driven

from Long Island to the volcanos outside of Mexico

City camping, through the Canadian Rockies

and the Western national parks, traveled across

Europe twice, including Northern Africa, Hawaii

and Jamaica.

I was raised in a rather unorthodox way and my

parents had many interesting friends to say the

least! My Father’s first cousin, Beverly Axelrod,

was Eldridge Cleaver’s lover, and lawyer for both

the Black Panthers, Jerry Rubin, and the American

Indian Movement.

What do you know about your family’s heritage?

We came over from the Ukraine in the late 1800’s

from Chernobyl, Kiev, and Odessa. Those who

did not, met a terrible end. Sadly, we see this same

conflict today.

What special interests did you have that has

been with you since childhood and remained

into adulthood?

From the earliest I can remember I’ve been interested

in consciousness and medicine in relationship

to consciousness. My mother was an avid

reader and we had as extensive library in the

house. I found translations of the Chinese classics

including the Yijing, Laozi, Zhuangzi, as well as

the Bhagavad Gita and the Vedas when I was 13

and began reading. In my 20s, I focused on inte-


Redshift with Lonny Jarrett (guitar), Zav Jarret (alto sax), Derrick Rogers (drums)

gral and transpersonal studies reading everything

written by Ken Wilber, Jean Gebser and eventually,

Tielhard de Chardin, Sri Aurobindo and all

the process philosophers from Heraclitus forward.

My first higher state experience of consciousness

was hearing the first chord of Hard Days

Night, by the Beatles, when I was six years old.

In that moment, I began a lifelong love of the guitar.

I’ve been playing in bands since about 1970.

It is my great joy to now play and record with my

son Zev who is a fantastically talented alto sax

player. That’s how evolution works, you practice

54 years and you become good enough to play

with 22-year-olds!

I loved having photography lessons in summer

camp as a kid and have grown more and more in

love with that medium over the last decade.

Are you currently playing music? I did get to

listen to Love & Revolution—funky and cool

music.

I’ve been playing guitar for fifty-three years and

occasionally feel I’m getting somewhere. To live

in a century with Charlie Parker, Coltrane, Hendrix,

Wes Montgomery and so many fabulously

talented geniuses fosters a real sense of humility.

I practice every day and absolutely love playing

out though there are, sadly, increasingly less opportunities

to do that. Photography comes naturally

to me and I’ve had professional

photographers give me great compliments on my

work. Music, on the other hand has always been

a struggle and I have gratitude for whatever degree

of accomplishment I might have.

During your growing years, what was one of

your most interesting thoughts you had, and

still, have a strong connection with today?

That consciousness is primary and irreducible and

that knowing ourselves as consciousness is the

ground of both understanding, and responding to,

the human condition.

Where have you traveled to that has made a

profound impression on your views of the

world?

Driving to Mexico in 1965 as a 7-year-old I saw

poverty at a level unlike anything I had seen traveling

throughout the US. In those global trips with

my family, I gained a world centric view coming

to understand the relativity of cultural perspective

beyond that of most of my pears. This made an

impression on me regarding cultural diversity as

well as the realization that we are all in this together.

I’ve also been a meditator since 1972 and practiced

qigong since 1980. These practices along

with engagement with subtle medicines and several

spiritual communities and teachers have also

given me a unique depth of insight into the human

condition

Do you have a favorite place you like to go and

simply enjoy in the Berkshires?

My two favorite places in the Berkshires are the

Astore Quarry in West Stockbridge and the upper

part of East Road in Richmond which has one of

the most beautiful sunrises and sunsets in the

county. The quarry is an unspoiled place and gives

the impression of a Daoist paradise being both

pristine and quiet. I ride my mountain bike about

two-hundred days a year and always passing East

Road. I’m often there during sunup and sundown,

and the light is just spectacular. It’s hard to aim a

camera at the Berkshires and take a bad photograph!

When did you first realize you had a love for

photography?

When I was twenty-one, I was trained to a very

high level in electronmicroscopy and in black and

white photo processing. I had access to the finest

darkroom equipment in the world and my love of

photography grew from that.

Where are you going with your new passion of

fine art photography that you have acquired?

In March 2020, to help me through lockdown, I

purchased my first decent camera, a Nikon Z6 and

worked in-depth, learning to edit photographs on

the computer— a whole new world compared to

the darkroom! I’ve also developed a passion for

constructing composite photos of, shall we say,

dreamtime images, and I’m excited about pursuing

that. People’s positive responses to my photos

and their requests to purchase my work have

come as a pleasant surprise to me. To meet that

interest, I opened my webpage “BerkshireScenic-

Photography.com” and my work can be seen

there. It’s an archive of our beautiful Berkshires!

What important thought on photography has

come to light for you?

For me, photography is about perspective both in

framing a shot, as well seeing and bringing out

the light inherent in the subject. The practice of

subtle medicine is also significantly about seeing

the light in people, strengthening its presence, and

removing obstacles to its expression. Whatever I

engage with, be it medicine, music, or photogra-

Continued on next page...



LONNY JARRETT AN INTEGRAL LIFE ART, MUSIC, MOVEMENT AND MEDICINE

Photograph of Lonny Jarrett by Edward Acker

phy, my intention is based in this: I am inspired

by the Bhodisattva vow extolling us that “no interaction

should be insignificant.” I try to post

beautiful photos most days to inspire people to

find the light in self and other in a way that’s healing.

To quote John Coltrane, “I want to be the

force for the good.”

Are there other photographers that you know

of who might have been an inspiration to your

work?

To be honest, my main inspiration is the beautiful

landscape painting of the Berkshire’s own Mary

Sipp-Green. The light in her work is so stunning

and I strive for a similar feel. She’s been a mentor

of sorts and a great friend through the years.

Your photographs are healing in many ways.

They are lasting impressions of the beautiful

Berkshires. What are your expectations for

what you hope people get from seeing your

work?

Why thank you! There is so much beauty around

us and we are so very blessed to live here in the

beautiful Berkshires. It was my dream to move

here when I was young, and I am thankful every

day for the grace in having realized that desire. It

is my wish that my work helps people to find the

light in themselves, each other, and in all things.

24 • MAY THE ARTFUL MIND

What is it about Chinese medicine that fascinates

you, and why did you choose to study it?

I began training in judo when I was 10 and then

started studying Shotokan karate when I was 18.

I hold a 4 th dan blackbelt in Tae Kwon Do and ran

a school at Kripalu for 17 years. However, I don’t

practice the hard styles anymore due to age and

now focus on Pan Gu Shen Gong, which I also

teach. Reading the Chinese philosophical texts

from a young age combined with embodied practice

of the martial arts laid the foundation for my

love of Chinese medicine which is both a medical

science as well as a poetic art of the human condition.

I originally studied psychology in college but

founded it too ephemeral. I worked for a year at

the Belchertown State school when it was one of

the last functioning mental institutions in the

United States. Wanting to pursue something more

concrete, I changed my major to neuroscience and

spent my last year of college publishing research

in developmental neurobiology at the Albert Einstein

College of Medicine in the Bronx. I then researched

the higher order structure of DNA at

Umass in Amherst, eventually receiving a full

scholarship to the doctoral neuroscience program

at the University of Michigan in Ann Arbor. While

there, my interest in Chinese medicine continued

to grow (I had discussed it as early as my college

entrance essay in 1975).

My root motivation has always been the pursuit

of the evolution of consciousness, and I had

an epiphany one day while examining the brain of

an embryonic axolotyl (salamander) in an electronmicroscope-

“Neuroscience is not about consciousness,

it’s about cells!” I recognized that to

be whole, I needed to commit to Chinese medicine

as my path. The pursuit of Chinese medicine

has been the perfect synthesis of science, medicine,

philosophy, alchemy, poetry, depth psychoanalysis,

soul journeying, and spiritual

development. I have found it utterly fulfilling and

now after 37 years of practice and about 95,000

clinical sessions I feel I have a firm basis for

learning it! There are huge vistas withing Chinese

medicine left to explore and the ocean of its

knowledge in vast and would take many lifetimes

to embrace.

Acupuncture, Chinese Medicine, Teaching,

Healing, music, photography, martial artist,

author… you are quite the Renaissance man.

What is one philosophy you have about being

able to develop and work with all you have acquired?

For the sake of wholeness, it’s important that we

continually develop all dimensions of the self, relationally,

aesthetically, physically, emotionally,

cognitively, and consciously and in the soul and

spirit as well. Time and energy are our most pre-


Photographs by Lonny Jarrett

cious resources and I don’t waste either. In the end

our cultivation isn’t for us, it’s for everything and

everyone. I’ve always felt that wholesome development

is an obligation and debt that we owe each

other. Having said this I recognize that I’ve been

quite privileged to have had the opportunity to develop

these capacities.

With acupuncture and Chinese Medicine being

the forefront of your career for so long, I

wonder, what one example of a particular

theory and understanding do you bring to your

practice?

My new book, Deepening Perspectives on Chinese

Medicine, is a 1000-page text looking at Chinese

medicine as an integral science of human

development. I consider it a great accomplishment

to have had Ken Wilber, a leading philosopher and

the most influential thinker in the field of transpersonal

psychology, to have endorsed the work.

I offer this perspective on body, psyche, and

soul as a more humane approach to the human

condition than is generally found in materialist

culture. I recognize that the life force, the creative

impulse, Eros, has a telos- a direction- toward the

true, the good, and the beautiful. I understand

medicine as the path of rectifying the body, mind,

and soul, as vehicles for the sake of transmitting

light, consciousness, spirit with increasingly fidelity.

I endeavor to practice within the context of no

inherent limitation attempting to mitigate the influences

of what is false, wrong, and untrue while

supporting the expression of the upright influences

which, in the context of the Eastern

teachings, is essentially the authentic self or buddha

nature. I understand symptoms in the vehicle

of body/mind to be metaphors for the consequences

of ignorance and/or misplaced attention.

I endeavor to help the patient untie the knot

at the root by making more wholesome choices,

reframing dysfunctional interpretations of experience,

and examining beliefs, behaviors, and the

mechanism of meaning making in general.

What do you help people with these days the

most, and has it been as a result of COVID?

I have a general practice and treat people with

every kind of condition. My specific expertise is

an authentic holistic and preventative approach

with perhaps a specialty in conditions that fall

under the umbrella of anxiety and depression. I

offer this medicine as a more holistic and compassionate

approach than is generally found in psychiatry

whose focus is generally the repression of

symptomatology (and for the very sick that can be

the compassionate thing to do!) There are four

tasks in the path of integral development, waking

up, growing up, cleaning up, and showing up. I

am most fulfilled in clinical practice when people

engage in these ways.

You have written books that are considered to

be like educational bibles in Chinese medicine.

What lead to you write these books? Are you

thinking of writing another book?

I grew up reading the East Asian philosophical

texts, meditating, doing qigong, and practicing

martial arts. When I began the formal study of

Chinese medicine in 1980, I encountered very little

of the depth that I knew was present in the tradition.

Acupuncture had fallen out of favor in

China for over 100 years and had been revived by

Mao’s declaration in 1958 (the year I was born!)

that “Chinese Medicine is a great treasure-house!

We must make all efforts to uncover it and raise

its standards” according to the principles of dialectical

materialism (Marxism). I was fortunate to

study family lineages outside the context of Marxist

state medicine. There were precious few English

texts available when I began studying and my

texts represent my endeavor to reenchant the med

icine in an integral context that makes sense given

the global reality of the 21 st century. It isn’t merely

“Chinese” medicine anymore, it’s now a world

medicine, though I refer to it as “Chinese” to pay

respect to its origins. I’ve written three texts that

comprise over 2400 pages and forty plus articles.

I feel that I’ve said what I need to say in the medicine

and I’m looking forward to having more

time to cultivate depth, compassion, music, and

art. Continued on next page...



LONNY JARRETT AN INTEGRAL LIFE ART, MUSIC, MOVEMENT AND MEDICINE

Lonny Jarrett, Acupunturist Photograph by Edward Acker

Tae Kwon Do, what is the significance of this

practice for you?

Martial arts for me, was a way of honing discipline,

keeping fit, and learning self-defense. I

ran a school at Kripalu for seventeen years, in and

there was quite a beautiful bond between myself

and the students. I’ve always endeavored to empower

people to build a greater integrity and

teaching Tae Kwon Do was a good vehicle. These

days I practice and teach Pan Gu Shen Gong,

which is a heart-centered cultivational practice.

26 •MAY 2022 THE ARTFUL MIND

Can you explain your thoughts on the Five Elements?

As compared to Western medicine whose worldview

is materialistic, reductionist, repressive and

excels at critical care, Chinese medicine is synthetic,

holistic, ceases repression, and excels at

prevention and long-term management. Western

science references observations to quantitative

standards, and Chinese medicine to qualitative

standards, of reference. The five-elements (Wuxing

五行 ) are one such standard of reference.

The character Xing 行 , often translated as “element”

is better rendered as “transformation.” In

Buddhism it signifies “samskara” or the conditioning

of phenomenal experience. The five elements

reference all gross-physical,

subtle-psychic/soul, and very subtle spiritual expressions

of Self to the yearly light cycle and

change of seasons. Nobel prizes were handed out

several years ago for “groundbreaking” research

on the human biological clock, but the Chinese

had mapped this all out extensively in the Han

Dynasty, circa 500 BCE. When qi (energy) move

outside of us there is weather and seasonal

change, when it moves inside of us there are

thoughts, feelings, emotions, and sensations. One

root of illness is the habit of taking things we experience

personally in a way that gives rise to a

mythic, static, worldview.

To understand a person’s constitutional type is

to understand how they create and embody meaning

in their life throughout all dimensions of the

Self. The character xing 性 for “constitution” “the

nature of the heart 心 from birth 生 , also means

“Buddha nature.” Constitutional Five-element

medicine works to rectify constitutional weaknesses

so that the authentic self can shine through.

What is the meaning of yin and yang?

Yin and yang are qualitative standards of reference

at the root of all phenomena. They, like all

dualities such as time & space, being & becoming,

up & down, in & out, left & right, heaven & earth,

consciousness & the unconscious, arise with

mind. The characters themselves (yin 陰 and yang

陽 ) depict the shady and sunny side of a hill. Understanding

their subtle movements allows us to

discern the forces at work in producing any phenomena

we might turn our attention to.

What are proud of, and can take full credit for

doing in your lifetime so far?

I am proud to have had the opportunity to have

served my patients and students these many years.

I’m not sure anyone can take “full credit” for anything

other than perhaps their own degree of developing

integrity (or relative lack of it). Any

success depends on factors beyond our control

perhaps most notable of which is our collaboration

with a subtle mystery. I find whatever

measure of success I’ve had to a pleasant surprise

and a blessing despite having worked single

mindedly for it.

What are your thoughts on where the world is

going?

There have always been two waves cresting in this

world since the dawn of time. Things are relatively

more serious today because for the first

time in history humanity has the capacity to disrupt

the biosphere enough to cause cataclysm for

our species. I’m not optimistic, but I am hopeful,

and determined, as I said, “To be the force for the

good.”


Photographs by Lonny Jarrett

Who is Lonny Jarrett?

Very much a work in progress. One who shows

up more in a relational context than as an isolated

self. I’m very much looking forward to moving

beyond the individual clinical encounter to teaching

larger audiences outside the context of Chinese

medicine and finding out who I am there.

In what ways do you think you inspire people?

I find authenticity to be the most inspiring thing

in a person. I strive to speak directly from the

depth of my own experience and am hopeful it is

enough that some may find it inspiring.

What challenges in your life have you found

difficult, yet been able to manage and learn

from?

The challenge of having spent a lifetime constructing

a self that I’ve since seen through as an

illusion and the subsequent work of letting it go.

The Berkshires is filled with amazing art in all

venues, so wondering, what is it you love to

eat?

Are we not blessed in the Berkshires with fine

dining?! I’m a big fan of clean simple great tasting

food (Shout out to Nancy Lee from Elixir!).

Emilie and I very much enjoy going to Montreal

and Quebec for world class tasting menus.

Are you an animal lover?

Absolutely! I am thrilled to sit at my desk and

watch the owls, hawks, crows, foxes, deer, and

bear in our woods. When I was young, I worked

at the Northshore Science Museum on Long Island

taking care of the reptiles. We lost our

springer spaniel Benny after 13 years and I miss

him daily. Animals are the best and, in that regard,

I love scuba diving and snorkeling too and all the

beautiful life in the ocean!

From everything you have done and seen in

your lifetime so far, what strikes you as most

incredible?

The passion and capacity of spirit to persevere in

the face of inconceivable suffering.

Can you give us your contact info for people to

reach you?

My art can be found at Berkshirescenicphotography.com

My music at Loveandrevolution.com

My work in consciousness and medicine at: LonnyJarrett.com

My books at Spiritpathpress.com

My online community at: Nourishingdestiny.com

lonny@berkshirescenicphotography.com

Thank you, Lonny!

Z



VIRTUAL ART GALLERY

BRUCE PANOCK

GHETTA HIRSCH

MARK MELLINGER

CAROLYN NEWBERGER

MARY ANN YARMOSKY

Bruce Panock

The Tree In The Dark

THE PRESENTATION OF ARTISTS WORK ON THE FOLLOWING PAGES EXHIBIT ART

THAT CAN BE PURCHASED.

CONTACT INFORMATION FOR ARTISTS CAN BE FOUND AT BOTTOM OF EACH PAGE.

JOIN FACEBOOK: ART GALLERY FOR ARTFUL MINDS

SEE: ISSUU.COM (LIVE LINKS TO ARTISTS WEBSITES)

INQUIRE ABOUT WALL SPACE: ARTFULMIND@YAHOO.COM



BRUCE PANOCK

Home

War

Each image is part of a limited edition.

There are several sizes available.

Each piece is priced according to size.

Images are unframed and printed on

Hahnemuhle archival papers.

Abstract Roof

Visit Bruce Panock:

www.panockphotography.com bruce@panockphotography.com 917-287-8589



GHETTA HIRSCH

“Promise” Oil and cold wax medium on wood panel, framed with black wood, 5 x 7” $295

“Red Top” Oil and cold wax medium on wood panel, framed with white wood, 6 x 6” $395

“Berkshire Soil” Oil on canvas framed with natural wood, 12 X 12” $595

VISIT GHETTA HIRSCH:

Ghetta-Hirsch.squarespace.com Instagram@ghettahirschpaintings

ghettagh@gmail.com Please text or call 413-597-1716

30 • MAY VIRTUAL GALLERY 2022 THE ARTFUL MIND


MARK MELLINGER

Mirage, Acrylic, 2022, 18 x 24”

Permafrost, Triptych, 2022, 64 x 70”

Contact Mark Mellinger:

914-260-7413


THE ARTFUL MIND VIRTUAL GALLERY MAY 2022 • 31


MARY ANN YARMOSKY

Pride Acrylic on Canvas 18 X 24”

African Princess Acrylic on gesso board 8X10”

Boy Acrylic on Canvas framed 20”X26”

Visit: maryannyarmoskyeclecticart.com

myarmosky@comcast.net • 413-441-6963

Face Book Instagram

32 • MAY VIRTUAL GALLERY 2022 THE ARTFUL MIND


CAROLYN NEWBERGER

Dancing with the Ancestors, Mixed media, 30 x 22”

On the Verge, Watercolor and collage, 30 x22”

In Time, Watercolor and collage, 22 x 30”

Visit Carolyn Newberger:

www.carolynnewberger.com

cnewberger@me.com

617-877-5672

THE ARTFUL MIND MAY VIRTUAL GALLERY 2022 • 33


COUNTRY ROAD, WATERCOLOR

MARGUERITE BRIDE

SPRING-SUMMER SCHEDULE

Here is where you can find my paintings for

the next few months:

“The Art of …” is a fine art and craft gallery

located at 12 Housatonic St in Lenox. My original

watercolors (framed and unframed), reproductions,

and cards will be on display April 29 –

June 9. For hours and event info, visit their FB

page or theartogallery.com.

“The Shop Around the Corner” is the newly

refurbished shop in the Red Lion Inn in Stockbridge.

They will carry some of my originals,

matted reproductions and cards. Opening Memorial

Day weekend.

Hotel on North, 297 North Street, Pittsfield –

“Cycle Therapy” - solo exhibit of 24 of my original

“bicycle-focused” watercolors on paper and

canvas. Exhibit runs June 3 – July 31. Opening

reception on Friday, June 3, 5-8 PM. Preview on

artist website….search on “Cycle Therapy”.

Miraval Resorts – 18 original seascape watercolors.

While this gallery is open only to guests

staying at the resort, non-guests can view/purchase

them. Go to my website and search on

“Miraval”. This exhibit is ongoing through the

fall.

Hancock Shaker Village – the gift shop there

carries HSV oriented paintings, reproductions

and cards. A large collection of small baby animal

watercolors too.

“Jazz Visions” – original watercolors of jazz

people, events, venues on paper and canvas, at

51 Park Restaurant & Tavern in Lee. Preview at

margebride-paintings/jazz-visions.

And don’t forget…any time is a great time to

commission a house portrait or favorite scene

you would like captured in a watercolor. Paintings

(or even a personalized gift certificate, then

I work directly with the recipient) make a cherished

and personal gift for weddings, retirement,

new home, old home, anniversaries…..any occasion

is special. Commission work is always welcome.

Marguerite Bride – Home Studio at 46

Glory Drive, Pittsfield, Massachusetts by appointment

only. Call 413-841-1659 or 413-442-

7718; margebride-paintings.com;

margebride@aol.com; Facebook: Marguerite

Bride Watercolors.

WE ARE ONE, 9 X 12” CRADLED PANEL

MIXED MEDIA/COLLAGE/OILS/COLD WAX MEDIIUM

CAROLYN ABRAMS

THE HEALING POWER OF COLOR

When I think or hear the word color I think of

bright splashes of brilliant reds and oranges and

dynamic blues and purples. But the truth is I am

drawn to the subtle calming tones derived from

those three famous primaries. It is in working

with these tones in juxtaposition with the brightest

of color that I express the deepest parts of my

being.

I find a kindred spirit in color which creates

atmospheric healing for viewers as well as myself.

I also find healing properties in the different

techniques and mediums I use to process feelings

and emotions such as in “A Sense of Place”.

“We Are One” encompasses the circle as a

symbol often found in many of my works to symbolize

“unity”. Both works an immediate reaction

to the devastation and horror in

Ukraine. There is a definite and palpable transformation

for me after working with color that is

a healing for my soul. And it is always a hope

that the viewer will experience a feeling of healing

in their own way.

According to Renee Phillips, curator of the

Healing Power Of Arts organization’s “Healing

Power of Color 2022” online exhibit, “Color affects

our behaviors, moods, and thoughts. It has

the ability to bring healing energy, soothe our

frazzled nerves, motivate and empower us. In art

the healing power of color is undeniable and farreaching.

Color (or hue) may be the first creative

element an artist chooses and often the most distinctive

quality we may notice about their art.

This exhibition, “The Healing Power of

Color”, features extraordinary art by more than

100 artists from around the world who create art

using color to heal themselves and/or the

viewer.”

All artists who submitted their entries were

judged on their art, statement, creativity, technical

skills and their overall artistic direction as

shown on their websites.

To view the entire exhibit of over 100 artists

worldwide visit: https://www.healing-power-of-

art.org/the-healing-power-of-color-exhibition-

2022/.

Carolyn M Abrams - cabrams09@gmail.com.

ALLISON GREEN, MALIA’S GARDEN (2020),

OIL ON CANVAS, 72” X 132”

ALLISON GREEN

MALIA’S GARDEN

Susan Eley Fine Art is pleased to present a

solo exhibition of new paintings by Allison

Green, the first showcase of her work in the

Gallery’s Hudson location. The exhibition will be

on view April 28 - June 19, 2022, with an opening

reception on Saturday, April 30th, 6-8 PM.

Green is a master of capturing the botanical.

She constructs lush and mystical universes in her

canvases, which range from monumental multipanel

pieces to intimately scaled studies. Relying

on both horticultural research and personal

observations, Green renders flora and fauna with

precision and care. Yet, her works are not mere

imitations of scientific diagrams of plant life, nor

do they fall prey to the tropes and nostalgia of

traditional landscape painting. Instead, they are

portraits—Poppies, Stargazer Lilies, Orchids,

Adam’s Needle Yucca. Each depiction of an

individual plant or an interconnected ecosystem

contains a language, a narrative.

Green’s vibrant, atmospheric environments are

deeply influenced by events in the artist’s own

life. This enables her compositions to manifest

broader truths about nature and humanity:

qualities of interdependence and healing, cycles

of regeneration and rebirth. Anchored by the epic

painting Malia’s Garden, the exhibition at SEFA

Hudson conjures a veritable garden for viewers.

Shown together, Green’s new works highlight the

aesthetic wonders of her subjects while

simultaneously transcending their earthly roots to

elicit potent internal experiences.

Susan Eley Fine Art - 433 Warren Street,

Hudson, NY, 12534; susaneleyfineart.com;

susie@susaneleyfineart.com; 917-952-7641.

Get involved and be seen...

Advertising rates & other info:

413.645.4114

THE ARTFUL MIND



3 Haiku Revolution 1969

poetry n art

I

II

III

It was a time , wow.

It was a matter of truth.

We believed it then.

There were flowers then,

Peace and love

And hope filled hearts

And guns and bombs, pow!

It was a dream time.

We were waiting to awaken.

I am waiting still.

—Bobby Miller

This Thing Called Spring

This thing called Spring

Wraps around the edge of the world,

Dragging water and sun along with her,

Trailing behind her, floating behind her,

Massaging a misted earth

(We hear her message)

As she passes.

This thing called Spring.

This thing called Spring,

Coats wet willow wands wine

With questions witches cannot answer,

As she begins her revelation,

As she begins her older than old narration

(We hear her tale)

Of what will and what must.



Holds until her floods bring riots

Of crabapple and plum, and

Green arrowed leaves let fly

Yellow trumpets and violet hearts.

She sings of elder fungi swelling grander than trees.

(We hear her song) under the disturbed ground.



Plants her cold feet through memories of snow,

Cruelly, slowly (We hear her toes suck mud).

Until sun and water and grass and ferns

And old red mushrooms

Remind her that the world continues to roll and roll.

She comes, sighs, and cannot hold.


—Linda Kaye-Moses

“Eclipse” 36” x 34” Acrylic on canvas

Certainty

Winter solstice

Moon eclipse

Echoes the uncertainty

That we feel

The world slides

Away into change

Nothing solid to hold onto

The only certainty

My love

For you

—Chris Malcomson

Decenber 2021

Andrea Joyce Feldman graces our pages with a great sense of

humor and talent for cartooning and communication ideas.



ARTIST UPDATE



Photography by Evan J. Soldinger

Harryet Candee: What have you been

up to lately?

Linda Kaye-Moses: Since we last spoke a few

years ago, I’ve continued to work in my studio.

Of course, during that time period, the pandemic

eliminated the shows at which I had been exhibiting,

but I still wanted to prepare for their eventual

reinstatement. So, I kept at it, making a

number of major neckpieces, and one major

piece, that included a neckpiece, a pair of earrings,

a ring, and a stab bound book, containing

an original poem,“This Thing Called Spring”. I

also worked on two (count ‘em, two) novels, and

have been slogging through the process of finding

an agent to walk me through the publishing

world. I’ve been a bit busy.

During the past several years, I have had work accepted

in several major exhibitions, including:

2018 “Under Fire 2”, Enamel Guild Northeast,

Krikorian Gallery, Worcester, MA. (an international

exhibition of objets using vitreous

enamels; 2020, Makers and Mentors: The Art

and Life of Snow Farm, Fuller Craft Museum,

featuring instructors who taught at Snow Farm;

36 •MAY 2022 THE ARTFUL MIND

The New England Craft Program over the course

of its history. I taught there for 13 years (I was invited

to show my Neckpiece and Enclosure,

“Babl”, in this exhibition; 2022, “Superbly Sintered”,

International conference exhibition; Association

of Metal Clay Arts Worldwide (My

neckpiece, “Les Fleurs de l’Age d’Or” was selected

for this competitive exhibition); 2022,

“Cell Full/Filled: Cloisonné as a Voice”, The

Enamelist Society membership exhibition (My

fibula, “Watching my Heart” was included in this

exhibition). Most recently my neckpiece “Acilius

Pied Alonge” was accepted in the upcoming August

exhibition, “Alchemy 6”, an international exhibition

curated by The Enamelist Society.

Linda, yes, you have been quiet busy. How was

your recent jewelry exhibit this past March

with Paradise City Arts Festival in Marlborough,

Massachusetts? There’s another one

coming up in May, in Northampton— always

fun to attend, and you will be there, as well.

I have done every one of the Marlborough shows

since they first began and I thrilled to say that this

was the most successful one ever. The collectors

came and they brought home some of my most

important pieces. It was so gratifying to know

that they had been waiting out these difficult

times, dreaming of coming back to this show and

anticipating owning some of my work.

I hear you revamped your exhibit booth to

celebrate your return?

I redid my booth many years ago to try to keep

everything neutral, except the jewels. I felt bored,

because I am a colorist, in my jewels and in my

fiber art. After going through these very stressful

few years, I made a decision that, when I showed

up at the 2021 Northampton Paradise City Show,

the booth would reflect my celebration of ‘being

back”. Screw being cool, suave, and neutral—I

loved being in that ‘room’ for the few days of

both, the NoHo show and then, the Marlborough

show. The crowd loved it— especially my collectors.

And back in your studio, has there been anything

new you have come up with that may

have been a reaction, or result of COVID

days?


The Thing Called Spring Neckpiece

Watching My Heart Brooch/Pendant

Photography on this page: Evan J. Soldinger

Enclosure and Neckpiece

As far as what I’ve been doing lately, I have been

working hard to amalgamate traditional jewelry

making techniques, powdered metallurgy (metal

clay), andvitreous enameling in my pieces.

And, one of my novels, that deals with craft artists

and collectors at a mysterious craft fair as

they come out of the pandemic and find a new

way to be present in their worlds.

During the pandemic, when the initial surge had

calmed down, I planned to have a surgical procedure

and, when I’ve gone through physical turning

points in my life before, I always made a new

piece for myself that became mandalas for healing.

I did so in 2020. I made “Watching My

Heart” a fibula brooch that I’ve worn almost

every day since the surgery.

I’m wondering, if I was to commission you to

make a pair of earrings, how would you assess

what is best for me?

This is always fun for me. For a number of reasons.

I get to learn a little bit more about my collector,

because I ask them what is important for

them in their lives. I refer to my jewels as an experience

and I love to turn that around and experience

who my collectors are. It’s one of the

reasons that I prefer to sell my work directly to

them, rather than working with gallerists.

What sort of found objects do you work with?

I have used antique lava cameos, antique boxes

(to alter for my enclosures); antique compasses,

shells, beetles, antique shards of Favrile Tiffany

glass (donated by a friend), elements that I call

oddments both antique and just old. I have a collection

of small milagros from Mexico and

Greece that have sometimes found their way into

my work.

What tool do you use to sign your name on a

piece of jewelry?

I hallmark my metal pieces with stamp with the

initials LKM using a small steel stamp. I also

mark them with quality stamps (.925, for sterling

silver; FS, for fine silver; 14k or 18k for gold).

For my enclosures/nesting cases, I sign them

somewhere on them, with my full signature.

Tell us about your Nesting Cases and their significance

they have for you?

There is something intrigues me about small enclosures.

Perhaps they represent a promise, the

possibility of a hidden treasure, an object of

power or delight. I make them because I want that

possibility to inhabit my work (open this box and

you might/will find your heart’s desire). Traditionally

boxes were made as beautiful and/or

powerful as their contents, and I work hard to

make that so with my enclosures.

How has being unruly, same as your Unruly

jewels benefited you as an artist?

I am unruly in the sense that I have a tendency to

disregard the consequences of my decisions, both

in my art and my life, with some serious mistakes

at times as a result (oh well). However, this unruliness

has resulted in a body of art that, over the

course of my over four decades of making it,

astonishes me with how I’ve corralled that unruliness.

Since I’m primarily a self-taught maker,

unruliness comes along for the ride. Because I


THE ARTFUL MIND MAY 2022 •37



Artemisia Liberata Neckpiece

Arabesque Broccato Neckpiece

And Then She Flew Neckpiece

Wishing for April Fibula

Linda Kaye-Moses, Artist Photography on this page: Evan J. Soldinger



Les Fleurs de l’Age d’or Neckpiece

Photography: Evan J. Soldinger

have not had formal training, I, happily, am unrestricted

in what I choose to make. I reach a

decision about a piece I want to make and apply

everything I’ve learned to that piece, and the re

sult is that my unruliness works, most of the time.

I mostly don’t play by the rules. I mostly don’t

color within the lines. I hope to be that meme, of

that little girl in the dance class who hangs upside

down by her feet from the barre.

You are the author of “Pure Silver Metal Clay

Beads, and Roots, Stems, and Branches: A Recollection”.

What can the reader expect when

picking up this book to read?

I was invited by a publisher to write Pure Silver

Metal Clay Beads and it was my first, and currently

my only, adventure with writing a full text

on working with metal clay (which is also known

as sintered metal or powdered metallurgy). The

audience for this book are those who wish to

learn how to work with the material, and is scaled

with projects ranging from beginner to advanced.

It’s still available in e-editions.

Another book I wrote, “Roots, Stems, and

Branches; A Recollection”, is a memoir for me

to define, and others to discover, the answers to

the questions my family, collectors and students

have been asking me for many years. It has

helped me to define the elements in my life that

led me to making my work.

There are always challenges for artists to take

on. What are some some for you that will seem

to never go away?

As far as challenges go, every time I sit down to

make my art, I am challenging myself to find a

new way to approach the materials I’m using.

Why bother with manifesting something old and

tired? Sometimes, it’s an unusual stone that is

challenging, or a conceptual design challenge.

The challenge behind everything I make is to remain

true to my vision, my style, and remember

why I want to make jewelry that is more than

adornment.

What are some other things in your life you

enjoy doing? Do they have a common thread?

There is no part of my life, from cooking to

reading to writing, to making my jewels, to my

fiber art work (knitting/crochet), to drawing, to

playing piano, that doesn’t intersect with or inspire

all the rest. A dear artist friend of mine who

hated cooking, was inspired by the advice given

her to think of cooking as arranging and choosing

colors. It changed her life in the kitchen. Artists

see, use, hold onto, everything, and that confluence

eventually springs to life wherever appropriate.

Art forms always inspire.

In what ways do you find life to be fulfilling?

I have been lucky to, and grateful for, 44 years of

marriage with my dear spouse, Evan J. Soldinger,

who, in addition to having the most generous of

hearts, is a fine musician and a superb art photographer,

and the photographer of all my work

for all these years. My son, Adam and his wife

Lisa Horvitz (a wonderful daughter-in-law) are a

blessing in our lives. I have also felt fulfilled by

having been able to make my work and have it

be a support in my life. As Gertie said, Ya gotta

have a room of your own, and my studio is not

just a room of my own, but a place where I truly

live, with music playing and tools in my hands.

Do you have any suggestions on how to live a

good life?

Be unruly. Seek knowledge. Remember, we are

all the stuff of cosmic stardust. Get excited about

sundogs and rainbows. Take care of yourself and

know your strengths, and go to them always. Be

angry appropriately and be at peace with your

weaknesses. Most importantly, make art, but

make it unruly.—waste no time doing so.

Where can we see your jewelry?

I will be exhibiting my work at Paradise City Arts

Festivals Northampton show May 28-30. Look

for the bright colors of my booth #529.

https://festivals.paradisecityarts.com/shows/north

ampton-may-show

Check out my website to see the work I will be

bringing with me: lindakayemoses.com

I have been invited to teach a three-day workshop

class for The Enamelist Society Conference

on Enameling on Metal Clay for beginner to advanced.

Check out https://www.enamelistsociety.org/dir.cfm/Activities/Conference/

It’s at

Arrowmont School of Arts and Crafts in Gatlinburg,

TN, August 9-10, and is open to nonmembers.

Thank you, Linda! Z



THE VEIL

BRUCE PANOCK

PHOTOGRAPHY

I have been a student of photography for more

than 20 years, though most intently for the last

five years. I am primarily a landscape photographer.

Recently my photographic voice has migrated

to the creation of work with reference to

other art forms, notably encaustic painting and

ancient Chinese and Japanese brush painting and

woodblock art. My intention is to create with

viewer a moment of pause and reflection; a moment

to digest the image and find their own story

in the art.

Each image is part of a limited edition. There

are several sizes available. Each piece is priced

according to size. Images are unframed and

printed on Hahnemuhle archival papers.

Bruce Panock -

bruce@panockphotography.com

SERENITY, GOUACHE, 7 X 5”

SHARON GUY

INSPIRED BY NATURE

My purpose as an artist is to connect with the

healing power of the natural world and to encourage

others to do the same. Nature is alive and infused

with spirit. I constantly seek to reconnect

with this spirit of nature through creating art.

While I quietly observe and study land, water,

and skies, the ordinary world around me is transformed

by light and shadow into the sublime. I

enjoy using an intuitive process while I play with

the boundary between representation and abstraction.

My work is in private collections in the

United States and Canada.

Visit: https://www.sharonguyart.com

sharonguyart@gmail.com / 941-321-1218

BERKSHIRE DIGITAL

Since opening in 2005, Berkshire Digital has

done fine art printing for artists and photographers.

Giclée prints can be made in many different

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

archival paper choices. Berkshire Digital was

featured in PDN magazine in an article about fine

art printing. See the entire article on the BerkshireDigital.com

website.

Berkshire Digital does accurate hi-res photoreproductions

of paintings and illustrations that

can be used for Giclée prints, books, magazines,

brochures, cards and websites.

“Fred Collins couldn’t have been more professional

or more enjoyable to work with. He did

a beautiful job in photographing paintings carefully,

efficiently, and so accurately. It’s such a

great feeling to know I have these beautiful, useful

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

called Fred years ago.” - Ann Getsinger

We also offer restoration and repair of damaged

or faded photographs. A complete overview

of services offered, along with pricing, can be

seen on the web at BerkshireDigital.com

The owner, Fred Collins, has been a commercial

and fine art photographer for over 30 years

having had studios in Boston, Stamford and the

Berkshires. He offers over 25 years of experience

with Photoshop, enabling retouching, restoration

and enhancement to prints and digital files. The

studio is located in Mt. Washington, but drop-off

and pick-up is available through Frames On

Wheels, 84 Railroad Street in Great Barrington,

MA (413) 528-0997 and Gilded Moon Framing,

17 John Street in Millerton, NY (518) 789-3428.

Berkshire Digital - 413 644-9663, www.BerkshireDigital.com.

“Whether you succeed or not is irrelevant,

there is no such thing.

Making your unknown known is the important thing.”

– Georgia O’Keeffe



Deirdre Flynn Sullivan

A Kaleidoscope

He knew me for my ruby boots,

For the heart on my sleeve

Embroidered like a tattoo.

He loved my Americana smile,

Bluebonnet eyes, and

Apache legs,

Swinging into rhythmic forms

On western dance floors.

There are songs

Waiting to be sewn with

Satin ribbons,

Calico patterns,

Saucy buttons,

And broad stripes.

In a dark attic

He strums his guitar

To the flamenco beat

Of my sunlit longing

And whistles his love

Between arcs of light.

—Deirdre Flynn Sullivan, 3/31/15

RED BOOTS: HE KNEW ME FOR MY

WALK-Deirdre Flynn Sullivan, 2013



CAROLYN KAY BRANCATO

AUTHOR


Harryet Candee: Carolyn, how did you get inspired to write your latest

book, The Night Belongs to the Maquis? And, when you are writing, do

you travel to a different place?

Carolyn Kay Brancato: The inspiration for The Night Belongs to the Maquis

came some years ago in an acting class at Ensemble Studio Theatre in

NYC. We were asked to create a character then write a monologue for that

person. I came up with a situation in which a nun, during WWII in France,

was asked for sanctuary by a young German soldier who refused to commit

Nazi atrocities. The “stakes” were high for her, since giving him sanctuary

would endanger everyone in the church as well as the entire village. After

I performed it, my instructor told me I should definitely pursue this dramatic

story idea—which I did, first as a play, then more recently as a novel.

A few weeks later, the New York Times happened to publish a travel section

article about a small Southern French village called Foix, near the border

with Spain. It was a critical hub of French Resistance (Maquis) activity

to get downed WWII Allied pilots over the Pyrénées and out of France. I

was so emotionally vested in the character I had just created that I immediately

made plans to travel there later that year. I was fortunate to meet three

members of the Resistance, one of whom was the leader of the circuit that

got approximately 500 downed pilots and other agents out of France.

He had been captured by the Gestapo and tortured by Klaus Barbie, and

gave me a copy of his deposition in the Barbie trial in Lyon, asking me to

tell his story. Although my novel is fiction, it’s based on true events and

real-life people, dedicated to all those courageous enough to fight fascismpast

and present. When I write, I completely submerge myself in each of

my characters, as an actor would to prepare for a role on stage or screen.

Not only do I visualize what they look like in the minutest detail, but I craft


their backstory, where they grew up, how they walk, how they eat, sleep,

make love, dream, etc. Having quite literally traveled to this village, when

I sat down to write, I surrounded myself with maps, journals I’d acquired,

photos and other research materials. Then I go deep inside each of my characters’

heads—to find out what they’re thinking and feeling and even how

they argue with each other. Often your characters develop minds of their

own and do things to surprise you!

What parts of this story did you find the most exciting in creating?

When I write, I have all my research in the back of my mind, but then I just

sit back and let my characters interact with each other. It’s thrilling to find

out what they’ll do when I put them in impossible situations and then raise

the stakes even more. Perhaps the most exciting part of writing this novel

came toward the end, when I truly did not know how my heroine’s journey

would end. Would she be reunited with her former lover or would he be

killed by the Nazis? If he did survive, could they put his unsavory past aside

or would they have to part? In order to be with him, would she renounce

her sacred vows, taken when she thought he was dead? Would they come

together to liberate Foix or would they fail in their mission? How many

would die along the way? It was exciting to work out these nail-biting issues

as I got deeper into the novel.

Do you have an all-time favorite writer and book you treasure?

I wouldn’t say I had one favorite writer or treasured book. I grew up with

opera on the record player—Italian opera sung by such greats as Enrico Caruso.

As you know, opera is one of the most dramatic and passionate forms

of art. I was completely enthralled when my father and my aunt took me


not only to the Metropolitan Opera, which was pure magic, but also to thrilling

more popular Broadway shows like My Fair Lady. My aunt and one

of my uncles used to act out scenes from Shakespeare, and when I was

twelve or so, I remember washing my imaginary blood-stained hands over

and over after listening to her Lady Macbeth.

If you were given the opportunity to live in a different time period in

history, where would that be, and what life would you want to have?

I would be a director/playwright living in London—anytime from Shakespeare

to the present.

You are presently living in the Berkshires. Tell us about what projects

related to the Berkshires you have been inspired to take on?

My husband, Howard Greenhalgh, and I moved here about eight years ago.

At that time I was working as an economist in my “day-job” at a global

not-for-profit company. I had taken a break from theatrical projects and was

deeply involved in oil painting. In fact, we originally came up here to paint

for two weeks, but ended up painting for one week and looking for a house

the second week.

After we moved, we were warmly welcomed by a wonderful group of

artists and joined with them to found what has become the Guild of Berkshire

Artists. We had belonged to a similar guild in the Annapolis, Maryland

area, so we enjoyed getting this one off the ground in these exquisitely beautiful

Berkshires. I subsequently met an editor, Diane O’Connell, who led

writing retreats at the Kemble Inn in Lenox. I redirected my energies from

oil painting to novel writing—primarily in order to more fully tell the story

of my French Resistance heroes than I had been able to do in my previous

playwriting pursuits. Diane subsequently became my editor and publisher

at Station Square Media.

I am aware of your involvement in the theatre, as a choreographer?

Tell us about that.

I was such a Tom-boy growing up that my parents made me take dance

classes to learn a little grace. Well it stuck. I went from ballet, jazz and tap

to directing and choreographing at theatres in the Washington D.C. area

and New York City—all the while working at my day job. I also choreographed

a jazz ballet for the D.C. City Ballet and was the choreographer

for the dance sequence in the Francis Ford Coppola film Gardens of Stone.

I continued to write and some of my plays were produced at the former

John Houseman Theatre in NYC, at Steppenwolf in Chicago, and at the

Church Street Theatre in Washington D.C.

Stunning book jacket designed by Steven Plummer

I hear you like to paint in oils. Tell us a little about your visual artistic

side? Do you share your paintings or is it a private art for just you?

Does it help with writing books? What was your artistic involvement

in the covers of your books?

Some years ago, I accompanied my husband on a painting vacation in Tuscany.

He and the other artists were having entirely too much fun painting

in the glorious vineyards of Italy during the day, then eating pasta and drinking

wine from those same vineyards at night. So, I decided to learn more

about painting by taking art classes in New York City and Scottsdale Arizona,

as well as going on other plein air trips with him to France, Mallorca,

and the Sierras in California.

I find many similarities between painting and writing: (1) contrasting

light and dark, to achieve dramatic effect; (2) getting the viewer to enter a

painting and want to spend time there; and (3) influencing the emotions of

the viewer through intensity of color, depth of paint application, and crafting

of edges to emphasize the painting’s focal point. The goal of translating a

two-dimensional surface into what you hope will visually become a threedimensional

canvas is quite similar to writing: you start with a flat surface—your

blank page—and you hope to create a fully realized novel of

vibrant three-dimensionality.

A few years back, I showed some of my mainly still-life and French Provencal

landscapes at various Guild of Berkshire Artists shows at the West

Stockbridge Historic Town Hall and at the Welles Gallery in the Lenox Library.

As with painting, when I write, I constantly visualize my scenes. For

example, I hope that my little village of Foix becomes for the reader another

character, as you walk from the train station where the Germans deported

the refugees, to the fountain the Nazis used for target practice, to the allimportant

church of St. Volusien, where my heroine decides to pose as a

nun to work in the Resistance.

As for the covers of both my published novels, I believe a good cover

not only gives the reader a thumb nail impression of what the book is about,

but draws the reader into the story. I was fortunate that my publisher assigned

the same talented designer, Steven Plummer, for each book. We had

many productive discussions, as he came up with options reflecting my visions

of both novels. I sent him photos of my French village and was thrilled

when he incorporated the three identifying towers of the Château overlooking

Foix. For The Circus Pig & the Kaiser, my husband contributed a marvelous

painting of Sasha the Pig dressed in the Kaiser’s helmet for the first

cover; when that cover was redesigned, his little pig was just too precious

to lose, so we kept it on the spine!

Growing into adulthood, were you affected by some world events that

led to your interest in history and politics? Tell us about these years

and what were you focusing on? Can you tell us a bit about your childhood

as well?

My father was a Flight Surgeon/Colonel in the Army-Air Corps during

World War II. He and all six of his brothers, first generation Italians from

Sicily, served in the war. My father was also stationed in Germany after the

war when the Russians brought down the iron curtain.. His hatred of tyranny

and love of democracy was so ingrained in our family that we all had to

jump to attention whenever the Star Spangled Banner was played before a

ball game on radio or TV.




CAROLYN KAY BRANCATO AUTHOR

My college years at Barnard, then living on the Upper West Side of Manhattan

after graduation, additionally introduced me to many activist political

movements like the civil rights movement and the Anti-Vietnam War movement.

Censorship issues, in particular, have been a life-long interest and

I’m distressed that they’re coming to the fore once again in the movement

to ban books and to make other destructive incursions into our First Amendment

liberties.

I suppose the issue I feel most passionate about is the threat of fascism.

The idea for my first novel, The Circus Pig and the Kaiser, came when

I was working as an economist with my mentor, the late Nobel Laureate

Wassily Leontief, and the subject of fascism and censorship arose in one of

our conversations. He was born in the former Soviet Union and had been

arrested by the precursor to the KGB for advocating academic freedom. He

was only allowed to leave the country because he was gravely ill. Fortunately,

he recovered and developed the economic system of input-output

analysis, which traces all the inputs into each industry of an economy. (For

example, the output of one car requires a series of inputs from other industries

such as glass, rubber, aluminum, leather, etc.) Wassily worked with the

Allies in WWII to identify that it was ball bearing factories that the Allies

should bomb to most effectively cripple the inputs to most of the industries

creating German war machine products.

Wassily told me the true story of Vladimir

Durov, a Russian clown who taunted the warmongering

Kaiser in 1907, prior to the buildup

of the First World War. Durov dressed his

prized pig as the Kaiser, who wore an outrageously

ostentatious uniform, and ordered

similarly elaborate uniforms for his troops, in

order to gin up public support for the war.

Durov’s pig flipped a helmet onto her head,

mocking the Kaiser, and Durov was arrested

for sedition. That’s all I needed to hear to inspire

me to write a play, and eventually a novel,

about that hilarious but dangerous act of defiance

in the face of tyranny!

Have you come across different angles to parts of any of your two books

that you think about and would like to alter in some way, like the destiny

and fates of characters?

Someone once suggested I write a sequel to The Night Belongs to the Maquis

about the two children, Deborah and Elias, as they might have lived

their lives in Israel. But that always seemed like an anti-climax. As they say

in theatre, “leave ‘em wanting more.”

Carolyn, can you share with us some thoughts and beliefs you have on

world affairs, the Arts, life in general? How have you contributed to

world affairs?

During college at Barnard, I was majoring in theatre, but didn’t have the

money to go to graduate school. So I decided to change my major to Economics,

to support myself in a day job while I pursued theatre part time. I

ended up getting a Ph.D. from NYU and loving the public interest work I

was drawn into, including working as an environmental economist for the

New York City Environmental Protection Administration. Decades ago, we

identified that plastics would do irreparable environmental harm and were

successful in getting polyvinyl liquor bottles banned. We also saved Storm

King Mountain from becoming a Con Edison pumped storage plant.

This work led me to The Congressional Research Service in Washington

D.C., where I analyzed leveraged buyouts and the mergers and acquisitions

movement of the 1980’s. In turn, this paved the way for my founding the

Global Corporate Governance Research Center and Directors’ Institute at

The Conference Board, a global not-for-profit think-tank established in

1916 to further the role of business in society. I traveled the world to work


Carolyn Kay Brancato, Still Life with Red Jug, Oil on Linen

with CEOs and Boards of Directors in the U.S., Europe, India, the Middle

East, Hong Kong, Singapore and China; I still run some corporate governance

programs in Europe. My focus is to help corporate executives and

boards achieve ethical standards, good governance and transparency.

Along the way, I was the Director of The Conference Board’s Commission

on Public Trust that investigated the Enron scandal and came up with

recommendations for businesses to be better stewards of their capital, not

only for the benefit of their investors but for society at large. My work in

corporate governance, focusing not only on short-term earnings but on

longer-term corporate value creation, has contributed to companies’ adopting

ESG (Environmental, Social and Governance) standards that promote

climate-change, diversity and gender equality, and more equitable work

place practices. As satisfying as all these endeavors were, during all these

years, I would snatch time for my first love—theatre—to write on airplanes

and work in theatre as often as my schedule would allow.

What would you like to write next about?

I’m currently part of an innovative group of playwrights called “Berkshire

Voices,” which operates under the auspices of The Great Barrington Public

Theatre. Its goal is to develop professional theatre projects written, acted

and directed by Berkshires residents. I’m currently

workshopping a play about a young

woman investment banker trying to finance

economic development in a favela (slum) in

Rio de Janeiro, but she’s coming up against unsavory

people and threatening obstacles. I

guess I’m always tilting at windmills. Maybe I

should have a favorite book after all—Don

Quixote!

What resonates most with you about the

current political climate?

In researching The Night Belongs to the Maquis,

I learned that, after the Germans invaded

Poland and then broke through the Maginot

Line to overrun northern France, more than six

million people from Belgium, the low-countries and northern France became

refugees. They made their way in total misery to southern France. In

1940, the City of Toulouse, near my village of Foix, swelled from a population

of 200,000 to over one million in a matter of months. These refugees

had lost their homes and everything they owned. They carried their meager

possessions and some even pushed their elderly in wheelbarrows, often

strafed by German aircraft. In all my extensive research, with my intense

visualizations, I never came close to imagining the chilling scenes we are

witnessing every day on T.V., as millions of Ukrainians flee the horrific

Russian onslaught. If I could add anything to my novel, it would be to

amend my dedication, “to all those courageous enough to fight fascism…

past and present,” to add a salute to the heroic Ukrainian Resistance fighters

of today.

Note: Berkshires author Carolyn Kay Brancato’s two novels are: “The Circus

Pig & the Kaiser,” (available on Amazon at https://amzn.to/2GgWrRa)

and “The Night Belongs to the Maquis: A WWII Novel” (available on Amazon

at https://amzn.to/3pe4GFN). She will be reading from “The Night Belongs

to the Maquis” at the Lenox Library, Lenox Massachusetts at 3 pm

on May 3 rd .

Thank you, Carolyn!

Z


CELLBLOCK VISIONS

A.P.E. GALLERY

Phyllis Kornfeld’s Cellblock Visions will be

on exhibit May 7 – 29, 2022, at the A.P.E. Gallery

in North Hampton. On Saturday, May 14,

there will be an artist reception 3-5 pm with an

artist talk at 4 pm.

The artwork being exhibited at A.P.E. was

created between 1983 and the present by incarcerated

men and women across the country in

those prisons and jails that offer classes led by

artist/teachers and with limited access to art

supplies. Phyllis Kornfeld has been working directly

with these artists for over 39 years—in all

levels of security from county jail to maximum

security to death row.

“These artists did their work with care and

passion. Though inexperienced, they seemed to

know what to do and how to do it, without instruction.

They trusted something, an unseen

guide. The art is beautiful in its sincerity even

where the truth is painful to see. Art has always

had the power to transform lives.”

Phyllis Kornfeld is the author of Cellblock Visions:

Prison Art in America, Princeton University

Press and is the founder of several

public projects whereby prison artists donate their

artwork to benefit people in need. The Envelope

Project: Incarcerated Men and Women Making

Art for a Cause sold hundreds of original pieces

of envelope art at the Outsider Art Fair in NYC

to benefit a children’s literacy nonprofit.

Other publications include “Truth, Goodness,

and Beautiful Art: Set Free in the Penitentiary,”

for Art Education Beyond the Classroom, Palgrave

MacMillan. Journal contributions include

Encyclopedia of Southern Folk Art, Raw Vision:

International Journal of Intuitive and Visionary

Art, Mountain Record, Art and Antiques Magazine.

Phyllis Kornfeld lives in western Massachusetts

and due to the Covid pandemic, is currently waiting

to return to teaching at the Berkshire County

House of Corrections.

Artist Bio:

Phyllis Kornfeld is the author of Cellblock

Visions: Prison Art in America, Princeton University

Press and is the founder of several

public projects whereby prison artists donate their

artwork to benefit people in need. The Envelope

Project: Incarcerated Men and Women Making

Art for a Cause sold hundreds of original

pieces of envelope art at the Outsider Art Fair

in NYC. to benefit a children’s literacy nonprofit.

A.P.E. Ltd.- Available Potential Enterprises,

Ltd., 126 Main Street, Northampton, Massachusetts;

413-586-5553; www.apearts.org



FOOD AS MEDICINE

This month’s topic will return to our five

senses and their influences on the mind. I’ll also

talk about the importance of maintaining clarity

of mind via the process of cleansing the sense organs

that are affiliated with the five senses - sight,

sound, smell, taste and feel. These are the experiences

which informs one’s brain.

Sight. Our perception relies not only on what

the structure of the eyeball is physically seeing,

but our interpretation of that image. If one’s head

is congested with mucus, our attention would

typically be drawn to a runny nose or congested

throat however, the eyes can also hold mucus.

And for that matter the entire cranium could be

congested, causing brain fog or cloudy eyes, both

contributing to some degree of altered perceptions

of reality.

Sound. The vibrational interpretation of a subject

at hand. The brain interprets sound waves,

which imprint on the mind …but what came first,

the chicken or the egg? Does the sound imprint

the image, or is the sound given an image? Whichever

you choose, reality deems that you must

first receive the vibration through the ear canal.

There are conditions that could disturb or compete

with the sound waves, such as, accumulated

earwax and tinnitus (ringing in ears), which could

influence and affect the interpretation.

Smell. This sense, while supplying the brain

with olfaction information, it also plays a part in

taste. Which would explain why when our sinuses

are full, the sense of taste may not be present.

While there are several sinus cavities, the

ethmoid sinuses could arguably be the most influential

because of their proximity to the brain.

An effective Ayurvedic cleansing technique, referred

to as Shiro-Abhyanga-Nasya, focuses on

flushing these sinuses, which results in amazing

clarity of eyes and mind.

Taste. There are 6 potential ways to inform the

brain of taste: sweet, sour, salty, bitter, pungent,

and astringent. Foods are also categorized as hot

or cold, dry or unctuous, and light or heavy. On

the surface, the sense of taste may appear to be

only about our digestive pleasures, however, the

foods we eat and their qualities play a major role

in dictating how efficiently and effectively our digestive

system works. A cleansed palette can help

guide us to proper digestion of food.

Feel. Touch is the act of placing one’s fingers

and palms on another person or thing to give information

to the brain. But, it’s not that simple.

Our interpretation of that information hinges on

the input from our eyes, ears, nose, and tongue.

Proper discernment, the ability to obtain accurate,

sharpened perceptions can only be done when the

five senses are in optimal working condition. Discernment

is sometimes referred to as a hunch, intuition,

a guess, a prediction, knowledge …in

other words, a good thing. And how do we make

a good thing better? We cleanse it.

Please see our ad in this issue of the Artful

Mind, and refer to our column in previous issues

for more information on cleansing.

Be well and heal thyself! Lakshmi’s Garden -

Terrel Broussard, Ayurvedic Practitioner, Herbalist,

Bodyworker; 413-329-5440



MARY DAVIDSON

High Heels Series

www.davidsondesigncompany.net

Studio appointments, please call 413-528-6945

KEITH AND MARY ORIGINAL ARTWORK FOR SALE

STUDIO/GALLERY, SOUTH EGREMONT, MA

the art of mary ann yarmosky

Visit and enjoy—

maryannyarmoskyeclecticart.com



Something For Over The Couch

PART 10

“The First Argument”

That Saturday morning when I headed

for my art teacher’s house I had an anxious feeling

of uncertainty, and when I tell you of the disaster

that befell me that day you will be sure to think

that a lot of what I have said about my teacher,

myself and her family was probably not true. My

entire connection to their household was based on

the excuse that I was the boy who cut the lawn,

and now, for several weeks, I had been mowing

grass on Saturday morning that did not need

mowing. I was cutting grass so that after it was

done I could sit in the kitchen in the afternoon and

talk to my teacher, who had become, simply a

close friend, and a mentor.

But now what, was I going to be mowing

the snow in December? But my connection

to that family was more precarious than I realized

as I walked up to their house with my bath mat

naked lady art project under my arm.

When I finished with the lawn I put the machine

back in the garage and noticed three unfamiliar

cars in the driveway, and then found some woman

similar to Hanna in her kitchen involved in a conversation.

For a second I felt deep resentment to

find these women in what I considered my kitchen

in my accustomed spot, but the absurdity of my

indignation was so ridiculous that I just settled

into a sudden despondency.

Hanna introduced me as the lawn boy,

who is, “A marvelous artist who is doing wonderful

paintings for such a young boy.” This remark

made me so angry I thought I would cry out in

frustration, and then one of the women walked

right up to me, and said to the others, “So, this is

him.” Their plan I soon discovered was that they

were going to play bridge on Saturday afternoons,

and so, in conclusion, my charmed upper class life

suddenly came to an end as if it had never happened.

I excused myself and started to leave,

but Hanna, seeing something rolled up under my

arm, asked to see it. When I hesitated, the other

visitors, seeing my confusion, excused themselves

and went into the living room, where a card table

had already been set up. I rolled the naked lady

bath mat out on the kitchen table. There was a

long, terrible silence. “Richard, what disgusting

obscenity is this, why would you do such a

thing?”

“It’s a commission,” I said.

“Are you going to put this over somebody’s

couch?” She said, with no humor in her

voice. Then she continued. “Who is it that is paying

you to do this commission?”


“The barber that cuts my hair wants me

to cut out this woman’s shape from the mat,” I answered,

but seeing her revulsion, I too began to

see that there was something not right about the

idea. Now, however, having a clear picture of

what I was doing and why, Hanna went into her

dictatorial mode, a mode of behavior I now dimly

remembered from her second day as our art

teacher, when the class refused to do her homework

assignment, because she was a substitute.

“Take this monstrosity back to your

barber and tell him that what he is doing borders

on a crime, paying a minor to create an obscene

image, is...what’s his name, where is his shop?”

She went on in anger and said other things I can’t

remember but suddenly and unexpectedly I began

to defend myself. The fact that I spoke without

even knowing what I was going to say may sound

unlikely, even impossible, but the words were already

in my head, the exact words Max her

former husband had said to her, “It’s art, just art,

a fiction, you…” but I could not bring myself to

utter the word ‘moron.’

The Greek Chorus of the bridge players

in the living room were, I imagine, listening to

every word of that conversation, and though there

was a tragic epiphany going on in the kitchen,

they made no comment. I rolled up my obscene

crime of a bath mat slowly and deliberately, and

silently left the house by the kitchen door, and in

parting closed the door carefully so as not to make

the latch click. I closed the door silently, as an expression

of the injury I had received. Perhaps you

have received such an injury in your life; the kind

that makes you think that all that went on before

in your life was not only wrong, but also stupid.

It’s a long downhill from the Wasserman

house to the bus stop on Oneida Street, and

from the house to the stop my mind was mute as

I walked along. It was the sight of the bus in the

distance that triggered the monologue in my mind

that now began with the statement, “I’ve never

seen any of those phonies on the bus, and I never

will.”

But my teacher and her family were not

phonies and I knew it, it was just that the word

‘phony’ was often in my head at that time because

I had recently finished reading Ruth’s copy of

“The Catcher in the Rye.” This remark, in my

mind, was followed, out loud by the reverse, “It

is you yourself, that is the phony, thinking you are

going to be some famous artist, sitting and talking

with people where you have to pretend to understand

what they are saying, pretending you know

the names they mention. You should be ashamed

of yourself, thinking because you mow some rich

woman’s lawn you are part of her family. And

now you treat your own Mother with contempt,

because she happened to not know who Rothko

is. And what would Dad have said about it? He

would have said nothing at all. He would have

rapped his knuckles on the top of his head and

called me a hardhead, a knucklehead.”

What happened next I am ashamed to

tell you, but I cried for a long period of time, quieted

down, and then cried again even louder till

someone blew their horn, because I was standing

in the street. I had decided to walk home and

avoid the bus because it is embarrassing to get on

a bus when you are in hysterics.

Then came that moment of quiet resolve

after a long and terrible cry, that calm moment,

between suppressed sobs when you swear

to yourself to never do something ever again, a

promise ready to be broken at the first possible

opportunity.

I started walking home, and only got

two blocks when out of the corner of my eye I saw

the familiar shape of the red fender of the Thunderbird

belonging to my teacher’s twin sons.

Which son was driving I couldn’t tell, because

they always looked like the same person to me.

He gestured for me to get in, and I did, throwing

the bath mat into the back seat. “My mother sent

me to fetch you, I was on the way to your house.”

I said nothing but did not particularly like the

word ‘fetch.’

Hanna’s son seemed anxious to explain

something to me, but had difficulty saying anything

more than a few words, and then he would

fall silent. As for me, I said nothing. I felt like an

escaped convict. I was afraid I had triggered some

nervous reaction in my teacher that might lead to

a confrontation with Savi, my barber. How could

anyone ever criticize Savi? He was just a simpleton

of a barber, and an institution in my family. I

cared nothing for Savi, but the truth was, I would

have had to give up art and my art teacher if it

came down to having some argument with Savi.

We pulled into the driveway, and there

was an apparition, Hanna’s husband, the Good

Doctor himself was standing at the end of the

driveway, next to the kitchen door. As soon as he

saw the car he went into the house. He was sitting

at the kitchen table when his son and I entered the

house. The doctor also wanted to explain something

to me, but thought better of it. Then he got

up to leave, only saying, “She’ll be down in a minute.”

Strangely there were no other cars in the

drive, and the bridge players had departed.

After a few minutes Hanna entered the

kitchen and I could see that she had been crying

about something, but what it was I had no idea,

and had no interest in finding out.

“Where’s the bath mat?” she inquired.

“It’s in the back seat of the convertible.”

I answered.

“Go get it and bring it in here, we will need to figure

out how to do the drawing head on, and not

profile, profile is never going to work. Think

about this, if you were going to be standing on a

woman’s body, which would you prefer, to stand

on her front, or on her side? On the front, obviously.

Have you ever seen a naked woman’s

body Richard?” she asked

“No.”

“Pictures?”

“Not really.”

“Well, wait a minute, and I will get the

Janson Art history book and we will use a Greek

marble torso, they are perfect, and are always

minus the head, arms, and legs, just like we will

need.”

I thought to myself, “I wonder what

Ruth will have to say about this, perhaps she can

make sense out of it for me?”

—Richard Britell

Parts 1 through 9 at Spazifineart.com

(short stories)


EDWARD ACKER

PHOTOGRAPHER

Time Flies D Get Pictures

EdwardAckerPhotographer.com

413-446-8348


tam-MAY-2022

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