the artful mind artzine september 2024

PROMOTING ARTISTS IN ALL VENUES IN THE BERKSHIRES & BEYOND SINCE 1994

THE ARTFUL MIND

SEPTEMBER 2024

Visual Artist BRUCE LAIRD Photograph by Edward Acker

Digital Photo-Scans & Giclée Printing

"Sundown" - Dorothy Fox

. Accurate Photo-Reproductions of Artwork

. Photoshop Repairs - Paintings & Photographs

. Archival / Giclée Prints Up To 42"x 90"

. Artbook Design and Production

. Restoration of Damaged Photos

Drop-off & Pick-up Available in Great Barrington, MA and Millerton, NY

Studio located in Mount Washington, MA l berkshiredigital.com l 413·644·9663

THE ARTFUL MIND

IN PRINT SINCE 1994

SEPTEMBER 2024

CALENDAR OF EVENTS ...4

Interview with BRUCE LAIRD

Cover and Inside Photograph by Edward Acker

and other photographs courtesy of the Artist ...20

Re-Visit with Photographer BRUCE PANOCK

Portrait of the Artist by Bobby Miller and

other photographs courtesy of the Artist ...30

RICHARD BRITELL | FICTION

“Mouse Face”

from the Series Stories for Children...47

MINING MY LIFE.

DIARIES OF JANE GENNARO ... 48

Publisher Harryet Candee

Copy Editor Marguerite Bride

Third Eye Jeff Bynack

Distribution

Ruby Aver

Contributing Photographers

Edward Acker Tasja Keetman Bobby Miller

Contributing Writers

Richard Britell

Jane Gennaro

Advertising / Editorial inquiries

and Subscriptions by mail:

413 - 645 - 4114

artfulmind@yahoo.com

Read the online version: ISSUU.COM

FB: ARTFUL MIND GALLERY for Artful Minds 23

THE ARTFUL MIND

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Great Barrington, MA 01230

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OPEN 7 DAYS A WEEK

Escape into Chocolate

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THE ARTFUL MIND SEPTEMBER 2024 • 1

2 • SEPTEMBER 2024 THE ARTFUL MIND

CALENDAR OF EVENTS

Music Mountain Summer Festival: Merz Trio

September 8 @ 3:00 pm - 5:00 pm

Merz Trio

“Alma Mahler Goes West”

musicmountain.org / 860-824-7126

Eleventh Annual Berkshire Pottery Tour

September 28, 8 am - 5pm

Stockbridge, Richmond, Monterey, Great Barrington, Housatonic:

Ben Evans, Paula Shalan, Berkshire Art Center, Lorimar Burns, Dan Bellow Pottery,

Ellen Grenedier, Michael Marcus

Maps: lorimer@berkshireartcenter.org / 413-717-0798

Art

510 WARREN STREET GALLERY

510 Warren st, Hudson NY

518-822-0510 / 510warrenstgallery@gmail.com

Featured artists each month.

ART ON MAIN GALLERY

38 Main st, West Stockbridge, MA

www.berkshireartists.org

September 12-22: ReVision: The Art of Seeing Beyond:

Reception, Saturday, September 14, 2 – 4 pm

Artist Talk, Saturday, September 21, 2 pm: Thom Lipiczky,

Marcelene I. Mosca, Susan Sabino.

BECKET ARTS CENTER

7 Brooker Hill Rd, Becket , MA

413-623-6635 office@becketartscenter.org

September 10, 10am-1pm

Plein Aire Painting Workshop

BERKSHIRE BOTANICAL GARDEN

5 West Stockbridge Rd, Stockbridge, MA

413-298-3926 BerkshireBotanical.org

June 1 through Oct. 6 (outdoor sculpture exhibit);

Aug. 10 through Oct. 6 (indoor exhibition); Todd

McGrain,“The Lost Bird Project” Opening reception

BERKSHIRE MUSEUM

39 South St, Pittsfield, MA

Through Sept 18: Black Woman as MUSE: Exhibition

by Jerry Taliaferro

BILL ARNING EXHIBITIONS

17 Broad Street, Kinderhook, NY

bill@billarning.com

Through October 13: Other Beings: Four Painters

Bringing Roughly 20 Unique Faces: Hannah Barrett,

Richard Butler, James Esber, Cruz Ortiz

CARRIE HADDAD GALLERY

622 Warren St, Hudson NY

info@carriehaddadgallery.com

Through Oct 12: Understories, a group exhibition of

painting and mixed-media works by Anne Francey,

Allyson Levy, Eileen Murphy, Rinal Parikh, Ragellah


Rourke and Annika Tucksmith. In the upstairs gallery,

there will be a solo show of new paintings by David

Konigsberg.

ECLIPSE MILL GALLERY

248 Union st, North Adams, MA

Carlos Caicedo : Paper and Pencils

September 3 - 30.

Reception Sept 6, 5-7pm; Performance by

Wendell Beavers

THE CLARK MUSEUM

225 South St, Williamstown, MA

clarkart.edu

Through October 14, 2024

Guillaume Lethière : Born in Sainte-Anne, Guadeloupe,

Guillaume Lethière (1760–1832) was a key

figure in French painting during the late eighteenth

and early nineteenth centuries.

CLOCK TOWER ARTISTS’ STUDIOS & GALLERY

www.ArtintheBerkshires.com

See full schedule on their website. The Clock Tower

Artists is a collective of working artists in the heart of

Pittsfield, located in the beautiful Berkshires - a cultural

destination in the hills of Western Massachusetts.

The artist studios are on the 3rd floor of the

Clock Tower Business Center, where many open studios

and art events are held

GALLERY NORTH

9 Eagle St, North Adams, MA

802-379-0759

A fine art gallery featuring contemplative, exciting,

and affordable art by Marilyn Cavallari, Ghetta

Hirsch, Sean McCusker and Mallory Rich.

FENNIMORE ART MUSEUM

5798 State Highway 80, Cooperstown, NY

info@fenireart.org

www.fenimoreartmuseum.org

Bob Dylan Remastered: Drawings from the Road,

thru Sept 15.

LABspace

2642 NY Route 23, Hillsdale, NY @labspace_art

Through Sept 29: ELEVATION In their first two person

show together, Adrian Meraz and Christina Tenaglia

work separately and together, integrating

ideas of influence, of commingling; and of entanglement.

LICHTENSTEIN CENTER for the ARTS

28 Renne Ave, Pittsfield, MA

Visible: Opening reception Oct 5, 3-5pm.

MAD ROSE GALLERY

5916 N Elm Ave, Millerton, NY

Photography / Fine Art

MASS MoCA

1040Mass MoCA Way, North Adams, MA

info@massmoca.org

Through November 3: The Plastic Bag Store: The

Plastic Bag Store is an immersive, multimedia experience

by Brooklyn-based artist Robin Frohardt that

uses humor, craft, and a critical lens to question our

culture of consumption and convenience — specifically,

the enduring effects of single-use plastics. The

shelves are stocked with thousands of original, handsculpted

items — produce and meat, dry goods and

toiletries, cakes and sushi rolls — all made from discarded,

single-use plastics in an endless cacophony

of packaging.

PAMELA SALISBURY GALLERY

362 1/2 Warren St, Hudson, NY

Through Oct 5: Understory: Snakes, Snails, and the

Forest Floor

SOUTHERN VERMONT ARTS CENTER

860 SVAC Drive, West Road, Manchester, VT

Through September 22: Sand to Splendor: The Nature

of Glass; Through September 22: Pastel Panorama:

Journeys with a Medium

SUSAN ELEY FINE ART

433 Warren St., Hudson, NY

Through October 13: Eighteen: Ted Dixon

THE RE INSTITUTE

1395 Boston Corners Rd, Millerton, NY

theReInstitute@gmail.com

September 21 - Octover 26: Kathleen Kucka,

Janice Stemmermann

After Summer

CARRIE MAE WEEMS: REMEMBER TO DREAM

Through December 1.

Remember to Dream revisits the range and breadth of Carrie Mae Weems’s prolific career

through seldom displayed and lesser-known works that demonstrate the evolution of her

pioneering, politically engaged practice.

Hessel Museum of Art

CCS Bard / Bard College Annondale-on-Hudson ccs@bard.edu

Exhibits: Doug Fitch: mixed media

Human/Nature

Through October 31.

James Holl: The Landscape Painter: The Book

September 14 - Oct 31

TurnPark Art Space

2 Moscow Rd, West Stockbridge, MA

THE WIT GALLERY

27 Church St, Lenox, MA

Contemporary Fine Art and Sculpture ongoing

display of artists work

Theater

MAC-HAYDN THEATRE

1925 NY-203, Chatham NY

518-392-9292

September 5-15: The Fantasticks

SHAKESPEARE & COMPANY

70 Kemble St, Lenox, MA

413-637-3353 shakespeare.org

Through October 13, 2 / 7pm: Three Tall Persian

Women

THEATRE on the ROAD

Rosendale, NY

www.theatreontheroad.com

September 26 / 27, 7pm: DRACULA. For the third

consecutive year, Theatre on the Road, a traveling

company based in Rosendale, New York, will produce

and stage Dracula at the Widow Jane Mine.

Music

CLOSE ENCOUNTERS WITH MUSIC

Mahaiwe Performing Arts Center

14 Castle St, Gt Barrington, MA

October 20, 4 pm: Drama and Melodrama —

The Schumanns

IVAN DALIA: BACH TO ROCK

Church on The Hill, Lenox

Saturdays: August 31, September 28 at 7pm |

A Journey through the generations & genres of

music that bring people together in the Berkshires.

Ivan creates a memorable evening of music, stories

& smiles with original interpretations of great music

performed in the Berkshires from 1950 to 2024.

EGREMONT BARN

17 Main st, South Egremont, MA

theegremontbarn.com (Full schedule)

September 6, 7:30pm: Deadman’s Waltz; Oct 5,

7:30pm: King Kyote

MAHAIWE PERFORMING ARTS CENTER

14 Castle St, Gt. Barrington, MA

mahaiwe.org

September 28, 7:30pm: Villalobos brothers

The Villalobos Brothers are a Grammy-winning, violin-wielding,

family band that has been recognized

as one of the foremost Contemporary

Mexican ensembles in the world.

MUSIC MOUNTAIN

225 Music Mountain Road, Falls Village, CT

September 7: Silent Film & Live Music. Internationally

acclaimed silent film musicians Donnie

Sosin and Joanna Seaton create a live score for

Buster Keaton’s hilarious silver screen comedies

SHERLOCK JR. (100th anniversary!) and his 1922

short COPS.

NEW MARLBOROUGH MEETING HOUSE

154 Hartsville-New Marlborough Rd,

New Marlborough, MA

https://nmmeetinghouse.org/

September 14, 4:30pm:

From Mozart to Piazzolla: A Panarama of Musical Expression;

violinist Eugene Drucker, cellist Roberta

Cooper, and pianist Gili Melamed-Lev

RACEBROOK LODGE

864 Undermountain Rd, Sheffield, MA

info@rblodge.com

September 15, 7 - 10pm: The InBetweens; September

22, 8pm: Tambacum; Spetember 26, 8pm:

Alash; September 28, 8pm: Fire of the Heart: Brenda

McMorrow & John De Kadt; October 18, 20; 7/6pm:

Space Panorama by Andy Dawson

SANDISFIELD ARTS CENTER

Hammertown Rd, Sandisfield, MA

www.sandisfieldartcenter.org

October 6, 4pm: Bill Taylor and Friends. This concert

features Bill Taylor playing along with two woodwind

players, Gerold Mohn and Cathy Mohn, and French

horn player Stewart Edelstein and singer Jaye Alison

Moscariello.

TANNERY POND CONCERTS

110 Darrow Rd, New Lebanon, NY

888-820-1696

Capitalregionclassical.org/product/israeli-chamberproject-1/

September 7, 7:30 - 9:30pm: Israeli Chamber Project.

Khachaturian: Trio, Bartók: Hungarian Peasant

Songs (selections), Dvořák: G-major Sonatina, Op.

100. Gershwin: Three Preludes, Ben-Haim: Three

Songs without Words, Bartók: Contrasts

Film

IMAGES CINEMA

50 Spring st, Williamstown MA

413-458-1039

MAHAIWE PERFORMING ARTS CENTER

14 Castle Street, Gt Barrington, MA

September 27, 7pm:Film: Crooklyn, 1994: Crooklyn

is a semi-autobiographical film directed by Spike Lee

and co-written with his siblings. Lee also co-stars in

this family portrait about growing up in Brooklyn during

the 1970s.

To be included

in the calendar

please send to

artfulmind@yahoo.com


BAND PRACTICE

MATT BERNSON

Matt Bernson is a figurative artist who intuitively

uses bold lines and bright color to expressively

portray the human figure in playful and

provocative ways. Matt graduated from MassArt

with a BFA in Animation & Painting and has

worked as a caricaturist and tattoo artist. His style

could be described as a flavor of illustrative expressionism:

a combination of strong lines and

graphic composition paired with vivid color and

loose brush strokes to hint at a narrative for the

viewer to feel through. Matt Bernson brings attention

to the human body with unique methodologies

to help the viewer find new levels of

appreciation for the figure.

Matt Bernson-

ArtByMattBernson.com /

matthew.bernson@gmail.com

Instagram @MattBernson.Art

WAKING UP TO A NEW DAY FROM BREAKAWAY SERIES

MIXED MEDIA ON CANVAS, 36"X48"

ERIKA LARSKAYA

Confinement and Breakaway examine the mental

state of struggle to make sense of our environment,

both physical and psychological. I

incorporate childlike drawing to represent nonconformity;

the unadulterated state before we get

confined by rules, commitment, insecurities, and

other “add-ons.”

“I distress and repair parts of the painting, as

we do within ourselves. The drawings of floor

plans and elevations, which I use as a starting

point, create a sense of enclosure, which I expand

by continuing the lines outward, breaking the

structural pattern. This alters the sense of confinement,

breaking away from the [rigid, static]

norm”.

Erika Larskaya -

https://www.erikalarskaya.art

WOVEN THOUGHTS

ACRYLIC ON CANVAS 24X24” SOLD

RUBY AVER

STREET ZEN

Growing up on the Southside of Chicago in the

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

youth, playing in the streets demanded grit.

Teaching Tai chi for the last 30 years requires a

Zen state of mind. My paintings come from this

quiet place that exhibit the rich grit of my youth .

Movement, shape and color dominate, spontaneously

combining raw as well as delicate impulses.

Ruby Aver -

Housatonic Studio open by appointment:

413-854-7007, rdaver2@gmail.com,

Instagram: rdaver2

Carolyn M. Abrams

And The Message is...

I am incredibly pleased to announce that “And the Message Is”

created by yours truly will be one of the featured artworks at the

“Visible” exhibit at the Lichtenstein Center for the Arts.

October 4 — November 23, 2024

VISiBLE Opening Reception:

Saturday, October 5, 3-5 pm

Breakers at Sunrise, 12 x 12, oils/cold wax medium

Atmospheric and Inspirational Art

www.carolynabrams.com

MEMBER GUILD OF BERKSHIRE ARTISTS


Lichtenstein Center for the Arts

28 Renne Avenue Pittsfield, MA

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

www:elizabethcassidystudioworks.com

elizabeth cassidy studio works

ITALIAN PIANIST & SHOWMAN

IVAN DALIA PRESENTS

FROM Bach

TO Rock

A Musical Journey through the generations & genres of music that

bring people together in the Berkshires. Ivan creates a memorable

evening of Music Stories & Smiles, with original interpretations of

great music performed in the Berkshires from 1950 to 2024.

Saturdays | August 31 | SEPTEMBER 28

CHURCH ON THE HILL, LENOX | 7PM

GET DETAILS & TICKETS

www.ivandalia.com


janet cooper

JOHN HUFFAKER Sculptor

Flying Gallop, 2024, Bronze, Limited Edition of 4, 11.5w x 7”h

Untitled, 48” x 72” 2”

www.janetcooperdesigns.com

Jhuffaker@fairpoint.net

Ruby Aver

Prone to Selfies Acrylic on canvas, 24”x 30”

rdaver2@gmail.com

Instagram: rdaver2.

Housatonic Studio open by appointment:

413-854-7007

We found these great artisens while on

Av. Hidalgo, in I.M, Q.Roo, Mex.

All handmade items using silver, wood, glass,

natural fibers & mixed medium.

That’s the life of an island artisan.

7.24 Harryet Candee





Erika Larskaya

“68”, 10” x10” Mixed media on Paper

"As an abstract artist, I search for ways to represent the invisible, subtle, and unexpressed.

I am driven to lay out fleeting and intangible experiences on physical surfaces". —Erika Larskaya

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


/

SOME ASSEMBLY REQUIRED

JOANNA KLAIN RICHARD CRIDDLE

JOANNA KLAIN

On View:

OCTOBER 3 - 30

RECEPTION:

SATURDAY OCTOBER 5, 4-7PM

Artist’s Shared Talks: Saturday, October 19, 3 pm

RICHARD CRIDDLE

Eclipse Mill Gallery, 243 Union St. North Adams

(Half a mile east of MASSMoCA on Route 2)

Open Thursdays — Sunday’s noon til 6pm or by appointment or chance.

Inquires: eclipsemill.com

Email: paperflats@icloud.com richardcriddle55@gmail.com


BERKSHIRE AERIAL PHOTOGRAPHY

berkshirephotographer.com

Onota Lake, Pontoosuc Lake & Mt Greylock

Ghetta Hirsch

My oil painting “Stained Rocks” 10” x 10”

is currently exhibited at Gallery North:

www.gallerynorthadams.com

9 Eagle Street in North Adams.

I am now a renting member of this new gallery and this

allows me to show my forgotten or favorite pieces freely.

We are five artists friends in Gallery North: Marilyn Cavallari,

Sean McCusker, Mallory Rich, Barbara Patton and Ghetta

Hirsch and we change our exhibits each month. Different art

mediums are offered to your eyes and an Opening Reception

takes place every first of the month from 4 to 7.

I am inviting you to see art chosen by our artists and visit our

new Gallery North right on Eagle Street, a very historical part

of North Adams.

My Home Studio is also welcoming you if you prefer

visiting an Art Studio.

Call or text at 413‐597 1716 to schedule.

Visit my Website at:

ghetta‐hirsch.squarespace.com

for more information.

Stained Rocks, 10” x 10”

MARK MELLINGER

Paintings - Collage - Constructions

Psilocybin Picnic

Acrylic on canvas. 48x48

Jinga Falls Acrylic and gold leaf on canvas. 48x48

Collection of Berkshire Bank

CLOCK TOWER ARTISTS

3rd Floor 75 South Church St Pittsfield MA

914. 260. 7413

instagram@mellinger3301

markmellinger680@gmail.com

Ich sehe dich in Tausend Bilder-W

Acrylic and collage on canvas 10x10

Ich sehe dich 3

Acrylic and collage on canvas 10x10


CANDACE EATON

Genesis Oil on canvas, 50” x 44” $8,000

631.413.5057 • candaceeatonstudio@gmail.com • www.candaceeaton.com

16 •SEPTEMBER 2024 THE ARTFUL MIND

UNTITLED, 24”X36”X6”

JANET COOPER

THE ART OF FIGURING OUT

WHAT KIND OF ARTIST I AM

Fabrics, anatomy, stitches, colors and bricologue

are words, imbued with intense emotionality for

me, a maker, collector and lover of objects and

places.

My first love was clay, so basic, earthy and obsessively

compelling, I adored making pottery

shapes and objects, resembling torsos. A period

of fascination with vintage tin cans, bottle caps

and junky metal discards followed. Metal was

sheared, punched, riveted and assembled into figurative

shapes. I began to use fabrics with these

works and eventually abandoned metal for hand

stitching doll sculptures, totems and collages, all

with second hand or recycled fabrics.

Lately I have introduced paint and waxes into

my work. I also am using animal bones, those armatures

of mammal form. I am recycling old

works into the new, a kind of synthesis of who I

have been with whom I am now.

I am also returning to jewelry or ornament making.

as well as fashioning a collection of garden

and street wear art aprons.

Janet Cooper -

janetcoop@gmail.com

www.janetcooperdesigns.com

WHERE IS KIZER. ACRYLIC ON CANVAS 74” X 70”

MARK MELLINGER

My two careers, art and psychoanalysis, concern

what can be said and what remains mute. In

painting, collage and constructions of wood and

iron I’m interested in the eloquence of the materials.

Avoiding a recognizable style in favor of experimentation,

I explore the possibilities of the

media. Our world and culture are dissolving. Art

can create precious islands of meaning and joy.

Mark will be showing his work at Hotel on

North, February 2 - March 31, 2024, 297 North

St., Pittsfield, MA 01201

Mark V. Mellinger, Ph.D.-

914-260-7413, 75 S Church St, Pittsfield MA,

instagram@mellinger3301

ABSTRACTED MEMORIES I, ACRYLIC, LATEX AND GRAPHITE

ON BOARD, 12” X 16”, 2022

JAYE ALISON

MOSCARIELLO

Jaye Alison Moscariello harnesses water-based

mediums like acrylic and watercolor, influenced

by a creative upbringing and artistic journey.

Through abstraction and intuitive color selection,

she captures the interplay between forms, with

lines that articulate deep-seated emotions. Her art

resonates with joy and upliftment, transforming

personal and worldly complexities into visual harmony.

The artist is passionate about creating art, painting

on flat, smooth surfaces, and using materials

that are environmentally friendly.

Moscariello’s work has been exhibited both nationally

and internationally, and has appeared in

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

Jaye Alison -

310-970-4517 / jayealison.com

“Don’t think about making art, just get it done.

Let everyone else decide if it’s good or

bad,whether they love it or hate it. While they

are deciding, make even more art.”

—Andy Warhol


RICHARD TALBERT

”Cape Cod” features a striking abstract composition created using watercolor on paper. The piece measures 30" x 22" and has

a vibrant interplay of colors and forms. Dominant hues of greens, blues, and yellows overlap and blend, creating a sense of

fluidity and depth. The edges of the painting show a hint of the paper's texture, enhancing the organic feel of the piece. Patches

of washed color and subtle gradations indicate a mastery of watercolor techniques, allowing the translucent layers to interact

harmoniously. This composition captivates with its serene yet dynamic essence, evocative of natural landscapes. I'm influenced

by The Hudson River School of Landscape Painting and Peruvian Textiles. This piece is a testament to my mastery of watercolor

and abstract expressionism. The ability to evoke a tranquil yet engaging atmosphere and this work inspires thought and reflection

in a truly compelling manner.

Email: Richtalbert1@gmail.com

My Lenox Studio is open by appointment. 413.347.3888

richtalbert1@gmail.com website: richardtalbertdesign.com


RICHARD NELSON

THE ALPHABET SERIES FROM A TO Z ...

Digital Art nojrevned@hotmail.com


BRUCE LAIRD

Interview by Harryet Candee

Photography by Edward Acker & Courtesy of the Artist


Inside the studio of Bruce Laird, visual artist

Mixing materials, for me, is just combining mediums to construct a composition. For example, I have a variety

of mediums and materials in my studio. Balance is most important in my compositions. My MBA is in studio

art with a focus on painting. I’ve expanded my vocabulary! —Bruce Laird

Harryet Candee: I've observed elements in your

artwork such as grids, collage, toys, strong contrast,

and photography. Can you elaborate on

what these elements signify to you?

Bruce Laird: I can tell you have been checking

out my studio.

Grids: Grids give me a basis for my larger paintings.

They're easy to build on, and I work to step

into the grid and make it mine.

Collage: I often cut up my photographs and then

reassemble them, based on color or form, into visuals

resembling mosaics. I also use various print

paper and vintage dress patterns for contrast.

Toys: I collect toys and figurines from secondhand

store tag sales. Sometimes, people (fellow

artists) will give me pieces. I have collections in

my studio for ideas for box assemblages, which

can be themed-based. Sometimes, I'll use plastic

people in real or imaginary environments.

Strong contrast: I enjoy combining bold colors,

often less complementary ones, to see how they

read together. It doesn't always work, but it

makes a strong contrast! I painted large geometric

shapes and played with optics to create 3D effects.

Photography: I am intrigued with shadows at different

times of the day—often cutting and overlaying

images.

You often take what you see, crop it down, and

create an abstract painting from this exploration.

Can you explain this process?

BL: My process has evolved by developing a

sense of creating a solid composition. My initial

"style" was more representational but not realistic.

I have moved to a more abstract vocabulary

through artist workshops, logging time at the studio,

collaborating with other artists, reading, and

researching. My art will continue to evolve in

this direction until I change!

In what ways do you work with illusion in your

art-making?

BL: With my photographic compositions, I move

to illusion by overlapping geometric, angular

shapes to create layers and tension for the viewer

to discover. I like to blur the borders to create

movement.

What is your definition of experimentation, and

how do you approach it?

BL: For me, it creates an environment in the studio

that gives me many reference points. For

example, if I am working on a collage that needs

a boost of something, some energy.

Have you ever reached a point where you need

to move on to the next art project because something

didn't work out as expected? What do you

do in this case?

BL: I usually sense when I have flushed out an

idea to the point where it is time to change direction.

Continued on next page...


VISUAL ARTIST BRUCE LAIRD

Think In The Box, Mixed media

Off The Surface, Acrylic, mixed media



Off The Surface Too Acrylic, mixed media

Floating Grid Acrylic, mixed media

For example, if it doesn't work out, I will leave

it for a week or two and revisit it. Sometimes I

see the solution immediately, but if not, I'll Gesso

over the parts not working out and take off in a

new direction.

The portraiture paintings you continually enjoy

creating all seem to offer hommage to an individual.

There is a consistent style using alphabet

letters to convey a message, intense color,

and high contrast. Please tell us more about this

body of work.

BL: I have always enjoyed featuring friends and

family or well-known people I've read about and

found some aspects interesting. I've done surreal

paintings of my dad and family. Usually, I'll include

text as a border. I was inspired to do a

painting of Anne Frank after visiting her family's

hiding place in Amsterdam. I met Jane Randolph

at a painting workshop in Umbria. She was quite

a celebrity in Hollywood during the 40s. We developed

a friendship through art.

What guidelines do you follow when sketching

with a pencil? Do these sketches go to another

level using color? What intrigues you about the

simple art of sketching?

BL: When I sketch, I try not to think of rules but

concentrate on capturing the image's immediacy.

I usually use a pencil or a fine-ink pen, depending

on how realistic the image needs to be. I've

always enjoyed continuous line drawing and

have sketchbooks from my time in Italy and

France.

I am intrigued by the simplicity of materials, just

paper and an instrument. It's also easier to carry,

and I can use them almost anywhere. When I

travel, I always have a pad and pencils with me.

It's a good opportunity to do rubbings and keep

a journal of places I've visited. I collect paper

from the locations, such as posters on lampposts,

newspapers, menus, tickets, and receipts. When

I'm back in the studio, I create collages. Of

course, I also photograph everything.

Bruce, how important is it for you to show your

work in public spaces? I was honored to have

your work in the Hudson art show, Fly On The

Convas, this past May.

BL: I know it is important to get my work in

front of as many eyes as possible to get reactions

from viewers. Often, I am surprised by people's

responses to my work, which show me things

and new ways I had never thought of. My work

has been shown in galleries in New York City,

Long Island, Connecticut, and national and international

juried shows. Success is always keeping

my art-making in motion and not becoming

static.

Do you feel a special connection between creating

art and your hometown and boyhood

memories now?

BL: I grew up in North Adams. I only had art instruction

once I started at BCC. Great professors

encouraged me to become more fluid and take

risks. Continued on next page...


BRUCE LAIRD VISUAL ARTIST

Hommage to Anne Frank, Acrylic on canvas

Future Father, Acrylic on canvas

Hommage to Jane Randolph, Acrylic on canvas



Homage to New Hampshire, Acrylic on Watercolor paper

Redefining The Grid, Acrylic on canvas

At BCC, I had art exhibits. I then transferred to

the University of Massachusetts Amherst.

My earliest art memories are of my father going

out on weekends to do watercolors around Williamstown,

as he would often take me with him.

After graduating from the University of Massachusetts

Amherst, I moved to Long Island in the

'70s with a BFA in painting and art education.

However, I was not able to find a teaching position.

I know you love working with shadows. Can

you reveal how you work with shadows?

BL: I am intrigued by shadows in my photography

because shadows are fluid and change based

on sunlight. Every photo seems unique to that

moment. I enjoy cutting up prints of shadow

photographs to overlap or reconstruct to make a

more interesting visual.

You have gathered a selection of found objects

that inspire your artistic process.

BL: I am constantly aware of my surroundings,

always looking for interesting objects and inspiration

to incorporate into my art. I always have

my phone ready to capture anything that catches

my eye.

We never stop learning. Do you agree?

BL: I agree that one can never stop learning. I

attend workshops whenever I can. I just finished

a week at the University of New Hampshire at

Keene.

Do you know when the art piece you create will

take on full color or perhaps be in black and

white?

BL: I will transition to black and white to develop

a different vocabulary if I have worked a

lot in color.

You and Deborah H. Carter have been collaborating

on art projects, which has been an excellent

experience for both of you. Deborah

creates 3-D artwork using recycled and upcycled

materials from nature and various finds.

How has the collaboration been going? What

projects have you been working on together?

BL: My collaboration with Deborah has been ongoing

for several months. We are working on a

dress design for the World of Wearable Art in

New Zealand. We were delighted to be accepted

for September 2024. Deb has excellent work discipline

and endless creativity. We work well as a

team, solving problems, and are happy to be part

of an international wearable art design show.

Bruce, what makes you want to be an art creator?

BL: Art-making is a way to document my life's

journey. I always incorporate "fun" elements into

all my projects. At this point, if I'm not having

fun, then I won't do it!

What are you recently working on?

BL: My latest work from this summer's workshop

focused on deepening mark-making and

creating more layering in my compositions.




Studio photograph at Clock Towers of Bruce Laird by Edward Acker

Technology has a way of rendering things obsolete.

How do you appreciate the old and the

new and combine them?

BL: It is important to me to appreciate the integrity

of objects, old and new. I don't use any apps

to enhance photos. I have used slide rulers and

computer chips in my art toolbox in my work.

Tell us about how wonderful it is to work in

your studio at the Clock Towers and about your

equally exciting and talented neighbors.

BL: Fortunately, I found and secured a space in

Clock Towers. Working with such an accomplished

group of artists is the best! Having conversations,

sharing materials, and being open to

suggestions is wonderful.

Is there something missing in your life? What

big ideas are you daring to explore next? Please

give us a good glimpse of your ingenious imagination,

Bruce.

BL: I try not to overthink what I do in the studio

or my life. I am a believer in fully experiencing

one day at a time. I don't project what I'm going

to do next. It is more exciting to let my art

evolve. Come into my studio, and you can see

my imagination on the walls!

What do you love about living and working in

the Berkshires? Would you want to live anywhere

else at this time?

BL: Life has been less hectic in the Berkshires,


and the area supports the arts. Sure, it would be

fun to live in Aix-en-Provence or Amsterdam.

Right now, I am content to be here.

"Every time I enter your studio, you greet me

warmly, offer me a piece of candy, and share

your handmade art, which I appreciate. When

did you first start this gift-giving tradition? You

have a unique talent for making anyone go

from feeling sad to happy!"

BL: As long as I have had a studio, it has been

important to make people feel welcome. I would

give a handmade card—something people could

leave with, sort of as a remembrance. Recently,

I've been making "art pins," just clip-on pins

made with photos that I cut to size. Come pick

one up!

As you examine your life and its historical influences,

which events have shaped your perception

of art?

BL: The music and art of the 60s, which were exploding

as I finished high school and entered

BCC, definitely impacted my perceptions of life.

Aside from creating art, what other activities do

you find fulfilling or enjoyable when you have

spare time?

BL: In my spare time, I read different types of

books, biographies, and poetry. Lately, I've been

reading about Women and Art. I've also been

teaching myself piano and being more consistent

with journaling.

What topics pique your interest when you overhear

conversations at a gallery opening, in the

elevator, or anywhere else?

BL: It is especially fun to hear people talk about

your work when they don't realize the artist is

standing beside them. Those statements are honest.

What interests you, and what do you like to discuss

when sitting around with people?

BL: I try to listen to other people more than I

speak. I have no desire to be in the spotlight, and

I would never engage in specific topics.

"If you were granted three wishes, what would

you wish for?"

BL: Three wishes—okay. 1) To eliminate

hunger, 2) To put politicians who declare war on

the front lines so that there would be world

peace, and 3) for more people to practice kindness.

It costs nothing, and it is easy once you

have the awareness.

F

Studio #307

Clock Tower Artists Business Center

75 South Church Street, Pittsfield, MA

Gallery

T Lapinski

Chris Malcomson

Sarkan

THE GUILD OF BERKSHIRE ARTISTS

Sept 12 - Sept 22

"ReVision- The Art of Seeing Beyond"

Thom Lipiczky

Marcelene I. Mosca

Susan Sabino

Sept 26 - Oct 6

"The Cold Waxers"

Participants in the Guild's

Advanced Cold Wax Workshops

Oct 10 - Nov 3

"ab-strac-tion"

Karen Dolmanisth

Chris Malcomson

Virginia Bradley

Nov 14 - Dec 1

"Canvas and Clay: Paintings and Pottery

by Alice Dugan"

Alice Dugan

Alice Dugan

Susan Sabino

Virginia Bradley

Art on Main - Gallery

38 Main Street, West Stockbridge, MA 01266

Gallery Hours: Thursday - Sunday, 11 - 4pm

For more information about the exhibit and current

Art on Main Gallery Shows and hours go to our website

www.berkshireartists.org

Karen Dolmanisth

PRESENTED BY THE GUILD OF BERKSHIRE ARTISTS

Pat Hogan


M.I MOSCA

K CARMEAN

E KARR

ART ON MAIN

GALLERY

The final round of artist member shows is coming

up in September through November at Art on

Main Gallery are as follows:

Woodworking artist Thom Lipiczky describes

his work: "I always try to remember that wood

comes from trees, and I try to demonstrate this

connection in whatever I’m building in some way.

Sometimes it’s highlighting grain or knots or accentuating

a shape like a leaf or branching. Using

“salvaged” materials like old beams and floorboards

reminds me of the history people have had

with wood."

Having written and taught poetry for many

years Marcelene I. Mosca strives to translate the

sensations and truths that inspire and inform it in

her visual work… the stroke of a brush, interactions

of color and texture in the abstract reflect

the human experience.

Artist Susan Sabino combines natural light

with macro photography to capture the harmony

between light, color and texture to create an

ethereal quality in her abstract botanical images.

Alice Dugan has been an oil painter for 30

years, both in the United States and Costa Rica.

She discovered an affinity for wheel-thrown pottery

when she moved to the area four years ago.

In both mediums, her emphasis is on color combinations

that reflect light and enhance form.

Karen Dolmanisth creates experiential sculpture

environments, paintings, drawing, prints,

video, photography, ceramic sculpture, and interdisciplinary

performative work that communicate

through an abstract and symbolic visual lexicon

that are process based and often temporal, illuminating

cycles of change, the science and mysteries

of transformation and stages of integration and

wholeness.

Alchemy and the performative aspects of painting

are the basis of Virginia Bradley’s abstract

painting practice. Environmental issues surrounding

climate change have been formative in her

practice.

Chris Malcomson’s abstraction paintings are

often portals inviting the viewer to explore other

layers of consciousness. Color and form are primary

elements in his practice.

Artists participating in the exhibit “The Cold

Waxers” are Elsa Karr, Jane Craker, S. R. Aiken,

Pat Hogan, Annie Milfie, Cheryl Binder, Karen

Carmean, Marcelene I. Mosca, Sue Arkan and

Amy Pressman

Check out our full-page ad for dates of each

show, receptions and artist talks or go to website

www.berkshireartists.org for more info.

Art on Main Gallery- 38 Main Street, West Stockbridge,

MA.

CANOE MEADOWS IN SPRING, WATERCOLOR

MARGUERITE BRIDE

COMMISSIONS

For the past few years my professional painting

career has led me to more commission work.

While I still paint and love doing house/inn/business

portraits, other scenes have become part of

my portfolio as well….retirement paintings including

special buildings and people, scenes

where a proposal happened (and he said YES), nature

scenes that capture the peace and spirit of the

Berkshires, landscape views from windows, lots

of wedding venues, college paintings for new

graduates…the list goes on. Each painting is special,

personal and meaningful.

The process is easy. If you are local to the

Berkshires, I will visit the home/site, take many

photos and do a few sketches on site. If now I will

work from your photos. Drawing is the next phase

and where your input is valuable…what to include,

what to leave out or move, season, time of

day, pets in or out? So many fun things to consider

when creating and personalizing your treasure and

future heirloom.

Once the drawing is approved, I paint. The

painting process will take about a week….most

of the time is spent in the preparation phase before

the painting begins.

Is this a surprise gift for someone? I love surprises

and do it all the time! I can be very stealth

at taking photos. Or are you nervous that the scene

might not be exactly what the recipient wants? A

gift certificate is perfect, then I will work directly

with the recipient.

Be in touch and I will answer all your questions.

And check out the “House Portrait” pages

of my website….lots of information and details.

Marguerite Bride –

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

margebride@aol.com;

Facebook: Marguerite Bride Watercolors.

Instagram: margebride.

LONNY JARRETT

BERKSHIRE SCENIC

PHOTOGRAPHY

My initial memory of awakening to the creative

impulse was hearing the first chord of the Beatles,

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

knew something big was happening at that moment,

and I had to get on board! I began studying

at the Guitar Workshop, the first guitar school in

America. I’ve performed music most of my life

and play jazz fusion with my band Redshift.

My interest in photography blossomed as an

electron-microscopist publishing neuro- and molecular-biological

research out of UMASS/Amherst

and the Albert Einstein College of Medicine

in the Bronx in my early 20s.

As a lifelong meditator, martial artist, musician,

and photographer, everything I engage with

comes from the same unified intention toward engendering

the true, the good, and the beautiful. I

endeavor to capture the light that seeps through

everything in landscape and nature photography.

Lonny Jarrett -

Community: Nourishingdestiny.com

Books: Spiritpathpress.com

Art: Berkshirescenicphotography.com

Teaching: Lonnyjarrett.com

ARTFULMIND@YAHOO.COM


Portrait by Bobby Miller

Abstract Trees

BRUCE PANOCK

PHOTOGRAPHER

Re-Visit with the Artist...


Contrasting Ideas

“A journey of Exploration”—Bruce Panock

Interview by Harryet Candee

Harryet Candee: You have not stayed still

since our last interview in September/October

2021, Bruce. What is new in your life?

Bruce Panock: I continue to work. It has been

more than 10 years since my lung transplant, and

the limitations remain, but I am making my path

and finding how I want to interact with life and

the world around me. I am finding what is important

and how I want to express these ideas in

my art.

I have come to realize that my art is part of the

evolution of how my world has changed since

the surgery and how I view the world. It is my

visual diary of sorts.

Photographers, as with many artists, spend time

alone developing their ideas and ways to express

them. I find my world is yet a bit more isolated.

I explore this isolation with my work. What it

means, and how it evolves.

“For this body of work, everything starts with

the search for shapes and patterns in the landscape.

When I get back to the computer. I then

mask out what doesn’t add to the subject. This

could take days of effort. When the shapes and

patterns have revealed themselves, I begin

thinking about the background, the colors, and

the textures. It all evolves … or fails magnificently.”

Can you tell me if the following statement still

holds today, about the series of photographic

art you created in the past, which included

"Life, Death, Flight", "Doorway", "Abstract

Rock Formation", and "Flight, Freedom

Hope", Contrasting Ideas”? Have your creative

ideas and processes changed since then?

BP: The statement still holds, but the ideas continue

to be developed. There are still many attempts

that result in failures. These failures

remain as building blocks in the creation of the

work. I still struggle with color. I have zero background

in color theory, so there are many mistakes,

but I keep moving.

My processes in creating the work and developing

ideas have advanced (I hope). The ideas

are still hard to “put down on paper.” I keep

notes, try many different approaches to put a

voice to the idea and make many mistakes. But

the process always has the same starting point…

. put in the effort and the ideas will come.

I have admired your fine art photography for

many years. Each piece takes me to a door,

then the door opens. I find myself in another

evolving world that tells a story, often emotionally

charged, without words. I see your

work as exploratory and imaginative, pushing



Abstract Milkweed

In the Shadows

artistic boundaries and intricately designed.

The viewer can only imagine the effort it takes

to achieve such a remarkable outcome. Your

work is always beautifully and professionally

framed, an important selling point. Bruce,

what series of photographs are you currently

working on?

BP: What series? That I must admit is the hardest

question for me to answer. Unlike documentary

photographers who stick with projects that have

a specific story to tell, or horror to share with us,

my work does not, or at least, has not had such a

focus to date. Unlike friends of mine who have

passions for horses or dogs, their work shows

their love affair with these beautiful creatures. I

live in a different space. My art/story comes from

the circumstances that have been part of my life

for more than 10 years, and continue to be part

of my life

I make photographs often. I collect shapes, lines,

and movement. Some colors appeal for various


reasons. And then the basic effort begins. I remove

(mask out in Photoshop) the features that

do not strike a chord with me. These features do

not add to the idea or thought that I want to share.

It is a certain movement and flow that I am looking

for, and then I begin to address what I want

to say. The image may come together, or not. I

never delete anything. One can never tell when

the idea will gel or my Photoshop talents will

catch up to my needs. There are groupings by

subject which are added to over the years. But

no one project at a time.

When you show work in an exhibition or a

gallery, do you need to adjust your artwork to

fit the venue? I hope this has only enhanced

your art-making process and made it more inspiring

for you.

BP: I rarely adjust my work to fit the needs of a

venue, or its audience. It is hard to imagine that

my work fits every gallery or exhibition. I have

been looking for a gallery in which my work fits.

It is work that naturally fits within the vision of

the gallery. I look for exhibitions in which my

work naturally has a place. It is not that I do not

think about how people will view my art, but I

have a certain thought that I want to express, a

certain idea that I want to share.

I have the good fortune to be part of a vibrant

photography community where I share my work.

People will offer suggestions, or try to note

weaknesses in the work. I go home and review

the work considering the comments and critiques.

Sometimes I will make subtle changes if

what I try to share is not compromised. After all,

we learn from our mistakes.

I may have versions of an image, but that is part

of the process of finding the best way to express

a thought.

In your statement, you mentioned that the

world contains both beauty and joy, as well as

BRUCE PANOCK RE-VISIT WITH THE ARTIST

What We’ve Done

ugliness and pain. Can you give examples of

how you express these contrasting experiences

through art? It is interesting to think about

what the world would be like without these

contrasting emotions.

BP: The Berkshires are filled with beauty. Its

forests, its fields its gardens, not to mention all

of the arts that we have are within a short drive.

The entire County inspires all art forms and the

setting in which to create.

And yet, in all of this beauty, there is the risk of

Nature being destroyed. Whether this destruction

is to the waterways, our fields, or our wildlife

and their habitat. It’s frightening what is possible

if we do nothing. We are fortunate in that there

are organizations that are trying to preserve what

we value so much.

We have a history all around us. There are buildings

throughout the county that have a beauty

that is more than what is on display inside of

them. The image made at the Mass Moca Power

Plant shares what would have happened had not

people with vision made such a wonderful place

to see inquisitive minds at work.

There is much in the world which is aggravating

and frightening. I am trying to add my voice in

protest of humanity’s ever-present desire/tendency

to destroy itself. I try to share my fears of

where we are headed if we don’t care for these

treasures.

I find it fascinating how the time spent viewing

art can feel both short and long. What

message would you want viewers to take away

from their time contemplating your work, regardless

of how long it takes them to fully understand

it?

BP: I hope that people will pause, just long

enough to look at the work and let it touch them.

Granted the art might not resonate, and they will

move on. But for some viewers, they might

pause for a few moments more and allow the

work to start a conversation that might allow the

interaction to go further. I hope that I have

opened a door through which the viewer might

go.

I put a great deal of thought into the artwork. But

once it is on the wall, it is up to the viewer to engage

and decide whether the art has some meaning

for them.

If you were to create a series, or just one piece

that sums up your life and will receive great

exposure, what elements of nature and theme

would be at the top of your list to include, and

why? What challenge would you enjoy taking

on with this piece? What fears can you let go

of and just create for the sake of creating with

this, if that is at all possible?

BP: Hard question. The answer is a project that

evolves from isolation to abandonment, to forgotten.

All one needs to do is look around.



End of the Slope

How many fields have overgrown homes where

people once lived and raised their families?

They are forgotten and Nature has reclaimed the

land. How many older, beautiful homes are purchased

for the land? The buildings are knocked

down to build something new and shiny without

thinking of the beauty in the building that is

being knocked down. How many factories are

just knocked down, forgotten, and never to be

used for some current need, before people with

a vision can repurpose them, saving their history?

How many people have a life filled with

their accomplishments, however great or small,

only to find themselves abandoned, and then forgotten?

It is hard for me to engage with people in a way

that would tell the story. I am still trying to find

a way. I think much of the art that I have made

thus far is setting me on the path to telling this

idea, this story. This is the project that I am trying


to find a way to give voice to.

Have you observed any current, trending, innovative,

cutting-edge technical and creative

processes in artmaking, specifically, photography,

that interest you to try out? How brave

would you need to be to add AI to your work?

BP: I think any of us who work in the digital

space today use Artificial Intelligence (AI) unless

we are limiting ourselves to dodging and burning.

Even so, it is hard to say where AI can be

found. The features of so many editing tools employ

AI “under the hood” of the program.

In my work, I use AI to edit out unwanted features

(i.e. poles, branches, and wires). I often

combine many images into one work, and at

times I need to fill in small gaps, thus the need

for AI to aid in filling the spaces. I do not use AI

to add skies, or other features to the images.

Technology is always evolving. But it will struggle

to exceed the creative process of a human

being. It may do things faster, but at least at this

time, it is hard to replace the creative human influence.

As we look around, there are so many

creatives who use these tools to express their

ideas. Like many others, I use the tools to fit my

needs.

I am always looking at the art made by others,

regardless of genre. There are so many creative

people making art. I admit to following in the

steps of others, but with my methods, and my

voice, and to a degree, I will use whatever tools

are available to me. The ideas and voice are still

mine.

Has your photography work ever led you into

other areas such as portraiture, the animal

kingdom, politics, or underground taboo subjects?

Of those subjects which might you explore

or never go near,?

BRUCE PANOCK RE-VISIT WITH THE ARTIST

Reaching for the Heavens

Tree and Building at Night

BP: I rarely do portraiture. I am just not good at

directing people. I do some family photographs,

but this is rare.

As I indicated earlier, I regularly employ politics

as an influence for my work. I do not attend political

gatherings due to my health restrictions but

my frustrations with our political environment,

and the lies and falsehoods that are often spread

are sources for ideas to be incorporated into my

art. I will explore how we are not so slowly damaging

our environment. Living in the Berkshires,

I have an appreciation for the beauty of Nature.

I have never explored our Western United States

but thankfully many photographers have, and I

have a great appreciation for their work, and a

great jealousy not being able to visit these open

places.

When I lived in NYC, I would rent studio space

and hire models to explore the nude. What interested

me was the lines and the flow of the human

form. These images have found their way into

the work that I am making today. I would make

more work, but lacking studio space and the

availability of models, at present this work is on

hold.

Looking back over the past five years, what

would you say have been your top achievements

in art? Whether an internal or external

achievement, or both. A progress report, perhaps

of something you managed to break

open and figure out?

BP: I have not given up the desire to have my

work shown in galleries, though I think that I am

closing in on achieving that goal.

With each passing year, I find more in Berkshire

County that draws my interest. Things and places

that we pass by and may not give a second

thought. Yet, with a few minutes to pause and reflect

on what I see in front of me, and how it

might help me express an idea, I find the Berkshires

filled with opportunity.

I am surprised at the places where I find subjects.

Almost all my work is photographed in the

Berkshires. Very recently, I found that the northfacing

wall of Berkshire Medical Center provided

the subject for an image.

G

Panockphotography.com

bruce@panockphotography.com

Instagram @brucepanock


FRONT STREET GALLERY

LANDSCAPE, KATE KNAPP

Painting classes on Monday and Wednesday

mornings 10-1pm at the studio in Housatonic and

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

Also available for private critiques. Open to all.

Please come paint with us!

Gallery hours: Open by chance and by appointment anytime

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

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

Front Street, Housatonic, MA

Reseveratrol, Mixed Media Botanical Collage 3’x4’ (2023)

Sally Tiska Rice

BERKSHIRE ROLLING HILLS ART

CLOCK TOWER ARTISTS

Studio 302, 3rd floor

75 South Church St, Pittsfield, MA

(413)-446-8469

www.sallytiskarice.com

sallytiskarice@gmail.com


JOANNA KLAIN, "SCHRODINGER'S CAT"

MULTIMEDIA ON CANVAS

GLISTEN NO. 2

HARTLEY

LESLEE CARSEWELL

My artwork, be it photography, painting or collage

embraces a very simple notion: how best to

break up space to achieve more serendipity and

greater intuition on the page. Though simple in

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

make use of both positive and negative space to

create interest, lyricism, elegance, and ambiguity.

Each element informs the whole. This whole, with

luck, is filled with an air of intrigue.

Breaking up space to me has a direct correlation

to music. Rhythm, texture, points of emphasis and

silence all play their parts. Music that inspires me

includes solo piano work by Debussy, Ravel,

Mompou and of course, Schubert and Beethoven.

Working with limited and unadorned materials,

I enhance the initial compositions with color, subtle

but emphatic line work and texture. For me,

painting abstractly removes restraints. I find the

simplicity of line and subsequent forming of

shapes quietly liberating.

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

hand in every endeavor.

Leslee Carsewell -

413.229.0155 / 413.854.5757

lcarsewellart@icloud.com

“ DUCK AND COVER” 2019 ( 50”X18”X18”) CERAMIC,

WOOD, STEEL, CINDER BLOCK, ALUMINUM AND BRONZE.

MADE WHILST ON RESIDENCY AT

SALEM ART WORKS, SALEM,NY.

JOANNA KLAIN and

RICHARD CRIDDLE

ECLIPSE MILL GALLERY

"Serendipity played a part when I happened

on Richard Criddle’s sculptures at a gallery in

North Adams. I had been thinking about finding

a sculptor to share an exhibition with me at the

Eclipse Mill Gallery in October. Immediately I

recognized that Richard’s Imaginative sculptures

would harmonize with the multimedia paintings

that I am immersed in now” – Joanna Klain

“On the last day of a group exhibit I was deinstalling

my sculptures when Joanna invited me

to exhibit with her at the Eclipse Mill Gallery. As

we talked, common threads emerged. Both of us

are veterans in our respective fields of printmaking

and metal working. We have both ”loosened

up” from the type casting of these traditional mediums.

We each are making narrative allusions

from fragmented sources. Hence: " SOME AS-

SEMBLY REQUIRED” - Richard Criddle

A reception will be held on Saturday, October

5, 4-7pm. Artist’s Shared talks on Saturday, October

19, at 3pm. The exhibit is on view October

3 – 30.

Eclipse Mill Gallery-

243 Union St. North Adams ( half a mile east of

MASSMoCA on Rte 2). Open Thursdays — Sunday,

noon til 6pm. - or by appointment or chance.

Inquires: eclipse mill.com;

Emails: paperflats@icloud.com /

richardcriddle55@gmail.com

RICHARD TALBERT

I am an Abstract Surrealist Painter and Architect.

I’m also Celebrating the 100-year centennial

of Surrealism.

”Cape Cod” features a striking abstract composition

created using watercolor on paper. The

piece measures 30" x 22" and has a vibrant interplay

of colors and forms. Dominant hues of

greens, blues, and yellows overlap and blend, creating

a sense of fluidity and depth. The edges of

the painting show a hint of the paper's texture, enhancing

the organic feel of the piece. Patches of

washed color and subtle gradations indicate a

mastery of watercolor techniques, allowing the

translucent layers to interact harmoniously. This

composition captivates with its serene yet dynamic

essence, evocative of natural landscapes.

I'm influenced by The Hudson River School of

Landscape Painting and Peruvian Textiles. This

piece is a testament to my mastery of watercolor

and abstract expressionism. The ability to evoke

a tranquil yet engaging atmosphere and this work

inspires thought and reflection in a truly compelling

manner.

My paintings and architecture address the complexities

of form and space in a rectangular format.

These forms are defined spaces and

conscious “transformations” of transparent

planes. Sometimes these abstract images of vision

are distortions and trigger an insubordinate sense

of color. As a Public Muralist, my work can be

provocative as well as reflective of my daily surroundings.

Yet, I am always conscious of Current

American Landscape Painting, the Great Mexican

Muralists of the 1940’s as well as Ancient Peruvian

Textiles.

One man exhibitions include: Gallery Des Artistes,

533 Clematis Street, West Palm Beach,

Florida, 33401. Bonwit Teller & Co., Atrium Gallery,

Bal Harbour Shops, 9700 Collins Avenue,

Bal Harbour Shops and Indoor/Outdoor Shopping

Mall, Bal Harbour, Florida. 33154.

Richard Talbert -

My Lenox Studio is open by appointment:

413-347-3888

richtalbert1@gmail.com,

Website: richardtalbertdesign.com

Fantasy, abandoned by reason,

produces impossible monsters; united with it, she is the mother of the arts and the origin of marvels.

—Francisco de Goya


“SEAWEED HOLE” OIL ON VINTAGE LINEN, 24”X 30”

GHETTA HIRSCH

This painting is part of a new body of work focussing

on details in a landscape. The paintings I

am working on right now are seen from above or

sideways giving me a raw view of the simplicity

of nature. Contrasts in colors, shapes or textures

are highlighted by the subtract I am using. I went

to Miller’s Art Supply in Pittsfield with pieces of

an 1880 linen sheet that I inherited. This coarse,

irregular and handwoven linen texture provides

an interesting surface to paint on and adds to the

organic effect I am pursuing in my oil painting

currently. It is also extremely taunt and solid.

Enjoy this little piece of Maine, seaweed between

wet rocks on the shore!

If you like seascapes, I have quite a few paintings

on this topic exhibited at Gallery North in

North Adams. www.gallerynorthadams.com

One of my new paintings has been selected to

be exhibited as a banner by Eyes on Art Town

2024, a yearly event in Williamstown. The original

of the painting will be placed at the Spring

Street Market this fall.

Another Summer oil painting is exhibited at

Beckets Art Center and I hope you will be able to

attend the Opening of their “Nature is Wild”

Show, September 20th 5-7, https://www.becketartscenter.org

My Home Studio will welcome you anytime if

you like to browse privately. Just text or call

Ghetta Hirsch-

413-597 1716

ghetta-hirsch.squarespace.com

“I didn’t want a completely passive viewer.

Art means too much

to me. To be able to articulate something

visually is really an important thing.

I wanted to make work where the viewer

wouldn’t walk away.”

– Kara Walker

BIRCH VIHTA

MIXED MEDIA BOTANICAL COLLAGE

2’6”X3’4” 2023

SALLY TISKA RICE

BERKSHIRE ROLLING HILLS

Born and raised in the captivating Berkshires,

Sally Tiska Rice possesses artistic prowess that

breathes life into her canvases. As a versatile

multi-media artist, Sally seamlessly employs a

tapestry of techniques, working in acrylics, watercolors,

oil paints, pastels, collages containing

botanicals and mixed media elements. Her creative

spirit draws inspiration from the idyllic surroundings

of her rural hometown, where she

resides with her husband Mark and cherished

pets.

Sally's artistic process is a dance of spontaneity

and intention. With each stroke of her brush, she

composes artwork that reflects her unique perspective.

Beyond her personal creations, Sally

also welcomes commissioned projects, turning

heartfelt visions into tangible realities. Whether

it's capturing the essence of individuals, beloved

pets, cherished homes, or sacred churches, she

pours her soul into each personalized masterpiece.

Sally's talent has garnered recognition both nationally

and internationally. Her career includes a

remarkable 25-year tenure at Crane Co., where

she lent her hand-painted finesse to crafting exquisite

stationery. Sally is a member of the Clock

Tower Artists of Pittsfield, Massachusetts, the

Guild of Berkshire Artists, the Berkshire Art Association,

and the Becket Arts Center. Follow on

YouTube, Facebook, and Instagram.

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

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

self-guided tours.

Also, 51 Park Restaurant & Tavern in Lee, MA

Berkshire Rolling Hills Art, 75 South Church St,

3rd Floor, Studio 302, Pittsfield, MA. 413-446-

8469.

SallyTiskaRice@gmail.com

www.sallytiskarice.com

https://www.facebook.com/artistsallytiskarice

Fine Art Prints (Pixels), Twitter, LinkedIn,

Instagram, YouTube, TikTok

@DEBORAH_H_CARTER

UPCYCLED WEARABLE ART

PHOTO: KORENMAN.COM

MODEL: VICKI BONNINGTON

DEBORAH H. CARTER

SHOWING AT THE CAHOON

MUSEUM OF AMERICAN ART

THROUGH SEPTEMBER 15

Finalist World of Wearable Art 2024

Deborah H. Carter is a multi-media artist from

Lenox, MA, who creates upcycled sustainable

wearable art. Her couture pieces are constructed

from post-consumer waste such as food packaging,

wine corks, cardboard, books, wire, plastic,

and other discarded items and thrifted wares. She

manipulates the color, shape, and texture of her

materials to compel us to question our assumptions

of beauty and worth and ultimately reconsider

our habits and attitudes about waste and

consumerism.

A sewing enthusiast since the age of 8, Deborah

first learned her craft by creating clothing

with her mother and grandmothers. Her passion

took hold as she began to design and sew apparel

and accessories. After graduating with a degree in

fashion design from Parsons School of Design in

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

designer on Seventh Avenue.

Deborah’s art has been exhibited in galleries

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

designers selected to showcase her work at the

FS2020 Fashion Show annually at the University

of Saint Andrews, Scotland. She has featured in

the Spring 2023 What Women Create magazine.

Deborah H Carter has been featured in the

Berkshire Magazine, What Women Create magazine

and was a finalist in the World of Wearable-

Art competition in Wellington, New Zealand

2023.

Deborah H Carter-

413-441-3220, Clock Tower Artists

75 S. Church St., Studio 315, 3rd floor.

Pittsfield, Massachusetts

Instagram: @deborah_h_carter

Debhcarter@yahoo.com


ARTFULMIND@YAHOO.COM

LONNY JARRETT FINE ART PHOTOGRAPHY

Berkshirescenicphotography.com

413‐298‐4221 Lonny@berkshirescenicphotography.com


RICHARD NELSON

“THE ALPHABET IN SO

MANY WORDS”

I always like to have projects, some more ambitious

than others. This particular project was to

provide a context for the illustrations for some

odd words. I like the words Zax and Zarf and

wanted to illustrate them. But without illustrating

the rest of the alphabet, it didn’t make sense.

The first four or five were abstract, but that

really didn’t make sense, so I opted to illustrate.

I think, collectively these would work great in a

book format. See what happens!

Richard Nelson-

@ nojrevned@hotmail.com

STILL LIFE BY KATE KNAPP

FRONT ST. GALLERY

Pastels, oils, acrylics and watercolors…abstract

and representational…..landscapes, still lifes and

portraits….a unique variety of painting technique

and styles….you will be transported to another

world and see things in a way you never have before….

join us and experience something different.

Painting classes continue on Monday and Wednesday

mornings 10-1:30pm at the studio and

Thursday mornings out in the field. These classes

are open to all...come to one or come again if it

works for you. All levels and materials welcome.

Private critiques available.

Classes at Front Street are for those wishing to

learn, those who just want to be involved in the

pure enjoyment of art, and/or those who have some

experience under their belt.

Front Street, Housatonic, MA. Gallery open

by appointment or chance anytime. 413-528-

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

www.kateknappartist.com

ELIZABETH CASSIDY

LITTLE LOVE LETTERS:

A PEACEFUL REVOLUTION

I created Little Love Letters: A Peaceful Revolution

in 2016. These small cards have my art

and messages of love and acceptance on them.

They have been mailed to our local and international

volunteers who have left over 70,000

cards in different public places for someone to

find and know that they matter.

My cards are all about creating a peaceful revolution.

My hope is that people will feel a little

love when they find a card. I have had people

write to me saying that the right card showed up

for them at the right time.

These cards are what someone described as

“magical.”

If you would like to join this peaceful revolution,

please go to my website, and look for info

under, “Social Impact.” We can make a difference.

We need to make a difference.

The world needs a little more love.

elizabeth cassidy studio works -

www:elizabethcassidystudioworks.com

The perfect gift

to show

friendship

and love.

Find charms that delight

and fascinate.

Hand-made beaded jewelry, plus

there’s so much more to see on

Laura’s online site!

Commissioned pieces welcome

LoopeyLaLa

www.LoopeyLaLa.Etsy.com

Enter promo code ARTFULMIND10 to receive 10% off your purchase


EDWARD ACKER

PHOTOGRAPHER

Time Flies • Get Pictures

EdwardAckerPhotographer.com

edwardacker302@gmail.com

413. 446. 8348

Matt Bernson

Nap

PORTRAITS • PIN UPS • NUDES

ArtByMattBernson.com

matthew.bernson@gmail.com | Instagram @MattBernson.Art




BRUCE LAIRD

Clock Tower Artists Business Center

Studio #307

75 South Church Street, Pittsfield, MA

(TOP) Only One (Acrylic on Board)

(BOTTOM) Homage To Hedy. (Acrylic on Canvas)


EDGE OF RAGE

AMERICAN GYPSY

CANDACE EATON

Hello September Artful Mind issue! Featured

in this issue is one of my favorite paintings, Genesis,

using the Horse as a symbol of our carnal life

and spirit, as I do in many of my works. My move

up to the Berkshires is exciting me about doing

plein air landscaping yet I know I will continue

to do the Archetype series like my American

Gypsy and the JazzHorse pieces like this small

mixed media painting called Edge of Rage. I continue

to personally object to the trend of Branding

myself and create with artistic freedom, which is

necessary for my muses’ whisperings.

Candace Eaton-

631-413- 5057

candaceeatonstudio@gmail.com

www.candaceeaton.com

BERKSHIRE DIGITAL

Since opening in 2005, Berkshire Digital has

done Giclée prints/fine art printing and accurate

photo-reproductions of paintings, illustrations and

photographs.

Giclée prints can be made in many different

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

paper choices. Berkshire Digital was featured

in Photo District News magazine in an

article about fine art printing. See the entire article

on the BerkshireDigital.com website.

Berkshire Digital does accurate photo-reproductions

of paintings and illustrations that can be

used for Giclée prints, books, magazines, brochures,

cards and websites.

“Fred Collins couldn’t have been more professional

or more enjoyable to work with. He did a

beautiful job in photographing paintings carefully,

efficiently, and so accurately. It’s such a

great feeling to know I have these beautiful, useful

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

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

We also offer restoration and repair of damaged

or faded photographs. A complete overview of

services offered, along with pricing, can be seen

on the web at BerkshireDigital.com

The owner, Fred Collins, has been a commercial

and fine art photographer for over 30 years having

had studios in Boston, Stamford and the Berkshires.

He offers over 25 years of experience with

Photoshop, enabling retouching, restoration and

enhancement to prints and digital files. The studio

is located in Mt Washington but drop-off and

pick-up is available through Frames On Wheels,

84 Railroad Street in Great Barrington, MA

413-528-0997 and Gilded Moon Framing

17 John Street in Millerton, NY

518-789-3428.

Berkshire Digital -

413-644-9663,

or go online to www.BerkshireDigital.com

PROMOTE YOUR ART HERE...

THE ARTFUL MIND

413. 645. 4114

CLASSIC FLORA, WILDFLOWER ENGAGEMENT RING

TW MCCLELLAND

& DAUGHTERS

CREATIVE FINE JEWELRY

Tim McClelland is a fine jeweler in Great Barrington,

MA known for his 20+ years as the creative

hands and mind behind McTeigue &

McClelland Jewelers. He has been practicing the

art of jewelry making for more than 50 years.

Engagement rings from his Wildflower Collection

are worn by editors of Vogue, Vanity Fair, W,

Town & Country, Martha Stewart Weddings, and

acclaimed by many more. TWM original pieces

have graced the red carpets of the Oscars and

Cannes.

Tim uses ancient and traditional jewelry making

techniques to bring to life timeless, inspired jewelry.

His work is known the world over by jewelry

connoisseurs and those who seek out originality,

beauty and quality. In his designs Tim is inspired

by nature, humor, light, balance, and the materials

themselves. He uses his work to create a joyful

expression in a tiny space. Most importantly Tim

hopes to be of service to his community and customers.

Beginning this Autumn the TWM atelier doors

will open to the public, Thurs., Fri, Sat, 11 - 5pm!

Please join our mailing list via twmcclelland.com

for an invite to the opening.

Contact us directly about all things jewelry at

info@twmcclelland.com or 413-654-3399.

Follow along on Instagram and Pinterest at

@twmcclelland


“Mouse Face”

FROM THE SERIES

“Stories For Children”

As soon as the fox was out of sight Rowena, (the

chicken,) ran out from behind the tree, and stood

in the path, uncertain what to do. She wanted to

head straight for home, but couldn’t because she

would be bound to run into the fox or his friends

on the way. But to go the other way would be to

get further from her home. As she stood there lost

in thought and uncertain what to do, the crow flew

down from his tree and landed right in front of her.

It might have been simply a coincidence, but Jason,

the crow, seemed to want Rowena to continue on

the path down to the lake. He stood there in the

path in front of the chicken, and took several bold

and determined steps in the lake’s direction. When

Rowen didn’t move to Rowena, he looked over his

shoulder and made a loud cawing sound not once,

but three times, and then a forth caw, somewhat

quieter after a little pause. The little quieter exclamation,

following three loud caws, is understood

to act as a kind of question mark, or so I have been

told.

All this was happening at a time before chickens

and crows had really learned how to talk to each

other. And even much later when they had learned

to converse, there was often confusion and misunderstandings.

It was a situation like when a tourist in a foreign

country asks directions, and the native, unable to

explain, simply walks off in the correct direction

waving a hand, so the crow indicated the way one

hop at a time, looking over his shoulder to see if

the chicken would follow him. So the two of them

headed for the lake which was some distance away.

Why was the crow so concerned to look after

Rowena in the first place? First of all, because they

were both birds, birds who hop along on two feet,

and birds are not fond of foxes. Secondly, it was

Rowena who had exclaimed, “Don’t chase the

crows away, they probably think they are chickens,

just like us.” Jason the crow, might not have exactly

understood what Rowena was clucking when

she clucked it, but he understood nevertheless.

Rowena was extremely curious about the lake.

From the chicken coop she had often looked at the

lake in the distance and wondered what it could

possibly be. This is what she thought. The lake

must be a piece of the sky that fell down and landed

on the ground in the distance. It was the same color

as the sky, and it even had clouds in it, if there were

clouds above. Rowena was completely shocked

and confused when she arrived at the edge of the

lake with the crow and discovered that it was completely

wet, and made up entirely of water. Then

she realized what a lake was because in the yard

near the chicken coop the children had a little

swimming pool, it also often looked like the sky,

and was wet all the time, and she had more than

once gone swimming in it.

Rowena ventured out into the water and swam

about for a while, and the crow stood by the shore

and examined various twigs and leaves, but in the

distance he noticed three sets of eyes looking at

Rowena and himself. It was the three foxes who,

not having found the chicken on the path to the

farm, had returned in search of her.

Then it was evening, and as always, a little later

it was night. Then it was cold and Rowena began

to feel a little homesick. She wished she had never

decided to go for a walk, and she did not care that

lakes are made of water, and she had no interest in

what foxes like to eat. She longed to be going to

sleep nestled in the chicken coop, all in a heap with

her brothers and her sisters, where it was simply

impossible to tell where one chicken left off and

another began. She looked around for a spot to settle

down for the night and the crow, who was looking

on from above, flew down and landed on a log

that was floating near the shore.

The log the crow landed on was not all by itself,

it had three brothers and one sister. The brothers

were three logs from a similar tree, and the sister

was a log from a birch tree with different markings

and a different color bark, mostly flaked off. The

five logs were tied together with clothesline rope

that had been cut into three foot sections with a

jackknife. The clothes that the clothesline rope had

been holding up were scattered all over some persons

yard, but that was over a year ago, and the

rope had been long ago replaced.

It was two brothers that took the rope, and used it

to tie together the logs to make a raft. On their raft

they had placed two milk crates containing a shoe

box with six bananas, and several comic books all

missing their covers. Stuffed in between the milk

crates was a quantity of straw which has been intended

to be used for pillows. There were also two

pillow cases, also from the yard where the clothesline

rope had come from. When the clothes from

the yard had been folded it was discovered that the

two pillow cases were missing, and the woman

who discovered the missing laundry simply assumed

that the wind blew them away, and spent a

long time looking for them. The pillow cases were

white with little blue flowers, and now, somewhat

faded, were tucked between the milk crates and the

straw.

The boys had been planning to run away from

home but their plans were disrupted because their

father moved the family to Alabama, where he had

secured a job selling used shoes door to door, so

the raft was never used.

Rowena settled down in the straw to go to sleep

for the night. The crow also went to sleep, perched

on the top of one of the milk crates, but the chicken

had difficulty sleeping. She kept hearing rustling

sounds behind her head, and sometimes she woke

up because of tiny squeaking noises. The squeaks

were coming from a little mouse who found herself

trapped between Rowena’s head, and the back corner

of her milk crate. I refer to the milk crate as

‘hers,’ because she and her family had been living

there for almost a year, and no chickens had bothered

to visit them.

During the night, as Rowena slept and the mouse

struggled to get comfortable, a strong wind began

to blow. It was a hurricane sort of wind. The little

raft struggled up and down and shook back and

forth, until its rope broke and it launched itself out

into the lake. When morning came the crow, the

chicken, and the mouse were way out in the middle

of the lake bobbing up and down, and all was calm.

It was just a few minutes after Rowena woke up

that the hay in the milk crate moved slightly and

Rowena found herself face to face with the mouse.

The mouse had not slept very well and so was not

quite awake, but she completely understood her

great danger; or what she imagined must be her

great danger. She could see that she was trapped in

the corner of her milk crate and was looking into

the visage of the most hideous, gigantic face she

had ever seen in her short life.

Just try to picture yourself in the situation of that

mouse whose name, by the way, was Clara. She

had been given the name Clara because her squeak

had a very slight clarinet type of sound. Who

named her Clara I have been unable to ascertain

yet, but you will just have to take my word for it,

but even so, it is not germane to the dire mouse situation

I am trying to describe for you.

As I was saying, imagine you are like that mouse,

and have found yourself trapped in the corner of a

dark room. In an open door, just a few feet away

from you there is a gigantic repulsive head about

ten feet high, and eight feet from ear to ear. This is

a face that has hysterically malevolent eyes the size

of watermelons. Below the watery watermelon

eyes is some sort of beak that looks like the jaws

of one of those automobile wrecking machines

found in junkyards. Death is inescapable, death is

at your doorstep, but first there is going to be some

dismemberment!

I'm sorry, this will not do. This is supposed to be

a children’s story, of the kind that is read in the

children's section of the library on Saturday morning,

and therefore words like ‘dismemberment,’

would seem to be very out of place. Little children,

even those eating chicken Mcnuggets, would have

trouble visualizing things like dismemberment,

even though it is actually part of their everyday carnivorish

existence.

But in that situation, backed into a corner by a

gigantic birdlike monster, and in the last moments

of your earthly existence, you would have no idea

what to do, would you? This is only because you

do not have the intelligence of the average mouse.

Either that, or Mother Nature did not bother to give

you the necessary resources to deal with that eventuality.

But Clara knew exactly what to do. She leaped

instantly from her corner directly onto Rowena’s

face, and grabbed hold for dear life. Rowena did

what you yourself would certainly do if you found

a mouse suddenly attached to your face. She took

two hops rapidly backwards, and then shook her

head violently left and right. Clara was thrown

completely from off of Rowena’s face, and also

clear of the raft, and disappeared under the water

leaving a trail of bubbles down into the depths. In

the milk crate, under the straw, her little children,

two boys and three girls huddled together in terror,

not knowing if they would even see their Mommy

ever again.

—-RICHARD BRITELL

AUGUST, 2024



BRUCE PANOCK

Cape Cod Abstract Sand and Sky

Panockphotography.com

bruce@panockphotography.com

917-287-8589

Instagram @brucepanock

THE ARTFUL MIND AUGUST 2024 • 49

Deborah H Carter

Upcycled Wearable Art

Photo: Korenman.com

Model: Vicki Bonnington

Showing at the Cahoon Museum

Of American Art through September 15

Represented by the Wit Gallery

Studio: Clock Tower Artists

the artful mind artzine september 2024

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