The Artful Mind magazine JUNE 2025

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

THE ARTFUL MIND

JUNE 2025

JOANE CORNELL

JEWELRY DESIGNER

PHOTOGRAPH BY EDWARD ACKER

the

IN PRINT SINCE 1994

JUNE 2025

ARTFUL MIND

“ IN GOOD COMPANY”

And the red balloon flies over Paris

And the Red Balloon flies over 11 Eagle Street, N.A.

ART SHOW AUGUST 2025.

JOANE CORNELL

FINE JEWELRY

CALENDAR for Spring and Summer... 4

Elizabeth Cassidy In Other Words | POETRY ... 11

Interview: Joane Cornell Jewelry Designer

Cover Photograph by Edward Acker ... 24

Interview: Robin Crofut-Brittingham Visual Artist ... 34

Richard Britell | FICTION

Valeria and the Ants CHAPTER 1 ... 47

Diaries of Jane Gennaro

Mining My Life EPISODE THREE “Hip Story” .... 48

Publisher Harryet Candee

Copy Editor Elise Francoise

Nancy Z. Commission order rings

COMMISSION ORDERS WELCOME

Hand Forged Designs

www.JoaneCornellFineJewelry.com

9 Main St. Chatham, NY

Contributing Photographers

Edward Acker Tasja Keetman Bobby Miller

Contributing Writers

Richard Britel Jane Gennaro

Third Eye Jeff Bynack

Distribution Ruby Aver

Calendar / Advertising/

Editorial inquiries and

Subscriptions by mail: 413-645-4114

Email: artfulmind@yahoo.com

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ARTFUL MIND GALLERY for Artful Minds 23

THE ARTFUL MIND

PO Box 985, Great Barrington, MA 01230

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Not responsible for photo content /copyright brought into magazine

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THE ARTFUL MIND JUNE 2025 • 1

2 • JUNE 2025 THE ARTFUL MIND


CALENDAR OF EVENTS

JON BATISTE

June 28, 7pm

Tangelwood Popular Artist Series

BS | Tanglewood

Koussevitsky Music Shed

297 West St, Lenox/Stockbridge, MA

TRINITY IRISH COMPANY

July 10 - 13

Jacob’s Pillow

358 George Carter Road, Becket MA

358 George Carter Road, Becket MA 413-243-0745

FUZZY

July 8 - July 27

Barrington Stage Company

St. Germain Stage, Pittsfield, MA

info@barringtonstageco.org

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

June 5 - 29, Thurs - Sun 11-4.: “Go Figure” Representing

berkshire artists Jane Craker, Julie Love Edmonds,

Pattie Lipman and John Huffaker and their

interpretations of being human through paint, sculpture

and prints. Reception: June 7, 2-4

BECKET ARTS CENTER

7 Brooker Hill Rd, Becket , MA

413-623-6635 office@becketartscenter.org

June 13-July 6: Berkshire LGBTQ+ Pride Exhibit;

June 13-July 6: Special Members Exhibition; Macrocosm:

July 25 - Aug 17.

BERKSHIRE BOTANICAL GARDEN

5 West Stockbridge Rd, Stockbridge, MA

413-298-3926 BerkshireBotanical.org

June 6- Aug 11: Day Dream, Curated by James Salomon;

Reception: Sat, June 14. Also: S;eepwalkers,

in conjunction with “DayDream”, an outdoor exhibit

by renowned sculptor Mark Mennin

BERNAY FINE ART

296 Main st Gt Barrington, MA

413-645-3421

June 7 - July 7: Shifting Views: The show will feature

the work of Noah Post, Simona Prives, Karin Schaefer

and Chenta Laury. The works in this exhibition explore

how meaning evolves depending on what we

notice, how we look, and what we bring to the experience.

CARRIE HADDAD GALLERY

622 Warren St, Hudson, NY

info@carriehaddadgallery.com

June 6 - July 27: The Summer Show

THE CLARK ART INSTITUTE

225 South St, Williamstown, MA

413-458-2303

July 12 - Oct 5: Berenice Abbott’s Modern Lens

Berenice Abbott (1898–1991) was one of the most


important American photographers of the twentieth

century, known for her pioneering documentary

style, unpretentious compositions, and technical innovations.

A woman photographer working in the

relatively early days of the medium, Abbott demonstrated

that women could hold a prominent place in

cutting-edge artistic communities. The Clark marks

the 100-year anniversary of Abbott’s first photographs

with an exhibition examining the relationship

between her portraits of people and her “portraits”

of places.

CLOCK TOWER ARTISTS’ STUDIOS & GALLERY

75 S. Church St, 3rd fl, Pittsfield, MA

clocktowerartists.com

The Clock Tower Artists is a collective of working artists,

see website for artists and open studio visits.

CHESTERWOOD

4 Williamsville Rd, Stockbridge, MA

chesterwood@savingsplaces.org

June 7 marks the opening of its 47th annual contemporary

outdoor sculpture exhibition, which will run

throughout the season, ending October 31. This season’s

exhibition, entitled Global Warming / Global

Warning! addresses the issue of climate change and

will be curated by preservation engineer and restoration

architect Michael F. Lynch, with works by sculptors

Kathleen Jacobs, Ann Jon, Harold Grinspoon,

Natalie Tyler, and DeWitt Godfrey.

FRONT ROOM GALLERY

205 Warren St, Hudson, NY

Front Room Gallery specializes in contemporary photography,

painting, sculpture, installation and limited

edition prints. June 21-July 13: Thomas Broadbent

FUTURE LAB(S) GALLERY

43 Eagle St, North Adams, MA

June 6 - 28: Portals: Life, Death, and the little red

house. Dawn Nelson / Carolyn Newberger

Opening: Friday, June 6, 6-8 pm

Closing: Saturday, June 28, 6-8 pm

Gallery hours: 1-5, Saturday and Sunday

GALLERY NORTH

9 Eagle St, North Adams, MA

413-663-1509

A fine art gallery featuring artists in many mediums

LAPIN CONTEMPORARY

Studio 308, 60 Roberts Dr. North Adams, MA

Through June 15: An Ode to Spring – Celebrating

Nature’s Renewal, a stunning group exhibition featuring

works by: Emily Bunnell, Wendy Hybl Fannin,

Douglas Gilbert Elisa Gilbert, John Lanterman, Natalie

Tyler and Jen Violette

LAUREN CLARK FINE ART

684 Main St, Gt Barrington, MA

Lauren@LaurenClarkFIneArt.com

Fine art, glass, sculpture and paintings

MASS MoCA

1040 MASS MoCA WAY, Hunter Center,

North Adams, MA info@massmoca.org

Through August 2026: Jeffrey Gibson: Power Full Because

We’re Different. A commissioned immersive

installation filling MASS MoCA’s signature Building 5

gallery that follows Gibson’s highly celebrated

United States representation at the 60th edition of

La Biennale di Venezia.

PAMELA SALISBURY GALLERY

362 1/2 Warren St, Hudson, NY

June 21 - July 20: Daisy Craddock, Michael Meehan,

Nisha Bansil & Bryan Whitney, Rachel Rickert, Ron

Milewicz and Scott Brodie

SANDISFIELD ARTS CENTER

Hammertown Rd, Sandisfield, MA

www.sandisfieldartcenter.org

Through July 6: Celebrating the 30th anniversary and

long anticipated renovations of the Arts Center, this

exhibition pays tribute to Sandisfield—the topography,

trees, totems, rocks, rivers, animals, and artists

who call it home.

SOHN FINE ART

69 Church St, Lenox, MA

413-551-7353 info@sohnfineart.com

May 10 - July 28: Heredity: Joseph La Piana. Heredity

explores the concept of artistic lineage and transformation

through Joseph La Piana’s signature blend

of scientific inquiry and material experimentation.

SUSAN ELEY FINE ART

433 Warren St., Hudson, NY

June 12 - July 27, Reception: June 14: Quotidiana:

Rituals and Passages, New Works by Francie Heter

SOUTERRAIN GALLERY

413 Sharon Goshen Tnpk, West Cornwall CT

Til’ June 30: Ken Krug: Country Roads & City Street

SPRING AND SUMMER 2025

BLUE SKIES AND OTHER CONVERSATIONS:

PAINTINGS BY ANNE LEVITT

June 6 - 29, 2025 Reception on June 7, 2 - 6.

510 Warren Street Gallery 510 Warren St. Hudson, NY

510warrenstgallery@gmail.com

THE THIRD ANNUAL DAVID GROVER

SCHOLARSHIP CONCERT

July 18 5:30pm

Berkshire Theatre Group

Balderdash Cellars 81 State Rd, Richmond, MA 413-997-4444

ROSANNE CASH WITH

JOHN LEVENTHAL

July 23 8pm

Mahaiwe Performing Arts Center

Gt Barrington, MA 413-528-0100

THE JAMES GAGARIN GALLERY

The Owl Library 160 S St, Litchfield, CT

May 29 - July 10: Impermanence:

Solo show: Erika Larskaya

TURNPARK ART SPACE

2 Moscow Rd, West Stockbridge, MA

May 17 - Aug 3: Paul Chaleff: Sculpture - Tables -

Chargers; May 17-Aug 10: Jim Morris: Leaving

Traces; Aug 13-Oct 31: John Clarke: Passing

Through.

NEW MARLBOROUGH MEETING HOUSE

154 Hartsville, New Marlborough Rd

New Marlborough, MA

June 20-July 20: “Botanically Speaking” Reception

June 20, 5-7pm. “Botanically Speaking” celebrates

the intrinsic beauty and complexity of plant life.

July 25 -Aug 24. “Elemental: earth / air / water”

Reception July 25, 5-7pm. Aug 29-Oct 5: “Black and

White and What Lies Between” Reception: Aug 29,

5-7 pm

Theater

BERKSHIRES THEATRE GROUP

www.berkshiretheatregroup.org

June: THe Elephant Man; Legendary Comedian

George Wallace; Pink Floyd’s The Wall. A Theatrical

Concert July: Out of Character; The Mousetrap.

Check website for locations and sepcific times.

HUDSON HALL

327 Warren St, Hudson, NY hello@hudsonhall.org

July 18 - Aug 17: Hudson Terminus, Jon Kinzel. Interdisciplinary

Exhibition with Site Specific Performances.

MAC-HAYDN THEATRE

1925 NY-203, Chatham NY 518-392-9292

June 5 - 15: Rodgers & Hammerstein’s A grand Night

for Singing; June 19 - July 6: Guys & Dolls; July 10 -

20: A Bronx Tale..see website for more.

SHAKESPEARE & COMPANY

70 Kemble St, Lenox, MA

413-637-3353 shakespeare.org

June 19 - July 20: The Victim, by Lawrence Goodman;

July 12 - Aug 10: Shakespeare’s Romeo and Juliet;

July 25- Aug 24: August Wilson’s The Piano

Lesson.See website for more.

SHARON PLAYHOUSE

49 Amenia Rd, Sharon CT

info@sharonplayhouse.org

June 20 - July 6: Million Dollar Quartet; Aug 29 -

Sept 7: Sylvia; July 26 - Aug 10: Annie; Sept 26 - Oct

5: The Mousetrap, plus much more, go to website.

TIME & SPACE LTD

434 Columbia Street, Hudson, NY

518-822-8100 fyi@timeandsace.org

instagram @sharonplayhouse

Music /Fairs

BECKET ARTS CENTER

7 Brooker Hill Rd, Becket , MA

413-623-6635 office@becketartscenter.org

https://www.theluckyfive.com/

Music Brings Communities Together: The Lucky 4

Saturday, June 28, 5 - 7pm.

BERKSHIRE OPERA FESTIVAL

Mahaiwe Performing Arts CEnter,

14 Castle st, Great Barrington, MA

Aug 14: 10th Anniversary Concert. Aug 23, 26, 29:

La Traviata, Composer Giuseppe Verdi.

CLOSE ENOUNTERS WITH MUSIC

Mahaiwe Performing Arts Center

Gt Barrington, MA

May 8: L’Amour Toujours.

Commissioning Program World Premiere

DOTTIE’S / DOROTHY’S

438/444 North St., Pittsfield

413-443-1792

www.dottiescoffeelounge.com

June 13: 6-9pm: Music of Lonny Jarrett and Friends;

June 28: Music of Chantell and Friends, earlier

Event, June 27: Latin Night with Prashad and Luana.

See website for full schedule.

HANCOCK SHAKER VILLAGE

1843 West Housatonic St. Pittsfield MA

413-443-0188

Aug 3: SUMMER GALA in the Village. Stroll through

the Village and enjoy a magical evening, where rolling

hills meet a stunning sunset off the Round Stone

Barn.

TURNPARK ART SPACE

2 Moscow Rd, West Stockbridge, MA

June 14: TurnPark Summer Festival 2025: Roots and

Wings (admission tickets, see website)

ARRIVAL ART FAIR

915 State Rd, North Adams, MA Free!

June 13 - 15: Arrival is an invitational, biannual art

fair situated in the Berkshires mountains of western

Massachusetts, equidistant from New York City and

Boston. Founded as an antidote to the frenetic pace

of the art fair circuit, the inaugural edition features

exhibitors from across the United States, nominated

by an esteemed team of Curatorial Ambassadors.

Education

BERKSHIRE ART CENTER

13 Willard Hill Road, Stockbridge MA

Make Art, Buy Art! Visual art classes, workshops,

events year-round for all ages/skill levels. Shop artwork

by local artists, discounted art supplies, books

and more in our gallery stores.

Film

IMAGES CINEMA

50 Spring st, Williamstown MA

413-458-1039

June 7, 8, 10, 11: A Hard Day's Night (1964).

June 14, 15, 17, 18 Xanadu,(1980). June 21, 22, 24,

25: The Adventures of Priscilla, Queen of the Desert

(1994). June 28, 29, July 1, 2: Straight Out of Compton

(2015).

Calendar listings

Send to:

artfulmind@yahoo.com


“In Good Company.”

The Artful Mind

Art Exhibit

Off the pages and onto the walls

Reception

Sat. Aug. 9TH 5 - 8pm

August 2025

11 Eagle street north adams massachusetts

FOLLOW US ON: FB / instagram for update/details



CARYN KING STUDIO

Studio visits by appointment

Southfield, MA 802-380-7006

www.carynking.com

Instagram - @carynkingart R email - caryn@carynking.com


FRONT STREET GALLERY

Carolyn M. Abrams

Dandylion and French Lace, Oil on canvas, 12” x 12”

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

The Soul of Spring Oils/cold wax

Visit me at Art in the Berkshires Juried Art Show — June 7 - July 7

Eastover Contemporary Art Space, Lenox

Atmospheric and Inspirational Art

www.carolynabrams.com

MEMBER GUILD OF BERKSHIRE ARTISTS

MARK MELLINGER

Eagle Building 3rd floor

75 South Church St Pittsfield MA

914. 260. 7413

markmellinger680@gmail.com

Circles, 2021, Collage, 12” x 12”

THE ARTFUL MIND JUNE • 9

Untitled. Latest Work

Acrylic on watercolor 24” x 24” inches

BRUCE LAIRD

Clock Tower Artists

Business Center Studio #307

75 South Church Street, Pittsfield, MA

Instagram- ecurbart


janet cooper

You Have Permission To…

You have permission to

Envy the ones whose losses

Never amount to much growth.

Be thankful that you cry

Every time you see a cat food commercial.

Just like me.

Just like you.

We can’t adopt them all.

I am talking about cats.

Just to be clear.


Carry the weight of the world

On your shoulders.

They are expansive enough

To hold the sleeping dreams

Of those not yet born.

Scrolls

www.janetcooperdesigns.com


Feel like the Walking Lost

Living on this planet

That wants nothing to do with you.

But let’s turn this around.

You have permission

To lead them out of their mess.

They just might be shy

And afraid to ask for clean-up in aisle 5.


Covet the ones with babies

And the stretch marks

That are the opening lines

Of a love letter.


Believe that things will work out.

Push back to a time

When you were in the throes

Of childhood games.

Playing make believe.

And move time back further

Into a scene where you

Played baseball with your brothers

Until the streetlights came on.

And your stomach signaled

That a bowl of pasta

Would do just right.

Right then.

—2025 elizabeth cassidy

elizabeth cassidy studio works

artist, illustrator, writer, poet,

peace lover

elizabethcassidystudioworks.com


Ruby Aver

Housatonic : Our River Acrylic on canvas 25”x 24”

rdaver2@gmail.com | Instagram: rdaver2.

Housatonic Studio open by appointment: 413-854-7007

“It is not our differences that divide us. It is our inability to recognize,

accept, and celebrate those differences.” —Audre Lorde

Audre Lorde was an American writer, professor, philosopher,

intersectional feminist, poet and civil rights activist.

She co-founded the 'Kitchen Table: Women of Colour Press,

a pioneering initiative that focused on the publications of works from

LGBTQ+ women of colour.

artist, illustrator, writer, poet, peace lover

elizabeth cassidy studio works

elizabethcassidystudioworks.com

Sally Tiska Rice

The Shed” At Tanglewood

Watercolor on 300lb. cold press sheet. Matted and framed in a 16"x20"

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


Bruce Murphy

Brucemurphy17@gmail.com

Prices and sizes upon request

Follow on Instagram Bruce Murphy Art


Erika Larskaya

Summer Dance 2 Mixed media on canvas. 30” x 24”

"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.”

On view at Lauren Clark Gallery in Gt Barrington, MA

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


LESLEE CARSEWELL

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

embraces a very simple notion: how best to

break up space to achieve more serendipity and

greater intuition on the page. Though simple in

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

use of both positive and negative space to create interest,

lyricism, elegance, and ambiguity. Each element

informs the whole. This whole, with luck, is

filled with an air of intrigue.

Breaking up space, to me, has a direct correlation

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

silence all play their parts. Music that inspires me

includes solo piano work by Debussy, Ravel, Mompou,

and, of course, Schubert and Beethoven.

Working with limited and unadorned materials, I

enhance the initial compositions with color, subtle

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

abstractly removes restraints. The simplicity of

lines and the subsequent forming of shapes is quite

liberating.

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

hand in every endeavor.

Leslee Carsewell—

Prints available, please inquire.

413-229-0155 / 413-854-5757

lcarsewellart@icloud.com

www.lcarsewellart.com

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

TAXI, ACRYLIC ON CANVAS, 16” X 20”

RUBY AVER

STREET ZEN

Growing up on the Southside of Chicago in the

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

playing in the streets demanded grit.

Teaching Tai chi for the last 30 years requires a

Zen state of mind. My paintings come from this

quiet place that exhibit the rich grit of my youth .

Movement, shape and color dominate, spontaneously

combining raw as well as delicate impulses.

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

dance genre Voguing. Colorful feminine images

with amplified characters grace the canvas with

their mystery.

Ruby Aver—

Housatonic Studio open by appointment:

413-854-7007 / rdaver2@gmail.com

Instagram: rdaver2

Where ordinary

charms become

wearable magic —

keychains,

bracelets, earrings,

boot charms

and more.

Find a charm that

speaks to you!

ARTFULMIND@YAHOO.COM

BEE SEEN THIS SUMMER!

Buzzy Bees on a Ring Enamel Clipon Charms

www.TheCharmBug.etsy.com


CARYN KING

Caryn King Studio has evolved over the years,

starting in Sharon, MA, then moving to Vineyard

Haven, MA, and later to Newfane, VT. We have

now found our permanent home in Southfield, MA

where Rick and I have established our new studio.

Visits to our studio are warmly welcomed! Our

work is inspired by form and the power of art to

evoke joy, reflection, peace, and delight. During

your visit you'll get a behind-the-scenes look at a

range of ceramic sculptures, both finished pieces

and works in progress. We look forward to sharing

our and inviting you into our studio and garden, a

space full of imagination and inspiration. Studio

visits by appointment.

Caryn King—

802-380-7006

Caryn King Studio, Southfield, MA

www.carynking.com


JUNE 7-NOVEMBER 30 SENDING MESSAGES

THE SHAKERS REFERRED TO PEOPLE WHO WERE NOT IN

THEIR SECT AS “PEOPLE FROM THE WORLD”. AS WOMEN OF

THE WORLD, DEBORAH CARTER AND JOANIE CIOLFI,

INSPIRED BY SHAKER ICONIC ELEMENTS AND THE SHAKER

DESIGN POSTAGE STAMPS, CREATE THREE STUNNING

DRESSES THAT BRING THE PAST TO THE PRESENT.

PHOTO: KORENMAN.COM

DEBORAH H. CARTER

Deborah H. Carter is a multi-media artist from

Lenox, MA, who creates upcycled, sustainable

wearable art. Her couture pieces are constructed

from post-consumer waste such as food packaging,

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

other discarded items and thrifted wares. She manipulates

her materials' color, shape, and texture to

compel us to question our assumptions of beauty

and worth and ultimately reconsider our habits and

attitudes about waste and consumerism.

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

and she learned her craft by creating clothing

with her mother and grandmothers. Her passion

took hold as she began to design and sew apparel

and accessories. After graduating with a degree in

fashion design from Parsons School of Design in

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

designer on Seventh Avenue.

Deborah's art has been exhibited in galleries and

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

selected to showcase her work at the FS2020

Fashion Show annually at the University of Saint

Andrews, Scotland. She has been featured in the

Spring 2023 What Women Create magazine.

Deborah H. Carter has been featured in The Artful

Mind, Berkshire magazine, and What Women

Create magazine and was a finalist in the World of

WearableArt competition in Wellington, New Zealand,

2023.

“Sending Messages” on display at Hancock

Shaker Village, 34 Lebanon Mountain Rd, Hancock,

MA. Through November 30th.

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

“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

END OF THE SLOPE

BRUCE PANOCK

I am a visual artist using photography as the

platform to begin a journey of exploration. My

journey began in earnest almost 14 years ago when

I retired due to health issues and began devoting

myself to the informal study of art, artists and particularly

photography. Before retiring I had begun

studying photography as a hobby. After my retirement,

the effort took on a greater intensity.

My world had changed for reasons outside of

my control and I looked for something different in

my work. I wanted to do more than document what

was around me. I wanted to create something that

the viewers might join with me and experience.

Due to my health issues, I found myself confined

with my activities generally restricted. For the first

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

though not always through physical interaction.

It is a world where I spend more time

trying to understand what I previously took for

granted and did not think about enough. The ideas

ranged from pleasure and beauty to pain and loss;

from isolation to abandonment; to walking past

what is uncomfortable to see. During this period of

isolation, I began thinking about what is isolation,

how it can transition to abandonment and then into

being forgotten. The simplest display of this idea is

abandoned buildings. They were once beautiful,

then allowed to run down and abandoned, soon to

be forgotten. After a while they disappear. Either

mankind knocks down these forgotten once beautiful

structures, or remediates them, or Nature reclaims

the space. Doesn’t mankind do the same

with its own?

My work employs references to other photographers,

painters, as well as sculptors. The brushwork

of Chinese and Japanese artists is appealing for

both its simplicity and beauty. Abstract art has its

own ways of sharing ideas which are jarring and

beautiful at the same time. Black and white and

color works each add their own dynamic. My work

is influenced by these art forms, often using many

of them in a single composited image.

Bruce Panock—

Panockphotography.com

bruce@panockphotography.com

Instagram @brucepanock


Conversatia

Jennifer Pazienza & Paul Édouard Bourque

Water Street Gallery - Sunbury Shores Arts & Nature Centre - St. Andrews, NB Canada

jenniferpazienza.com pauledouardbourque.com sunburyshores.org


GHETTA HIRSCH

Sometimes as artists we are reminded to be more

humble. And something happened to me recently

to teach me a lesson!

Having suffered extensive ankle and leg surgery

after a bad fall in October -visiting an art museum,

no less!- I surprised myself finding ways to keep

painting. In the process my new body of work is

more abstract but still I had my artistic needs met

and my painter’s pride saved.

My work was still exhibited at Gallery North in

North Adams and I managed with the help of a cane

to attend Exhibits and Openings. Now we return to

the lessons I learned in humility!

One of the Gallery guests at the May Opening excitedly

grabbed my arm and said “Oh! Ghetta! I

love your work but I will not need to buy one!” I

puzzled for a moment on the meaning of this sentence

but smiled politely. She went on: “On my visit

to Goodwill I found one of your old paintings for

$4.99!” I think my smile must have disappeared at

the same time as another guest joined this visitor. I

still do not know which of my paintings was

dumped in a Goodwill box. I was sad but realized

that this could have been a very old painting… of

no value… maybe one I gifted generously to a

friend… sad, but it happens! This is how One can

find a Picasso I reasoned! However as I was not

able to find out which painting it was, I went on

with my life. This is when the Universe decided to

teach me another lesson in humility! Looking for

art items on a social network I found a 2017 miniature

painting of mine for 69 dollars. This time I

laughed at the surprising find! It is not sold yet in

case you wish to buy it. After the Goodwill story I

believe that this 2017 painting must be much too

expensive! I think I learned my lesson!

By the way, you can still find my more recent

work in the galleries in North Adams. But if you

care to see old work, ask to visit my studio in Williamstown,

MA.

Ghetta Hirsch—

Call or text me at 413-597-1716.

Ghetta-hirsch.squarespace.com

@ghettahirschpaintings


MIXED MEDIA ON CANVAS, 12” X 24”

MARY ANN YARMOSKY

My work is a collection of a variety of people, a

collection of experiences and expressions. It’s

about understanding their history, understanding

the power of their history, the power of their power,

the power of their vulnerability, the power of transformation,

and the power of purpose.

My works are abstract in nature, but aren’t we all

pieces put together by our life experiences? Who

is to say what is real when we look at a person.

Don’t we always project onto them some characteristic

we think we see, some fleeting feeling that

crosses their face, or some mannerism that indicates

their comfort or discomfort?

I work mainly with acrylic on canvas, paper or

wood and often add fabric, thread or other artifacts

that seem to belong. My process unfolds unintentionally

since my characters dictate what needs to

be said. I invite you to weave your own story into

my works. You can decide what is held in an expression,

a certain posture or the clothes they wear.

I hope you enjoy the adventure as much as I do.

Mary Ann Yarmosky —

marymaryannyarmosky.com

maryannyarmoskyart.shop

BLUEBERRIES AND MOUNTAIN WITH PINES LANDSCAPE

SALLY TISKA RICE

BERKSHIRE ROLLING HILLS

Born and raised in the captivating Berkshires,

Sally Tiska Rice possesses artistic prowess that

breathes life into her canvases. As a versatile multimedia

artist, Sally seamlessly employs a tapestry

of techniques, working in acrylics, watercolors, oil

paints, pastels, collages containing botanicals, and

mixed media elements. Her creative spirit draws

inspiration from the idyllic surroundings of her

rural hometown, where she resides with her husband,

Mark, and cherished pets.

Sally's artistic process is a dance of spontaneity

and intention. With each brush stroke, she composes

artwork that reflects her unique perspective.

Beyond her creations, Sally also welcomes commissioned

projects, turning heartfelt visions into

tangible realities. Whether it's capturing the essence

of individuals, beloved pets, cherished homes, or

sacred churches, she pours her soul into each personalized

masterpiece.

Sally's talent has garnered recognition both nationally

and internationally. Her career includes a

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

lent her hand-painted finesse to crafting exquisite

stationery. Sally is a member of the Clock Tower

Artists of Pittsfield, Massachusetts, the Guild of

Berkshire Artists, the Berkshire Art Association,

and the Becket Arts Center. Follow on YouTube,

Facebook, and Instagram.

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

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

self-guided tours.

SallyTiskaRice@gmail.com

www.sallytiskarice.com

https://www.facebook.com/artistsallytiskarice

Fine Art Prints (Pixels), Twitter, LinkedIn

Instagram, YouTube, TikTok



JWS ART SUPPLIES

WE’VE MOVED!

Welcome to JWS Art Supplies at our new location,

291 Main Street in Great Barrington. We're

excited to offer a wide variety of art supplies and

craft materials for artists of all ages and skill

levels. Whether you're a parent looking for fun

projects for kids or a professional artist seeking

high-quality materials, we have something for everyone.

Our knowledgeable staff is here to assist you

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

hesitate to ask for recommendations or guidance—we're

dedicated to helping you find exactly

what you need to bring your creative vision

to life. Visit us and explore our extensive selection

of art supplies!

JWS Art Supplies —

413-644-9838 - 291 Main St, Great Barrington,

MA. info@jwsartsupplies.com

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

FROM THE MODEL

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

LIONEL DELEVINGNE

“Back to the Future” 1976—2024

510 WARREN STREET GALLERY, Hudson NY now offering

Vintage Delevingne silver prints for these times

https://www.instagram.com/Lioneldelevingne

http://www.lioneldelevingne.com/

http://www.510WarrenStreetGallery.com


THE ARTFUL MIND JUNE• 21

JENNIFER PAZIENZA &

PAUL ÉDOUARD BOURQUE

Conversatia, at Water Street Gallery, Sunbury

Shores Arts & Nature Centre in St. Andrews, New

Brunswick, Canada celebrates our fourth collaboration

exploring the boundaries of two artists exhibiting

together. Showcasing the spectrum of our

artistic ecosystem Conversatia highlights the importance

of dialogue in shaping artistic expression

and creating meaningful connections between artists

and viewers.

Our discussion centres on how individual and cocreated

artistic identity, memory and time can influence

art. Jennifer Pazienza’s landscape based

works and Paul Édouard Bourque’s portraits evoke

heightened understanding of how humans are both

a part of and interact with nature.

Water Street Gallery - Sunbury Shores Arts &

Nature Centre - St. Andrews, NB Canada

jenniferpazienza.com

pauledouardbourque.com

sunburyshores.org


DURING THE STORM, MID PANEL FROM ‘SNOWSTORM’

ALFORD VILLAGE. TRIPTYCK

STEPHAN MARC KLEIN

I have been sketching and making art for all my

adult life, since my undergraduate education as an

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

at present about creating art, besides the shear visceral

pleasure of making things, of putting pencil

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

images on the computer, is the aesthetic

tension or energy generated in the metaphoric

spaces between the abstract and the representational,

between individual work and reproduction,

and between analog and digital processes. I enjoy

creating images that result from working back and

forth between the computer and the handmade.

My wife, artist Anna Oliver, and I have made

our home in the Berkshires for the past three years

and I am still entranced with its beauty. I think

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

to the area. The idea for Snowstorm, Alford

Village, came from an interest I have had in exploring

the dimension of time in the plastic arts.

Also, I love snowy winters.

Stephan Marc Klein —

stephanmarcklein.com

smk8378@gmail.com

Member 510 Warren Street Gallery, Hudson, NY

DISRUPTED INSPIRATION, OILS/COLD WAX, 9” X 12”

CAROLYN M. ABRAMS

Carolyn's work is about relationships. Connecting

with her creative spirit and the world around

her, especially Mother Nature, in all her beauty

and challenges. As a Guild of Berkshire Artists

member, Carolyn has had the privilege of connecting

with nature here in the Berkshires. Using

mediums such as oils and cold wax medium, she

feels that relationship as she works layering, adding,

subtracting, constructing, and deconstructing

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

is a must to infuse her energy in each work,

and you will find each of her atmospheric "soulscapes"

intuitively honors this affinity with

Mother Nature.

Cold wax is an oil painting medium composed

mainly of beeswax, with a small amount of solvent

to soften it and other ingredients to aid in

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

at room temperature and dries to a matte surface.

Unlike encaustic processes, it requires no heat to

use it. Many luminous and unique effects are

possible using CWM. Some form of cold wax

was likely used in ancient times, including in the

creation of famous mummy portraits in Egypt

and Rembrandt's later years.

Cold Wax can be used in all painting styles, including

landscape, abstract, still life, and anything

from realism to abstraction. The working

properties of CWM allow for expressive brush

marks and the ability to carve into paint layers

with palette knives and household tools. Cold

Wax also gives oil colors a beautiful translucent

quality, similar to the seductive surfaces of encaustic

paintings. Cold Wax Painting utilizes experimental

approaches, including brayers,

stencils, and textural elements like bubble wrap

or wire screens. The possibilities are endless.

CWM generally uses oil paper, birch wood

panels, cradleboards, and metal or other substrates.

Working on wood takes a lot of abuse.

There are many layers, digging in, excavating

with lifting solvents, and a firm surface gives the

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

hard finish that can be buffed to a satin sheen.

Working on paper is much more economical, so

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

and explore new techniques.

Carolyn M. Abrams is a mixed media artist

from upstate New York, presently residing in

Lenox, Massachusetts.

Carolyn M. Abrams —

www.carolynabrams.com

2025 CONCERT SEASON

JULY 10 —AUGUST 3, 2025

Aston Magna, the renowned historical instrument

ensemble led by Artistic Director Daniel

Stepner has announced its 52nd Season in the

Boston area and in the Berkshires.

Over four concert weekends we offer a broad

spectrum of works by composers both familiar

and lesser known, representing several centuries

and styles. Our lineup of musicians includes

many of our audience’s favorite artists from past

seasons, as well as other celebrated artists performing

with us for the first time.

Concerts will take place Thursday evenings at

the Allen Center, Newton Cultural Alliance at 35

Webster St, Newton, and three Saturday afternoons

and one Sunday afternoon at Saint James

Place at 352 Main Street, Great Barrington.

The programs will include the following:

Music from Thomas Jefferson’s Library

Geminiani, Balbastre, Arne, Purcell,

Mozart, Weber

Thursday July 10 at 7:00PM at Allen Center

Saturday, July 12 at 3:00PM at

Saint James Place

Late Mozart

Adagio and Fugue, G Minor Viola Quintet,

Clarinet Quintet


Saturday, July 19 at 3:00PM at

Saint James Place

From Castello to Canzano

Baroque Chamber Music -

Into the 21st Century!

Works of Dario Castello (1602-1631), Louis-

Gabriel Guillemain (1705-1770), Jean-Joseph

Cassanéa de Mondonville (1711-1772), Nathan

Adam Mondry (b.1991), and Nicola Saraceni

Canzano (b. 1991)


Saturday, July 26 at 3:00PM

at Saint James Place

Fiddlers Four

Vivaldi’s “The Four Seasons”and music by

Purcell, Pachelbel, Legrenzi, and Telemann


Sunday, August 3 at 3:00PM at

Saint James Place

Tickets prices are $40 in advance, $50 on day

of show purchased at the venue. Under 30s: $15

with ID, full time students (with ID) and children

Free. To order tickets by phone call 888-492-

1283 or online at astonmagna.org

BELIEF IN THE POSSIBILITIES OF SPRING

COLLAGE, CRADLED WOODEN BOARD, 12” X 12” X 2”

FROM DARKNESS TO LIGHT

COLLAGE, CRADLED WOODEN BOARD, 10” X 10” X 2”

JAYE ALISON

MOSCARIELLO

"I was really anxious because we were pretty

much snowbound in our homes, being in a particularly

cold 2025 winter. I had moved many of my art

supplies to my studio in Southfield, and had begun

organizing works. The idea of playing with them,

cutting some of the ones to which I felt drawn to

do so, this had been playing around in my mind for

a looooooong time, but this weather allowed me to

take advantage of the opportunity- I couldn't go

anywhere, so I could just focus and play."

Jaye Alison Moscariello harnesses water-based

mediums like acrylic and watercolor, influenced by

a creative upbringing and artistic journey. Through

abstraction and intuitive color selection, she captures

the interplay between forms with lines that

articulate deep-seated emotions. Her art resonates

with joy and upliftment, transforming personal and

worldly complexities into visual harmony.

The artist is passionate about creating art, painting

on flat, smooth surfaces, and using environmentally

friendly materials.

Moscariello's work has been exhibited nationally

and internationally and has appeared in print, film,

television, the web, and Off Off Broadway.

Transforming personal and worldly complexities

into visual harmony. In celebration of Jaye's new

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

small paintings.

Jaye Alison Moscariello —

310-970-4517

Studio visits by appointment only:

Pond Shed (behind the Buggy Whip Factory),

208 Norfolk Road, Southfield, Massachusetts

jayealison.com

jaye.alison.art@gmail.com

SHIMMY, DIGITAL DRAWING

RICHARD NELSON

For me there is a strong connection between my

visual and my sound arts. I use shapes derived from

(mostly) Asian alphabets. Using these shapes, I

draw along with music. I get very involved in it.

Sucked in! Totally random actions, inspired by the

music and the markings are the record of those actions

in that moment.

I use transparent colors and layer them, creating

new colors where they overlap. It’s the same process

I use in my music. I start with a sound bite, a bar or

two of music or perhaps a found sound, arranged in

a pattern. As more layers are added, it creates a sense

of depth. That’s true in both cases; art and music.

The creation of a complex piece comprised of layers

of simple parts and happy accidents. I get the most

satisfaction from the “ happy accidents”!

I feel incoherent sometimes. I worry about Early

Onset Dementia.

My Mom had it, as did my Grandma!

Now that I’m a card carrying Artiste, we will never

know the difference.

Richard Nelson—

See his alphabet “M” page in this issue.

nojrevned@hotmail.com / Rick Nelson on FB

I like to be the right thing in the wrong

place and the wrong thing in the right

place. Being the right thing in the

wrong place and the wrong thing in

the right place is worth it because

something interesting always happens.

—Andy Warhol


JOANE CORNELL

JEWELRY DESIGNER

“A chance encounter, at the age of thirteen, on a beach in the Bronx, finding a lost, chunky, solid gold man’s chain,

half buried in the sand, at the intersection of water/shore, started me on a magical journey…” —JC

Photography by Edward Acker and courtesy of the artist

Interview by Harryet Candee

Harryet Candee: When observing your jewelry, I

sense the years of deep contemplation and practice

you have undergone. You have become your

own greatest teacher, and your creations spark

my curiosity about how your journey began.

Joane Cornell: Thank you for your observations,

Harryet. You're spot on. A winding path, starting in

1979, brings me to the present. Having been initiated

into the "jewelry world" by a friend asking if I wanted

to interview for a sales position, at a company she

was working with, selling all jewelry manufacturing

tools, machines, etc., started the journey, unbeknownst

to me at the time, of what turned out to be

my biggest love/passion. With many iterations

throughout the years, which, as a somewhat final


chapter at this time in my life, with hopefully many

more years to practice, has brought me to the stage,

the last 9+ years, of hand forging my artisanal designs.

I see how you have embraced freedom in designing

each piece of jewelry, breaking away from

rules, boundaries, and conventional styles. What

ideas and principles have you developed that reinforce

your unique creativity and have become

essential to your understanding of your identity

as a distinctive and imaginative designer?

I spent many years learning the retail side of the jewelry

industry, from the manufacturing process to retail

sales (after segueing away from the equipment

supply business). While working at 578 5th Ave, NY,

a now-defunct building that wrapped the corner of

47th St. and 5th Avenue in the diamond district, I

gained first-hand knowledge dealing with the general

public, understanding how fine jewelry psychologically

affects a woman's personality/expression of self.

I noted that these women of a certain demographic

prefer sophisticated designs that enhance their strong,

independent personalities. Being leaders in their industries

and independent thinkers, they abhorred anything

"cookie cutter" or mass-produced. This aligned

with my personality and helped hone my understanding

of what I wanted to pursue. When I began designing

my pieces in the early/mid 1990's, I knew that

my direction was already formed." As I do now, I

Commission order cuff bracelet for MM.

Gold came from customers repurposed jewelry.

The Tourmalines and Aquamarine stones were all set

in bezels end to end when finished.

created then, one of a kind items, working with an

independent jewelry manufacturer, who brought my

designs to life using the ancient process of the "Lost

Wax Casting Process" and CAD/CAM, but was a far

cry from what I'm producing now, hand

forged/formed bold designs.

Take me to your workbench, Joane. As artists, we

often find that the initial threads leading to our

brilliant ideas can be the most challenging part of

the creative process. I'm curious about what

happens when you are at your workbench. Is the

physical, labor-intensive aspect of making jewelry

often the most challenging part? How do you see

it?

My workbench is actually the last piece of the process.

I derive my ideas/designs through a purely organic

approach. I never sit down in my studio and try

to conjure. Concepts come to me any which way,

morning-evening, and most certainly while sleeping!

I can't begin to tell you how many Post-it notepads I

have exhausted by my bedside over the years! And,

not to say that once I'm ready to begin the physical

process of working the metal while hammering or

rolling out the prospective design, an idea comes to

mind that changes the course of the intended. Usually

those serendipitous moments turn out to be my most

favorite pieces. It's as though a higher power spoke

Statement Gem Cross. Tourmaline center.

Surrounding stones:

Tourmalines, Pink Spinel & Peridot.

Silver.

and said, Oh Joane, go this way instead. And who am

I to deny a Divine intervention!

The idea that nothing in life is perfect resonates

with me; the irregularities and flaws make life

more authentic and are truly a gift of being alive.

I'm curious about your thoughts on perfection

and how you perceive your creativity. To what extent

do you intentionally incorporate the natural

flaws in the gems and materials in your designs?

I don't have much knowledge about this, nor do I

understand what your clients might expect.

Perfection is overrated. I understand when my pieces

are "done" and not to pursue every little nuance of

imperfection. I've never strived for that perfect polished

veneer. Not with me personally or otherwise.

My hair is a great example! A little on the wild side

is so much more exciting than the typical, expected,

contrived "finish." My "gems," mostly semi-precious,

Beryl and Tourmalines primarily, whether faceted

or cabochon cut, are typically very difficult to

find "clean" in the larger sizes I prefer to work with.

I embraced that reality. The inclusions present in

these stones add so much character and depth! It

would be easy to use most of the transparent quartz

family stones, i.e., Amethyst, Citrine, Blue or Brown

Topaz, etc., because these are typically clean and very

reasonably priced, but ohh, so BORING! Not for me.

This is also the reason I gravitate to people with eccentric

personalities.

I've noticed that some of your jewelry designs

seem to defy gravity, achieving a magical balance

that elicits a "wow" reaction. The tension and

flow of the pieces make them highly desirable and

a bit mysterious. How did you master the delicate

interplay of materials and gems? It's clear that

you don't just glue stones onto gold; there's so

much more to it. I am specifically looking at the

cuff bracelet as seen on this page.

Harryet, you truly "see" me/my designs. Your understanding

is also gravity-defying! With great confidence,

through trial and not too much error, I've

been able to figure things out as I went along.

My abilities shock even me! I am regularly asked

where I received my formal or otherwise training.

The answer is, "by the seat of my pants," an age-old

expression.

More...


JOANE CORNELL JEWELRY DESIGNER

Joane Cornell’s jewelry boutique in Chatham, New York

I follow my intuitive understanding of engineering.

Everything I have produced over the 9+ years since

I've been creating by hand is devised in my head. I

grew up with a single mother, raising four children,

who had to manage quite a bit on an average salary.

She had to depend on her abilities to fix the washing

machine and car, to some degree, when they broke

down.

Watching her handling tools is ever imbedded and

gave me the understanding/confidence to "just do it"!

When I approached the hand-forging prospect without

knowledge, I just "figured it out"! Example; How

am I going to make this bezel setting sit on this

curved surface? How to make multiple hinges, during

a construction, to "match" and function, for a multi

section bracelet? Most would take the easy way out

with castings, which naturally would be the easiest

route to reproduce a single item multiple times. I

don't. It was quite a learning curve. The bracelet

you're referring to in the photo started with me applying

the stones with wax to hold it in place so the

customer could visually understand the configuration.

M.M. and I collaborated on a design that would

work best for her fabulous public lifestyle. The rest

is in the details of the design.

What are you currently working on? What's new

26 •JUNE 2025 THE ARTFUL MIND

and exciting in your life that you can share with

us?

I'm currently working on multiple commission orders,

which supersede my time in the studio each 1st

quarter when I'm normally producing my inventory

for the upcoming Summer/Fall/Winter seasons. Making

enough new, no repeat designs to satisfy my customers

is a prolific undertaking. Since repurposing

customers' stones/metals and straight-out new commission

designs have taken precedence, my routine

has been interrupted delightfully. So, long story short

(lol, never), I need to scramble now to bring the many

new ideas hanging around on post-its to fruition! I'll

work my tail off, typically in the evenings, once my

store schedule expands to 5 days at the end of May

to make inventory. This doesn't leave much availability

for socializing! The most exciting thing, at this

time, is this wonderful interview/front page photo!

You have a strong sense of design that hits you immediately

when you enter your showroom gallery

on Main Street in Chatham. First impressions are

important, as visitors get the sense that everything

in the space makes a strong statement. It's a beautiful

shop. What were your initial intentions in designing

the shop to reflect your jewelry and

connect the warmth and inviting nature of the

jewelry and the environment you created?

My initial reasoning behind the design aesthetic of

my store—both in Chatham, NY and during my 15.5

years in Lenox, MA—was to create a welcoming and

elegantly chic atmosphere for the brick-and-mortar

spaces. Throughout the 22 years in business in this

region, and spending 90% of my time within those

years in my store, I needed it to embrace me as my

2nd home! Which, essentially, it does! My jewelry

certainly compliments the theme!

Which place do you prefer to spend your time: in

the shop or at the workbench? I have an idea of

your answer, but I'd like to hear your thoughts.

Why do you prefer that location? Do you find it

challenging to balance your time between the

two?

YES to the last question! As much as I love meeting

new people/prospective customers, saying hello to

them, and working with return customers, which is a

large part of my socialization, my heart cries to be in

my studio when I'm away. It's akin to a holy

place/shrine for me. I am perched on a hill overlooking

a valley, with the Catskill Mountains as a backdrop.

Quite a sweeping view! My large 41" sq.

windows all around, and my double glass pane doors

let in the most magnificent light. I am surrounded in-

Some of many tools of the trade

Flora Overload.

Solid 18kt gold Flower Link Necklace.

Pink Spinel/Peridot/18kt Flower Pendants.

teriorly with all of my oh-so-familiar and well-used

tools and equipment. These elements have given me

such joy. And not to leave out, a wonderful source of

independence and income.

When it comes to commissioned pieces, how does

that work, and what is the challenge you savor?

It takes exceptional listening skills to truly hear and

feel what your customer(s) relays. I've heard many

times, over many years, women and some men express

their deep disappointment when working with

other jewelers who didn't "get them." It's an art to develop

a mutually effective language. It's similar to

psychology in certain instances. Not only do customers

want a "nice" piece of jewelry, whether commissioned

or otherwise, but they also want it to reflect

their personality. I take on these commission orders

with honor and pure dedication to bring the perspective

item to fruition.

Which period of history has the most exquisite

jewelry designs? Do these designs inspire your

work? Did you not bring up Athena in one of the

many great conversations we've shared?

Ohh, where to start….! Without any formal

training/education in the arts, and strictly through

many years of observation, I consider any era/decade,

from ancient Byzantine, Greek Mythology,

Gods/Goddesses (I use ancient, certified, Roman and

Greek coins throughout my designs), Alexander

Calder, Suzanne Belperron, (one of my favorites),

and a plethora of others, to be fascinating in each of

their rights. It's all wonderful art to me.

Back at your workbench for a moment, Joane.

Can you tell us about the tools you use most often

and their function? Are you in the market to keep

up with the latest innovative tools used in making

jewelry, or are you a traditionalist?

Strictly a traditionalist. I dabbled with sand casting

because it takes quite a bit of prep, preparing the sand

beds for pouring the molten metal into, carving my

wax models, or forging metal models to make a

small, one-at-a-time process, limited batch series.

Otherwise, it's my large antique anvil and sledgehammer

that I use to initially shape the beginnings of

the design in either gold/silver. My three manual rolling

mills each offer different uses for flat sheet,

round, triangular, 1/2 round, and square wire production.

And then there's the 60 or so hand pliers for

every purpose. My file collection, and so on…

There's something so meditative that I experience

while using my hands, and not sophisticated machinery,

that brings the joy.

How did you learn the skills to make jewelry?

Trial and error. One mistake at a time.

Are you influenced by traditional or current styles

in fashion and jewelry? Have you encountered

anything that you find controversial, trending,

contrary to your beliefs, outstanding, or inspiring

about which you would like to share your insights?

For example, I saw a magnificent marble

water fountain in France dating back to the Renaissance

period, and I LIKED how it was adorned

with modern graffiti. Call me crazy. What are

your thoughts on today's art world?

I truly make an effort NOT to look at other designers'

designs. I don't want to be visually influenced. It is a

pet peeve of mine when other jewelers come into my

store, and I typically can sense one from 50 yards

away to investigate my showcase contents. It's happened

in Lenox enough times, and Chatham as well.

I prefer to rely on what inspiration I draw for this

amazing organic world we live in. I don't want people

to view my pieces and remark how much a piece reminds

them of this or that jeweler. Awful! I have a

brain/imagination to use, and not take the shortcuts

that others might.

More...



Open Petal Flower eternity bands. 2 rings to stack. 18kt gold.

Moonstone Cabochon pendant earrings with a single Diamond mounted below. 18kt gold.

Pink Tourmaline Cabs/White Buffalo Turquoise earrings. 18kt gold

Commission order wedding band. White VS clarity Rose cut

and small brilliant cut VS clarity White Diamonds alternating.

18kt gold.

Speaking of one's travels and adventures, where

do you love to be when you want to rejuvenate

your soul, sit and ponder, and let out your aggressions

and woes of the day?

My bench, store, and home are a good part of my

gathering of myself—time to ponder, ruminate,

dream. I've traveled a bit before moving north, here,

25 years ago. And maybe I'll do some more in a few

years if lucky enough. For now, my travels are to the

Berkshires and Columbia County. I'm very satisfied

with my homebody lifestyle. I burned the bridges between

my teens and late 30s and have no desire at

this time to do anything but enjoy my beautiful environment

and produce my art. I have no aggressions

or woes. Life is good. The beauty of the late 60's embraces

me, and me, it.

I haven't asked you how you would describe

Joane Cornell. I mean, who are you? What are

you about?

I'm an enigma. It's an intentional recluse as of late. I

do, though, leave myself open to dinner and event invitations.


Alexander the Great coin, Yellow Diamonds surround.

Pink Tourmaline above. 1.5” diameter.

18kt gold/silver.

Interactions with customers, whether familiar or

new to your jewelry, often rely on your understanding

of people. What experience do you offer

when a new face enters your shop?

The experience happens as you step over the threshold.

It doesn't require an initial conversation. I allow

people to absorb my jewelry and decor envelope first.

My environment speaks volumes. My showcases are

antique. My chandeliers are dramatic. My textured,

metallic-painted walls are art in themselves. (Thanks

to Kim Brignull, Vinecote Restoration & Design, for

all interior design). It doesn't take long for amazing

conversations to ensue! Not all experiences/conversations

lead to a sale(s). I don't believe in rushing to

the result. I like organic results. It's the interchange

between people that make it a rich experience. A sale

is the icing.

What is their intention when customers approach

you to reimagine/repurpose their collection or a

single piece of jewelry, purchased or inherited?

My business now reflects 1/3 % of repurposing, a 1/3

of new commissions, and a 1/3 of retail sales of existing

inventory. So I do a lot of repurposing. To answer

your question, a variety of reasons. The obvious

is they don't wear it any longer. The item(s) are

mostly passe and need a revamp or a total overhaul.

We had lots of fun and creative discussions to get

from point A to point B. The other incentive for some

is to take a purely sentimental item inherited from

generation to generation, refresh it, and gift it to a

Commission order I.D. bracelet. 5 sections, hand stamped with grandson’s names. 18kt gold.

daughter, daughter-in-law, granddaughter, etc., to

keep the tradition moving forward. These are very

special projects, with memories being shared and

great family relationships spoken of. It's truly an

honor and privilege to work on these projects. And

to see the expressions when completed is priceless.

How do you figure out which piece of jewelry to

present first? Or do you just let them wander and

observe for themselves?

I'm typically in my small office, working on my laptop,

sitting in one of my comfy chairs in the front of

the store, or engaged with a customer when people

come in. My somewhat rehearsed dialogue is to let

anyone know that I'm readily available to show them

anything but to take their time to look through the

showcases (3) first. If I'm working with someone, I

let others know that I'll be with them momentarily. It

seems to work well enough if someone's not in a hot

hurry. I'm not a fan of pressured sales. I don't have a

structured quota to meet each month. Organic development

is my philosophy.

No one knows what goes on behind the scenes in

making art. Backstage is often a mystery and kept

that way. Sometimes, no one cares who the artist

is. What have you seen, and how has it been for

you since you have probably seen things from

many different angles throughout your career?

At times, I have joked, when entering the showroom

from my office behind the center showcase, that I'm

the Wizard, coming out from behind the curtain.

Most people expect to see a huge workshop behind

me until I explain otherwise. An opening statement

like that opens the door for conversation about my

studio, process, etc. I find that so many people are

truly interested to know this information. They love

that I hand-fabricate my designs. I appreciate their

interest in the investment and time/labor it takes to

develop my designs.

The flower pendant jewelry you created is sophisticated

and minimalist in style. It fits well with

today's girl. Do you make men's jewelry?

I do make gender-fluid designs geared more toward

men. Not an entire line, though. I focus on the one

gender that LOVES to shop my designs. Women! I

do take requests for men's jewelry at any time. Having

such a tight schedule to develop a full comprehensive

line for women leaves little time for much

else.

But getting back to it—wait for a second here...

Joane, how did your ideas develop from one

theme, such as the heavier style with big gems, to

light like the Flower pendants? What transition

did this go through for you to create the Flower

pattern? Are these styles all coinciding and being

made side by side, or does each kind have its own

time and focus?

I came to the realization, after Covid, that I needed

to pivot quickly to capture the oncoming

Summer/Fall season in 2022 and develop something

fresh and exciting. What better way to express new

beginnings for Spring/Summer, other than FLORA!

Flowers are an eternal, perennial part of our existence.

Bringing visions of renewal and hope. I also

knew I needed to capture a slightly younger crowd

buying smaller, finer-proportioned jewelry. And ran

with that. Art design is one thing. Marketing/sales

another. I wear all caps and wove the two perspectives

together. A marriage in essence. More...



Multi Flower Hoop Earrings in 18kt gold/silver.

2 5/8” L x 2 1/8” W

Important, graduating Flower Garland Necklace.

Yellow Diamonds set in 18kt at center on both sides of all flowers.

Silver/18kt 59"

Assorted stacking rings. 18kt gold. Diamonds.

Multiple stacking inventory cuff bracelets. Round silver wire set with a single Diamond in 18kt gold.

18kt gold cuff with a 1 carat Champagne Diamond. Etc.

Multi Diamond/18kt gold pendant earrings. Multi color natural Diamonds for all.


Parts before assembly and setting.

Commission order engagement ring. 2.85 carat

Diamond. Setting constructed from

customer’s re‐purposed gold.

Commission order wedding

band. White VS clarity Rose cut

and small brilliant cut VS clarity

White Diamonds alternating.

18kt gold.

The Power Stack Goddess Cuffs. Aquamarine. Tourmalines. Diamonds.

18kt gold/silver. Sold independently.

Planetary Cuff Bracelet, Cloud Mountain Turquoise

and Tourmaline Cabochons.

18 kt/ Silver. 2”L x 2”L x 2.25” W

I wish you a beautiful set of pearls because you

deserve them! If I were to make a necklace, what

would I need to know to create it? What kind of

clasp would you prefer? Which type of string or

wire would you recommend using? Do I need to

solder anything? What if I accidentally drop one

of the pearls, which falls into the floor's cracks

forever? Imagine you were my client!

A big, bodacious (one of my favorite descriptive

words) toggle clasp in 18kt yellow gold—strictly

South Sea Baroque pearls—silvery white and medium

golden yellow color. Diamond accent spacers

in different widths and metals, dispersed irregularly

throughout the long length of 70+ inches. Only silk

to string. The classic knotted technique. No soldering

is necessary. This was given to my favorite and only

stringer in NYC, with whom I've worked for over 22

years. My dream necklace. The answer to the last

sentence of your marvelous question is, Ne t'inquiete

pas, cheri. (Not to worry). I would ask you to rip up

the floorboards and retrieve them!! But of course!!

As I would do for my clients!!! Lol. Don't take things

too seriously. There's always a remedy!

You have a fully integrated website and an Instagram

page. How do these platforms help facilitate

your business/sales?

My website, www.joanecornellfinejewelry.com, is a

comprehensive platform. The majority of sales that

are produced through my website are mostly from

people who have already experienced my designs

within my store. Most of my artisanal designs require

try-ons. My jewelry isn't standard fare. The dimensions/proportions

and weight do not translate well in

photos. Although I supply videos on each of my product

pages, the best way to experience my designs is

in person for scale, sparkle, and color purposes. It is

not very convenient for out-of-state prospective customers.

I have a policy that addresses that dilemma.

I attempt to make any process, whether in-store, website

purchase, or commission orders, as seamless as

possible. Customer service is tantamount to my business.

It's kept me going strong all these years.

Instagram has obviously enabled so many businesses

to grow and expand—a brilliant marketing tool. My

Instagram posts/presence is playful and gives insight

when making my designs in my studio—a peek into

the process. I plan to include/post more of that aspect,

with more consistency, of my process. My Insta page,

Joane Cornell Fine Jewelry, has a website link embedded

at the top area of the page."

If you had your druthers, would you prefer

another avenue to conduct your business besides

a brick-and-mortar establishment?

At this point in my lengthy career of 46 years this

year, I would love to have an abbreviated store schedule

throughout the year, market my website presence

with a professional, and have my designs installed in

small boutiques/galleries that are suitable for my design

aesthetic and relax and enjoy a bit more of life.

My intensive work schedule, over 22 years in the

Berkshires/Columbia County, has incorporated a

seven day week work schedule for many of those

years. As much as I enjoy interacting with wonderful

people, it's time to scale back a bit within the next

few years. If this can be accomplished, my website

will be the main avenue for shopping, including any

locations carrying my designs. See you in Mallorca!

G

JOANE CORNELL FINE JEWELRY

9 MAIN ST, CHATHAM, NEW YORK

917-971-4662

JOANECORNELLFINEJEWELRY@GMAIL.COM


RICHARD TALBERT

Richard Talbert c, “Diary of an Art Historian”, 8x10 photograph, The Chateaux Marquise De Sade, Lacoste, France, 1978.

Richard Talbert, c, Lacoste, France; The Chateaux Marquise De Sade - “Diary of an Art Historian”. John Rewald and Bernard Pfreim had invited

me to dinner at Bernard’s House in Lacoste. It was my initiation to the Surrealist Movement in Provence, France, in 1978. Later, in

1985, the Red Countess, Countess Katherine Karolyi, granted me a one-year art and architectural fellowship to the Karolyi Foundation at

22 Boulevard de Lattre, Vence, France, where I had a one-person exhibition at the Maison Hotel that was organized by the English publisher

Stephen Hayward and the US novelist, playwright, poet, and essayist James Baldwin.

richtalbert1@gmail.com

| Richardtalbertdesign.com


RICHARD NELSON

THE ALPHABET SERIES FROM A TO Z: “M ”

&

Ai

ART

Digital Art

nojrevned@hotmail.com

Rick Nelson on FB


Photo: Melissa Gamache

ROBIN CROFUT-BRITTINGHAM

VISUAL ARTIST

Interview by Harryet Candee

Photographs courtesy of the artist

“Imagination, working at full strength, can shake us out of our fatal, adoring self-absorption and make us look

up and see—with terror or with relief—that the world does not in fact belong to us at all.” —URSULA K. LE GUIN

Harryet Candee: Robin, could you explain your artistic

vision and mission and how it has evolved?

Were you very young when art became the first

love in your life?

Robin Crofut Brittingham: I've been making art

since I was a kid—it's always been something I loved.

That said, I've always had a wide range of interests,

a bit of an "eyes bigger than my stomach" situation

when it comes to creative pursuits. As a teenager, I

was set on going to art school, but I pivoted at the last

minute and ended up at Bard College, where I studied

writing. I returned to visual art when I moved to San

Francisco for my MFA at the San Francisco Art Institute.

What's changed most over time is how I've learned

to bring all those seemingly disparate creative passions

together. It used to feel like I was bouncing be-


tween different worlds, but now, I'm finding ways to

integrate them into a single, cohesive practice that

feels very fulfilling.

Congratulations on your upcoming illustrated

book, "The Illuminated Book of Birds." This book

is the first in a new series of nature books you are

writing and illustrating, set to be published in October

2025 by Hachette through Timber Press.

How did this project begin, and can you give us a

hint about what will come next in the series?

Thank you! This project has been incredibly rewarding—it

actually emerged from one of the lowest

points in my career. In 2020, the gallery that represented

me closed during the pandemic, and a number

of major projects I'd been working on were canceled.

I was at a real crossroads, seriously questioning

whether I wanted to continue making art professionally.

So, I gave myself a kind of "artistic bucket list"

year—time to try out all the projects I'd dreamed

about but never pursued. Around that time, I participated

in a show at the North Branch Nature Center

in Vermont and added some last-minute bird paintings

to the exhibition. One of my bucket list ideas

was to write and illustrate a book, and after making

those paintings, it suddenly clicked—maybe it could

be a book about birds.

What began as a personal experiment turned into

something much bigger. The Illuminated Book of

Birds found a home with a publisher, and now I've

signed on to create two more books with Hachette:

one focused on plants and another on animals. This

series has brought together so many of my pas-

Robin Crofut-Brittingham Most Efficacious When Picked at the Full Moon, Watercolor on Paper, 16" x 24"

sions—birds, painting, storytelling, mythology—and

has really expanded my art practice.

Since starting the book, I've connected with new galleries,

including one here in Montreal that now represents

me. I've also got several shows coming up

this year, including a solo exhibition in Denver and

group shows in New York, Toronto, and Montreal.

This book feels like a natural extension of my studio

work, which has always explored themes of biodiversity

and ecological awareness.

In what ways have you been inspired by David Attenborough,

and who else has inspired you similarly?

Oh, I love David Attenborough. The first series I saw

of his was The Private Life of Plants, and I was immediately

struck by how deeply his passion for nature

comes through. He has this rare ability to make anything

fascinating — his enthusiasm just lights everything

up. From someone else, it might feel dry or

academic, but from him, it's completely captivating.

He's been especially inspirational for my book project.

The way he uses nature as a lens to explore the

world really resonated with me. I wanted my book to

have that same sense of discovery — to feature birds

from all over the world, not just as a regional guide,

but more like an adventure through biodiversity. I am

also very inspired by reading fiction and a lot of my

ideas have come from science fiction and fantasy. I

love Margaret Atwood and Ursula Le Guin and I did

a whole show a few years ago that was inspired by a

passage from The Drowned World by JG Ballard.

How does creating a book compare to other art

forms you have experience working with?

I really, really loved it. In my usual studio practice,

there's a lot of trial and error—it can take me ages to

find the right approach to a painting and there is a lot

of experimenting. With the book, there was still

plenty of planning involved, but once I had the structure

in place, I was able to just dive into the painting.

Working within that framework felt like a refreshing

change. It has also been nice to be able to go back

and forth between my book work and my other work

since they use different parts of my energy and time.

When I am feeling tired of one I can switch to the

other.

Finding a book publisher isn't easy; many artists

must explore alternative avenues to get their

books into the world. What was your experience

like?

I was very lucky I think. I have a dear writer friend

who advised me on how to start the process of finding

a literary agent, which is how I ultimately found a

publisher. I think there is a lot of opacity to the process

of submitting a book proposal when you are

doing it for the first time so I was very lucky to have

guidance from someone who had done it. He helped

me revise and refine my initial proposal many times

before I sent it out. My agent happened to be a bird

lover herself, which probably didn't hurt! She took

on the project and helped find it a home with Hachette's

Timber Press, which specializes in natural

history books.

Creating a book combines exciting moments with

challenges. What were some of the highlights and

obstacles you faced during this process? What

learning curves have you achieved so far?

One of the toughest parts was having to create so

much of the book before I even knew if it would go

anywhere. You're working on this huge project without

any guarantee that it'll ever see the light of day—

it's definitely a leap of faith. But seeing it come

together has been incredibly rewarding. I did certain

things in the hardest or most time-consuming way

Continued on next page...


ROBIN CROFUT-BRITTINGHAM VISUAL ARTIST

Robin Crofut‐Brittingham, A Better World than this one, Watercolor on Paper, 40" x 40"

Robin Crofut‐Brittingham, After the Flood, Watercolor on Paper, 30" x 66"


Robin Crofut‐Brittingham, Portals, Watercolor on Paper, 74" x 38"

possible for the first book, so I have streamlined my

process significantly now that I am working on my

second.

You were captivated by the cobblestone streets,

rich history, stunning architecture, the French

language spoken everywhere, and perhaps the delicious

food once you discovered Montreal. Share

your inspiration for being a thriving artist in

Montreal and the journey that led you there.

My husband has family in Montreal, so after grad

school we decided to give the city a try. At first, it

was tough—I didn't speak French yet, and the winters

were definitely a shock, even as a New Englander!

But once I got my bearings and learned the language,

I really fell in love with it here.

Montreal is such a creative city. It's more affordable

than a lot of major cities but still offers all the things

you'd hope for: great galleries, museums, performances,

and a vibrant arts scene. Now, it's hard to imagine

living anywhere else. I am also happy to be able

to live close enough to family and friends in the Berkshires

that I can visit often.

Tell us about the art exhibits you have been in

over the past few years and how it compares to

the ones you have currently participated in while

living in Canada.

Over the past few years, I've shown my work at several

commercial galleries in Canada, and I'm now

represented by TIAN Contemporain here in Montreal.

Because my work is grounded in ecological

themes, I'm always looking for opportunities to show

in spaces that intersect with science or education—

not just traditional art venues. It's really important to

me that my art resonates beyond the art world that it

draws people in visually and then encourages them

to engage with deeper, more critical, or subversive

ideas.

My first solo show out West also opens this month

in Denver, Colorado. I am really excited to share my

work with a new audience. The gallery, Visions West

Contemporary, specializes in artists whose work has

ecological and natural themes so it's a good fit. I also

have an upcoming show at the Berkshire Botanical

Garden in Stockbridge this October that coincides

with the launch of my book. I am very excited to be

having a show in the Berkshires after many years and

hopefully to reconnect with artists and friends in the

area.

In your framing, how do you go beyond the traditional,

and how does it relate to the art? "After

the Flood" and "A Better World Than This One"

are beautifully framed with curved shapes. It's

nice that the framing and the art are directly connected

when telling a story.

I got interested in making triptychs at one point because,

traditionally, they were used to share stories

— often religious ones — with people. I really liked

the idea of art as a way to spread a story. At the time,

I wasn't sure how I could make something like that

happen for works on paper, but my husband's a

woodworker, and he figured out how to make it

happen. I've now been working with triptychs for almost

ten years, and over time I've started experimenting

with other unconventional frame shapes, too,

most recently the arched top ones. I am also starting

to make multi-panel works in different shapes that

feel a bit like a landscape when viewed from a distance,

which I find interesting.

Continued on next page...



Robin Crofut‐Brittingham, Birds of Costa Rica, Page from the Book, Watercolor on Paper

I became really drawn to frames that felt like terrariums

or enclosed natural spaces — they echo a lot

of the themes in my work. I also think drawing and

watercolor are often treated as preparatory mediums,

like a step before the "real" painting happens. I'm interested

in pushing that perception — treating these

materials with the same reverence, presenting them

in a way that feels intentional and unique.

Can you tell us about one of your art pieces that

signifies with icons and symbols how you feel

about certain subjects that could or do affect you?

One of my goals with my work is to create a kind of

personal cosmology or a set of evolving symbols that

live within this imaginary world I keep exploring

through my paintings. One early symbol that's stayed

with me really from the beginning of this series came

from my time living in California. I loved California

but found it such a place of contradiction — lush and

fertile, but also marked by environmental extremes

and overuse and with so many climate threats looming.


I remember driving through miles and miles of citrus

farms and being struck by the image: these endless

rows of oranges, both so beautiful and so troubling.

They're a symbol of abundance, but also of control

and consumption and these problematic monocultures.

That image really stuck with me, and piles of

oranges started to appear in my work as a way of referring

to those contradictions. You can see them

most recently in After the Flood.

What is your technical thought process in framing,

starting with the shape you choose for the

canvas before applying paint?

I design most of my frames in advance and my partner

custom builds them for me. However, occasionally,

he will surprise me with a new shape or

frame he has come up with, and then I have to come

up with something to suit the shape, which is a fun

challenge. That was the case with Most Efficacious

When Picked at the Full Moon, which is one of my

favorites. I work exclusively on paper — never canvas

— so the frame becomes a really integral part of

the overall presentation. I am incredibly lucky to have

a collaborator for the frames and I love working with

him.

In your work, you are influenced by textile design,

particularly by using repeat patterns found in nature.

Additionally, the scientific drawings of animals

and plants, such as those created by Peter

Brown and Sydenham T. Edwards, play a significant

role in your artistic approach. These sources

of inspiration are presented on exquisite paper

and crafted with great care, as they require meticulous

attention to detail. Could you share how

these influences are reflected in your art and explain

their connection?

Yes — I absolutely love patterns and textile design.

It's a huge influence for me. I'm especially drawn to

repeat patterns found in nature and also to the precision

and care in old scientific illustrations. There's

something so meticulous and intentional about them.

That kind of attention to detail and the balance be-

Continued after next page...

Robin Crofut‐Brittingham, Birds of the Arctic Circle, Page from the book, Watercolor on Paper



Robin Crofut‐Brittingham, Mirage, Watercolor on Paper, Detail

ways trying to capture in my own work.

Another huge source of inspiration for me that uses

a lot of patterning is traditional Indian miniature

painting. They are these tiny, tiny little worlds that

contain multitudes of animals and people. There are

beautiful photo reproductions of them available, but

I was lucky enough to see an exhibition of them on a

trip to London last year, and seeing them in real life

totally blew my mind. They are something that is

really worth seeing in person.

The commissioned mural you created in South

Africa is beautiful. Can you share your inspiration

behind the concept? What factors influenced

your design choices based on the space, and how

did you decide on your color palette?

That mural was one of those "bucket list" projects I

mentioned earlier — I had been wanting to do more

mural work, so I reached out to a few people, and this

opportunity came from that. I really wanted to try

painting on a dark background, since most of my

paintings are done on white paper.

I've always loved chinoiserie and the style of traditional

hand-painted wallpaper, so I wanted to create


my version of that — but using African wildlife instead.

It was such a rewarding project and a special

trip, especially since I got to do it when my son was

only ten months old. We also got the experience of

going out to see a lot of the birds and animals that I

ended up including in the mural which was very special.

I went to South Africa for the first time when I

was 21, and it was the first place that really sparked

my interest in birding, so it was special to return there

in the midst of this huge bird project.

You are a visual artist who has created artwork

celebrating the beautiful yet vulnerable natural

world. Please tell us about the scientific research

and the things you must be involved with to accurately

represent themes such as animals, nature,

and the human form.

That's actually one of the things I've loved most about

working on my book project — it's given me a way

to bring together all the behind-the-scenes research

I've been doing for years on plants and animals to inform

my paintings. It's become its own project that

grows out of and into my other work.

For a while, I was really focused on extinct and endangered

species so I was doing a lot of reading about

the extinction of various animals and what factors

caused it. I had read about this idea that there are still

wild, untouched parts of the world where species we

think are extinct might still exist. That kind of mystery

really stuck with me. I'm also drawn to the tension

between nature's beauty and its danger — things

like poisonous flowers or animals that are both stunning

and threatening. That contradiction is something

I keep coming back to in my work.

Can you explain the thematic interpretations in

your work related to overconsumption and environmental

degradation?

In a lot of my work, I imagine this fantasy world

where nature has reclaimed the earth, and the people

who remain live in balance with it — not trying to

control or exploit it like we do so often now. I like

including small remnants of human presence — bits

of trash, objects left behind — as quiet reminders of

the world that came before. It's subtle, but it adds to

the idea that something has shifted, and nature is

leading again. My most recent work has to do with a

mythical flood that has cleansed the earth and left be-

Robin Crofut‐Brittingham, Mural, South Africa

hind a new world. I'm fascinated by the way floods

come up in creation myths across cultures worldwide.

What advice would you give aspiring artists seeking

their unique voice while imagining a harmonious

future where humans and nature coexist?

It really does take time, and you have to let go. You

don't need to rush into having a defined style or message.

My own work is still evolving, and I think it always

will be. Before I started my MFA, I was making

work that looked nothing like what I do now. Living

and studying in San Francisco shifted everything —

not just my art but my entire way of thinking.

The most important thing, I think, is to make work

that feels true to you. Artistic trends and styles come

and go, but the work that genuinely excites you —

the kind you'd make even if no one was watching —

that's what lasts. When I look back at the work I made

right after college, I feel really self-conscious.

Strangely, what I'm making now has a lot more in

common with the things I used to draw as a kid just

for fun when I didn't even know to be self-conscious

or worried about showing it to anyone. There's something

really freeing about reconnecting with that.

When I was in grad school, I was surrounded by

these brilliant, very conceptual artists. And I remember

feeling like maybe my silly drawings didn't

quite fit. But I stuck with them because they felt real

to me — and I'm glad I did. Over time, I've learned

that you can't make art that pleases everyone, and

once you completely let go of that idea, you can focus

on making work that truly interests you and pleases

you. I really believe that people can feel that when

they look at the work and I think it resonates.

Tell us about your favorite place you like to visit,

where you can sit and think and enjoy the surroundings

and the sky during all of its transitions.

And… you remind yourself of what you are grateful

for. What might that be?

There's a lake in Northern Ontario my family has

been visiting since I was a kid, and it's still one of my

favorite places in the world. It's not easy to get to —

no electricity, totally quiet. At night, all you hear are

loon calling and the wind on the water.

Sometimes the lake is so still, and the stars are so

clear that you can't tell where the water ends and the

sky begins. It's this chillingly beautiful moment of

stillness and awe and every time I'm there; I'm just

overwhelmed with gratitude for the quiet, the space

to think, and the reminder of how small we are — in

the best way. I often bring painting supplies up there

and spend time painting and listening to audiobooks.

There is no cell service or distractions, and it's incredibly

peaceful.

Robin Crofut-Brittingham's first book, The Illuminated

Book of Birds will be released on October 21st

and is available now for preorder wherever books

are sold. She will exhibit original paintings from the

book in the Leonhardt Galleries at Berkshire Botanical

Garden this coming October. Her show After

the Flood is currently on view at Visions West Contemporary

in Denver, CO.

To see more of her work visit her website

www.robincb.com or follow her on Instagram @robincbstudio

F


DON LONGO

"COVERGENCE II" Acrylics and Enamel Paint 10" x 20"

"Art is often a metaphor for what's going on in the environment around us. Sometimes it can be tumultuous and other times

very calming. I chose three colors for this painting, one cool, one warm and one neutral. I merged them together in a fluid

motion to create a unified whole. It's this beauty that can be created while also holding its own distinct quality."

www.donlongoart.com

Matt Bernson

“Generally speaking, color directly

influences the soul. Color is the keyboard,

the eyes are the hammers, the soul is the

piano with many strings. The artist is the

hand that plays, touching one key or

another purposively, to cause vibrations

in the soul.” ~ Wassily Kandinsky


ArtByMattBernson.com / matthew.bernson@gmail.com / Instagram@MattBernson.Art



KATE KNAPP, FRENCH LACE AND DANCING TULIPS

OIL PAINT ON CANVAS, 16” X 20”

FRONT ST. GALLERY

Pastels, oils, acrylics and watercolors, abstract and

representational, landscapes, still lifes and portraits,

a unique variety of painting technique and styles you

will be transported to another world and see things

in a way you never have before join us and experience

something different.

Painting classes continue on Monday and Wednesday

mornings 10-1:30pm at the studio and

Thursday mornings out in the field. These classes

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

works for you. All levels and materials welcome.

Private critiques available. Classes at Front Street

are for those wishing to learn, those who just want

to be involved in the pure enjoyment of art, and/or

those who have some experience under their belt.

Kate Knapp —

413-528-9546 at home or 413-429-7141 (cell)

Front Street, Housatonic, MA. Gallery open by appointment

or chance anytime.

www.kateknappartist.com

REM TRAVEL, SCISSOR DRAWING, 9” X 12”

JANE GENNARO

This is not a painting. Each element was cut out

of unique paper, including vintage pantone, and my

own hand painted or drawn on paper. Each element

is shaped by hand with small scissors and adhered

to the background paper.

The original has sold. It can be purchased as a vibrant

artisanal print in a variety of sizes at

shop.janegennaro.com

Jane Gennaro is an artist, writer, and performer

based in New York City. Jane’s work has been

widely exhibited, performed, and broadcast.

She has been featured in The New York Times,

New York Magazine, and NPR among others. Her

illustrated column, “Mining My Life” appears

monthly in The Artful Mind magazine. Jane’s art

studio is in Claverack, NY.

Jane Gennaro —

www.janegennaro.com

SOLD!

BRUCE LAIRD

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

works in mixed media reveal a fascination

with geometry, color and juxtapositions. For

me it is all about the work which provides surprising

results, both playful and thought provoking.

From BCC to UMASS and later to Vermont College

to earn my MFA Degree. I have taken many

workshops through Art New England, at Bennington

College, Hamilton College and an experimental

workshop on cyanotypes recently at MCLA. Two

international workshops in France and Italy also.I

am pleased to have a studio space with an exciting

group of artists at the Clocktower Building in Pittsfield.

Bruce Laird —

Studio #307, Clock Tower Business Center,

75 South Church Street, Pittsfield, MA

Instagram: @ecurbart

GHETTA HIRSCH

Call or text 413-597 1716

Ghetta-hirsch.squarespace.com

@ghettahirschpaintings

“Mossy Revine” Oil on canvas 24” x 29”

44 • JUNE THE ARTFUL MIND

MARY ANN YARMOSKY

“Each person I meet intriqgues me with their different stories and life expereinces. My paintings are a dance of

spontaneity and intention based on observation. With each stroke of my brush, I try to create a feeling, a story,

challenge to the imagination of the viewer.” —Mary Ann Yarmosky

413-441-6963 | Instagram • Facebook | maryannyarmoskyart.com


EDWARD ACKER

PHOTOGRAPHER

Time Flies • Get Pictures

edwardacker302@gmail.com

413-446-8348

46 • THE ARTFUL MIND JUNE 2025

Valeria and the Ants

CHAPTER 1

When Valeria was seven years old she liked to play

with the ants in the yard in front of the trailer she

lived in. I will describe the trailer, and then I will

have something to say about the ants.

The trailer had wheels, and could be moved, but it

had remained in one place since she was four, and

so Valeria did not have any idea yet of the transient

nature of things. The trailer was red and black and

had a circular window in the door. Tall weeds obscured

the wheels but the grass in the yard was

trimmed and consisted of patches of grass and dirt.

Valeria was puzzled by the behavior of the ants.

She put down a piece of white paper and with a stick

she encouraged the ants to run across it, but the ants

were apprehensive, and ran away in all directions.

Sometimes an ant would walk timidly across the

paper and then, for no reason whatsoever, the ant

would back up a little and then go right back where

it came from.

She attempted to keep the ants from running off her

paper. She tried blocking their way by putting down

several twigs in a square around them, possibly it

was a trapezoid, I’m not sure.

Valeria noticed that when an ant got trapped in the

jail of trapezoid twigs, they became frightened, and

when they were frightened they would just sit there,

entirely still, without moving, as if lost in thought.

Whenever an ant decided that they were trapped in

the twigs, Valeria, after a while would begin to feel

bad for them. She would remove one twig, and then

another, but still, sometimes they would just sit

there, apparently afraid to run away, not being able

to know all the implications and considerations of

their situation.

Valeria was not in the second grade, which is the

place you might find a seven year old. She had not

been in first grade either, and you can put out of

your mind that she was home schooled. She came

from a long line of completely unschooled persons,

a line of relatives going back to before the stone age.

I feel it is very important to mention that Valeria was

neither in school, nor home schooled because I

might have inadvertently given you the impression

that she might have known the difference between

a square and a trapezoid. If her twig houses for the

ants took on some geometric shape, it was entirely

coincidental.

So, when Valeria made houses of twigs for her ant

family, she could have used three twigs, which

would have been a triangle. She could make nothing

at all with two twigs, but preferred four twigs in a

square, simply for aesthetic reasons, and not because

she knew what a square was. Having made a house

with four twigs you can guess that after a while she

would hit on the idea of a house shape with four

twigs in a box, and two more forming a roof. But

Valeria lived in a trailer you will remember.

There are some scholars of Valeria’s life that have

suggested that her use of the schematic diagram for

the house of the ants indicates that she was jealous

of the so-called normal children, normal children

being those who live in houses that have a triangle

on top. I think that idea is obviously wrong.

First of all, you can’t represent a trailer having

curved ends with twigs. Everybody knows that if

you try to make curves with twigs they break. Even

disregarding the obvious technical difficulties of

drawing things with twigs, you have to consider that

Valeria, even before she was born, was in a category

entirely different from so-called normal children,

normal families, and conventional society.

Oh, I admit that there might have been times when

Valeria, riding her tricycle around the nearby village,

might have seen children getting on the bus to

go to school, and she might have felt a tremor and

wondered what life was like for them, and as the bus

pulled away from the curb, didn’t she consider some

other seven year old’s face looking at her dreamily

out of the bus window, and wonder what the school

might be like.

Just because Valeria was not in school does not

mean that she was not educated in her own way. She

had some remarkable skills, one of which was a

memory like flypaper and burdocks, especially for

things overheard in conversation. The odd thing

about this skill was that although she could remember

what she heard, she often had no idea what

the words actually meant.

Many highly perceptive children can remember

things they hear, but Valeria’s skill had this oddity,

she could also accurately imitate the accent in which

the words were spoken. Also, she could remember

the various facial expressions of the speaker. It was

exactly like for a few moments when she was performing

one of her “imitations,” she became the

person down to fine details.

Certainly there are those who dismissed that skill of

hers as the obvious result of being raised in the middle

of a carnival troupe, in which she was the youngest

member when she was seven. Regardless of how

it came about, that skill of her’s was talked about,

and one visitor who heard her performance even

wrote an article about her which was published in

an important journal somewhere.

But how is one to explain the several various unrelated

languages she could speak. She was not exactly

fluent in other languages, it was just that she

could say various unexpected things in foreign

tongues, and the things she said always had the necessary

accents. However, someone pointed out that

usually she did not exactly know what the words

meant, and so it was just dismissed as an example

of her, “skill of remembrance,” seeing as a carnival

entertains people from various places, and she was

often exposed to a stranger’s conversation.

Valeria thought it completely natural, and even logical

that she should be able to have conversations

with the ants in the front yard of her trailer. To this

end she began to give the ants various names. She

gave them obvious simple names like Tom, and Jack

but she found right away that they simply did not

know, or were unable to remember what they were

called, and this defect on their part made it seem to

her that conversations with them would be next to

impossible.

Furthermore, she was actually confused to realize

that she was unable to tell them apart. This is how

she reasoned about not being to tell them apart, she

thought, “If I go into the circus tent and I see a great

crowd of people, no matter how many there are in

the tent, each one will seem to be entirely different,

in every way, from any other person in the tent.

Now, suppose the ants have a big meeting and they

all come together in a group to decide about something

important to ants. Don’t you think Valeria,”

(She liked to address herself with her name when

she was thinking to herself.)

“Don’t you think Valeria,” she continued, “that the

ants would know each other apart, and without any

difficulty. Obviously they would all be naked, but

even so, clothes only conceal a person's identity.”

She was correct obviously, that the ants would know

each other apart, but try as she might she could not

perceive any differences.

She did manage to make friends with one of the ants

who recommended himself to Valeria because he

walked with a limp. He seemed to list to one side as

he walked and because of this trait he made himself

known to her. His limp was the result of having lost

a small part of one of his legs in a mishap.

She gave the ant with the short leg the name Syracuse;

why she named him that I confess I don’t

know and will not offer any theories. The ant Syracuse

soon knew his name and would come out of

the ground to visit with Valeria when summoned.

Syracuse frustrated Valeria because he did not seem

to be very intelligent, and knew very few words.

When Valeria became frustrated with trying to conduct

a conversation with Syracuse the Ant, she went

to have a chat with Bruno, the carnival elephant. I

will have to say some things about Bruno, and I am

aware that some of my notions about him are very

much disputed.

My ideas about Bruno are so much looked down

upon in scientific circles that I am really apprehensive

to talk about him at all, aware as I am that I

might subject myself to ridicule.

But, really, even though my ideas about him are entirely

circumstantial, and apocryphal hearsay, nevertheless

I know of no other way to explain the

relationship between the huge brute, and the child.

If one had the patience to just sit and watch them

for a few hours, as I did, I feel certain you would

come to the very same conclusions I have come to.

It was as if they were so much of one single mind

that they were somehow directly connected to each

other, even though she was but a seven year old, and

he was fifty, at the least. You could see clearly that

they were often engaged in some kind of complicated

conversation simply by the wonderful coordination

of their head movements, replete with those

little noodling motions, and laughter.

So it was obvious, to me at least, that the Elephant

was engaged in the education of Valeria, but it was

not some intentional course of study, or any kind of

programmatic series of lectures or exercises. You

could see that Bruno was simply talking to the child,

perhaps relating his various experiences.

And to a little child it doesn’t matter if they understand

even just a hundredth part of what they hear,

because the child’s mind will seize upon the one

thing it can comprehend, and hold it in the consciousness

like a single puzzle piece, and then wait

patiently for the next piece to fit it to, and so over

time patiently establishes their picture of the world.

The innocent conversation with Bruno the elephant

and Valeria about the ants led to an unexpected disaster,

which I will have the tragic duty to describe

for you in the next chapter.

—RICHARD BRITELL, MAY, 2025


48 •JUNE 2025 THE ARTFUL MIND

BRUCE PANOCK

Snake and Sunflower

Panockphotography.com

bruce@panockphotography.com

917-287-8589 | Instagram @brucepanock

“Sending Messages”

on display at

Hancock Shaker Village

through November 30th

Design: Joanpalanociolfi.com

DeborahHCarter.com

Photo: Korenman.com

Clock Tower Artists

Model: Francesca Stanmeyer

The Artful Mind magazine JUNE 2025

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