The Artful Mind magazine July 2025

BERKSHIRE’S MONTHLY ART MAGAZINE FOR PROMOTING ARTISTS TO THE NEXT LEVEL | IN PRINT & FREE SINCE 1994
THE ARTFUL MIND
JULY 2025
JANET COOPER
ARTIST
PHOTOGRAPH BY EDWARD ACKER

the
ARTFUL MIND
IN PRINT SINCE 1994
Always in “ IN GOOD COMPANY”
JULY 2025
JOANE CORNELL
FINE JEWELRY
CALENDAR for Summer... 4
Interview: Derek Delaney
A Life In Service to Classical Music ... 12
Elizabeth Cassidy In Other Words | POETRY ... 21
Interview: Janet Cooper Artist
Photography + Cover by Edward Acker... 34
Interview: Caryn King Ceramist and Painter
Revisit with the Artist... 36
Richard Britell | FICTION
Valeria and the Ants CHAPTER 2 ... 47
Diaries of Jane Gennaro
Mining My Life EPISODE FIVE “Hip Story” .... 48
Publisher Harryet Candee
Copy Editor Elise Francoise
COMMISSION ORDERS WELCOMED
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Contributing Photographers
Edward Acker Tasja Keetman Bobby Miller
Contributing Writers
Richard Britel Jane Gennaro
Third Eye Jeff Bynack
Distribution Ruby Aver
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THE ARTFUL MIND JULY 2025 • 1

2 • JULY 2025 THE ARTFUL MIND

CALENDAR of EVE NTS
July 19, 2025, 2 – 4pm
Photography with Berkshire Art Center at TurnPark
Spend a few hours photographing at TurnPark with Berkshire Art Center instructor
Thad Kubis. TurnPark is a visually stimulating location in West Stockbridge.
Please register at Berkshire Art Center
TurnPark Art Space 2 Moscow Road, West Stockbridge, MA
JULY 12 - AUG 16
Reception: Saturday July 12, 4pm - 6pm
Eastover Contemporary Art Space
Ink Art Exhibit - Embracing Ecological Return:
Solar TermsFeng Hua: Memories of New England
430 East St, Lenox, MA eastoverart.com
ART
510 WARREN STREET GALLERY
510 Warren st, Hudson NY
518-822-0510 / 510warrenstgallery@gmail.com
Featured artists each month.
CORRIDOR GALLERY
185 E. Main st, North Adams, MA
The Corridor Gallery is an experimental exhibition
space set in the grand entryway of the Walkaway
House. The Corridor Gallery is a project of artist and
founder Carolyn Clayton and is activated by the work
and vision of guest artists and individuals.
CHILDS + CLARK GALLERY
684 Main Street, Unit 1, Great Barrington, MA
Ceramics, Glass, Painting, Sculpture, Fiber.
GUILD OF BERKSHIRE ARTISTS
Colonial Theatre, Pittsfield, MA
www.berkshireartists.org
Through July 12: Closing Reception July 12, 1 - 4pm:
Creative Diversity
BECKET ARTS CENTER
7 Brooker Hill Rd, Becket , MA
413-623-6635 office@becketartscenter.org
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: DayDream, Curated by James Salomon;
Also: Sleepwalkers, in conjunction with
“DayDream”, an outdoor exhibit by renowned sculptor
Mark Mennin
BERNAY FINE ART
296 Main st Gt Barrington, MA
413-645-3421
July 12 - Aug 10: Summertime: annual Summertime
show. The show will feature paintings by Janet
Rickus, Joy Taylor and Linda Pochesci, prints by
Lawre Stone and sculpture by Joy Brown.
4 • JULY 2025 THE ARTFUL MIND
CARRIE HADDAD GALLERY
622 Warren St, Hudson, NY
info@carriehaddadgallery.com
June 6 - July 27: The Summer Show
CATA
Clark Art Institute
225 South St., Williamstown, MA
Lichtenstein Center for the Art
26 Renne Ave, Pittsfield, MA
July 11: Annual Art Show:”I Am a Part of Art”
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
47th annual contemporary outdoor sculpture exhibition,
which will run throughout the season, ending
October 31. This season’s exhibition, 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.
FRAMEWORK by DOWNTOWN PITTSFIELD INC
437 North St, Pittsfield, MA
July 7 - 24: Reception during First Friday Artwalk,
July 12, 1 - 4pm: Huck Elling: Recent Paintings Exploring
Color, Patterns and Pursuit of Joy.
FREYLINGHUYSEN MORRIS HOUSE
AND STUDIO
92 Hawthorne St, Lenox, MA
Visit the home of American Abstract Artists George
L.K. Morris and Suzy Frelinghuysen, set on a 46-acre
estate in the heart of Lenox, Massachusetts. View
their paintings, frescoes, and sculpture; experience
their exquisite collection of American and European
Cubist Art.
FRONT ROOM GALLERY
205 Warren St, Hudson, NY
June 21-July 13: Thomas Broadbent. Front Room
Gallery specializes in contemporary photography,
painting, sculpture, installation and limited edition
prints.
FUTURE LAB(S) GALLERY
43 Eagle St, North Adams, MA
Ongoing art exhibits
GALLERY 271
271 Main Road, Monterey MA
June 27 - July 19: Jaye Alison, Remain Calm. Jaye’s
work is an exploration of how we process turbulence,
hold on to meaning and find clarity and beauty
through creative expression.
GALLERY NORTH
9 Eagle St, North Adams, MA
413-663-1509
A fine art gallery featuring artists in many mediums
GREYLOCK GALLERY
71 Sprig St, Williamstown, MA
413-884-6926
Oil paintings, landscapes and whimsical metal sculptures-traditional
and contemporary art.July - Tracy
Helgeson, John MacDonald (All Artists on display)
August - Teri Malo, Leslie Peck (All Artists on display)

In and around the berkshires
SUMMER 2025
July 12 7pm- 9pm
Music Mountain Summer Festival:
THE CURTIS BROTHERS
Gordon Hall, 225 Music Mountain Rd, Falls Village, CT
Musicmountain.org / 860-824-7125 for tix and info
Through July 27
@ TSL:
PHILLIP GEBHARDT:
BEYOND FORM
434 Columbia St,
Hudson NY
fyi@timeandspace.org
HUDSON MILLINER ART SALON
415 Warren St, HUdson Ny
info@hudsonmillinerartsalon.com
Through Oct: Charlotta Janssen:Smells Like Team
Spirit. The Hudson Milliner Art Salon is a creative and
collaborative art space featuring art and performance
as well as the intersection of the two. We feature
exploratory, edgy and political work.
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. Outdoor Art Tour, July 26;
New York State of Mind, June 28, 10am
MCLA GALLERY
375 Church St, North Adams, MA
413-662-5000
July 18 - Sept 28: I Am Too, A Piece of Clay: LaRissa
Rogers; Explores undefined marginality as an aesthetic
form that generates alternative epistemologies
- sensorial, spatial, and affective. Opening Reception
Friday, July 18, 5-7pm | 51 Main St., North Adams;
Artist Talk | Saturday, July 19, 11:30 am - 12:30 pm |
49 Main St., North Adams
NORMAN ROCKWELL MUSEUM
9 Glendale Road, Stockbridge, MA
413-298-4100
July 12 - Oct 26
Hidden Worlds and Wonders:
Outdoor Sculpture Exhibition
Juried Show: Artists
Artists showcased in the exhibition include: Robert
Bangiola, Harold Grinspoon, Brian McQuillan, Barbra
Fletcher, Robert Markey, Erika Crofut, Stephen
Klema, William Carlson, Stephanie Wenzel, Ricky
Bernstein, Erik Johnsen, Andy Gingras, and Pedro S.
de Movellan.
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
PETER JUNG FINE ART
19th & 20th Century Paintings
512 Warren Street Hudson, NY
Phone: 518-755-4350
peterjung512@gmail.com
ROAM
16 Water St, Williamstown, MA
roamgallery.photo/
ROAM A Xtina Parks Gallery is an African Contemporary
Art Gallery and Fair Trade showroom specializing
in works of art, sculpture, African wildlife
photography, ceramics & pottery, vintage textiles,
jewelry, woven baskets and much more. Xtina Studios
and her team work together to accomplish a
shared vision: to bring awareness of sustainable conservation
initiatives which directly support Africa’s
artists and people, as well as preserve and protect
the African lands that are home to precious wildlife
and many endangered species.
ROBIN RICE GALLERY
FINE ART + PHOTOGRAPHY
234 Warren St, Hudson NY
Jul 12-Sep 7: Giacomo Piussi "Friends of Friends"
“Friends of Friends” explores a playful world where
dreams and reality meld together to create surreal
moments.
SANDISFIELD ARTS CENTER
Hammertown Rd, Sandisfield, MA
www.sandisfieldartcenter.org
July 19: Show opens Saturday July 19 with an opening
reception 3 - 5 pm followed at 5:15 by the Not
So Short Film Festival-Part One. The film festival continues
on Sunday July 20 at 2 pm with the Not So
Short Film Festival Part Two. Weekends 11 to 3 or by
appointment
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
SOUTHERN VERMONT ARTS CENTER
860 SVAC Drive / West Rd, MAnchetser VT
SVAC.ORG
Through January 4, 26:
Into the Abstract: Paul Gruhler and
Neha Vedpathak
SUSAN ELEY FINE ART
433 Warren St., Hudson, NY
June 12 - July 27, Quotidiana: Rituals and Passages,
New Works by Francie Heter
THE MARKETPLACE CAFE PITTSFIELD
53 North St, Pittsifeld, MA
July 2 - 30: The Surreal Landscapes of
Sean McCusker
THE RE INSTITUTE
1395 Boston Corners Rd, Millerton, NY
July 12 - Aug 23: Irrigation; Upstairs: Gregory
Klassen; Downstairs: Ruby Jackson and friends
TIVOLI ARTISTS GALLERY
60 Broadway, Tivoli, NY
July 11 - August 10: Reception Saturday July 12 5-
7pm"Hudson Valley Towns"
"Interpretations of our Beautiful Hudson Valley Villages,
landmarks and Vistas"
TURLEY
ART GALLERY
609 Warren St, 2FL, Hudson, NY
THrough July 12: Dana Piazza: Elaborations; Mack
Sikora: Hope Chest
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
CONTINUED ON NEXT PAGE>>>
THE ARTFUL MIND JULY 2025 • 5

CALENDAR of EVE NTS
L to R: Loretta Pettway Bennett,Stella Mae Pettway,
Sharon Williams,Emma Mooney Pettway,Polly Middleton, Andrea Williams
On view through August 10
GEARY
Dana Sherwood: Garden of the Sphinx
34 Main St, Millerton, NY
Opening Reception July 12, 5 - 7pm
Spencertown Academy
The women of Gee’s Bend: The Next Generation
Meet the quilters and join the Academy Board and our generous sponsors
in welcoming the Gee’s Bend quilters to Spencertown at an exclusive reception
ahead of the public opening of the exhibitions on July 12.
Tix: https://spencertownacademy.networkforgood.com/.../87861...
NEW MARLBOROUGH MEETING HOUSE
154 Hartsville, New Marlborough Rd
New Marlborough, MA
June 20-July 20: “Botanically Speaking” “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
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
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
July 26 - Aug 10: Annie; Aug 29 - Sept 7: Sylvia; Sept
26 - Oct 5: The Mousetrap, plus much more
6 • JULY 2025 THE ARTFUL MIND
MUSIC | EVENTS
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.
BERKSHIRE BOTANICAL GARDEN
5 West Stockbridge Road, Stockbridge, MA
July 14, 5:30pm - 7:30pm
Music Mondays at Berkshire Botanical Garden featuring
-07/14: The Nate Martel Band: Singer,
songwriter and guitarist with soulful, gritty fun and a
remarkable voice.07/21: Jessie and the Hoosie
Hawks: An eclectic mix of rock, pop, country, and
more hits from yesterday and today.07/28: Sören
Smedvig Quartet: Dynamic jazz standards spanning
generations.08/04: The BTUs: A solid Berkshire institution
built on the foundation of solid groove.08/11:
Mike Cobb and the Crevulators: Original eclecticamericana.
Inspired by Bob Dylan, The Band, CCR,
The Beatles, The Rolling Stones, Tom Petty, The Replacements,
and more. 08/18: South Pleasant Revival:
UMass Amherst college band featuring
acoustic covers and some original music.08/25:
Rounders Revival: Light-hearted and uplifting acoustic
music steeped in the folk-Americana traditions of
universal story-telling and soulful harmonies.
DOTTIE’S / DOROTHY’S
438/444 North St., Pittsfield 413-443-1792
www.dottiescoffeelounge.com
July 5, 6 - 9pm: Lucia Dostal
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
STOCKBRIDGE SINFONIA SUMMER CONCERT
SERIES
Berkshires’ Community Orchestra
413-822-1318 or visit stockbridgesinfonia.org
July 12 & 13, Aug 2, 9 & 10: The Sinfonia Wind Ensemble
will perform Mozart’s Gran Partita and Gounod’s
Petite Symphonie on Saturday, July 12, 3 pm
at Zion Lutheran Church, 74 First Street in Pittsfield
and again on Sunday, July13, 3 pm at Church on the
Hill in Lenox. Guest conductor is David Diggs.
The full Sinfonia will perform a set of Overtures by
Mozart, Berlioz and Shostakovich; as well as a piece
by local composer Joan Devoe entitled Insidiodyssey.
The second half of the program is Dvorak Symphony
No. 8. These concerts take place on Saturday,
August 2 at 3 pm at Lenox Memorial Middle and
High School, Saturday, August 9 at 3 pm at Zion Lutheran
Church in Pittsfield, and Sunday, August 10 at
6 pm at Saint James Place in Great Barrington
TANGLEWOOD
297 West Street, Lenox, MA
July 20, 7:00 pm
TLI Presents: Trumpet Summit featuring Jon Faddis,
Randy Brecker, Benny Benack III, Bria Skonberg, and
the Ted Rosenthal Trio
TANNERY POND CONCERTS
Darrow School, New Lebanon, NY
capitalregionclassical.org
July 12, 7:30pm
Santiago Cañón-Valencia, cello
THE GUTHRIE CENTER
Housatonic, MA
413-528-1955
July 12: An Evening with Ant Je Duvekot and Seth
Glier; July 19: Matt Cusson; July 26: An Evening with
Lucy Kaplansky; Aug 2: Annie Guthrei & Friends; Aug
9: An Evening with Ari Hest; Aug 16: An Evening with
Tom Rush; Aug 23: The Black Legacy Project; Aug
29: Drag Queens in Limousines: Celebrating 25
Years of Mary Gauthier with special guest Jaimee
Harris

THE ARTFUL MIND
Art Exhibit
“IN GOOD COMPANY.”
— Artists —
Jaye Alison
Ruby Aver
Richard Britell
Katherine Borkowski-Byrne
Margaret Buchte
Leslee Carsewell
Janet Cooper
Yana van Dyke
Jane Gennaro
Susan Gilbert
Julia Grey
Ghetta Hirsch
Sarah Horne
Ellen Kaiden
Stephan Marc Klein
Beckie Kravetz
Bruce Laird
Pattie Lipman
Leo Mazzeo
Jesse Tobin McCauley
Bobby Miller
Richard Nelson
Janet Pumphrey
Ilene RIchard
Alexandra Rozenman
Richard Talbert
Scott Taylor
Jay Tobin
Mary Ann Yarmosky
Reception: Aug 9 - 5-8pm
11 Eagle St. North Adams MA
THrough AUGUST +
___________________
THE STATIONARY FACTORY
63 Flansburg Ave, Dalton, MA
July 12, 7pm-10pm: MPZ Productions presents: The
Wrecking Crew — the best kept secret in Rock n Roll!
DREAM AWAY LODGE
1342 County Rd, Becket, MA
413-623-8725
thedreamawaylodge.com/events
July 12, 8pm - 11pm
MILTON: A songwriter’s songwriter, known for his
lyric craft, distinctive voice and soulful songs steeped
in classic rhythm & blues, pop, jazz, folk and country,
Milton first gained notoriety in his hometown New
York City when his song “In The City” became a hit
on New York’s WFUV radio. His live performances,
which include material from every one of his albums,
are praised for their wit, humor, and captivating
charm.
THE THIRD ANNUAL DAVID GROVER SCHOL-
ARSHIP CONCERT, “HERE WE GO AGAIN”
July 18, 5:30pm ...$40
Featuring Michael Fabrizio with Special Guests Michael
Wartella and Kathy Jo Grover and Members of
the Berkshire Theatre Group Youth Chorus. Join us
for an inspiring evening of live music and heartfelt
performances as we honor the legacy of the late
David Grover, a beloved member of the Berkshire
community and a passionate advocate for arts education.
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
July 31–August 2
MASS MoCA
Bang on a Can: LOUD
Weekend 2025
The Bang on a Can Summer Music
Festival has transformed MASS
MoCA into a genre-bending musical
utopia for innovative composers
and performers for 24 of our 26
years.
1040 MASS MoCA WAY
North Adams, MA 01247
413-662-2111
info@massmoca.org
FREYLINGHUYSEN MORRIS HOUSE
AND STUDIO
92 Hawthorne St, Lenox, MA
Art Demonstrations with professional artists every
Friday, 11am, free with admission: July 11, Diane Firtell,
Oil on canvas; July 18, Brent Ridge, Abstract
painting w/recycled patterns; July 25, Debbie Carter,
Upcycled wearable art; August 1, Paula Shalan,
Smoke fired ceramics; August 8, Peter Schoeffer, Oil
on Canvas; August 15, Nina Ryan, Ceramics; August
24, Nathan Hoogs & Elizabeth Crawford, Glass blowing;
August 29, Terry Wise, Mixed Media on paper
HUDSON HALL
327 Warren St, Hudson NY
hello@hudsonhall.org
Aug 3, 4pm: 2025 Hudson Jazz Workshop Concert
Featuring Armen Donelian, Marc Mommaas, and
Steve Cardenas. Celebrating its 19th year, the Hudson
Jazz Workshop—led by pianist Armen Donelian
and saxophonist Marc Mommaas—culminates in a
dynamic concert at Hudson Hall featuring special
guest guitarist Steve Cardenas. Joined by an international
ensemble of workshop participants, enjoy
an afternoon of original jazz developed over an intensive
week of collaboration and exploration.
MAD ROSE GALLERY
5916 N Elm Ave, Millerton, NY
518-592-1086
Classes and Workshops in Yoga, Printmaking, Painting
and Photography
NORTH ADAMS CLAY / Butterdish Workshop
189 Beaver st, Studio 310
North Adams, MA 508-361-8133
northadamsclay@gmail.com
Tuesday July 15, 5:30pm-8:30PM
Make a butter dish! Offering studio and kiln memberships,
classes and workshops, private events
SUMMER 2025
FILM
IMAGES CINEMA
50 Spring st, Williamstown MA
413-458-1039
July 11: The Apprentice
TURNPARK
2 Moscow Road, West Stockbridge, MA
Outdoor Film Screenings: July 31, 8-10pm: Three
Colors: Blue by Krzysztof Kieślowski; Aug 28, 7:30 -
9:30pm; Wild Strawberries, Ingmar Bergman; Sept
25: 7:30-9:30: Coffee and Ciggaretts by Jim Jarmusch
Free Calendar listings
Please send in your AUGUST & SEPT
events listings on the first of each
month prior to publication
We gladly accept images.
Send to:
artfulmind@yahoo.com
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THE ARTFUL MIND JULY 2025 • 7

BRUCE LAIRD
Clock Tower Artists
Business Center Studio #307
75 South Church Street, Pittsfield, MA
Instagram- ecurbart
8 • JULY 2025 THE ARTFUL MIND

Erika Larskaya
“Impermanence 3” 36” x 36” Mixed media on canvas
"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
THE ARTFUL MIND JULY • 9

DIGITAL DRAWING
RICHARD NELSON
AFTER MIDNIGHT
I never feel comfortable talking about my art,
especially my abstract stuff. There is a lot more involved
in the process than is apparent. For me, it's a
bit of catharsis for me, an opportunity to give voice
to those things sneak into your brain and takes
someplace you would never think of going to. To
actually see it illustrated for myself provides a release
of pent upness. But it's a private show for my
eyes alone. Lines are drawn over the image, creating
new shapes with new colors. Transparent shades are
over lapped a dozen times, or so. Creating a sense
of depth at times, almost archetechual. Frequenltly
putting bright whites over shadowed by darker
shapes, suggesting a overall inner energy. Thematically
I'm usually thinking about dance. Nothing
new, I know and somewhat ironic as I clumsy and
devoid of natural rhythm. I would like my work to
be large. Many years ago I did a series of very large,
very heavy multi media on whole sheets of reinforced
Masonite. I'm no longer able to work large
for health reasons, a well practicality. But I use single
lines down the middle of the image to suggest
" Dyptich". Lines that seem to instill a feeling of
largeness. Hope that didn't sound pretentious!
Cheers!
Richard Nelson—
See his alphabet “M” page in this issue.
nojrevned@hotmail.com / Rick Nelson on FB
I will be in the August show, “In Good Company.”,
in North Adams, come visit and see my prints.
WATER BUFFALO, HALL OF ASIAN MAMMALS
AMERICAN MUSEUM OF NATURAL HISTORY
NEW YORK CITY, PENCIL DRAWING
STEPHAN MARC KLEIN
I have been sketching and making art on and off
since my undergraduate education as an architect
in the late 1950s. Until my wife and I moved to The
Berkshires in 2017, I lived my entire life in New
York City. I have early memories there of my parents
taking me to The American Museum of Natural
History. As an adult, I have over the years
returned to the Museum, as a parent with my children,
and to sketch. Sketching in Museums is for
me a favorite way to spend a morning or an afternoon.
Sketching in museums is an opportunity to
practice graphic skills and it’s an activity that gives
deep joy. I’ve gotten used to all the people looking
over my shoulder, even taking photos. I mostly
don’t notice them, I get so rapt in my work.
For me museums are great places in which to
sketch. The weather is always good; it never rains
or snows, it’s never too hot or too cold. My subjects,
whether they are water buffalos, gorillas,
Greek or Roman Gods, or cubist sculptures, have
infinite patience. They never move, never need to
take a break, never complain. And over all the
years, returning to the exhibits in the permanent exhibition
halls of The Museum, for me, is encountering
old friends.
Stephan Marc Klein —
stephanmarcklein.com
smk8378@gmail.com
Member 510 Warren Street Gallery, Hudson, NY
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
Thursday July 17 at 7:00PM at Allen Center
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)
Thursday July 24 at 7:00PM at Allen Center
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
Thursday July 31 at 7:00PM at Allen Center
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
10 • JULY 2025 THE ARTFUL MIND

THE ARTFUL MIND JULY 2025 • 11

Derek Delaney @ Sebastian Fredette
DEREK DELANEY
A LIFE IN SERVICE TO CLASSICAL MUSIC
"Speak softly and carry a big stick; you will go far.” – Proverb
Interview by Harryet Candee
Photographs Courtesy of the Artist
Graduating from Juilliard signifies your development
as a serious musician. When did you
complete your studies there, and what were
your pursuits in music after Juilliard? Reflecting
on your time at Juilliard, what aspects did
you enjoy the most?
Derek Delaney: I graduated from Juilliard in 1992
and was very fortunate to study with the legendary
James Chambers, who was principal horn of the
NewYork Philharmonic under Bernstein, and
others. Juilliard was a very formative experience as
there were so many exceptional colleagues and eminent
faculty from whom to learn. After Juilliard, I
received my master’s degree at Yale where I really
thrived. I won a job in an orchestra in Israel shortly
thereafter, and after a while, returned to New York
to freelance. In my late 20s, I decided to transition
to a career in which I would support musicians. I
have been presenting concerts ever since.
12 • JULY 2025 THE ARTFUL MIND
Please tell us about your family and those who
gave you the start in music appreciation? Where
did you grow up?
I grew up on Long Island in a middle-class town.
My mother was from Germany and her mother was
a capable amateur pianist who could play Beethoven,
Chopin, etc. I started private trumpet lessons
at the age of seven with my school band
director. After a few months, he said that I “appeared’
to be smart, so why don’t I try French Horn
(players of which he needed in the band)? I took to
the horn quickly and by the age of 9, I was playing
in the junior high school band. Then, I was off to
the races!
Throughout your music-related careers, what
experiences have you found to be the most gratifying
and challenging in terms of learning?
Musicians are always fine-tuning what they are
practicing — the work is never really “done.” This
approach has allowed me to appreciate the process
toward a goal much more than achieving the goal.
Perpetuating and disseminating the art form to
which I’ve dedicated my life since the age of 12
has been deeply gratifying. My hope is that by offering
classical music performances played by
some of the world’s leading artists, people will
share my enthusiasm for the music. But, there is no
question that there is a stigma that classical music
is difficult to understand and people are intimidated
by it. My job is to break down this barrier and emphasize
that music is music no matter what the
style. If you are inherently curious and open to
emotionality, classical music will transform your
life.
As you reflect on your achievements and the
challenges you faced over the past year, how
would you describe your overall experience?
All of us in the arts are still recovering from the

Emanuel Ax Takes a Bow at Union College @ MahiMattPhoto
pandemic. In speaking with colleagues around the
country, there’s a feeling that this last season was
the first in which people are “back.” The concerts
can also be a respite amidst the political uncertainty
of the past year. We had such memorable performances
— paramount among them were 2 appearances
by the legendary pianist Mitsuko Uchida and
a rare pairing of the Belcea and Ébène string quartets
(two of the best in the world) in Mendelssohn’s
ebullient Octet. These experiences nourish people
for a long time. I had dinner with two audience
members last night, and they gushed about the
Octet performance (which took place last fall).
Do you think gaining admission to dedicated
music colleges is more competitive today?
You’ve encountered many talented young
people seeking opportunities. In what ways do
you find yourself supporting them?
The level of young musicians is extraordinarily
high these days — it’s truly remarkable how many
exceptional artists are coming out of the conservatories.
One of the most important aspects of my job
is to provide performance opportunities, so I regularly
invite a handful of highly-talented young
people to the series each season. To be listed among
eminent artists on the series like Uchida and Emanuel
Ax is enormously helpful to their careers —
it’s “guilt by association.” I’ve also helped some
young artists gain representation by booking agents
to help their burgeoning careers.
What intrigues you about the areas in music
that you have yet to explore?
There is a misconception about classical music that
it is “old” and solely of Western European origin.
It is, however, a living, breathing art form that reflects
the world’s diversity, offering a wealth of cultural
perspectives. We regularly commission new
works on the series, and it’s always fascinating to
discover and highlight new composers with distinctive
artistic voices. Our next commission is with
the MacArthur Grant-winning jazz pianist/composer
Vijay Iyer in the fall of 2026.
As your relationship with music evolves, do you
feel more attuned to its messages now than in
your youth? Do specific genres or themes motivate
you to advocate for important issues? How
do you envision using music to explore these
topics and support others?
I think as all of us mature, we better understand the
depth of expression behind artistic works through
our own life experiences. For instance, the tragedy
of a composer like Beethoven losing his hearing is
easy to understand, but what is remarkable about
Beethoven is the optimism he expressed despite it.
There is certainly despair and even anger in his
music, but he perseveres nonetheless — a lesson
which I have come to appreciate more with age. I
am most interested in music reflecting our shared
humanity.
What is your favorite music in your free time?
Why does it resonate with you?
This is impossible to answer, but if there is a composer
to whom I’m most drawn, it is probably
Brahms. With Brahms, his music rarely expresses
a single feeling of love, elation, sadness, etc. There
is often a complexity of emotion expressed that is
quite layered, which deeply resonates with me. I
have a podcast — Inside the Music — which explores
composers’ lives through live performances
from the series. I produced a show on Brahms and
illuminated this layered emotionality through his
late piano pieces and was thrilled to speak with pianist
Paul Lewis about it.
Continued on next page....
THE ARTFUL MIND JULY 2025 • 13

DEREK DELANEY
Delaney Turning Pages for Mitsuko Uchida @ MahiMattPhoto
What are your thoughts on the similarities and
differences between musicians and visual artists?
How do these two creative fields connect
and differ? How familiar are you with visual
arts, and what role do you believe visuals play
in a musical context?
The main difference is that visual artists typically
create art from scratch. Classical musicians (excepting
composers and improvisers) apply their artistry
to an existing artwork. The musician must
weave their artistry in service to the composer’s
score and the performance style of the work’s
period. This is why classical music is never “old”
and why it’s foolish to abandon works of the past
— a classical music performance is truly an organic
experience every time, even if the pieces remain
the same. I never avoid duplication of repertoire on
my series for this very reason — it’s inherently interesting
to hear different artists interpret the same
piece.
Do you enjoy theatre and opera? If so, what are
some of your favorites, and what draws you to
them?
14 • JULY 2025 THE ARTFUL MIND
While I do attend theatre occasionally, I attend
opera more frequently. My tastes vary widely and
span opera’s history — from Mozart’s The Magic
Flute to Alban Berg’s Wozzeck to George Benjamin’s
Written on Skin. As I’m getting older, I especially
appreciate Mozart’s operas. We all know him
as a genius, but I think his genius is most apparent
in his operas. The inventiveness, charm, and beauty
of these works and how he developed artistically
in them over the course of his life is mesmerizing.
Have you ever had a fantastic experience watching
a pop-up artist perform in unexpected
places, such as subway stations, the street, in
front of restaurants, or parks? Did you enjoy
their music and feel inspired to toss a dollar bill
into their case? Have you ever played the horn
for an audience in such a spontaneous setting?
The most memorable experience I’ve had on the
street was in Heidelberg, Germany. A guy was
playing a digeridoo — a long, wooden tube of Aboriginal
origin — and the variety of sounds and
rhythms he was creating was absolutely stunning.
I make a point to always put money in musicians’
cases if they have a basic level of proficiency.
They’re busking for a reason! I had busked a little
while I was playing. The most memorable (and unintentional)
occasion was when I attended the
Aspen Music Festival. As a wind player, I arrived
a week early to adjust to the altitude, and I practiced
with a mute in the local park. I was warming up
with some scales one day, and a woman gave me
$20. I tried to give it back to her as I wasn’t even
playing music, but she insisted that I take it!
What highlights can the audience expect from
the upcoming summer of work catering to concerts
at Tannery Pond, and what are your responsibilities
to ensure this series is successful
and enriching for classical music lovers?
Our five summer concerts in the Shaker Tannery in
New Lebanon are very special. The Tannery is a
beautiful, historic structure where audiences are so
close, they can hear the musicians breathe. This
summer’s artists represent the world-class quality
area audiences have come to expect from CRC; so
while you may not recognize some names, people
will be blown away by their talent. Two concerts I

A Beautiful Evening at the Tannery @ Anna Schupack
would single out is the Hungarian pianist Zoltán
Fejérvári (a protégé of András Schiff) in a program
of Dvořák, Janáček, and Brahms and the Terra
String Quartet with pianist Evren Ozel (who’s currently
in the semifinals of the Van Cliburn Competition)
performing Dvořák’s beloved Piano Quintet
to close the season. We’re having a wine and hors
d’oeuvres reception following the latter program.
An abstract question that I hope you can play
upon. What defines good music compared to
music that lacks cohesion? Are there famous
musicians who have overlooked flaws in their
work, and how does this relate to the trends in
today’s popular music and that of the past?
I’m certainly not the arbiter of what defines good
music outside of my own tastes! Art is subjective,
and a flaw that I may perceive in an artist may be
an attribute that the artist may purposely be leaning
into. This is the essence of what makes art so incredible
and what encourages discourse between
people of varied cultural (and otherwise) backgrounds.
I love seeing my audience passionately
discussing a performance during intermission and
hearing their different takes on what they just heard.
What do you love about the Berkshires? How
do you spend any free time you allow yourself?
I of course love the beautiful surroundings of the
Berkshires and all they offer, but I also love being
part of the warm and welcoming community. I’m
always fascinated by people I meet at dinner parties
with so many divergent and interesting backgrounds.
There’s a vibrancy that is palpable here.
Like others, I spend a lot of time in the garden and
hiking, but I also enjoy being with my swimming
friends at the Kilpatrick Athletic Center in Great
Barrington.
The art we create is grounded in a specific set of
principles that we have gathered over the years,
much like tools of the trade. We utilize these
principles when embarking on a new project.
What are some of the key principles that guide
your artistic and professional career, and do
they overlap with your daily life as well? By the
way, do you compose music?
Classical music has a perception problem of being
elitist. So, there has been a trend with presenters
‘packaging’ programming while avoiding emphasis
on the artist’s excellence. I believe wholeheartedly
that the success of any performance — be it artistic
or audience-responsive — lies in the musician’s
ability to elucidate the emotions communicated by
the composer effectively. I never dictate repertoire
to artists when planning my season but allow them
the freedom to perform repertoire to which they are
compelled. I believe that this is the recipe for an
especially impactful performance and translates to
any form of music. In my personal life, I don’t tend
to pursue things that aren’t deeply meaningful or
enjoyable to me. I seek to have rich and fulfilling
experiences every day. Composing, however, is not
one of them!
R
THE ARTFUL MIND JULY 2025 • 15

“In Good Company.”
16 • JULY 2025 THE ARTFUL MIND
The Artful Mind
Fine Art Exhibit
Open to the Public AUGUST 1 • 2025
First Friday 11am - 8pm
Reception for the Artists
Saturday August 9TH 5 - 8pm
Jaye Alison
Ruby Aver
Richard Britell
Katherine Borkowski-Byrne
Margaret Buchte
Leslee Carsewell
Janet Cooper
Yana van Dyke
Jane Gennaro
Susan Gilbert
Julia Grey
Ghetta Hirsch
Sarah Horne
Ellen Kaiden
Stephan Marc Klein
Beckie Kravetz
Bruce Laird
Pattie Lipman
Leo Mazzeo
Jesse Tobin McCauley
Bobby Miller
Richard Nelson
Janet Pumphrey
Ilene Richard
Alexandra Rozenman
Richard Talbert
Scott Taylor
Jay Tobin
Mary Ann Yarmosky
11 Eagle St • north adams MA.
HOURS: WED - SUN 11 am - 4:30 pm • by appointment
Eagle Street / NORTH ADAMS is Paradise for The Art Trailblazer !!

Ellen Kaiden
Watercolor Artist
“Altruism is innate, but it's not instinctual.
Everybody's wired for it, but a switch has to be flipped.”
—David Benjamin Rakoff was a Canadian-born American writer
of prose and poetry based in New York City, who wrote humorous and
sometimes autobiographical non-fiction essays.
artist, illustrator, writer, poet, peace lover
elizabeth cassidy studio works
elizabethcassidystudioworks.com
Wild Child. 23” x 29”
Ellenkaiden.com
Ellenkaiden@gmail.com
Carolyn M. Abrams
Sally Tiska Rice
"Clothed in the Light" oils/cold wax
Visit me at the Becket Arts Center
"Macrocosm" exhibit
July 25 - August 17
Opening reception July 25 - 5 -7 pm
Atmospheric and Inspirational Art
www.carolynabrams.com
MEMBER GUILD OF BERKSHIRE ARTISTS
CIRCLE OF SERENITY
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
THE ARTFUL MIND JULY 2025 • 17

JANE GENNARO
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
shop.janegennaro.com
https://performingartslegacy.org/
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
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
A.
ANN GETSINGER
LEO MAZZEO
curated group exhibit
DayDream
Through August 10
Leonhardt Galleries • Berkshire Botanical Garden
Pearly Forest. oil. 2025
18 • JULY 2025 THE ARTFUL MIND
“Penance”, distress oxide, graphite, highlight pen, metallic color pen,
and ink on fluid mixed media paper, 6”x6”. (c)Leo Mazzeo.

LESLEE CARSEWELL - ARTIST
Ruby Aver
Rondo e Rondo e Rondo No.2
Eclectic Seeker of Visual Adventures
www.lcarsewellart.com n @carzeart
lcarsewellart@icloud.com
Not My Monkey , Not My Circus
Acrylic on canvas 24” x 30”
rdaver2@gmail.com |
Instagram: rdaver2.
Housatonic Studio open by appointment: 413-854-7007
GHETTA HIRSCH
Katherine Borkowski-Bryne
Morse River Oil on canvas, 11” x 14”
Maui Beach. Oil on canvas. 30” x 40”
Call or text 413-597 1716
Ghetta-hirsch.squarespace.com
@ghettahirschpaintings
kbyrnerun@hotmail.com
http://katherineborkowski-byrne.com
THE ARTFUL MIND JULY 2025 • 19

20 • JULY 2025 THE ARTFUL MIND

CARYN KING STUDIO
I Can’t Go Back to Being a Girl.
I can’t go back to being a girl.
Being a girl was not my strong suit
Anyway.
I mean, I am a girl, but my instruction book,
My how to excel as a girl came with blank pages.
I can’t go back to being a girl.
Everyone tried to enlighten me that
I would not be worth as much as the boys.
Boys who hit baseballs into the streetlights
and did not change their underwear.
And they are the chosen ones?
Come on.
Indoor / Outdoor Clay Sculpture
Studio visits welcome
Southfield, MA 802-380-7006
www.carynking.com
Instagram - @carynkingart R email - caryn@carynking.com
FRONT STREET GALLERY
I can’t go back to being a girl.
We both spoke the same language.
Rode our bicycles into the woods.
Ate ice cream until our eyes crossed.
And played “Ghost” with a flat white sheet.
Okay, you are right.
I cannot pee standing up.
I tried.
I can’t go back to being a girl.
The locks have been changed.
That lone Lilac tree
Shrouded my secret girl plans in their bark
And was sacrificed
By the new neighbors.
And forgotten.
But not by me.
I memorized “This Girl’s Plans” Handbook
And the scent of lilac still calms
My brain that travels and passes
The speed of light.
Can you do that, boys?
I can’t go back to being a girl.
My four-inch heels have morphed into sensible sneakers.
Do not tell Vogue.
Now I can run after whatever my soul needs to capture.
And the limitations that you thought would stick?
French Lace and Dancing Tulips Oil paint on canvas 16” x 20”
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
Have you met me?
This girl keeps moving ahead.
Correction: This woman will ask you to step aside. Now.
—2025 elizabeth cassidy
elizabeth cassidy studio works
artist, illustrator, writer, poet,
peace lover
elizabethcassidystudioworks.com
THE ARTFUL MIND JULY • 21

KATE KNAPP, AUGUST CULVERT
OIL ON CANVAS 24” X 36”
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
NEW WORK ACRYLIC ON UNPRIMED CANVAS
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
Matt Bernson
SILVER GOLD DIAMOND CUFF WITH EARRINGS
JOANE CORNELL
FINE JEWELRY
Here we are. Middle of the year already!
So many things to make. So little time.
I find it to be such a struggle, as many artists/storekeepers
do, to find the quality time to develop my
designs, and yet maintain store hours to represent
my art.
Not complaining! It could be worse!
Also, finding the balance between producing marketable,
more mainstream smaller pieces, that fly
out of the store regularly, and my bigger, bolder,
more bodacious designs, that suit a very specific
client base.
I work solo. Not only in my store, but in my studio
as well. No assistance.
Since time is not on my side, business wise, since
we’re already aware that time is never on our side,
and not enough merchandise do I have even in July,
that I say, requests are very welcome!
Come in, and let’s chat about what you would like
me to make for you.
It would be my pleasure, to design and produce
something for you that you’re absolutely going to
love.
A large part of my business is repurposing/commission
orders.Take a look at what you own that you
don’t wear any longer, and bring it with you!
Joane Cornell Fine Jewelry -
My store schedule now incorporates five days a
week until December 31. Wednesday-Saturday 11-
4, Sunday 11-3.
9 Main Street, Chatham NY
917: 971-4662
joanecornellfinejewelry@gmail.com
ArtByMattBernson.com / matthew.bernson@gmail.com / Instagram@MattBernson.Art
The Jewels
My darling was naked, and knowing my heart well,
She was wearing only her sonorous jewels,
Whose opulent display made her look triumphant
Like Moorish concubines on their fortunate days.
— Charles Baudelaire
22 • JULY 2025 THE ARTFUL MIND

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
PHOTO: KORENMAN.COM
MODEL: LAURA LIN HEALING ARTS
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 eight, 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
IMAGINATION - TAKING FLIGHT
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
“Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.” ~Leonardo da Vinci
THE ARTFUL MIND JULY 2025 • 23

janet cooper artist
Photography by Edward Acker and otherwise noted
Interview by Harryet Candee
"Whether you succeed or not is irrelevant, there is no such thing. Making your unknown
known is the important thing and keeping the unknown always beyond you." -Georgia O’Keefe
Janet describes some of her life’s work and artistic
journey by comparing it to the concept of a
flea market. She says, "It's all about trying to
make something harmonious out of diverse components.
In a way, this is my sense of harmony."
While enjoying our tea in Janet’s kitchen, I noticed
the wild, untamed root collection lining up
along her window sill. When I asked her about
them, she smiled and said, "I'm celebrating something
that's often hidden from us. Come outside
and let me show you." With that invitation, she
guided me to her lively garden and our conversation
began.
Janet, what influenced your desire to nurture
your artistic sensibilities while growing up?
24 • JULY 2025 THE ARTFUL MIND
Janet Cooper: I've always loved drawing and engaging
in imaginative play. One of my favorite memories
is when I stayed home from school pretending to be
sick while listening to soap operas on the radio and
drawing.
What you learned in art school reflects your work,
including the skills you've acquired and the confidence
to pursue your vision. At some point, we
all have to become self-taught. How have you
taken on that process?
Ideas come during the process of working, not in a
vacuum, isolation, trolling the net ... or looking at
others' work. I am in love with the patinas and the
mysteries of the discarded. I am intrigued by the mechanics
and complexities of women's work. I have a
very nostalgic nature and treasure memories. I love
the commonplace and enjoy expressing it in my
work.
As a female artist, have you faced many challenges?
My work could be called too feminine or too girly.
My work has been called “a visual riot of feminine
signifiers.”
Writers, performers, and visual artists play a crucial
role in shaping our understanding, and we
learn from their work and the messages they convey.
Studying and learning from history is essential.
Which artists have had an influence on you?
My journey began with a deep love for working with

Janet’s window sill is a line up of fabric sculptures
Janet’s Pin Pendants and Tin Can Dolls
clay, which led me to attend two workshops with the
master artist Peter Voulkos. His influence is reflected
in my later textile work. Louise Bourgeois, known
for her textile art, challenged traditional views on the
use of materials in sculpture. Additionally, Margaret
Israel, who embraced folk art through clay, was an
important teacher and early influence on me.
Pin Pendants made with vintage tin cans: “These
pin pendants are pressed and snipped from my collection
of vintage tin cans and boxes, then adorned
with photo images and charms. While some of the
tins date back to the 1920s, most are from the 1950s
and 1960s. They display the craft of typography and
offset lithography and reflect the visual spirit of
those times."-Janet Cooper I sense your love and
appreciation for antiques and typography when
looking at these pieces. Tell us about this series.
The Pin Pendants interested and concerned me several
decades ago. I was always fascinated by apparel,
dressing up, and personal adornment. I loved the
1990s, when I mass-produced jewelry and participated
in both wholesale gift shows and craft shows.
The Artful Mind article in Fall 2000 summed it up for
me.
I have always enjoyed and admired your vision
as an artist and your respect for history and the
artistic ways you’ve transformed objects into
beautiful pieces of art. After years of sharing your
art with the public, have you managed to keep
track of everything you put out into the world?
I haven't kept the best records, but I do remember that
David Bowie bought one of my tin figures, and Mia
Farrow owned one of my necklaces. The music
group Hot House Flowers wore one of my necklaces
for a photo shoot in Rolling Stone. While my recordkeeping
might not be great, my work lives on in print.
In the 1990s and again in 2000, there was a surge of
art and craft books published, many by Lark Books,
featuring my work. I'm also featured in the tin craft
books by Bobby Hansen and various fabric craft anthologies,
such as Mary Schoesor's, "History of Textiles,"
"Contemporary Textiles" by Black Dog
Publishing, and "Textile Art Around the World" by
Ellen Baker. What's interesting is that all these authors
found my work through my website— www.janetcooperdesigns.com
Tell us about the Tin Can Doll series.
The Tin Can Doll series was released around 2000.
It is interesting that presently I am using or rather
reusing older works onto my recent collage canvases.
I am also using a series of sumi ink drawings from
several years ago, along with stashes of beloved fabrics
and saved paper scraps. I treasure the themes of
memory and the commonplace. It's not about recycling
but about appreciating things whose value transcends
time.
Continued on next page...
THE ARTFUL MIND JULY 2025 • 25

janet cooper artist
Velocity of Life
Photo courtesy of the artist
Painted and stitched dress series
Waiting for Judah
I'm looking at your pots, hats, pedestals/ baskets,
and work from a series, “Mama/Embrace”. Was
there a conscious shift in the play from one theme
to another?
I always return to the human form if, indeed, I even
stray from it. My clay work also features the suggestion
of the human form, with bulbous bodies and dangling
appendages.
"Waiting for Judah," what does this title mean?
This series featured watercolor images and embroideries
of babies, birth, and love as I awaited and then
celebrated the birth of my first grandchild, Judah. It
was a way to release anxieties of the anticipated birth.
I love Judah and his younger brother, Asher.
Tell us about the assemblage collection of dresses
you made with materials from your travels to
Italy, France, and Japan.
In 2008, I began the Party Dress series, assemblages
of fabric and artifacts collected during my travels,
26 •JULY 2025 THE ARTFUL MIND
which took the form of dresses.
Such a basic and simple concept
received a great amount of
attention at the time. Marina
Giordano’s, “Trame D' Artista”,
in her book on the use of fabric
in contemporary art, wrote on
this series, “She uses dresses as
pages to write her stories that
relate to her past and feelings."
In the “Contemporary Textiles”
book by Black Dog Publishing,
the authors wrote, "… Her work
is a visual riot of feminine signifiers, taking up the
narrative of the collective." I do like that.
Your art is delicate, static, and layered with either
a weighty material or a light, delicate fabric reminiscent
of a butterfly's wing. Some of your work
reminds me of fashion designers from the 1940s,
particularly French Couture, whose flouncy yet
stiff fabrics—whether they are silk or worn lace—
interest me. I've noticed that you work with various
fabric fragments, such as worn lace, beaded
silk, and heavy wools and knits. As a designer,
what have you experienced that works when it
comes to combining fabrics and materials together?
It's all about play. Sometimes, play works; sometimes,
it's more like a struggle. At other times, it may
fall flat, but the fun is in the doing, playing, and experimenting.
Right now, I'm focusing on fabric and
introducing encaustic paint and embroidery into my
work.
I came across "Janet Cooper, An Eclectic Art" on
the internet, which gets into your love for 'mysteries
of the discarded.' The old doll heads, shoes,
and materials combined in framed shadow boxes
that tell stories and unravels dreams. Can you tell
us about this body of work?
Continued on the following page....

Assemblage Dress.
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Janet’s work table in her studio.
Quilts, Assemblage series. Janet Cooper
THE ARTFUL MIND JULY 2025 • 27

janet cooper artist
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Sculptures, wall hangings and mixed media findings including animal bone by Janet Cooper
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28 • JULY 2025 THE ARTFUL MIND
Eight red circles, red dress and animal skull wall hanging

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Bone dolls on window sill
“Does she have an idea?” Janet Cooper
This series of assemblage works, titled, “Quilts”, was
created between 2008 and 2012. In the 1980s, I had
a one-woman show/installation of clay works, which
was sort of my swan song to ceramics. It was an installation
of figures, tables, objects, and more, entitled,
"Prairie Quilt," all made of clay with smatterings
of fabric and paint —a homage to flea markets. Interestingly,
I am creating similar images in fabric
today. They are part of the collage and wall art that I
am presently intrigues me.
I saw a sculpture you created in your home that
has deer horns, a bottle cap necklace, and fabric
draped onto a man's torso. I am very curious
about this piece. Can you tell us about it, Janet?
Everything you have seen upstairs in my workshop
is a work in progress, reflecting my current favorite
themes: the human form, animal skulls, fabrics, landscapes,
threads, and embroidery. I continue to be intrigued
with the "reuse" of materials and the detritus
of the second hand. I am attracted to the "used" for
its history, its narrative, and its symbolic presence. I
like the word 'bricolage,' which means using what is
at hand.
Your fabric wall hangings often tell of private
chapters in your life. There is one that has a red
skirt and has words around the waist and along
the bottom hem. Can you tell us about this piece?
This work, titled, “Velocity of Life”, is subtly about
life and death; the bones are symbols of death, as is
its blackness. This work is well-traveled. It was
showcased in a Textile Show in Seoul, South Korea,
in New York City at El Barrio's Artspace, and also in
the Attleboro Museum, in Attleboro, Massachusetts.
I am looking at a wall hanging with an animal
skull. The female figure wears a red dress and has
three bones visibly seen under her dress. There
are eight red circles of string on the left of her
head. Can you tell us about this piece?
This is a new piece, becoming into being. I plan to
create a harmonious stand or decorated pedestal for
it. The same themes enliven these new works of
mine: Bones, skeletons, fabrics, the skin, our second
skin, and paper bits and flotsam all that savors the
mosaics of memory.
How did your interest in bones first come about?
It all started with a lament for Walter's death, my
former partner, and this poem I wrote when he died
four and a half years ago. Then, I began collecting,
drawing and building with bones. I am interested in
the structure of bones and skeletons that serve as
frameworks—essentially, the armatures of flesh, just
as flesh can be seen as the armature of cloth.
Are you suggesting that bones symbolize life and
death?
Yes, that's part of it. Even when I was working with
clay, I always hinted at the human form. The presence
of the human figure is a recurring theme in all my
work. At this time, the bones for me are just the architecture
of the human figure.
What are you working on now?
More of the same. I came back with some interesting
fabric from France! And also, some very interesting
pocketbooks that I will begin to work with.
Continued on next page...
THE ARTFUL MIND JULY 2025 • 29

janet cooper artist
Busy shelves, box of findings and embroidered wall mural
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30 • JULY 2025 THE ARTFUL MIND

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Janet’s studio.
Do you have an idea in mind before you start
working on something new?
Yes, but it never turns out that way.
Are you surprised by the way it turns out?
No. I love the random things that accidentally turn
into whatever they turn into.
Where do you believe your creativity originates
from?
I find my creativity emerges during the act of working.
It doesn't happen in isolation; instead, it unfolds
through the process of engagement and effort.
Creativity doesn't thrive in a vacuum. Occasionally,
it might spark while I'm driving, but ultimately, it's
the active process of working that truly cultivates creativity.
It takes years to learn that, though.
Yes and no. Maybe I always knew it unconsciously.
I'm very conscious of it now. But there's always that
journey to get to from where you are now. You know,
of guessing, trying and playing. The most interesting
work is that which I haven't had or haven't done yet.
That’s why it's so fascinating to not know where I'm
going, even though I do have a vague sense of the direction
that is building on what was before. An example
of that would be creating art with bones that
continues to get more complex.
How would you best describe your artistic self?
I consider myself to be a maker. I genuinely enjoy
the process of bringing things together and creating
something from nothing. Isn’t that truly the essence
of what being an artist is about?
Yes, I believe that is true. Are you working with
clay now?
Well, since I decided I won't be using animal skulls
anymore in my work, but instead, I'm going to begin
creating a series of clay heads to accompany my clay
pieces and fabric work. Oh, and to add, my daughter,
who lives in Colorado, loves working with clay, and
so does my grandson, Asher. This summer I intend
to invite friends and acquaintances to join me in my
clay studio.
What about all your collections you’ve shown me
and are on display on your bookshelves and
walls— all the beads, buttons, and unique objects
you've discovered out and about and plan to incorporate
into future work. It's quite an impressive
accumulation, yes?
I'd rather deal with decumulation. It's the opposite of
accumulation—an accumulative retrospective of this,
that, and the other thing from then to now to tomorrow.
…Something like that.
What time of the day are you in your studio? Is it
every day?
Not every day, but I'm more energetic when the sun
goes down. I'm a night person. I usually stay up at
least until midnight to do Wordle. I'm addicted to
doing Wordle.
What's that?
That's a word game in the New York Times.
Oh, okay.
You don't know about it.
I don't know.
Very addictive. Don't start.
No, I'm not going to. So, if you're not doing
Wordle, you're doing your art.
Wordle takes, if I'm lucky, five minutes.
But it's a compulsion at midnight. However, working
with materials is also certainly a compulsion.
Continued on next page...
THE ARTFUL MIND JULY 2025 • 31

janet cooper artist
Wall hanging that tells many of Janet’s stories and memories
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32 • JULY 2025 THE ARTFUL MIND
Janet showed me all of her collected findings and treasures, art of others and those she she loves

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The path to Janet’s gardens
and the Mosaic floor tile
Roots with other objects of art displayed across Janet’s kitchen window sill
HC
Wondering, do you work in your studio with a
sewing machine?
I have one, but I don't use it. I prefer using a long
needle by hand with a sharp point that gets into the
material. However, I also use hot glue to adhere material
onto material, all depending on how heavy it is.
It's an aid. And it's a time saver.
Is there a connection between your past and present
with embroidering?
I wish I could say that I learned this skill at my grandmother's
knees, but unfortunately, neither of my
grandmothers sewed or did embroidery. Regardless,
I have a deep appreciation for women's crafts and traditional
items such as aprons, embroidered dish
towels, and lacy doilies. These creations embody a
sense of purity and warmth for me.
Are you planning on going to Brimfield this year
to find more treasures?
Of course. I will also set up every other Saturday at
the Junkertown Flea Market, located on Route 23 in
Craryville, New York. I will be selling from my collection
of bottle cap and tramp art, as well as some
textiles and jewelry from the 80s to now.
While in your home I felt a strong sense of time,
memory, and love, especially in the kitchen. The
mosaic tile floor panel caught my attention. I also
noticed in the window a rock collection and a lineup
of sun-dried plant roots. You mentioned that
your former partner, Walter, inspired your interest
in raw materials such as stone?
Yes, he did. You know, like the granite in the kitchen.
That was our project we did together. The mosaic tile
floor panel was brought back from Jordan. And, you
know, we got all that slate and the granite right here,
outside. Those were the materials he loved. Now, I
have a friend who's a mason and I want to build
something here with him with the stone that’s all
saved up and ready to use. My house is decorated
with crafted fabrics found at flea markets of the
world, especially Japan, where I have traveled ten
times - most recently this past March.
I enjoyed walking with you through your garden;
I felt your light and breezy personality shine
through. I noticed you enjoyed being barefoot
outside, letting your long hair flow down your
shoulders. You are akin to Mother Nature. I sense
your real connection to the elements, leading to
my curiosity about your collection of roots. Tell us
about your root collection.
Roots are the lower skeleton of the plant in a way,
and I have a fascination for skeletons. In my greenhouse
for the past several years I have collected many
dried root systems from my garden plants, it’s so intriguing
to study plant life below the soil line. I will
be incorporating some of these in future work …possibly
with fabrics and/or cement or plaster.
I have shared my thoughts here. While I have experience
working with metal, clay, and fabrics, what truly
captivates me is where my fascination with materials
and artmaking is taking me and what will engage and
inspire me in the future. As John O'Keeffe wrote:
"It's about the unknown beyond you,"
or as I would add, "within you."
www.janetcooperdesigns.com
T
Photo Credit: “Waiting for Judah”Visual Winds, NY, 2011
THE ARTFUL MIND JULY 2025 • 33

TANGLEWOOD, LENOX, MA
BELIEF IN THE POSSIBILITIES OF SPRING
COLLAGE, CRADLED WOODEN BOARD, 12” X 12” X 2”
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
REAL TOY BUNNY FOREST. OIL, 2025
ANN GETSINGER
PASSING THOUGHTS
Somewhere between kitchen sink and stairs a
thought passed by. I called it back, noticing the
spark. Picturing a deep, dark, storm cloud- I wondered,
have I painted that? Passing thoughts are
my guiding stars. Unlike my younger visual artist
days spent mostly outside and painting from life,
in recent decades I’ve slipped into the studio
where foreground objects are observed with care
“from life” and the surroundings these objects
have found themselves in arrive from anywhere,
but primarily through imagination, memory, and
passing thoughts.
So why are these dark clouds sparking at me
now? On the surface I know why they’re here but
in fact I prefer to paint without conclusions, see
where and how deep that spark takes me. Not
knowing leaves beautiful open spaces for surprise,
for each painting to become a singular journey.
Ann Getsinger lives and works in New Marlborough,
MA where she sometimes teaches privately,
enjoys taking commissions, and generally
paints whatever moves her. Her oil painting,
Pearly Forest, is now hanging in the exhibit
“DayDream”, curated by James Salomon, at the
Leonhardt Galleries at the Berkshire Botanical
Garden in Stockbridge, MA through August 10.
She’s delighted to have her work hanging in the
same space as life-long creative influences, Jamie
Wyeth and Yoko Ono, among many others.
Ann Getsinger —
www.anngetsinger.com
“I wonder if the snow loves the trees and fields, that it kisses them so gently?
And then it covers them up snug, you know, with a white quilt; and perhaps it says,
“Go to sleep, darlings, till the summer comes again.”
~ Lewis Carroll, Alice’s Adventures in Wonderland & Through the Looking-Glass
FROM DARKNESS TO LIGHT
COLLAGE, CRADLED WOODEN BOARD, 10” X 10” X 2”
JAYE ALISON
"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 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 deepseated
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.
Alison’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 —
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
34 • JULY 2025 THE ARTFUL MIND

Margaret Buchte
SCOTT TAYLOR
Riverside - Bartholomew's Cobble, Ashley Falls, MA.
Oil on stretched canvas, 18” x 24”
Hairpin Turn in Autumn 10” x 8” Acrylic on paper
fineartamerica.com/profiles/margaret-buchte
SCOTT TAYLOR PAINTINGS
THE STATIONERY FACTORY 63 FLANSBURG AVE. DALTON, MA.
FOR STUDIO VISIT scotttaylorpaintings@nycap.rr.com
SUSAN FLEX GILBERT
Janet Pumphrey
Photograph
Just In From Europe - Mixed media, 35” x 26”
JHPumphrey@gmail.com | www.JanetPumphrey.com
sgflexart1@gmail.com | www.flexart.space
781-492-2775
THE ARTFUL MIND JULY 2025 • 35

CARYN KING
CERAMIST AND PAINTER
— REVISIT WITH THE ARTIST —
Interview by Harryet Candee
Photography by Rick King & courtesy of the Artist
“My sculptures reflect the parts of myself I don’t always understand until I see them fired and standing still.
They are fragments of emotion, frozen in form — imperfect, honest, and entirely necessary for understanding myself.” - CARYN KING
After returning to ceramics from painting, I'm
eager to know what inspired your shift from twodimensional
art to working with three-dimensional
clay. If I'm not mistaken, you originally
began your artistic journey as a ceramicist before
transitioning to painting. Is that correct?
Caryn King: Yes, I started out with clay. While raising
two kids, I worked with whatever I could —
flour paste, paper mache — until I found earthenware
and stoneware. I learned hand building clay
from the kitchen table, selling early pieces at craft
fairs, and before long, Rick and I had a business
going. Quickly our new studio was filled with two
kilns, wheels, and plenty of table space. A definite
upgrade from the kitchen table. We taught classes,
sold through art galleries and art shows throughout
the Northeast, had a production line that we wholesaled,
and kept up that rhythm for over a decade.
Eventually, I felt the need to grow, so I went for my
BFA at MassArt, where sculpture remained my
foundation, even though I transitioned to illustration
36 • JULY 2025 THE ARTFUL MIND
and painting professionally. I kept teaching along
the way — sometimes in public schools, sometimes
privately — and painting when I found the time. But
after years of working on canvas, I felt the pull back
to clay. I knew I didn’t want to again do production
pottery and have moved to all one of a kind sculptures.
This return feels more personal, more internal
— a shift now toward making work that blends
memory, metaphor, and emotion. For many years,
painting animals realistically — getting every detail
just right didn’t answer my creative feelings. I found
myself wanting something more physical, something
with a 3D presence. Clay brought that back.
Now I sculpt animals that aren’t about anatomy —
they come from memory, instinct, and feeling, always
showing emotion and individuality. Currently
many birds and rabbits are showing up. Following
in creation now are sheep, squirrels, and my current
passion - frogs! Looking at my animal pieces as
emotional symbols - birds represent fragility and
freedom; rabbits hold tension and vulnerability
seems right. Each piece feels like a different spirit,
held in clay.
A key feature of your ceramic work is its textured
surface, whether depicting a landscape or
the fur of an animal. This same love for texture
is evident in your paintings as well. Is there a psychological
reason or a personal need behind your
desire to avoid flatness and create depth with
lines and shapes?
Thank you — the way you described my work
really means a lot to me. That’s exactly how I hope
it comes across, and it’s not always easy to put into
words my efforts. I think I’ve always had a kind of
resistance to flatness — both in my materials and
maybe even in how I move through the world. I’m
drawn to texture almost instinctively. There’s something
about the pull of a ridged surface, a broken
line, or a layered patch of color that just feels alive
to me. It creates a kind of conversation between my
hands and the piece I’m working on — whether it’s

Small bird Bath by Caryn King
Barn Owl by Caryn King
clay or canvas. With animals especially, texture becomes
a way to express their individuality — the
way fur might lift or settle, or how feathers shift
slightly depending on the mood I’m trying to capture.
It’s never about perfect realism. It’s about getting
to something underneath the surface —
emotion, presence, spirit. And I think there’s a psychological
layer to it too. Texture gives me a way to
build depth, not just visually, but emotionally. I’m
often working through things I can’t name until I
see them form — sculpted or painted. Smooth, flat
surfaces feel too silent for what I’m trying to say.
The bumps, scratches, and layers are like footprints
of the process — they show the journey, not just the
end. In a way, I guess texture is my way of staying
honest — of making work that’s raw, real, and a little
vulnerable. It’s not always tidy, but that’s the
point. Life isn’t either.
Now that you are merging your studio with a
partner, how is that going? What are you collaborating
on while maintaining boundaries to
keep both of you individual and distinct?
It started last summer — he came in to help me
build some of the clay structures I work on, but
pretty quickly, he was off doing his own thing. His
first piece? A huge bear. Not exactly easing back
into clay after years away — he went big right out
of the gate! The sculpture cracked as it dried (as clay
sometimes does), but he kept going with it anyway
and we’re both really happy with how it turned out.
It’s definitely got presence and is now planted in the
garden. Rick also handles our art print business —
the one we built around my original paintings,
which are in shops and galleries in Vermont and
Massachusetts. These days, Rick helps with building
clay forms, manages the kiln, and transports
fragile clay pieces between our rented studio in New
Marlborough and our daughter Jody King Camarra’s
kiln in Ashley Falls. It’s been a surprisingly
smooth shift from his years in working with school
technology to life in the studio — and it’s good for
us. Really good. Our studio is attached to the house
— always evolving, always a little messy, and comforting.
We spend long hours and are most happy
when we can be in the studio six days a week, a hard
goal when we are so involved in the community.
There’s something so grounding about being able
to create just steps from the kitchen, with our two
beloved dogs snoozing nearby or following us from
room to room. They’re very much a part of our creative
life (and occasional clay critics).
Are you still teaching art? How has that aspect
of your work changed for you?
I taught art in Southern Vermont’s public schools
for years, and honestly, it was some of the most fulfilling
work I’ve done. I loved being with the kids,
figuring out creative ways to teach, and just being
in that daily rhythm of making and sharing. But after
a while, I felt this tug to focus on my own work. So
I set up a painting studio and still taught private and
small group classes here and there. It felt good to finally
give myself time to paint more as I left full
time teaching. When we moved to Massachusetts
seven years ago, I didn’t rush into finding another
teaching job. I really needed time — creatively and
personally — to reset and play a little. That’s when
I signed up for a clay class at the Berkshire Art
Center, and it was like something lit up in me. I’d
forgotten how much I missed the feel of clay in my
hands. Getting to be a student again — after so
many years teaching — was surprisingly wonderful
too. Now I’m back in the clay studio and it feels like
home. I’ve also been going to weekly collage
classes that Jody teaches — sometimes at her studio,
sometimes at BAC — and I love them. Collage has
become this sort of yin to clay’s yang for me. It’s
Continued on next page...
THE ARTFUL MIND JULY 2025 • 37

CARYN KING CERAMIST AND PAINTER
Rick King - Caryn’s partner, sharing the same interest
Frog Pot by Caryn King
Barred Owl by Caryn King. Painting.
fast, intuitive, and lets me play with color, shape,
and layering in ways that feed directly into my
sculpture. It’s amazing how those discoveries start
showing up in my clay work without me even trying.
Our studio has really evolved into this incredibly
personal, functional space. We’ve carved
out distinct stations — one for art prints, one for
clay, and one for collage — and each is always
ready to jump into. There’s something so satisfying
about walking in and being able to get to work, no
setup needed. It keeps the flow going. And somehow,
even with the dogs underfoot and projects in
all stages of progress, it all works. On request I am
again welcoming students in my studio.
Looking back at 2019, when we did our first interview
in The Artful Mind, how would you summarize
life up to now for you, what would you
have done differently, kept the exact same, and
38 • JULY 2025 THE ARTFUL MIND
now, plan on doing in the future?
It’s kind of amazing to look back, honestly. When
we did that first interview, I was painting almost full
time and just beginning to settle into life in Massachusetts.
Since then, a lot has changed — and a lot
has stayed beautifully the same. If I could go back
and give myself any advice, it would be: don’t
worry so much about the “right” path. Every twist
in the road — leaving teaching, focusing on painting,
coming back to clay — it’s all been part of finding
my voice. Moving away from the life Rick and
I had created for ourselves after 25 years living in
the hills of Vermont was not easy but I don’t think
I’d really change anything. Even the pauses, the
doubts, the pivots — they’ve helped shape what I’m
doing now in the studio. And I like where I’ve
landed. One thing I’ve absolutely kept the same is
working alongside Rick. We’ve always found ways
to support each other creatively, and now that we’re
both in the clay studio again, it feels like a return to
our roots. That partnership — in life and in art — is
something I’d never change. Looking ahead, I want
to keep following the work where it leads me. I
don’t feel the need to define things too tightly right
now. There’s new work always on my mind, in my
sketch books, and evolving in the studio, more collaborations
with Rick, and hopefully more time connecting
with people — through studio visits,
conversations, and maybe even another round of
teaching when the time feels right. Mostly, I just
want to keep making things that feel honest and
alive — and stay open to whatever’s next. I never
know when I will be including different animals -
they just appear! I always have ideas for what’s
next.
Berkshire life is truly one-of-a-kind! We’d love
to hear about your plans for this summer. Are

Pottery table
“Laverne” Caryn King. Painting.
there any local activities or events in the Berkshires
that you're excited to participate in and
even suggest? When can we visit your studio?
I’ve got some fun things coming up—June 20
through July 20, I’ll have my sculptures in the Botanically
Speaking show at the New Marlborough
Meetinghouse Gallery. I’m also filling a gallery at
the Becket Art Center with the super talented
Theresa Bills—our show runs September 5–28. On
top of that (and ongoing studio visits!), work is included
in a couple of great Vermont spots: 3 Pears
Gallery in Manchester has sculptures and prints and
Vermont Artisans in Brattleboro has art prints with
clay still to come. Since moving to the Berkshires,
we’ve also been lucky to have the art print pieces
carried in the shops at Hancock Shaker Village and
Sidetracks in Stockbridge.
We love having visitors—whether you're curious
about the work, interested in the process, or just
want to stop in and say hi. Just give us a quick call
or message before coming by so we can make sure
we’re around (and the studio isn’t too chaotic). GPS
can be a little quirky out here, so when we talk, I’ll
walk you through the best directions—there are a
few local landmarks and tricks that make it much
easier. If you’ve seen something on my website, Instagram,
or in an article and are wondering if it’s
still available, don’t hesitate to ask! I’m always
happy to share what’s currently in the studio.
There’s usually something fresh being shaped, drying,
or just coming out of the kiln. The studio has a
rhythm that feels really alive, and we’d love to share
a bit of that with you. When we moved from Vermont,
the movers joked that our Southfield dirt road
looked just like the old one—snow, hills, trees when
we moved during a January southern Berkshire
snowstorm. They weren’t wrong. Seven years later,
we feel deeply rooted here. There’s art everywhere—galleries,
studios, and quiet trails where you
can hear birdsong and not much else. Our studio is
always in motion—a little messy, a little magical.
The dogs follow us room to room and are very
much part of the rhythm. So again, if you’re thinking
of visiting, just call ahead. We’ll help guide you
in if needed and hopefully show you something
fresh from the kiln.
caryn@carynking.com
https://www.instagram.com/carynkingart/
https://www.carynking.com/
802-380-7006
G
THE ARTFUL MIND JULY 2025 • 39

40 • JULY 2025 THE ARTFUL MIND

MARY ANN YARMOSKY
Common Denominator Framed Acrylic on Canvas 18” x 21”
“Each person I meet intriqgues me with their different
stories and life experiences. 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
Instagram • Facebook | maryannyarmoskyart.com
THE ARTFUL MIND JULY 2025 • 41

RICHARD TALBERT
Richard Talbert c, Proposal, “Waves #1” 5’ x 8’ 2025.
The WAVE Series began with many drawings on a sandy beach near the ocean.
The sculptures are from dreams about Wave Energy to produce electricity in the future.
richtalbert1@gmail.com
| Richardtalbertdesign.com
42 • JULY 2025 THE ARTFUL MIND

RICHARD NELSON
THE ALPHABET SERIES FROM A TO Z: “N ”
&
Ai
ART
Digital Art
nojrevned@hotmail.com
Rick Nelson on FB
THE ARTFUL MIND JULY 2025 • 43

EDWARD ACKER
PHOTOGRAPHER
Time Flies • Get Pictures
edwardacker302@gmail.com
413-446-8348
44 • JULY THE ARTFUL MIND

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 —
instagram: @maryannyarmoskyart
ARTFULMIND@YAHOO.COM
FROZEN, PHOTOGRAPH
JANET PUMPHREY
PHOTOGRAPHY
Janet Pumphrey’s traditional, representational
photographs span the genres of portraits and street
photography, vintage and sports cars, travel, landscapes,
and wildlife. While photography is a representational
medium, Pumphrey also moves
beyond the inherent realism in traditional photography
to see the world in a new and more creative
way. Her work is painterly, sometimes abstract,
sometimes impressionistic. Each piece is a
unique, creative interpretation of a realistic image.
Currently, Pumphrey shows her work at the 510
Warren Street Gallery in Hudson, New York.
From June, 2020 until October, 2024, Pumphrey
showed her work at the Janet Pumphrey Gallery
in Lenox, Massachusetts. Previously, she showed
her photographs in many galleries in the Berkshires
and in the Hudson Valley.
Janet Pumphrey —
An interview with Janet Pumphrey is in the July
2020 Artful Mind:
https://issuu.com/theartfulmindartzine/docs/the_artful_mind_july_2020_issue_enjoy
and an interview and tour of her gallery is here:
https://www.youtube.com/watch?v=wYHhXtSWl-g
Facebook - Janet Pumphrey
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!
BEE SEEN THIS SUMMER!
Boot Jewelry
www.TheCharmBug.etsy.com
THE ARTFUL MIND JULY 2025 • 45

DON LONGO
"I love playing with textures,
colors and patterns. In this
painting I used a variety of
techniques to achieve the
combination of colors and how
they intermingle with each other
while not losing their own
brightness and quality. It is a
metaphor for the human race.
We were all created differently
to shine our uniqueness on this
earth while still engaging in each
other to form one common vibe
of love and acceptance."
"CREATION" Acrylics Wooden Board 18" x 24"
www.donlongoart.com
46 • THE ARTFUL MIND JULY 2025

Valeria and the Ants
CHAPTER 2
The Rage of the Elephant
It was obvious that Valeria had learned all of the
various bits and pieces of foreign languages she
knew somehow, directly from the elephant, by what
must have been a form of telepathy. It is the simplest
and most obvious explanation of her abilities. He
became her instructor not long after she was born.
The elephant was always tethered to a convenient
telephone pole, or street lamp, and a circle was
drawn in the dirt underneath. The child, when just a
few weeks old, was put down on the ground in the
circle, and left there for many long hours. The elephant,
in his slow and languid way, kept track of all
the child’s movements. You might imagine that he
would frequently need to shepard the child back into
the circle, but that was not the case. Valeria was
content to stay put.
But how could I ever describe their conversations,
I can’t even begin to tell you what they were like.
Take for example, one day the two of them were sitting
there next to the lamp post and a man came
down the road riding a bicycle. He was a very thin
old man with ragged uncombed hair, and he was riding
a squeaking bike of dubious reliability. Connected
to the back of the seat of the bicycle was a
pipe attached to a homemade cart of wood of the
type that is made from packing crates. In the cart
was a collection of personal items like chairs, bags
of clothing, various suitcases, and assorted small
furniture items.
As the old man on the bicycle with his load went
by, the elephant looked at Valeria significantly, and
Valeria looked at him and not a word passed between
them.
I could sum up that look with these words, “He is
certainly funny to look at but it would be wrong to
laugh at him, seeing as he must be desperate and
very miserable.”
Perhaps you have been fortunate in your life if
you have had a friend such that you could look at
each other and know that you are both thinking the
same thought, at the same moment, even from across
the room, even from the opposite ends of the
earth; to have one mind.
So Valeria sat down in her favorite spot next to the
elephant, sitting on a three legged stool, with her elbows
on her knees, and began to explain her experience
with the ants.
Bruno at first listened to everything Valeria said
about the ants, but he started to be restive and agitated
when she began to recount her conversations
with Syracuse, the ant with the short leg.
Bruno became so agitated, for no apparent reason,
that he could not stand still, and finally he made a
loud bellowing sound, and Valeria heard him say, in
no uncertain terms, that if he was going to be friends
with some ant named Syracuse, that he could not be
friends with himself.
I can imagine what Valeria looked like at that moment.
Her face was most likely a perfect mixture of
terror and anguish.
At first Valeria could not even believe her ears and
she became entirely terrified. She took several steps
clumsily backward with her small hands outstretched
and than she ran all the way home, holding
her hands over her ears like mufflers in the winter,
as the elephant continued to bellow, and even tore
out the lamp post he was chained to, and began running
around in a dangerous way, dragging the lamp
post by his chain, and causing a lot of damage.
It took Valeria several hours, actually, more than
a day to truly realize what had happened, and finally,
on the evening of the day after the event she said to
herself, “This is the most terrible thing that has ever
happened to me in my entire life.”
First of all, I have to apologize for a very serious
mistake in the previous paragraphs. In it, I stated
that after Bruno yelled at Valeria about the ants, he
tore out the lamppost he was chained to, and went
rampaging about destroying things. That statement
is categorically false.
Well, actually it is a true statement, even though it
is false, but let me explain, because it is very important.
Bruno did go on a rampage after he yelled at
Valeria, but the rampage happened four days after
his altercation with the child. The importance of this
distinction can’t in any way be overstated, because
if you accept the chronology that placed the elephant’s
fit immediately after the argument, then it
would appear that Bruno was a distinct danger to
the child, and that is a terrible misconception.
Here is what actually happened. Instantly after he
yelled at Valeria, Bruno watched as she ran off. She
was not covering her ears, “like earmuffs in the
winter,” but she was very confused and upset. Bruno
was anxious to clear up what he felt was some sort
of a misunderstanding, but after several days he realized
that he might not get an opportunity.
I happened to be away at the time of the altercation
between the elephant and the child, and so my account
of the story was based entirely on newspaper
accounts of Bruno’s rampage. What I said, I must
apologize for, but it was just my amateurish attempt
at being “literary.”
But imagine my surprise when, on further inquiry
among the carnival folk, I was informed that there
was no elephant rampage.
Carnival folk do not read newspapers, and most
of them are actually illiterate, and so they had no
knowledge of any account of any rampage. The reporter
who wrote the story simply made up the details
about the lampost knocking over an ice cream
stand and the ticket booth, because it made an interesting
story.
Bruno did, however, happen to tip over the lamppost
he was chained to and this happened because
he was in the habit of scratching his forehead on the
lamppost, and over time, scratching his head on one
side, and then another side, the post became loose
and simply fell over of its own accord.
That then, is the entire account of the rage of the
Elephant at the carnival, a story that goes right the
the heart of the ambiguous relationship between the
elephant and humans, and also illustrates the profound
advantage the illiterate have over people who
read news accounts, when it comes to understanding
the truth of simple happenings.
Although there was no rampage, and even though
nothing was knocked down, nevertheless, Valeria’s
life was completely altered. In the first few days
after the elephant yelled at her she went around in a
daze, and found it very difficult to think even the
most ordinary thoughts.
You can see this state of mind in those people who
have experienced sudden catastrophic events. For
example, I can remember very clearly the behavior
of my old Aunt Mary, when her husband Dominic
died suddenly after a brick fell on him at a construction
site. And he was not even working at the site,
he was just making a delivery of pizza from his
pizza shop. The delivery boy was sick that day, and
so Dominic was doing the deliveries himself. He
was in a tremendous rush, so as to get back to the
shop before items in the oven got burned.
The next day, after Dominic’s death, Aunt Mary
was eating soup. She was holding the spoon of soup
approximately four inches from her lips. As I looked
at her I thought, “She is just waiting for the soup to
cool off.” But no, she was just sitting there, the soup
suspended in the air. I imagine it was her desire to
stop time itself, and if it could be stopped, then perhaps
she might be able to unwind the spool of time
itself, to a better time just simply 37 hours previously.
That was how it was for Valeria, and she thought
to herself, “If it could only be just three days ago,
instead of right now.”
Without the elephant to talk to she went about her
daily activities, but in a disinterested and abstracted
way. She got out her cigar box that contains about
one hundred similar stones and set to work to make
a pattern with them. The pattern was a circle in a
square, and at each corner of the square, where it
touched the circle, she made a kind of little swag
shape, and the ends of the swags almost touched
each other making a decorative frame for the pattern,
but she didn't finish it because the shapes gave
her no satisfaction.
Then she hung upside down from a low hanging
branch of the maple tree behind her trailer, but she
did not find the upside down view of the world even
slightly interesting.
Then she went to have a look in the carnival tent,
to see if anything had been left behind by the weekend
visitors. She had a small collection of found objects,
all extremely valuable in their own way,
because of the meaning she attached to each of
them, especially a cloisonne thimble with which she
could change the weather, depending on which
finger she put it on, or so she thought.
Her search was not in vain that day, what she
found was a marble, one of those that are perfectly
clear, and have no color. She had a collection of
marbles in a leather bag, tied with a red string, but
in her collection there was no, “purees,” as those
marbles are called. She seized the marble in her left
hand and went running across the field in the direction
of the Elephant. She was excited to show it to
him, and see what interesting things he would say
about it. Then she stopped suddenly, as she realized
she was not on speaking terms with the Elephant.
Valeria dropped the marble, which suddenly had
no interest for her. and she said, almost out loud, “I
will never be sadder than I am at this very moment,
and I think I will never ever be happy again for the
rest of my life.”
I ask you, whatever could have possessed the Elephant
to yell at the child like that, what could possibly
be a cause or a justification. We will delve into
it in the next chapter, not to justify the Elephant’s
behavior but perhaps to at least understand him.
—RICHARD BRITELL, JUNE 2025
THE ARTFUL MIND JULY 2025 • 47

Mining My Life Diaries of Jane Gennaro
48 • THE ARTFUL MIND JULY 2025

BRUCE PANOCK
Alone But Not Lonely
Panockphotography.com
bruce@panockphotography.com
917-287-8589 | Instagram @brucepanock

Deborah H Carter
Uprooted
Photo: Korenman.com
Model: Laura Lin Healing Arts
Represented by the WIT Gallery
Clock Tower Artists