The Artful Mind September on Yumpu

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

THE ARTFUL MIND

SEPTEMBER 2025

RICHARD BRITELL

ARTIST / WRITER

PHOTOGRAPH BY EDWARD ACKER

the

IN PRINT SINCE 1994

SEPTEMBER 2025

ARTFUL MIND

Pop-up galleries are temporary art spaces that utilize unconventional

locations, such as abandoned warehouses, storefronts, and parks. Their

flexibility and impermanence create a distinct experience compared to

traditional galleries. The key is their flexibility and impermanence,

which make them uniquely exciting.

Visit 11 EAGLE STREET, NORTH ADAMS, MA

JOANE CORNELL

FINE JEWELRY

CALENDAR of Artful Events... 4

Interview: Richard Britell Artist / Writer

Photography by Edward Acker... 10

Elizabeth Cassidy In Other Words | POETRY ... 21

Interview: Steven Sorman Painter / Printmaker ... 24

Richard Britell | FICTION

Valeria and the Ants CHAPTER 4 ... 47

Diaries of Jane Gennaro

Mining My Life ANCIENT GODS .... 48

Publisher Harryet Candee

Copy Editor Elise Francoise

COMMISSION ORDERS WELCOMED

Hand Forged Designs

Ruby Ring Cuff Bracelet

www.JoaneCornellFineJewelry.com

9 Main St. Chatham, NY

Contributing Photographers

Edward Acker Tasja Keetman Bobby Miller

Contributing Writers

Richard Britell Jane Gennaro

Third Eye Jeff Bynack

Distribution Ruby Aver

CALENDAR / ADVERTISING

EDITORIAL / SUBSCRIPTIONS —

413-645-4114

EMAIL: ARTFULMIND@YAHOO.COM

Read every issue online: ISSUU.COM

and YUMPU.COM / instagram

Join the FB group:

ARTFUL MIND GALLERY for Artful Minds 23

THE ARTFUL MIND

PO Box 985, Great Barrington, MA 01230

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logo & all graphics including text material. Copyright laws for photographers

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due to unforeseeable circumstances beyond our control, advertisers will be

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necessarily the opinion of the publisher and take no responsibility for their

facts and opinions. All photographs submitted for advertisers are the responsibility

for advertiser to grant release permission before running image or photograph.

Not responsible for photo content /copyright brought into magazine

by other artists promoting other artists in editorial on these pages.

THE ARTFUL MIND SEPTEMBER 2025 • 1

2 • SEPTEMBER 2025 THE ARTFUL MIND

Katherine Borkowski-Bryne

A Way Out Water soluble oil on wooden panel 36” x 36”

No Title. Oil on canvas. 30” x 40”

Dawn Nelson

WWW.DAWNNELSON.ORG

DAWN.LESLIE.NELSON@GMAIL.COM

kbyrnerun@hotmail.com

http://katherineborkowski-byrne.com

FEELS LIKE HOME A Berkshire Memory. 24" x 36" Acrylics on canvas

DON LONGO

www.donlongoart.com

On the southwest side of Tanglewood, if you look over the tall bushes

surrounding the resort, you may see this vista of the beautiful Berkshire Hills.

I will always have fond memories of this view from Tanglewood.

Soft, serene and natural!



CALENDAR of EVE NTS

Works of Passion

Meditations on the Hudson

Art and Artifact by John Lawson

October 11 - November 9

TSL • 434 Columbia St, Hudson, NY. fyi@time&space.org

August 15 - September 14

Curated by Janene Gentiel and

Demoy Shilling

60 Broadway, Tivoli, NY

Painting by Janene Gentile

ART

510 WARREN STREET GALLERY

510 Warren st, Hudson NY

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

Sept 5-28. Reception Sept. 5, 3-6pm. Ken Sahr:

Paintings

BERKSHIRE ART MUSEUM

159 East Main Rd, North Adams, MA

413-644-9550

BARBARA AND ERIC RUDD ART FOUNDATION

EXHIBITIONS East Main StreetThis season: Creatures,

and Ontogens created in the 1970s., as well

as his large collage and large collage reliefs, In addition

to the large relief works, Rudd continued the

collage process in smaller motifs. “Small Reliefs” are

exhibited in the side gallery on the main floor. “Artistic

Genes” exhibits artwork by six generations, exploring

the question whether there is artistic DNA.

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.

BECKET ARTS CENTER

7 Brooker Hill Rd, Becket , MA

413-623-6635 office@becketartscenter.org

Sept 5-28: Creature: featuring Caryn King and Teresa

Bills. Reception Sept 5, 5 - 7pm.

BERKSHIRE BOTANICAL GARDEN

5 West Stockbridge Rd, Stockbridge, MA

413-298-3926 BerkshireBotanical.org

Aug 15-Oct 5: Works by Frances Palmer: Terracotta

and FLoral Photography; Oct 18-Nov 30: Flock Watercolor

Paintings by Robin Crofut-Brittingham. Reception

Oct 24, 5-7pm


BERNAY FINE ART

296 Main st Gt Barrington, MA

413-645-3421

Sept 20-Oct 19: The Paper Chase: The show will feature

work by Nancy Blum, Susan Dory, Betsy Friedman,

Mike Glier, Jessica Hess, John Lippert, Hideyo

Okamura and Eric Wolf.

CARRIE HADDAD GALLERY

622 Warren St, Hudson, NY

info@carriehaddadgallery.com

Aug 1-Sept 21: Weathered

THE CLARK ART INSTITUTE

225 South St, Williamstown, MA

413-458-2303

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

CLOCK TOWER ARTISTS’ STUDIOS & GALLERY

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

clocktowerartists.com

First Fridays: Sept 5. 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

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.

FUTURE LAB(S) GALLERY

43 Eagle St, North Adams, MA

Ongoing art exhibits. Opening First Fri in Sept

GALLERY NORTH


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.

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.

INNER VISION STUDIO

KAREN ANDREWS

2 Furnace Rd, West Stockbridge, MA

Call ahead: 413-212-1394

Fine and Functional Art

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

Oct 15: Jimena Sarno: Rhapsody

MCLA GALLERY

375 Church St, North Adams, MA

413-662-5000

July 18-Sept 28: I Am Too, A Piece of Clay: LaRissa

Rogers

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

PAMELA SALISBURY GALLERY

362 1/2 Warren St, Hudson, NY

Ongoing art exhibits.

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.

SOHN FINE ART

69 Church St, Lenox, MA

413-551-7353 info@sohnfineart.com

Thru Oct 6: Blaze, Smolder, Char

SOUTHERN VERMONT ARTS CENTER

860 SVAC Drive / West Rd, Manchetser VT

SVAC.ORG

What to do In and around the berkshires.

múm

2025 North American Tour

September 20, 7pm

Hudson Hall

327 Warren st, Hudson NY

hello@hudsonhall.org

Experimental music

Jay Jackson (1905 – 1954)

Etta Moten Barnett Dancing, c.

1940, for American Negro

Exposition, 1940

Watercolor, ink, and charcoal on

paper.Delaware Art Museum,

Acquisition Fund, 2022.

© Estate of Jay Paul Jackson

Norman

Rockwell Museum

9 Glendale Rd,

Stockbridge, MA

November 8 - April 6, 2026:

Jazz Age Illustration

Step back into the vibrant

world of the 1920s and

1930s with Jazz Age Illustration,

a major exhibition exploring

the art of popular

illustration during this transformative

era.

Through January 4, 26: Into the Abstract: Paul

Gruhler and Neha Vedpathak

SPENCERTOWN ACADEMY

790 Rte 203, Spencertown, NY

518-392-3693

Sept 27-Oct 26: Art As Memoir: Regional Juried

Show

SUSAN ELEY FINE ART

433 Warren St., Hudson, NY

Sept 4-Oct 19: Barbara Marks, Angela A’Court &

Kate Snow; Oct 23-Nov 30: Sasha Hallock & Susan

Lisbin

THE ARTFUL MIND POP UP GROUP Art Exhibit


413 - 645 - 4114 Wed - Sun noon - 4:30

Please call ahead if coming from a distance.

TURNPARK ART SPACE

2 Moscow Rd, West Stockbridge, MA

Thru Oct 31: John Clarke: Passing Through

NEW MARLBOROUGH MEETING HOUSE

154 Hartsville, New Marlborough Rd

New Marlborough, MA

Thru Oct 5: “Black and White and What Lies Between”

Sept13: ART SHOW: Botanically Speaking

TIVOLI ARTISTS GALLERY

60 Broadway, Tivoli, NY

Sept 18-Oct 11: Anita Kiewra Solo Show. Reception

Sept 20, 5-7pm.

THEATER

BERKSHIRE THEATRE GROUP

www.berkshiretheatregroup.org

The Unicorn Theatre

6 East St, Stockbridge, MA

Sept 25-Oct 26: Metamorphoses

MAC-HAYDN THEATRE

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

Sept 12-21: Beehive

SHAKESPEARE & COMPANY

70 Kemble St, Lenox, MA

413-637-3353 shakespeare.org

Oct 10-12: Tina Packer Playhouse: Celebrating Jewish

Plays - An Immersive Weekend of Staged

Readings

SHARON PLAYHOUSE

49 Amenia Rd, Sharon CT

info@sharonplayhouse.org

Sept 26-Oct 5: The Mousetrap, plus much more

MUSIC | EVENTS

HUDSON HALL

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

Thru Oct 5: Christian Marclay:

Christian Marclay’s inventive fusion of visual art and

music takes center stage in this solo exhibition of

video, photography, printmaking and collage, curated

by Second Ward Foundation and drawn entirely

from its collection.

MASS MoCA

1040 MASS MoCA WAY, Hunter Center,

North Adams, MA info@massmoca.org

Sept 17, 8pm: FRESH GRASS

SPENCERTWON ACADEMY


518-392-3693

Oct 4, 8pm: Jen Chapin Trio

Roots & Shoots Concerts is excited to present Jen

Chapin accompanied by GRAMMY© nominated

bassist Stephan Crump and “impeccable melodist”

(New York Times) Jamie Fox on electric guitar, debuting

a new cabaret-style performance of her urban

folk songs entitled Anything Goes, and How Did We

Get Here?

FIRST FRIDAY in NORTH ADAMS

FIRST Fridays is a grass-roots initiative to get folks

downtown on the first Friday of the month by asking

the galleries and businesses of North Adams to stay

open until 8:00pm!

EDUCATION

ART SLAM

34 Depot St, suite 101, Pittsfield, MA

ArtintheBerkshires.com

Monthly on first tuesdays. Join us for an Art Slam, a

fast-paced, fun, and interactive event where artists

take the stage to present their work, share their process,

and engage in conversation—just like a poetry

slam, but for visual art!

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

FOUNDATIONS OF DRAWING FOR LEE TEENS

AND TWEENS

Lee Congregational Chirch

25 Park Place, Lee, MA (Free)

Sept 12, 4 - 5:30pm

GUILD OF BERKSHIRE ARTISTS

www.berkshireartists.org

Workshop: Pulling Prints with Jody King Camarra

September 18, 9- 2pm

SPENCERTWON ACADEMY


518-392-3693

Sept 20, 10 am-12:30pm: Make it, Shrink it, Wear it!

Jewlery, Charms and more. (free); Oct 9, 11:30-

12:30pm: Connected to the Ground: How to Cultivate

balance and strength: Six consecutive

Thursdays taught by Fran Snyder.

FILM

BERKSHIRE JEWISH FILM FESTIVAL

197 East St, Lenox, MA

Oct 20, 4pm-8pm

IMAGES CINEMA

50 Spring st, Williamstown MA

413-458-1039 imagescinema.org

Sept 11: Moana 2; Sept 12: We Live In Time; Sept

13: The Apprentice

TURNPARK

2 Moscow Road, West Stockbridge, MA

Wild Strawberries, Ingmar Bergman; Sept 25: 7:30-

9:30: Coffee and Ciggaretts by Jim Jarmusch

Add your Free Calendar listings

Please send in your events listings on the first of each

month prior to publication —We gladly accept images.

Send to: artfulmind@yahoo.com

FIND US on FB issuu.com || YUMPU.com


MARY ANN YARMOSKY

Airborn Acrylic on canvas 36” x 36”

On view at The Artful Mind Pop -up Gallery til’ end of October

11 Eagle Street, North Adams, MA

Instagram • Facebook | maryannyarmoskyart.com

RUBY AVER

rdaver2@gmail.com | Instagram: rdaver2.

Housatonic Studio open by appointment: 413-854-7007

LESLEE CARSEWELL - ARTIST

SPRING, JOHNSON, VT Acrylic on canvas, 36” x 48”

www.lcarsewellart.com n @carzeart

lcarsewellart@icloud.com

SARAH HORNE

sarahhorne29@gmail.com | 518-469-3846


Beginnings, 52” x 30, Oil on canvas

Rosemary Barrett

Opening Reception for Artist

Saturday October 11, 2025 • 4 - 7pm

The Stewart House • 2 North Water Street, Athens, NY, 12015

Contact Artist: rbarrettstudios@gmail.com | www.rbarrettstudios.com

THE ARTFUL MIND SEPTEMBER • 9

Photograph by Edward Acker

RICHARD BRITELL

ARTIST | WRITER

Interview by Harryet Candee

Cover and inside Photography by Edward Acker as noted

"I have become famous in my own zip code" —Richard Britell

Richard Britell: “I never thought I would be asked

to be on the cover of The Artful Mind. I have followed

this publication since it started and even

from the beginning I have had work in its pages. It

is a pillar of our artistic community, but there is a

lot about my life I have been reluctant to share with

others, and sometimes even with myself. And so,

having agreed to be interviewed, I will try to be as

honest as I can.”

Harryet Candee: Thank you, Richard. Can you

elaborate on this quote you wrote: “Artists are

often asked to create an artist’s statement, and although

I have never written one, I would say that

invisible, yet structural elements inform my paintings.”

Richard Britell: The entire statement says: These

structural elements consist of pivotal experiences

that dot my personal history like buoys on the ocean.

Here is a partial list of those experiences. I have been

in a straight jacket twice in my life. I know what the


inside of a rubber room looks like. I spent a month

in the notorious Northampton State hospital, a sinister

establishment long ago torn down.

I have been in the back of a police car twice, in handcuffs

muttering the Lord’s Prayer, and stood before

a judge in a courtroom, shackled hand and foot. In

2006 I had a heart attack, and in 2012, I had a stroke,

which left me unable to recall people’s names, which

has often been of benefit to me. And on July 25,

2022, just three years ago, I suffered cardiac arrest,

in my car in a parking lot, but fortunately some

stranger called 911 for me, and I was resuscitated

after 25 minutes. None of this drama, suffering and

pain, embarrassment and shame, shows in any obvious

way in my paintings, of which I am justifiably

proud.

Now, let me explain. After those events I had to reconstruct

myself and reestablish my health and my

sanity. The images I paint, at first glance present a

logical and orderly image, especially architecture,

painted with careful precision and objectivity. On

closer examination, you see that these structures are

succumbing to the stress of time and are in the act

of disintegrating. So, the paintings are quite obviously,

carefully concealed self-portraits.

Richard, tell us about the black ball.

The black ball came from a toy bowling machine

that was in a bowling alley when I was about ten

years old. I acquired one of the balls, I don’t know

how. It was quite heavy and I decided to make it into

an art object. I painted it decoratively with high gloss

enamel, using red gold and silver. Then I hung it over

my bed by a string, and would wind it up and watch

it spin when I went to sleep. My brother said that

when I created it, he thought it signified that I would

be an artist some day. Recently he asked me if I remembered

the thing, and I said that I remembered

it, and that it was on the floor in the corner of my living

room. If I had to explain it now, I would say that

it symbolizes the continuity of my creative life.

Richard Britell, 14th Street Station, oil on wood, 2024, 12 x 16 Private Collection

How did your awakening for art develop while

growing up in Utica, New York, a town that did

not have a prominent artistic culture?

It was not a gradual development, or the influence

of some person or teacher. I think my artistic temperament

was evident at an early age. I remember

working on a painting in kindergarten, it was a typical

five-year old’s painting, with a house on a ground

line, a tree, the sun in the upper left corner. I put the

brush in the black paint, and I covered it from top to

bottom with black. My teacher rushed up and said,

“Why are you doing that?” and I responded, “Because

it is night now.”

I flunked the intelligence test to start kindergarten.

This failure alarmed my father because one of my

answers seemed to be especially stupid.

The question was “Which is faster, a car or a plane?”

I answered, “The car.” My father said to me, “Why

on earth would you think a car is faster than a

plane?” and I said, “Because Dad, just look at them.”

This occurrence, etched so deeply in my memory,

told me one thing I never forgot. My parents thought

I was a stupid child, and I knew that I was not stupid,

but different from other children.

What followed then for you? Did you find your

voice and follow it?

No, because there was nothing gradual about it, and

no point of discovery of an identity. By fifth grade I

was what might be called the class artist and was always

called upon to do illustrations. I did block lettered

names of other classmates in perspective on

cardboard for twenty-five cents each. In high school

I was the one who had to paint the murals for the

prom, or backdrops for a school play. Nevertheless,

I was developing in an atmosphere of mill town

America in the 1950s, in which a desire to be an artist

was strenuously discouraged. It was quite simple,

my parents feared I would be “gay.”

The sudden death of my father when I was thirteen

years old, put a complete end to any anxiety I might

have had about measuring up to some norms that existed

in my family, and by high school I was happy

to be considered a “weirdo,” and gladly decided to

identify as an artist.

Do you remember your early years when you

first established yourself and learned the ropes in

the Berkshires? Are you attached to living here

in particular? Please describe life back then and

how it compares to now.

Wow, that is a good question and touches on the conflicts

of my entire life, both in the past and now. I

moved to Pittsfield in 1972 with a sense of despair.

Pittsfield was the same as Utica where I grew up,

and I had been used to the Brooklyn and Pratt Institute,

and college towns like Northampton. I had no

awareness of the cultural life of South County, or the

importance of Tanglewood.

I began to work on a series of paintings that would

get me representation in a New York Gallery. In

1976 I began showing at a gallery on the Upper East

side, called Staempfli. I lived through a few years of

an idealized artist existence. I would deliver a painting

to the city, and it would be sold before a week

went by. I imagined that that was how my life would

be. Then, in 1981 I had a one-person show, sold all

the paintings, and was written up in The New York

Times with a very glowing review.

I proposed to do a second show. My first show had

been realist paintings, but I wanted to do a series of

abstract works. I did a large abstract painting and

brought it to the gallery to show them what I was

planning to do, a series of large abstract fresco paintings

on portable panels.

The gallery director was adamantly against this idea

and was refusing to even consider hosting it, but then

a very strange thing happened. Someone came into

the gallery and purchased my five-foot abstract

fresco painting, right then, on the very day I showed

it to them.

But the devil was laughing in the back room as this

scene unfolded, because it took two years to complete

the works for the show, and I sold not a single

one. This led to an explosion of insults and arguing

in the gallery, ending in my expulsion. That event

was followed by the end of my marriage, a manic

episode, and then I was put in a mental institution.

This is not the place to talk about what I experienced

Continued on next page...


RICHARD BRITELL ARTIST / WRITER

Richard Britell, "Melville Street," oil on linen, 1978, 14" x 18" Private Collection

there, but it is the reason why I said in my statement,

“I know what the inside of a rubber room looks

like.”

So, I got out of the hospital, and began living in my

North Street studio, which was in the Onota Building.

But, the devil did not have the last laugh, because

my fresco paintings caught the eye of someone

at The New York Times, and although I did not get a

review, The New YorkTimes reproduced one of my

paintings in the center of its “Galleries” page. Someone

at Dartmouth College, the director of the art department,

saw the image, and went to the Staempfli

Gallery and asked if I might like to do an artist in

residence semester at the college. They were particularly

interested in the fact that I was doing fresco

paintings because the school had a fresco by the

Mexican muralist Orasco. So, not long after my stay

in the mental hospital I went up to Dartmouth as an

artist in residence.

But when I returned to Pittsfield I had to figure out

a way it exists as an artist in the Berkshires, and let

me tell you, that was not an easy task.

I painted a mural for a restaurant in Lanesboro, it

doesn’t exist anymore. I copied Canaletto Paintings

on 4 x 5 foot plywood panels for $250 each for the

walls of an Italian restaurant. I began to paint furniture

in multi-color patterns because it was the height


of what was called the Memphis Style.

I rented a third-floor loft space in the Barbieri

Lumber Mill, but then suddenly I thought, this place

should be an art gallery. So, without heat, and without

even any lights, I began to sell paintings out of a

gallery I called Spazi Fine Art. So, again starting in

1989, I began selling my paintings, but to a new,

strange and exceptional group of people we call the

“New Yorkers”

Was the gallery scene different back then?

When I first sold paintings in the city it was on 77th

Street on the upper East side. Back then in the 80’s

there were hundreds of galleries up there, but now

there are only just a few. They all moved to Soho,

and then in the 90’s in SoHo every doorway was a

gallery. Now Soho has no galleries, because they all

moved to Chelsea. Now the galleries are moving to

Tribeca, and in Tribeca you find streets with galleries

one after another. But! The galleries in Tribeca are

exactly the same as the 77th street galleries in 1976.

If you went to a carnival in the 1930’s, or you went

to a carnival in 2025, you are going to find the exact

same things, but simply in a different spot. The carnival

pulls up it stakes at the end of a week, and the

galleries pull or their stakes at the end of a decade,

but when they move and open again it is the same

set of stunts, gimmicks, and rides, and always with

some interesting foreign woman at a computer at a

desk.

But I love galleries and am always going to them.

But I go the same way I go to the carnival, and I want

it to always be the same. I expect to again leave asking

myself, “Are they really serious, or are they just

putting me on.”

Just thinking —For me, the best part about being

an artist is the freedom I’ve found in not caring

what others think of my work. To make art for

my soul. Not needing to share it. What about

you? What do you consider the best part?

I have never had the luxury of doing art just for myself.

I have always had to find a way to meet the requirement

to sell my work. Pictures cost a lot of

money to create. That being so, I have often noted

that our contemporary artists, especially the avante

garde ones, are invariably trust fund babies. So, my

works have to meet two high standards, that have to

meet my desire to express myself and, at the same

time, be a work that some person wants to purchase,

even if it didn’t have a signature.

But what gives me the most joy is coming across

things I did years ago, forgot about, and discover by

accident, like for example, the envelopes of the

Richard Britell, “North Street Night” oil on linen, 1978, 14” x 18” Private Collection

letters I sent to my sister when she was eight years

old and at summer camp.

Saying “no,” and truly meaning it, and standing

up for your beliefs while fighting for what you

think is right all stem from a deeper place. I’m

not entirely sure how we develop these traits or

why some people become more passive. While I

don’t want to generalize, I’ve noticed that artists

often adopt a rebellious nature, especially in the

early stages of their development. What has your

experience been like? I’m curious about your encounters

with the law. Additionally, if you’re

comfortable sharing, could you talk a bit about

the reasons behind your breakdowns?

Well, first of all I am definitely a bipolar person. Bipolar

indicates 2 polls, one is said to be manic and

the other pole is depressive. But it turns out that I am

sort of single polar, in that I have a tendency only to

become manic. Now in my life I have experienced

some traumatic experiences. The first, as I mentioned

before, was the death of my father. In the

weeks that followed I remember being manic, and

living in a dream world, but everything was confused,

and nobody noticed anything was wrong with

me. The end of my marriage which coincided with

the end of my gallery representation brought on the

first of my adult manic episodes that lasted for about

six months. My behavior and especially my anger

terrified my wife who called the police, and the police

stopped me in the street on North Street in Pittsfield

and just took me away without any explanation.

Really, I don’t like to go on about this because,

they were doing what they had to do for me, but

when I read in the news every day that people are

taken away, they don’t know why, and that they

don’t know where, and no explanations are given,

and no questions asked. I think to myself, people are

finding out what America is like, when you fall into

the hands of the police.

Having an epiphany is a significant and transformative

experience. Some of us might have them

as early as five years old. They often come out of

nowhere, built from our life experiences. Richard,

what are some of the epiphanies that have

stuck with you?

Just one, and it is the most important thing to happen

to me in my life, yet it is going to sound like almost

nothing. I was sixteen, it was summer. I had decided

to improve my grades in school. My older brother

gave me this advice, “Just read a lot.” I am a very

slow reader and I thought, “it’s not going to work for

me,” but I thought I would take a short cut and read

only classic literature. I went to the bookstore, and I

bought “Crime and Punishment,” and started to read

it. On page 12 I came across this sentence, “He was

dressed in an old, completely ragged black frock

coat, that had shed all its buttons. Only one still

somehow clung on, and this one he kept buttoned,

obviously not wishing to shirk convention.” I

stopped reading at that point and thought to myself,

“He has described this man, his life and his character

and situation, with the description of a button.” I left

the house and started walking up the street and then

stopped and said to myself, “I have been blind my

entire life, I have never really seen or understood

anything.”

So, I embarked on a project of collecting buttons,

and I now have millions of my own buttons which I

use to structure the stories I write. Also, looking back

on it, I now realize that at that moment I became a

writer, and an artist, because the same ability to see

the storytelling aspect of a thing is at the crux of both

painting, drawing, and writing.

Do you often visit galleries and museums nowadays?

What influences your choices about which

exhibitions to see and where to spend your time?

The art world is quite active; how engaged are

you in experiencing art firsthand? Continued...



Photo of myself from 1985, just after the mental hospital, and at Dartmouth College as artist in Residence

Show announcement, first NYC show and second show announcement.


Richard Britell, Icon collage, 1962, 6" x 12" Artist Collection

I am interested in all the art and music

that is going on around me. I will go to

listen to the buskers on Railroad Street

in the summer. A few years ago, Bernay

Fine Art opened in Great Barrington

and I have seen every one of their exhibits.

The Hotel on North

Street puts up an exhibit in their lobby

every month, and I have looked at the

work of every artist they have decided

to show. But, I have been to Tanglewood

only once in my life, and have

not been to the Clark, or to MassMoca

in twenty years. I will go further and

say that I am interested in all the art in

my environment, but I don’t like the

idea that there are people who are experts

in what one should see and hear,

and because I feel that way I avoid museums

and concerts. There was a time

when I was younger that I was constantly

going to museum exhibits and now I never

do. It is a kind of rebellious feeling of not wanting

anyone to tell me what is good.

What are some of your core principles that govern

your artistic thinking from conception to outcome?

How have they altered and changed over

the years? I know the history of the world has

been a great influence to you.

Actually, I was asked a version of your question at a

show I did a few years ago at Lauren Clark. This is

what I said, and I titled the statement, “The Trash

Man’s Living room.” I said. “When I paint a picture,

I am always trying to make a thing that is the

opposite of bitcoin, the opposite of an

NTF. An object with intrinsic value,

even bereft of signature and attribution.

An object, if put out someday into the

trash, would never make it to the landfill,

but instead would find its way to

the trashman’s living room wall.

Who might you mention that have

been important influences while developing

your artistic style and focus

since the start?

It is not individual artists that influence

me but certain periods of art history,

and the art of various cultures. So, for

example, I have always been interested

in, and sometimes sought to emulate

Russian Icons. As a matter of fact, the

first art book I ever purchased was a

book of Russian Icons, and I bought it

when I was a freshman at Pratt. At that

time, I would say that I was also affected by the

paintings of Rouault. Rouault also painted icon like

religious paintings. I had an assignment when I was

in college to do a collage. I still have the piece I did

for that assignment, and in it you can see both the

influence of Russian Icons, and also Rouault.


Envelope.



Richard Britell, "Blue Tending to Violet"

oil on canvas, 2020, 48" x 32" Artist Studio

Richard Britell, This image is a preliminary study of the Zeus

and Hera Painting"Zeus And Hera" acrylic on canvas

2000, 17" x 11" Artist Studio

Your art, it all unfolds with countless layers, on

each canvas, inviting me to discover something

new with each step as I look deeper and closer,

feeling and seeing from fine point to atmospheric

abstract. All of your art has that effect on me. I

find you to be a great artist and storyteller. For

you, what specific pieces of art have brought you

satisfaction and why?

One painting especially. I told you about my first

show at Staempfli and how I sold all the paintings

in that show. There were 29 paintings in all, and so

when it came down I never saw any of those paintings

again. Of those 29 paintings I had some favorites

and my sister purchased one of them without

even telling me. When I asked her about it she said,

“One of those things had to stay in the family.” I visit

my sister in Utica about twice a year, and I always

go and look at that old painting and think, “How did

I ever manage to do this?”

My daughter Catherine has one of the fresco paintings

from the second show in which I sold nothing,

and when I visit her in New Jersey I always have a

look at it as a relic of my disasters. Three works from

that show survived, one belongs to my first wife, one

to my daughter Catherine, and one was purchased

later from my studio by a couple in Lenox, and none

of the others survived.


Could you tell us about your color field paintings,

particularly “Blue Tending to Violet” and “The

picnic of Zeus and Hera and their Ocelot under

the Eternally Crooked Apple Tree,” 2020? I find

that they evoke a deep response in me and take

me on a journey through the mind’s eye. What

inspired you to create these works?

I have not mentioned that when I was in high school,

in 1960 a museum of modern art opened in Utica. It

was called the Munson Williams Proctor Institute,

today it is called simply “Munson,” but through the

years it is always called the “Munstitute.” Now, in

1960 I was 16 years old and just imagine how

strange and shocking it was for me to walk into that

place for the first time. It was so totally out of place

in that city, but I never questioned till very recently

how it came into existence. The explanation is quite

simple. There were historically three wealthy families

in Utica. In 1959 the Guggenheim opened in

New York, and our local rich folks wanted to do

something similar. In New York the galleries were

showing Pollack and Rothko and Kline, and so, just

out of the blue, like visitors from outer space, the

paintings by those characters showed up in Utica,

New York, like travelers on a train who got off at the

wrong stop. The paintings in that museum had a permanent

effect upon me. I will not say that it altered

my own trajectory, but certainly gave it a shove. The

most important space in the museum was taken up

by a gigantic Pollock painting. Pollock was certainly

not new to me, but I didn’t like that painting then,

and still don’t care for it now. But upstairs in a less

important space was a Rothko painting which permanently

affected my aesthetic sense. I felt that he

was studying the difference between two colors. He

was looking at the place where yellow starts to be

orange, but then changes direction and decides to be

yellow-green. I did not start doing the same thing,

because I was already doing it. At the time I saw a

Rothko for the first time, I was painting small watercolors

and the entire purpose was to find the place

between two colors and move it around. So, the blue

tending to purple is just more experimenting with

the space between two colors, but it is in the form of

a suggested landscape.

As for the “Crooked Apple Tree,” painting. I often

begin figurative works as abstractions, and with no

specific intent. I will start with washes of acrylic and

while it is in the middle of drying I will blot the surface

which removes some of the paint in an uncontrolled

way. I will keep on applying colors in layers

and removing it part way until I begin to see figures

and then I will begin to develop those images little

by little. That painting was done in that way. It was

Richard Britell, "Zeus And Hera and their Ocelot, Under The

Eternally Crooked Apple Tree" oil on canvas

2020, 48" x 30" Artist Studio

Richard Britell, "Striped Shirt”, 2001, oil on steel

5" x 4.5” Artist Studio

done just a day after giving an art lesson to one of

my occasional students who was ten years old at the

time. She was reading the Odyssey, and I asked her

to do an illustration for the first chapter. Later, the

next day, I was thinking about the Greek Gods and

Goddesses, and I got to thinking about Zeus and

Hera, and how they would fight and argue. I was

thinking about how couples sometimes will fight and

argue and want to kill each other, but then later can

be seen enjoying each other’s company. The couple

in the painting, supposedly do not get along, yet are

enjoying a perfect moment. But something is probably

not right, just as apple trees are always crooked.

But why the ocelot? Just because he appeared in the

accidental patterns and textures of the acrylic paint.

I am drawn to The Striped Shirt. It is acrylic on

steel. Please tell us about this work and those related

in the same medium and style. What was

your main focus and challenge?

It is part of a very emotional series of works on small

pieces of steel, iron, and copper. All the metal was

found in scrap yards, and I chose pieces that already

had a considerable patina. Like working on the figurative

pieces built up from acrylic washes, the

works in that series were developed out of the patina

surfaces of the metal. There are about a hundred of

them all done one after another, all done in the

months after I separated from my second wife, and

before a long stay in the Jones 3 mental ward. Most

of them were sold by Lauren Clark Fine Art, but I

still have about 20 of them, including the striped shirt

one. The entire series was called “Days of Copper,

Nights of Brass.” All the pieces had long titles, some

even almost short stories. That painting had this long

title, “I’m a painter. With a drop of turpentine, I accidentally

undid her blouse. With some paint I closed

it up again, but I couldn’t fasten the button.”

What, in your opinion, constitutes a great work

of art? There must be some groundwork in your

deciphering.

If I am standing in front of a painting and I start crying,

it is probably something I think is a great work.

So, I am going to state what is fundamental to my

understanding of contemporary art, and that is that

there is nobody who has ever shed tears over a Warhol

soup can, or a Jeff Koons balloon dog sculpture.

Have you enjoyed curating shows? Which ones

in particular did you fancy, and why?

Dotties has closed, where I have been curating

shows for about four years or more. There were four

shows a year and I put up the works of three artists

for each show. I started curating shows for my own

gallery Spazi Fine Art in Housatonic and did a show

every month from 1989 to 1996, but oddly enough

it was the curating for Dotties that was the most important

and rewarding for me. There are restrictions

for showing in a gallery, any gallery. First the gallery

owner must like the work , but that is never enough.

The work must also sell, or the gallery will lose interest.

When you put up work on the walls of a restaurant

none of those considerations matter. There

are so many people who do their own art and the restaurant

venue gives them the experience. But that is

not the most important consideration. The most important

thing is the social aspect. Art has an important

social function. I noticed this in Housatonic. The

gallery has a community function and serves to

create a small society of interacting people. Dotties

was the same, but even more so. If the opportunity

arises I will curate more shows, I think it is important

far beyond just the appreciation of art.

I find your sense of humor comes through in an

earlier piece, from 2001, called Drawing, A Day

in the Life of Six Hats. I am curious to know if this

is on the lighter side of your art making. I find it

humorous, especially to read the explanation that

goes with it. It’s a collaborative study between the




Richard Britell, “Six Hats"

paper and pencil.

6 individual drawings each

Approx. 4 x 4” 2002

Private collection

.literary and the visual illustration. A great idea.

I mentioned that after Spazi closed I did a series of

works on metal and sold most of them at Lauren

Clark. Following that series came an enormous psychiatric

episode that put me in the hospital from the

beginning of September till after the new year. All

the events that led up to that hospitalization were

widely talked about and even mentioned in the Berkshire

Eagle. The Eagle even sent a reporter to Great

Barrington to check up on me. They wrote a little

piece about me in the paper that said, “Richard Britell

is down there in Great Barrington out in the street

directing traffic with huge gestures, he is a man who

is acting very strangely.” said the owner of one of

the stores on Main street.

When I got out of Jones 3, which, by the way, is the

locked ward, I could not bring myself to go back to

Great Barrington where I had been living and where

I had been evicted from my apartment.

I was mortified and deeply ashamed of how I had

acted, but on the other hand, I hated all the people

who had looked at me, and talked about me as a

strange curiosity. I decided to sell my art without any

interaction with any people whatsoever. I wanted no

contact with any gallery, and more importantly, no


interaction with any people, no interaction with collectors.

How could that even happen you ask? My brother

called me, it was in the year 2001, he said “”Dick,

do you have a computer.” I said no. “I’m going to

send you one,” he said.

I was walking down the street in Housatonic, and I

ran into Carol Gingles. Carol asked me, “Do you

know anything about Ebay?” I got the computer

from UPS, I plugged it in and looked up Ebay, in a

google search.

I sold my first drawing on Ebay on April 1, 2001,

for $20. For the next few years I sold drawings on

Ebay. I produced four or five drawings a week and

sold them for 20 or 30 dollars each for two years.

I developed a following and was able to sell pieces

for over $100 consistently.

All the drawings had some text or technical explanation,

and others had humorous stories or comments,

always made up while I was working on the

drawings. I have all those texts, but the writing was

done with the idea that I was selling something to

people who probably had no actual interest in art because

Ebay is like a tag sale environment. The drawing

you mentioned about the hats was an ebay

drawing. It sold for $60.00

I see you play the piano. How serious do you consider

yourself as a musician?

I am a very serious musician. I have played the piano

since childhood. I play popular music by ear, and

classical music from scores. I love Bach, and all the

music created before Bach. I love Bach but he is too

difficult for my skill level, nevertheless I have memorized

many Bach keyboard works.

If you search my name on Youtube you will find a

video of me playing the cello. I do not play the cello

very well, and when my cello teacher asked me to

be in a recital, I asked a singer I knew to sing a song

where I played the accompaniment.

I don’t know how well I play the piano, but several

videos of me playing the piano are on my instagram

account, so you can watch them and decide for yourself.

You have garnered a dedicated following in The

Artful Mind with your literary contributions, including

the series “Something for Over the

Couch,” the seven-part narrative “Valeria,” and

children’s stories such as “Sir Isaac Newton’s

Richard Britell,

"West 11th Street"

oil on linen

10" x 8" 2025

Artist Studio

Cat.” Could you elaborate on the motivations

that drive your writing?

I write because I am so interested to find out what

will become of the characters I create. Also, I am

also often amazed by the way I decide to explain

things. Now, you might ask, how can you not know

how the story is going to progress. It is like this. Two

nights ago, I had a dream about my Mother. In the

dream my Father had been dead for many years. I

was in the living room listening to a conversation

my Mom was having with some other person. My

Mom was saying, “I like to go out, I go out every

night now.” the other person asked her, “Where do

you go,” and she replied, “Memory Lane.” Then I

woke up and instantly thought to myself, “Memory

Lane, what a strange and ridiculous name for a

place.” Here is the point: I was surprised in the

dream by the name of a place. How can one be surprised

at the content of your own dream? You don’t

know the content of your own dreams because your

brain is composing it without your conscious awareness.

So, I think my stories are made up in some part

of my mind I can’t get to, but if I listen to the voice

in my head, I can hear it being dictated. I could make

none of it up, I just listen to it and then write it down.

What makes life now full and brings you happiness?

Too many things to enumerate, working in the studio

with earphones on, listening to Spotify. Walking

down the street in Hudson in the summer. Going to

Utica to visit my sister and going to the museum to

look at the Pollock painting again for the thousandth

time. Driving down 183 from Lenox to Housatonic

and being forcefully reminded by the landscape that

I live in one of the most beautiful places in the world.

Having coffee at the Lenox Coffee Shop and listening

to parents talk to their children in Chinese or

German or French. Starting my car after changing

the points and plugs.

But really, sometimes strangers in Pittsfield will stop

me, street people, even drunks and, looking me up

and down for a moment will say, “You’re the artist

aren’t you, and it is so odd, but I can see they take

some pride in the fact of my existence.

Can you encapsulate these thoughts by noting

words from any written works in literature that

you have come across?

I mentioned Dostoevsky, in what I said about his description

of the button, but that is not the line that

has become the most important thing to me. It is a

line that describes what a person had been like in

life. It is from, “House of The Dead.” his account of

being in prison. Here is the line. “I asked Katia if

she remembered him. She looked at me in silence

and turned weeping to the wall.” This simple sentence

completely describes a relationship long over.

Here is my version of the same idea from one of my

stories in The Artful Mind. When she would laugh,

he would turn and look at her with the utmost pleasure,

as if such childhood laughter was the best and

only purpose of human existence.

What art work from the history of the world can

you best relate to and have studied over and over

again?

Johann Sebastian Bach, “The Well-tempered Clavier”

www.richardbritell.com

G


BRUCE LAIRD

Clock Tower Artists

Business Center Studio #307

75 South Church Street, Pittsfield, MA

Instagram- ecurbart


Carolyn M. Abrams

A List of Things That Don’t Suck. Much.

Getting up before the alarm goes off. Just make sure it’s not 3:45 AM.

The tulle from a ballet outfit from years ago.

Eyeglasses that make you think you look smarter.

First kiss. The first really good kiss.

Why can’t I remember that?

People who get me. Really get me.

All others need not apply.

Letting a ladybug lie in state in my bathroom.

Painting by my own rules.

"Divine Vessel" oils/cold wax medium

Soulscapes

Atmospheric and Inspirational Art

www.carolynabrams.com

MEMBER GUILD OF BERKSHIRE ARTISTS

FRONT STREET GALLERY

All other rules need not apply.

Deep, rich chocolate that won’t stretch out my pants.

Who cares if it does.

Visiting polar bears in Central Park Zoo.

Telling them that I will be back to liberate them.

Dancing in the streets.

Driving the wrong way on Second Ave. at 3 AM on a Sunday morning.

And not getting caught.

Knowing that I will probably die alone and being okay with that.

Who needs any more drama?

Never chipping another tooth for as long as I live.

Eating a whole strawberry and finding out that I am not really allergic to it

While in the emergency room.

Walking up five flights of stairs.

Wearing every single piece of jewelry

That I have ever owned

When I meet up with you again.

And you telling me that I am the only soul

Who could pull this off without falling on my face.

The Andrews House Incoming Ferry Block Island 24x30”oil on canvas

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

@2025 elizabeth cassidy

elizabeth cassidy studio works

artist, illustrator, writer, poet,

peace lover

elizabethcassidystudioworks.com

THE ARTFUL MIND SEPTEMBER • 21

MARK MILLSTEIN

A Sound of a Yellow Light, Oil on canvas, 20” x 20”

ALEXANDRA ROZENMAN

artschool99somerville.com

www.alexandrarozenman.com

alexandra.rozenman@gmail.com

Center Court drypoint engraving 8” x 9” 2025

www.markmillstein.com

Janet Pumphrey

Want to Join A Peaceful Revolution?

Paradise Pier

Photographic printed on ultra high definition acrylic

30” w x 20” h

JHPumphrey@gmail.com | www.JanetPumphrey.com

Little Love Letters: A Peaceful Revolution is looking for

people who are ready to join the peaceful revolution.

Please go to: elizabethcassidystudioworks.com (under Social Impact)

and find out how you can help us help our country and the world

heal...one card at a time. You will receive an assortment of cards to

leave in public places, in a greeting card, on a peach, or in the hand of

someone who could use some kindness and feel seen by you.

artist, illustrator, writer, poet, peace lover

elizabeth cassidy studio works

elizabethcassidystudioworks.com


GHETTA HIRSCH

Call or text 413-597-1716

Ghetta-hirsch.squarespace.com

@ghettahirschpaintings

“Tumble” Oil on Vintage Linen, 12”X12” 2025

• Exhibiting now until end of October

at The Artful Mind Gallery

11 Eagle Street, North Adams, MA


STEVEN SORMAN

PAINTER / PRINTMAKER

“I’m in awe and bedeviled by much. I have questions and when I get close to something resembling an answer

it turns into a question again. Some work takes shape over years, some appears suddenly.”—Steven Sorman

Interview by Harryet Candee

Photographs courtesy of the Artist

Curious to know the chronological order in

which your artistic explorations in various mediums

have developed.

STEVEN: I began drawing and painting and soon

thereafter developed an interest in printmaking. I’ve

pursued all equally, using a broad and ever expanding

range of materials, techniques and processes.

Collage has always been integral to this activity.

Can you share the journey of your artistic ideas

and concepts? How did they first take shape,

evolve, and ultimately become what they are

today?

It’s more a series of collisions in a flood than an evolution.

Things appear and disappear. Everything

moves and changes. I just try to keep my footing in

this slippery stream.

In what ways do the distinct characteristics of


painting, drawing, and printmaking interconnect

to enhance your overall artistic expression?

I think of each as a member of a large family. They

do best by getting along.

Could you share the technical and creative

methods you’ve used in your work?

To me the line between the two is blurry. One does

not serve the other. They work together. It’s all experiment.

I figure out how to do what I am doing as

I do it. You take what you have and what you stumble

into on the way and try to move it to a friendly

camp.

Are there any exciting new methods of making

art that you hope to try someday?

I’m willing to try anything.

Could you share the specific concepts behind

your art and the messages they convey?

There are no governing concepts and certainly no

messages. I’m just trying to see what I can do, to

give shape to what I imagine. The more you try to

figure out what something means, the less you will

know what it is.

What types of paper do you find work best for

your prints?

There is no best. Having many options to choose

from is what matters.

At present I have an inventory of over 100 different

paper varieties. Over the years I’ve used over 200.

What specific inks and paints, drawing tools do

you find bring your ideas to life?

They’re all mute lumps until you get them to dance.

Charcoal, graphite, silver point, gold leaf, rust, oil,

pastel, acrylic, watercolor, gouache, flashe are all

Steven Sorman’s studio

equal citizens in this world.

In the process of printmaking what are the contributing

factors?

The medium demands a high level of craft and attention

to detail. That said, a surfeit of craft with a

dearth of imagination will deliver no more than a

dreadful print,

Is it true that the fewer prints made, the more

valuable they are? And what does that depend

on?

It depends on the artist. What’s scarce in the world

of supply and demand usually commands a higher

price. Little demand and it makes no difference.

Do you break any of the "traditional" rules in

artmaking on purpose?

There’s tradition and there are rules. Rules are made

by fools and beg to be broken. Tradition is the legacy

we inherit and learn from. I just try to stretch

myself every time I work.

Do you rely on outside sources or assistants to

create work that is museum quality?

Many times over my working life I’ve collaborated

with master printers in various print shops. Among

the most notable was Tyler Graphics which was located

in Mt. Kisco, NY. Ken Tyler is arguably one

of the finest and most innovative printers to have

ever graced this planet,

What was the most memorable, strange, or interesting

place you ever worked out of to create

art?

Wherever I’m working at the moment.

What part of your artmaking process is the most

enjoyable?

It unfolds continually and unpredictably in so many

different ways. I never know what I’m going to run

into. Lots of uncertainty and surprise. I love all of

it.

Tell us about your biggest adventure in the art

world so far for you?

The people I’ve met, learned from, grown fond of

and shared this life with.

Where was it that you wore your finest feathers

in your hat event to?

I can’t ascribe more importance to one event over

any of the others. I’ve been alternately disappointed

and exhilarated over the years. Both keep me working.



STEVEN SORMAN PAINTER/PRINTERMAKER

Steven Sorman. Center panel from "is was will be", 2010, etching, drypoint, collage, acrylic, polymer medium on linen, 9'x8'

Steven Sorman."nonetheless", 2004, rust, copper oxide, gouache, c’excerptollage, gesso on various papers, 22"x81"


Steven Sorman."certain unbelief", 2014, gouache, watercolor, gesso on goatskin parchment, 14"x12"

.Steven Sorman. "acting like ourselves", 1991, mezzotint, carborundum aquatint, on BFK Rives paper, 32"x40"


STEVEN SORMAN PAINTER/PRINTMAKER

Steven Sorman. Four from the series "outside in inside out", 2010, watercolor, collage,

pumice gel medium, gesso on 1929 J Goodman paper, 42'x28"

.Steven Sorman. "excerpt from a temporary universe"#183, 2025, graphite, watercolor, silverpoint, collage on handmade Indian paper, 12"x8 1/2"


Steven Sorman. "excerpt from a temporary universe" #180, 2025,

graphite, gouache, collage on handmade Indian paper, 12"x 8 1/2"

What parts of art history have you found inspiring?

All of it.

How do you feel your emotions affect your artwork?

Like everything else in my life. It’s easier to work

in jot than in sorrow, yet you do both

Please tell us about your large piece “is was will

be”.

In 2010 I started to assemble this work with individually

printed etchings and drypoints on linen.

When assembled I went back into the work with

some painting and collaging. At 9’x39’ it may be

the largest print ever made, not something I set out

to do. As I was working it just kept growing until I

felt it looked comfortable with itself.

What do you hope your art will convey to future

generations?

I have no idea. If deemed worthy it will make a

space for itself.

Where can the sense or see your humorous side

to you?

Being serious is a form of self parody.

Are you also a chef?

I’m not a chef. A friend affectionately referred to me

as such. I love to cook and do so reasonably well.

Chefs are artists with a depth of skill and imagination

beyond my ken.

http://stevensorman.com


LEO MAZZEO

janet cooper

“Backstabbed”, distress oxide, graphite, highlight pen, metallic color pen,

and ink on fluid mixed media paper, 6.5”x9” (c)Leo Mazzeo.

Wall Tapestry

www.janetcooperdesigns.com

LORI BRADLEY

"Green Man Profile"

Drawings by ELLEN POLLEN

Ellen.S.Pollen@gmail.com

(413) 212-8327 | Savannah, GA 31411

"Welcome Morning Tree" oil on canvas, 24"w x 24"h x 3"d 2025

loribradley@comcast.net

http://www.loribradleyart.com


TWILIGHT'S RHYTHM

ACRYLIC ON PAPER PLUS MAPLE FRAME, 16” X 20”

KATHERINE

BORKOWSKI-BYRNE

I studied painting at the Boston Museum School

of Fine Arts when painting was king. It was when I

first saw a deKooning painting, that I knew what

painting could do and that I had to be a painter.

My main love is oil on canvas or paper giving the

full range of marks from watery thin to luscious

thick. One of my favorite teachers at art school, said,

“When you paint in oils, you have the whole orchestra.”

My inspiration comes from many outside sources

but my excitement comes from the process of painting

when any original ideas disappear and the painting

has a life of its own. My favorite pieces are those

that come from “within.”

Katherine Borkowski-Byrne —

www.katherineborkowski-byrne.com

artborkowski@aol.com

KATE KNAPP, RODMAN’S HOLLOW VIEW WITH TREE

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

LORUS, PHOTOGRAPH, 12” X 18”

THREE MORNING GLORIES, WATERCOLOR, 8” X 8“

JULIA GREY

Julia Grey has spent the last twenty years training,

photographing and painting hummingbirds;

both in the Berkshires and in Las Vegas, NV.

They are her great loves.

Ms. Julia Grey —

She/Her/Miss

www.xgender.net

Thea Knapp

Whale Watercolor, 9” x 11”

theaknappbaker.com

instagram / lpplanding12@gmail.com


STEPHAN MARC KLEIN

I have been making art on and off since my undergraduate

education as an architect in the late

1950s. But I began drawing in childhood and I have

always loved to sketch. Although I don’t always use

them, I rarely leave the house without a sketchbook

and pen or pencil. I have sketched when I’ve travelled,

and I have sketched when I ‘ve been at home.

I often sketch directly in ink. I think it is a great discipline—every

line counts—you can’t erase.

Before moving to the Berkshires, I lived for many

years in Greenwich Village in New York City in an

apartment that had wonderful urban views from

every window. I’ve loved to sketch looking out across

the City from my apartment and have done

many drawings and paintings over the years of The

Village and the City beyond. I found endless fascination

with the jumbled geometry of rooftops, water

tanks, fire escapes, building shapes, etc. The roof

of my building had even better views than from my

apartment, a full 360 degree unobstructed panorama

of Manhattan. For this issue I’ve shown views from

my roof in three of the four cardinal directions—

West, North, and East. My wife and I moved the

Berkshires in mid-2017. Sadly, it was before I got

around to doing a sketch from the rooftop of my

building of lower Manhattan looking south.

Stephan Marc Klein —

stephanmarcklein.com | smk8378@gmail.com

Member 510 Warren Street Gallery, Hudson, NY

“But above all things was it a return to

Nature - that formula which seems to

suit so many and such diverse

movements: they would draw and

paint nothing but what they saw, they

would try and imagine things as they

really happened.”

-Oscar Wilde


ALEXANDRA ROZENMAN

Alexandra Rozenman’s narrative about identity,

search for belonging, and journeying to a foreign

land forms the core of her work. She says, “my approach

to beauty and wonder came with me from

Russia and has kept playing a big role. I am always

working with it or against it.” Her paintings tell

stories and invite viewers into her world of images,

symbols, historical events, and the lives and work

of famous artists. Rozenman’s work touches in personal

ways on issues of artistic influence and dialogue,

emulation and creativity, and continuity and

discontinuity in contemporary art. She shows us

how we are all part of a larger story. In her most recent

work, mainly done after the invasion of Ukraine,

Rozenman uses trauma (e.g., floods, fires,

emptiness) as subject matter, asking the viewer to

think about the meaning of even the darkest things

around us.

Rozenman was born in Moscow and emigrated

to the U.S. in 1989. She was classically trained in

the Soviet Art Academy and with well-known artists

from Moscow’s underground movement. She

lived in New York City in the 90s and was part of

what later became Artists Alliance Inc. on the

Lower East Side. Rozenman holds a BFA in Painting

from SUNY and an MFA from the School of

the Museum of Fine Arts at Tufts. She has studied

with artists Gerry Bergstein and Robert Ferrandini.

Her paintings and drawings blend the styles and

symbols of folk art, illustration, Russian Underground

Conceptualism, and Jewish Art. Rozenman

exhibits nationally and internationally at venues

that have included Lichtundfire Gallery in New

York, Trustman Art Gallery at Simmons University,

Hudson Gallery in Gloucester, MA, Flinn Gallery

in Greenwich, CT, French Cultural Center of Boston,

The Ann Loeb Bronfman Gallery in Washington,

DC, Gallery 360 in Minneapolis, MN, The

Painting Center in New York, and Moscow Center

of Contemporary Art. Rozenman was a MacDowell

Fellow in 2006. She leads her own art school

for adults and teenagers in Somerville, MA called

Art School 99. She is a member of Fountain Street

Gallery since 2016.

Alexandra Rozenman —

artschool99somerville.com

www.alexandrarozenman.com

alexandra.rozenman@gmail.com

BELIEF IN THE POSSIBILITIES OF SPRING

COLLAGE, CRADLED WOODEN BOARD, 12”X12”X2”

FROM DARKNESS TO LIGHT

COLLAGE, CRADLED WOODEN BOARD, 10”X10”X2”

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

deep-seated emotions. Her art resonates with joy

and upliftment, transforming personal and worldly

complexities into visual harmony.

The artist is passionate about creating art, painting

on flat, smooth surfaces, and using environmentally

friendly materials.

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

“In Good Company.”

The Artful Mind annual pop up•2025

Fine Art Exhibit

Three shows —— Three Months

August | September 8th ‘Momentum’ | October

Reception for the Artists

Saturday, September 13, 5 - 8pm

Ruby Aver

Lori Bradley

Richard Britell

Katherine Borkowski-Byrne

Leslee Carsewell

Janet Cooper

Candace Eaton

Yana van Dyke

Jane Gennaro

Julia Grey

Ghetta Hirsch

Sarah Horne

Stephan Marc Klein

Thea Knapp-Baker

Bruce Laird

Leo Mazzeo

Bobby Miller

Mark Millstein

Dawn Nelson

Richard Nelson

Ellen Pollen

Janet Pumphrey

Alexandra Rozenman

Richard Talbert

Jay Tobin

Mary Ann Yarmosky

11 Eagle St • north adams MA.

HOURS: WED - SUN Noon - 4:30 pm • by appointment— 413. 645. 4114

ARTFULMIND@YAHOO.COM THE ARTFUL MIND SEPTEMBER 2025 • 33

TENDING THE GARDEN

YANA VAN DYKE

Yana van Dyke is a Conservator at The Metropolitan

Museum of Art since 1999, specializing in

the conservation of works of art on paper and

parchment. Connoisseurship, scientific study, art

historical research, and practical matters intertwined

in caring for and preserving works of art

fuel van Dyke’s investigations into artists materials

and techniques. Curiosity, experimentation, and a

passionate pursuit of knowledge guide her own

creative process.

Yana Van Dyke —

vandykeyana@gmail.com

SEASIDE, PASTEL, 9” X 11”

THEA KNAPP-BAKER

I have been a practicing artist since I was fice.

I always loved looking at nature, animals, trees,

etc. and then to replicate that vibrant energy and

vision was quite a fun challenge! An artist translates

tears, laughter and curiosity itself.

For me, art has been a lonely means of creativity,

escape, and reflective communication. I love

the quote: “My art is a way of praying and crying

at the same time...and the highest expression of

love and solitude.” - Guayasamin

Thea Knapp-Baker —

www.theaknappbaker.com

Email: lppanding12@gmail.com

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


RICHARD TALBERT

Richard Talbert c, Machu Picchu and Bees, Photomontage, 20” x 30”, 2025.

My recent photomontage, titled “Machu Picchu and Bees,” captures a glimpse into two different eras: 2000 and 2025.

In 2000, I had the privilege of camping at the old monastery, nestled across a breathtaking 1500-foot drop gorge from the

Archaeological Historic Site. Back then, I was a freelance architectural designer, and my life took an exciting turn when a

French hotel developer acquired the old monastery. Their plan was to transform it into a luxurious hotel, and I was thrilled

to be a part of this project.

For several days, I immersed myself in the beauty of Machu Picchu, capturing its stunning landscapes at various times of

the day. At night, the ancient grounds were transformed into a nocturnal sanctuary, where large bats swarmed, catching

small critters. Amidst all this, I had the delightful opportunity to befriend a friendly llama for several days. While working

on sketches of the monastery, which would eventually become a 5-Star hotel, I formed a deep bond with Machu Picchu.

richtalbert1@gmail.com | Richardtalbertdesign.com


THE JOURNEY CONTINUES

ACRYLIC ON ARCHES PAPER, 20”W X 26”H

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 —

Clock Tower, #307, 75 South Church Street, Pittsfield,

MA. Instagram: @ecurbart

BUBBLE EYE

WATERCOLOR ON 300LB. COLD PRESS SHEET. MATTED AND

FRAMED IN A 8”X10” BLACK WOOD FRAME. SOLD

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 Tiska Rice will be the featured artist at the

Hotel on North, located at 297 North Street, Pittsfield,

MA through September 1, 2025. Set in the

heart of downtown Pittsfield, this beautifully restored

boutique hotel blends 19th-century architecture

with sleek, contemporary design—and is the

perfect backdrop for Sally’s richly layered, lightfilled

artwork.

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

A woman’s name raises doubts until her

work is seen… I will show your illustrious

lordship what a woman can do.

—Artemisia Gentileschi

UNTITLED

ACRYLIC ON CANVAS, 35"X25"

JJ (JAY) TOBIN

“I primarily use house paint because it is acrylic

and mixed with artist's paint. The canvas from the

life net is thick and coarse. You can't stretch it so

that I will use it as collage material.” —JJ Tobin

What were some of your most memorable experiences

working as a full-time artist?

JJ: Twenty years ago, I took a course in painting

using fresco, which is pigment in wet plaster. The

Sistine Chapel is probably the most famous. It

was given at the Frelinghuysen-Morris house in

Lenox. I painted a large mural using fresco at

East Coast Refinishing on Industrial Drive in

Pittsfield. It was great making the plaster and

painting such a large piece. (10ft x 20ft). Looking

at it now, I would change a lot.

When creating your black-and-white paintings,

what challenges did you set for yourself to test

your skill and ability to produce aesthetically

pleasing work?

JJ: I have been doing black and white paintings

on and off since the late 1970's. At Umass, I had

John Grillo for a painting class. I did a black and

white painting that he thought was awful. He told

me about an artist he knew who used black and

white almost exclusively. His name is Myron

Stout. Stout has had a big influence on my work.

I try to set up these paintings so the black shape

or negative space and the white positive space are

"nice looking shapes," as Grillo called them. I try

to get the black and white shapes to play off each

other. One isn't more important than the other.

Certain objects lend themselves to just two

colors. A firefighter's facepiece or a drop of liquid,

for example.

To read full interview, please plug in this link:

https://issuu.com/theartfulmindartzine/docs/the_a

rtful_mind_.._nov_2024_online

JJ will be in The Artful Mind Group Exhibit, In

Good Company, at 11 Eagle Street September

and October. Reception date: september 13, 5 -

8pm. Please visit the gallery.


RICHARD NELSON

THE ALPHABET SERIES FROM A TO Z: “P ”

&

Ai

ART

Digital Art

nojrevned@hotmail.com

Rick Nelson on FB



PORTRAIT OF BRUCE BY BOBBY MILLER

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

ARMORED IN ART PHOTO: KORENMAN.COM

MODEL: KALEB MCDANIEL

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

WALL MURAL, MIXED MEDIA

JANET COOPER

THE ART OF FIGURING OUT

WHAT KIND OF ARTIST I AM

Fabrics, anatomy, stitches, colors and bricologue

are words, imbued with intense emotionality for

me, a maker, collector and lover of objects and

places.

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

compelling, I adored making pottery

shapes and objects, resembling torsos. A period

of fascination with vintage tin cans, bottle caps

and junky metal discards followed. Metal was

sheared, punched, riveted and assembled into figurative

shapes. I began to use fabrics with these

works and eventually abandoned metal for hand

stitching doll sculptures, totems and collages, all

with second hand or recycled fabrics.

Lately I have introduced paint and waxes into

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

of mammal form. I am recycling old

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

have been with whom I am now.

I am also returning to jewelry or ornament making.

as well as fashioning a collection of garden

and street wear art aprons.

Janet Cooper—

janetcoop@gmail.com

www.janetcooperdesigns.com

ADVERTISE YOUR ART

& RED DOTS WILL

HAPPEN

The Artful Mind —

413 - 645 - 4114


CENTER COURT

DRYPOINT ENGRAVING, 8” X 9” 2025

MARK MILLSTEIN

Mark’s work is shaped by the convergence and

conflict between natural forms and human cultural

and architectural constructs. His images are meant

to invite extended looking, revealing new details

under close observation.

A central theme in his practice is the parallel between

Brutalist architecture and drypoint engraving—both

defined by precise forms animated by

surfaces marked with irregular, tactile traces. In a

similar way, Mark’s process begins with a structural

framework, a foundation upon which imagery and

patterns accumulate as a theme emerges. By alternately

creating and disrupting perspective, he constructs

shifting planes of imaginary space, seeking

to capture pockets of both calm and chaos within

planned environments and forgotten landscapes.

Mark Millstein—

mmillstein@umassd.edu

www.markmillstein.com

“CIRCLING”

8”X8” OIL ON VINTAGE LINEN, 2025

GHETTA HIRSCH

Yellow ochre has been on my mind for a while

and seem to appear in much of my recent work. I

consider myself a colorist with an Abstract Realism

style. I have been asked recently if I prefer abstract

to representational. I must say that colors and composition

are more important to me than form. I also

often start with a landscape or subject that gets

transformed as I work. I prefer to work slowly and

add layers to build a story that is subconsciously

part of of me.

“Circling” is about the driving around in real life

but also in thoughts and feelings. Do we know

where is the beginning or the end of anything? Yet,

there are moments of lightness that will overcome

the darks of our days. Here is my secret. My life

routine is in the yellow ochre and it is steady.

Come and see my work studio - call 413-597-

1716

Or visit the new gallery, The Artful Mind Gallery,

representing me at 11 Eagle Street, North Adams,

MA. Open Wednesdays to Sundays. 11:30 to

4:30pm.

Ghetta Hirsch—

Website: ghetta-hirsch.squarespace.com

Got your Boot Jewelry on?

Where ordinary charms

become wearable magic

— keychains, bracelets,

earrings, boot charms

and more.

Find a charm that speaks

to you!

TWO PAIR OF EARRINGS —THREE STACK RINGS

JOANE CORNELL

FINE JEWELRY

I am sitting in my work studio at the moment,

working on an extraordinary commission order.

The customer supplied her own diamonds, each

one calibrated exactly to the other, at 3.20 mm diameter.

The weight of each diamond is referred to

as shy 20’s, as in .20 points. They’re actually .18

points each.

Fifty modern cut, brilliant, round, F color, VS clarity

diamonds. Collection quality.

This woman commissioned me to make her a

wide, chunky, high domed, three band, solid, 18

karat gold rolling ring. That’s quite the undertaking

considering how thick and wide these bands are. To

be hand formed with basic rudimentary tools.

That’s the beauty of hand forging. It takes not only

the calculations of what size the bands need to be,

for the end result of a size 7.75, which need to be

precise for it to be a smooth roll of the design. To

fit snuggly into one another. The physical strength

required to form these around a steel mandrel is

another story. And then the time consuming process

of setting 16 diamonds per band, is quite the undertaking

as well.

Each of the 16 diamonds require 5-6 different size

drilling bits to finally accomplish the right size for

the actual diamond diameter. And then of course,

the actual setting of each of the 48 diamonds being

used in the design!

A casting of each of the three rings would’ve been

a lot less labor intensive, and certainly a lot faster.

But this customer, as well as many others, love the

idea that this was produced with a lot of hard work

and expertise.

Total appreciation for the art.

I’ll post the finished ring in a future issue of The

Artful Mind”.

Joane Cornell Fine Jewelry —

917-971-4662

9 Main St., Chatham, NY

joanecornellfinejewelry@gmail.com

Instagram

https://issuu.com/theartfulmindartzine/docs/the_artful_mind_june_2025

Commissions welcome!


www.TheCharmBug.etsy.com

WARM WIND, OIL ON WOODEN PANEL, 24” X 18”

LORI BRADLEY

Lori Bradley is a contemporary painter working

primarily in oil and acrylic on canvas and wood

panels. She describes her style as alternative realism—a

blend of storytelling and whimsy grounded

in the natural world. While inspired by the traditions

of past and present realist painters, her work integrates

modern themes, bold colors, patterns, and design

elements, creating a dynamic synthesis of

classical and contemporary painting.

Much of her imagery is rooted in nature, reflecting

her fascination with the mysterious connections between

humans and the natural world. Through her

paintings, Bradley explores visual mythologies and

narratives that reveal both the wonder and complexity

of our relationship with the environment.

Lori Bradley—

loribradley@comcast.net

http://www.loribradleyart.com

ANDY WARHOL, 35MM FILM & DIGITAL IMAGE,

ARCHIVAL INK AND PAPER

BOBBY MILLER

Bobby Miller is a poet and photographer who

lived and worked in New York City for thirty years.

He has also the author of 23 books including —

Fabulous! A Photographic Diary of Studio 54,

A Downtown State of Mind: NYC 1973 – 1983,

Wigstock in Black & White:1985 – 2005 and

Queer Nation.

Bobby has published three books of poems, Benestrific

Blonde, Mouth Of Jane and Rigmarole

and is included in several anthologies: Aloud:

Voices from the Nuyorican Poets Café, Verses That

Hurt, Pleasure and Pain from The Poemfone Poets

and The Outlaw Bible Of American Poets.

His work has been shown in New York City,

Provincetown, MA, Palm Springs, CA, Seattle,

WA, Hudson, NY and the Berkshires, MA.

Bobby Miller — troubleblonde@comcast.net

DAY CLOUD, JOHNSON, VT.

ACRYLIC AND PASTEL ON PAPER, 11”X14”

SARAH HORNE

I find myself drawing and painting primarily from

nature. I am an abstract painter and I don't look to

copy nature so much as I want to evoke the feeling

I have about the subject. I want to capture a moment

that has affected me.

The images I paint first come under my own looking

and investigating, usually done with drawings

and photographs. That done to my satisfaction, I let

all of that initial process go. Then, I can paint with

freedom and without over-thinking.

Sarah Horne — sarahhorne29@gmail.com

CANDACE EATON

A Story to Tell.

Sally Tiska Rice

BERKSHIRE ROLLING HILLS ART

CLOCK TOWER ARTISTS

Studio 302, 3rd floor

75 South Church St, Pittsfield, MA

(413)-446-8469

www.sallytiskarice.com

sallytiskarice@gmail.com

American Gypsy. Oil on Canvas. 32” X 28”

CANDACE EATON

www.candaceeaton.com | candaceeatonstudio@gmail.com

(631) 413-5057


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

Human subtlety…will never devise an

HOLY ENCOUNTER OILS/COLD WAX

CAROLYN M. ABRAMS

INSPIRATIONAL AND

ATMOSPHERIC SOULSCAPES

My work is about relationships. Connecting with

my creative spirit and the world around me, most

especially Mother Nature in all her beauty and her

challenges. There is a voice in nature that touches

us and connects us to one another in ways that

evokes an emotion and stirs the soul. My work is

about creating that connection. It is a metaphor for

so many ethereal moments in life that are fleeting

and bring with them a bond like no other.

Using unique mediums such as oils and cold wax,

I feel that relationship as I work layering, adding,

subtracting, constructing and deconstructing on

canvas, paper and wood panels. Mark making is a

must to infuse my energy in each work and you will

find each of my atmospheric "soulscapes " intuitively

honors this affinity with Mother Nature.

My work can be found online at www.carolynabrams.com

and in the gift shops at Chesterwood

and Becket Arts Center as well as upcoming venues

throughout the Berkshires.

If you are interested in learning more about the

medium, I will be facilitating a one afternoon intro

workshop at the Berkshire South Community

Center in September. For more info contact me or

look for sign up info late August/early September

at the Guild of Berkshire Artists website

www.berkshireartists.org or though the community

center.

Carolyn M. Abrams —

www.carolynabrams.com

Member, Guild of Berkshire Artists

invention more beautiful, more simple, or more direct than does nature because,

in her inventions, nothing is lacking, and nothing is superfluous.

—Leonardo da Vinci

WARBRIDE, OIL ON CANVAS, 36” X 52”

CANDACE EATON

WarBride was created to honor all women who

suffered the indignity and physical brutality of

rape which is still happening in the 21st century

by warring aggressors. It was a shock to me when

women were brutalized in Sarajevo (the Bosnian

War in the later 1990s) where not long before, the

Olympics had been held. In my depiction of

women, I stress their strength, dignity and indomitable

spirit over that brutal ravaging. They are

stronger than the terror & indignity committed to

them. These Archetypes are part of my Icon and

Archetype Series I have been creating for decades.

I use a general ‘realistic’ style that is not

part of any current realist movement to let the

Image be its’ own voice. This allows me to subtly

augment any gesture to emphasize a psychological

statement, as it looks like an ‘established’

older painting.

I also paint my expressive, abstracted

Jazz/Horse Series, a more joyful & sensuous

celebration of the life force, which often involve

the dance of connectiveness between the figures,

anchored by the symbol of the horse which expresses

the physical world where the connectiveness

& melding with the Other abolishes all

existential isolation in that sensual union where

one momentarily transcends one’s self.

Candace Eaton —

www.candaceeaton.com

candaceeatonstudio@gmail.com


BEGINNINGS, OIL ON CANVAS, 52” X 30”

WHISPER, OIL ON CANVAS, 52” X 30”

ROSEMARY BARRETT

LOTUS PAINTINGS

I paint in oil with a technique that I have developed

that gives a soft and clear feeling that is inspired

by nature and our part in it. The use of vivid

color, design and composition is a successful result

of many years of study. I attended The School of

the Worcester Art Museum on a full Ford Foundation

scholarship setting my artistic life in motion.

Working and traveling as a Trompe L’ Oeil artist

for many years I have now come home to the canvas,

teaching and enjoying in my studio.

I have found this series to be emotionally deep

and moving for me. The Lotus represents commitment

and optimism for the future, rising from

muddy waters. It is a sacred flower and occupies a

unique position in art and mythology. I explore and

interpret the beauty of nature and give back to the

world, working in Holyoke, MA.

Rosemary’s work will be in a show at The Stewart

House in Athens, New York, opening Oct. 11, 4 -

7pm, 2025 and will continue through December,

2025.

Rosemary Barrett—

@rbarrettstudios (instagram)

www.rbarrettstudios@gmail.com

LIVE LAYERS

WATER SOLUBLE OIL ON STRETCHED CANVAS

DIPTYCH. 40”W X 60”H 2021

DAWN NELSON

Dawn Nelson lives and works in North Adams’

Eclipse Mill, where she has had a studio since 2008.

She grew up in the Midwest, and graduated with

a B.F.A. from Illinois Wesleyan University and an

MEd from Lesley University. She has been a working

artist for her entire adult life, exhibiting extensively.

For 30 years, Dawn was a middle school Art

Teacher in the public schools of Weston, MA, and

lived in Jamaica Plain, MA. She was active in the

arts in both communities; Jamaica Plain and Weston.

Dawn was part of the group that initiated Jamaica

Plain Open Studios.

Since retiring from teaching in 2014, Dawn has

transitioned to living full time North Adams, and

has since become involved in Future Lab[s] Gallery,

First Fridays Organizing Committee, and the Eagle

Street Alive initiative.

Dawn Nelson—

dawn.leslie.nelson@gmail.com

www.dawnneslon.org

RICHARD NELSON

Art is therapy for me. A good way of processing

my own personal baggage. I illustrate, in detail,

whatever particular ism that I am dealing with. It

helps me to see it and give it a face, so to speak. But

the nature of it is too personal to share openly, so I

obscure it until it is no longer discernible. I know

it's there, but only I know. It's very cathartic!


Richard Nelson —

Rick Nelson on FB


Rick Nelson on FB

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

44 • SEPTEMBER 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

ARTISTS COMING UP: SEPTEMBER: MOMENTUM

Ruby Aver

Lori Bradley

Richard Britell

Katherine Borkowski-Byrne

Leslee Carsewell

Janet Cooper

Candace Eaton

Yana van Dyke

Jane Gennaro

Julia Grey

Ghetta Hirsch

Sarah Horne

Stephan Marc Klein

Thea Knapp-Baker

Bruce Laird

Leo Mazzeo

Bobby Miller

Mark Millstein

Dawn Nelson

Richard Nelson

Ellen Pollen

Janet Pumphrey

Alexandra Rozenman

Richard Talbert

Jay Tobin

Mary Ann Yarmosky

BERKSHIRE DIGITAL

Since opening in 2005, Berkshire Digital has

done Giclée prints/fine art printing and accurate

photo-reproductions of paintings, illustrations and

photographs.

Giclée prints can be made in many different

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

paper choices. Berkshire Digital was featured

in Photo District News magazine in an

article about fine art printing. See the entire article

on the BerkshireDigital.com website.

Berkshire Digital does accurate photo-reproductions

of paintings and illustrations that can be

used for Giclée prints, books, magazines, brochures,

cards and websites.

“Fred Collins couldn’t have been more professional

or more enjoyable to work with. He did a

beautiful job in photographing paintings carefully,

efficiently, and so accurately. It’s such a

great feeling to know I have these beautiful, useful

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

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

We also offer restoration and repair of damaged

or faded photographs. A complete overview of

services offered, along with pricing, can be seen

on the web at BerkshireDigital.com

The owner, Fred Collins, has been a commercial

and fine art photographer for over 30 years having

had studios in Boston, Stamford and the Berkshires.

He offers over 25 years of experience with

Photoshop, enabling retouching, restoration and

enhancement to prints and digital files. The studio

is located in Mt Washington but drop-off and

pick-up is available through Frames On Wheels,

84 Railroad Street in Great Barrington, MA (413)

528-0997 and Gilded Moon Framing, 17 John

Street in Millerton, NY 518-789-3428.

Berkshire Digital -

413-644-9663,

or go online to www.BerkshireDigital.com

ARTFULMIND@YAHOO.COM

The Artful Mind Pop Up Thru Oct 11 Eagle Street, North Adams, MA Wed-Sun noon to 4:30

EDWARD ACKER

PHOTOGRAPHER

Time Flies • Get Pictures

edwardacker302@gmail.com

413-446-8348


“TERRA TERRIFIED” DISTRESS OXIDE, GRAPHITE, HIGHLIGHT

PEN, METALLIC COLOR PEN, AND INK ON TONED TAN SKETCH

PAPER 5.75”X8.5”

LEO MAZZEO

As a long time advocate for the arts, New Ashford

based artist Leo Mazzeo has served on regional

boards and acted as a catalyst for many arts related

projects. He works primarily on paper, using diverse

media and techniques appropriate for each

piece’s theme. Initially, he establishes a broad concept,

which evolves into a narrative as a piece progresses.

Mazzeo sketches from life, reference images, and

imagination, assembling compositions almost as a

collage artist would. Symbolism is key, and characters

and objects often have repeating roles. His

themes are sociopolitical/psychological, often surreal,

reflecting personal perspectives and offering

therapeutic benefits.

Leo Mazzeo —

l-mazzeo@hotmail.com

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/

HOUSATONIC : OUR RIVER

ACRYLIC ON CANVAS 24”X24”

RUBY AVER

Growing up on the South Side of Chicago in the

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

youth, my 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, dominates, spontaneously

combining raw as well as delicate impulses.

I was honored with the exhibition of my abstract

painting (inspired by Vermeer’s Girl with a Pearl

Earring) in the Amsterdam Vermeer exhibit 2024 .

Ruby Aver—

Housatonic Studio open by appointment:

413-854-7007 / rdaver2@gmail.com

Instagram: rdaver2

46 • THE ARTFUL MIND SEPTEMBER 2025

Valeria and the Ants

CHAPTER 4

THE DEATH OF A SPIDER

I decided to apply for the job at the carnival on the

spur of the moment, it was going to be something to

do for the summer, after I was rejected from all of

the colleges I had applied to. “Well, Yale didn’t want

me, and neither did Harvard, so I will be one of

those people running rides at a fairground then.” I

thought of it as a gesture of contempt for fate. If not

the carnival, well then, I will be a bum.

I went out to the fairgrounds and asked for the manager.

The manager was fixing a tractor motor, and

seemed to be at his wits end with frustration over it

and had no time for me. Not only did he have not a

minute to spare to talk to me about some job, he

acted like I was somehow responsible for his difficulties

with the tractor motor.

I mentioned to him the notice in the paper and it

seemed he did not even know about it, as if someone

had placed the ad as a prank. Finally he stopped

what he was doing, put down an enormous screwdriver

on the fender of the tractor, then after having

moved the screwdriver just slightly so that it would

line up parallel with the edge of the tractor fender,

he said.

“Joe died, he ran the bumper cars? You can have his

trailer to live in and meals, and fifty dollars a month.

Go talk to the assistant manager, she will fill you in

on the details. The assistant is Valeria, you will find

her in that black and red trailer over there.”

So I went to the black and red trailer and knocked

on the door. A child probably 9 years old opened the

door and looked at me with curiosity. “I want to talk

to Valeria,” I said. “I’m Valeria,” she replied.

Valeria, who was eight “just going on nine,” turned

out to be the assistant manager of the fair grounds

and the carnival. She was not actually the manager

of anything at all, but I was about to enter a world

in which nothing was ever taken seriously and everything

was deliberately the opposite of what you

think it should be. Valeria offered to show me

around the carnival grounds, and I told her that I was

going to take the place of Joe, who had been in

charge of the bumper cars. We began walking together

toward the bumper cars ride. Valeria seemed

to be lost in thought and then she said.

“Bumper cars!,” and then after a long pause she

said, “Do you believe in free will?”

“Why would you ask me about free will young

lady?” I said.

“Because free will is the most important aspect of

bumper cars. All the other rides in the fairgrounds,

and especially the ferris wheel, are the exact opposite

of the exercise of free will. Even the scrambler,

it seems to go in all kinds of directions unexpectedly,

but the passengers have no control at all.

But with the bumper cars…”

I interrupted her lecture to say, “Does the lion in his

cage in the zoo exercise free will when he decides

to pace back and forth rather than taking a nap?”

I didn’t want to enter into a philosophical argument

with the child, but even though she seemed to be

very serious about what she was saying, I thought

that she was putting me on, really actually making

fun of me and my future job.

“Will you buy me some fried dough?” she asked.

We were just then walking past the fried dough

stand.

I purchased two fried dough but the man tending the

stand just waved me off when I offered to pay. Valeria

took her fried dough and began putting powdered

sugar on it with a sugar shaker. She put three

shakes on each side as if she had a specific routine

for the eating of fried dough, and like she had done

it many times before. I felt I was entering someone

else's established world, with rituals I knew nothing

about.

Valeria sat down at a red painted picnic table but she

did not start eating the dough, but instead set to work

picking flakes of red paint from the surface of the

table. “Who put the idea of bumper cars and free

will into your head?” I asked her.

“That’s really a very insulting thing you have just

said to me, don’t you think,” she replied, looking up

from her paint chipping project and giving me an

angry look.

I instantly felt embarrassed at my thoughtlessness.

When I asked her who put the idea in her head, it

never crossed my mind that a child would take offence,

but I suppose the assumption was sort of belittling

and dismissive. She began to eat her fried

dough, looking at me angrily as she did so, and I was

thinking of some kind of apology, but on the other

hand, was I really wrong to say what I said. After

all, was she born knowing about free will, the idea

had to come from someplace. So I said, “So, were

you born considering the idea of free will, and it’s

your original idea?”

Pointing to her head with her index finger she said,

“It's not my idea, Joe, the bumper car man put the

idea into my head,” indicating a spot just above her

ear where the idea had apparently been inserted.

Having said that, she took a bite from her fried

dough, and then laughed at me for thinking she was

actually angry.

I asked her about Joe, the bumper car operator who

died thinking that if he was the kind of person who

would discuss free will with a child, he must have

been an interesting person, but I was wrong. Valeria

explained the man to me with these abrupt comments

while continuing to eat the fried dough, and

talking to me with powdered sugar on her face.

“Joe was stupid,” she said bluntly. “He had only one

idea in his entire life and that idea was about free

will and the bumper cars. He explained it to people

over and over again, whenever there was a long wait

to get in the cars. Not only did he explain it all day

long, but even using the same words.” Then, assuming

Joe's voice and his facial expressions she did an

imitation of him giving his lecture.

“It was sad though, the way he died,” she continued.

“If the cars did not fill up he would ride in one himself,

and was always very excited to crash into

people. His last trip in the cars happened at closing

time, and so he was still in the car in the morning.

His head was slumped to one side and the car was

still going, and bumping into the wall of the ride

over and over. There was something weird about it,

and even though you could see that he was dead because

his face was blue, nobody wanted to shut the

electricity off, and go deal with him.”

“How old was he?” I asked but she didn’t bother to

answer the question.

Then assuming an angry judgmental tone, she sat up

straight, holding the remains of fried dough at some

distance from her face as she pronounced, “Joe is

much better off dead.”

I admit I was shocked to hear a child speak dismissively

of a dead person, especially when it was a

person she knew, but I began to suspect that, like

with taking offence about the source of her ideas,

she was again baiting me to see how I would react.

I thought to myself, “This has to be the result of

growing up in the middle of a carnival, where everything

is for effect, and nothing is really real,” but

I didn’t say anything. When she saw that I was not

going to react to her blunt, insensitive remarks about

Joe’s death, she decided to elaborate on the theme,

which could have been called, “The goodness of

death.”

“When there were no customers for the ride he

would sit in a chair with his knees far apart, and with

a stick he would poke and dig at a hole in the

ground. He always dug at the same hole, and with

the same stick, for hours on end. He smoked cigarettes

one after another and his fingers were dyed

yellow from the smoke. One day something happened

and he was taken to the hospital, and when

he came back he had stopped smoking, but I noticed

that he had switched to chewing tobacco.

Sometimes he would cough for a half an hour at a

time. He seemed only alive for a few minutes a day,

when he was crashing around in the bumper cars,

driving himself into the other kids. At those times

you could see him smile, showing his single remaining

tooth.”

I began to be annoyed by what she was saying and

I interrupted her with a defence of life itself, “If you

pull all the legs from a spider till they have only one

left, the spider with its single remaining leg will try

to run away from you.” I said to her almost in anger,

and angrily she replied, “How would you know

that?”

It was obvious that she knew the answer to her accusatory

question but I was unable to confess to the

crime and tell her the truth, and I blamed the torture

and murder of the spider on my older brother, explaining,

“He thought it would die when he pulled off one of

its legs, but then it kept trying to escape until he

killed it in desperation.

We were in the old part of the cellar of the house,

there were millions of spiders down there, and they

were all watching us. I am sure they will never forgive

us.”

That was how I met Valeria, and our conversation

that first day. I started my duties as the attendant of

the bumper cars, and the next time I saw Valeria it

was just a few days after Bruno the elephant yelled

at her. She seemed to be a different person, when

she came to see me, and very soon we were talking

about the death of insects again.

—RICHARD BRITELL AUGUST 2025

CHAPTERS 1 - 4 CAN BE FOUND AT

RICHARDBRITELL.COM


48 • THE ARTFUL MIND SEPTEMBER 2025

BRUCE PANOCK

Cape Cod Skies and Seas

Panockphotography.com

bruce@panockphotography.com

917-287-8589 | Instagram @brucepanock

Armored in Art

Deborah H Carter

Photo: Korenman.com

Joanie Ciolfi Paintings

Model: Kaleb McDaniel

Clock Tower Artists

The Artful Mind September on Yumpu

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