The Artful Mind

BERKSHIRE’S MONTHLY ARTS MAGAZINE FEATURING LOCAL AND REGIONAL ARTISTS IN PRINT & ONLINE SINCE 1994

TheARTFUL MIND

JANUARY 2026

ERIC KORENMAN PHOTOGRAPHER

Digital Scans & Giclée Printing

"Sundown" - Dorothy Fox

. Digital Flatbed and Camera Scans

. Book Design and Production

. Archival / Inkjet Giclée Prints

. Photoshop Restoration

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

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

IN PRINT SINCE 1994

The ARTFUL MIND

JANUARY 2026

HAPPIEST NEW YEAR TO ONE AND ALL!!

JOANE CORNELL

FINE JEWELRY

Interview with Alexis Rosasco Fine Artist | Tattooer ... 12

Interview with Eric Korenman

Photographer...22

Interview with Susan Plummer

Collage Artist ... 36

Richard Britell | FICTION

Valeria and the Ants CHAPTER 8 ... 43

Diaries of Jane Gennaro

Mining My Life .... 44

Diamond Cuff Bracelets, Rings, Moonstone Cabochon Earrings

Publisher Harryet Candee

Copy Editor Elise Francoise

Contributing Photographers

Edward Acker Lee Everett Bobby Miller

COMMISSION ORDERS WELCOMED

Hand Forged Designs

www.JoaneCornellFineJewelry.com

9 Main St. Chatham, NY

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

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ARTFUL MIND GALLERY for Artful Minds 23

THE ARTFUL MIND

PO Box 985, Great Barrington, MA 01230

FYI— Disclaimer: : ©Copyright laws in effect throughout The Artful Mind for

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

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instances. In any case the issue does not appear on the stands as planned

due to unforeseeable circumstances beyond our control, advertisers will be

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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 JANUARY 2025 • 3

whowhatwherewhen... 2026!

Explosions In The Sky

Friday, January 30, 7pm

Basilica Hudson

11 South Front St, Hudson, NY

Black Violin

Friday, February 27, 8pm

Mahaiwe Performing Arts Center

14 Castle St, Gt Barrington, MA

ART

510 WARREN STREET GALLERY

510 Warren st, Hudson NY

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

Stephan Marc Klein: TUNNEL VISIONS

BERNAY FINE ART

296 Main St, Gt Barrington, MA

Til’ Jan 19: Creative Cheer - A Celebration of Art

& Light; Work by: Katharine Dufault, Catherine

Howe, F. Lipari, Sandy Litchfield, Linda Pochesci

and Joy Taylor

ART ON MAIN

Main St, West Stockbridge, MA

A charming gallery showing artists work

Ongoing exhibits

CARRIE HADDAD GALLERY

622 Warren St, Hudson, NY

info@carriehaddadgallery.com

Til’ Jan 18: Earth endures, Stars Abide: A group

exhibit of Hudson Valley landscapes

CLARK ART INSTITUTE

225 South St, Williamstown, MA

Til’ May 31, 2026: Raffaella Della Olga: Typscripts;

Thru Mar 8, 2026: Shadow Visionaries:

French Artists Against the Current, 1840-70

CLOCK TOWER ARTISTS’ STUDIOS

& GALLERY

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

clocktowerartists.com

A collective of working artists, see website for artists

and open studio visits.

FUTURE LAB(S) GALLERY

43 Eagle St, North Adams, MA

On going art exhibits; Opening shows first Friday

GALLERY 13 1/2

13 1/2 Grove St, Adams, MA

Group Exhibit displaying the creative work of over

17 artists who support and collaborate with The

Old Mill

4 •JANUARY 2026 THE ARTFUL MIND

GALLERY NORTH

9 Eagle St, North Adams, MA

Gallery of artists work on view

Monthly revolving exhibits

IRIS GALLERY of Fine Art

80 Railrod St, Gt Barrington, MA

413-429-6878

Friday - Saturday 11-5, Sunday 11- 4

Monday - Thursday by Appointment

HOTCHKISS SCHOOL

TREMAINE GALLERY

11 Interlaken Rd, Lakeville, CT

www.hotchkiss.org/arts

Til’ Jan 25, 2026: Wish You Were Here:

Fern Apfel & Colleen McGuire

LAUREN CLARK FINE ART

684 Main St, Gt Barrington, MA

Lauren@LaurenClarkFIneArt.com

Fine art, glass, sculpture and paintings

LIGHTFORMS ART CENTER

743 Columbia St, Hudson, NY

Til’ Jan 11: Eloise Avery: Divine Destiny;

Ninetta Sombart

MAD ROSE GALLERY

3 Main St, Millerton, NY (Main Gallery)

madrosegallery.com

Exihibits and workshops, please check website

MASS MoCA

1040 MASS MoCA WAY, Hunter Center,

North Adams, MA info@massmoca.org

Til’ Jan 4, 2026: Dirty & Disorderly:

Contemporary Artists on Disgust. Feb 21- 26:

Technologies of Relation; Jan 24:Community Free

Day

NORMAN ROCKWELL MUSEUM

9 Glendale Road, Stockbridge, MA

Til’ April 6, 2026: Jazz Age Illustration

ROBIN RICE GALLERY

Fine + Photography

234 Warren st, Hudson, NY

Til’ Feb 22: Winter Salon Exhibition: Gallery

Artists + Guest Artisan Alistair McCowan

SOHN FINE ART

69 Church St, Lenox, MA

413-551-7353 info@sohnfineart.com

Til’ Jan 12, 2026: The Color of Memory:

Valdo Bailey, John Clark, Richard Alan Cohen,

Yvette Lucas; Jan 16-Mar 30, 26: Salon d’hiver

SOUTHERN VERMONT ARTS CENTER

860 SVAC Drive / West Rd, Manchetser VT

Til’ Jan 11, 26: 2025 Open Members’ Exhibition

SUSAN ELEY FINE ART

433 Warren St., Hudson, NY

Feb 5-April 19, 2026:Deirdre O'Connell:

New Portraits

THE MARKETPLACE CAFE

North St, Pittsfield, MA

Through Jan: Artwork by Mollie Kellogg:

Out of The Blue / Unexpected Artworks

WORKSHOPS

ART NO 99 SCHOOL

86 Joy St, Studio 37, Somerville, MA

Art classes for adults and kids - Alexandra

Rozenman

BERKSHIRE ATHENAEUM

1 Wendell Ave., Pittsfield, MA

Jan 15, 6pm-8:30pm: Watercolor Foundations: A

versatile approach to the art of watercolor painting,

this class will familiarize students with

supplies, theory, and techniques.

BERKSHIRE ART CENTER

Citizens' Hall

13 Willard Hill Road, Stockbridge

Jan 10, 9:30-3pm: This is a space for painters to

work outside of formulas.

WINTER

Sita Gómez

Curated by Nancy Cobean of Rose Gallery

February 7 - April 4, 2026

At the Historic Hudson Opera

327 Warren St, Hudson, NY

Vincenzo Bellini’s I PURITANI – Encore

Met Opera Live in HD

Sunday, January 18, 2026, 1pm

Time & Space Limited

434 Columbia St, Hudson NY

Untitled, At Home in Diaspora II,

Silver gelatin print, Massachusetts, 2025

Mutating Origins

Art Exhibition / Installation

January 21 - February 28, 2026

Arts Night Out / Exhibition Reception:

February 13, 5-8pm

Listen to My Photographs:

Featuring the work of artists from

The Care Center

Art Exhibition

January 21 - February 28, 2026

Split Level Gallery

33 Hawley Street, Northampton, MA

BERKSHIRE SOUTH REGIONAL COMMUNITY

CENTER

15 Crissey Rd, Gt Barrington, MA

Jan 20-Feb 24, 6:30-8:30: Improvisation for

Theater

GUILD OF BERKSHIRE ARTISTS

Berkshire South Regional Community Center

15 Crissey Rd, Gt Barrington, MA

Jan 26, 1-4pm: Intro to Cold Wax with

Carolyn Abrams

JACOB'S PILLOW

358 George Carter Road, Becket, MA

Jan 16-18: (All day) Pilobolus Adult Winter

Workshop

SOUTHERN VERMONT ARTS CENTER

860 SVAC Drive / West Rd, Manchetser VT

See full listings on website: Jan 8: Intro to

Ceramics (8 wks) Feb: Capturing the Winter Light

TAMARACK HOLLOW NATURE & CULTURE

1515, 1516 & 1578 Savoy Hollow Road

Windsor, MA

Feb 15, 10am-12:30pmFirst Day Waterfall and

Boreal Spruce- Fir Forest Snowshoe at the Tamarack

Hollow Nature & Cultural Center in Windsor,

MA Thursday January 1st & Sunday February 15th

10am-12:30pm; Winter Boreal Spruce-Fir Forest

Ecology, Wildlife Tracking and Tree ID Snowshoe

Treks at NOTCHVIEW Mondays January 19th &

February 16th 10am-12pm

MUSIC | EVENTS

BUTTONBALL BARN

17 Main St, South Egremont

info@buttonball.com

A tradition as a live music venue and community

gathering spot - great full live music schedule,

please see website

CLOSE ENOUNTERS WITH MUSIC

Mahaiwe Performing Arts Center

14 Castle St, Gt Barrington, MA

Feb 15, 4pm: “Endings”, Piano Trios by Shostakovich

and Schubert

GREAT BARRINGTON ARTS MARKET

St. James Place, 352 Main St, Gt Barrington, MA

Jan 19 & Feb 16, 10-3pm: With a rotating line-up

of 16 artists each month, GBAM Winter events

offer market goers a chance to shop a finely curated

collection of handmade products and support

the local artist community at the same time.

HUDSON HALL

327 Warren St, Hudson,

NY Historic Hudson Opera

Feb 14, 7pm: Nicole Zuraitis

KNOX TRAIL 250 PROGRAM AND EXHIBIT

Monterey Library, 452 Main Rd, Monterey, MA

www.bidwellhousemuseum.org/events

Jan 16-17, 6pm / 9pm: Henry Knox

and the Noble Train of Cannons Through The

Greenwoods

OLD HERITAGE TAVERN

12 Housatonic st, Lenox, MA

Jan 14, 7pm: The Berkshire Celtic Session

MASS MoCA

1040 MASS MoCA WAY, Hunter Center,

North Adams, MA info@massmoca.org

Feb 7, 8pm: Black Belt Eagle Scout and Mato

Wayuhi with Ailani; An engagement with Jeffrey

Gibson's POWER FULL BECAUSE WE'RE DIFFER-

ENT.

THE STATIONARY FACTORY

63 Flansburg Ave, Dalton, MA

Jan 9, 7:30pm: Story Songs of the 70s

See website for full schedule

UNITARIAN UNIVERSALIST

MEETING OF SOUTH BERKSHIRE

1089 Main St, Housatonic

Jan 11, 2pm: Housatonic Contra Dance & Dessert

FILM

CLARK ART INSTITUTE

225 South St, Williamstown, MA

Jan 22; 6-8pm: Shadow Visionaries: Film Series

Inspired by the Shadow Visionaries exhibition

IMAGES CINEMA

50 Spring st, Williamstown MA

413-458-1039 imagescinema.org

Jan 3, 2026: The Princess and the Frog;

Jan 17, 2026: Willy Wonka and the

Chocolate Factory

THE TRIPLEX CINEMA

70 Railrd St. Gt BArrington, MA

January: The Choral; The Secret Agent;

Hamnet; The Testament of Ann Lee;

FEB: No Other Choice

YIDDISH BOOKSTORE

1021 West St, Amherst, MA

Jan 11, 2pm: East Endings

Keep us in mind

artfulmind@yahoo.com


INSDIE THE STUDIO

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

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/

THE MAGIC BOWL, 2025, CANVAS ON CRADLED WOOD,

OIL ON CANVAS, 24” X 24” X 3”

LORI BRADLEY

Lori Bradley is a contemporary painter working

in oil and acrylic on canvas and wood panels. Describing

her style as alternative realism, she creates

imagery that merges traditional realist still life and

landscape influences with contemporary themes,

colors, and patterns. Birds are a common theme in

her still life paintings. Observing how they act in

ways similar humans she started incorporating them

into her paintings to tell subtle stories about human

interactions and relationships.

Lori Bradley—

loribradley@comcast.net

http://www.loribradleyart.com

GHETTA HIRSCH

Call or text 413-597-1716

Ghetta-hirsch.squarespace.com

@ghettahirschpaintings

“Crossroads” 2025, Oil on vintage linen, 12 x 12”

6 • JANUARY 2026 THE ARTFUL MIND

PHOTO: ERIC KORENMAN

MODEL: NATALIE PARÉ

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.

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

BERKSHIRE DIGITAL

Since opening in 2005, Berkshire Digital has done

fine art printing and digital scanning for artists and

photographers. Archival Inkjet/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 (PDN)

magazine in an article about fine art printing. See

the entire article on the BerkshireDigital.com website.

Berkshire Digital does accurate digital scans of

paintings, illustrations and old photographs that can

be used for archival prints, books, magazines, brochures,

cards and websites.

Berkshire Digital also designs and produces books

printed by Blurb.com

“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 offer restoration and repair of damaged or

faded photographs. A complete overview of services

offered, along with pricing, can be seen on the

web at BerkshireDigital.com

The owner, Fred Collins, has been a commercial

and fine art photographer for over 30 years having

had studios in Boston, Stamford and the Berkshires.

He offers over 25 years of experience with Photoshop,

enabling retouching, restoration and enhancement

to prints and digital files. The studio is located

in Mt Washington but drop-off and pick-up is available

through Frames On Wheels, 84 Railroad Street

in Great Barrington, MA (413)-528-0997 and

Gilded Moon Framing, 17 John Street in Millerton,

NY (518)-789-3428.

Berkshire Digital -

413-644-9663

www.BerkshireDigital.com

BLUE SNOWFLAKES

LATE WINTER, WATERCOLOR MATTED AND FRAMED

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.

SallyTiska Rice—

SallyTiskaRice@gmail.com

www.sallytiskarice.com

https://www.facebook.com/artistsallytiskarice

Fine Art Prints (Pixels), Twitter, LinkedIn

Instagram, YouTube, TikTok

ARTFULMIND@YAHOO.COM


FRONT STREET GALLERY

November River Winters Coming, Oil on canvas, 24” x 30”

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

Mary Ann Palermo

International Recording Artist, Jazz Vocalist, Performer, Songwriter

Check out the newest album here at Hear Now: https://maryannpalermo.hearnow.com/theres-a-place-beatles-re-imagined

To hear about upcoming performances and new releases sign up at: https://maryannpalermo.com

Email: howmuchbettercanitget@gmail.com

Instagram: https://www.instagram.com/maryannpalermo_averosarecords

Averosa Records label website: https://averosarecords.com/

Spotify: https://open.spotify.com/artist/1P5DDkoBymMyNn52dmMeoL/discography/all


SERGIO DEMO

Questioning the Spiritual in Art (Looking through my Childhood Window)

Oil on canvas, 2022, 36” x 30”

Courtesy of Fountain Street Gallery

INSTALLATION ARTIST | NORTH ADAMS MA

INSTAGRAM.COM/SDEMO66 SERGIODEMOART.COM

ALEXANDRA ROZENMAN

artschool99somerville.com

www.alexandrarozenman.com

alexandra.rozenman@gmail.com

DON LONGO

With all the chaos in our world, I chose more subtle,

neutral colors of tans, browns, greys and white to

invoke serenity, tranquility, and calmness.

These colors help balance mental wellness as well.

Sometimes, we just need to relax, sit back, and enjoy

the moment in the serenity of silence.

This image does that for me. I hope it does for you.

www.donlongoart.com

"INNER PEACE"

20" x 20" Acrylics and Enamel Paint on a .75" board canvas.



ALEXIS ROSASCO

FINE ARTIST | TATTOOER

“I work most often in acrylic paint, pencil or ink. I use light, color and symbolism to create vibrant visual narratives.

My work is an attempt to tell a story or capture a feeling with a single image.

I see each project as an opportunity to explore the emotional impact of visual nuances. The subject matter of my work

fluctuates often, but anthropomorphism and surrealist landscapes will always be a staple.”—ALEXIS ROSASCO

INTERVIEW BY HARRYET CANDEE

PHOTOGRAPHS COURTESY OF THE ARTIST

Alexis, you are a brilliant artist and entrepreneur

with keen focus and impressive skills. It seems

fitting that we accidentally ran into you at restaurant

and bar Public in North Adams, Massachusetts,

located across the parking lot from both

of your work spaces. We found you happily

catching your breath and likely seeking a moment

to yourself. Your busy schedule, daily routine,

and disciplined nature suggest that you lead

a whole and active life. Could you share what an

average day looks like for you?

Alexis Rosasco: The average day for me is doing

my best to have a better than average day. I think of

scheduling like playing chess. I try to be very deliberate

and strategic with my time. Being committed

to my art, to the people I serve, at the level that I aim


for has made time management a very critical part

of my life. I strive to create harmonious schedules,

that balancing work and life. I want to show up as

the healthiest and most creative person I can be each

day. Some days begin as early as 4:00am and some

end as late as 1:30 am. Family time, extra curricular

activities, and social interests are carefully threaded

through the mix at strategic points.

AR Designs Fine Art & Tattoo is a great idea. No

wonder it has taken off so well. How are you balancing

AR Designs Fine Art & Tattoo, and the

new Rosasco’s Gallery so effectively?

Proximity is my friend. The Tattoo parlor and Fine

Art space are side by side in the same historic building.

I flow fluidly between the two. I can easily set

up for my evening workshops before or in between

tattoo guests at the Parlor. If someone from my team

on either side needs me, it’s 12 steps from one door

to the next.

How does it feel to notice that your long-time art

followers are now seeking tattoos exclusively

from you, and do you hope they embrace both

your fine art and tattoo offerings?

It is very humbling, a bit surreal at times. Some of

my earliest tattoo patrons had already been buying

fine art from me for years. As a life long artist the

transition to tattooing was surprisingly seamless. It’s

been an absolute honor to be asked to create permanent

art on skin. Many of the people who were

introduced to my work through tattooing alone, reg-

"Bear in The Glen" Acrylic on Canvas. Alexis Rosasco

ularly leave with a piece of fine art, a print, or seek

to commission something for their home. I find both

practices compliment each other very well.

I know you have some great stories about your

experiences in tattooing. There's enough space

here for you to share at least two good stories related

to tattooing—go for it.

I’ll never forget how it felt to hear about a man I had

been tattooing, smiling as he looked at himself in

the mirror for the first time since a life altering accident.

This individual had survived 3rd degree

burns over the majority of his body, and a long

grueling recovery. That experience has stayed with

me, and inspired me to dedicate a good part of my

practice to projects like that. I learned that I really

enjoy helping people reclaim their bodies through

artwork.

Another beautiful experience I had recently was

tattooing an 84 years young, force of a woman, who

is clearly living every thread of her life to the fullest.

She got a very powerful Walt Whitman quote,

“Now voyager, sail thou forth seek and find.” Her

adventurous spirit and commitment to her own authenticity

will stay with me forever.

As an artist, making art on humans feels much like

pulling a library book from a shelf for a few hours.

I have heard stories from many people, many walks

of life, triumphs and tragedies. There are enough for

a whole book.

Tell us about your study of martial arts?

I am as fascinated by physical arts as I am with visual

art. When I returned to the area more than a

decade ago, I stumbled upon something called Brazilian

Jiu-jitsu (BJJ). It is one of the most difficult,

subjective and nuanced puzzles I have ever found.

Since then, I have dedicated a large amount of my

free time to this practice and community. It’s a great

space to challenge myself. I noticed early in life that

engaging in something as difficult as a contact sport

seemed to inoculate me to the physical and psychological

stressors of all my other undertakings. I’ve

dabbled in other disciplines over the years, but Jiu-

Jitsu has been my focus since I discovered it.

Where do you study this?

I train regularly at Brian Beaury Jiu-Jitsu (Watervliet,

NY) and Steeple City Jiu-Jitsu (North Adams,

MA). I feel blessed to have access to the level of

training I do. I visit other academies when I travel.

It’s a fun way to make friends internationally and

experience other cultures.

Has this discipline helped you overcome any significant

challenges in the past year?

There is a dark and challenging physical element to

being a professional body artist. At one point, I had

been working a lot of overtime and the positions I

had been tattooing in for years caused one of my

discs to herniate. It had me shuffling about with a

compressed spinal cord and uninterrupted discomfort

for months. I was able to let it heal on its own

with nothing more than the occasional Tylenol. I

don’t believe I would have been as mobile, or optimistic

about my own healing potential without my

history of spicy hobbies. Tattooing takes a big toll

on everything from your fingertips to your shoulders

and beyond. I feel staying very active has given me

the strength and endurance necessary to rise to the

physical demands of my professional schedule. It

has also taught me to fluidly and creatively pivot

when things don’t go as expected and that there are

always opportunities to be found, even in less than

ideal situations.

Teaching art is another thing you do. Tell us

about your classes.

I teach studio art a few times a week in the evenings.

I launched Rosasco’s Academy of Art and Design

in early 2025, within my fine art space. My students

range from 13 to 82 years old. I coach everything

from hobbyists to people with specific professional

goals.

Continued on next page...


ALEXIS ROSASCO FINE ARTIST | TATTOOER

Alexis making a collaborative sacred tattoo at the Williams College Museum of Art with Lama Tashi Norbu

I also share the space with a number of other passionate

artists, who host workshops in everything

from studio arts, to song writing, even Shakespearean

language and monologue work. Art is an

important resource for the community to have access

to. I’m glad to see the academy steadily evolving

and growing in exciting directions.

While a student, you experienced local art classes

before taking off to College. What were the local

courses like? Did you find it was sufficient preparation

for the official college art classes you

studied in Boston?

I participated in workshops at Williams College,

The Clark Art and Mass Moca at a very young age.

My high school art teacher was tenaciously encouraging.

I studied privately with a professional artist

during the summers. I was fortunate enough to have

a village. In 2006, I arrived at the School of The Museum

of Fine Arts, Boston and Tufts University,

with as much preparation as a seventeen-year-old

could hope for. It was a wild ride. I learned a lot in

my college years.


After those years studying art, what was it like

for you when you returned home to the Berkshires?

What did you first want to take on and

accomplish?

My goal has always been to pour myself into creating

spaces I could be proud of. I wanted to create

inviting places where I could create with my whole

soul: create art, connections and opportunity’s for

others whenever possible. No matter where I go in

the world, something about North Adams always

drew me back. I blame my family history.

Constante Rosasco, my great, great grandfather is

recognized as the first Italian to immigrate to North

Adams. He arrived without his family in 1864 to

work in the Hoosac Tunnel. He opened the first Italian

owned business in the city in 1871 (a grocery

store), followed by a garage and travel agency. The

Rosasco family was a central point of contact for

many other Italian immigrants at the time that

needed help. His son, Giovanni Rosasco, became

the first police officer of Italian decent to be promoted

to the rank of captain, and eventually chief,

in Massachusetts history. One of Constante’s grandsons,

Ernest Rosasco, became the 21st mayor of

North Adams. My grandfather’s on both sides

worked in the mills here. My parents were born here

as well. I reflect often on the efforts of those who

came before me. I still hear stories from people I’ve

just met about how much they loved their communities.

When I returned to North Adams, I saw

the storefronts and mills that were left vacant by industries

past, beginning to come alive with art and

culture. It felt like my cue to step up and do what I

could to positively contribute. There is something

motivating to me about doing that within minutes

of both the hospital I took my first breath in, and the

grave where my father rests. In the end I hope to accomplish

a level of impact here that would do my

ancestors proud.

Segway question — ya, know, so many people in

North Adams come from Boston. Why is that?

Art, culture, and a whimsical little city feel. There

are many people coming here from further and

further away.

Continued on following page...

"Foxs at Play" Acrylic on Canvas. Alexis Rosasco

"Autumn Pursuits" Acrylic on Canvas. Alexis Rosasco



“Hornets Nest” Alexis Rosasco, 2015

A growing number drive or fly in for tattoos from

great distances. Once they discover the area, a tattoo

seems to be just an excuse to come back. There is

something magical about this place. It’s a whole

vibe with a lot to offer. There are some fantastic restaurants

within steps and minutes of my businesses.

There are galleries, book, plant and music stores

sprinkled in. Trendy Cafés and a growing number

of entertainment venues. “North Adams slaps!” as

the kids would say.


What else in your life helps you maintain your

sanity? How about your three dogs? I'd love to

hear about them and how they make you laugh.

Its important for my sanity that I drop off the map

for a giant adventure once in a while. I like to leave

behind my ridged schedule and plunge into the unknown.

I always return ready to go back to work,

full of inspiration, and gratitude. Last summer I

sailed the Aegean on a catamaran with my brother

and a small crew for a couple weeks, I love the sea.

The presence of animals has always been comforting

to me as well. I share my home with two Pitbully

mixes, an Old English Mastiff, and an orange

cat. I keep chickens in the garden where I grow my

vegetables and fruit every summer. They are fun to

interact with.

Regarding animals, I've noticed your fondness

for featuring them as subjects and central

themes in some of your work. What connection

or affinity do you feel you share with animals,

both great and small? For example, the wolf and

the baby deer.

Animal behavior has always fascinated me. I was

always raising orphaned wildlife or catching snakes

and anything else I could get a closer look at as a

kid. I spent time around horses, and farm animals

as well. Young me consumed all the literature and

educational material I could get my hands on in regard

to the natural world. I have drawn animals my

whole life. It’s hard not to be intrigued when you

realize how many challenges a creature may face in

its lifetime, how complex their relationship is with

everything around them.

The wolf and the deer for me are dark visual

metaphors. I don’t like to tell people what to think

about a piece of art. Sometimes I like to hide visual

cues, send them on a scavenger hunt and hear their

interpretations of things.

Additionally, in your newly acquired space, you

showcased an African wildlife show. Why did

you choose this body of work in particular?

Where was all of your other art housed in the

meantime?

My gallery was nearing completion and I had

enough of those pieces to pull a show together, as

simple as that. I’ve always been fascinated and impressed

by those animals, their life cycles, and their

will to survive.

Looking at other artwork, The “heart with the

rose and the sparrow”, what is the medium, process,

and what is this illustration about?

That was a very early pencil piece, visual poetry of

sorts.


An evening class at Rosasco’s Academy of Art & Design, North Adams, MA

“The Hungry Frog” Alexis Rosasco, 2022



"Wolfword" Alexis Rosasco

"The Fawn and the Wolf" Alexis Rosasco, 2015

Every heart will know suffering, and the sparrows

in our lives are those who ease it, in the little ways

they know how.

The wolf with guitar and the rabbit, what does

this drawing depict? What can you tell us about

how you fit into this story, and how it connects

to a side of you that you do not so often reveal?

I really enjoy the genre of surrealism. I have always

found myself stepping between the wild, the civilized

and the surreal. That illustration at the time

was about clinging to a whimsical self no matter

how swallowed I felt by what seemed to be cold detached

industrial landscapes.

collaborators, are Lama Tashi Norbu, and CJ Field.

Lama Tashi Norbu, is the founder of the Museum

of Tibetan Art and Culture in the Netherlands, a

practicing Buddhist monk, a painter and sacred tattoo

artist. I was first introduced to him by The Williams

College Museum of Art, where we

collaborated on a sacred tattoo ceremony within the

Museum. Since then, we have collaborated on other

tattoo related events, and have done a number of

collaborative paintings in front of live audiences.

His mission is to preserve Tibetan art & culture,

eliminate suffering, and share artwork and Buddhist

practices. He never stops making art and connections.

He has inspired me to push my creative limits

and step out of my comfort zone on a number of occasions.

I have also been collaborated with an old friend,

Grammy, ACM and CMA nominated songwriter,

musician, and artist CJ Field. Having also grown up

in Berkshires, CJ is tenaciously committed to his

craft and his community. He started a non-profit,

while juggling writing, recording and touring as a

professional musician. I was very excited to paint

What should the purpose of art be? Have you

come across any remarkable art that you believe

addresses global and local issues, socially, culturally,

ethically?

I feel like the purpose of artwork is to connect with

others through individual expression of a shared

human experience. Art brings people together, to

think, to feel and ask big questions.

Two artists, who I am honored to call friends and with him, as well as come together for some events,

18•JANUARY 2026 THE ARTFUL MIND INPRINT SINCE 1994

and workshops here at the Academy.

Collaborating with hard working, committed artists,

who are making a difference for their communities

has always been inspiring and important

to me.

As part of North Adams' art community, how do

you contribute, and what is your primary goal

in helping the city thrive?

My aim is always to use the skills I have to serve

my communities.

As far as your favorite spots, where do you like

to go?

I don’t hang out too far from my creative spaces

when I’m in town. I get over to the museums and

neighboring restaurants when I can. There are beautiful

hiking trails all over the Berkshires that I always

recommend to visitors. Sometimes when the

weather allows I’ll take walks about town. I like to

walk down the streets where my family members

used to live, the ones that are long, long gone. I also

ramble through the cemeteries on occasion; North

Adams has some beautiful ones.

“Ocean Dreamscape” Alexis Rosasco, 2020

Who has dinner on the table for you when you

come home? What's he like?

That would be my husband, Cody. He is very understanding

of my passionate and independent nature.

There are days I get so busy I forget to eat or

relax. He reminds me. I love the way he will give

our animals treats on my behalf if I zoom call him

from a random part of the world. We are opposite

in many ways too, but that creates a nice balance.

We have different professions, different hobbies, but

we share a passion for Jiu-Jitsu, animals, music and

food.

North Adam’s must paint a very different picture

for you now, than when you were growing

up. In your eyes, what has changed and what has

remained the same?

There is far more art and culture in North Adams

these days compared to before. I feel like there are

new and exciting things being built every year.

When I was growing up North Adams was not

thought of as artsy. Now there are galleries on every

street. I used to have to travel for a lot of things that

are now in my own backyard. There are a lot of

people moving here from other cities but the small

town feel has remained the same.

Going below the skin —sacred in many ways —

you have achieved a skill once considered taboo,

now widely accepted, Tattoo. How do you feel

when you paint an idea permanently onto someone's

skin? Is it easier or more difficult than

painting a canvas?

I feel locked in any time I am tattooing. The stakes

are so high that the world outside disappears. There

are many things I have to be mindful of when putting

art on humans that aren’t a factor when working

with canvas. Skin is far more difficult and unforgiving

than working on canvas. It changes millimeter

to millimeter and its response is often subjective to

the individuals underlying health and physiology.

As a tattoo artist, you work with blood everyday,

and many different types of people. It’s important

to be very present.

What direction are you in that follows your present

state of Artist vs. Entrepreneur?

At present my focus is on perfecting processes. The

goal is always to create symbiosis between the two

roles (Artist and Entrepreneur).

Have any song lyrics best fit your moods?

I love all kinds of music. Picking a single set of

lyrics is an impossible task.

www.ardesignsnorthadams.com

www.RosascosGallery.com


LORI BRADLEY

MARK MILLSTEIN

"First Flight" Oil on canvas, 2025

Canvas on cradled wood, 24" x 24" x 3" deep

loribradley@comcast.net

http://www.loribradleyart.com

Brutalist Pool Drypoint engraving 8" x 9" 2024

www.markmillstein.com

Carolyn M. Abrams

Stairway to Heaven

Oils and cold wax medium

Atmospheric and Inspirational Art

www.carolynabrams.com

MEMBER GUILD OF BERKSHIRE ARTISTS


RICHARD NELSON

ALPHABET LETTER “T”

&

Ai

ART

Digital Art

nojrevned@hotmail.com

Rick Nelson on FB



“I choose laughter”—ERIC KORENMAN

Interview by Harryet Candee

Photography by Eric Korenman

How have your upbringing and educational experiences

shaped the person you are today, and

how do you believe they have enriched your life

and contributed to your success in both photography

and your medical career?

Eric Korenman: I was lucky to be born into a

family that highly valued education, intellectual curiosity,

and the arts. That kind of environment

shapes you in ways you only recognize later. Books,

conversations, museums, and music were just part

of daily life. My parents saw my early love of photography

and encouraged it. They sent me to an arts

camp for several summers, where I studied both

music and photography. My father very much enjoyed

photography as well, and gave me my first

camera when I was very young.

Your ability to create portraits through the lens

that resonate with a person’s inner thoughts is


part of being a photographer. What qualities do

you possess that combine knowledge and an intuitive

eye, enabling you to capture the essential

elements for a successful shot?

I am genuinely curious to hear my clients’ stories. I

want the camera to disappear—to “vanish”—so

what’s left is a real exchange between the two of us.

That’s why I do my research beforehand and structure

the shoot almost like a podcast interview. Conversation

relaxes people. And I don’t shy away from

hard or uncomfortable questions; those often lead

to the most honest moments.

My goal is to understand what makes my client

tick—what drives them, what they fear, what they

hope for—so I can get a deeper sense of what they

want to get out of our session. When that connection

happens, even briefly, the portraits feel less like pictures

and more like pieces of truth.

How do you define a successful photograph?

What elements contribute to this definition, considering

your achievements in the field?

Results should be timeless. Schtick images are fun,

eye-catching, and often get a quick reaction, but

they’re fleeting. The magic happens when a client

relaxes, when I can capture them—not just a pose

or a costume, but the essence of who they are in that

moment. You know it when you see it. Look at the

works of some of the masters of the format: good

portraits that are 25, 50, or even 100 years old still

work. They still communicate and resonate. That’s

the benchmark I aim for—not just something

trendy, but something that holds.

Taking a photo may only take a moment, but the

process of setting up a studio shot, analyzing concepts,

and realizing your ideas often requires significant

time and effort. Please outline this

Bobcat Goldthwait, NYC, 2015 Photograph by Eric Korenman

process in detail and share any challenges you

typically face.

I interview my subject before we start, asking what

they like, what they dislike, and what their goals are

for the image. I do my research ahead of time—

people like to talk about themselves and putting in

the effort really helps them engage in the process. I

study them carefully, moving around, adjusting the

light, all while talking.

I encourage them to open up, and if they have a

tough time getting started, I share stories about myself.

That usually breaks the ice and makes the conversation

feel more like a dialogue than an

interrogation. The goal is to create a space where

they feel seen, heard, and relaxed—because the best

images come from those genuine, unguarded moments.

Every laugh, pause, or subtle gesture becomes

part of the portrait, making the session

unique to them.

How do you leverage your technical knowledge

to choose the right lens for a particular project?

In what ways does this impact your creative vision

and the final outcome of your work?

I’ve bought, used, and sold just about every camera

there is! At first, the urge is to turn every light on,

bring out every lens, and throw everything at the

scene. Over the years, I’ve learned to pull back—

fewer lights, fewer lenses, a smaller kit that does exactly

what I need.

It’s a bit of a tired adage in photography, but it’s

true: there is only light - The sun. Everything else is

just a reflection or modification of sunlight. Understanding

that simplicity changes how you see and

work with your subjects.

I also tend to gravitate toward a tighter focus on

the face and torso, using a shallower depth of field.

It mirrors the way we actually see and interact with

people in the real world. It’s intimate and it draws

the viewer into the human presence in front of the

lens rather than the technical apparatus behind it.

Do you incorporate special effects into your photography?

If so, how do they contribute to your

artistic expression?

I love dramatic, sugar-pop fashion photography.

There’s something thrilling about bold colors, dynamic

movement, and high-energy images. So

yes—when I’m working in a more editorial style, I

enjoy playing with deep-hued backgrounds, turning

on the hair fan, and, every now and then, firing up

the smoke machine. It’s about creating a moment

that feels larger than life, a bit theatrical, and completely

fun—while still keeping an eye on composition

and storytelling. It’s a different kind of

challenge, but one that’s incredibly satisfying when

everything comes together.

Having had studios in the Berkshires, how do

you attract high-profile clients, and what

strategies do you employ to ensure they find

you?

Network. Network. Network! I’ve always kept a

“hit list” of people I want to photograph, and I make

a point of reaching out to them. You’d be surprised

how powerful a heartfelt, genuine message can be—

just asking someone to sit for you sometimes opens

doors you wouldn’t expect.

I keep asking, learning to balance persistence with

respect so I don’t become a pest. (I’ve learned the

hard way!)




Kyle Kinane, NYC, 2016 Photograph by Eric Korenman

Over time, those connections build, and opportunities

multiply. Every email, every introduction, every

follow-up is a chance to grow not just as a photographer,

but as someone who is curious about people,

stories, and how to capture moments.

While you prefer to keep your identity as a physician

separate from your photography, are there

moments when the two fields influence each

other? When you’re behind the camera, do your

experiences as a doctor shape your perspective

in unexpected ways?

At first, I took it as a challenge to completely create

a photographer persona, separate from my medical

and science background. I wanted the work to speak

for itself, without any connection to what I had studied

or done before. Over the years, though, I’ve

slowly allowed those two worlds to overlap, letting

my scientific curiosity and analytical eye inform my

photography.

Clients often find it interesting, and it tends to

bring out their own life exploration stories—the

winding, convoluted road of life that led them to this


moment. There’s a depth in those conversations, a

sense that discovery isn’t linear, whether it’s in

science, art, or personal journeys. Allowing these

aspects of myself to coexist has enriched both the

creative process and the portraits themselves.

It must be interesting for your kids to witness

both sides of your professional life. Have they

ever accompanied you to a photo shoot, and if so,

what have they taken away from the experience?

My kids have grown up with cameras and lights

pointed at them throughout their entire lives. They

don’t even flinch when I pick up a camera anymore—they’re

completely comfortable in front of

the camera. My family is my greatest editor. They’re

brutally honest in the best way, offering feedback

like, “I see what you were going for there, Dad, but

let me tell you how you could have made it better.”

Nothing makes me happier than hearing my wife or

kids say, “Yep. That’s the shot. Great”— they are

tough critics!

What’s even more amazing is that both my son

and daughter have developed a great sense of composition

and appreciation of light. They often take

pictures and text me, “Dad… look at this great

light!” Seeing them notice the same subtleties that I

do, and sharing that excitement, is incredibly rewarding.

It’s a reminder that photography isn’t just

my work—it’s become a shared language.

How does a go-getter mentality, characterized by

perseverance and a positive attitude, shape your

overall work ethic?

The realization that 90% of photography is email,

scheduling, and editing—and only about 10% is actually

taking pictures and working with clients—

hits everyone sooner or later. Keep trying. There

will be lots of unanswered emails, last-minute cancellations,

and the occasional client who simply

never shows.

Before I had my studio in the Berkshires, I used

to rent studio space in ridiculously pricey mid-town

Manhattan and hire a hair and makeup artist for the

day.


Chemda Khalili, NYC, 2016 Photograph by Eric Korenman

Upside Down Lucca,2012 photograph by Eric Korenman

THE ARTFUL MIND JANUARY 2026• 25


Madison McBride, Berkshires, 2024 Photograph by Eric Korenman


Dr. Anthony Fauci, Washington, D.C., 2025 Photograph by Eric Korenman


Gilbert Gottfried and Frank Santopadre, NYC, 2017 Photograph by Eric Korenman

So when a client called at their scheduled arrival

time to say, “So sorry, I forgot.

I’m in Milan right now…” you learn very quickly

how to stay calm, professional, and unfazed. And

you definitely learn the value of tacking on a cancellation

fee.

Working with celebrities taught me very quickly

not to “fan-boy.” They’re just people trying to get

through their day, same as anyone else. They know

their work—you don’t need to remind them how

much that album or movie meant to you. What they

actually appreciate is professionalism, efficiency,

and a sense of order in the room. Treat them like humans,

not icons, and the whole experience is better

for everyone.

And be careful about meeting your heroes. Most

will be lovely, grounded, generous people—but not

all. Sometimes the person behind the work isn’t the

person you imagined. But when you do meet the

ones who are every bit as thoughtful, funny, or kind

as you hoped, it makes the whole job feel a little

more magical. Those experiences stay with you.

What inspires you to keep creating, and how do

you maintain motivation to explore new ideas

and techniques? What strategies do you employ

to overcome creative blocks?

I study the lighting in movie and theater scenes that

draw me in. Like everyone, I hit creative blocks—

sometimes for weeks or even months. I’ve learned

to accept them rather than fight them; the creative

spark always returns when you least expect it.

Books, books, books! I love buying used art books

online and drawing inspiration from different painting

styles and, of course, portrait photographers.

I often study the Pre-Raphaelite painters, the

master portrait artists of the 19th century, and others

portrait painters.

How do you explore your creativity when you

find yourself free from constraints?

When I have time—especially while on vacation—

I like to take online courses to improve my skill set.

There’s always something new to learn about the

editing and printing process

In your series of works, such as the beads and

the Shakers, how effectively have you connected

your purpose and vision? Could you provide examples

of how these elements manifest in your

art?

Those two series touch on a recurring theme—and

a personal interest of mine: The we are all drowning

in abundance. A firehose of information, shopping,

fast food, instant gratification, communication…

and yet we’re still unhappy, still trying to fill a void

with more “stuff.” We have more access, more convenience,

more stimulation than any generation before

us, but somehow it’s made us more restless, not

less. We’re overstimulated and undernourished at

the same time—constantly consuming, yet rarely

satisfied. I keep coming back to this idea because it

feels like the crisis of modern life: having everything,

and still feeling like something essential is

missing.

Which brings me back to my portraits and my interest

in comedians—it’s all about storytelling. I

want to hear something real. Make me feel something!

Laugh, cry, or both. In the end, we’re all just

seeking a connection around the fire in the cold,

cold night. That’s what I’m trying to capture: those

fleeting, honest moments when someone lets their

guard down and shows who they really are.

Does your creative expression derive more from

experimenting with techniques and materials, or

is it influenced by your personal experiences and

perspective? Continued on next page...



Grana Series #1, 2013 Photograph by Eric Korenman

Interprint Factory, Pittsfield, 2011 Photograph by Eric Korenman

28 JANUARY 2026 THE ARTFUL MIND


Joe Donahue, Berkshires, 2024 Photograph by Eric Korenman

Definitely both - especially when the creativity well

is feeling empty. Experiment! I often find my best

inspiration from cast-off found things. (*hence the

connection with Debbie)

If your art could communicate one universal

truth to the world, what would that truth be?

How would you convey it, and how do you envision

pushing boundaries to resonate with a

broader audience?

I don’t necessarily seek an audience. But I do hope

that my audience, especially when it comes to my

portraits, sees the true person as I see them. Each

photograph is an attempt to capture more than just

a likeness—it’s about the subtle expressions, the

energy, and the presence of someone in a specific

moment

How do you perceive the differences and similarities

between capturing people and animals?

Which do you find more forgiving when it comes

to achieving that perfect shot?

The animal! A dog never asks for you to smooth

their skin in post-edit, remove a mole, or make them

look more attractive! But I prefer to work with

people - I truly want to hear their story.

What distinguishes fine art photography from

commercial photography for you? Which genre

do you prefer to spend more time working in,

and why?

Fine art, to me, should be something you can look

at every day or so, see something new, and hopefully

let it evolve with you. It becomes less an object

and more a companion—something that grows

alongside you.

Commercial work has a definite goal—a pop, a

quick message—and it’s somewhat “disposable,”

the potato chip of art. But I love potato chips too!

There’s something satisfying about creating an

image that grabs someone instantly, does its job, and

leaves an impression.

Have you explored other venues in art, like

painting, drawing, or ceramics?

If I didn’t have to sleep, I would study music. My

often-ignored love is electro-acoustic music and, recently,

the octave-mandolin.

Given the challenges and opportunities presented

by our generation—such as the rise of social

media, shifting cultural norms, and rapid

technological advancements—how do you believe

these factors are shaping the creative landscape

for artists today? In what ways do you see

them fostering innovative concepts in your work,

and what are some challenges you currently face

as an artist in this evolving environment?

The deluge and cacophony of images online can be

paralyzing for many. There is just too much out

there—so much that it can feel overwhelming, even

impossible to stand out. And yet, that is the reality

we live in, and I don’t expect the rush into the future

to slow anytime soon.

My reaction has been to slow down and become

my own toughest editor. I choose to share only a few

images, taking the time to carefully consider which

ones truly resonate.




Nerissa, Huck Masked Project, 2010 Photograph by Eric Korenman

Ishmael, Comic Book Series, 2015 Photograph by Eric Korenman



Lauren and Chemda, Astoria Queens, 2015 Photograph by Eric Korenman

If it’s from a shoot, I focus on finding the one or two

images that capture the essence of the subject and

the moment, rather than flooding the world with

dozens of technically “perfect” shots. Kinda’ like

making stock. refine. refine. refine

What advice would you give to an aspiring artist

entering the profession, aiming for success?

Find a mentor. Put in the hours. Really put in the

hours.

There’s no shortcut to mastering your craft—experience,

repetition, and dedication are everything.

At first, I was confused about finding “my voice.”

But it comes. Follow what excites you, what gives

you joy, and let that guide your work. There’s no

guarantee, but when you put in genuine time and

honesty into your craft, people notice.

That said, talent alone isn’t enough—you have to

get your work out there. Enter gallery shows, join a

collective of artists, and share your work with a

wider community. If you can’t find a group, create

one yourself. Bill Wright and I did this several years

ago, and it was transformative. It not only helped us

connect with other artists, but it also led directly to

my first gallery representation and first shows.

Building visibility, networking, and community is

just as important as honing your technique; it’s how

the world sees your work and how opportunities

begin to open up.

How do you use your intuition and spiritual beliefs

to connect deeply with others in your roles

as a physician and photographer?

The skills I developed as a physician, particularly

during my psychiatry training (I almost became a

psychiatrist), taught me how to listen and ask

thoughtful questions that demonstrate care, engagement,

and help guide the conversation forward.

Understanding that everyone carries their own

struggles allows you to listen with greater empathy

and compassion. It changes the way you approach

people, making the interaction more human and authentic.

In portraiture, this translates to images that

feel honest, photographs that reveal something essential

about a person, rather than just a pleasant

smile.

Where do you find beauty in art when art is not

always beautiful to look at?

I really do see it everywhere. Just look at the light,

how it falls on the people and objects around you.

The way it skims across a face, filters through a window,

or casts shadows on a wall. Light is constantly

moving and shaping the world in ways we often

overlook. Paying attention to it trains your eye,

sharpens your perception, and helps you notice moments

that might otherwise go unnoticed.

www.korenman.com

G


THE OWL IN AUTUMN

STEPHAN MARC KLEIN

TUNNEL VISIONS

Tunnel books, a novelty popular in the late Nineteenth

Century, use printed layers with cutouts to

create three-dimensional works. Their appeal derives

in large part from the aesthetic tension or play

between the illusion of three dimensions in the

printed images on the surface of the layers, and the

actual three dimensions of the layers with their cutout

shapes.

Tunnel Visions explores this visual dissonance

using two-dimensional works to create layered

three-dimensional tableaux—framed “worlds” in

miniature behind glass.

Stephan Marc Klein is an award-winning retired

architect and professor emeritus of interior and exhibition

design. He holds a doctorate in Environmental

Psychology. He has been making art since

childhood, and at age 86 continues to experience the

joy of creating. He now lives in Great Barrington

with his wife, fellow artist and writer Anna Oliver.

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

STACKED SIGNET RINGS

JOANE CORNELL

FINE JEWELRY

My designs are derived strictly from an organic

process.

A portion of my designs come to me in the wee

morning hours when sleep evades me.

My work studio tables are peppered with different

groupings of stones.

Tourmalines, corundum, beryl, moonstone, amethyst,

etc.

Strands of Peruvian pink opals, turquoise, black

tumbled tourmaline. Rough tumbled ruby, and green

garnet beads.

I enter my studio, walking slowly past these surfaces,

absorbing the images/stones for reference.

The design comes first, then, what stones will fit

the process.

And at times, it’s the reverse. A stone will inspire

a design.

Every design is a process. From melting the metal

and hand forging/forming the “parts” that will eventually

become the item.

Studio time. My favorite place.

Commission orders welcomed.

Joane Cornell Fine Jewelry—

917-971-4662

9 Main St. Chatham, New York

www.JoaneCornellFineJewelry.com

Instagram: Joane Cornell Fine Jewelry

THE COLLUSION IN ERIC’S WORLDS

OIL ON CANVAS, 30” X 30”

ALEXANDRA

ROZENMAN

I was born into a dissident family in Moscow in

1971 and had an early interest in art. I took

classes from a group of underground artists in the

Soviet Union and studied under the dissident artists

who later gained world acclaim as an émigré

artist. In 1989, I immigrated to the U.S.

I received a BFA in Painting in 1995 from State

University of New York, and an MFA from The

School of the Museum of Fine Arts in Boston,

MA in 1997.

After moving from NYC to Boston my paintings

became more narrative and landscapes less

abstract. My work began to resemble theatrical

stages and a fully formed sense of visual narrative

emerged. Since 2010 I have been working on

a series titled, “Moving In”... which focuses on

playful and humorous narratives of her cohabitating

with famous artists. Through this series she

wants also to touch upon questions of artistic influence

and dialogue, emulation and creativity,

continuity as well as discontinuity in contemporary

art and the world as a whole.”

I had solo and two-person exhibitions at the

Ann Loeb Bronfman Gallery in Washington, DC,

Gallery 360 in Minneapolis; Clark Gallery in

Lincoln, Massachusetts and Fitchburg University

in Fitchburg, MA. Group exhibitions include,

among others, The Painting Center of New York,

Multicultural Arts Center in Boston and the Moscow

Center of Contemporary Art. In September

of 2018 I had a solo show at Hudson Gallery in

Gloucester MA, titled Blind Dates. Since 2016 I

have been a core member of the Fountain Street

Gallery in Boston, MA. In 2020 I had a two

people show with Nora Valdez and in 2022 with

Lior Neiger. Currently operating Art School 99

in Somerville, MA.

Alexandra Rozenmanalexandra.rozenman@gmail.com

alexandrarozenman.com


ARTFULMINDYAHOOCOM THE ARTFUL MIND JANUARY 2026 33

LEO MAZZEO

LESLEE CARSEWELL

“Whyless/Wayless”, distress oxide, graphite, highlight pen, metallic color

pen, and ink on Baohong watercolor paper, 6.5”x4.5”. (c)Leo Mazzeo.

www.lcarsewellart.com n @carzeart

lcarsewellart@icloud.com

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


Collage to D’AVIGNON, recent work

BRUCE LAIRD

Clock Tower Artists

Business Center Studio #307 75 South Church Street, Pittsfield, MA Instagram- ecurbart


SUSAN PLUMMER Collage Artist

Interview by Harryet Candee

Photographs courtesy of the Artist

Can you tell us about your journey from being a

teacher to becoming an artist? How did your experiences

in the classroom influence your artistic

practice?

Susan Plummer: As a teacher, I loved helping children

internalize concepts in the curriculum through

hands-on experiences. Retelling stories through murals

allowed them to practice sequencing, teamwork,

public speaking, and writing. Weaving yarn

in colors from our environment—and comparing

our pieces with the weavings of other cultures—

opened opportunities to compare the geography of

our regions and the way those colors appear in our

formal celebrations. These experiences, among

others, have deepened my belief that art is both a

way of knowing and a way of understanding our

place in the world.

In the early grades, I also observed children freely

and enthusiastically exploring mixed media in our

classroom’s art center. They did not fear making

mistakes. Today, I realize the value of my own mistakes

and the possibilities they offer when creating


a new work. Recently, I attempted to replicate techniques

of painting on black paper. At first, I was disappointed

with the results, but as I continued, an

unexpected pattern emerged, similar to that of a

beautiful brocade fabric. I was immediately inspired

to create “A Tender Moment,” adding images from

my collection.

You mentioned earning an M.Ed. in Creative

Arts in Learning. How has your educational

background shaped your approach to art and

creative expression?

While studying arts in education, I became increasingly

aware of their therapeutic value. Henry Ward

Beecher wrote, “Every artist dips his brush in his

own soul and paints his own nature into his pictures,”

a truth I have witnessed many times. I have

seen Alzheimer’s patients soothed by the simple act

of painting. In my husband’s case, he created striped

patterns inspired by the colors he found in calendar

art. That process seemed to reach into his subconscious

and bring forth a deep gratitude for the world

around him. After such experiences, he often commented,

“We have so much to be thankful for.”

In my own practice, art offers release from the

stresses of daily life. Creating collage is my therapy.

When I work, my focus narrows completely to the

piece before me, allowing me to step outside the demands

of reality for a while. Over time, I have come

to understand that each of us brings our own needs

to our creations—and to our interpretations of the

work of others.

What inspired you to explore intuitive collage

and mixed media, and how do you define intuitive

art in your own practice?

When BAC opened its Pittsfield studio, I attended

workshops in image transfer, among others. At that

time, the instructor encouraged me to sign up for

workshops in painting at their Stockbridge studio.

The supply list was daunting, but I noticed workshops

in collage that required far fewer supplies. I

was intrigued and began my journey in intuitive collage

two years ago with Jody King Camarra. I have

never looked back. I love intuitive collage. I search

all available printed material for images and colors

that appeal to me. Initially, I gather them in piles and

boxes until finally choosing one to feature. I experiment

with placing it with other found images on the

page until I am satisfied with the harmony created.

I do not have a message or story in mind when I

begin this process. That comes later. Often, the collages

honor women who rise and resist. Others portray

the beauty found in nature, and still others

inspire a sense of wonder, transporting us to worlds

that don’t exist.

Could you share some moments or experiences

from your time at the Berkshire Art Center that

had a significant impact on your art?

Each meeting of our collage group has a meaningful

impact on my art. The members offer encouragement

and genuine appreciation for my efforts, and

through their own work, they model so many inventive

ways to approach collage. Our teacher, Jody,

provides specific guidance and tutorials on image

transfer and gel printing, and she urges us to “keep

going” with such enthusiasm that it feels contagious.

There is no wrong answer with her—only

possibilities. She helps me see what is working in a

composition and what I might want to adjust. Participating

in classes at BAC has rekindled the joy

of creative expression within me.

Your work has been exhibited in several locations.

How does it feel to see your art displayed

publicly, and what do you hope viewers take

away from it?

Exhibiting my art has been especially exciting, and

I deeply value the encouragement and support of

everyone who attends the shows. I’ve noticed that

viewers are drawn to pieces that speak to them personally;

we each have our own favorites shaped by

our experiences. I hope everyone leaves with a

deeper appreciation for collage and a desire to explore

more art.

“Mother’s Love”

You draw inspiration from both fellow artists

and the natural world. Can you elaborate on

how these influences manifest in your work?

Several of my works invite us into forests and gardens.

Sunflowers, birds, and butterflies help my

stories come alive. In “Clouds, Critters, and Curious

Things,” I borrowed the bucolic background

from Van Gogh. Picasso provided the young girl

and the goat. Though the mushrooms are from the

natural world, the mushroom shoe is the invention

of someone’s imagination. The large pink flower is

a colorful focal point. In “Trumpet Practice,” my

leaf prints create the background for realistic forest

creatures, including the mother bird guarding her

nest and the rabbits huddled beneath a mushroom

canopy. I cut a spiral from one of my gel prints to

highlight the quote in “Ancient Wisdom”. Since a

colleague introduced me to the quote, spirals appear

frequently in my work. Again, flora and fauna highlight

the work.

You mentioned themes of renewal, resistance,

and the quiet power of women in your art. How

do you express these themes through your creative

process? Continued on next page...

“A Tender Moment”

(Right) Collage with woman, botanicals, ladybug and snake (cropped)

THE ARTFUL MIND JANUARY 2026• 37

“I Rise”

My own life experiences continually

shape my artistic expression. Collage and mixed media give

me the tools to translate visually those experiences -

those inner rings - into my evolving story.

—Susan Plummer

“Hummingbird”

“Phoenix Lullaby”


"Clouds, Critters, and Curious things" (cropped)

SUSAN PLUMMER COLLAGE ARTIST

"Chrysalis Dreams"

“Ancient Wisdom”

“Phoenix Lullaby” portrays a pregnant mother resting

within a web of butterflies, a mother bird guarding

her eggs, and an imagined maternal figure

surrounded by her children—each one a powerful

woman renewing her spirit. In “I Rise,” we meet a

strong woman lifting herself above the weight of

misogyny, while “Mother Earth” offers a vision of

quiet, grounded meditation. In “Mother’s Love,” we

witness the generosity of a mother nourishing her

newborn child. The presence of a second child in

shadow hints at the challenges and complexities that

may lie ahead.

Can you describe your artistic process when creating

a piece? What techniques do you typically

employ during the layering and assembly stages?

When creating my collages, I typically use 11x14

black mixed media paper as a base. For “Chrysalis

Dreams,” I layered several background papers I had

made during gel printing sessions onto the black

surface. I continued experimenting until I found a

combination that felt harmonious, with the spiral

emerging as the focal point. From there, the collage

seemed to assemble itself as the colors naturally

complemented one another. I cut leaves to follow

the curve of the spiral and placed bright orange

poppies along the base to balance the orange in the

upper frame. I tried several arrangements of the

smaller flowers before settling them along the stalk,

creating a composition that draws the eye in a continual

circular movement.

To form the leaves on the stalk, I chose a darker

green to balance the large leaf on the left side of the

piece. The final leaf nestled perfectly into the curve

of the largest one and helped balance the green tones

surrounding the spiral. The butterfly—just the right

size, with dark wings and orange markings—completed

the piece.

In all my collages I photograph each step of the

process. When I finally decide to glue, I remove all

but the background pieces. I measure margins, making

small pencil marks to remind me of proper

placement. I paint the back of each piece with clear

Elmer’s glue and refer to the photos before final

placement in the collage. After each piece has been

glued and the paper dried, I often paint the entire

piece with matte decoupage.

Looking back, I realize how many background

colors and arrangements I tried, and how many

times I stepped away from the work. Walking away

often brings a fresh perspective. Ultimately, colors

and shapes guided the creation of this collage. The

story it tells is left to the viewer’s imagination.

What challenges have you faced in your artistic

journey, and how have you overcome them?

My greatest challenge is a lack of confidence. I too

often compare my work to that of more experienced

artists and come away feeling inadequate. Recently,

however, I have begun to just admire their work and

appreciate the inspiration it brings. I’ve made a conscious

effort to accept where I am in my journey—

to have fun along the way, to enjoy the process, and

simply to keep creating. I remind myself that I am

ultimately creating for myself. I do love the process,

and I’m fortunate to be surrounded by supportive

artists in my collage class. I consider it a blessing to

have discovered this avocation later in life, when I

can fully appreciate the joy and challenge it brings.

Looking ahead, what are your future artistic

goals or projects? Are there any new themes or

techniques you are excited to explore?

I hope to develop my skills in creating collages with

more abstract designs while also experimenting

with paint. Other challenges include varying the

sizes of the collages and adding interesting found

objects to them. In the words of Kurt Vonnegut, “To

practice any art, no matter how well or how badly,

is a way to make your soul grow.” Those words inspire

me to keep creating and to be open to the possibilities

presented along the way.

X


NOVEMBER MOON

DRYPOINT ENGRAVING, 2024, 12” X 15”

MARK MILLSTEIN

I make drypoint intaglio prints because I love the

quality and permanence of lines obtained. The variations

in each printed line reveal the pressure, angle,

and intention of my hand as it yields to the resistance

of the plate’s surface.

My work explores both real and imagined objects

and spaces. The images emerge through a constructive

process that begins with a simple drawn framework

and evolves by building and distorting

perspective, and merging technological elements

with natural forms. I am influenced by Brutalist architecture

with its precise lines, solids and textures.

I find that the drypoint technique evokes similar

qualities to poured concrete: precise volumes rich

in surface imperfections that challenge and mimic

nature.

Mark Millstein—

mmillstein@umassd.edu

www.markmillstein.com


THE DRUMMER

OIL ON ARCHES PAPER, 9”X12” 2025

GHETTA HIRSCH

Today I am sharing an oil on Arches paper “The

Drummer” to announce the New Year. May 2026

bring us peace and awareness to share. This

drummer appeared in this painting when I had not

consciously created it. This happens when you play

with your art! The subconscious takes over and in

this case it appears to bring a feeling of hope for

2026. I sometimes paint on paper when I have leftover

paints on the palette after an arduous and

lengthy work on canvas. The colors left for me dictate

my brushes. I use whatever is in front of me,

stretch the chroma over the paper and discover

what comes out. I do not allow myself to pull

another tube of paint out. I use the left-overs dutifully

so as not waste the paints. There is a moment

of surprise and an inner recognition of a subject that

takes place. In this painting, the subject reminded

me of a human and I consciously added the drum

with the rest of the yellow. When this happens I

always read the underlying message as a gift to myself.

I am sure some of you, artists, will relate to

this. No intention just inspiration is so relaxing

sometimes!

Then I will prepare a new palette to match my

new work.

May 2026 bring you personal messages through

your creative endeavors!

Let me know if you wish to take a ride to Williamstown

and visit my art studio. I heard that The

Clark Museum is free until the end of March. So

this is the time to visit our little town! I like Thursdays,

Fridays and Saturdays for visits but let me

know you are coming.

Ghetta Hirsch—

Text or call 413-597 1716

Ghetta-hirsch.squarespace.com

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

MARY ANN

PALERMO

As a vocalist, my bedrock is jazz tradition, the

blues, and the Great American Songbook. I consider

my voice an instrument for boundary-breaking exploration,

blurring the lines between genres to create

a soundscape that is both familiar and excitingly

new.

I thrive on challenging the conventional limits of

a “jazz singer,” weaving elements of pop, soul, and

cinematic sound design into my work, and this

blending is evident across my diverse catalog on

Spotify and other streaming platforms. Traditional

arrangements sit alongside adventurous and out-ofthe-box

compositions, but the goal is always to generate

an immersive listening experience that defies

easy categorization.

Performing, my core intention is to foster genuine

and visceral connection with the audience. I believe

music is a shared and immediate dialogue that transcends

the stage. Whether through intimate, traditional

ballads or expansive, cinematic soundscapes,

I build moments of emotional resonance and shared

discovery. My art is about versatility and connection

using my wide-ranging musical palette to express

an authentic modern voice that honors the past

while creating the future.

Mary Ann Palermo—

Email: howmuchbettercanitget@gmail.com

Website : https://maryannpalermo.com

Instagram: https://www.instagram.com/maryannpalermo_averosarecords

Record label website:

https://averosarecords.com/#section0

Hear Now website : https://maryannpalermo.hearnow.com/theres-a-place-beatles-re-imagined

Spotify: https://open.spotify.com/artist/1P5DDko-

BymMyNn52dmMeoL

CENTERPOINT

JOHN KRYSKO

I began Berkshire CenterPoint this summer as a

way in our electronic/social media world to connect

and find Community in the Berkshire region. Arts,

music, food, healthy lifestyles, and recreation

abound, but finding them can be challenging. There

are wonderful magazines and websites that provide

partial means as guides, but there is no one central

electronic visual e-zine that helps in our journey.

BCP is providing this connectivity through interviews,

videos and commentary aimed to remind us

we ARE a Community, and to assist in deepening

that experience.

CenterPoint also puts front-and-center the importance

of the Spiritual and Health aspects at the hub

of the experience of Community. This does not

mean traditional religion (although that is a part of

it), but rather it is that broader dimension of our

Lives that helps us find meaning, assists in our discovery

of our Purpose(s)- both as individuals and

collectively.

I have had the privilege of engaging and interviewing

individual artists, musicians, health professionals

(think yoga, nutrition, life coaching), as well

as representatives from institutions such as the Berkshire

Botanical Gardens, Chesterwood, and numerous

representatives from our local Community

Centers.

So, whether you are just a seasonal visitor, a permanent

resident, or an artist passing through, please

look us up, and join the growing Community that

is: CenterPoint. (It is free).

John Krysko-

413-679-3550 at work or 914-391-5095 (cell)

john@berkshirecenterpoint.org

SERGIO DEMO

Demo is an installation artist known for his assemblages

of salvaged materials and strategic use

of light. Based in North Adams Massachusetts,

Demo works primarily with found objects and

rusted metals that reference the industrial past of

his hometown. He incorporates discarded materials

like old scrap metal, and wiring, granting

new purpose to objects that have been weathered

by time.

Strategic lighting transforms Demo's pieces

casting shadows and illuminating surfaces to reveal

new textures and dimensions, drawing focus

to the visual interplay between materials within

the assembled pieces. He embraces qualities like

oxidation, decay and the passage of time in his

artwork, seeing beauty in damage and imperfection.

His work encourages new perspectives and

creates a visual language formed through the synthesis

of light and found objects. Artist quote: "I

resurrect things. Things that have been abandoned,

discarded, left as junk. I believe in the potential

of materials even when it appears they've

lost all possibilities."

Sergio Demo—

instagram.com/sdemo66 sergiodemoart.com

“There are painters who transform the sun into a yellow spot, but there are others who, thanks to

their art and intelligence, transform a yellow spot into the sun.”

—Pablo Picasso


HIGHWAY TO HEAVEN

OILS/COLD WAX MEDIUM

CAROLYN ABRAMS

Having worked with figures over last few months

I am now treading lightly into abstracts using textures

and neutral colors that hopefully provide a

pleasing effect but also teases your senses into

thinking of what the back story of the work might

be.

I will be facilitating an Intro to Cold Wax on January

29 at the Berkshire South Community Center

followed by Explorations in Cold Wax Mondays in

February, March and April. Come see what it’s all

about.

For more info go to www.berkshireartists.org

For more information on workshops and classes

contact me directly.

Carolyn M. Abrams—

www.carolynabrams.com

Member, Guild of Berkshire Artists

Breakthroughs No. 2 Acrylic on canvas 16”x20”

ON THE WAY OUT

RICHARD NELSON

I have always had a fascination with performance

art. I sometimes feel as though my very existence

is a prolonged performance event. Complete with

costumes and role playing and such. Only problem

is I am terminally introverted. Usually the quiet one

in the room. But with some coaxing from friends

and family I participated in an Open Mike at a local

tavern. Along with a friend of my wife, me on guitar

and she on vocals and melodica, we played an extended

version of House of the Rising Sun . It went

very well. We were a hit. So I got encouraged to go

solo. Get that folk singer into the performance. I

learned Ol 55 by Tom Waits, learned it pretty well

and even did a decent Waits-ish voice.

Three quarters of the way through the song, I went

totally blanked. Lost it right there and the other two

songs were totally out of the question, so I snuck

out, my tail between my legs, but the crowd was

very supportive and didn’t feel too bad. Nice

crowds! But this my challenge to myself. Performance

with confidence. Is it art? It is on a very personal

level.

Richard Nelson —

nojrevned@hotmail.com

RUBY AVER

rdaver2@gmail.com

Instagram: rdaver2.

Housatonic Studio

open by appointment

413-854-70067

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 deepseated

emotions. Her art resonates with joy and

upliftment, transforming personal and worldly

complexities into visual harmony.

The artist is passionate about creating art, painting

on flat, smooth surfaces, and using environmentally

friendly materials.

Alison’s work has been exhibited nationally and

internationally and has appeared in print, film, television,

the web, and Off Off Broadway.

Preparing for a blockbuster 2026 Season

beginning with

The Palm Beach Show in February!

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


Valeria and the Ants

CHAPTER 8

“Tolstoy and Curious George”

I asked Thomas about the elephant and the ants,

“Is the elephant really mad at the child, and because

of the ants no less, like she claims?” He did not answer

my question, at least not right away. Then with

a sigh he said, “What can I say, she goes every

morning and puts the chess board in the grass, she

sets up the men and makes the first move, but he

ignores her, and turns away. It is really just the saddest

thing.”

Previously Thomas had explained to me that it

was true that Bruno the Elephant would not interact

with the child Valeria, although they had previously

been inseparable. The idea that the elephant was

angry about some ant that Valeria had befriended

was the cause, he thought, was idiotic and not worth

even considering. I also disregarded Valeria’s explanation,

but the fact remained, Bruno would not

play chess with the child, whereas in the past it was

a part of their daily interactions.

“Do you see the significance of this development?”

Thomas asked me, as we sat talking in

the library. “The behavior of the elephant is problematic

in many serious ways which at first we had

not realized. The first consideration was this: was

the elephant sick, and if he was sick in some way,

was this sickness a danger to anyone. The article in

the newspaper that said, erroneously, that the elephant

had gone on a rampage and destroyed things

is now being brought up, and given new importance.

I know it is true that Bruno had knocked over

the lamp post, and the lamp post had damaged one

of the stands, and even though it was obvious to all

of us how this had happened, still everyone is now

anxious to have the elephant taken away as soon as

possible, and especially as there was someone willing

to purchase the animal.

“And the elephant is not our biggest problem,” he

continued, "we now, for the past year, have some

serious competition. There is a tourist attraction just

ten miles north of us called ‘There Yet.’ It is a resort

that features a water slide, in a beautiful location

just off the highway, and on a river.

“The water slide is not any competition in the

winter, but when summer comes they take away

more than half of our visitors. They called it ‘There

yet,’ because that is what children in the back seat

are always crying out, ’Are we there yet.’ This was

very smart of the people who set it up. People stop

there, just like they used to stop to visit us, but then

when they get back in their cars, they certainly are

not going to stop again ten minutes later, regardless

of any elephant. And so, with or without Bruno, we

are now a thing of the past, and everyone talks

about us using only the past tense, and everyone has

become nostalgic for the old days when we were on

the road all the time.”

“And so” I said, “Why not just go back on the

road again?” “That sounds very easy when it is just

a matter of some words in a sentence, but to make

it happen first we would have to get all the transport

trucks and tractors into working order with their old

antique engines that have not been started in over

four years. And all our employees are used to a sedentary

life. Take you for example, do you yourself

want to be on the road?

“But we may have to go on the road, after the elephant

is disposed of. The amount of money involved

may be sufficient to finance the launch of

our new life, but how can it succeed under such a

cloud. During the past four years a veritable myth,

a fable of the magic power of Valeria and the elephant

has evolved among our folk here in our little

society. Valeria fortunately knows nothing about it,

because these idiots at least have the common sense

to realize that a child might be corrupted by so

much attention.”

“Are you really sure that the folk, as you call

them, are really successful in keeping the child

from knowing their attitude towards her. The other

day I saw her giving a lecture to the boss himself,

and it is obvious that he highly values her opinion

about things, and I have noticed that the vendors

will not charge me for drinks or food when I am

talking to her.”

With these comments I attempted to insert my observations,

but Thomas ignored me and started talking

about the cloisonne thimble she always had on

her finger. “So you know what the folk think about

her thimble? They think she is capable of controlling

the weather. If she wants the sun to shine, she

puts it on her index finger, and if she wants it to rain

she will put it on her little finger. Now, without saying

anything about it to her, I have watched her with

that thimble, if it starts to rain she puts it on her little

finger, and if the sun comes out she will put it on

her index finger, and she does this as a little game,

her private childish game she plays by herself. Now

our folk have decided that the entire process is reversed,

and she makes it rain with the thimble, and

makes the sun shine with it.”

I said nothing to him about it at first, but then I

said to him, just as a question, “I was talking to her

yesterday and at one point she put the thimble on

her little finger, and right then it began to rain?”

“So,” he replied, “you too are susceptible to superstition?

Really wouldn't it be wonderful if there

was a magic child in the world who could change

the weather, talk to elephants, and who knows what

else she might be able to do for us. But I am telling

you simply, unless she can use her magical abilities

to get rid of the water slide amusement park, we are

done for, but really, I don't mind as I am ready to

go back on the road again.”

I made the comment about the thimble and the

rain intending for it to be comic and curious, and

not as a declaration of belief in the supernatural, but

Thomas just laughed at me and shook his head

but…

There are times, I have found, that people will

state the opposite of what they really believe, and

when you challenge them they become yet more insistent.

I began to suspect that Thomas was not

being completely honest with me. He knew Valeria

much better than I did, as I had only talked to her

twice, but Thomas had been with the carnival for

several years and I simply did not think it was possible

to be acquainted with the child and not have

some suspicion that there was something inexplicable

about her. Thomas was both an intelligent and

educated man and so I thought that he did not want

to say what he really thought about the situation for

fear of being thought of as, ‘superstitious,’ and perhaps

even worse, as being no different than the

folks, as he derisively referred to them.

Now, please believe me when I insist that I myself

did not believe Valeria was some magical child, but

her strange abilities caused me to question in my

heart the very idea of what we call ‘cause and effect.’

Could a child affect the weather with a thimble?

The idea was stupid, but at times I found

myself somehow believing it, these ideas made me

doubt my reason.

But now I knew something about Valeria that,

supposedly the child did not know about herself,

and so there was the prospect of a degree of awkwardness

in the prospect of talking to her again.

This is a common problem. Someone in confidence,

tells you something personal about a friend, that is

supposed to be a secret, and one's relationship to

that person is disrupted, and so you will understand

that I resolved to go directly to her and explain that

some simple minded people thought she had some

magic powers and could do things like change the

weather.

As luck would have it, Valeria herself was just then

leaving the library with two books in her hands, and

so we walked the mile to the carnival grounds together.

I asked her what she was reading. “I can't

read yet,” she answered, “But I intend to learn to

read using these books, so it doesn't really matter

what books they are, as I have to start somewhere.”

She held both books out to me perhaps for my approval

and so I read the titles to her, the books were

Tolstoy’s “War and Peace,” and the other one was

“The Complete Adventures of Curious George.” It

was easy to see how she might have been attracted

to the Curious George anthology, but I did not think

War and Peace was some accident, and handing it

back to her I asked, “Did Thomas suggest this

book.” “Yes,” she said, “he is going to help me to

learn how to read, and he said this is the best book

for the beginner.”

“War and Peace,” just the thing for a nine year old

to learn on, I thought but this confirmed my suspicion

that it was Thomas who was filling the

child's head with war stories of the ancient past.

But those two books were really a subtle portrait

of Valeria at that special time in her life because she

was as sophisticated and intelligent, like some college

sophomore, and at the very same time just a

child still playing with dolls, and talking to her dolls

in that scolding and affectionate way children lovingly

talk to their toys. In talking to her I had to be

careful not to offend her childhood sensibilities, and

at the same time I had to also manage to keep up

with the complexity of her thinking because I could

see clearly, and was not ashamed to admit that that

at nine years old she was both more intelligent and

more observant that I was.

“So, won't you please tell me all about Thomas," I

said.

—RICHARD BRITELL

DECEMBER, 2025

CHAPTERS 1-7 CAN BE FOUND AT

RICHARDBRITELL.COM



BRUCE PANOCK

DREAMING

Panockphotography.com

bruce@panockphotography.com

917-287-8589 | Instagram @brucepanock

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The Artful Mind - January 2026 Edition

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