December | January 2022 Anniversary issue
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THE ARTFUL MIND
RYAN TURLEY PHOTOGRAPH BY BOBBY MILLER
The Fine Art of Printing Fine Art. · Giclée and Photo Printing · Digital Reproduction of Paintings · Photo Restoration and Repair
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Playa Santa 22 — Virginia Bradley
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JANE HUDSON
THE ARTFUL MIND DECEMBER
JANUARY 2022
Nightscaping — crazy love— happiness to all. ARTIST JIM DENNEY | BEARING WITNESS WRITTEN BY LIZ LORENZ...8 GJ & JANA HOFFMAN | HOUSE OF MANIDAE INTERVIEW BY H. CANDEE
...16
VIRTUAL GALLERY FINE ARTISTS AND PHOTOGRAPHY
...24
ARTIST RYAN TURLEY INTERVIEW BY H. CANDEE PHOTOGRAPHY BY BOBBY MILLER ...32 The Veil, Gouache on Arches, 18”x24” 2021
ARTIST UPDATE | MATT CHINIAN
“I want to thank Harryet and The Artful Mind crew for the terrific piece from last March ‘21. I congratulate Artful Mind for over 10 years of sustained support for Berkshire Artists. This is an anchor publication.”
INTERVIEW BY H. CANDEE ...40
janehudson@janehudsonpaintings.com
ARTIST UPDATE | BARBARA ELZA HIRSCH ELZA B. DESIGN, INC. INTERVIEW BY H. CANDEE ...44 RICHARD BRITELL | FICTION SOMETHING FOR OVER THE COUCH | CHAPTER 7 ...48
Publisher Harryet Candee Copy Editor Marguerite Bride Third Eye Jeff Bynack Advertising and Graphic Design Harryet Candee Contributing Writers Richard Britell Michael Cobb Liz Lorenz Photographers Edward Acker Tasja Keetman Bobby Miller ADVERTISING RATES 413 ‐ 645 ‐ 4114 artfulmind@yahoo.com issuu.com | Instagram FB Open Group: ARTFUL GALLERY for artful minds Box 985
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2 • DECEMBER | JANUARY 2022 THE ARTFUL MIND
PUBLISHING SINCE 1994!
Matt Chinian
Katrin Waite ART
#1796 N. Central Ave. The Bird House, 2021, acrylic, oil and golden ink pen on canvas, 16+20+0.6 inches
Open Studio December 4th & 5th, 12 - 4
katrinwaite.com @katrinwaite artkatrinwaite@gmail.com Tel.: 518-854 3727 or 518-223 3069
www.mattchinian.com
BRUCE MURPHY
Inner Light Photo prices upon request.
845-797-0318 Text or message me on Facebook at Bruce Murphy or Instagram at BruceMurphyArt E-mail: Brucemurphy17@gmail.com
ANNIVERSARY ISSUE THE ARTFUL MIND DECEMBER | JANUARY 2022 • 3
WILLIAM CASPER
Ghetta Hirsch
“Late Day at the Bay” 8”X8” Oil on Wood Panel 2021 CAMEL POSE IN RESIN CAST’ 16”X5.5”X10”
Home Studio visits by appointment: 413-597 1716 ghetta-hirsch.squarespace.com
casperassociates@gmail.com williamcaspersculptures.com
Books by Roselle Kline Chartock
About the Author: Roselle Kline Chartock is a Professor Emerita of Education and a full-time artist and writer, having previously taught on all levels for forty-five years. Her earlier work includes four books and several scholarly articles on topics related to education, American history and Jewish history, among them an anthology on the Nazi Holocaust. The Jewish World of Elvis Presley (2020, Great Barrington, MA: McKinstry Place Publishers) -Foreword by Hal Lansky, owner of Lansky Brothers, “Clothier to the King”
Available from Amazon
roselle.chartock@gmail.com Windsor Mountain School A Beloved Institution (2014, Charleston, SC: The History Press) -Foreword by Governor Deval Patrick
Available in local bookstores and from Amazon
4 • DECEMBER | JANUARY 2022 THE ARTFUL MIND ANNIVERSARY ISSUE
INTERIOR DESIGN SERVICES | ELZA B. DESIGN INC Barbara Elza Hirsch 781-859-7817 www.elzabdesign.com E L Z A B. D E S I G N, I N C.
MARY DAVIDSON
My New Hat Series #55 Acrylic 39 x 30
wwwdavidsondesigncompany.net Studio appointments: Call 1-413-528-6945 Keith and Mary original artwork for sale Studio/gallery, South Egremont, MA
CAROLYN M. ABRAMS ART
House by the Bridge Oils, cold wax medium 10 x 10”
www.carolynabrams.com | cabrams09@gmail.com 518. 928. 7401 Studio open by appointment
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 5
FRONT ST. GALLERY
By Kate Knapp
From Hummingbird Tableaux Series Hummingbird with White Poppy Copyright 2014 A culmination of 14 years and more than 5000 hours training and photographing wild Hummingbirds
Julia Grey
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
CAROLYN NEWBERGER PORTRAITURE
cnewberger@me.com www.carolynnewberger.com 6178775672
READING IN MY FATHER’S CHAIR CHARCOAL ON PAPER 27 X 20 INCHES 6 • DECEMBER | JANUARY 2022 THE ARTFUL MIND
Bruce Panock
Photograph: Grasses and Reeds
www.panockphotography.com bruce@panockphotography.com 917-287-8589
Mark Mellinger Paintings - Collage - Construction
Golgotha. 2021. Acrylic on canvas. 20" x 20"
100 North St Pittsfield #322
914. 260. 7413
markmellinger680@gmail.com
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 7
ARTIST JIM DENNEY BEARING WITNESS
Jim Denney, Frozen Falls (2020), Oil and charcoal on canvas, 48 x 36 inches, Photographer Peter Mauney
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Jim Denney, Sisters (2021), Oil on wood panel, 24 x 34 inches, Photographer Peter Mauney
Written by Liz Lorenz All images Courtesy of the Artist and Susan Eley Fine Art, Hudson
Jim Denney’s sunlit studio overlooks the technicolor leaves on the autumn trees that encircle the Court Square park in downtown Hudson, New York. Here, the artist and I delve into many topics: his technique of rubbing charcoal atop handmade paper stencils in order to transfer images of horseshoe crabs onto a raw canvas; the effects of human’s daily habits on our surrounding environment, and the even more potent political and economic forces that impact our treatment of the planet. In his “cabinet of curiosities,” Denney collects significant objects—from a charred, taxidermied cougar to a vintage Russian military cap, from trilobite fossils to an Oregon license plate. Next, we move to discussing the fragmented nature of contemporary life (abetted by the immediacy of technology and the uncertainty of the future) that shapes our fundamental methods of perception and interaction. Then, as his impossibly beautiful, long-maned cat plays with shreds of copper leaf that have fallen to the floor beneath his current works-in-progress, we contemplate possibilities for humanity’s continued existence in a world that we have irreparably damaged—and what such new realities could even begin to resemble. These talks were prompted by my preparations for Denney’s solo exhibition, Bearing Witness, at Susan Eley Fine Art, Hudson in Fall 2021. The manifold conversations that we shared echo the rhizomatic nature of the artist’s paintings, in content and intention. In their essence, his vast, wild landscapes and detailed arboreal studies are infused with poetic dualities and multifaceted truths and tensions. A fire burns; a fire births. Indeed, Den-
ney activates such energy throughout his practice—simultaneously a deep understanding and a passionate searching. Embracing this bold and honest approach, the artist confronts complex cycles of destruction, survival, and renewal—in both human and planetary realms. Thus, like his paintings, this interview/analysis adopts Denney’s impulse toward multiplicity and ecological thinking—ideally also an inspired building, breaking, and rebuilding that reflects the nuances within his oeuvre. Born in Oregon, Denney is currently a resident of downtown Hudson, NY and a fixture in the local creative community. While he has resided in Upstate New York since 2017, the subjects of his works continue to draw heavily from his experiences on the West Coast, where he spent his formative years in his native Oregon. The artist’s primary source of inspiration is the natural landscape of the American Northwest—the lush foliage that dominates its sprawling forests, tempered by the wildfires that annually engulf these vast acreages. Primarily rendered in oil on canvas or panel, his paintings range in scale: from regal, imposing portraits of Bristlecone Pine and Douglas Fir trees, to intimate roundels adorned with golden flora and fluorescent flames. The imagery evokes both the sublime and the grotesque in the natural world— as well as the harsh, destructive forces that ultimately produce new life. In Denney’s bold compositions, red and purple skies loom above ashy, hazen atmospheres. Barren trees stand definitely against the stark, hued backgrounds. Continued on next page... THE ARTFUL MIND DECEMBER | JANUARY 2022 • 9
ARTIST JIM DENNEY | BEARING WITNESS
Installation View of Bearing Witness, Susan Eley Fine Art, Hudson, 2021: Life Goes On (Yggdrasil) (2021); Ridgeline (Raincatcher Revisited) (2021); The Oldest Things (2021)
Although burnt and stripped of what one traditionally considers the charms of bucolic visions, the paintings exude a palpable allure: existing between chaos and harmony, between loss and rebirth. During our most recent chat, Denney begins by prompting me to read an excerpt from Quichotte, a 2019 novel by Salman Rushdie—a book that I had not previously read. Yet, even from these brief lines, I could sense the connections to Denney’s creative thought process. He tried to explain the picaresque tradition, its episodic nature, and how the episodes of such a work could encompass many manners, high and low, fabulist and commonplace, how it could be at once parodic and original, and so through its metamorphic roguery it could demonstrate and seek to encompass the multiplicity of human life. ... “I think it’s legitimate for a work of art made in the present time to say, we are being crippled by the culture we have made, by its most popular elements above all,” he replied. “So what have you done about it?” Son demanded. “What’s your contribution? What sort of mark do you think you’re leaving on the world?” “I did my work, and then there’s you.” Next, Denney says: My paintings are picaresque, not picturesque. I divulge: “That’s why your work is so powerful to me. It’s visually stun-
ning, as a start, but moreover meaningful. It’s politically engaged and socially engaged, and emotionally poignant, yet still so pleasurable to look at, even with the dark undertones brought to the forefront. That's what hits this sweet spot—for me at least. Denney replies: Well, it's the best way to digest the junk that is the reality of life, the confusion and absurdity of existence, the fear of a bleak unknown future—through beautiful art. Though there are difficult elements (as there always are in real life), the beauty still remains—as a way to help us cope, and even to surprise us. I concur: “Yes, whatever hits you in the heart, that's what matters.” Turning again to Denney’s biography for an initial context in which to interpret his rich imagery—the artist served as a wildland firefighter in the Pacific Northwest for many years. Denney returns to his home in Oregon each summer to continue this work, specifically on the restoration of an important forest services historic site at Fish Lake. For the artist, wildfires represent the necessary and productive natural cycles of destruction that generate new life. In fact, the artist notes, certain species of trees can only produce new cones when they are exposed to this extreme heat. Thus, these infernos transform with their sheer power, nuancing their seeming devastation with the promise of meaningful growth: the Phoenix that rises from
Installation View of Bearing Witness, Susan Eley Fine Art, Hudson, 2021: “Untitled Fire Tree” Series
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the ashes, the immortal bird that represents cyclical regeneration. Alternative to these symbiotic natural occurrences—the recent influx of dangerous immolations, witnessed globally, reveals the negative effects of humanity on the planet. Climate change and its serious repercussions are responsible for the unmerited demise of the planet, symbolized by these recent, deadly conflagrations. Denney’s paintings fearlessly acknowledge both forces—the destruction and the rebirth—within the flames. The artist marvels at scientific workings of the natural world, and he always provides fascinating new facts when we speak: The biggest trees in the Northwest...the Cedars and Douglas firs and Hemlocks...they couldn't possibly exist without the mycorrhizal associations of the mushrooms, which convey nutrients into the tips of the tree’s roots. So you have this relationship with one of the very smallest things in the forest—fungus with its fruiting bodies—which allows the biggest things in the forest to live and thrive. They're all woven together. It even becomes more spectacularly complex. For example, when you throw salmon into the equation, they actually bring a specific nitrogen to the land that can only be found in the ocean, transported via their bodies to enrich the poor mountain soils. After spawning, the fish die, and flies eat their bodies, which are then eaten by birds— each a critical participant in this web of life; it's all tied up together. So Liz, to your point of a fractured contemporary existence—you're simply acknowledging how incredibly wonderful this place is. Yet unfortunately, we are coming to understand and appreciate it as we are ruining it. Honestly, we can't completely correct it now, but the main idea is: What do you do with your time? How much do you do? What kind of work do you do in response to all of these realities, and how much does this work still ‘work’? Denney’s canvases are hyperrealistic in style, yet feel surrealistic in content—approaching tones found in the literary genre of Magical Realism. They could capture the present or an unknown time in the future, alluding to the potentials of a new world order. Within Denney’s tableaux, the hand of humanity is ever-present in the dramatic landscapes. However, actual human figures remain conspicuously absent from his forlorn vistas— whether a lone, wild tree or a constructed man-made memorial, such as a graveyard. In Rapture, a tree’s starkly naked boughs pierce a vibrant scarlet sky, punctuated by the occasional glowing star; a mere hint of a gravestone lingers in the background—a subtle yet persistent memento mori. Through his precise formal and compositional strategies, Denney depicts the longstanding dichotomies of grotesque and beautiful, of fear and pleasure, of death and rebirth. As such, his paintings live within these liminal spaces— rooted in the humble soil, yet manifesting glimpses of the sublime. The artist maintains an acute aesthetic control in terms of style and touch, rendering branches and blazes in crisp lines and saturated colors. His forms are well-delineated and precisely studied. Yet, Denney also succeeds in transcending our surrounding physical conditions. Straddling the natural and the ethereal, he presents realities—and imagined realities—that exist in the “beyond,” pushing further than the tangible world currently apparent before us. Denney embraces profound dualities—those seemingly opposing poles and perspectives—that abound within his subject matter and its broader consequences. The artist addresses the photorealistic tendencies in his paintings as follows:
Jim Denney, Rapture (2020), Oil on canvas, 30 x 22 inches, Photographer Peter Mauney
The hyper-realism, or however you choose to categorize it, is really good when it doesn't work out right...the moments when you are surprised when something better happens. So that's why I like the interpretive aspects of painting better than the reproductive efficiency. Sometimes I wonder, why did I rely on that so much in the beginning of my career? Ultimately, I think that if it's good, if it works—then usually the piece has to go on a little journey; maybe it's giving up a certain amount of control and allowing for the unintentional results and readings. I think that’s more exciting—seeing something that was not originally intended to happen—the surprise element, for both me as the artist and for my viewers. In a way, that is my process, as you can see in works like ‘Frozen Falls,’ where the elements combine and recombine: obsession and loss and replacement with a dream, a vision. Over the past few months, I have had the pleasure of getting to know Denney—his approach to paintings, politics, and philosophies. We worked together on his solo exhibition at Susan Eley Fine Art, Hudson entitled Bearing Witness. The show was on view at the Gallery in October and November of 2021, and marks his first time showing with SEFA. From the climate science texts he recommended as a precursor, to our enthusiastic and intuitive exhibition design plans in the physical Gallery space—the experience of working with Denney has broadened my perception and sensitivity, as both a curator and a conscientious earth-dweller, a temporary guests in this extraordinary place. Indeed, Denney also uses his paintings to find the truth within the world around him. He hints at what we as humans once were, and what we will become again with the passing of time and the natural cycles of existence; he records our effects on the surrounding world, while affirming that this Continued on next page... THE ARTFUL MIND DECEMBER | JANUARY 2022 • 11
ARTIST JIM DENNEY | BEARING WITNESS
Jim Denney, Tree With Mutation (2021), Oil on canvas, 20 x 20 inches
world will one day overtake us and reign supreme; he highlights the significance of our daily actions on the landscape, while revealing the far greater significance of an abstracted cosmic realm: humans are a mere terrestrial, corporeal instance within multifaceted scientific and spiritual systems that have existed long before and will flourish long after what we even begin to know and understand. In his creative practice, Denney searches for a sense of purpose within the world that we are constantly altering—recognizing the constant forces of creation and destruction to which we subject the planet. To the artist, his paintings allow him to “bear witness” and they enable his audiences to be witnesses to the meanings that he distills. The title of his 2021 solo exhibition at SEFA Hudson, Bearing Witness encompasses these drives. Regarding this word choice, Denney recognizes: It could be a biblical reference of telling the truth, or a legal reference of testifying your experiences in front of a higher power, or simply watching an event and recording it. In all instances, just “bearing witness” has repercussions and responsibilities, if we are brave enough to accept them. For me, that is what my paintings do. They are content-laden; they have ideas and implications; they are trying to act in the world. I contrast their potentiality with the businessperson who comes home to relax in front of their painting above their couch: Do we need to be more agitated? Do we need to be more stirred up? I guess I think so. Abounding with simultaneously haunting and idyllic natural imagery, Denney’s works contemplate both terrestrial demise and subsequent sublime transfigurations. We see this in his series of “Fire Trees,” still standing as stately natural beings, even while flames dance atop the timber. Flush with poetic dualities, their musings pose fundamental, existential questions about the future of the earth and our place within it: What is the difference between “that which remains” and “that which is to come”? What do we hu-
mans do—individually and collectively—when we “can’t go on, but must go on”? How can a single image depict a seemingly post-apocalyptic realm while also holding hopeful promises of regeneration—perhaps through the truths of an adept and passionate witness of our world. INFO Jim Denney was born in Oregon and currently lives and works in Hudson, NY. Primarily a painter with precise hyperrealistic abilities, Denney has created potent environmental scenes since the mid-1980s. He studied studio art at the University of Oregon and received his MFA from the University of Kansas. Denney’s artwork has been exhibited nationally and internationally at venues including Smithsonian Institute, Washington DC; The Mint Museum, Charlotte, NC; The Carnegie Museum of Art, Pittsburgh, PA; The Alternative Museum, New York, NY; Portland Center for the Visual Arts, Portland, OR; Center for Western Studies, University of Colorado, Boulder, CO; Mokotoff Gallery, New York, NY; and Pamela Salisbury Gallery, Hudson, NY. jimdenney.net Liz Lorenz is a curator and writer based in Upstate New York. She received an MA from the Center for Curatorial Studies, Bard College in 2020. Currently, Lorenz is the Assistant Director of Susan Eley Fine Art, Hudson and has worked at the Gallery since its establishment in June 2020. susaneleyfineart.com All images Courtesy of the Artist and Susan Eley Fine Art, Hudson H
12 • DECEMBER | JANUARY 2022 THE ARTFUL MIND ANNIVERSARY ISSUE
522 Warren Street
| Hudson
New York
www.houseofmanidae.com
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 13
LONG POND #7
KATHY OSBORN, DESERT, 2021, OIL ON PAPER ON BOARD, 16 X 20 INCHES
MARY DAVIDSON
VIRGINIA BRADLEY The holiday season ahead reminded me of a recent festive and luminous painting - Long Pond #7. The rich red painting is layered with cerulean blue, alizarin crimson, quinacridone coral, vermillion, scarlet and cadmium paint. The after months of work, the surface was sealed with a layer of resin creating luminosity and depth. The finished painting appears to be a deep ocean of red beneath a layer of ice, an alchemical world for the viewer to explore. The Long Pond Series was created during 2017-2019. The Series carried on my interest in alchemy and abstraction – with the added influence of the natural surroundings. In 2017, I moved from Philadelphia to the Berkshires. Being immersed in this stunning environment taught me to breathe and see again. As I relaxed and become part of this lush landscape, my paintings are also shifted. The light, air and color are slowly seeped into the work. The morning dew woke me with phthalo blue and sap green, and the fall brought glorious hues of red and gold. The surfaces of the paintings changed as the light unfolded from dawn to dusk. In person and virtual studio visits are welcomed by appointment. Virginia Bradley - www.virginiabradley.com; studio at 234 Long Pond Rd, Great Barrington, Massachusetts.
See your art in the artfulmind@yahoo.com next issue! 413. 645. 4114 for info.
STAMPED ABSTRACT SERIES # 23
RUTH SHIVELY, LADIES LUNCHEON, 2021, MIXED MEDIA ON PAPER, 28 X 30 INCHES
BRADLEY WOOD, COASTAL LOAFING, 2016, OIL ON CANVAS, 46 X 44 INCHES
SUSAN ELEY FINE ART GATHERING On view from December 2, 2021, to January 16, 2022 at SEFA Hudson, Gathering is a group exhibition of figurative paintings by Kathy Osborn, Ruth Shively and Bradley Wood. Composed of recent and new works, the exhibition highlights atmospheric domestic landscapes and moody interior scenes—their tone colored by the figures that inhabit and shape them. Each artist crafts their vignettes through a distinctive touch and approach: Osborn’s highly-staged vintage characters; Shively’s impressionistic, intimate portraits; Wood’s fantastical, cinematic architectures. Like the artists themselves—viewers become voyeurs into the social interactions and interior lives of anonymous figures. Susan Eley Fine Art - 433 Warren Street, Hudson, New York; Thursday-Monday, 11AM5PM; susaneleyfineart.com; 917-952-7641.
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Mary Davidson has been painting on a regular basis for the last 16 years. Davidson’s paintings are a two-dimensional decorative visualization of line, color, design, shape, patterns, and stamping. As you begin to study the paintings, you will find the foreground and background tend to merge, with overlaid patterns. “I love the intense complexity and ambiguity of space and dimension.”. The effect can be startling: the longer you look at the piece, the more you see. With style more design than literal, she hopes to convey lightheartedness, playfulness and whimsey. “One of my favorite art teachers along the way used to say, ‘It is only a piece of paper and/or canvas. NO RULES’. Painting is a way to express my creativity. I always work in a series, which keeps me focused. I work with acrylic paint because it is so forgiving.” Davidson’s New Hat series consist of 70 paintings. “I start with a basic drawing, building with color and shape, coming to life with gesture and flow. As the title suggests, the hats are important, and the millinery designs emerge. There is much joy in their creation and my passion for playful designs is reinforced by their bright colors, linear rhythms and patterns leading our eyes around and through the painting. My newest series is even more abstract, with an even stronger emphasis on design. I do like to use stamping, along with painting, because I love the result. When I finish with a painting, I adhere the canvas with mat gel to gator board, creating a nice tight surface. My paintings are always framed.” In addition to an Associate Degree in Fashion Design from Newbury College in Boston, Davidson has taken many classes in drawing and painting, and participated in many art workshops. “I feel as though I have developed my own unique style at this point. I am a member of three local art clubs, along with two other clubs not so close to home.” Davidson’s biggest accomplishment was to become a juried member of the National Association of Women Artists, NAWA, New York, NY. She has also been juried into many art shows in New England, since 2007 and in some of the shows has won awards. Mary Davidson - PO Box 697, South Egremont, Massachusetts; 413-528-6945, Cell 1-413717-2332; mdavidsongio@aol.com, marydavidson83155@gmail.com, www.davidsondesigncompany.net.
KATRIN WAITE ART
JENNIFER BROWDY, PhD
LEAVING THE DRIFT — ENTERING A FRAGMENTED REALITY
INSPIRATION FOR WRITERS
Those were long months of a limited showing art in public. Enjoying, sharing, debating art had to follow paths of caution. The eye of the artist was directed into the inner world as never before. Yet, every artist senses the immense transformations the world is undergoing now. Our communication is changing, our hungry senses look for every inspirational source. We do know that our common experience will show long term results in a time still distant from us. Many of us got used to this new reality. We must. Losing control – I learned to turn it into a storage for new art approaches. My artistic process had enough food for a while. Then it slowed down. But I learned to create at a much slower pace. I started to enjoy the more intense dialogue with the artworks evolving under my hands. I took more time to “discuss” the artwork’s inner structure and language. I listened to its voice. What a rewarding process! The world had come to a near standstill for a moment. The painting became a mirror of my own state of being. Floating became the dominant motif. And what an unexpected surprise: feeling adrift lost its frightening moments – I started to trust the direction and to let go. It allowed me to find new paths of visualization. No. They found me. This process allowed me to invent a personal new love story between the past, present, and possible future(s?). Now, finding my way back to the louder sounds and the art in public, the art brings me to an altered reality. New patterns, color fields evolve. The process of uncertainty continues. I have directed my eyes to the colors, to listen to their sounds. They talk the loudest. It seems they take the lead now in the new concert. Waltzing with the shapes. Rough textures are banned to the audience for now. Transparency and fine lines took their place in the orchestra. Let the performance enlighten a long winter! Colors reflect life! Dancing moves shape a colorful process! Get ready for a new world. The light is still there as it was, nature never stops to surprise us with organic colors and patterns. We realize how fragile our position is. It is our perspective that is in transformation. There is no alternative. katrinwaite.com @katrinwaite artkatrinwaite@gmail.com Tel: 518-854 3727 or 518-223 3069
Art you ready to write? If so, check out Jennifer Browdy’s monthly online writing workshops: • the new intensive Birth Your Truest Story series, co-led with Audrey Kalman, for novelists or memoirists; • Jennifer’s popular drop-in 90-minute purposeful memoir workshops in the Purposeful Memoir as a Quest for a Thriving Future series. A longtime professor at Bard College/Simon’s Rock and the founding director of the Berkshire Festival of Women Writers, which ran for seven years between 2010 and 2016, Jennifer is an experienced facilitator of lively online workshops that appeal to both established writers and novices alike. “You have created magic here,” said one delighted participant. “You created an extraordinary experience of self-reflection, self-acceptance, and encouragement,” said another. Jennifer also offers author coaching, manuscript review, and the publishing services of Green Fire Press. Visit JenniferBrowdy.com for a wealth of free writing prompts and essays on the craft of writing, as well as information on upcoming workshops, books and products to stimulate your creativity.
#1439 WAITE RD. EASTON, NY 5-26-19 13 X 14 OIL
MATT CHINIAN PROSAIC REALISM I am a realist. I paint what I see and depict places and objects with a simple understanding of light and shadow. My subjects are taken from daily life, things I see in passing, things I’m drawn to; they are commonly overlooked. I try to unlock patterns and relationships that depict their beauty and uniqueness. I do not seek to judge but offer up these images for your consideration. mattchinian.com
Let the artists know you have read about them in
ARTFULMIND@YAHOO.COM
It’s not what you look at that matters, it’s what you see. —Henry David Thoreau
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 15
GJ and Jana, Old Bridge, Mostar
GJ & JANA HOFFMAN HOUSE OF MANIDAE INTERVIEW BY HARRYET CANDEE Tell us all about how you and Jana journeyed from South Africa to Hudson, NY with six children and started a new life here in New York State? So interesting how you opened up a shop that partly supports the conservation of the Pangolin, a beautiful creature that walks on two feet in full clad armor similar to the anteater \ armadillo. GJ—Yes, well it is a long and convoluted tale. I have always been involved and lived in the bush and have a strong connection to animals, their plight, and man’s encroachment into their territory and domain. After losing my farm in the Caprivi Strip in Northern Namibia, I went to Cape Town, South Africa and plotted a viable path forward that would allow Jana and I to have more regular access to our six kids scattered all over the world. Having zero retail experience and a passion for the most trafficked animal in the world, I teamed up with my talented wife and her passion for textiles and design. She comes with a history of retail experience in the USA as well as in Germany. The idea of a conservation-based Southern African concept store was born… but the quandary was where to go with this idea and who to bring on board. The world was a blank canvas for this endeavor, but we wanted exposure and impact. With both of us having USA nationalities, through family, we looked at NYC. Upon
PHOTOGRAPHS COURTESY OF ARTISTS
arrival, after chatting to a few friends, one of them mentioned this little town called Hudson on a beautiful river removed from the noises and stresses of a big city. So, we hopped on the train and headed north. After a cursory glance around we felt we had found our locale. And the rest, as they say… is History! Jana – I would like to add on to this how I absolutely love the way we found ourselves at home here in Hudson. We both were at a point in our lives where we wanted to challenge ourselves and create a way to combine our passions and life experiences thus far, we knew we wanted to have South Africa as our second home base, but it was also important to be closer to our six kids, some who are studying and working in the US and Europe. Somehow, organically, as these things are meant to be, we were guided to this little town which we did not even knew existed. There is some type of magic in this life. I am wondering what life was like for you and your family in South Africa? How do you find it to be different and similar here in the states? GJ – I had a very free childhood and a sound family base with cousins and extended family in RSA and neighboring countries. There was lot of open land around the property that I grew up in and we were free to roam, explore and get up to
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no good to our hearts content. I think that notion of freedom: Freedom of time, and space, allowed me to not feel the burden of sedentary existence and free of the fear that novelty holds over certain people. Travel in those times was not easy, and lots of thought and planning had to go into our family holidays. We had to be completely selfsufficient throughout December/January for all the family requirements from paraffin to toilet paper…. This also harvested a self-realization that independence was possible irrespective of diversity. I think the stark face of poverty and the access to normal resources required for normal life in Africa juxtaposed heavily as to the abundance in the States. As well as a sense of safety and greatly reduced levels of crime here do allow for more selfish times and an opportunity for the soul to breath. Jana – It’s hard to compare the way of living in Africa and in the USA. Africa is far more raw, its such a complex and diverse continent full of contradictions. Its hard to describe the magic of it until you live it. It definitely changed me, humbled me. Seeing township communities overcoming their hardships with so much joy really changed my perspective. Even in the darkest hours there was laughter, dancing and joy. Living in the US is wonderful in a different way for me. Here we feel safer on the whole. I can enjoy my
House of Manidae, Pangolin Pedant, Silver
evening strolls alone. I don’t have to lock my door and live behind fortified walls. It’s a privilege to have two home countries Are you both artists in your own right? GJ – I would not say that I am an artist in the purest form, but I don’t feel that art has to pigeon hole to certain parameters to constitute art. It is in the interpretation, it is how one curates ideas and the personal spin and twist, that become the outcome is the art. I write poetry for my soul and tomes for my heart. I design jewelery and leather products and work in conjunction with African artists to create a symbiosis of thought and desires. Jana – I believe that in one way or another we as humans are all creators. It makes me feel better about myself (laugh.) But unfortunately, I can’t give myself that much credit yet. I am not an artist, I just love and enjoy art and all things creative as I have an Artful mind. I have been working on my own label UBOYA, which launched in our shop. Currently it’s a beautiful knitted mohair collection of various styles and there is a new cotton knits collection as well coming for Spring 2022. How do you make the selection of art and crafts to put on display in the shop?
GJ-Africa, although a very large continent, is actually a very small place! Word rapidly spreads around new, raw and vibrant talent in the creative community. I have a great Aunt, Ruth Prowse, who was an internationally acclaimed artist in her own right. And, upon her death she bequeathed her home to become a school for artists and an educational facility. This is still running, and we focus on bringing raw talent from impoverished, previously disadvantaged Communities and developing their talent and giving them exposure to the Art world. I have a few of the students work in the store. I actually had the final year graphic design students create our promotional material around Pangolin awareness posters and brochures as a part of their syllabus and made it a competition, with cash prizes, and the work to be judged by their peers and educators. They were thrilled for as well as being remunerated (which students always appreciate the world over!) it also allowed them to put on their CV’s that their work was now international. Jana- The African craft and mastery of tribal arts that is cultivated in the younger generation is bey-
Uboya, Mohair Sweater
ond precious form of preserving culture. Both of us feel strongly about supporting woman com munities through their crafts. The role of woman in Africa is very distinct, since she is more often the breadwinner and the one responsible for raising the family. All of our products have a beautiful story behind their creators. There is currently a project that we are working with wherein 35 amazing woman crocheting unbelievable pieces of art. Continued on next page...
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 17
GJ & JANA HOFFMAN | HOUSE OF MANIDAE
in such diverse and curious community. What’s your plan for your storefront this holiday season? Jana – Yes, we had been told about Xmas walk tradition in Hudson. It was cancelled last year, so I am itching to experience it and have our windows tell our part of it. I was thinking of transcending South African Xmas feeling in our window. There is this incredible artist near the Eastern Cape border on the gorgeous Garden Route, Daya Heller. She has a background in fine art figurative sculpture and works with the themes of cycle of life, perfect for the end of the year. She creates resin dops filled with indigenous flora, such as South Africa’s national flower, the Protea, blushing brides, fynbos, and even something as delicate as dandelions. To me its an incredibly beautiful way to share and celebrate the Awe of nature. So our window will be filled with “flowerflakes” instead of snowflakes. We might even offer some mulled wine to offset the missing of the winter in the window :)
GJ tracking the well-being of a dehorned Rhino
Or Heartworks, that as the name entails is melting our hearts away by their hand embroidered cotton stuffed animals and cushion covers. Every stich on our leather products are also made by hand with love by a talented group of woman. It is incredibly satisfying purchasing hand made products knowing that it is having a larger impact in uplifting the community and making a difference. That is our inspiration and our main goal, our driving force. Tell me, what is the main goal as a team, being artistic developers and Pangolin conservers? GJ – That is two completely different questions, and worlds. My main goal with the artists we work with (but we are still actively seeking new talent) is to give them exposure to the world. Being at the tip of the African continent tapping into the European or US market can be extremely difficult. Not to mention extremely costly to many Africans where daily hardships curtail the options of self promotion. There is a massive creative pool that is being overlooked due to geography and economics and if I can create awareness, and appreciation of this talent, that would be my ultimate goal. The dear pangolins,
in the same breath, also dramatically require promotion but for different reason. Exposure of their plight and awareness even of their existence would be my desired goal. I will address this issue further down in this interview. What is the general chemistry and vibe you find on Warren Street in Hudson? GJ – The history and evolution of Hudson, and mainly Warren Street, fascinates me. Its eclectic heart and nature is constantly evolving like a never ending Fall. The people which it attracts add a special flavour to the street and town. Sense of freedom and acceptance is a big draw, and constant that eases the transition Jana – I remember arriving for the first time last year on Warren street and feeling absolutely enchanted. There is such a beautiful, tranquil energy with dreamy shop fronts, galleries, restaurants and coffee shops and a very inspiring community.it feels quite homely in this small charming town on the river, and I certainly feel like we are welcome here. The feedback we get from our shop visitors so far, has been fantastic and there is a sincere interest in our products and our story. I really believe that House Of Manidae is at home
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Tell us more about growing up and what your interests were? GJ— Freedom of movement and access to raw nature and the dangers inherent in that, as well as the strange comfort in that, ironically! Nothing quite like walking up on a herd of elephants drinking from a water hole and just observing their interactions and social dynamics for as long as they grace you with their majestic presence. Being charged on foot by a lioness whose cubs you stumbled upon by accident! Surprising a curious leopard as you exit your kitchen door at night to take out the trash. When visiting my grandfather as a kid, we used to stay in separate wooden cottages scattered over his property and the elephants would come at night and try to get at the fruits in season. This would often entail them trying to push over the trees to get at the fruits – we would just lie there hoping that the trees would not come crashing through the roof and had an elaborate intercom system to sooth and communicate with, even back then…. Jana – I grew up in the former Yugoslavia very different from GJ’s upbringing. Mostar, my birth city with a famous Old Bridge from the 16th Century was my happy home. My memories are connected to sweet gatherings on open plazas, driving to the beaches, visiting my Grandfather’s tobacco farm, playing hide and seek in the gardens filled with the smells of cherry blossoms, stealing neighbours figs, sneaking out at night to listen to the street musicians playing harmonica on the stone steps. As a young adult at the phase of self discovery my country fell apart and we found ourselves in a horrible war which lasted five long years. Over 140,000 people lost their lives. I was lucky surviving two years under constant bombing until we escaped to Vienna, where I got refugee status. Today, when I think back to those times, I feel so grateful for the way I was able to grow up. I have the memories of my Mostar bridge before it was destroyed, and the park next to my school before it turned into a graveyard. I was one of the lucky ones..
How did you first get involved in the conservation for the Pangolin? How has the organizations involved so far? Are you pleased with how it is been unfolding? GJ – The Pangolin is an animal I encountered for the first time in the early 1990s in Northern Botswana and had never heard of it before. I made a few enquiries at that time and locals and even guides had never seen such an animal. I then searched, on every occasion that presented but was not successful for many years. I just felt an incredible bond with this animal and wanted to know as much as possible. There was no research into pangolins at that time so information and data was an open, and closed, book. When the rhino became the face of conservation and big money was thrown at protecting this beautiful animal with 24hr guards with AK-47’s in order to ensure survival of the species. Poachers were cutting off their horns to get the Keratin in them (which is the same substance constituting hair, fingernails and horn) This process now carried a risk to the poaches who then realized that the docile, solitary pangolin scales are made of keratin also and there was no competition nor threat in just picking this animal up and placing it in a sack! Of the four species in Africa, the Temmincks Ground Pangolin has the largest biomass and therefore more lucrative to poach and found in my area of the bush (if you go north to Gabon the Pangolins there are arboreal therefore smaller with less scale weight and less lucrative) This became an unheralded assault on the pangolin while the world turned its back as there was little knowledge and very few sighting from tourists on safari, so little interest. I felt we had to try a different approach to protecting the pangolin (and other wildlife) from the poachers mainly living in proximity to the game corridors and parks. By creating value in the animal and by showing sustainability of income and lifestyle for the locals in protecting, not destroying. If the animals are wiped out, tourists won’t come. Employments will dry up, clinics will not be stocked with supplies. Shift from now return to long term sustainability. We have just started a Phinda Conservation initiative that gives a six month Comprehensive Conservation, Research and Monitoring Program to local people to educate them and to take this knowledge of conservation back to their villages. They get a diploma and employment in the lodges upon completion. Things are looking very good right now but this will take time. But I am excited for the future although the threat is still a very real one and we can not take our foot off the gas… Is there a danger to those involved, hands-on, in the actual jungle? Aside from poachers, what else would cause to be on guard while working with Pangolins? GJ –There are a lot of dangers while working and living in the bush. Understand that Pangolins are nocturnal creatures at most of this work has to take place at night where we all become vulnerable and the element of surprise is not on our side. Basically, we fall in line as part of the food chain to predators. Be it a lion and leopard or hyena,
Pangolin Conservation “andBeyondPhinda”
they don’t distinguish and are not picky eaters! But a Bull elephant in musth is far mor dangerous than any other animal as their testosterone levels can spike up to 60% of their normal levels and are highly aggressive and completely unpredictable. And then there is what we call “Black Death” this refers to elderly bull Cape Buffaloes separated from the herd due to age and no longer dominant, they have a real chip on their shoulder and an extreme disdain for whoever encounters them! Bearing in mind that most of this work is done on foot and not shielded by the luxury of a vehicle, things can go wrong very quickly. Vehicles emit noise and diesel smoke that can be heard, and smelt, many kilometers away this allowing the animal that you are tracking to escape easily. So it becomes a chess game in these needed interactions to monitor the progress and weighing of the pangolins that have been reintroduced to the bush. What characteristics do you enjoy specifically about the Pangolin? Do you miss being around them since I believe they are illegal to have as pets in the states? Or, maybe you do a lot of travelling back and forth? GJ – Oh that’s a hard one. I think discovery is the
most enjoyable part of working with Pangolins. Science still know so little about them and we are forced to play catch up. We don’t really know their lifespan, gestation period, mating choices, their range. (We actually for the first time got a few shots from a trail camera placed in an abandoned warthog burrow in KwaZulu Natal 4 months ago showing the father returning to check on his pup – previously we did not know if any interactions took place after mating.) We know that they are 85 million years old, the world’s only scaled mammal. They breastfeed and keep their offspring referred to as pups (ironically they are more closely genetically related to cats and dogs, than armadillos – hence pup!) the pup (of which only one offspring per Pango has been witnessed in Africa) move around on the mother’s back for up to two years, and when threatened she curls up inside and into a ball, making both impenetrable to any animal or threat – except for man! They consume up to 72 Million ants/termites per year, per animal. And if you think that 1 million animals have been poached over the last 6 year, you can only imagine the ecological spill over from that… A Pangolin can never ever be a pet! They are so difficult and fussy and are imContinued on next page...
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 19
GJ & JANA HOFFMAN | HOUSE OF MANIDAE
Cheetah Sideboard ; Oak
possible to supplementary feed as well. They like the ants and termites from the territorial areas that they were born in. they get a taste from the tannins in the soil that effect the taste of the ants. So the problem we face is when we manage to recover and save a Pango from the wildlife trade we place them in an undisclosed location in South Africa, but that animal may have been poached in Zambia/ Namibia or any surrounding country and they then will not feed where they have ben relocated to. So we have to weigh them nightly to see if they are feeding and if not, make another plan. In order to monitor them and check on their well being we place tracking devices on them (they have to weigh 7kg so that these devices will not impede on their movement and lifestyle). But the problem comes when leopards and lions play with them, and their claws often remove these devices, so we often end up finding the trackers but losing the animal, very frustrating. We are in constant contact with our team at @beyond Phinda and monitor all progress (we were absolutely delighted to hear that our team spotted a young, untagged Pangolin in the reserve last month and we believe that is the first Pango pup birthed in 80 years in KwaZulu Natal) We have just moved to the USA so our hands on involvement has been drastically curtailed due to geography, but will return for two months annually to keep on top of things. Tell us about some of the artists and their work that you have showing in the shop? GJ- We work mainly with young up and coming artists with dynamic interpretations of contemporary African art. A couple of names to really look out for, and we have a few of their pieces would be: South African Lindo Zwane, Mozambican
Sizwe Khoza, Sefiso Temba, Nigerian Yomi Momoh, Izak Stephanus Fourie and Malawian Jethro Longwe. We represent more, but these are the ones to watch – in my humble opinion! How do you think the world is now turning for us? What are some of your philosophies on life now that we are heading into 2022? GJ – I think this pandemic has had some beneficial spinoffs despite the horrific loss of life that has affected so many people throughout the world. I feel through lock down and isolation we have been forced to introspect a lot more than we have done in the past. Also the opportunity to appreciate friends and family a lot more due to forced isolation. Access to food and entertainment has now a greater value. (we went through a severe lockdown in Africa with the army deployed with rifles and armored vehicles on every street and underpass. We could only go once a week to resupply food/medicine and could only go to the supermarket closest to you. Police and army checked your home address on your drivers license at road blocks to enforce this. The ocean was off limits as well as the mountain and forests. And the threat of arrest for breaking these rules was very real.) So base appreciation has grown in me and my family for things, and places, we had previously taken for granted. Jana – As GJ mentioned, the SA response to COVID was very strict and as such everyone did their best to keep themselves and their communities safe. Moving here and being able to get vaccinated, we both felt such privilege and relief. Generally speaking, I believe that we all have a part to play in the greater collective. Kindness is the greatest strength and an empathetic approach towards ourselves, our fellow humans, the ani-
20 • DECEMBER | JANUARY 2022 THE ARTFUL MIND
mals, our oceans and our forests is key. It really is a very simple way to make all of our lives better. What are your New Year’s plans and New Year’s resolutions? GJ – I am not good at New Year’s resolutions as, historically, they never seem to see February!! But on the whole I am just going to carry on with my passion and endeavour to create awareness, support our super artisans doing all the hand work on African soils and immerse myself in my new surroundings and culture. Jana – I do use the first of the calendar year to “start over” and I have had some success in the past with my New Year’s resolutions. This year the list is particularly long and includes the standard; I want to strengthen my Yoga practice, daily journaling, making lists (as I desperately need to work on my organizational skills! I have used up all of my charm and excuses when excusing all missed appointments and forgetting birthdays of dearest people. GJ is also no longer as fond in helping me look for my lost car keys and glasses!) I will definitely eat no sugar in 2022. Or so I hope! As for House Of Manidae, we will be travelling in January back to South Africa to see our family, to curate some more Art, and to work with our production teams in developing our new signature products. As well visiting the conservation centre and to see what further support they may need. And as it’s summer in South Africa, we will enjoy the beach, while our shop on Warren Street, and our home above it will be going through snowstorms and major renovations. Our building tends to be leaning more and more towards City Hall next door (oops!) we are in the process of straightening it up. As a Heritage building, we’re
Toguna Beaded Cabinet; Oak
doing it with the utmost TLC to preserve it beautiful façade and structure. Hopefully next year we will have greatly renovated the home, which is so important to both of us. We can’t wait to invite our friends and family from overseas to visit us. Can you tell us a story that you find to be an important memoir in your life that we can learn from? GJ – I think one of the biggest tangible stories I can relate to is the impact of how responsible giving and helping can change lives and those around them. Through my 17 years of work and involvement with The African Foundation who do incredible work and the mantra they follow is nurturing, restoring and protecting our natural wild systems, by empowering the communities that are the custodians of these systems. By partnering with communities, governments and the private sector. They seek to achieve a symbiotic balance between land, wildlife and people. Under this umbrella is an educational quotient that provides scholarships to students located in or around game reserves that are by their nature remote and proper education facilities far away. But as part of the deal, these fortunate and studious students have to give back to their communities upon graduation, this is called in Ukubuyisela in Zulu (giving back) this is one example: About 12 years ago we had a student that graduated as a geologist and returned to his rural village. He had noticed an age old problem of their traditional mud huts got washed away on an annual basis when the first rains came. Every year when the sun came out again the villages (mostly elderly folk) would have to walk to the river and start the laborious task of collecting fresh mud and replastering the wall of their huts. He then
Zenzi Mirror ; African Mahogany
took a soil sample from the river bank and had it analyzed in a laboratory to note the content. To his amazement he realized that there was zero Kaolinite (a layered silicate mineral) instrumental in binding clay and by smearing the external surface creates an impermeable water barrier. He then went about sampling mud in different nearby locations until he found a Kaolinite rich deposit on a riverbank 8 kilometers away. We organized transport and hauled sufficient amounts of this clay to redo their houses. The houses that still stand complete, and proud, to this day…….. To date my family and my contribution has seen over 300 students obtain full bursaries for their education through to CLEFT Program (Communities Living Educational Trust) Jana – We, as with most people, have so many stories to tell. Maybe I will share one story that represents what often happened to me and looking back, I realized I learned something out of every hard and difficult situation life presented to me. I mentioned being a refugee in Vienna. There was also the time when I gave birth to my first born. I could not speak the language, I was 22 years old and not really knowing what was going on and being in such pain and agony for over 24 hours. I could not understand what the doctors and nurses wanted me to do. I did not understand anything they were saying. That was one of the most traumatic experiences I have had. And after that, I did not have to tell myself twice that I was going to apply myself and make sure I would get a grasp of the German language. I don’t think that had there been a translator in the delivery room, I would have had such determination and the urge to be able to speak a new language…
How can we be in touch with you and follow you and your art and conservation? GJ – The best would be to come visit us in our shop! We are open to discuss anything and will field any questions you have. Further answers can be found on our website and information about the organizations we work in conjunction with can be found on the links available. houseofmanidae.com Jana – Yes, please visit us if you are close by and able. We will be making strides to have an online store next year, but the best experience for me is to always be able to connect personally. See and feel the energy of the place, touch and enjoy with all your senses. My hope is that we are creating a space where our visitors feel they are stepping in and taking a virtual tour of Africa and it’s delights. Our new container is arriving this month and will contain, among other goods, the most exclusive Afro centric contemporary pieces of furniture among so many beautiful artisanal creations. It’s basically functional Art, each of them handmade and unique, its definitely worth taking a look at our novel twist on furniture, sculpted, hand-hewn, dramatic and commanding of space in any room and timeless. Also give us a follow @houseofmanidae I am more than happy to DM for any questions you might have.. And we will leave you until we meet you with a quote by B. Jackman: “Africa changes you forever, like no where on Earth. Once you have been there, you will never be the Same.” Thank you! H
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 21
MARGUERITE BRIDE LINES AND SHAPES OF GRASSES
BOBBY MILLER
BRUCE PANOCK
PHOTOGRAPHER
FINE ART PHOTOGRAPHY
My teacher, master photographer Lisette Model, taught me that the secret behind a great portrait is the relationship between the photographer and his subject and the artistic capture of the moment. In my studio in Great Barrington, I do hair, make-up, styling, lighting and photography, thereby creating a finished portrait that tells a story even in its simplicity. I believe in incorporating both the classic tools of the camera and newer technologies like Photoshop. In that way my portraits correct the small flaws that nature has bestowed on us. I create images that show us not only as who we are but who we can be as well. So, if you feel daring and inspired to have a portrait that defines you at your very best, I encourage you to come sit before my camera. Bobby Miller Studio, 22 Elm St, Gt Barrington 508-237-9585. By Appointment Only.
I have been a student of photography for more than 20 years, though most intently for the last five years. I am primarily a landscape photographer. Recently my photographic voice has migrated to the creation of work with reference to other art forms, notably encaustic painting and ancient Chinese and Japanese brush painting and woodblock art. My intention is to create with viewer a moment of pause and reflection; a moment to digest the image and find their own story in the art. Each image is part of a limited edition. There are several sizes available. Each piece is priced according to size. Images are unframed and printed on Hahnemuhle archival papers. Bruce Panock bruce@panockphotography.com
Art is unquestionably one of the purest and highest elements in human happiness. It trains the mind through the eye, and the eye through the mind. As the sun colours flowers, so does art colour life. ― John Lubbock
22 • DECEMBER | JANUARY 2022 THE ARTFUL MIND
WINTER IN WATERCOLOR Winter is my favorite season to capture in a watercolor. Snow seems to turn everything into a magical winter wonderland. That is not to say I don’t love painting the other seasons….I just love winter the most. Often winter house portraits turn into holiday cards….plus, with your painting you will receive a cd with the image so you can be quite creative with your cards. I always welcome your house and or business portraits, depicting any season. A gift certificate allows the recipient to work directly with the artist…and this is always a fun and personal project. Be sure to visit “the Art of…” Gallery on Housatonic Street in Lenox to see a new selection of my original winter paintings. Please consider shopping local this holiday season. Why worry about your gifts being stuck outside a port somewhere when you can support your own local artists and artisans right here in the Berkshires. We all thank you. Marguerite Bride – Home Studio at 46 Glory Drive, Pittsfield, Massachusetts by appointment only. Call 413-841-1659 or 413-442-7718; margebride-paintings.com; margebride@aol.com; Facebook: Marguerite Bride Watercolors.
KATE KNAPP
FRONT ST. GALLERY WHAT THE HELL. 2017, ACRYLIC ON CANVAS. 60" X 48”
SELF PORTRAIT
MARK MELLINGER ABSURDIST ARTIST STATEMENT
CAROLYN NEWBERGER
My work explores the interconnectedness of Bauhausian sensibilities and Trobriand Island chants. With influences as diverse as Noble Sissle and Shemp Howard, new insights are created from both mundane and transcendant dialogues. Ever since I was a child I have been disturbed by the essential ephemerality of space/time. What starts out as circumlocutory vision soon becomes corrupted into a hegemony of greed, leaving only a sense of ennui and little chance of a new paradigm. As spatial miasmas become transformed through emergent Unabhängigkeitserklärungen, the viewer is left with a catafalque for the prognostication of our future. markmellinger680@gmail.com
Carolyn Newberger’s award winning portraits capture not only likeness, but also the intensity and personality of her subjects through the alchemy of pen, paint, paper, heart, and mind. Although she primarily works from life in venues such as concert halls, lecture rooms, across dining room tables and in the studio, several of her most vibrant portraits are from cherished photographs. To view more of her work, or for contact details about commissions or purchases, please visit her website. Carolyn Newberger www.carolynnewberger.com, (617) 877-5672 or cnewberger@me.com.
PORTRAITURE
Pastels, oils, acrylics and watercolors…abstract and representational…..landscapes, still lifes and portraits….a unique variety of painting technique and styles….you will be transported to another world and see things in a way you never have before…. join us and experience something different. Painting classes continue on Monday and Wednesday mornings 10-1:30pm at the studio and Thursday mornings out in the field. These classes are open to all...come to one or come again if it works for you. All levels and materials welcome. Private critiques available. Classes at Front Street are for those wishing to learn, those who just want to be involved in the pure enjoyment of art, and/or those who have some experience under their belt. Front Street, Housatonic, MA. Gallery open by appointment or chance anytime. 413-5289546 at home or 413-429-7141 (cell) www.kateknappartist.com
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 23
VIRTUAL ART GALLERY MARK MELLINGER CLAUDIA D’ALESSANDRO CAROLYN NEWBERGER BRUCE PANOCK NINA LIPKOWITZ Mark Mellinger Apparitions Acrylic and Collage on Canvas. 60" x 48". 2017-2021. $4500.
THE ART PRESENTATION ON THE FOLLOWING PAGES CONTAINS ART THAT IS ALL IS FOR SALE. PLEASE CONTACT THE ARTIST OR EMAIL : ARTFULMIND@YAHOO.COM
VISIT US ON FACEBOOK: ART GALLERY FOR ARTFUL MINDS AND ISSUU.COM (LIVE LINKS TO WEBSITES)
24 • DECEMBER | JANUARY 2022 THE ARTFUL MIND VIRTUAL GALLERY
MARK MELLINGER
What the Hell, 2017 Acrylic on canvas. 60" x 48” $2,400.
Sentinel, 2021 Acrylic and Collage on canvas, 20" x 16” $850.00
Myrtle Avenue, 2020 Glass washboard and photomontage. 24" x 16” NFS
914-260-7413
Contact Mark Mellinger:
markmellinger680@gmail.com
VIRTUAL GALLERY THE ARTFUL MIND DECEMBER | JANUARY 2022
• 25
BRUCE PANOCK
Abstract Fall Forest
Tall Tree in Dark Forest
Tree Stump Still Life Abstract Landscape
Each image is part of a limited edition. There are several sizes available. Each piece is priced according to size. Images are unframed and printed on Hahnemuhle archival papers.
Visit Bruce Panock:
www.panockphotography.com bruce@panockphotography.com 917-287-8589 26 • DECEMBER | JANUARY 2022
THE ARTFUL MIND
VIRTUAL GALLERY
CAROLYN NEWBERGER
Lang Lang at Tanglewood, Pen and ink wash on paper, 8 1/2 x 12”
Zina Ellis Sings at Barrington Stage Pen and ink wash on paper, 12 x 8 1/2
Czardas, Graphite, pen and ink, 11 x 17”
cnewberger@me.com
Visit Carolyn Newberger: www.carolynnewberger.com 617-877-5672 Commissions Upon Request
VIRTUAL GALLERY THE ARTFUL MIND DECEMBER | JANUARY 2022
• 27
CLAUDIA D’ALESSANDRO
Strung Out
Cornrows
Iced Teeth
Aurora’s Palette
Crystal Ball
"To Sleep, Perchance to Dream"
"The deepening chill and growing darkness signal the time for sleep. Yet even in the cold and drear Nature dreams in colours, promising the return of growth and new life." All works are on Canvas. Cost $235.
Visit: https:/www.dalessandrophotography.com 413-717-1534 28 • DECEMBER | JANUARY 2022 THE ARTFUL MIND
VIRTUAL GALLERY
NINA LIPKOWITZ
#1 Mixed media
#3 Mixed media
#2 Mixed media
#5 Mixed media
#4 Mixed media
Visit: Nina Lipkowitz Ninalipkowitz.com VIRTUAL GALLERY
THE ARTFUL MIND DECEMBER | JANAURY 2022 • 29
Food as Medicine In June and July I talked about herbal remedies, how they play a part in our lives, and where we might find them. This month I would like to touch on the way humans play a part in nature… the interconnectedness or relationship between ourselves and that which feeds us. I created my original bodywork practice, Whole Being Therapy, in 1997 out of the recognition that we are intrinsically linked to our planet. It was a massage practice that used yoga and herbs in combination with mindful eating practices as well as cleansing routines. Along with the body/mind connection, I believe that our interconnectedness with the planet is just as strong in my practice today as it was in 1997. This link to everything around us means that we can affect it just as it can affect us. The earth’s effect on us is pretty obvious, however, our effect on it is a contentious point these days. Some seem to believe that we can put endless amounts of waste into and around the planet without concern. The way I see it, there’s a reason that we put our septic systems as far away from our water well as possible…because we can contaminate the groundwater, in effect, contaminating our bodies. This is a simplistic, but everyday example of cause and effect.
For every action, there is a reaction. Accumulation is a gradual process, whether it be planetary or microscopic. Just as we can gradually reach capacity in home septic systems, landfills, and atmospheric conditions, the human body can do the same. Our lymphatic system is responsible for maintaining fluid levels, absorbing fats, and eliminating wastes, among other things. If we apply the idea of accumulation to the daily nourishment of our bodies, it is easy to see how unconscious food decisions can lead to dis-ease in the body. The human body is resilient, as is the planet. If given a chance, the body can reset itself. Cells are constantly being regenerated. The “trick” is that in order to grow a healthy cell, we must continuously feed it proper nutrition. Proper nutrition consists of uncontaminated and unprocessed foods, grown in healthy soils and fed uncontaminated water and sunlight. A tall order to fill in this day and age. Another key point is that while we feed the body properly, we are simultaneously halting the contamination of it. This allows a cleansing process to happen, as long as the digestive and lymphatic systems are working properly. The beauty of our interconnectedness with nature that surrounds us, is that we are mirrors of one another. As we have the ability to cleanse and heal, so can the planet. Our concern should be about time. The planet can filter out its pollutants, similar to our body’s ability. The questions are: Can we as humans wait that long for the Earth’s cleansing and resetting process? And, will we be one of the pollutants it filters out? Please see our ad in this issue of The Artful Mind Be well and heal thyself! Terrel Broussard Ayurvedic Practitioner, Herbalist, Bodyworker 413-329-5440
Offering private cooking nutritional consultations and the 21 day restorative cleanse
www.elixirgb.com
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DRYAD
CLAUDIA d’ALESSANDRO The time of sleep has come. Days are short and the wind nips or bites anything warm that ventures out into it. Those fortunate enough to have abundant heat and light inside prepare for holidays that promise rebirth and hope, while nature bides her time and sleeps. Many find the descent into Nature’s winter a difficult time, one of metaphorical and actual darkness. Many miss the extraordinary colors of warmer months and the long days in which daylight can be enjoyed at both ends of every day. Many feel a chill in spirit as temperatures and daylight diminish, which is why all winter holidays promise the return of light and hope. Yet even in our rapidly chilling environment, nature presages her rebirth with colors that appear, fleetingly, even in the deepest cold. To find fire in ice, greens and blues amongst the whites and browns, and light breaking through darkness, we find our gift: the promise that life, warmth and growth will come again. As always, in this beautiful issue of the Artful Mind, I am honored to share my hope that winter will bring us all the opportunity to happily “Sleep, Perchance to Dream...” as we wait for the return of warmth and light.” May your winter be peaceful and healthful, your spirits be strong, and the New Year treat you kindly and well. Nature’s images remind me of the magnificent beauty that surrounds us - the mighty power of the natural world which we inhabit. Air, earth, and water serve as my canvas. I hope that you will share my appreciation of “Seasonal Reflections.” “Claudia’s photography touches our souls with deep joy!” ~ CHR “She sees with her eyes and feels with her heart.” ~ DKAH For more information on purchasing these, or other prints, please email me: cdalessandro26@gmail.com, Visit me at https://www.dalessandrophotography.com, or Follow me on Facebook at https://www.facebook.com/cdalessandrophotography/ and on Instagram as: dalessandronatura. Don’t forget to mention The Artful Mind for Preferred Customer pricing not printed here! Cheers to all for a safe, healthy, and inspiring winter!
Bobby Miller Photographer
Portraits | Headshots | Character Pieces | Hair & Make‐up
Studio | 22 Elm Street Great Barrington 508. 237. 9585 By appointment only
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ARTIST
RYAN TURLEY Interview by Harryet Candee
We sure live in a big world, sometimes overwhelming, enough to experience, appreciate, engage and react to. What has been a goal or focus for you in terms of what you want your audience to understand and experience with your art? RyAn Turley: Thank you for taking the time to engage with me on so many great topics. We for sure live in a big world and sometimes it can be overwhelming with all “the things” to do, see, experience, and consume. I am honored whenever anyone takes notice and time to look and/or have an experience with my work on any level. I am not sure that I have a specific goal for people to understand or experience anything with my work anymore. Years ago, after my graduate studies, I came out of the gate, guns blazing with a lot of ideas of what I wanted to “tackle” with my work. I really thought I knew what was up. Sexuality, otherness, marginalization, and a host
Photography of the Artist by Bobby Miller
of other heavier socio-political issues that were important to me at the time were center stage. The work tended to start with THE message and ended with the visualization of that message. I think that was where I needed to be at the time but often felt that the actual object or visual product became more of a dictation of my political view and less about my own personal visual language. My visual language and trust in my abilities as an artist needed development. I approach my work very differently now. I believe that I have built confidence and a few other tools that enable me to make the work and come from a personal place without forcing my agenda onto anyone. The work can be consumed hopefully allowing a unique experience to each viewer. I want to create something that is approachable and original, that will have people thinking and even questioning what they saw on the way home from the show, maybe longer. I always use ele-
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ments that are familiar in my art making and then I shift it, twist it, manipulate it, and present it in my own, hopefully new way. A new way to see something might be a good goal with my work. Let’s take a close look at “Rainbows are Gay.” It is complex and fun-feeling. Tell us about this work of art, please. Great place to start as a follow up to the last question. This particular work was in my master’s thesis show at Pratt in 2011. It was the centerpiece of the entire show and what I based a lot of my thesis paper on. The work in this show revolved around my own experiences of growing up gay in America in the 1980’s and 1990’s. I was looking a lot at what “Gay Pride” was when I was growing up and what it was evolving into. The parades, the marketing, the Budweiser labels on floats going down the street in NYC…It all seemed like something had gone awry… like it
Rainbows are Gay, 2011, 42,000 1" rainbow hologram stickers on plexi-glass panel, 60 x 108 inches
had become a bit soulless and a tad frivolous. Was it always like this? I am sure it wasn’t like this always…right? It was in this frivolity that I began to dive, and 50,000 holographic rainbow stickers seemed like the right place to start. So, it began. This piece was one of the few in my career that I didn’t have to overthink. I knew what had to be done and I went to work. (Not so) Fun fact, I ran out of stickers about halfway through and had to source them from all the Party City’s (the only supplier of this particular sticker) from across the United States in order to finish. It was a true labor of love in the end, a lot of driving and a bit of a nightmare to finish. The title of course comes from the slang that was super prevalent even in 2011 of people substituting in “that’s so gay” for something they thought was “uncool” or “lame” and I used it as a way of taking it back from the negative connotation, or maybe owning it? Please tell us about your life these days. Things are definitely full these days! I just recently closed out my first full season as the Founder and Creative Director of a new nonprofit arts space called Art Austerlitz supported by The Austerlitz Historical Society where we present artists from upstate New York and the Berkshires who are creating cultural history in the Region today. This lit the fire for my next project ARTISTRUN which will be my own gallery in Hudson NY opening early Spring of 2022.
I have two solo exhibitions of my own work coming up, one at ArtSee in Hudson, NY that is open through January 15th and the second will be in Spring of 2022 at Azarian McCullough Gallery in Sparkill, NY both of which I am super excited about. I also have a side gig as a private yoga teacher and my husband, and I have a baby on the way! It works for me and has been so helpful becoming entrenched in the Upstate NY art scene. I feel more creative and excited for the art world than ever before. Things are booming and it is so exciting to be a part of it. Please tell us about the installation, “Moving”? Moving, was created for the Bronx Museum Biennial in 2015. I had begun to work with moving blankets as my medium. I had been interested in these blankets for a long time. The color pallet worked for me, the way that they were sewn in unique ways, grids, patterns and how they were all stuffed with often interesting, recycled materials. I had one laying around the studio that had been torn and was exposing the usual grey type of pulp, but it had a gorgeous piece of hot pink fabric sticking out and a bit of olive-green fluff supporting it. I knew I needed to “go in.” I began to methodically remove the top layer of the blanket exposing parts of the interior while keeping the back of the blanket intact and I continued this process in various ways on another 20 or so blan-
kets. Each one became a drawing/archaeological dig, and I was hooked. The piece was an exploration of internal/external, protector/protected and unseen/seen. It made sense to therefore show the blankets wrapping a quintessential house shape. These blankets are used to protect and move the contents of our homes and now they are the things that need to be protected towering proud in a museum. They are now the art that needs to be wrapped/protected. Its heady but I hope I made some sense of it for you. Many people touched and I was okay with that. It was not a place to enter, and most were okay with that. There must be a substantial amount of physical energy involved when putting together your art, correct? I would say my work involves a fair amount of physicality. Whether it is an installation, drawing or sculpture I am usually instituting some sort of horribly repetitive, strenuous, often uncomfortable, and time-consuming journey with the work. I also never sit when I work. I guess my background as a ballet dancer could be thanked for this type of working style. It was another life for sure, I trained at The Joffrey, School of American Ballet, San Francisco Ballet and The Bolshoi School in Moscow Russia. Most of this took place in the mid to late 90’s from my early teens until I stopped dancing at around 21 Continued on next page...
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 33
ARTIST RYAN TURLEY
MOVING, Bronx Museum Biennial 2015, hand sewn/altered moving blankets/pads, wood frame, 132 x 120 x 120 inches
Fashionable Yet Practical, 2020, colored pencil on UV protected paper 26 x 26 x 1 ¼ inches
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Jolly Roger, 2011, 85,000 happy face and skull stickers on wood panel, 48 x 82 x 2 inches
in order to “become a normal person.” That has not taken place yet. Ballet was a huge part of my life and allowed me to escape the suburban life which I hated and travel all over the world at a very young age. It was good, bad, scary, exciting, and insane all at the same time. I am so fortunate to have found that calling and run with it. I also teach a lot of yoga and dabble in triathlons and actually love the gym. As an artist, do you also see yourself as being a magician? A creator, for sure. What experiences in your lifetime has lead you to what you have been artistically responsible for in creating? I don’t think I have ever thought much about magic, but I would love to be thought of as a magician for sure! I would say that I have lived a lot of life for a 42-year-old, tried many things and experienced magical moments for sure so maybe that has had a hand in my ability to see things a bit differently than others. I have surrounded myself with creatives my whole life and their magic has probably rubbed off on me. The responsibility of making art is significant to me and I am compelled to create. It doesn’t seem like a choice anymore. I am good with that. Is there a connection between the 2-dimensional and 3-dimensional work you do? I don’t think a lot about 2d vs 3d too much. I have had giant studios where I can create ridiculously large things and I have also had ridiculously priced, yet small spaces in the city where
I tended to work smaller. These obstacles can be helpful in steering me in certain directions. Currently I jump back and forth and sometimes combine the two. Come to the next show and I can show you what I mean. Thank you RyAn, I look forward to that! I enjoy looking at “fashionable yet practical” (Little Blue). I imagine traveling through a complex labyrinth. So very complex and time consuming, in a good way, I am sure. Tell us about this body of work, RyAn. These colored pencil drawings were born in Malaga, Spain at a residency I was on. I was asked to create work for an Art Fair that would hang on a wall. Up to that point a lot of my work was sculptural, so I was lost at first. I went to a local art shop there in Malaga and bought some paper, colored pencils and some stencils that looked to be made for children to learn to draw with. I was fascinated by these stencils and this idea of how to draw a dog, a train, a house etc. These types of objects are how we formulate the way in which we think things should look like. I remembered being a small kid trying to draw a house in school and the teacher insisting houses had a pitched roof with two windows and a door and possibly a tree in the front yard. This idea seemed preposterous to me as my home looked nothing like that. But I am a rule follower, so I followed suit and drew what I was told to draw. Long story short, I don’t have to do that anymore. I still use stencils, but I use only the parts I want. I use a train wheel and I layer that with a circus tent and the corner of the “perfect” flower
photo: Adam Recih
to create the shape I need. I work on these drawings from the outside in using colored pencil which is non-erasable. The work is slow and arduous and stressful, but I am driven to complete them. They take anywhere from 6 months to over a year to complete. Part mandala, part computer circuitry I have been told. I come across looking at Jolly Roger / Happy Face… I immediately react, and it plays on my emotions. What inspirated you to make this piece ? I would be curious to know what your reaction was… This is an earlier piece, right out of graduate school and on the tails of the first sticker piece. Thousands of happy face stickers form the skull and crossbones, Jolly Roger and thousands of Jolly Rogers form the happy face. I was playing with ideas relating to dualities, right wrong, happy sad, good bad, etc. These broad terms can haunt our vocabularies and we don’t give them much thought, yet we use them daily. Could be too on the nose these days but it was an important piece in my career. And that yellow! HC: OK, my reaction... Life isn’t always what it seems, and what we’re given to see holds deeper meaning which leads us to the center of our being. There is a darker place there I recognized and sensed. Stirred by an immediate shock reaction to Jolly Roger / Happy Face, I had a familiar and somewhat desirable craving to search some experiences I’ve had in my past, and ... I thought about being a kid again— always smiling at everything. Continued on next page....
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ARTIST RYAN TURLEY
Adventures of B-Boy Wonder, “Self Portraits” from the 90’s, color printouts, framed, frames, 9 x 12 inches ea.
Substantial, 2021. Water based latex ink on vinyl on paper, (framed, UV Acrylic), 24 x 29 ¾ inches photo: Adam Reich
You also practice art curatorship. This must be very interesting and enjoyable work since it is based on good relationships with artists and art buyers, great art to behold, etcetera. Tell us about your curatorial experiences? I have really enjoyed stepping into the curatorial world. It has been a natural step for me artistically and professionally. I love working with art and creating experiences for others. When I see a great work of art or a perfectly curated exhibition it brings me complete joy and excitement. If I can provide that same experience for others, I AM IN. When I curate, I get to play with other people’s work to create something new and that is extremely exciting and gratifying to me. What my first goal as a curator and newbie gallerist/dealer has been is to treat artists well. That is it. Be respectful, understanding, honest and professional and demand the same in return. I have had many exhibition experiences in my career that were subpar to say the least. We can and will do better! Often artists and performers seem to be the last ones thought about in their respective creative worlds and I hope I can make sure
they are the first thought, at least in my mind and my creative world. Now working on all sides of the art world I feel as if I can be understanding of what an artist needs as well as what the gallery needs from the artist. This is where we can create that magic you mentioned earlier. I think It has been working pretty well so far. Play Hard, Work Hard. What does that mean to you? It means a lot to me. The play part has changed over the years and these days involves less party more time at the gym…and some sleep. I love “Family Portrait”. Tell us about this work, RyAn. I think you have a great sense of humor coming through here. Also, a sense of rigidness? Thank you for loving it! I think this goes perfectly with your last question about work hard/play hard. My family is huge, last of eight children and attention was important to me. I performed and hammed it up from birth. So yes, I would say I have a solid sense of humor and it is in my work
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if you want to see it. I also take things WAY too seriously and can be a bit tightly wound or as you mentioned rigid at times. So yeah, this all tracks. Also raised Catholic, left home to be a ballet dancer, dabbled as a club kid then went to art school to calm things down. Those were my formative years so here we are. We get to see a private part of your life with “Adventures of B-Boy Wonder”. What are you telling us about yourself in this series of photographs? Also pairs nicely with the last question. B-Boy Wonder was a club kid name I created while I was at the San Francisco Ballet School in the 1990s. Rave culture was as big as it gets and in the little spare time we had as dancers we escaped into the warehouses in the East Bay to be free and of course “experiment.” Some experimentation went possibly too far and this series of pre-selfie, selfies, show me weeks before my life started making a lot more sense to me and I made some significant shifts. I came out of the closet in the weeks after these photos were taken, I quit dancing (for the first
Family Portrait, 2017, screening, bias tape, fabric, safety pins, patches, 42.5 x 76 inches
time) shortly after while coming down off an enormous amount of LSD. So, when I see these images, I can see the confusion and hints of clarity as well as the panic that is right under the surface. I feel happy and sad and a million other things when I see this kid. Also, who would let these kids live unsupervised in their own apartments from the age of 15? That also pops into my head. So many things. Mostly good. What are some instantaneous thoughts you have on spirituality, politics, love, food, film, art, chaos, destruction, peace, music, and possibly, favorite pet? Just let it out. - Spirituality - I am open and I am learning. - Politics - Ugh. Meh. - Love - Husband, my two labs Hudson and Harper, many family members, many friends and avocados…well Mexican food in general and physical fitness, yoga and all that. Oh and art. - Food - See Love above - Film - Almodovar, Christopher Guest, I am sure a ton more things…ooh I loved this HBO series called We are who we are directed by Luca Guadagnino. It was perfect and awkward and beautiful. - Art - See Love above - Chaos - not a fan - well organized chaos plays a role in a lot of my work so maybe I am a fan. - Destruction - also not a fan - unless it is improving on/making way for something, better? - Peace - into it, looking for it and working on it - Music, Lil Nas X is changing the entire game. FACT. - Favorite Pet - I could never choose!
Bouncing around the planet we learn while in new surroundings and cultures different than that of our own. Where have you traveled to that became a good inspiring experience? The place that I was most inspired, art wise, was a short trip I went on to Berlin. I was finishing a residency in Spain and wanted to hop over to Berlin as I had never been and had been wanting to go forever. I think I was there three days max and I saw more art than I would see in a normal year at home. I devoured the city, and Berlin was happy to keep serving up more. I am also a big Joseph Beuys fan and there was no shortage of that around. From museums to small pop up/back-alley spaces, the work was solid and exciting and edgy in the best of ways. It resembled what people think NYC Art life is but isn’t. I need a couple weeks and a ticket, and I will be going back for more. What’s a day in your life look like? Wake - dog time - coffee (decaf) - gym, swim teach yoga client - answer emails - studio - lunch - dog time - studio/gallery stuff - home - dog stuff - dinner - work/TV/emails/Social Media/LIST MAKING - dog stuff - meditate - bed - REPEAT We also have a place in NYC that we live in so there is some hopping back and forth but this is the basic structure of my day. There must a handful of artists that you have learned from and grown to love over the course of the years? There have been many for sure and there will surely be more, without listing a ton of names
photo: Adam Reich
people may or may not know, I would say that I am fortunate to have so many friends who are still working in the arts in different capacities that I am able to connect with from my network. They are how I can be productive and successful in my pursuits. Throwing myself out of my comfort zone from time to time is also helpful in growing this group of talented confidants. Also asking people questions even if you are afraid of what the answer could be. Be nice to people as they will remember it. Do you listen to music when you’re on a project? I was wondering with the installation “Spectacle”, would there be any audio in the background? Tell us about Spectacle, please. I rarely listen to music when working, I tend to listen to mindless talk radio. It somehow soothes me and doesn’t distract me. SPECTACLE was created with a Jerome Foundation Grant awarded to me by Franconia Sculpture Park in Minnesota. It was the first large scale public artwork I created after graduate school. Part memorial, part illusionary playground, SPECTACLE plays with the viewer’s eye. The prismatic diffraction film triangles can be quiet when the sun has passed over them and they take on a memorial or tombstone feel and then when the sun hits them at different points throughout the day, we are hit with dancing rainbow prisms that chase the viewer as they walk in and around the pieces. The piece stood strong for eight years and recently came down. Continued on next page...
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 37
ARTIST RYAN TURLEY
SPECTACLE, Franconia Sculpture Park, Franconia, Minnesota, 2012, acrylic, diffraction film, mulch, dirt, wood, aluminum screw posts, 50' x 50' x 2', 1250 SF
As we move closer to 2022, what challenges interest you in taking on? I will be launching my own gallery ARTISTRUN in Hudson NY in Spring 2022. I will be busy building a roster of amazing artists in the coming months. I hope to also knock out these shows successfully I have planned in the coming months of my own work. I would also love to find a gallery to call home for my own work. I have never had that formal relationship with a dealer or gallerist, and it is one I would like to pursue. I think it is an experience that will not only help my work as an artist but also help me to be a better gallerist to my own artists. I may also sign up for another Ironman race… but maybe not…but maybe yes… Ooh, I also hope to land another public art project. I have been cooking up some ideas. I am very excited about your upcoming art show at Artsee in Hudson, along the popular and charming, Warren Street. Can you tell us about it, and what we might expect to see? I am SUPER excited about this show. My friend Julio Santiago, owner and director of the Space and Shop asked me a couple of years back if I would do a show. I hesitated for a while and then finally agreed to do one once I had the idea of what I wanted to exhibit there. Recently I found myself telling some artists that I was curating into a show that they should feel free to show old work, dust things off, revisit,
reinterpret and reimagine things. So often artists are expected and encouraged to only show new work and make things for a show specifically to appease a gallery or dealer. Why don’t we show things we have already made? Why don’t we bring things back out that never had their fair share of time out in the world? It is a huge, missed opportunity. Most people HAVE NOT SEEN YOUR WORK, so pull it out of storage and live with it for a while and maybe there is something to be developed, maybe it is good to go as is, maybe this is its time to shine. Maybe not. But isn’t it worth investigating? So, I am taking my own advice and am showing a mini retrospective of work from the last ten years. I have revisited, made new connections, reframed work, (literally and figuratively) and I feel that it has been one of the most valuable exercises in generating new ideas that I’ve ever had. I have learned so much of who I am as an artist, who I was and who I want to be from putting this show together. Rest assured there is also very new stuff being shown as well! I highly recommend this process to all my artist friends out there. Go for it. You made the work, find out why. If you could ‘be’ or ‘do’ anything in the world without limitation, what would that be? I feel like for the first time in my life I am completely doing what I want. I need some limitations to being productive or I will spiral. So, I am feeling this moment, a lot. I get to make art,
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show art, talk art, play with my dogs and husband, things are good. I would like a pool though. If we are dreaming. Dreams do come true! Settling down in the evening, or any time when you want to clear your head and chill, what familiar thoughts go through your mind? I think about work until I consciously make myself switch off with meditation. It saved my life. Literally. Where can we see more of your art? RyAn Turley, Then & Now a solo exhibition currently on view through January 15th at Artsee, 529 Warren Street, Hudson NY www.ryanwturley.com -for my work IG @ryanwturley -for more of my work and other random things IG @artistrunhudson -The Gallery IG @artausterlitz -The nonprofit Gallery
Thank you! H
Morgan Bulkeley
Goofyitis
15”x12” Oil on carved, gessoed wood 2021
Website: www.morganbulkeley.com Howard Yezerski Gallery, Boston, MA
ANNIVERSARY ISSUE
PUBLISHING SINCE 1994! THE ARTFUL MIND DECEMBER | JANUARY 2022 • 39
ARTIST UPDATE
#1788 Early Light in Studio 4-26-21
MATT CHINIAN PROSAIC REALISM Interview by H. Candee I think of you as a relentless and very focused artist. You work deeply at translating what you see onto the canvas. Has your thirst for painting accelerated over the past year? Matt: Hi Harryet, thanks for giving me this opportunity, and thanks for the show of confidence right out the door! I guess I am relentless and focused, although I’m also a scatter-brain slacker and I’m not painting right now, so I’m slacking. I’ve been on this path for a long time, and the times I haven’t been, I’ve wondered, “what the hell’s wrong with you?” So things are in a constant change, but I couldn’t say that I’ve accelerated, I think I have actually gone into a lower gear, that my work has gotten more introspective and I’m more contemplative, I want to make better paintings, not necessarily more paintings. Are you taking your painting on site work to new destinations? I sense you like to capture locations that are somewhat isolated, where life exists unbothered and unoccupied. Matt: Trying to do anything new feels futile sometimes, who said “there is nothing new under the sun” was it G*d or do I have that attribution wrong? I’ve recently co-opted the term “Prosaic realism” to define much of what I do. The tenant of which, is making nothing into the subject, on
the surface I depict common places, the mundane, the overlooked by most, even myself and I embraced the random as a way of finding a subject. This does not require world travel to find, I really should be able to find it right in my hometown, or even right at home. Being freed of having to take place seriously, I can turn it into an opportunity to paint for paint’s sake, it can be an arrangement, an expression in paint application, and I can set up tension between the subject and the means of depicting that subject, and let them duke it out. What gratifying results do you find when a painting is finished? How do you tell if what you have made works for you or not? Matt: I’m never gratified, and if I feel gratified I’d be mistaken. And “finished” is really more like “done”. I spend a lot of time looking at work I bring back to the studio, thinking “what works, what doesn’t, what can I do better, and why”. Painting is a verb, and the paint flows like a river.
Then there is the tedious side of being an artist. The self-promoting of one’s fine art. There is endless art to be seen and buying art can often be a daunting experience. In some ways we have to have some luck. How do you educate your audience on your work and what you do? Matt: Sure! There are hours and hours of prep, I make the panels and I wear out brushes, I clean my pallet. Then there is marketing. I started to work with a web marketer, a coach, really. He’s guided me in getting a sales website, a newsletter, and a Facebook Art page. He’s also encouraged me to go live on social media and to make videos and put them on my Youtube channel, all in order to “get myself out there” I’m talking about the paintings like I’m having a gallery talk. It has been a little daunting, I’ve been an introvert my whole life, so it’s a lot. But it’s also thrilling, once I start talking I never know what I’m going to say, sometimes it’s brilliant, sometimes idiocy, but it’s definitely out there.
During the painting process, Matt, can you describe some of your feelings that take over? Matt: Paint is dope. The highs, the lows, the withdrawal. It’s an addiction.
Tell us something about your art making that we would not typically know unless you mentioned it. Matt: I embrace ritual. I have a routine, I check
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#1777 First and Fifth 3-1-21 16x18 inches
#1789 Purple Hyacynth 4-28-21 10x8 inches
Photo of #1867 Johnson City NY.
the weather. I take to the road, I wander, I let my thoughts go from one to the next, then find myself in a parking lot. In technique, what tools do you favor, and what kind of brush strokes do you try to achieve onto the canvas? Matt: Painting is paint in action, a stroke is the body behind it, large smooth areas spread on with a pallet knife, contrast with small rough brush strokes that contrast with globs of paint mushed on with an old splayed out brush. None of this is accidental, it’s a statement in it’s own right, and it either works or fails. What reasons do you think people are drawn to your work? I think it may have to do with, I would say, ‘your-painting-on-site-crop-a-section-put-it-on-the-canvas-Matt style’…. Watching you at work on location can be very hypnotizing for onlookers, do you agree? Matt: Hypnotized onlookers? Now that’s some-
#1819 Parking Lot in Clifton Park 6-23-21 12x16 inches
thing to feed my paranoia! The “painting-in-thescene” where I’d line up the painting in the scene so it fit, sometimes quite convincingly, was popular, but ultimately a dog and pony show. Embracing prosaic realism is almost like saying “real” realism, I don’t sugar coat anything, I’m not romanticizing and I’m not idealizing, I paint what I see and let the poets write what they feel. I think my collectors get that. I always have loved your painting of the two blue glass bottles. What online presence do you have where I can view this and other works of art and possibly buy as a gift for myself, and maybe for someone I know that just bought a new home? Matt: The first place is www.mattchinian.com Do you have any special plans in the works for 2022? What do you want to explore that may be a new experience for you?
Matt: I did a series of mostly black and white paintings that were painted from drawings I did from life, they were all interiors. It was very introspective work, very quiet work. I love drawing and feel guilt for not drawing. So I’d like to have some time to draw, and see where that could go. I also want to travel, but you know, covid. “It’s all about the ------- that makes art worth my while”. Can you fill in the blank, Matt. Matt: Money. What do you hope for in the coming year that you can share? Matt: I'm hoping I can get a handle on all this marketing stuff and it opens up more time to spend on my creative work. Thank you Matt! H
THE ARTFUL MIND DECEMBER | JANAURY 2022 • 41
SUNDAY, DECEMBER 12 @4PM THE ROARING TWENTIES--BERLIN, PARIS, NEW YORK. SUMMER PARADISE
SHARON GUY H.C.B THE HELPERS, PASTEL 2019
THE ARTFUL MIND ARTZINE PUBLISHING SINCE 1994 Wishing everyone a really great New Year. Keep the inspiration going so we can stay creators and visualizers. I am so pleased at how The Artful Mind magazine has brought people together through networking, socializing and all things Art, Music and more over the past year, and now more than ever. We will keep representing and selling your beautiful art and ideas! Enjoy this issue, and please share! Check out issuu.com for issues past and present. —Harryet C. Bynack Publisher / Graphic Designer
CONNECTING WITH NATURE ART TO TREASURE My purpose as an artist is to connect with the healing power of the natural world and to encourage others to do the same. Nature is alive and infused with spirit. I constantly seek to reconnect with this spirit of nature through creating art. While I quietly observe and study land, water, and skies, the ordinary world around me is transformed by light and shadow into the sublime. I enjoy painting birds, wildlife, and scenes from the Gulf Coast to New England. My work is in private collections in the United States and Canada. Sharon Guy - sharonguyart@gmail.com, https://www.sharonguyart.com, 941-321-1218
"Painting is a blind man's profession. He paints not what he sees, but what he feels, what he tells himself about what he has seen." —Pablo Picasso
42 • DECEMBER | JANUARY 2022 THE ARTFUL MIND
CLOSE ENCOUNTERS WITH MUSIC LAUNCHES 30TH SEASON Close Encounters With Music launches its celebratory 30th season with a signature mix of innovative programs – live, in person and with a virtual option. Café music kicks off the reopening with the upbeat classical jazz fusion medleys; escape to the twenties of the former century in roaring prewar Berlin, Paris and New York. Take a Da Vinci code adventure through secret symbols buried in ancient manuscripts with Grammy-nominated A Cappella Skylark singers; head to Havana for Flamenco Dance and much more. Plus, a fireside concert; collaborations and celebrations throughout the season. Embarking on its 30th year of presenting outstanding chamber music with lively commentary, Close Encounters With Music presents a season that sizzles and sparkles with the widest swath of genres, styles, composers and instruments—and of course, the great performers who share their brilliant artistry. Upcoming guest participants include the most recent Van Cliburn Competition Gold Medalist; first oboe of the New York Philharmonic; a Tchaikovsky Competition award-winning violinist; opera, lieder, and choral vocalists; a hip-hop artist; Flamenco and classical guitarists; dance diva; and returning favorites on piano and strings. CEWM supports the renaissance of the Southern Berkshires by presenting six concerts this season at the landmark Mahaiwe Performing Arts Center. Situated in the heart of Great Barrington’s historic district, the Mahaiwe offers modern comfort in the nostalgic atmosphere of a 100-year-old theater. A seventh performance is held at the acoustically superb Saint James Place. Tickets, $52 (Orchestra and Mezzanine), $28 (Balcony) and $15 for students, are available through the Mahaiwe Performing Arts Center box office, 413-528-0100 and mahaiwe.org. Subscriptions are $250 ($225 for seniors) for the series of 7 concerts (a 35% savings!). Season subscriptions are available on the Close Encounters With Music website, cewm.org.
WHISTLING TROUBADOUR
ELIXIR From Thanksgiving through all of the weeks to Chinese New Year has always been a time of celebration. As is often the case in this plane of existence, things will turn to their opposites, which is why we see so much commercialism, excess, and superficiality during these months in our society. When we return to the original purpose of these months, we understand that this is a time meant for deepening our reflections and often grappling with finding/discovering/knowing what sacred and holy in the world around us is, in those we encounter, and within ourselves. We emerge from these inner ponderings with new insights and inspirations for our lives and have cause to celebrate our gratitude for all that we have found to be sacred and holy. Food always has a place in the reflection, as well as in the celebration, because food, when utilized at its highest form IS sacred and holy. We think of the various forms of mediative practice and lifestyle where food is conducive to those practices. Certain foods are left out of the diet such as the allium family as they enhance the root chakra and can create cravings which can detract from the spiritual practice for gaining enlightenment. For those on a different path, those same foods can strengthen and ground one to be more present in life. No matter the intended goal, it is food and its nourishment and healing properties that fuel us to move in the direction of our potential. With that in mind, we can be in “right relationship” with food, or we can become out of balance from our food choices. Most food “allergies” come from a life out of balance from earlier and ongoing food choices that are working against the natural flow of health and vitality. This is why dieting and cleansing have become part of mainstream vocabulary. All of the dieting and cleansing one can do will never help to achieve balance if one does not come into “right relationship” with the food one eats. When we understand that food is sacred & holy, and we create a lifestyle that fosters this understanding, we also understand our own sacred holy nature. One does not need to become a monk to create this lifestyle. The simple acts of taking time to prepare our food with in-
tention and to sit mindfully to eat our food with gratitude, is life changing. So, during this time of year, consider celebrating your own sacred, holy being and take the time to nourish with gratitude the temple that you are. If you would like support in finding your “right relationship” to food as well as the specific foods to enhance your potential, please reach out to www.elixirgb.com offering nutritional, herbal, lifestyle wellness consultations, food preparation instruction, and private cooking. With blessings to you during this beautiful time of year. Elixir - www.elixirgb.com
NINA LIPKOWITZ In October, 2019 after returning from a magical trip to Ireland Nina was inspired to begin painting portraits of the people she met along the way. This new and different body of work hung, basically sight unseen at the Gallery at 510 Warren Street in Hudson, NY after temporarily closing due to the pandemic in February 2019. By the time it reopened 5 months later in July, 2020 Nina had begun painting abstract meditations in mixed medium on paper and canvas. Hopefully this portrait of the Irish Troubadour, Larry Beau (Declan Burke) a mysterious, long legged, whistling Irishman will be seen again in the not too distant future. Please visit my website- ninalipkowitz.com
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ARTIST UPDATE
Photography by Ben Gebo
BARBARA ELZA HIRSCH ELZA B. DESIGN, INC. Interview by Harryet Candee If only the world can do what Oscar Wilde said: “One should sympathize with the color, the beauty, the joy of life." As you say on your website, and I agree, what is it you provide that helps this to happen when it comes to your life and your work as an interior designer, Barbara? Barbara Hirsch: I am a 3-D thinker and this allows me to synthesize color, volumes, shapes, materials, into harmonious interiors for my clients. I’ve been blessed with a great eye and the understanding that beauty is one of life’s magical gift, and that it has a profound ability to affect one’s level of happiness and mood. My philosophy is that life is very short, and one should surround themselves with beauty as much as possible on this time on earth. There is plenty to appreciate in our surroundings, and as an interior designer I work hard to create an inviting and lovely interior for my clients. On a personal level, I never cease to be amazed by skies, plants and landscapes: I find joy and inspiration on nature walks, observing colorful ephemerous sunsets, examining the complex delicate construction of
petals and leaves. I draw inspiration on trips, gallery and museum visits. I appreciate architecture and all types of materials such as steel, brass, wood, glass, fabrics, wovens, All these and more contribute to feeding my creative mind as I take on new design projects. I wonder, how do you manage to create a beautiful space if the client does not have anything you see that is workable? Beauty is ready to happen: it is always lurking quietly and ready to be shown the way. I need to immerse myself in my client’s mind to understand what is attractive to them and what works. As I walk through their space and get to understand their needs and what they are drawn to, a design vision appears in my mind and my wheels start turning. Every client has an image in their heart of what they love and aspire to, and my goal is to make sure I am the right person to guide them to their dream interior. Part of the work I do involves having potential clients do homework for me and set aside images of spaces they love or hate. This
44 • DECEMBER | JANUARY 2022 THE ARTFUL MIND
helps me figure out if I can get them to what they want. How much input from a client do you allow into your creative process? I allow a lot of input from a client as I truly believe the work is a collaboration. I see myself as a creative guide, and experience has taught me to be a very good listener and communicator. The designed space I leave you with should function for you and your family. You’re the one who will live with it and it needs to meet your sense of aesthetics and your space planning needs. The initial homework exercises I have clients do help me achieve this goal. This is a beautiful art that you do. With so much havoc and chaos we often find in our lives, you are permitted to take your paint brush and create layers of depth to make a space work. Can you share with us some of the insiders’ skills and principles that only an interior designer knows to follow? Thank you, Harryet, that means a lot to me! Some
Interior Design by Barbara Elza Hirsch
insider principles that guide my work are: Always develop the master plan first. You are not just an artist and visionary in this field, you are also a project manager, and I always start with careful measuring of the space and photography and measurements of existing furnishings or heirlooms that will remain. I then develop color schemes, mood boards and CADS (computer assisted drawings) and those need to be approved by the client before we move to the creative and research phase. Good planning is key and sets the infrastructure of the design project. Secondly, surround yourself with the best of the best in the industry. When doing bathroom, kitchen or other structural renovations, work with great builders and architects and be a team player. Develop excellent relationships with gallerists, framers, seamstresses, artisans, workrooms, vendors. In this industry, we all need each other, we rely on each other and everyone has a key role to play. Finally, when using my “paint brush” to assemble all the elements together, I consider scale, function, proportions, light, texture, color, quality and comfort in all decisions.
Photograph by Michael J. Lee
Tell us, Barbara, what is new and exciting in your life and also with your business, Elza B. Design, Inc.? I am very excited this year to announce we are working behind the scenes with an agency on a brand-new website design to be launched by the end of the year. This website will allow me to showcase my photos in larger images, offer better navigation and layout, and also explain our design process to our audience. Another important goal with the new website is to include my team extraordinaire in a more public way, with headshots and bios of everyone who works at Elza B. Design Inc. Finally, we started working on a new company online Portal this summer and it has been a fabulous tool to share documents with clients and team members. What achievements do you find to be your biggest, can you tell us about one or two of them? My biggest achievement is raising my two sons to be warm, caring and responsible young men. Being a mother has enriched me and brought me immense joy. My second biggest achievement
would be my career as principal and interior designer at Elza B. Design. Creating my firm in late 2007, at a difficult time in our country’s economy, and being able to consistently grow and weather the storms is something I am really proud of. We work closely with the construction industry and it can be challenging to be a woman in a male dominated industry. I have learned to be a team player and a great advocate for my clients, bringing empathy, humor, precision, and diplomacy to the table. What of recent, has been your most extensive, labor intensive project you have going on or have completed? What were a few of the challenges you had to directly deal with? And, were you personally satisfied with the results? Currently, I have been working on a very large interior design project with a wonderful client in Concord, MA. We have been working together for 3 years, and I’ve seen the project blossom and grow from vision, to planning, to demolition and to renovation. I’ve helped at every stage of the project. Continued on next page...
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 45
ARTIST UPDATE | BARBARA ELZA HIRSCH | ELZA B. DESIGN, INC.
Barbara’s sharp eye and talent seen here in this freshly designed livingroom space.
Reviewing architect’s drawings to give feedback on placement of cabinetry or other, helping source tile and stone selections, discussing tile layout and grout selections; researching plumbing and lighting for 5 bathrooms and a kitchen, have been some of my responsibilities. We’ve helped the client source unique wallpapers, interesting and functional furniture, custom rugs and pillows, window treatments and lighting. We are working on the finishing touches now, such as art procurement and outdoor furniture planning. Some of the challenges we have encountered were due to working through the COVID pandemic. It can be exhausting at times to wear masks all day, or try to interact with trades and vendors without the ability to read their full facial expressions; but the worst has been the supply chain and quality control issues, the crazy delays and other hardships. We have had to be very patient and work extra hard. I am very satisfied with the results and proud of this project. This client has adventurous taste and be-
Photograph by Michael J. Lee
You work mainly around the Boston area. Have you had interior design jobs that have taken you outside of your normal parameters? Designers travel a lot for their work. I’ve done projects in Maine, New Hampshire and Western Massachusetts. I love coming to Williamstown and have immediate family there, so it’s easy for me to visit clients in that area. Typically, if the project is further out of the Boston area, it makes sense to me that it be a larger scale project, such as a few rooms or a whole house.
are never a good thing, as good design happens when the pace is right. If you rush through it, details are missed, errors are made, and no one ends up happy. Extreme or thorny situations can arise when a client has difficulty trusting the process, or too many cooks are hired in the same kitchen by an anxious or impatient client, creating conflict and tension within the team. Some extreme situations over the year have included clients who second guess all their decisions and run everything by their mom and best friends, creating a nightmare of conflicting opinions. It’s always a good idea to know and trust yourself before you hire an interior designer. It’s also important to know if you prefer a small design firm approach or a more corporate, large design firm experience.
What would you consider to be an extreme interior design project for you? “Extreme” can mean so many things! It could be a potential client who reaches out and wants a full house design done in “less than 6 months”, in which case I have to decline. Extreme timelines
How does the cultural background of a client affect the way you would take into consideration the planning stages when looking at changing their living/work space? I love your questions, Harryet! I myself have a multicultural background, and hold a dual
cause she trusts the process, she has allowed me to be very creative and play with colors in an original manner. It’s been a positive collaboration.
46 • DECEMBER | JANUARY 2022 THE ARTFUL MIND
Photograph by JessFoto
Barbara with flat lays in her office
French/American citizenship. I’ve traveled to numerous countries, and I’ve lived in London, Switzerland, France and in a very international city (Washington D.C.). I understand the importance of honoring one’s culture, and adore blending elements based on this. I’ve been asked to take in consideration ketubahs (Jewish marriage contracts) and positioned them prominently in the home, I’ve had clients who have elder parents live with them and asked me to plan extra bedrooms or suits for that purpose. I’ve helped create yoga sanctuaries, meditation spaces and home shrines. But it’s not just the cultural background that can affect the design plan. Empathic listening is key, as I need to know my clients to help create their ideal space. I will want to know about allergies to certain materials, any physical limitations, privacy concerns, entertaining lifestyles, and a lot more. Is your work load getting busier now with COVID taking back stage? Quite frankly I’ve been blessed with work
throughout, except at the very beginning from March 2020 to June 2020, when we all had to shelter in place and work remotely. It’s been challenging due to the supply chain issues but we just forewarn our clients, and make the time sensitive decisions as quickly as possible. This summer we had only 2 toilets from TOTO we knew were in stock, and basically anything else was backordered for months. We were at the beginning of a bathroom renovation, which comes with a specific schedule we need to follow, to work hand in hand with the construction crew, and we needed to be very upfront with the clients about their options. Have you looked at your own personal principles of good design and gained any new insight that you will use in your upcoming jobs? Aha, you are asking me for all my trade secrets :-)! As a business owner and service industry specialist, I always re-examine our business practices and aim to learn from all experiences, good or bad. It is very important to me to gain new in-
Photograph by JessFoto
sight and apply it on upcoming projects. Someone who is afraid to grow this way is missing out. The beauty of life is also this: observe, listen, communicate; this will nourish you and help you thrive! Thank you! H Barbara Elza Hirsch | Principal, Interior Designer Elza B. Design, Inc 300 Baker Avenue, Suite 300 Concord, MA 01742 Tel: 781-859-7817 Website: www.elzabdesign.com Email: bhirsch@elzabdesign.com Facebook: www.facebook.com/elzabdesign Instagram: https://www.instagram.com/elzabdesign/
THE ARTFUL MIND DECEMBER | JANUARY 2022 • 47
of the meaning of life, not just her life, but existence in general. She had no doubt whatsoever that the bone spear tip engraved with prehistoric graffiti was just as important to its creator, 10,000 years ago, as the animal he might have been fortunate enough to kill with that spear. According to Hanna, the markings on the bone were perhaps even more important than the purpose, because of the powerful magic those marks most certainly were thought to possess. Something For Over The Couch How ridiculously paltry was my family’s art collection, consisting of one single porcelain figuPART 7 rine set on a windowsill at the bottom of a staircase. There had been two of these figurines at one “Grecian Urn” time, but I had destroyed one - fully half of our home's art collection. This is the story of those figAfter re-reading the first six chapters of this bi- urines, the one that survived, and the one that I deography of mine, it has dawned on me that perhaps stroyed, as I told Hanna the following Saturday I owe my readers, if I have any, some explanations. afternoon. One might ask, when was the manuscript written, There were two figures cast in plaster, one was and when does it take place? How old is this char- a shepherd and the other was a shepherdess. The acter, and how old might the author be? Is the story shepherd was on the left of the windowsill, and happening in the present? Or is it a sentimental re- from that position he gazed longingly at the shepmembrance of some important time in the nar- herdess, who was two feet away and looked at him rator's youth? Perhaps this narrator is a person coyly over her shoulder. advanced in years who hopes to entertain us with They were poly-chrome sculptures, glazed in colorful recollections of youth, like an overheard multiple colors, but mostly pastel tints. These two fragment of conversation narrated to any passing figures were the only sculptures I ever came across stranger in the quiet corner of a nursing home. in my childhood, except for those bronze, fullSo, in an attempt to answer these questions I sized figures of Civil War heroes in the park, and a offer the following. The story takes place in 1962, life-sized image of General Lafayette, down on Laand the narrator is 16 years old. He is describing fayette Street. I never gave any of those figures a conversations that happened between him and his thought, or even looked at them in passing, until art teacher when he was a sophomore in high one day I tripped as I was running down the stairs school. The incidents were documented in a diary with my hands in my pockets. written four years later, while the author was reAfter I tripped, I began to fall head first down covering from a long illness. Therefore, it is a rem- the stairs and I can remember distinctly how preiniscence of things that happened four years occupied I was with the problem of getting my two previous, and yet the narration of individual epi- hands out of my pockets, but to no avail. In my sodes shifts back and forth between the present and mid-air struggle, I managed to tip one of the figures the recently remembered past. from the windowsill, and so I found myself on the Coincidentally, one might forgive this clumsy floor at the bottom of the stairs, surrounded by explanation by recalling that it is the same structure shards of plaster. as The Catcher in the Rye, where the character, The shepherd was now dead; never again would Holden Caulfield, gives us a first-person account he look longingly at the shepherdess eighteen in real time, but at the end we discover that it was inches away. Fortunately, my mother was not at all written down when the author was recuperating home when this disaster befell our home. Although from an illness which overcame him at a somewhat I had never looked at or thought about the figurines later date. on the staircase, nevertheless, in the back of my So I beg the readers’ indulgence if I have created mind was a basic assumption that the objects in a narrative confused in time and place, and I offer question were valuable and prized possessions of as my excuse: If Salinger could do it, why can't I? my family, which I had stupidly half-destroyed. And now to return to our story. I did intend to The remaining half of the pair was probably tell my substitute art teacher about the art in my less than useless, but a solution jumped into my mother’s house on the following Saturday, when head, a childish solution, but the only thing a tenwe would be talking after lunch, but I would like year-old in a dire predicament might hit upon. My to point out the two reasons I wanted to do this. solution did not include any attempt to put the figFirst, I wanted to avoid speaking about my father. ure back together - quite the contrary. I cleaned up And second, I wanted to talk about the unbeliev- all the pieces and threw them into the garbage can able difference in our two households. The doctor's at the back of the house where they would not be home was full of art and artifacts, and in some discovered, even by an accident. ways could have been considered as a private muThen I took the remaining figure and placed it seum. The doctor himself had no interest in his art in the center of the windowsill. After positioning collection, but was interested in the art as a social the figure as one would any single object in such a marker and an indication of his wealth and status situation, I went across the room and viewed the in society. Hanna, on the other hand, considered arrangement from a distance, and wondered to mythe art in the house equal to the very reasons we self if this simple trick, so obvious and yet subtle exist and inhabit this earth. Every painting, all the in its own way, would suffice to deceive my mother drawings, and the artifacts in various cases and on that nothing had changed in the house. the mantles over the many fireplaces each had imMy solution was a complete success. The lonely portant stories, and those stories were the substance shepherdess remained on the windowsill while I 48 • DECEMBER | JANUARY 2022 THE ARTFUL MIND
finished grade school and started high school, but one day, consumed with curiosity, I finally asked my mother why she never mentioned the disappearance of the shepherd. She told me that after I broke the plaster shepherd, she did not know what to do. She wanted to throw the shepherdess out but she couldn’t bring herself to do it. The two figures were a wedding gift from my Aunt Lucille, and she had always hated them. Aunt Lucille and Uncle Carmen’s living room was full of hundreds of those things on little stands, shelves and tables, and she could hardly stand to go over to their house because of it. “But your father insisted,” she said, “and so I put them on the window ledge near the front door, where if they stopped by unexpectedly, like they always did, they would see them.” Once my mother said that she hated the figurines she had lived with all that time, I began to remember my visits to Aunt Lucille’s house in a new light. From the shower curtain in the bathroom to the silver Christmas tree in December, nothing in their rooms could have ever found a place in my mother’s house, so I understood that my mother had a kind of taste in things that extended beyond any simple restraints of cost. Having finished my story about the figurines, my art teacher said something mostly to herself that I did not understand. She said, “Beauty is truth and truth beauty; that is all we know on earth and all we need to know.” Seeing my look of incomprehension, she said, “Those are the last lines of a poem by John Keats, a poem about some figures on a Grecian urn, figures like the ones on your window’s ledge.” “But that statement about truth being just beauty can’t be true.” “That is correct, it can’t be true of you or I, but it can be true of those figures on the urn who, according to Keats, will love each other till the end of time.” “Or till the urn is smashed into a million pieces,” I said, beginning to grow restive, but she replied. “The fact of the matter is that even the most ordinary art object sitting someplace in a house will slowly over time absorb all the meaning and significance of one's life, unawares, and in time takes on more and more symbolic significance. This is how it was with that shepherd, which in symbolic form became an effigy of your father. Did your Mother really love your father then, to your recollection?” To this bizarre remark I replied with stony angry silence, but she went on. “So, you do see the relationship between your smashing of the shepherd when you were 10, and the obvious foreshadowing of the death of your father three years later don’t you?” “Foreshadowing is a literary device, and the death of my father happened, not in any story, but in the real world,” I replied. So, my teacher continued to dig and probe into the stony ground around the death of my father, and I continued to ignore and resist her. —RICHARD BRITELL PARTS 1 THROUGH 6, AT SPAZIFINEART.COM (SHORT STORIES)
EDWARD ACKER PHOTOGRAPHER
Time Flies D Get Pictures EdwardAckerPhotographer.com 413-446-8348
Berkshire Scenic P h o t o g r a p h y lonny@Nourishingdestiny.com
