His Twin Obsession: The Art of E.E. Cummings

September 7th – 30th, 2017

Why do you paint? For exactly the same reason I breathe.”

A selection of sketches, drawings, and paintings by E.E. Cummings (1894-1962).

It is not generally well-known that the poet E.E. Cummings was also a visual artist, who experimented with art as he did with words. He devoted as much time to drawing and painting as he did to poetry, and considered himself equally an artist and a poet. Cummings said art was his “twin obsession“; painting and writing were daily routine, both necessary means of expression. He published sketches and drawings and exhibited paintings early in his career, but ultimately withdrew from the New York art scene in the early 1930s. Art became a private pursuit as his writing increased in popularity and his reputation as a poet was firmly established. His art reflects some of the more modern and boundary-pushing art trends of the time, especially post-impressionism and fauvism, and the influence of artists like Cézanne and Matisse can be clearly seen in much of his work.

This exhibit is a selection of Cummings’ artworks curated to show a range of his artistic experiments. Most have not been shown publicly; most were probably not intended to be seen by the public.

The pieces in this show are from the collection of Ken Lopez of Hadley, MA. All works are for sale. A portion of the proceeds from sales at this show will benefit Reader to Reader, Inc., a nonprofit literacy organization.

An opening reception will be held Thursday, September 7th, 5-8pm, during Amherst Arts Night Plus.

Saturday, September 16th, 5:30-7:30pm:Flash Poetry, Spoken Word, and EE Cummings” – a special event in conjunction with the Amherst Poetry Festival, featuring readings of Cummings’ poems, poems inspired by Cummings artworks, and poetry mad-libs! Readers will include local poets Dara Wier, Lori Desrosiers, Paul Richmond, and more! Organized and emcee’d by Alison Murchie, local writer and creator of the popular monthly “Unbuttoned” spoken word evenings in Easthampton. Event starts at 5:30pm, readings begin at 6pm.

Kim Carlino: Visions of a Fragmented Landscape, Part I

August 3 – September 2

New work by Easthampton artist Kim Carlino.

Kim Carlino is an interventionist, mining the space between painting and drawing. She explores the evolutionary nature of mark making and relationships between color, geometry, line, form and design. In this series, she begins with the language of painting, creating an organic and fluid form to improvise into. This is an arena in which pattern and form engage and accentuate the contradictions, opposites and contrasts that exist in this fabricated world. These works playfully employ shifts of scale, opticality, illusion and disillusion of space and a nonlinear construction of time in hopes of finding equanimity in disparate elements. This is Part I of a two-part show. Visions of a Fragmented Landscape, Part II, will show at the von Auersperg Gallery at Deerfield Academy in November.

An opening reception will be held on Thursday, August 3rd, in conjunction with Amherst Arts Night Plus, from 5pm to 8pm; an artist reception will be held on Wednesday, August 23rd, from 6pm to 8pm.

About Kim Carlino:
Kim works in Easthampton, MA. She received her BFA from the University of Massachusetts Amherst in 2011. Her exhibits in the US include shows at the University Museum of Contemporary Art in Amherst, Caelum Gallery in NYC, ArtPrize, Gallery 263 and Bromfield Gallery in Boston; MASS MoCA, and as featured artist in the Pierogi Flat Files and Boston Drawing Project. She was a member on the team of artists that installed the 25-year Wall Drawing Retrospective of Sol LeWitt at MASS MoCA in 2008. Carlino received the Prutting Award for Painting and was the finalist for the Bromfield Solo Competition in 2014. In 2016, she received a Massachusetts Cultural Council Fellowship in Drawing and Printmaking, and in April 2016 was invited to be the Dehn Foundation Visiting Artist and Lecturer at Manchester Community College in Connecticut. In the summer of 2017, Carlino was selected for the exhibition SELECT at Garvey Simon Gallery in NYC, and will complete a public art project in Springfield, MA. www.kimcarlino.com

Q&A with Kim Carlino

How old were you when you created your first artwork?
I was in my early 20s when I made my first artwork with a capital A. However, I’ve been a maker my whole life, taking up needlework, knitting, sewing, building things, playing music, and writing stories from an early age.

How has your style changed over the years?
In my early 20s I lived in NYC and began studying Expressionistic painting with Avron Soyer at the New School. I was drawn to the emotional connection to color and the human figure was the vehicle. I would say that the interest in color has remained while the figure has been removed to focus more on interior landscapes.

Why did you choose your medium?
I wanted transparency, luminosity and the portability that paper and paper-like surfaces have. This desire led me to yupo and tyvek as my current surface of choice.

Any advice to young artists?
Keep going. It’s a marathon and requires the stamina to create a sustainable and healthy practice. Be open to failure– that’s how you know you’re on the right track.

Sticks & Stones II: Nature Finds

July 6th – 29th, 2017

An exhibit of varied works from Mary Carroll, Sharon McCartney, Bobbie Salthouse, and Andrea Zax. These four local artists celebrate the common themes that flows through their art.

Seven years ago, several artists formed a group to share work, ideas, and inspirations. Each was looking for creative community, for a way to temper the isolation of working independently.

Initially, their work seemed to have little in common. The artists have diverse styles, differing approaches, and a use wide variety of mediums and materials. Paints, textiles, hard components; small intimate pieces, large canvases, wearable art, public installations. Despite these differences, they share a dedication to creating art and an eagerness to share thoughts and ideas.

They soon learned they had much in common. All had relocated to the Pioneer Valley to embrace its slower pace and natural beauty. They share a deep appreciation for nature, which is strongly reflected in their art;  similarities in subject, surface textures, and the use of found objects in nature inspires, enriches, and connects their work. They continue to influence and inspire each other along this common path.

The intent of first Sticks & Stones show at Hope & Feathers in 2014 was to reflect the similarities found amongst their work. The concept has since developed deeper meaning for the impact they have had on each other, and the strong bond between them and their works.

This new body of work celebrates the ways that objects found in nature feature in the content, materials, and intent in their art. Viewers will enjoy the way the art works together yet still represents them as individual artists. Also on display is a large, compelling group piece: “Foundlings“; a collection of numerous small and precious pieces using found objects.

An opening reception will be held on Thursday, July 6th, in conjunction with Amherst Arts Night Out, from 5pm to 8pm.

About the Artists:

Mary Carroll: Terra Cotta Ceramics
Mary has been making pots all of her adult life. Most recently she has been exploring low-fire terra cotta; she loves the warmth of the red clay. She alters the surface of her pieces with textural objects she finds in the natural world and adds color with tinted clay slip. Terra Sigillata slip (the literal meaning is “sealed earth”) was used by ancient Romans instead of a glaze to finish ceramic work. The ultrafine slip burnishes to a lovely satin finish that begs to be touched.

Sharon McCartney: Textile Constructions
Sharon’s work is about collecting and a life-long passion for objects found in the natural world, her source of sanctuary, wonder, and personal rhythm. Birds, wildflowers and insects rendered in extensive detail, are set within layered histories of surface pattern. They have become personal icons, representing themes of vulnerability, transformation, and survival. Integral to her work is the use of layering and collage. Images are embellished with stitching and personal “text” markings.  These elements reflect encounters with the natural world where with collected views and flashes of details pass through our senses and form our experiences.

Bobbie Salthouse: Mixed Media / Assemblages
Bobbie is fascinated by cast off objects from beaches, forest floors, boatyards and other places she might pass by chance. These objects often find their way into her work, either by suggestion, or by their physical presence. She never knows precisely what’s going to happen when she starts creating and she enjoys the process of experimenting with combinations of color, texture and form. If she’s lucky she has something she’s happy with at the end of the process.

Andrea Zax: Weavings
Andrea loves the whole process of weaving. She’s always felt the relationship to life with weaving, the way we have to move on and make space for the new experiences in our lives. She learned how to weave at the Worcester Craft Center when she was 15. Along with her weaving she has worked in theater doing costume design and all facets of costuming. She has a studio at Cottage Street Studios in Easthampton where she weaves and has a bridal business. Andrea has her Bachelor of Fine Arts from Massachusetts College of Art and Design, but she has been designing costumes and clothes since she got her first Barbie Doll.

Secret Garden: Paintings by Ali Moshiri

Hope & Feathers Framing and Gallery hosts Secret Garden, paintings by Amherst artist Ali Moshiri, from June 1 through July 1.

Oil paintings created between 2010 to 2017, represent various interpretations of nature and the natural world.

Moshiri’s work is based on observations from nature, primarily landscape. His work over the past fifteen years, while still based on these observations, has veered toward abstraction, though he does not see it as such. Moshiri explains: “The ultimate result is that of the paint and the painted surface, in an attempt to capture its own nature with only minor hints or references to anything external to the painting.”  His continued experiments in the expression and abstraction of nature ensure his work is always fresh and vibrant.

An opening reception will be held on Thursday, June 1st, in conjunction with Amherst Arts Night Out, from 5 pm to 8 pm.

About Ali Moshiri:
Born in Iran, Ali Moshiri was educated in England and the US, returning to his native country for medical school. After his residency in Cincinnati, he worked at the Austen Riggs Center in Stockbridge where he met his mentor, Leo Garel, who had been the artist-in-residence and a pioneer in art psychotherapy. After a period of painting on his own, he sought guidance and instruction from Garel, developing a relationship that lasted until Garel’s death in 1999. Moshiri and his family live in Amherst. ww.alimoshiri.com

Image: detail from spring garden coral red“, oil on linen, 31×31”, by Ali Moshiri

Q&A with Ali

How old were you when you created your first artwork?
10 years old when I started oil painting.

How has your style changed over the years?
Moved slowly in 1990’s to abstracted depictions of nature. I go back and forth in different series from pure abstractions to ones with references to the natural elements.

When did you know you wanted to be an artist?
1983. When I went to my teacher to buy a painting for my first house. “$800”. Hell I can do that. Very quickly I became aware that I could not and thus began my serious attempt to try.

Why did you choose your medium?
After several years of larger gouache paintings I moved to oils that I was always drawn to. Love the lushness and the versatility.

What inspires you?
The utter thrill of getting to the point in the painting when IT begins to tell you what to do, and paint and I can abandon most of the initial intent.

Where do you work?
Studio at home. This allows me pop in for minutes to hours.

What is your creative process like? How do you work?
A tempo, color or an effect in nature that I then paint in different ways in my head and come up with a direction that usually leads to a series of 2-20+ paintings.

What do you like about being an artist in the valley?
Surrounded by great nature and other artists.

Which artists do you admire?
Pierre Bonnard, Vuillard, Diebenkorn, Arshile Gorky, Rothko, Howard Hodgkin.

What is your favorite piece that you’ve created?
Maybe the world without us is the real poem: on the opening page of my website: www.alimoshiri.com

Strength: 2nd Juried Biennial Photography Show

April 6 – May 27

Strength. Inner or physical. Actual or symbolic. What does strength mean to you?

Thirty-four photographers answer this question in the 2nd Biennial Juried Photography Show. Juried for First, Second, and Third place awards by three nationally recognized photography experts: Stephen Petegorsky, Stacy Waldman, and Frank Ward. Cast your vote by paper ballot for the People’s Choice Award!

Award Winners:

1st Place: Sara Lechner, “The Source
2nd Place: Joanna Chattman, “Softness is Your Strength
3rd Place: Sloan Tomlinson, “Cernunnos
People’s Choice: Diane Norman, “Fortitude

Jurors:

Our three esteemed judges represent academic, professional, and commercial aspects of the photographic arts.

Stephen Petegorsky:

Stephen Petegorsky is an artist and freelance photographer. His work has been exhibited internationally, and is in collections throughout this country as well as in Europe. He graduated from Amherst College, and later received an M.F.A. in Photography from Rhode Island School of Design. He has taught at Amherst College, Smith College, Hampshire College, and the University of Connecticut. www.spphoto.com

Stacy Waldman:

Stacy Waldman is a prominent dealer and collector of vintage and found vernacular photography, specializing in 20th-century snapshots. Photos that she has found have been included in numerous exhibitions and publications throughout the world (including the popular Miss Peregrine’s Home for Peculiar Children books). In 2015, she curated the “It’s a Snap!” exhibition which featured found anonymous snapshots from some of the most important collectors of found photography in the United States. Currently, her collection of early 20th-century lantern slides are on exhibit at the Cleveland Print Room in Ohio. She can be found, selling and collecting, at photography and ephemera shows throughout the country and abroad, as “House of Mirth Photos”; and at her gallery and shop, “Spot 22” in Easthampton, MA. www.houseofmirthphotos.com

Frank Ward:

Frank Ward is Professor of Art and coordinator of the Photography Program at Holyoke Community College. He has been a Visiting Lecturer at Smith College, Amherst College and the Institute of American Universities in France. Ward has received grants, fellowships and awards for his photography from the National Endowment for the Humanities (2016-2017), the Massachusetts Cultural Council (2011), The Packard Foundation and the Center for Balkan Development (1996-2000), The National Endowment for the Arts and the New England Foundation for the Arts (1991) and as a Cultural Envoy in Photography in Uzbekistan and Tajikistan for the US Department of State (2012). www.fmward.com

Finalists:

Camryn Adams
Alexa Briggs
Greg Brown
Leah Caldieri
Joanna Chattman
Jim Gambaro
Hope Gray
Meredith Jones
Melissa Karoutas
Bernie Kubiak
Sara Lechner
Linda Leighton
Julius Lester
Marilyn London-Ewing
Sara Lyons
Arthur Mange
Conrad Marvin
Mara Meagher
Ian Moraino
Jodi Nicholas
Diane Norman
Chris Page
Julian Parker-Burns
Paul Pereira
Tom Pitta
Darren Port
B.Z. Reily
Dave Rothstein
Anja Schutz
Lita Sorensen
Paul Specht
Jill Toler
Sloan Tomlinson
Lori Whalen

Miniature Menagerie: Stories in the Making – Paintings by David Hyde Costello

Hope & Feathers Framing and Gallery hosts “Keeping Our Heads Above Water”, paintings by Leverett artist Susan Valentine, January 18th through February 25th.

Late this past summer, Susan acquired a kayak. She explains:

“Leverett Pond is a tiny walk from my studio. On the pond, I was inspired to slow down. I spent many a day on the water’s surface, tooling around and being nurtured by the views, the creatures, the plant life. 

These vertical canvases arose from those experiences. I used my phone for reference photos… Inspiration for the format of these paintings. I liked the way this vertical view led me from the plant life below my boat all the way to the sky. Some of these paintings are collaged interpretations and others are representative of what I really saw.

Since November 8th I have been in a state of confusion/depression. I’ve been transported to the promise of a nation I don’t recognize, force fed by a faction which voted, in desperation, humanity’s dark side. I found myself locked in a downward spiral; feeling helpless and useless. Feeling less than my usual self and far less than contented.

Nevertheless, I step up to the canvas again and again. Persistence pays off. November was a tough month. By December, though, I found that my heart had lifted a touch… And once again I began to be nurtured by the act of painting pictures. There is power in making one’s own happiness and I began to feel more positive, more awake and more myself.

I hope that something of the ease I find in this process is transmitted to the viewer. And out of that respite, activists may return to the job at hand more effectively, renewed by having spent some time with my first summer on the pond.”

Susan’s intention is this exhibit be a respite from what is likely the most important issue of our political/social times. She’d like people to feel that they’re in good company here in the valley, and that the job ahead of us is paramount but we need to take care of ourselves to be effective.

A reception will be held on Thursday, February 2nd, in conjunction with Amherst Arts Night Plus, from 5pm to 8pm.

About Susan Valentine
Susan studied first graphic design, then painting at Greenfield Community College. She has held studio space at Leverett Crafts & Arts in Leverett since 2013 and very much enjoys the support of the community of artists there. Her work has been in numerous group and solo shows in western Massachusetts since 2012. www.susanvalentineart.com

 

Keeping Our Heads Above Water: Paintings by Susan Valentine

Hope & Feathers Framing and Gallery hosts “Keeping Our Heads Above Water”, paintings by Leverett artist Susan Valentine, January 18th through February 25th.

Late this past summer, Susan acquired a kayak. She explains:

“Leverett Pond is a tiny walk from my studio. On the pond, I was inspired to slow down. I spent many a day on the water’s surface, tooling around and being nurtured by the views, the creatures, the plant life. 

These vertical canvases arose from those experiences. I used my phone for reference photos… Inspiration for the format of these paintings. I liked the way this vertical view led me from the plant life below my boat all the way to the sky. Some of these paintings are collaged interpretations and others are representative of what I really saw.

Since November 8th I have been in a state of confusion/depression. I’ve been transported to the promise of a nation I don’t recognize, force fed by a faction which voted, in desperation, humanity’s dark side. I found myself locked in a downward spiral; feeling helpless and useless. Feeling less than my usual self and far less than contented.

Nevertheless, I step up to the canvas again and again. Persistence pays off. November was a tough month. By December, though, I found that my heart had lifted a touch… And once again I began to be nurtured by the act of painting pictures. There is power in making one’s own happiness and I began to feel more positive, more awake and more myself.

I hope that something of the ease I find in this process is transmitted to the viewer. And out of that respite, activists may return to the job at hand more effectively, renewed by having spent some time with my first summer on the pond.”

Susan’s intention is this exhibit be a respite from what is likely the most important issue of our political/social times. She’d like people to feel that they’re in good company here in the valley, and that the job ahead of us is paramount but we need to take care of ourselves to be effective.

A reception will be held on Thursday, February 2nd, in conjunction with Amherst Arts Night Plus, from 5pm to 8pm.

About Susan Valentine
Susan studied first graphic design, then painting at Greenfield Community College. She has held studio space at Leverett Crafts & Arts in Leverett since 2013 and very much enjoys the support of the community of artists there. Her work has been in numerous group and solo shows in western Massachusetts since 2012. www.susanvalentineart.com

 

 

RSVP for Artist Reception – February 2nd, 2017

A Sneak Peek…

6th Annual Small Works Show

November 28, 2016 – January 14, 2017

The sixth annual Small Works Show is here! Featuring 100+ works by local artists—from photographs to paintings, illustrations to sculptures, the show features works in all mediums. Prices range from $35 to $500. All works cash-and-carry!

Please join us on Thursday, January 5th, 5-8pm, during Amherst Arts Night Plus, for a free raffle for a chance to win one of the remaining small works, winner’s choice! (note: you must be present to win – drawing will happen around 7.15pm).

Info for Artists: 

A big THANK YOU for showing your wonderful small works in our gallery! It’s been a pleasure to show your work, and to meet so many of you. 

Payment: we mail out checks for sold work in three batches. Some of you have received payment already. The next batch will go out after the Reception / Arts Night Plus and the raffle. The third batch will go out shortly after the end of the show.

Unsold works will be available for pick up January 19-31, during business hours. If your piece sells by the end of the show (the 14th), we’ll let you know so you don’t have to waste a trip.

If you have any questions, please call or email us!

Jam Side Down: Mosaics by Isabel Margolin

Hope & Feathers Framing and Gallery hosts Jam Side Down, mosaics by Amherst artist Isabel Margolin, November 2nd through 23rd.

Isabel Margolin’s path to mosaics was a result of several paths not taken. Specifically, had her second grade teacher not cited her artwork as a demonstration of how not to draw; had her lack of manual dexterity and 20/20 vision not prevented her from competency in a jewelry course; and had her attempts in pottery not resulted in unintended malformed objects, she might never have signed up for a weekend course in mosaics, where her native inclination for creating patterns with color, texture, and materials found fruition. Add a risk factor — because her mosaics are done in the indirect method — and the synergy between artist and medium is complete.

Isabel creates mosaics via the indirect method: materials are placed face-side-down on sticky paper, then turned over onto a bed of cement. It is through a certain controlled randomness, a willingness to cede expectations to gravitational forces and sticky tape, that she applies the indirect technique to expand the boundaries of this art form. It is a process of chance, choice, and discovery.

Isabel’s mosaics are also available for purchase in our online shop.

About Isabel Margolin:
Isabel has been creating mosaic art since 2009, and exhibiting her work since 2011. Her art has recently shown in juried exhibits at the Society of American Mosaic Artists in San Diego, CA, and Philadelphia, PA; and the Museum of Biblical Art in Dallas, TX. She currently resides in Amherst, MA. www.isabelmargolinmosaics.com

Q&A with Isabel

What inspires you?
Wallpaper, fabric, sewer covers, fashion, art, marbles, and the list continues. It is inspiring to look at the arts in different cultures and at different times: samplers from the 1800’s, modernist jewelry by Al Smith, ceramic decoration by William Morris, or the dynamic Memphis Movement. Some of these artists were products of their environment, others changed their environment.

Where do you work?
I work in my son’s old bedroom. It can feel fairly cramped with a large bed and five bookcases filled with jars containing glass. Even the cat has trouble navigating the narrow path to my work desk. That said, not having designated studio space has not impeded my work or creativity.

What is your creative process like?
I use a technique called the indirect method. This means that I place pieces of cut glass face-side-down on sticky paper. Because much of the glass I use has a black film on the back, it makes it difficult to figure out the effectiveness of my color choices. It is also difficult to judge whether the pattern is well-executed, or a mish-mash of ideas. Where most artists’ shun the indirect method, and I am sure you understand why, it gives me permission to be daring. In other words, it really ups the learning curve. I usually begin a piece with enthusiasm; but after a few evenings, my initial confidence turns to anxiety. My faith is slightly restored by the end of the process, but I am never really certain whether the piece is a success until the cement has dried and the grout has been applied. When it works, it is magic.

Advice to old artists:
Art, any type of art, enhances your daily life. Just the act of going to a museum makes your world view expand. Don’t let limits like age, race, gender, or class, stop you. Find a medium that inspires you and get to work.

Earthlings: Paintings by Perry Carter

Hope & Feathers Framing and Gallery hosts Earthlings, paintings by Northampton artist Perry Carter, October 6th through 29th

As an artist, Perry is inspired by the unique personality and spirit of her subjects, and she strives to convey what speaks to her, and perhaps amplify some aspect of their individuality through the medium.

Sometimes it’s downy feathers or soft fur juxtaposed with a tough, weathered spirit that ignites her curiosity… or the subtle combination of emotional vacancy and fear flashing in the eyes. Maybe she’s magnetized by the hard angles and dramatic intensity of a creature’s aura, or the evolutionary wonder of the spectacular palettes of wings. Rather than merely capturing a likeness with her brushes, she strives to express something ineffable in her work.

Color, or its absence, is inevitably part of a subject’s unique ‘atmosphere,’ and for her, oils provide the ideal medium. The world teems with fascinating creatures we so rarely take the time to fully appreciate, given today’s nonstop pace, in which doing is valued over being. And yet we are all part of one invisible, sacred web of being. Perry’s paintings are her attempt to explore and convey facets of these worlds-within-worlds.

An opening reception will be held on Thursday, October 6th, in conjunction with Amherst Arts Night Plus, from 5pm to 8pm.

About Perry Carter:
Perry Carter is a self-taught painter with a background in photography and interior design. She primarily works in portraiture, inspired by Earth’s many creatures. Her work has appeared in magazines, newspapers, websites, and CD artwork. She recently received a grant from The Turkeyland Cove Foundation for a painting residency on Martha’s Vineyard. In addition to her painting career, she maintains a private psychotherapy practice in Northampton, Massachusetts, where she lives with her talented musician husband and their two kooky spaniels.

 

 

Q&A with Perry

How old were you when you created your first artwork?
My father was an architect and my mother had a degree from RISD in illustration, so I grew up in a family focused on art and design. I picked up photography at a very young age and followed our family pets around taking photos of them. Some of the families in my neighborhood had had professional family portraits taken by a local photographer named Arthur Whitty who liked to shoot in natural lighting with very New England-y settings. I started copying his style, making my 8 year old friends pose against birch trees or stretch out in the grass pretending to be in a field of flowers. It was very corny, but it’s interesting to me now to see how those seeds are still evident in my creative work, through my focus on nature, people, and portraiture.

When did you know you wanted to be an artist?
As young as age 6, I knew I wanted to “find my passion”–something I loved and was good at. I was aware that if you loved your work, life would be much more interesting. I also felt very insecure as the youngest of six children, and wanted reassurance that I had value as a a person because I was “good at something.” So if I tried an art form for fun, I quickly put a lot of pressure on it to be “my passion.” I approached my interests obsessively but also commitment-phobically, like a bachelorette who’s afraid to settle down. It took me a long time to untangle that.

Why did you choose your medium?
I studied writing, music, photography, ceramics, the healing arts, and interior design before discovering painting. I took a break from my psychotherapy practice to pursue interior design training about 6 years ago, and finally took my first drawing and rendering class! We had to learn to convey our interior design ideas using markers and gouache. The teacher was a painter, and somehow I moved from the class assignments to buying canvases and paint. Like my first photographs, my first little painting was of my dog. Something clicked for me about the freedom, simplicity, and privacy that painting offered, which I hadn’t found in other mediums. I started with acrylics and moved on to water-miscible oil paints, which I adore. I have still never taken a painting class!

Where do you work?
I work out of a studio space in my own house. I find it easier to weave painting into the fabric of my life by living where I paint. My husband Russell (“Lord Russ”) is a musician and works out of a studio space in our house as well, so we both prioritize creative expression. I think I might have abandoned painting like everything else if Russell hadn’t been so encouraging of me from the start.

What is your creative process like? How do you work?
The only consistency in my process is that I inundate myself with images while gestating ideas for a new painting. I like to stay inspired, but ideas can come from anywhere, and often have no connection to what I thought I was setting out to do. If I start a new painting and it doesn’t feel right, I might abandon it early on. Other times, I push myself to finish things for the discipline. Sometimes I meditate for guidance on a painting!

What do you like about being an artist in the valley?
Being an “emerging artist” in the valley, I’m still discovering the riches of the art community. I really appreciate the wealth of interesting, creative people here–the writers, musicians, painters, and other artists–and the wide range of opportunities to see or share art in galleries spaces both large and small, humble and prestigious. It’s inspiring to live in a place where so many people prioritize their creative work above material wealth, often living very simply in order to do what they love.