December 12 - February 7
Note: Due to COVID, we are dedicated to being safe, for us and our patrons. The exhibit is virtual as well on-site window viewing via the building central hallway. Any inquiries can be made by contacting , and purchases by calling the gallery at 845-525-1509. Arrangement for pickup at the gallery will be by appointment.
Joanna Jacobi, Laura Johansen, Ray Lagstein, Eric David Laxman, Eleanor Grace Miller,
Ellen Murphy, Susan Shaw, Cassie Hyde Strasser, Peter Strasser, Margery Theroux,
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I work observationally from the stuff of everyday life. Objects find themselves in arrangements by chance, by being left behind, set down and forgotten. They pile up in a chaotic way. The clutter becomes a metaphor for the pressure of time and space we live in. I look for a world that is created by the environment of the clutter. Thus an object can blend with a neighboring object to create a new image, a new language to deal with the chaos. Sometimes these images take on a human expression, a figure or figures, sometimes they just suggest.
These environments are ambiguous. Through examination of these forces on our day-to-day lives I try to create images that are relatable, that the viewer can immediately respond to and perhaps to realize this chaos is universal, part our world today.
Click on images to enlarge
It took me years to understand that it is organic for me to paint what I feel.
To paint as the feeling dictates, at that moment.
It is a different challenge for me to paint what I see.
Almost a different part of my brain, a different folder in the creativity window.
I delight in knowing that I can step in and out of these brains.
Or juggle them a little and see what comes up.
Colors are like beautiful notes coming from a silken voice.
In tones. And blends.
Just as a singer will choose different colors for his expression,
The painter does the same.
A good vocalist can deliver prescribed notes,
with the hum of his heart at that moment.
Same with the painter and his brushes.
This describes how I paint.
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Trees and timbers have always had an important role in my life. I love the organic rawness of a tree in its natural shape. I am always humbled by its beauty and strength and amazed at its versatility. As a past furniture/cabinetmaker, contractor and historic restorer I also have always enjoyed manipulating wood with hand and power tools to create the finished product, be it a table or an entire house.
I have a passion for print and fabrics with a collection well over 200 yards. These are mostly cotton quilting fabrics used for modern baby blankets. When the pandemic hit, I had a fabric to hide the smile of every member of my family; including my 14 year old son. Most of these masks skew to the child/pre-teen in size and style and a few adult-sized with some bright, fun fabric for these dark times.
Cassie Hyde Strasser
I am looking to describe humankind with a concise, adaptable, and universal image or symbol. This “Universal Human” symbol must represent not only the multitudes, but also must allude to the individual. The stylized human figure that I use in my art has been flattened and made gender-neutral. In this particular piece the translucent figures have been suspended in glass blocks. The glass acts as a metaphor for the isolation we are all feeling in our lives today brought on by COVID19 and other social and political conditions. The “people” are each stranded in their own world, unable to reach out or touch one another and only sometimes overlapping.
Eric David Laxman
Sculpture is a personal journey and exploration that helps me interpret and make sense of the world around me. I have physically wrestled with hard stone and metal in order to develop a means for integrating disparate elements into coherent abstract and figurative compositions. This is fueled by a desire to express the themes of transformation,
growth, balance and movement.
It is my intention to create sculptures that seem spontaneous and inevitable using a process that is extremely labor intensive and deliberate. Seeking is a constant; to transform my materials while at the same time respecting and acknowledging their unique properties and their raw fundamental nature. This duality, a recognition of the discreet parts and
the creation of a new unified whole is the essence of my creative process.
Cutting, drilling, splitting and breaking marble and granite; forging, welding and reassembling steel, bronze and stainless steel has become a metaphoric struggle for achieving balance.
Found objects have a unique and mysterious history and when combined together can create a new and equally compelling story. Reacting spontaneously to the shape, textures and essence of these raw materials I am able construct new realities and access fantastical and playful realms.
I picked up a tube of metallic gold acrylic paint, and thought about using it as a background color. I worked with very small paintings as a beginning.
Eleanor Miller, who knows more about the arc of art than anyone I know, related to me that many years ago when the world was simpler, it became a custom to have family wealth turned into precious metal and used in a miniature painting. “Portable wealth” that could be stuck in a cloak or a pocket if a quick getaway was necessary.
This fascinated me, and I started to incorporate gold, silver, and then copper into small paintings on paper. The most interesting side effect occurred when I began to edit, trimming small pieces off the work before matting them. I was loath to throw the scraps away. The paints were simple colored plastic, but they had alchemized into precious metals.
Eleanor Grace Miller
The COVID pandemic is not unlike a game in its mix of skill and luck: the seemingly endless cures and treatments, behaviors and adaptations, rules and guidelines, achievements and failures, experimentation and creativity, and both a source of great loss and great ingenuity.
I’ve gone from working with clay to working with paper mache. The surprising flexibility and strength of paper opens new avenues of creativity for me.
Andre Voumard, an artist with many colors and great diversity, seems to find his art in all elements of nature as is evidenced by his special Autumnal mobiles.
Joanna Jacobi has been making jewelry for 10 years. Her brainchild, JOJO SMASH, is a line of mood-driven statement pieces that never cease to surprise and delight.