Friday, October 28, 2011


Image detail- Anne Flynn
Anne Flynn takes the cake (or the cupcake :)! in this case, when it comes to delving into the deeper meaning of a simple object.The recipe for her confectionery exploration, start with a rich imagination, infused with metaphor, fold in a poetic sensibility blended with sweet and evocative color, add a heaping tablespoon of humor, and bake over time. Savor the experience. I'll let Anne take it from here:)!

I am interested in the relationship between image  and  meaning, especially  images that arise in dreams, imagination and fantasy. As a product of psyche, these images have multiple valences that arise both from personal history and from the collective through culture. My painting is about my process as these images arise and engage me. I do not start with a specific intention. Instead I allow the unconscious meaning to meet me in the work and express itself. It is often many months before the meaning of the piece becomes clear.

 For the Crop Circle project,  I was given  cupcakes from the local market as a focal point . As I began engaging the image of the cupcake I found myself thinking about what a cupcake might represent apart from its literal existence as  a confection. What might cupcake conjure up  in the poetic world of our psyche?

Marcel Proust very famously used the idea of the taste of a small cake in evoking the themes of of memory and nostalgia in his extended reverie "Remembrance of Things Past" when he wrote:

"Many years had elapsed during which nothing of Combray, save what was comprised in the theatre and the drama of my going to bed there, had any existence for me, when one day in winter, on my return home, my mother, seeing that I was cold, offered me some tea, a thing I did not ordinarily take. I declined at first, and then, for no particular reason, changed my mind. She sent for one of those squat, plump little cakes called "petites madeleines", which look as though they had been moulded in the fluted valve of a scallop shell. And soon, mechanically, dispirited after a dreary day with the prospect of a depressing morrow, I raised to my lips a spoonful of the tea in which I had soaked a morsel of the cake. No sooner had the warm liquid mixed with the crumbs touched my palate than a shudder ran through me and I stopped, intent upon the extraordinary thing that was happening to me. An exquisite pleasure had invaded my senses, something isolated, detached, with no suggestion of its origin. And at once the vicissitudes of life had become indifferent to me, its disasters innocuous, its brevity illusory - this new sensation having had on me the effect which love has of filling me with a precious essence; or rather this essence was not in me it was me. I had ceased now to feel mediocre, contingent, mortal. Whence could it have come to me, this all powerful joy? I sensed that it was connected with the taste of the tea and the cake, but that it infinitely transcended those savours, could, no, indeed, be of the same nature. Whence did it come? What did it mean How could I seize and apprehend it?

For Proust, the madeleine was an image invoking involuntary memory. How would I apprehend the cupcake? 
Gone But Not Forgotten- Cupcake Parchment,Plexi, and Wood- Anne Flynn

The first painting that came out of this process was a straight image of the objects, or was it?  Perhaps it was the sheer giddy indulgence I felt when I ate one that prompted me to think of the analogy to the feeling of first love. The second painting was "The Garden of Eden", in which the cupcake started to represent something about temptation, and at the same time the regressive pull into the blissful state of merger before consciousness.  Next, the  cupcake dress appeared, which seemed to be addressing  ideas about femininity. This lead to the series of ufo cupcakes, at which point I found myself thinking about the wonder of looking at such a familiar object anew,  without any preconceived ideas. Next came  the monoprints with the biological forms drawn into the paper cups, and finally the piece entitled "Gone But Not Forgotten" in which many brown  empty cupcake cups are coiled into a pine  box  encased with a transparent lid. 

For the nine weeks since inception of this project, the cupcake was alive and generative as an image, rich in potential  meanings for me. As with any other process, it had a life of its own that is reflected in the progression of the work. Engaging with it expanded my understanding not only of cupcakes but of the unfolding creative process itself. 

Wednesday, October 26, 2011


Image by Jay Foster

It's almost here!!! The opening of the show is this Friday from 7-9PM.Fine Artists,Fine Farmers, Fine  Musicians, and Fine Food! So come on down and support our local farmers and other artisans!!!

I've been slacking on the posts and the painting as of late because I've been scurrying around getting the spaces ready and attending to the last minute details. Some of the work is still coming in! And its looking like over 90 works for this event!!!! (A word of warning, if one is expecting to view 90 still life paintings you will be in for a surprise!). Lee Cordon, a late comer to the event (but definitely worth the wait!), delivered four gorgeous paintings today. Her piece on Gustafson's Farm is stunning.Anne Flynn's interpreted works inspired by the cupcakes of La Palette have to be seen to be believed.

I regret I haven't had a chance to represent all of our local farmers or those participating in the Farmer's Market but that work will continue for me through out the year!I would like to say a special thanks to Steve Shappy, the owner of the building, for being so supportive of this show, and the one's in the past, as the Porter Street Artist's Collective. Doreen Breen, the force behind the  Farmer's market and promoting the artisan's in the area, is especially deserving of our thanks! And Eileen Coladarci ROCKS!!!!!!


  Exhibition Hours 
 Saturday,October 29th thru  Sunday,November 5th
 or by appointment 

Thursday, October 20, 2011

Bill Gusky in Crop Circle!

The Saint of Suburbia- Bill Gusky
I think Bill Gusky's, (a multi- talented, multi-media artist, and author), words speak more clearly to the motivating spirit instigating this project than I can express,so I gladly hand the keyboard over to him! Thanks Bill!

My take on Crop Circles -- Bill Gusky

My family moved to Watertown well after regulations and costs and a host of other factors had begun to do in the local farmers. It was my distinct pleasure to experience these rural spaces as a teen-ager for hours at a time, as the sometimes tacit guest of farmers who had little reason to be so generous.

Drink in a New Century- Bill Gusky
 Henry Church very graciously allowed me to roam his fields as I learned to make art from the landscape. His children Henry and Maria were also very accommodating. I recall watching Maria dive into the partly frozen pond one late-winter afternoon. I spent hours drawing the buildings and animals, sitting in the shack down by the pond watching the sun move window light across the old wood floor. I remember the amazing smell that lifted off the wild plants when the sun hit them in late October.

I recall a first snow, fat white tufts that made the huge volume of air over the fields visible. I recall a watercolor painted at 1 a.m. in early November, steam lifting off the pond in full moonlight. The washes kept freezing into crystalline patterns and I had to breathe on them to get them to settle into the paper. I learned a lot about drawing and painting on that farm. I owe the Churches a lot for that.

Peter Plungis spoke to me at length when he found me sitting outside his house one evening, drawing an outbuilding the open door of which revealed a large tool with a long bent wood handle. His hands were big as frying pans and they swallowed mine up when he shook it. I courted my wife out on the other side of his property, in winter wheat grown tall and heather green, her pink sun dress echoing the flecks of cloud in the peach-colored twilight sky. You get a few perfect visions in life that you want never to let go of; for me that's one.

Feed the Beast- Bill Gusky
 Further down route 63 I sometimes diverted onto a dirt road that coursed up a tall hill between corn fields, studying the great murders of crows that congregated after the harvest. I was amazed by their social structure, the way they'd post sentinels who always announced my entry into their boundary, the way one crow would make a distinct call and pause, waiting until another made the exact same call a few moments later. The blue jay they'd slaughtered for whatever reason, laying in the road, the back of its head pecked out.

I became lost for a time after my first year of college. Almost as a reflection of that I began walking out among the farms late at night. I usually walked down Linkfield Road past Gustafson's farm, where the road seems to ride the crest of a hill and the apple trees plunge to either side, into rolling waves of land. A giant tree, maybe an elm, had died some years back, all its limbs had been hacked off and this massive peeling trunk seemed to stand guard outside the always-immaculate white buildings. Linkfield wound around into Basset, and with no street lights and no flashlight it was often pitch black, with a pale sifting of starlight or the merest hint of  a moon that sometimes rose as I walked. Someone owned fields down that way as Basset turned toward Northfield Road, and I still don't know whose fields they were. But one night in May, probably 2 a.m., a full moon gleamed on long silver grass that blew in the waves of unseasonably warm breezes. I crossed the barbed wire and flopped down in that grass, becoming one with that perfect place and time.

Headlock-Chumley-Startled Stewardess-Orgasmic Cat-Bill Gusky
 So the farms around here have affected me greatly. These experiences are built into who I am, even if I don't generally paint landscapes anymore. My painting for Crop Circles, Just a Local Sheep, is just a goofy celebration of the growing popular realization that local farms and farming are very valuable resources. It's exciting to think that we may be teetering on the cusp of an American rebirth in which small farms find new life. Imagine kids today in greater numbers than since the 1950's, being allowed again to live out full lives and careers in a tight relationship with the land, with crops and animals. It's a sweet vision.
-Bill Gusky

Bill Gusky-Digital Stereo-Scopic Image
  Image Left
The Inertia Garden (Meditation Availed Deeper Insights, image 9 of 21) -- 2011 -- right-side image of digital stereoscopic pair-Bill Gusky

Bill Gusky's Statement
My work brings together visual data from a variety of cultural sources: old TV cartoons, lottery tickets, internet memes, old candy wrappers, packaging, family photographs, decorative patches and print ads, to name just a few.

I paint elements from these disparate sources, as well as original elements, using a range of styles, from expressionistic to hard-edge, abstract to realistic, or in imitation of a specific industrial arts, graphic arts or international style.

The result of all this is that each of my paintings is a kind of knot in a massive multicultural multi-temporal tapestry. My process enacts the hyper-connectedness of this era in which everyone is a cultural processor. We're forced by circumstance to gather from the elements that constantly stream in from around the world, to break them down and use them to build memories and lives and art and, to the degree that it's possible, a useful understanding of our place in the world.
To see more of Bill's work go to

Saturday, October 15, 2011

Matang Gonzales in Crop Circle!

Matang Gonzales
Matang Gonzales
Matang Gonzales, feeling the need to create and become more involved in the local art scene, enthusiastically signed on when he was asked to participate in the Crop Circle Show and we are excited to have him!
One never knows what will manifest from this artist's mind and hand whether it be drawing painting,sculpture or animatronics! One thing is for sure, there will be a completely different take on  his foray into the Farmer's Market than one would expect  and I personally can't wait to see what becomes of it! 

Matang Gonzales

After several shows in NYC, with favorable reviews from the New York Times, Matang Gonzales stepped away from the world of fine arts, and focused on commercial illustration and product design. Working and studying under many talented conceptual artists and designers, he sharpened his knowledge and skills and eventually became the Design Director of ToyBiz, the Toy Division at Marvel Entertainment, a position he held for four years. He has since returned to rural Bethlehem CT, where he continues to illustrate and design toys for various clientele and license holders, including Marvel, Mattel, Disney and Nickelodeon.


Matang Gonzales

 For more information on Matang or to contact this artist see the links below.
Matang’s link and corporate resume
 For more in -depth biographical info check out Eileen Coladarci’s blog
For a variety of projects he has worked on see this one.

Kathy Good in Crop Circle!

Kathy Good
 Kathy Good has shown her paintings professionally since 1996 throughout New England. 
Kathleen, as I call her, and I first met at 70 Bank Street artists in Waterbury, Connecticut. 70 Bank Street, was a collective of artists of which Georgia Sheron, also in “Crop Circle”, was a co- founder in the early '90's.   Kathleen’s earlier work embraced seductive surfaces of refined wax and subtle pigments integrated with delicate layers of embedded text. These mysterious pieces denoted a slow evolving personal history assimilated into her Berkshire Hills subject.
Kathy Good
Her recent works are raw perceptual translations of the coastal landscape she currently inhabits in Providence, Rhode Island. Her freshly, vigorous paint handling, provokes transcendental sensory after-images of ocean atmosphere and long low horizons, far different than the close and ethereal woodlands she formally portrayed. These current works indicate an intensity of emotional response to place and the particular poetic nature of its forms.
Kathy Good has been the recipient of several grants and awards from the Connecticut Commission on the Arts and has been included in multiple exhibitions in association with the commission.
She has been a visiting Artist and grant recipient at Weir Farm, Ridgefield Ct. She has been selected for a number of notable exhibitions such as; the “Connecticut Visions” biennial at the Mattatuck Museum of Art, Waterbury CT., Newport Art Museum, Newport, RI., Art of the Northeast, Silvermine Art Gallery, New Canaan, CT., The Bowery Gallery, NYC., and an exhibition of Landscape at The Washington Art Association, Washington Depot, CT, curated by Elizabeth  MacDonald and Liz Dexheimer.

Kathy Good

 Along with interacting visually with the landscape Kathleen is also a master gardener. Kathy writes;

“By observing the continuous transformations of the natural world, as well as the physical act of toiling over perennial beds - life becomes lighter,and sensible”.

Tuesday, October 11, 2011

Ruth Miller at Lohin Geduld Gallery NYC This Thursday!

Ruth Miller

Ruth  Miller will be having an exhibition of her work at the Lohin Geduld Gallery in New York  from October 12th- November 12th,2011. The Artist's reception is this Thursday October 13th from 5PM-7PM.

Ruth Miller lives and works in Litchfield County, Connecticut.She is a member of the National Academy of Design and the  still life association "Zeuxis". 
Ruth Miller
Ruth's still life works are not about the faithful representation of the observed, but a visual portrayal of an underlying geometry sensed in her tabletop orchestrations and translated in paint. Time is required in both the making of her work and the appreciation of these paintings. Subtle color transitions, edges both veiled and crisp, and the breathing shapes in between, quietly unfold a moving space of push and pull that lingers in the memory.One experiences the pleasure of seeing and the mystery of the everyday,when time is taken to thoughtfully consider these pieces.

American Artist Magazine featured Ruth in an article on the Zeuxis group, by Michael Gormley (February 2011).  The Zeuxis association, founded by Phyllis Floyd in 1994, takes its name from the legendary Greek tale of a painting competition between Zeuxis and Parrhasius.
Ruth Miller
 (The Story of Zeuxis and Parrhasius)
Ruth Millers works can be found in the  public collections of the Delaware Art Museum,University of Delaware,Corcoran Gallery,Bryn Mawr College,National Academy of Design, Hood Museum, Dartmouth College,Eleanor D. Wilson Museum, Hollins University.
Ruth Miller

She has  also been the recipient of a number of important awards and grants such as; 
The Oscar Williams and Gene Derwood Award, The New York Community Trust, 2003
Henry Ward Ranger Purchase Award, National Academy’s 175th Annual Exhibition, 2000,
Benjamin Altman Landscape Prize, 
Emil and Dines Carlsen Still Life Award, 
Ingram Merrill Foundation Grant, 1995, 81, 
Academician, National Academy of Design, 1994, 
Associate, National Academy of Design, 1994,
Hirshberg Company Award, Maryland Regional Exhibition, Baltimore Museum of Art, 1961.

Ruth Miller is currently represented by the Lohin Geduld Gallery in New York.

For more information on Ruth Miller and Zeuxis click on the links below.

American Artist Article by Michael Gormley February 2011.

The Story of Zeuxis and Parrhasius

Ruth Miller Drawings:A Retrospective
John b. Hurford’60 Humanties Center, Haverford College

Brooklyn Rail Article by Deborah Everette
Lohin Geduld Gallery

Monday, October 10, 2011

New Short Course Offered!

Sketchbook Drawings Bridget Grady
 I'll be offering a short course on figure drawing strategies for those who would like to improve their results from their self study at open life drawing sessions. The purpose of the class is to assist artists in creating  a organized approach to learning figure drawing at there own pace.This class is also a good introduction to figure drawing before actually working on the model or for those interested in working from invention. Currently the course is held on Friday mornings but will also be available at other times in the future.Class size is limited to 4.

See the Workshops/Classes page for more information.
For Registration call 860-417-3243 or email

Sunday, October 9, 2011

Artist Ginger Hanrahan in Crop Circle!

 Ethel,the Angel,and a Chorus by Ginger Hanrahan
 Ginger Hanrahan will be one of our participating artists in the “Crop Circle” exhibition. Ginger’s  artwork has graced  the walls of the Blue Horse Arts studio before when she presented some of  her graduate work in our former incarnation as the Porter Street Artist’s Collective.   
Ginger brings to her work a rich background in anthropology and sociology. These field experiences inform her painterly excavations with a personally charged symbolic narrative.Her works are vibrantly interwoven layers of stories and visions. Ginger  currently maintains her studio in Newtown, Connecticut and is an adjunct professor in art and anthropology at Post University in Waterbury, Connecticut.

Rabbit Seer by Ginger Hanrahan

 Ginger writes;

"The nature of my work is to capture random moments when time feels frozen and the conscious mind feels most alive.  Inherent in the moment is the need to tell a story and fill it with a collection of culture based symbols that describe very personal experiences.

In my current series child-like seemingly unrelated objects point toward a deeper analysis of our current patterns of living.
In these works I focus on the ecstasy of food, sexuality, physical movement and the need to sustain physical strength and energy in order to energetically engage in life". 

Saturday, October 8, 2011

Two More Events to add to your Itinerary!

 Red Belly-Watercolor by Bridget Grady
550 Main Street in Bethlehem CT. will be featuring a "Flight of the Eagles" outdoor sculpture exhibition on the grounds of Brookside Cabinetry. This event is sponsered by The Phoenix Rising Center.So as you are driving from the Woodbury, Artist's at Flander's show up to New Arts you can catch this event on your way!

Also to keep you creative groove going you can check out the Freight Street Gallery's  music event.
From their website
what folk festival

Friday October 7th 7 pm
$7 Suggested donation
All ages BYOB for 21+