Category Archives: Inside the Artist’s Studio

Inside the Artist’s studio with Adriano Valeri

Me in the studio

Me in the studio

My name is Adriano Valeri, and I’m participating in Main Street Arts show de/composition!

I was born in Milan, Italy, and when I was eight years old my family relocated to Quincy, MA, a working class city south of Boston. As a birthday present one year, my parents enrolled me in an after school art class held in the basement of a frame shop. It was a great way to bond with other young artists and helped me adjust to my new environment. The teacher was an academically trained portrait painter. She was very affectionate with the kids, but also held us to a high standard. She taught us to use acrylic and oil paints, which I still favor to this day. Overall, I feel the experience was fundamental to my development as an artist.

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My studio space

After graduating from a county vocational high school where I had specialized in arborculture, I choose to return to Italy and to further my education in the arts. I was accepted to the State Academy of Arts in Venice and spent the next 10 years studying and working both there and in the surrounding region. I learned to be more inquisitive and intellectually engaged as an artist. Although I have stuck with traditional techniques such as oil on canvas, it’s important for me that the paintings acknowledge critical issues of our time and to ensure the medium remains fresh and surprising.

After having completed my undergraduate and masters degree, in addition to several artists residencies, I opted to move to New York City and to further my career in the United States. I’ve lived in NYC for fours years now, working on my paintings in Brooklyn. My studio is a spacious drywall cubicle with a large table and some small desks. There’s a window that overlooks a busy highway and some empty lots and the whole floor is occupied by artists and craftspeople. Inside I like to find a balance between creative messiness and impractical clutter. On the tables, paper plates crusted in oil paints vie for space with sketches and photographs, while the walls are thronged with completed paintings.

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View from the studio

As a child, painting and drawing was a way for me to express my fascination with animals and wild places. As an adult, I chose to paint subjects drawn from everyday experiences with the urban environment. Plants, construction material, feral animals, litter. We live in a globalized and rapidly homogenizing world, and I want to make paintings which can resonate with people across the globe.

I think we as a species have never before been as psychologically disconnected from the land we inhabit. The production of food and consumer goods is internationalized and largely automated. Internal and international migration, displacement for economic reasons or from social and natural calamities,  and the evolution of our mentality and social patterns of behavior contribute to a massive distancing from the organic process which occur around us. 

What I’m really interested in is bringing the viewer’s focus to  the land we inhabit. I’m not interested in making work that is purely documentary — I’m interested in how these marginal spaces teem with unintended interactions that result from our massive presence as a species, so I’ve developed a personal narrative style to convey that. I love how trees can absorb and deform a chain-link fence. It reminds me of the incessant action of biology, this weak force that is constantly at work everywhere, and is assimilating everything we shed.

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The painting “Belgian Planters” which is currently on view in de/composition at Main Street Arts

I’m excited to have been selected for the show de/composition at Main Street Arts! Since this is a recurring theme that I acknowledge  in my painting, it was exciting to see how the other participating artists approach this topic in different media and from different perspectives and practices.

You can find more information about me and images of my work at adrianovaleri.com


Adriano Valeri  is one of 31 artists featured in the national juried exhibition de/composition at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shopde/composition runs through June 28, 2019.

Inside the Artist’s Studio with Stephanie Garon

By juxtaposing organic materials against an armature of steel, my art captures paradoxes of decomposition: formalism and fragility, permanence and impermanence, and nature and nurture.

Evaluating placement of my sculptures in an exhibition

Evaluating placement of my sculptures in an exhibition

I’m continually experimenting and evaluating placement of my sculptures. Since I focus on environmental awareness, it’s important to me to bring organic materials indoors to the viewer.

My sculptural work placed in a different setting

My sculptural work placed in a different setting

Placement affects meaning. The viewer’s perspective changes, but this sculpture gets lost in the environment. Should it?

Images from Redwoods

Images from the Redwood Forest in California

My inspiration stems from nature, in additional to the following four artists:

  • Eva Hesse: delicacy of materials, framing of powerful themes with grace,
  • Anish Kapoor: using steel and similar infusions to instill messages about humanity,
  • David Nash: playfulness in creating nature based work that succumbs to nature,
  • Meret Oppenheim: for transforming items traditionally associated with decorum or refinement into sculpture.
Eve sculpture

“Eve”, sculpture included in the “de/composition” exhibition at Main Street Arts

Eve is a monument. Whether we see lungs or breasts or the negative space between the forms, we are forced to acknowledge the greatness of nature, despite how much we nurture it, as evidenced by the evergreen changing. It is foreboding. These decaying materials, presented in unexpected ways, challenge reason and emotion. Eve changes color and sheds through the duration of the exhibit: it’s nature’s own performance art.

“Impediment”, current work

“Impediment”, aluminum, plaster, soil 70x30x30

My current work, shown above, is inspired by pine needle bunches. I plan to fill a small gallery space with these repeating forms.

To see more of my work, visit my website: www.garonstudio.com.


Stephanie Garon is one of 31 artists featured in the national juried exhibition de/composition at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shopde/composition runs through June 28, 2019.

Inside the Artist’s Studio with Jeremy Moule

Hi. This is me.

Hi. This is me.

Every photograph represents a moment; whether the exposure lasts a fraction of a second long or spans several hours, the maker is capturing a defined period of time.

I find many of the moments in my images as I wander through Rochester’s streets and neighborhoods. I’m subject agnostic — not a true street photographer — alternating between people, the built environment, and various objects. My mood often guides me and seeps into my images; so do gut reactions to what’s in front of me. It’s a slight shift from my full-time work as a journalist, where I’m supposed to keep my emotions out of my writing.

A little time on my feet and a little patience enabled me to make this photo.

This photo came together after a little time on my feet and a little patience. I think the anonymous subject and I shared a little fascination with the fire-breathing machine.

“Spectre of the Piss Tunnel,” which is part of de/composition, came together in an instant and is a good example of my process.

I was out walking around the edge of the High Falls District and started photographing a stack of newspapers that had been tossed in a tunnel under the Inner Loop. Then a stranger walked past me. The camera I was using, an old Yashica, isn’t exactly built for speed, but I recomposed and refocused in time and click, I got the image.

"Spectre of the Piss Tunnel"

“Spectre of the Piss Tunnel”

The image has a gloomy, tense quality to it, which was my intention.  I knew I wanted the figure to remain in the shadow, so I set my camera’s shutter speed accordingly.

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Cameras are tools, part of a process but not the process itself.

With people, I like to preserve a sense of the anonymity inherent in a city environment. The objects and structures I photograph show traces of human presence, if not the impact that people have on their surroundings and environments.

The way we alter our surroundings sends messages, intentional or not.

The way we alter our surroundings sends messages, intentional or not.

Sometimes I use a digital camera, but my preference is usually for 35mm or 120 film. I hand-develop my black and white film as well as my color negative film, and I do my own black and white printing. The analog processes are tactile and meditative, plus I’m generally happier with the results.

The Flower City Arts Center darkrooms are about the closest thing I have to an actual studio, and they’re a valuable resource. So is the community around the center. The folks who work, teach, and create there have given me knowledge, criticism, and opportunity which has in turn helped me grow as a photographer.

Bye!

Bye!

 


Jeremy Moule is one of 31 artists featured in the national juried exhibition de/composition at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shopde/composition runs through June 28, 2019.

Inside The Artist’s Studio with Maria T. Bentley

MTB studio

Tethered to our innermost beings and the marrow that comprises us, our bodies are rooted in the earth. The loss or decay of any one of these can cause an imbalance. I aim to provoke that delicate steadiness while inducing a sense of nostalgia, and odd familiarity.

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“Bottom of the Barrel” 2015 – mixed media sculpture

I was born and raised in Seneca Falls, NY. Growing up surrounded by the Finger Lakes, rural farm land, and state parks, I am continually drawn outdoors. Religious influences and family experiences are other factors that play a role in my work. I see the use of clay as a representation of the physical body, drawn from the Genesis creation story; recycling of material and life. To me ceramic vessels and sculptures take on a figuratively charged quality representing people from my life.

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“C.A. O.” 2015 – ceramic/ mixed media sculpture

Alzheimer’s and the aging process are explored in my color palate and surfacing quality. Alzheimer’s is a terrible thing to watch a loved one experience, for me it was my grandfather. I recall his vibrant personality and coloring became muted, rather quickly. I recall bruises and the cloudy confusion in his eyes as he became a shell of the man I once knew. Using ceramic burnout methods I expose natural fibers to the firing process, leaving an  exoskeleton of what was, similar to those that experience Alzheimer’s.  What was once there remains in essence but is never the same.

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“How are the numbers?” 2019 – ceramic

Using muted earthy colors and textures associated to decay, decomposition, aging, and the natural earth, I mimic the passing of time. The combining of materials and insertion of light charges the work with multiple layers. In each piece I combine three or more materials experimenting with ceramic, wood, glass, neon/ light, metal, and fibers.

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“Dust to Dust” 2019 – mix media sculpture

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etail shot of the ceramic garbage pail in “Dust to Dust”

I enjoy incorporating apples into my work as it add an ephemeral element to the piece that grows/decays with the passing of time. Apples hint towards my childhood as well as referencing religious creation stories. The piece above invited viewers to eat an apple and dispose of the core in the ceramic garbage pail. Over time there was an accumulation of cores, the collection of compost created by humans, and the decay of these cores provided a wonderful smell and color to the inside of this white void.

My studio practice is sporadic. I am constantly traveling to portfolio days and art classrooms across the country for my position in admissions at Alfred University.

In our "Sugar Shack" making maple syrup this past winter.

In our “Sugar Shack” making maple syrup this past winter.

Image may contain: one or more people, plant, tree, outdoor and nature

Working in the garden on our land

I reside in Hornell, NY with my partner. We have land that we garden on and we have a maple farm, Maple Marrow at B&T Farms. We spend a great deal of our time outside playing in the earth or creating with it. I am continually researching and exploring new ways to enhance my practice, manipulate material, and expand my network.

View more of my work on my website at www.mariatbentley.com.


Maria T. Bentley is one of 31 artists featured in the national juried exhibition de/composition at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shopde/composition runs through June 28, 2019.

Inside The Artist’s Studio with Chad Cleveland

Self-portrait, Acrylic on board

Self-portrait, Acrylic on board

I grew up in Fairport, N.Y.  and I’ve been making art since my early 20’s.  Having grown up heavily involved in sports, I never really created much artwork through my younger academic years.

It was in my undergraduate program at Binghamton University that I decided to be an artist. It’s funny because I had never painted before, but I was sure that’s what I wanted to do in life.

"Passing Through", painting included in the "de/composition" exhibition at Main Street Arts

“Passing Through”, painting included in the “de/composition” exhibition at Main Street Arts

After diving into the art program  head  first I quickly realized that I was a terrible painter. My drawings were strong but I had a hard time converting my ideas into the world of paint. However, I was advised and encouraged by my instructor, mentor, artist, and friend Dave Shapiro. He was an extremely gifted artist who worked under the tutelage  of Philip Guston  at one point in his career.  He insisted that I was indeed on the right path, and with hard enough work  I could get to where I wanted to be.

It was because of his encouragement and support that I attended the Rochester Institute of Technology for my MFA in painting and drawing, and eventually an MST in Art Education.

"Bill", work in progress

“Bill”, work in progress

I was fortunate enough to be exposed to many different gifted artists and professors at RIT. This lead me to experiment with a variety of different media and techniques, and exposed me to ideas that were very foreign, yet extremely exciting. This was when I met another extremely important artist, guide and mentor in my life by the name of Bill Stephens. He has been paramount in the development of myself as an artist and human being.

"The Crow", work in progress

“The Crow”, work in progress

My current body of work consists of variations and experimentation with the human portrait.  Throughout my career I have ventured back-and-forth between the world of abstraction/non-objective art and representational/figurative art forms.  So it is now that I find myself  at the marriage of these two worlds.  I find that each piece leads to the next, and serves as a jumping off point for the next idea.

For more of my work, follow me on Instagram @chad_cleveland.art


Chad Cleveland is one of 31 artists featured in the national juried exhibition de/composition at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shopde/composition runs through June 28, 2019.

Inside the Artist’s Studio with Jennifer Schinzing

Jennifer at work

Jennifer at work in her home studio

The incredible passion I have for animals and the natural world is what inspired me to learn taxidermy. All the animal elements found in my work are road kill casualties or have died from natural and unpreventable deaths. By preserving them in the very small window of time between death and decay it forces the viewer to see them in a more intimate and surreal setting. By placing them in improbable situations, I hope to remind the viewer of our fragile world.

Sculpture

Sculptural piece by Jennifer Schinzing

I grew up in Rochester, NY and still call it my home today. I work at More Fire Glass Studio full time, managing the studio and blowing glass. On weekends I volunteer at Wild Wings (an injured bird of prey facility) helping to educate people about the environment. And at home, my husband and I, have 3 rescue greyhounds.

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Jennifer with her 3 rescue greyhounds

Creating and making art from a very young age eventually led me to art school. I graduated from Alfred University, School of Art and Design, where I was exposed to glassblowing and continued to experiment with different materials.  My sculptural work is mixed media based. I love sourcing found objects from antique stores, sometimes those are the source of inspiration for the piece. I incorporate my own blown and sculpted glass into the work but I also incorporate vintage glass as well. 

Cyclical

Cyclical by Jennifer Schinzing

I have always felt a strong love and connection to animals and the natural world. As a kid, my sister and I spent hours upon hours playing outside, building forts and making “food” from random plants and berries. We would stay busy playing in Irondequoit Creek which ran through our backyard and enjoyed being surrounded by the wildlife that lived close by. This informed my artwork as a kid and it continues to do so today.

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Detail of a custom piece for a private residence in Chelsea, NY

My approach of beginning a piece consists of different thoughts and feelings. It isn’t always the same formula for me. I don’t do a ton of sketching, most often a vision will pop in my head and I start piecing it together. It could be the animal that inspires me, in other instances it is a found object or a lot of times I am tying  personal experiences in amongst the broader message. I hint at what the pieces are about for me in the titles but I always love for the viewer to take away their own perception of the piece if possible.

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Jennifer creating flame worked pieces for a sculpture piece

blowing glass

Jennifer blowing glass

In the indefinite continued progress of existence, there are particular moments that will change us, leaving us to wonder how or why we have gotten to this moment. The hopelessness that these periods of time create can be paralyzing and leave you wondering if you will ever be able to repair the holes. From every death comes a breathe of new life, giving us a glimmer, a feeling of repair. By creating intimate moments from personal fragments paired with an environmental connotation, a duality evolves to form a narrative that explores both sides.
Cache

Cache by Jennifer Schinzing

 I am honored to be among all of the talented artists showing work in the current exhibition de/composition at Main Street Arts, I hope all of you get the chance to see the show!


Jennifer Schinzing is one of 31 artists featured in the national juried exhibition de/composition at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shopde/composition runs through June 28, 2019.

 

Inside the Artist’s Studio with Bryan Northup

Me with installation Artist with installation 'You Can't Put It Back In The Box'

Artist with installation ‘You Can’t Put It Back In The Box’

My name is Bryan Northup and I’m honored that my work “Cautionary Entrails” was selected to be a part of the de/composition exhibit at Main Street Arts. I am particularly pleased that this work found a place to be shown, framed in a such a compelling theme.

Cautionary Entrails

“Cautionary Entrails” by Bryan Northup

I am a Chicago based environmental artist, originally from Northern California. I have been making art for most of my life, drawing horses during church sermons and taking any and all art classes offered in high school. I graduated from California College of the Arts in Oakland, California with a BFA in Fine Art Photography and since then have been a self taught, intuitive artist.

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Earlier work, 2000 – 2014

I work in several media including cold and warm glass, painting, mixed media sculpture and photography. Until recently, I focused on working with glass, from traditional stained glass and mosaics to experiments with recycled bottles, creating kiln-formed, functional tableware, lighting and sculptural works.  See more here >

Plastic raw material

Plastic art material

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My studio worktable, kinda clean

I was awakened to the serious problem of single-use plastics in 2015. I like to think that a dead tree changed the trajectory of my art practice. I was fortunate to be selected to create a public art sculpture through the Chicago Tree Project that utilized a dead tree (one of many in the city’s parks) as a framework for sculpture. I chose to shift my material from glass bottles to plastic beverage bottles for many logistical reasons, but through the process of creating the sculpture entitled “Message In A Bottle”  I discovered the invisible scourge of single use plastic and ties to the bottled water industry. Shifting my thinking, message and medium to create with everyday found materials that no one was thinking about seemed the most important outcome of the project.

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View while installing Message in a Bottle

Before this experience I had no idea that plastic lasts forever, never decomposing, or the amounts of plastic produced, used and thrown away on a daily basis, all designed to be disposed of. As I researched more, these facts changed my awareness and the focus of my artwork.

sliced roll

Detail of a “sliced roll”

Now I use these plastics and foam to create wall relief and sculpture works that abstract food, mimic organic forms and invent pseudo-biological structures. I attempt to blur the lines between appetizing consumables, anatomical dissection and waste — exploring layers of meaning in an age where plastics have saturated our environment and penetrated human-kind both biologically and culturally, to the cellular level.

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Work in progress

While being an environmental plague, I have found plastic to be an incredibly dynamic art medium. I work with plastic as a fiber, a fabric, in some ways as a cooking ingredient, a food. I incorporate common tools such as chef knife to cut the rolls and an iron to laminate sheets of films together. Creating rolls, “sushi- style” is a technique I originated when I started working with plastic. It’s a meditation, adding unlikely and inedible ingredients like foam, bubble wrap, plastic bags while I reflect on how these same steps are so closely related to making nourishing food, something we crave and can actually eat.  I think about all the wildlife, particularly in the ocean that that ingest plastic because of our dependence on it.

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My first plastic wall relief, Sea Change, 36×48

The organic forms and textures I create suggest perishable matter, “flesh”, “tissue” likely to spoil and decay quickly, but because these objects are created with plastic, they will never naturally decompose  but just appear to be, forever, in a state of suspended decomposition.

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Detail

Thank you for taking the time to get to know me a bit better. You can see much more of my work on my website, www.bryannorthup.com, I post regularly on Instagram @bryan.northup and have a Facebook page @beyondbiolumglass


Bryan Northup is one of 31 artists featured in the national juried exhibition de/composition at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shopde/composition runs through June 28, 2019.

Inside the Artist’s Studio with Nancy Wiley

My name is Nancy Wiley and I’m honored that my series of portraits is on display as part of the Perception of Time exhibit that is currently at Main Street Arts.

Nancy Wiley at Main Street Arts

Group of my paintings in the exhibition

I have always loved painting individual portraits in oils. I love people, especially faces — trying to get a likeness and portraying some aspect of each subject has always fascinated me.

Recently, my thoughts have turned to the kids growing up in our country right now— the adolescents who have been labeled “Generation Z” in the current culture. I have met quite a few (I’ll admit my own children are in this group) and a common thread I have noticed is that being true to themselves and being honest about who they are is very important to them, sometimes when it isn’t easy or if it challenges old social norms.

Sketch

Sketch

I decided to do a series of these individual portraits, and show them grouped together and in various states of being finished, as they are still physically and emotionally changing and emerging into adulthood.

My idea is to do as many as I can and then show them together in large groups. This would hopefully portray them as peers in a way or as part of a whole — a “generation”.

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The process of painting so many young people has caused me to think about what I was like at their age and what the world was like then. Contrasting that to current times, so many things are different in ways I could not have fathomed.

And also I think about the future and what it holds for these kids —how life will shape them and how they will live in the world.

My daughter posing in front of my portrait of her during the opening reception

My daughter posing in front of my portrait of her during the opening reception

And so I continue to find them compelling subjects to paint. I hope the series will possibly evoke thoughts from the viewer about his or her own perspective about time and change — individuality and the identity of different generations.


Nancy Wiley is one of seven artists featured in the exhibition Perception of Time at Main Street Arts. The exhibition can be previewed on the gallery’s Artsy page. Perception of Time runs through February 15, 2019.

Inside the Artist’s Studio with Nick Marshall: Living with Photographs

Photo studio

Photo studio

Hi, my name is Nick Marshall. My work is currently on view in the exhibition Perception of Time at Main Street Arts. Here is a glimpse into my practice as an artist.

I grew up in Canton, Ohio. I received my B.F.A. from Columbus College of Art and Design and my M.F.A. from Rochester Institute of Technology. I have taught photography related courses at Alfred University, RIT, and Visual Studies Workshop. Since 2013, I have been the Manager of Exhibitions and Programs at George Eastman Museum.

There were three important experiences I had with art in my formative years that shaped my practice as an artist.

1) In high school I was introduced to Robert Rauschenberg’s work and it changed my understanding of what materials could be used. (Anything)

2) In grad school I unknowingly walked into a James Turrell installation at the Albright Knox Art Gallery and it altered my understanding of how art can be experienced. (Physical)

3) In 2009 I saw an exhibition of Paul Graham’s A Shimmer of Possibility and it changed my understanding of how photograph’s can shift perspective. (Time)

 

From Then Until Now (I), 2009, chromogenic development print, 24x18"

From Then Until Now (I), 2009, chromogenic development print, 24×18″

My first love was painting but in undergrad I gravitated toward photography. The process of being in the darkroom and the chance for the unknown was appealing to me. In grad school I became interested in the chemical and cultural histories of photography which lead to my work with vernacular imagery. My series From Then Until Now examined the snapshot as an object that “lives” with us. It’s bends, folds, and tears tell of a tactile history while it’s chemical properties are altered due to the conditions it’s exposed to.

I have continued these investigations into the amateur and consumer aspects of photography for the past 10 years.  I’m interested in the way we live with photographs — from shoeboxes and mass-produced picture frames to touch screens and Instagram. How does the way we interact with photographs affect our memory?

Future Nostalgia, 2018-2019, gelatin silver print, 14x11" (installation view)

Future Nostalgia, 2018-2019, gelatin silver print, 14×11″ (installation view)

Collecting is an important part of my practice. I have boxes full of thrift store picture frames, lottery tickets that have already been scratched off, dead pens, and hand-written driving directions. I’m perpetually drawn to discarded or obsolete objects that carry very little monetary value but have the potential to tell stories.

Found picture frame

Found picture frame

Insert Photo Here (I), 2014-ongoing, chromogenic development print, 24x18"

Insert Photo Here (I), 2014-ongoing, chromogenic development print, 24×18″

Insert Photo Here (II), 2014-ongoing, chromogenic development print, 24x18"

Insert Photo Here (IV), 2014-ongoing, chromogenic development print, 24×18″

My work has always heavily focused on material and the physicality of objects so once I am in my studio, it’s important to touch the things around me — to become familiar with them, put them next to other things, see how they interact, break them down or destroy them. What’s inside? What’s underneath? How is this used? How isn’t it used?

In the studio with Dale

In the studio with Dale (cat on chair)

Photoshop Tools (Eraser), 2018, inkjet print, 24x18"

Photoshop Tools (Eraser), 2018, inkjet print, 24×18″

Every day I am essentially surrounded by the history of photography while at work. I see this time as a part of my practice that informs and influences the projects I take on. For instance, after exhibiting Anna Atkins’s 19th century botanical studies, I started to think about what a contemporary study would look like.

Botanical Study (I), 2016, chromogenic development print with LED panel, 12x7"

Botanical Study (I), 2016, chromogenic development print with LED panel, 12×7″

Unintentionally, the flatbed scanner has become one of my favorite tools in the studio. I was drawn to it’s relationship to photograms and to its ability to alter perception through depth of field and surface.

Touching Photographs (III), 2018, acrylic face mounted chromogenic development print, 13x9"

Touching Photographs (III), 2018, acrylic face mounted chromogenic development print, 13×9″

I hope you have a chance to stop by the exhibition before it closes. My work from Touching Photographs and Future Nostalgia will be on view until February 15.

My new website will be published soon but until then you can find me at marshallnick on Instagram.


Nick Marshall is one of seven artists featured in the exhibition Perception of Time at Main Street Arts. The exhibition can be previewed on the gallery’s Artsy page. Perception of Time runs through February 15, 2019.

Inside the Artist’s Studio with Carol Acquilano

Carol Acquilano painting on-site at Linwood Gardens in Pavillion, NY

Painting on-site at Linwood Gardens in Pavillion, NY

In this place I am witness to a succession of blossoming things, an orchestra that performs to the sun and the moon, to the wind and the bees. Rushing towards a full flowering or the stout skeletal remains, this is how painting days are at Linwood Gardens. Lee Gratwick is the master conductor and seemingly has arranged her plantings for artists to take in.

The gardens and grounds were first arranged over one hundred years ago and have been carefully tended. Their original structured design has relaxed into a casual and enchanting sequence of outdoor rooms. Every season brings about changes, pruning out and planting new. This evolution reveals the ephemeral nature of time and transformation.

"Summer Growth" watercolor on paper

“Summer Growth” watercolor on paper

The bounty of the garden offers endless subject matter. Plants offer such interesting compositions, and the peacefulness is just right for getting in the groove. Looks comfortable, but don’t be fooled. It’s typically extremely hot, and the bugs are everywhere.

My portable watercolor "studio" at Linwood

My portable watercolor “studio” at Linwood

I found an old golf cart and re-designed it for carting my materials around. The large wheels work great over uneven fields, brick and stone. I can roll my materials anywhere. Working on full sheets is liberating but the paper dries fast so my decisions are made quickly. I mix paint in large batches, using brushes and also pouring techniques.

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Smaller works are completed indoors where I can relax, without the busy bees buzzing, and hot sun glaring.


Carol Acquilano is one of seven artists featured in the exhibition Perception of Time at Main Street Arts. The exhibition can be previewed on the gallery’s Artsy page. Perception of Time runs through February 15, 2019.