Inside The Artist’s Studio with Loraine Cooley

Hi, I’m Loraine Cooley and I’m honored to be included in the Main Street Arts exhibit Beyond Ornamental.

Me at my studio bench

Me at my studio bench

At the age of 13, I began my journey as an artist at my father’s knee so to speak. My dad decided to teach himself how to create jewelry in his basement workshop and invited me to join him in his discovery of the metal fabrication process. That was over 40 years ago. Since then, some of the things that have contributed to who I am and my recent artwork are: a BFA from The School for American Crafts at RIT, extensive travel around the world, pursuing a degree in the Art Education Program at Nazareth College and engaging in several classes and workshops in all areas of art. I also continue to enjoy teaching and learning from my students at the Memorial Art Gallery where I’ve taught since 1987.

In my studio, creative chaos abounds!

Creative atmosphere

Creative atmosphere

Creative chaos

Creative chaos

Work in progress...

Work in progress…

For me the boat shape is a predominant theme in my one-of-a-kind pieces. I regard the boat as a symbol of the journey each of us takes throughout our lives. Below is my triptych sculpture:

PHASES: Birth  Chaos  Rest

PHASES: Birth Chaos Rest

Here are more boat themed pieces:

"Journey" Necklace

“Journey I” Necklace

"Journey II" Neckpiece

“Journey II” Neckpiece

"River" Neckpiece

“River” Neckpiece

"Sunboat" Necklace

“Sunboat” Necklace

I am currently working on a series of Lapel pins loosely based on the windows and doors that I photographed several years ago while in Italy.

"Archway" Lapel Pin

“Archway” Lapel Pin

"Guilin" Lapel Pin

“Guilin” Lapel Pin

"Tuscan Arch" Lapel Pin

“Tuscan Arch” Lapel Pin

Each piece that I make is born of an idea. I think big and make small. The act of transforming the idea into a 3 dimensional form is an ongoing challenge. The end results stem from sketching, experimentation, trial, failure, refinement and finally, with hope and experience, success. My work starts with raw materials ie: metal sheet and/or wire or materials such as slate, bone, fossils, stones or shell. I use several metalsmithing techniques to transform these materials into something unique and personal.

Here are some of the tools that I use to manipulate and transform the raw materials that I use in my pieces.

Studio tools

Studio tools

Future projects include a series of necklaces based on the 4 seasons and also a large (for me) sculptural boat made of parts and pieces from my studio scrap box.

To follow me as I continue on my journey of discovery, please visit my web site: www.lorainecooley.com


Loraine Cooley is one of 6 artists featured in the fine jewelry exhibition Beyond Ornamental at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shop. Beyond Ornamental runs through August 16, 2019.

Meet the Artist in Residence: Jane Fleming

Jane Fleming, artist in residence at Main Street Arts during the month of July 2019, is working in one of our two studio spaces on our second floor. We asked Jane some questions about her work and studio practice:

Jane Fleming with "Self Portrait," Mixed Media on Canvas, Triptych, 2019

Jane Fleming with “Self Portrait,” Mixed Media on Canvas, Triptych, 2019

Q: To start off, tell us about your background.
My path to becoming a visual artist has been rather non-traditional. I grew up in Virginia and moved to Texas in 2014, where I have lived ever since. I received my B.A. in English from the University of Texas at El Paso and am currently pursuing my PhD in English from the University of Texas at Austin. I have always been a creative writer, focusing primarily on poetry and creative non-fiction, but had never really considered myself a visual “artist.” In 2016, I began to create small collages as a compliment to my writing— a way of working out the things that I couldn’t yet form into words.

My collage practice morphed to include painting with acrylics, which I began to learn with the help of YouTube videos and guidance from my twin brother, Jordan Aman, who has a BFA in studio art from Florida State University. From there, something really clicked. Like my writing, the creation of my collages became almost compulsive. I have totally fallen in love with the ever-growing and changing artistic practice.

"Mindscape 2019," Mixed Media on Paper, 2019

“Mindscape 2019,” Mixed Media on Paper, 2019

Q: How would you describe your work?
All of my work is mixed media— usually acrylic paint with images found in old magazines and used books. I often joke that my preferred aesthetic is “naked ladies in space” because most of my pieces have some kind of cosmic backdrop and nod towards my fascination with the female form.

Like my writing, though, my art tends to play with the experience of internal chaos alongside the presence of what I consider aesthetically beautiful. I am an artist, like many, who struggles with mental illness, so I am all about working through those struggles in my art. The road to recovery from depressive episodes and intense anxiety is as beautiful as it can be dark and exhausting. I think a lot of my work mimics that.

Live Painting at Austin Witches Circle Market, 2019

Live Painting at Austin Witches Circle Market, 2019

Q: What is your process for creating a work of art?
In addition to writing and visual art, I also do a lot of flow dancing, which is basically a form of dancing that relies on the music and gut instinct to determine movement (that’s a crude description, but it is hard to describe). I think about it as a form of meditation. I am placing my faith in the medium of creative production and trusting my creative instincts to perform the right movement. My process for creating art is very similar.

Usually, I start with an image from a book or magazine that has really gotten stuck in my mind— a figure, a face, a background. I choose the major color for the background and paint a primary layer. Then, I begin to lay out the piece with other objects, images, etc. that feel right. When I have a basic composition, I sit with the piece and ask it what it wants to be. I find that my most successful pieces form narratives organically throughout the process of creation. Usually, what I think I am creating when I begin is nothing like what the piece ends up looking like in the end.

"Jumper," Mixed Media on Paper, 8.5"x11", 2019

“Jumper,” Mixed Media on Paper, 8.5″x11″, 2019

Q: What type of music do you listen to? How does music affect your artwork?
The music that I listen to has a huge influence on the art that I create. When I get into the “zone” it is almost always accompanied with a deep dive into my favorite albums. That said, my taste is pretty erratic. By far, the album that I listen to the most while working is Pink Floyd’s The Wall. I just love the performative nature of the album and the feeling that you are going down the rabbit hole with the band. When I am really jamming hard with a piece, I feel like I’m heading down a rabbit hole too, so it jibes perfectly.

Otherwise, I am a big fan of what I lovingly call “sad girl music,” which is basically female indie singer/songwriters who wear their hearts on their sleeves. Some of my recent favorites are Phoebe Bridgers, Julien Baker, Hop Along, Slothrust, and Boygenius.

"Roots," Mixed Media on Wood Board, 24"x48", 2019

“Roots,” Mixed Media on Wood Board, 24″x48″, 2019

Q: Do you collect artwork?
Yes! Absolutely. Mostly, I buy art from local artists at craft fairs and art markets. I just love picking up prints or originals that both support local artists and are emblematic of the places that we live and have visited.

I am also lucky enough to have a family that also values art production and collecting, so some of my most treasured pieces in our collection have been passed down. My favorite piece is without a doubt one of those gifts. It is a paper cast from New Mexican artist, Dolona Roberts, which was gifted to us by my grandparents for my husband and I’s wedding.

Jane Fleming working on pieces for her show, "Ocotillo Worship" at Vault Stone Shop  Gallery, Austin, TX, 2019

Jane Fleming working on pieces for her show, “Ocotillo Worship” at Vault Stone Shop Gallery, Austin, TX, 2019

Q: Who inspires you and why?
Unsurprisingly, a lot of my pieces have a literary influence. I often get lines from books and poetry stuck in my head and write it on the wood/canvas before I begin painting. So, you could say that the heart of my visual art is always literary.

In the art world I have a lot of influences, but for collage, my favorite is undoubtedly Sebastian Wahl. I love the Wahl’s clean composition and the dynamism/movement of his collages. I am always trying to emulate that in my work.

Q: What are your goals for this residency?
My biggest goal for this residency is to play. I hope to really experiment with material and form. Recently, I have begun using butcher paper and wheat paste rather than wood for my collages and I would like to continue working with that.

Additionally, I have a series that I have been working on called “To Wander,” which I would really like to expand upon. The series gets its name from John Milton’s use of the word “wander” in his epic, Paradise Lost. In Paradise Lost, it is Eve’s wandering that leads to the “fall of man.” Milton uses “wander” from the latinate root for the verb “to err,” thereby suggesting that a wanderer is, in fact erring. I interact with this interpretation in two ways. First, my series produces “Eves” that wander on purpose. They are fully in control of their processes of discovery. Additionally, these Eves are centered rather than the tragical Adam. They are engaging in a pleasurable wandering– one that is productive for its pleasure, rather than reductive for its erring.

I haven’t yet found a place for this series, but I am excited about where it will take me with its narrative.

"Eden," Mixed Media on Wood, 12"x12", 2019

“Eden,” Mixed Media on Wood, 12″x12″, 2019

Q: What’s next for you?
I have two full-length collections of poetry and lyric essays coming out in 2020 with Rhythm and Bones Press and Chaleur Press, so I am working hard on getting those manuscripts ready to go. With my visual art, I intend to keep producing and working on getting involved in the artistic community here in Austin. I am hoping to have opportunities to show my work before the end of the year and have faith that those opportunities will fall into place!

Q: Where else can we find you?
I am very active on social media and have a personal blog. You can find me on Twitter and Instagram at @queenjaneapx. I also run a blog called Luna Speaks, which houses my artistic portfolio in addition to interviews with other artists and authors, and a creative writing series. You can find that at lunaspeaksblog.com.

Meet the Artist in Residence: Geena Massaro

Geena Massaro, artist in residence at Main Street Arts during the months of July and August 2019, is working in one of our two studio spaces on our second floor. We asked Geena some questions about her work and studio practice:

Geena drawing

Geena drawing

Q. Please tell us about your background.
I grew up in Palmyra, NY and still reside there. I attended Pratt MWP in Utica, NY as well as the better known Pratt Institute in Brooklyn, NY where I received my BFA in painting and drawing. Since finishing my BFA, I worked as a preschool teacher and am currently a teacher’s aide in a special education program. I’ve always found the energy of children inspiring, honest and relatable so I seem to have developed a gravity for this type of profession. I am currently attending Nazareth College in pursuit of a degree in art education.

Q. How long have you been making artwork?
I have been making art since I was a child. My imagination was my home and a safe place to follow some of the curiosities I developed about perceiving my inner and outer worlds.  I identified with the quiet self who  actively observed both my imaginary world and the physical world in one channel, so drawing became very natural to me. It was my habit and identity as a child.

The first thing I consciously remember drawing was an elephant. I remember showing my parents at the kitchen table (where I actually still draw) and my mother telling me that I was going to be an “artist” and I remember I took that very seriously.

Self portrait as a child, graphite on paper, 2019

Self portrait as a child, graphite on paper, 2019

Q. How would you describe your work?
I started this style of automatic painting that is very reactive to surface and are conversations (and excavations) with my own silent innerness. My paintings exhibit compulsive movements, perceived more through the hand than the eye. Superficially, they are highly textured and raw spaces. The goal of this kind of painting is not to represent a specific thing but to be within the activity of a field of feelings come and gone- observed and released through me to my hand and onto the surface. I started doing this as a way to push my paintings and myself into places of the unknown. When I reach this state of the unknown, I feel I often go blind to the action of my hand and become involved in this deep instinctual play of automatic-reactive problem solving. 

Geena Massaro, Untitled, oil on canvas, 2019

Untitled, oil on canvas, 2019

My drawings channel the same hand but a different eye. They often depict some innocent and vulnerable object or character (I seem to be followed by the archetype of the child) turned melancholic.  It is the expression of my hand however that I do believe defines my drawing- regardless of what I could say my subject matter is.

Geena Massaro, Isabella at the table, graphite on paper, 2018

Isabella at the table, graphite on paper, 2018

Q. What is your process for creating a work of art?
I am very curious about seeing and enthusiastic about the act of (and the mind of) drawing itself. Translating an image from my perceptions to my hand, my hand becomes a vehicle towards another seeing.

I draw a lot from reference photos that I have accumulated from my time as a preschool teacher. I draw a lot of my students. I think sometimes the drawing begins with a separate emotional response (some curious response) and then I just continue reacting to whatever through the language of line. My line dances fast from light to heavy and I tend to draw small- around sketchbook scale.

Geena Massaro, Lily in a chair II, graphite on paper, 2019

Lily in a chair II, graphite on paper, 2019

My paintings develop out of reaction as well. Painting is embarked upon in phases of intense work and suspensions of waiting. Painting begins in the hand and it’s completion is seldom foreseen. The process is a blind, visceral response between thought, hand and material.

Geena Massaro, Untitled (Blue), oil on canvas, 2018

Untitled (Blue), oil on canvas, 2018

The painting sits once I tire of the action and then waits for me to return to it. I live with the painting as if it were complete. This is when the painting speaks to me. I contemplate its suggested “eternity” through this play until I am either tormented or inspired to re-enter the work- or agree with it’s completion.  this play is very childlike to me and liberating. It is difficult for me to see my paintings clearly as the object they insist to be in their completion and I am curious still how to define the life of an artwork.

Geena Massaro, detail of Untitled (Blue)

Detail of Untitled (Blue)

Q: What advice would you give to other artists?
I’ve learned that it is more productive and enjoyable to leave some questions out of the working hand and to ask them when you are out of the creative state. I think asking yourself questions while working is important but any question that involves a doubt about the work  will be more beneficial and constructive to yourself when you are out of the work and in a state of reflection instead.

Geena Massaro, Untitled (Carter, curtain, dog, room), graphite and chalk on paper, 2018

Untitled (Carter, curtain, dog, room), graphite and chalk on paper, 2018

Q. Who inspires you and why?
Children seem to have a big emotional impact on me. It may be because they are naturally what they are and I have a feeling of this being more difficult to know in adult life. I think children are always in a creative space.  Their brains are so hungry and I feel mine is too but I feel it is so much more natural to engage with that when you are child. They take the information of life as it comes. I love my students and there is so much natural wisdom in the things they say and do. They remind me to be honest with myself and my own inner child.

Q. Who is your favorite artist and why?
My favorite visual artist, overall, is Cy Twombly.  Apart from his works being highly charged in historical literary significance, there is a sublime freedom and play in his hand and the language his works possesses which I feel moved by.

Geena Massaro, Sasha’s communion and lilies, graphite on paper, 2019

Sasha’s communion and lilies, graphite on paper, 2019

Q. What type of music do you listen to? How does music affect your artwork?
I’ve noticed, my hands respond to noise reflexively, so I really enjoy listening to music while working. I respond to all kinds of genres, so whatever I’m into at the moment is what’s playing.

I had a huge relationship with John Frusciante’s music during college (especially after reading his essay on the creative act, The Will to Death). His work and expressions carry through to me still so deeply so I turn to him sometimes by default because I know a strong energy exists in his music.

I sing a lot to myself when I work as well.

Q. What are your goals for this residency?
My goal for this residency is to produce as much as I can and really be present with my creative world. I want to work bigger and I am very excited to have the space to do so (my current working studio is also my bedroom which is very limiting).

I want to try to unite the worlds of my painting hand and my drawing hand more successfully as well. I would like to try larger figurative paintings that use the same kind of mark as my non-objective paintings but solve themselves with a  figure. I would like to try to make more spaces for the figures to exist in in the paintings that would combine a better sense of space with the dance of paint that my non-objective works have.

Geena Massaro, Lily, oil on canvas, 2017

Lily, oil on canvas, 2017

Apart from figure, there are other subjects in me that I find reoccurring in the gravity of my innerness and I want to try to understand how these objects or things got there and what I could do with them in my work.

Geena Massaro, Untitled (Julianna, bird, branch), graphite on paper, 2019

Untitled (Julianna, bird, branch), graphite on paper, 2019

Q. What’s next for you?
I can’t really say what’s next yet. I’ve been  looking forward to this residency and I’m just really excited for this opportunity to be with myself and create.

Q. Where else can we find you?
Instagram @geenamassaro

Inside the Artist’s Studio with Julie Herman

I am a Syracuse, NY based photographer with work in the de/composition exhibition currently on display at Main Street Arts.

"Packard Automotive", photograph included in de/composition at Main Street Arts

“Packard Automotive”, photograph included in de/composition at Main Street Arts

I received my BFA from Alfred University, and currently work for Light Work, a non profit photography organization based at Syracuse University. Light Work supports emerging and under represented artists through a residency program, grants, and lab facilities. I also do freelance work and studio photography.

My photographs focus on the decline of American industry, and the effect it has had on neighboring communities. As a child growing up in Endicott, NY, I witnessed the slow collapse of IBM, the region’s major employer. When layoffs began, I remember watching my father worry about losing his job. As offices closed, and manufacturing plants were shut down, the landscape became dotted with vacant factories and shuttered storefronts. As IBM’s presence in Endicott slowly dwindled, the places where I spent my childhood were abandoned, and stand now as derelict property.

The IBM country club pool, now full of reeds and rainwater

The IBM country club pool, now full of reeds and rainwater

Former blast furnace, Pennsylvania

Former blast furnace, Pennsylvania

As I began to search for other towns that had been similarly affected, I saw the same story unfold in other areas; places that once had function and purpose are now empty, nature slowly reclaiming the buildings and their contents. Despite their great amount of deterioration, I find these places serene. A sun beam through the roof, or a seedling rooted in the floor signal hope and beauty where it might not be expected.

Control panel at the now abandoned IBM country club

Control panel at the now abandoned IBM country club

Empty house in a company town in Pennsylvania

Empty house in a company town in Pennsylvania

Forgotten work glove at a Pennsylvania lace factory

Forgotten work glove at a Pennsylvania lace factory

Recently, I have begun collecting mementos from the places I visit. Old invoices, letters, torn wallpaper, and discarded books all tell stories of those who had been there before. I have also been collecting old IBM memorabilia: postcards of the manufacturing facilities, photographs, and items that belonged to my father. I don’t know what I will do with them yet, but gathering them feels like the next step to me.

Collected items

Collected items

I took my first photography class in high school, where I was introduced to a traditional black and white darkroom. Despite the prevalence of digital cameras, analog processes are still central to my image making process. While my freelance work demands the immediacy of a digital workflow, almost all of my personal work is done in the darkroom.

I photograph using medium format film cameras from the 1950’s and 60’s. Shooting with film forces me to slow down, consider each frame, and be present in the space. There is joy and excitement in waiting to see the images; not knowing with certainty that I’ve captured what I intended.  I enjoy the process of analog photography, the physicality of the work, and even after two decades of darkroom printing, watching an image materialize in the developer is a magical experience.

After years of using a community space, I finally installed a darkroom in my basement. The nice thing about developing film and silver gelatin prints is that it doesn’t change much. It’s the same process that I used in high school. There is no need to upgrade to a better camera, a nicer monitor, or faster computer.

You can see more of my work at www.juliekherman.com or on instagram @juliekherman.


Julie Herman 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 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.

AdrianoValeriStudioPic2

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.

IMG_7919

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.

Adriano_Valeri_Belgian_Planters

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.

LRM_EXPORT_4338601802799_20190522_191840618

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.

MariaT.Bentley_BottomoftheBarrel

“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.

IMG_4097.jpg

“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.

MariaT.Bentley_Howarethenumbers

“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.

MariaT.Bentley_DusttoDust

“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.

Meet the Artist in Residence: David Fludd

David Fludd, artist in residence at Main Street Arts during the month of June 2019, is working in one of our two studio spaces on our second floor. We asked David some questions about his work and studio practice:

Artist David Fludd

Artist David Fludd

Q: Please you tell us about your background.
I currently live and work in New York City.  I have a BA, in art from Morehouse College and an MFA in painting and printmaking from the Yale University School of Art. I have also attended Skowhegan.

The layering and building of textures is apparent in my paintings. I am interested in creating textures and working with color as well as black and white. I see the process of printmaking and painting as being related.

David Fludd, “Untitled”, 2018, Acrylic on Paper, 24”x30”

David Fludd, “Untitled”, 2018, Acrylic on Paper, 24”x30”

I am interested in printmaking and its multifaceted possibilities in terms of changing a single image from print to print. Printmaking is open to improvisation and experimentation; printmaking informs my painting practice.

I draw from life as well. This experience is important and adds to my art. The works are open to interpretation. In this manner, dialogue is invited. I also play the piano and compose music.

David Fludd, “Untitled”, 2018, Acrylic on Canvas. 50”x32”

David Fludd, “Untitled”, 2018, Acrylic on Canvas. 50”x32”

Q: What type of music do you listen to?
Music informs my work technically and in the way that I approach a canvas — with the ideals of exploration. I am constantly exploring music and experimenting with composition. Improvisational concepts are present in the works and basic musical compositional techniques such as retrograde motion and augmentation are present. I compose and perform as a pianist.

David Fludd, “Untitled”, 2018, Acrylic on Paper, 19”x24”

David Fludd, “Untitled”, 2018, Acrylic on Paper, 19”x24”

Q: What are your goals for this residency?
I plan to create works on paper and to work with drawing and watercolors. I am interested in experimentation. The art that I plan to create will be improvisatory and experimental in nature. The  compositions will be open to interpretation.

The works that I create are influenced by where they are created. By this approach the works express the experiences of where they were created. The art expresses the experiences of working by the sea or in a city, or more rural place in a unique way. In this regard multiplicity exists and thereby expresses many places, often simultaneously.

Untitled. oil on canvas, 2016, 18”x24”

David Fludd “Untitled”. oil on canvas, 2016, 18”x24”

Q: What is your process for creating a work of art?
I have an open sensibility in creating art and I am constantly learning, experimenting; trying new ways of creating and seeing. All of the parts of my compositions are carefully arranged in the process of creation. I am interested in a spontaneous methodology as a way of articulating compositions.

I explore color and texture and multiple approaches to painting and drawing. I make an effort to instill an awareness of seeing the fundamental basic shapes and structures in my art. I have studied many paintings throughout the world. I am fascinated by different approaches to painting and drawing and instill my own work with a vibrancy and sense of looking forward while understanding painting from a historical viewpoint.