Please join us for a reception for the artist Saturday, July 14, 4-7pm.

As an artist I deal with relationships. Relationships that I have to the world, community, environment, family, and friends. I also deal with the relationship I have with myself at any given time. My art, whether I’m painting, drawing, printing, or sculpting reflects these relationships. I use my environment and my observations in my work. It is therefore, inevitably, autobiographic.

I feel that my art is about life and its contradictions. I look for objects that talk to me and either use them as is, or transform them in my work. For me art is not an end but a constant beginning, a path that continues to lead to new places with doors that have to be opened. It is a process that creates joy, that demands hard work, and can be filled with both frustration as well as satisfaction.

I enjoy working with a wide variety of two and three-dimensional materials, which include oils, acrylics, pastels, inks, encaustics and a wide variety of, found objects. I am currently very focused on learning all the possibilities and techniques of etching on copper plates. I am working on combining the nuance and intricacy of etching with the spontaneity and variety of monotype and collograph. It allows me to draw, collage, and build up layers in the creation of one of a kind prints.

Art has its own voice and often takes me in unexpected directions. I like exploring the possibilities of accidents. It’s challenging and exciting to engage and work with the unexpected. Making art is a necessity for me. It aids me in sorting out and distilling the world around me. I do not replicate what I see, but rather reflect what I see and feel. For me, creating art is an emotional process. I cannot separate my feelings from my work. Yet I am always struggling to distill these feelings and find universal and concise ways of visualizing emotions.

Abby DuBow

June 2018

Here’s the line-up:

Paper Marbling Workshops with Lauren Clark

Discover the ancient, magical art of Turkish Marbling in a fun and engaging workshop with veteran paper marbler, Lauren Clark. Guaranteed to make you smile, this delightful one-day workshop will include a brief lecture, demonstrations, and a hands-on experience.  These lovely papers can then be used for many things including, but not limited to, stationery, wrapping paper, origami, collage and bookbinding.  Students will create enough marbled paper to use for their next creative project!

Tuesday, June 26
Tuesday, July 31
Tuesday, Aug 28

all marbling workshops are from 10am-4pm

Tuition: $145-includes everything but lunch
Class Size: minimum 4, maximum 6
Coffee, tea and dessert is on me!
To register or for more information email or call the gallery
lauren@LaurenClarkFineArt.com
413-528-0432

Plein Air Printmaking for Painters with Carolyn Letvin

Level: Intermediate to Experienced
Medium: Oil paint

This one day workshop will cover the process of taking a basic printmaking process into the field.  Using your current oil painting
supplies and some simple tools, you can create beautiful, unique
prints that will freshen your painting process as well as open opportunities to be able show with well known Printmakers organizations. We will be using oil paints for this workshop, but the technique can also be applied to acrylics as well as printmaking inks.  The day will include classroom time for demonstration and critique as well as time outside for printmaking plein air.  If there is inclement weather, we will work from photos and looking out the windows at the Lauren Clark Fine Art Gallery.

One Day Workshop
Tuition: $165 plus $5 materials fee
Class Size: minimum 4, maximum 6
Tuesday, July 17, 11:00 am – 5:00 pm
To register or for more information email or call the gallery
Lauren@LaurenClarkFineArt.com
413-528-0432

Bits and Pieces Mosaic Workshop with Marlene Marshall

This folk art known as Pique Assiette
(a French term meaning “stolen from plate”) or memoryware.
The basic process draws on the techniques of traditional mosaics: gathered pieces of broken pottery, buttons, figurines, and jewelry cemented onto a porous base to create a new surface.
Almost any shape form can be used such as clay garden pots
or bird baths, if wood (for indoors only).
Students should bring collected china, hammer, rubber gloves and spray bottle.  All glues and cement will be supplied by instructor.

Two Day Workshop
Tuition: $185
Tuesday, July 24 & Wednesday, July 25
10am-4pm
to register or for more information email or call the gallery
Lauren@LaurenClarkFineArt.com
413-528-0432

Introduction to Aspects of Perspective in Drawing

with Richard Britell

Career artist and veteran teacher, Richard Britell will lead the students on a drawing adventure! Description of the class is explained by way of the story below.

Tuesday, August 14

One Day Workshop
Tuition: $165
Class Size: minimum 4, maximum 6
Tuesday, August 14, 10:00 am – 4:00 pm
To register or for more information email or call the gallery
Lauren@LaurenClarkFineArt.com
413-528-0432

Horizon Line
by
Richard Britell

This drawing was done at the ocean, and, since we are at the ocean, I want to take the opportunity to discuss some issues of perspective, which can only be observed, and understood at the shore.

Every one has heard of a horizon line and a vanishing point and I am sure that most of us remember doing drawings in high school of some odd looking buildings with the assistance of a perspective lines going to a point in the middle of the paper. So we go through life imagining that above, beyond, or behind everything we see is a horizon line and we could see it if there weren’t so many things blocking our view. But at the beach we can see this horizon line, now let’s consider where it is. I have drawn a standing figure and I put the horizon line level with her knees. Why did I put it there?

To understand the answer to this question you are going to have to go to the beach. Once you get there, spread out a blanket and lay down facing the water and the horizon line. Laying flat on the sand with your head six inches from the ground, hold up your finger pointing level with the horizon, and observe that the horizon is level with your eyes when you are laying down. Now sit on the blanket with your head about thirty inches from the ground, and notice that the horizon line has come up to directly even with your eyes, the horizon line is now thirty inches from the ground also. Finally stand up and observe as you do, that the horizon line stands up also, persistently following the level of you eyes. Now that you are standing, jump up and down a few times, and notice that the horizon line will jump up and down with you. That horizon line watches you like a hawk, and your slightest movement up and down is echoed by a similar movement at the horizon.

Now lets return to my drawing, it is a view, seen by a person who is sitting on the beach, eye level with the woman’s knees and looking up at her. If I had taken a photograph of her, the horizon line would be in the same place, but if I stood up with my camera and I was a little taller than her, the horizon line in my photograph would pass over her head slightly. The horizon line is always the eye level line of the viewer.

When you get home from the beach it will be late, and the moon will be out. Look at it there up in the sky; notice how it glows with that strange omnipotent silver light. But now just jump up and down a few times there in the driveway and notice that the moon jumps up and down also. Why is this? How can it have time to pay so much attention to us, to know our every movement?

Control vs. KAOS The Eccentric Digital Imagery of Bill Cooke, Saturday, May 26, 4-7pm.  Pop-Up Show and Reception with Bill Cooke.  Here’s a statement by the artist and its a good read!

Artist’s statement

Pattern recognition is hardwired in our brains. There are innumerable patterns in nature — from a honeycomb to the spirals of a seashell. The structure of molecules. Music is a series of audible patterns and variations on a theme. Patterns define order within our seemingly chaotic world,

I’ve been working with patterns that repeat for a couple of years now, intending to use the designs for fabric, wallpaper and other surface designs. All of these images began with a selection of small tiles that contain a single element — a curve, a straight line, a right angle — the structural elements that can be combined in different ways to create patterns that repeat.

As my process evolved, I began making patterns in which the elements repeated in unusual ways. I use a grid to maintain the structure, but within the grid it became something of a free-for-all. The basic elements repeated, but I created an unpredictability in the larger pattern. The patterns do tile perfectly, but the repeat is not apparent.

My patterns actually began to look like chaos. When I combined them with images from the natural world it got real interesting. Disorder imposed itself on the patterns to the point that the patterns themselves almost disappeared in the mist. I don’t see order and chaos as opposite ends of a spectrum, I see order and chaos as coexisting and interacting on every level.

My inspiration for these images comes from both music and art. The great jazz music of Thelonious Monk, Charles Mingus, Duke Ellington and many others — in particular, the amazing Sun Ra, is made visible in these images (note some titles). Sol Lewitt and Piet Mondrian are my main artistic predecessors.

FYI: Control and KAOS were the opposing spy networks in the 1960s TV show, “Get Smart.” I was part of the first generation to grow up with television. Could explain a lot of things.

— Bill

Joe Wheaton, light show extraordinaire, will present his latest art video projections at the gallery’s outside event space. Wheaton has been known for 30 years in the Berkshires and beyond for his graceful metal sculpture, and more recently for his energetic, “art in motion” video projections. The community is welcome to join us for an evening of Visual Wow and Dancing to Joe’s accompanying fun beats!  *Remember, this event occurs outside the gallery at our outside event space. Dress for mid-Spring outdoor evening weather!

Refreshments will be served. 21 and over, please. Admission $10

 

 

Paper Marbling Demonstration

Saturday, April 28, 12-5

On Saturday, April 28th, from Noon ’til 5 I will be demonstrating the ancient craft of Turkish Paper Marbling here at the gallery.
I have been a paper marbler since the mid 1980’s and have given many demonstrations and workshops in the medium over the years-just not lately. Most of my time is given to running the gallery and framing studio and I am looking forward to spending some time with my first love. The event is free and open to all community members. Photos courtesy of Barbara Crocker.

“For centuries art has been one of the things that has articulated a civilized society.  While creating these pieces I began to wonder whether my time might be better spent registering voters, or sending out counter bots?  To me these pieces represent ‘after-burn’, the image left behind after staring at something for a period of time.  I think of these pieces as place holders.”  -Joe Wheaton, 2017

 

METAL  SCULPTURE  INSTALLATION

BY

JOE WHEATON

20 NEW WORKS
ONE WALL

December 16 – January 14

Reception for the Artist
Saturday, December 16, 5-7 pm

 

Joe Wheaton has worked for the past 28 years as a metal sculptor.  His work refers back to early modernism though he is equally interested in antiquity and art of the moment. Beginning as a potter interested in early Asian ceramics, he also studied printmaking and has made photographs for the past 40 years.  More recently he has been working with projection layering software which enables him to use his over 70,000 pictures and videos in complex projected installations, which can fill huge spaces, indoor and out.  They are often combined with sound to create environments.  He is currently making both sculpture and creating projection experiences as well as making two dimensional images taken from the projections.

Joe Wheaton’s work is shown through select galleries. His large scale works can be seen at Lauren Clark Fine Art and by appointment, in season, at his studio/sculpture garden in the Berkshires.

 

Is a poet born to write about—and repeat—only a few preoccupations?

Join fellow lovers of poetry and four accomplished poets—Jayne Benjulian, Malachi Black, Kerrin McCadden, and Owen Lewis—in spirited conversation about writing into, through, and about their obsessions.

 

SALON POETS

MALACHI BLACK is the author of STORM TOWARD MORNING (Copper Canyon Press, 2014), a Lannan Literary Selection, a finalist for the Poetry Society of America’s Norma Farber First Book Award, and a selection for the PSA’s New American Poets Series. Black’s work has several times been set to music and has been featured in exhibitions both in the US and abroad, including recent and forthcoming translations into French, Dutch, Croatian, and Lithuanian. The current Amy Clampitt Fellow in Lenox, Massachusetts, Black is an assistant professor of English and creative writing at the University of San Diego. http://www.malachiblack.com/

****

JAYNE BENJULIAN is the author of FIVE SEXTILLION ATOMS (Saddle Road Press, 2016). She is former director of new play development at Magic Theatre and chief speechwriter at Apple. Her poetry and essays appear in numerous literary and performance journals in the US and abroad. She was an Ossabaw Island Project Fellow; teaching fellow at Emory University; lecturer in the Graduate Program in Theater at San Francisco State University; and Fulbright Teaching Fellow in Lyon, France. A Berkshire resident, she is the founder of Berkshire Writers Project and Live Poets Society, a series of spirited conversations about the arts. http://www.jaynebenjulian.com/

****

KERRIN MCCADDEN is the author of LANDSCAPE WITH PLYWOOD SILHOUETTES, and winner of both the 2015 Vermont Book Award and the 2013 New Issues Poetry Prize. She is the recipient of a National Endowment for the Arts Literature Fellowship, a Vermont Studio Center Fellowship, and the Sustainable Arts Foundation Writing Award. Her poems appear widely in journals. She is associate director of The Frost Place’s Conference on Poetry and Teaching, and a teacher at Montpelier High School in Montpelier, Vermont, where she lives. http://kerrinmccadden.com/

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OWEN LEWIS is the author of two collections of poetry, MARRIAGE MAP (finalist 2017 Rubery Book Award), SOMETIMES FULL OF DAYLIGHT, and two chapbooks, including BEST MAN (2016 Jean Pendrick Chapbook Award, New England Poetry Club). Recent honors include first prize in the 2016 International Hippocrates Prize for Poetry and Medicine and finalist for Nimrod’s 2017 Pablo Neruda Award. He is a professor of psychiatry at Columbia University and teaches with the Narrative Medicine group. https://www.owenlewispoet.com/

 

VIDEO PROJECTION EXTRAVAGANZA
WITH JOE WHEATON

&

“The Red Trunk”

small works on paper by Richard Britell

SATURDAY, OCTOBER 7, 7-10 pm

 

“Amiens Cathedral” – Richard Britell, pencil on paper, 12.5″ x 9″

Peter Houk – “Big Dig #72”

Lauren Clark Fine Art and Mary Childs

present

“NOCA in the Berkshires”

Artists from North Cambridge Glass School and Studios in Cambridge, MA

DAVID J. BENYOSEF
CARRIE GUSTAFSON
PETER HOUK
CALEB NICHOLS

July 22 – August 20

 

Reception for the Artists

Saturday, July 22, 5-8 pm

 

“Coral Mbola” by Carrie Gustafson

Lauren Clark Fine Art, in partnership with Mary Childs, presents “NOCA in the Berkshires”, works from the renowned North Cambridge Glass School and Studios, Cambridge, MA.  This group of dedicated artists and educators present glass art work varying in style and technique, and includes pieces by David J. Benyosef, Carrie Gustafson, Peter Houk (Director of the MIT Glass Lab), Caleb Nichols and others.

These talented and innovative artists are core members of the thriving Boston based glass community, and we are proud to bring their work to the Berkshires.

 


ALSO OPENING JULY 22

The Sculpture Garden

PETER DELLERT
WENDY KLEMPERER
SHELLEY PARRIOTT
ROBIN TOST
JOE WHEATON

Reception for the Artists

Saturday, July 22, 5-8 pm

 

(left) Robin Tost – “Menage a Trois”, (right) Shelley Parriott – “Color Field Sculpture Installation”

Also premiering is the opening of Lauren Clark Fine Art Sculpture Garden, a presentation of the best New England Sculptors working in exterior and interior installations.   Among the sculptors in the show are Peter Dellert, Wendy Klemperer, Shelley Parriott, Robin Tost, Joe Wheaton and others.

The glass show runs from July 22 through August 20.  The sculpture show is ongoing.  Please join us for a Reception for the Artists, Saturday, July 22 from 5-8pm.

Wendy Klemperer – “Irish Deer Shadow”

 

Peter Dellert – “Evolution”

JOAN BARBER

RICHARD BRITELL

KRIS GALLI

TERRY WISE

 

July 8 – August 6 2017

Reception for the Artists

Saturday, July 8, 5-8 pm

 

Lauren Clark Fine Art is pleased to present “Portraits and Figures” with Berkshire Artists, Joan Barber, Richard Britell, Kris Galli and Terry Wise.

These four artists are represented by Lauren Clark and each have produced a new body of work for the occasion. The show opens with a reception for the artists Saturday, July 8 from 5-8 and runs through August 6.

Each of these artists are well known for their distinctive styles. Joan Barber for her moody, realistic yet detached women and girls, Richard Britell for his lovely soft focus, monochromatic works and Kris Galli for her luminous portraits of everything from girls and old women to voluptuous fruit. And have you ever seen how Kris paints hair? Exquisite.

And lastly, though Joan Barber, Richard Britell and Kris Galli are well regarded for their figurative and portrait paintings, Terry Wise, known mostly for her inspired still life paintings will surprise the viewer with several sublime figures. Applying her well known and very singular painting techniques to the subject at hand, the artist blends straight forward painting with a dash of the printmakers mark.

 

Joan Barber – “Lavender Evening”, oil on canvas, 36 x 24

 

Richard Britell – “Square Root of 2”

 

Kris Galli – “Pearl II”, oil on canvas, 30 x 24

 

Terry Wise – “Emma at Rest”, oil on canvas, 30 x 24