Barbara Brady at Yvette Torres Fine Art

Posted on August 22nd, 2012 in Artist Interviews


I stopped by Yvette Torres Fine Art to see reMarks: Paintings by Barbara Brady while in Rockland the other day.  If you have not been to this gallery you have to go—it’s a terrific space to see paintings in. The  large, wide open space, allows for different perspectives on the work. The garage door and gray floor give it an industrial feel that is authentic. An arrangement of  modern chairs complement the work beautifully and invite a moment for conversation and discovery.

The space is both intimate and expansive, in the same way the exhibitions introduce us to a person, to a body of work which then connects us to other places and events– expanding our experiences.

 After seeing the exhibition, I got in touch with Barbara, visited her studio and asked her some questions about her work.

JP: Your work seems to be drawn so clearly from the Abstract Expressionist tradition yet there are differences, I wondered how you see that connection?

BB: I admire and have been inspired by DeKooning, Kline, Mitchell, the energy of gestural painting intrigues me.  I also find the work of Gerhard Richter and Anselm Kiefer to fascinate.

JP: What else do you think influences your work?

BB: Seasons, nature and music.

JP: You  paint without preconceptions- Would it be accurate to say that your process is an intuitive search for an image ?

BB: Intuitive, emotional, not sure I would call it a search exactly – more of a revealing.

JP: What is that quote of Mattise’s above the door in your studio?

BB: “Give external shape to inner visions.”

JP: The paintings ‘read’ very differently from far away and close up.  You mention that from a few inches away that one can see their ‘chapters’, their existence. Why is that important for you?

BB: Yes, very important. I feel, to have a complete appreciation for a person, or painting or anything really, you need to get to know them/it. Spend time with, learn from, explore and yes, look and listen. Too often life is superficial, a casual chat, a quick glance – how can you ever truly understand or appreciate something without investing some of your time? I don’t think my work is meant to have an immediate “grab” or an “in your face” style. I have likened it to more of a “come hither” approach. A bit of mystery that can be revealed if you are willing to give of yourself.

JP: Your work seems to have an underlying structure  in common yet there is this wonderful use of color and gesture where you are able to sustain endless variations that remain inventive, compelling and consistently beautiful.

BB: Thank you!

JP: I look at your work and it makes me want to get in the studio- you clearly love the materials, moving painting around, making marks.

BB: Yes, each piece reveals something new. Some pieces, it’s all about the paint. Others, it calls for the addition of other materials (graphite, oil pastel, paper, cardboard, wire). Going beyond the brush, adding other materials to enhance or adorn a piece or create a new mark.

JP: What are you reading ?

BB: Lee Krasner a Biography by Gail Levin







Barbara will give an Artist’s Talk entitled “Getting There From Here” on Sunday, Aug. 26th at 3 PM. 

Yvette Torres Fine Art is located at 21 Winter Street in Rockland, Maine.


Rebekah Younger

Posted on July 3rd, 2012 in Artist Interviews


I first met Rebekah Younger back in the Fall of 2010, when she was teaching a Shambhala Arts Workshop at The Brunswick Shambhala Meditation Center in Brunswick, Maine.  I have since taken three other classes with her. I am always interested in how we as artists find our way in the studio, what influences our work and how our practices change over time.

Below are excerpts from our ongoing conversations in person and by email. These reflect not only her own artistic journey, but her deep understanding of the Shambhala Buddhist teachings and how that has impacted her life and work.



Judy Perry: You have explored different media in your studio work to create your own path.  I think that’s a huge part of the process that no one ever talks about.

RY: Yes, I have been a printmaker, painter, fiber artist, photographer, entrepreneur, gallery owner, picture framer, installation artist, interior designer, flower arranger, teacher, minister; all have informed my work and been part of my creative life.  I think there is little understanding that what you really need to know how to do is how to create, period. In which case it doesn’t matter what you’re doing; your whole life – everything you do – is part of your art.  You say I’ve done many different things, and I continue, because to me everything in life is my medium.

JP: How did you come to the discovery that you had to integrate everything?

RY:  I think it was a gradual dawning over the arch of my career, that certain media lent themselves to certain forms of expression.   I always enjoyed working in fiber and 2D media, with photography at the core either for reference material or later in and of itself.  The emphasis shifted at different points in my life as I changed internally.

It was at one Open Studio in Oakland, (California) when I had it all on display: knit garments, paintings, photography, that I realized I didn’t need to limit myself.  So what if people thought there were five different artists exhibiting?  I could be that expansive.

JP: Do you see a connection between painting and knitting?

RY:  I think all my work is informed by painting and graphic design.  I approached my knits as canvases for an expression.  Initially designing intarsia work with simplified imagery using different colored yarns as my paint, but later moving the surface design beyond the knitted stitch with bleach and dye after knitting.  Even my photography has a painterly aspect to it.   Each media informs the other.  In grad school I did a series of pieces examining the blurring of boundaries between painting and photography, particularly as most curators and audiences are reviewing all imagery digitally.

JP: Was color the thing for you?

RY: Yes, color’s always fed me in terms of any kind of work I do. I’m not a monochromatic person. Color and graphic design. My early work in school was printmaking.  I was more interested in form, shape and color than I was in line, although that’s shifted some but not a great deal.

JP: So, certainly there’s a connection between patterns and wood cuts and that kind of process.

RY: Well, I have the technical side of me that enjoys production, or has enjoyed production – I’ve agreed to cut that out of my life a little bit because it’s really taking its toll on me physically, but the repetitiveness of certain processes, working in editions, working on things that take several steps, technical steps, that have to be thought through to accomplish – there is a part of me that enjoys that. I think it’s good with entrepreneurship because I actually do like working with numbers sometimes too. 

JP: I’m kind of the same way. I can do ‘the numbers’ and I like ‘process’   because you get into a different frame of mind with it and it lets things percolate, I think.

RY: Yes, I find it very meditative at a certain point too.

JP:  And it’s also productive.

RY: At the same time.

JP: You don’t find those qualities in a lot in artists. Maybe I’m wrong, but it seems to me that there is that sort of both sides of the brain thing happening.

RY: Yes, my husband’s that way too. He does electronic sculptures.  He is an electronic engineer, he’s very much into the numbers and mechanical stuff but at the same time he has this aesthetic, this expression and always saw himself as an artist. I think it’s not as rare as we like to think. I think that’s one of the myths.

JP: I suspect you are right – I think artists have a lot of skills that we just haven’t identified, or we don’t acknowledge them, we just do all these things and we don’t recognize what we actually are able to do.

RY: Right, right. 

JP: It turns out that there are really valuable skills that are applicable in other areas.

RY: Sure, yes.  And I think there’s also a laziness that shows up in people wanting to make the claim that “I’m an artist, so I don’t have to think about these other things.” Where it’s not necessarily that they can’t, it’s just they opt out.

JP: That stereotype of the flaky artist is strong.

RY: Yes.  And while I don’t think flakiness is an essential ingredient, I do agree that  having this elasticity of mind to have a sense of spaciousness is important and it’s not really quiet spacey, as it is expansive in vision. And I think that they get confused and people like to consider being flighty and being kind of fickle as being equivalent, but it’s not quite the same. You can’t have the rigidity on either end. If it is too spacey, too out there nothing ever gets accomplished, it’s all loosey-goosey vision.

For me, what I think excites me the most about creating is how to bring thought into form. And so that means ultimately I have to be able to ground it and bring it into something.  To me, the artwork is not complete unless it has some sense of physicality. It doesn’t mean that it has to be physical but it has to have some sense of impact on a physical level. I moved to clothing the body as art on the body as a way of moving it out of the gallery and now I’m moving into interior work so that I’m no longer even interested in creating the art itself but just creating the environment for people to appreciate their world.

JP: The notion of ‘appreciating your world’ comes from Shambhala teachings.

RY: I am so dedicated to the Shambhala Art™ teachings and to my own practice as I say in terms of contemplative design and so forth, because people, when exposed to it; do respond to it; to that open space; to the harmony and so forth when it arises. They aren’t given as many opportunities for it as they used to. And so there is a role for art and artists. There is a role for artists to come in and how do we consciously design spaces to have that level of humanity? To consciously design materials (with the clothing I design), it’s got to be comfortable. It’s got to feel good, it’s got to make somebody feel good in it. How do we get that kind of attention to the experience, the experiential and the phenomenological aspects of what we’re doing?

JP: Tell me how you found Shambhala Art™.

RY:  I was introduced to the Shambhala Art teachings through my Ikebana teacher, Marcia Shibata.  I feel blessed to have found Shambhala Buddhism, in particular, as a practice community because of these teachings by the founder, Chogyam Trungpa Rinpoche on the connection between art, meditation and daily life.  Long before this introduction I had my own epiphany that art and the spiritual path were intimately linked.  It is just that these teachings confirmed and opened up an even greater understanding of why and how that is so.

JP: How do you think you came to knowing that creating is the key part of living your life?

RY: I think it’s been an ongoing trust from that first – I mean, I always felt like I was an artist as a kid. So, but I think that it ultimately came through the various ways I’ve created. I mean the fact – I knew that I had created the first business [The Great Frame Up & Younger Gallery] out of nothing. Created the second business [Younger Knits] out of nothing. I think even before I started Shambhala I knew that I was a creator and that all things in my life were part of the creative process.

Through my mother, I was introduced to “Creating”, a series of teachings  put together by a gentleman – Robert Fritz [in the 1980’s].   It was a series of classes [on creating what you want in life] that was not creative visualization actually, it took it to a different level than creative visualizations. But it was a program that’s actually been very effective in terms of creating – at all levels of my life. He was dealing with creating as a process that one can learn and is not strictly related to artists and talent. And is applicable to anything, anywhere. And so I had taken – I had kind of picked up some of his writings and taken classes – took classes with her and then actually taught a few classes of that process. And so this kind of looking at life, in that form, thinking of yourself as the predominant creative force in your life fit right in. So it’s not been too far from my mind for quite a long time. The thing that Robert Fritz was really insisting on, is that people know how to make choices. And the whole creative process is a process of choice.

JP: Decisions and details.

RY: And some discriminating awareness, being able to identify what’s in front of you.

JP: What’s working, what’s not working.

RY: Yes, and not necessarily problem solve it. I mean we create problem solvers but they’re already limited by their questions. But creators create out of nothing. They have to be willing to stay in the open space where “I don’t know anything” and see what arises. And then when things arise, because things will always arise, is to be able to determine is this the right direction or is that the right direction?

And be willing to risk that it might be the wrong direction to find out if there is a right direction to go instead. But to be able to integrate any new information along the path to take them where they want to go. To be as – Robert talks about, to be 80% – off the track 80% of the time.

JP: Which is an uncomfortable place to be, but you learn that’s really where you’re supposed to be.

RY: Yes, because you don’t get the information you need to know if you don’t do that.

JP:  That’s useful in the studio; it’s also useful in your life.

RY: Totally.

JP: Which is another thing I think we don’t realize, that what we’ve done in the studio is also really useful elsewhere.

RY: Yes.

JP: It seems to me that there is a lot of power in thinking of art in a different way, of thinking of it as more of a service or as a – like what you’re doing with the design work. That brings something to people. It gives something.

RY: I think the freedom and the power comes when you are no longer interested in your own personal story but are just interested in telling the story. Whatever the story may be.

JP: Do you think at a certain point your ‘story’ is not about ‘you’ and it becomes bigger?

RY: It can go either way, but the bottom line is that somehow one needs to connect with what one is creating is not limited at all. It can come through your own personal story and recognizing that others can relate to that story as their story or it can come the other way around where I don’t even care about my story anymore and I’m more interested in the world around me and what it’s telling me. It’s allowing for the larger vision to expand.

JP: It seems to me that a lot of your work is about looking.

RY: Absolutely.   We are using our bodies not just in vision but just our   bodies in general as being sensors and that’s what I do with the design process. I come in and I listen to the client, I listen to the space, I feel the space, I feel my body in the space and what does it actually feel like. Is this feeling – does this feel comfortable, is this feeling like it’s working in this setting or is it feeling discordant, is the feeling making you feel edgy and allowing myself to just be a sensor.

JP: So that’s a big part of what your focus is now?

RY: Yes.

JP: Getting people to look and experience space, takes your art practice to a very different, yet purposeful place.

RY: Yes, I’m hoping to. I’m hoping that it is, and in as much as it may act as a counter or antidote for people living in a society where they’re in constant speed and in constant overstimulation. How do you create some space around that, some gap and some sense of replenishment and renewal when you’re being bombarded with stuff that’s constantly draining?

JP: That really opens up your role as an artist and your work, so that you don’t have to make an object.

RY: And you know, I’m not new at this, I’m not new, I’ve been kind of doing this awhile, but I mean I’m not a new person doing this.  I’ve very much drawn on the inspiration of Robert Irwin in his work with space. He started as an abstract expressionist painter and he continued into more minimalist work actually, [then left the studio altogether to be “in response” to the world with installations]. His book, just his biography kind of describes that process, Seeing is Forgetting the Name of the Thing One Sees.

JP: That’s quite a title.

RY: Yes, it is – I highly recommend it if you want to understand artists and – it’s a wonderful book. It’s just very powerful.

Rebekah Younger runs the design consulting firm InSite Contemplative Design,  where she works with both business and residential clients to uplift interior space using a mindful approach. To learn more about this work and to see some of her art work please visit her website:

To learn more about the Brunswick Shambhala Center please visit:

Carol Daigneault

Posted on March 10th, 2012 in Artist Interviews


I have known Carol Daigneault  for several years, I first became aware of her through her Feng Shui practice ( New View Studio) She has just published  a book entitled “I Hold The Power of Peace” Her study and involvement  in personal empowerment and metaphysics are of interest to me as well. We recently got together to talk about the book and how it came about. I suspect it is the beginning of an on going conversation. It strikes me that the ideas about peace, about intention and how we use our power are relevant to all of us, not just artists.


JP:  How did the idea for the book come about?

CBD:  The message, I Hold the Power of Peace, came about after September 11, after the attacks in the US.  It was the day after and I went for a walk because everyone was very upset, obviously.  They were still nervous about whether something was going to happen above and beyond what had happened.

I didn’t really feel very threatened physically because I lived in Maine and figured there were plenty of other places that would be attacked before we would.   I went for a walk to clear my head and figure out how I should move forward from there.

It was quite a long walk and it became more of a meditative walk.  On the way back, very close to my house, I just asked very specifically, ran the question through my head, “What can I do to help in this situation?”   Immediately I heard I Hold the Power of Peace.  I stopped and said I Hold the Power of Peace?

I could instantly feel the significance of the phrase.  I could feel it in my body.   It’s on each of us to take the responsibility to stay calm, to keep a consistent and clear energy around all of this turmoil and not to feed the fire of the discord by trying to stay level headed and calm and as peaceful as we could, which was a tall order at the time.  I could really understand the whole concept behind it.

JP:  The idea of asking a question, was that new for you or was that something you already practiced?

CBD:  No, I’d been studying.  That was 2001 and in late 1994 I took my first class in applied metaphysics and then continued on with a study group in intuitive development so I’d been working with developing those skills for 6 years.  I was accustomed to posing a question or request for information and looking for outside guidance to follow in order to go to the next step.

JP:  You said you ‘heard’ the voice, is that the way your intuition works normally?

CBD:  Yes, I have some clairvoyance.  When it’s me alone I’m probably a little more clairvoyant.  I’ll hear suggestions.  When I say hear, the thought will go through my head.

JP:  I imagine intuition is different for everyone?

CBD:  Oh yes, you can be clairvoyant, clairsentient, clairaudient.  There’s all different ways of perceiving information.  When I’m alone I just sort of have the thought go through my head.

JP:  So you had an instant answer?

CBD: I did in this case.  I wouldn’t say that was that common but I’d been really focusing on the situation for quite a period of time and hyper-focusing on the walk for well over an hour.   So, I was priming myself to have some sort of understanding about the situation.

JP:  When you heard I Hold the Power of Peace what did you think?

CBD:  What did I think?   At that moment that was what I needed to hear personally but I could also see that it was pertinent to everyone.

I remembered it for myself and the next thing that I did with it was make a bumper sticker.  I handed them out and kept that phrase going as I kept wondering about the bigger meaning of it.   I wondered what to do with it.  I delved into more exploration and study in personal empowerment and how do you become peaceful and what does peace mean.

JP:  What did that process look like?

CBD:  Basically, it came around to keeping my energy as centered and aligned and high as I could.

JP: Does this whole idea of peace start somewhere else for you or really around September 11?  Is the peace movement something you’ve always been interested in?

CBD:  Yes, it has been, actually.  I haven’t thought about that.  It’s an interesting question.

JP:  For it to resonate so strongly with you…I’m just curious.

CBD:  I was born in 1956 so in the ‘60s when I was 8, 10, 12 years old it was the Civil Rights Movement and the Viet Nam War.  I remember as a child sitting there watching the soldiers grabbing onto the airplane tires as they were leaving Saigon.  It was very impactful.  I remember my mother was a student at Kent State when they had the shootings.

I remember  on May 5, the day of the shootings, we were in a store and the radio was playing and the announcement came over the loud speaker.   My mother’s reaction was so striking that I said, “That’s  really bad isn’t it?”  She said “Yes, it’s very bad.”

JP:  Do you think personal peace is the key to greater peace?

CBD:  I do.  That is where I am now.  Start with yourself and make it your intention with your life to keep a certain level of clarity and alignment.

JP:  Intention is a big part of it.  To intend that, all the time whatever it is, in your life.   Setting intentions is one of the things you talk about in the book.

CBD:  It is one of the areas of study that has been very useful to me.  I’m a person who tends to like to do 15 things at once and scatter myself because there are so many fabulous things to do, all the time!  I’ve  been introduced to the concept of intention as it’s been used in the last 10 years or so, through all of the writings of the modern day authors.   Intention has helped me first to clarify where I want to head and what is most useful to me but secondly to help bring me back to that realization.

JP:  It’s a practice that takes time and attention to keep coming back to the intentions you set.  You don’t just set them once.

CBD:  It’s a fluid process.  You can intend something for the next day or hour but you can have a more encompassing intention for the year or your life.  There are all sorts of ways to break it down and use it.

JP:  What is the reason that intention is so powerful?

CBD:  I think because it consolidates energy.  I’m also a Feng Shui practitioner.  Feng Shui is about Ch’i or energy.   When energy is scattered it’s less powerful, less useful.  All of this goal setting that coaches teach, used  in the 90’s or late 80’s, that’s evolved into intention because  it’s teaching a way to be able to pursue those things that we find useful and help us to grow and feel inspired and have a happy life.

JP:  You just hit the 10 year anniversary of Sept 11.  To reflect back and see that you’ve been holding that idea all that time and how the whole thing grew for you.  It’s pretty interesting.

You didn’t know when you got the line what it was going to mean?  You didn’t know that you were going to write a book?

CBD:  No, not at all.  I knew that it was an important message but I didn’t know what to do with it.  Other than try myself to develop it, but in a tangible way I didn’t have a sense that I ever would do anything with it.  I was always trying to investigate it from my own viewpoint.

JP:  You have to not only start the practice but you have to know what you want.  That’s probably as hard as doing the practice.  You have to be clear on what you want.

CBD:  I struggle with that as much as anyone else, knowing exactly what I want.  But I’ve gotten to occasionally sitting down at the end of my day and saying, “I feel really great.  I’m really satisfied with my day.”  The next thing I want is for the Universe to send me what it is that would achieve that end.  Not only is it that what I should be doing, what’s beneficial to me, but it serves others as well.  Then things happen, like you contact me on the internet and I get to sit down and talk with you.  If I was trying to figure it out on my own it might not happen.

JP:  So, we can start to cultivate all these ways for things to happen.

CBD:  I’ve been doing this type of study for over 20 years now.  One thing builds on another and another.  It’s my interest and passion.  I just keep trying things and reading and plugging in information from one author and then another.

JP:  It does take time.

CBD:  I’ve been working at it for a while, yes.  Cultivating it.

JP:  It feels like we should have been taught this  a long time ago.  Why aren’t we getting these ideas when we’re children?  Can you imagine what kids can do with this?  Certainly they have imagination and not so many blocks and can really tap into thoughts and feelings.

CBD:  I think it’s an evolving thing.  That’s where we’ve evolved to, at least the people that are interested in this sort of thinking and exploration.  We’re experimenting and trying it and pushing it forward and learning from all of the teachers that are now out there and available.

JP:  It’s really gone into science rather than religion or spirituality or positive thinking or whatever the label would have been.

CBD:  Definitely.  The whole quantum physics part of science now is really starting to prove a lot of this.  I’ve been reading Lynn McTaggert’s book about the power of intention and she writes about, since the mid 1900’s, the different scientists who’ve done all of these experiments with energy fields around plants and little ameba, how we’re all connected with this energy field and how the thoughts of one entity or plant or ameba influences another.  So it is coming into the scientific community very strongly.  I think there still is a transition period.  Some of mainstream science is still not acknowledging it.

JP:  Was that your intention with the book?  Did you actually have a specific intention?

CBD:  I wanted to write it for a broad enough audience that if someone picked it up who had never read anything about this topic before they could glean something useful out of it.  I think in the same token I wanted to speak with people like you to be able to expand from where I was.  Here’s where I’ve gotten and what I understand and what do you get out of this and where would you take it from here?  I want to keep growing and investigating what it means.

JP:  I like your phrase response-ability.  It gives us another way to think about the idea of responsibility.  Tell me what you were thinking ?

CBD:  I was thinking about how easy it is for me to fall into old patterns.  My perception of myself is that I’ve never been a naturally upbeat person so the concepts in the book – thought, emotion, feeling, etc. – give us a framework to respond differently and understanding the importance of holding peace within yourself and holding that same energy.  Having the ability to have the response you want is a responsibility because having a higher thought or keeping your thoughts in a place of peace really makes you a more responsible person in the world.  It’s all dovetailed.

JP:  It’s a very different way to see ourselves and then to say I’m going to act differently.

CBD:  My religious training taught me to keep my energy pure and love one another and that sort of thing.  I don’t purport, at all, that this is a religious book.  But everything circles back around.   This is not a new message.  It’s just told in a different way within the context of where we are in our society now with some of the New Thought teachings.

JP:  Then you think, what can we do with that type of energy?  That’s when it gets really interesting.

CBD:  Right.   You can cure cancer.  You can end hunger.  You can stop war.

JP:  In a sense we all do have that possibility within us.

CBD:  That’s the power, that’s the seed of the message, that we do hold that power.  That’s another part of the responsibility of it.  No matter what we think and do, that energy goes out and joins with others of a like mind.  If we all commit to an intention of keeping as much peace as we can within ourselves as often as we can it naturally connects with others doing the same.  Then peace just grows and grows.

For more information about Carol Daigneault or to get a copy of her book, I Hold the Power of Peace, please visit her website



Paul Oberst

Posted on August 7th, 2011 in Artist Interviews

Summer 2011                                                                                         

Paul Oberst is an artist who works in  various mediums, he grew up in Kentucky and has made his home in Maine after spending time in Cleveland, where he worked at what is now Cleveland MOCA for four years, and later Provincetown, MA and a Fine Arts Work Center Fellowship, and then Boston. His intention is  to create works of art that speak to the primal, ancestral and contemporary human longings for mystery and ritual. I had been wanting to talk to Paul for some time before we finally got together at his studio recently. I had seen his work over the last few years and even spoke to him several years ago via the job I had at the time. I somehow remembered his voice though we only spoke a couple of times. When I reminded Paul that we had actually spoken before he remembered too– so, it seems a connection was made some time ago and will continue I suspect, due to the instant ease with which we spoke. The connections are in the work and in a shared outlook on art among other things. I am always interested in where an artists work comes from- the sources and influences. I am especially interested in how life experiences shape the work. Here are excerpts from our recent conversation. 

Barbara Bash

Posted on July 28th, 2011 in Artist Interviews

Originally published by Inner Tapestry 2005

Barbara Bash is the author and illustrator of a number of books on wild-life and natural history for children and adults. She has worked for many years as a calligrapher and teacher of book arts and botanical drawing and does expressive calligraphic performances and workshops. She lives in the Hudson Valley Region of New York State.

view the full interview




Posted on July 13th, 2011 in Essays

View the full essay

Sarah Bowen

Posted on July 13th, 2011 in Artist Interviews

Originally published in Inner Tapestry, 2005.

A Vermont-based artist, Sarah Bowen began her art career creating films in collaboration with musicians, dancers, and experimental theaters in the U.S. and Europe. Sarah places her work “in the ancient world tradition of sacred art in which the practice of visualization brings about a more evolved and compassionate state of being for artists and viewers alike.” 

Sarah and I have been talking about art and following the developments in each other’s work for over ten years. Her paintings have a quiet strength that illuminates the depth of her own thinking about the work. These deeply personal paintings personify, as she says, “the day to day interaction of a meditative life with an engaged studio practice.” The paintings are also nourished by studies in shamanic art, Tibetan Buddhist art, the art of the alchemical tradition, and deep ecology.

View the full interview

Glowing Evidence: A conversation with photographer Laurie Tumer

Posted on July 13th, 2011 in Artist Interviews

Originally published by Maine Organic Farmers and Gardeners, 2005.

In the last few years, I have become much more aware of chemicals and pesticides in the environment and in our food. When Tümer sent me an announcement about her new body of photographic work, “Glowing Evidence,” which reveals what pesticides would look like if we could see them, I knew we had to talk.

Laurie Tümer, a photographer who teaches digital imaging, writing and photography, lives and works in New Mexico and is represented by Photo-Eye Gallery in Santa Fe.

View the full interview

Autumn’s End with Brian Dickerson

Posted on July 13th, 2011 in Artist Interviews

My conversation with Brian Dickerson took place over several weeks via email and telephone calls as he prepared for an exhibition of ‘The Helderberg Paintings’ at Mangel Gallery in Philadelphia. In some ways this conversation began many years ago while we were in graduate school.

Brian Dickerson resides in Rensselaerville, N.Y. and Philadelphia, PA. He is an associate professor in the College of Media Arts and Design at Drexel University with teaching affiliations at several colleges and universities.

View the full interview

A Conversation with Patti Cathcart of ‘Tuck and Patti’

Posted on July 13th, 2011 in Artist Interviews

Originally published by Inner Tapestry, 2006

Patti Cathcart is one half of the amazing duo Tuck and Patti. I have lost count of how many times I have had the good fortune to see them in concert. There is that moment a few minutes into the show when you fully understand that Tuck and Patti are simply one voice and one guitar. There is no play list. There is no verbal communication between them. They are

improvising! It is also then that you understand that this will be a special evening. So it was for me a thrill to be able to talk with Patti about the music and what she and Tuck have been doing for more than twenty years. I spoke to her by phone just as they were headed out on a short tour to Italy and the Canary Islands. They were in the midst of revamping their home studio and getting ready for upcoming recording projects. We talked about their most recent recording A Gift of Love, how that came about, and how they came to know that ‘love’ had to be the foundation of all that they do. Here are excerpts of our conversation.

View the full interview

  • Subscribe to this blog: