Moody, Minimalist Landscape Painting

Posts tagged “Albert Shahinian Fine Art

Spring into Summer 2018: News and Updates

Deep, happy, exhalation—spring is here!

I recently delivered fresh work to Louisa Gould Gallery on the Vineyard. She is currently hanging her first show of the season, including my new work, and then plans a big 15th anniversary show with a reception mid-summer. Here are a few of my additions to the gallery walls:

Brilliant Fog, 24″x36″.

 

Affirmation in Blues, 36″x72″ overall.

 

Meandering, 24″x36″.

 

In other shore news, I am very pleased to announce new representation on Nantucket at the Thomas Henry Gallery. I am still working on the pieces that will be delivered in early June, but here is a sneak preview:

Summer at the Creeks, 36″x24″.

 

Angle of the Cloud, 30″x36″.

_____________  _____________________________________________________  _____________

My solo show at Thompson Giroux Gallery in Chatham, NY, Atlas/Hudson River Valley, was very well received. I will continue updating the blog post on the show to label what has been been purchased, as the gallery has kept many pieces for follow-up viewing and acquisition. I have also labeled with a G the pieces still at the gallery.

https://scheeleart.wordpress.com/2018/03/21/atlas-project-hudson-river-valley-and-catskills/

Most of my spring sales have naturally come from this Chatham show, and have included oils, a pastel, monotypes, and a collage—a nice affirmation for all of these explorations. Here a is a handful of examples:

 

“September Dawn”, 12″x28″, pastel, the first with a red dot.

 

Sweeping Greens, 32″x68″, sold to the Emerson Resort and Spa.

Sold, happily, as a pair:

 

MVroman’s Nose/Green Fields, 8″x10″.

 

MSweeping Sky with Fields, 8″x10″.

 

Atlas/Hudson Valley Collage, 18″x14″, sold to the Emerson Resort and Spa.

This show was a wonderful experience for me from every standpoint. Parting words from them when I was done with pick-up—after expressing my deep appreciation for how well-handled every aspect of our interaction was—“happy artist, happy gallery”.

Those works that have returned to my studio are back on my available work post, as well a number of other pieces:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

_____________  _______________________________________________________  _____________

Iconic Cloud recently came back to me and I just touched it up, brightening both hillside and sky. I’ve done that a few times recently—must be a shift in my mood.

Iconic Cloud, 20″x40″.

_____________  ____________________________________________________  _____________

Here is a schedule of my workshops in Woodstock, Nantucket, and Provincetown. My color-mixing workshop has become very popular with painters of all levels and styles, so some version of that is being offered in the three locales.

JUNE 16-18, WSA: My last landscape painting workshop in Woodstock for 2018 is coming right up in June. Last year we had a really lovely time in this workshop for students with landscape painting experience. It’s a good one to repeat, too:
AUGUST 7-10, Nantucket at the AAN: A full-day color-mixing and 3 short-day Form and Content
SEPTEMBER 17-20, Provincetown at the PAAM: Also a one-day color mixing followed by 3 short days of of Form and Content
This will be followed by my show opening on the 21st at Julie Heller East, across from the PAAM.
My fabulous color-mixing group in Woodstock in April provided the feedback that the class would be even better as a two-day workshop. I also have wanted to extend the information by immediately applying it to painting, mixing and critquing palettes. So I altered the theme of my October WSA workshop to this:
OCTOBER 27-29, WSA: New workshop: Color Mixing and Composition for Painters:
Anyone who has taken my color-mixing workshop can join us for day #3 of this workshop, to explore more deeply the practice of color.
_____________  _______________________________________________________  ____________

I will participate in the Shandaken Studio Tour July 21-22. More on this as it approaches—it is such a pleasure for me to set up my studio as a gallery and host visitors both new and known.

Moving forward, a September show at Julie Heller East in Provincetown and the Luminous Landscape at Albert Shahinian Fine Art in Rhinebeck later in the fall. Plus some as yet unknown opportunities will likely arise, as they usually do…

 

Blue Dusk, oil on board in vintage drawer.

 

 

Advertisements

News, Pictures, and a big Save-the-Date as we Launch into 2018

Hello all, happy oncoming 2018! I have quite a lot to report in this year-end update, both from 2017 and about events on the schedule so far for the coming year.

Atlas Project

Many folks have asked me to send out a save-the-date for my Atlas/Hudson River Valley show opening on Match 31 at the Thompson Giroux Gallery in Chatham New York. I’ll do a separate email soon so that it’s easy to find in the inbox, but here on my blog I can talk about the exhibition in more detail.

This will be the first full-size installation of one of my Atlas Project-themed exhibitions. Later themes might be Atlas/Cape Cod or Atlas/Forms of Water, but I an delighted to be launching this within my own Hudson River Valley/Catskills, both as the theme and the locale of the show. Included will be monoprints, mixed media/collages, and pastels along with the oils, and the Site Map that explains it all.

 

Downriver, 24″x24″, oil on linen.

The Site Map is an integral part of an Atlas Project installation, a map of the show itself which includes tiny monoprints of all of the oil paintings in the show overlaid on a collaged map of the Hudson River Valley. It includes numbered map tacks that show the locales of the scenes depicted; river towns and bridges and a key to the map and the show.

This map will have to be finished and photographed at the last minute, when I am sure of exactly which oil paintings are going into the show.

A side panel is Mapping Memory/Wildlife of Particular Interest that includes lino-monoprints and some text of my associated personal memories. Three panel extensions coming asymmetrically off the right side and top and bottom of the main map include a collage/lino/mono of the upper Hudson, the source of the river in the Adirondaks; another of Hudson Canyon, which continues out to sea from New York Harbor for 400 miles; and a third comprised of short discussion and collage/prints of three local trees endangered by climate change.

 

Hudson Canyon collage in progress, mixed papers (including hand-dyed rice papers) on map on board.

 

New Blog Post

In current news, I have recently published a blog post on the intersecting themes of teaching, independent studio practice, and group dynamic for the artist:

https://scheeleart.wordpress.com/2017/12/28/teaching-creating-community-and-fostering-independence/

I welcome any comments on the post!

Many Things Nantucket

In January I will again be part of an exchange between artists of Woodstock and Nantucket, this time to take place at the Woodstock School of Art. We will be working together for three days in the graphics studio; doing a few studio visits and looking at the historical connection between the two arts colonies;  eating and schmoozing. (What could be better?)

Part I of this exchange took place in September at the Artists Association of Nantucket with a show of the four Woodstock-area artists seen below, who had all taught and/or done a residency there:

 

 

The plan was for the four of us to show up for a closing reception and artist’s talk on September 23rd, and my plan was to to do a tour of the Cape and Islands with my husband, starting in Provincetown, checking in with and delivering to or picking up from my three galleries in the area.

Just as we were coming onto the Cape Tropical Storm Jose was approaching the area, causing concern over the Cape bridges closing as well as cancelled ferries. From Provincetown we saw some amazing sights during the storm, particularly the surf from the high dunes on Longnook Beach.

We had a ferry reservation to continue on to Martha’s Vineyard, and from there I had another res for the fast ferry to Nantucket a day later.

Three of the four artists did manage to get on Cape, or in my case, to Martha’s Vineyard, and then reschedule ferries to arrive for our reception at the AAN. We suffered a rocky crossing and then enjoyed a lovely evening of spirited discussion and camaraderie.

I also arrived in time to pay a visit to my new gallery on Nantucket, Thomas Henry Gallery. I am looking forward to painting some large, open seascape and marsh imagery for the 2018 season there:

http://thomashenrygallery.com/Christie_Scheele.html

 

My residency at the Artists Association of Nantucket in February was one of the highlights of 2017 for me, beautifully intensive and key in advancing the rubric for my Atlas Project:

 

Summer Dune, 9″x24″, oil on linen.

The below was my second prototype for a site map for a grouping of Atlas Project work. From here I was able to take what works best (the monotype thumbnails of paintings that I had done) and change things that I didn’t (particularly the text) for the next map, for Atlas/Hudson River Valley. I would also love to return to Nantucket for a more fleshed-out exploration of of the theme.

 

Site Map with lino map of Nantucket; monotype thumbnails; tracings; writing and letterpress.

 

Fall Studio Demonstrations

 

This fall I did three second-Saturday demo/open studios, starting in October. During the first I worked on  small oil-on-paper pieces, like this:

Study/Headlights, oil on primed paper, 5″x12″.

The below I developed during the November demo, which had the theme of working large in oil. I had a nice group who I can only describe as riveted, watching for about two and a half hours while I painted and explained. Then the mood shifted to jolly when I called for a break and lively conversation ensued over a glass of wine.

The slightly textured surface of this piece is something I love to do every so often, allowing a little more of the underpainting to show through, creating a subtle vibration.

 

Reflected Suns, 32″x48″, to be included in my spring Atlas/Hudson River Valley show.

Here is a link to the video created by the Woodstock School of Art from a painting demonstration that I did there a few summers back:

https://woodstockschoolofart.org/author/christie-scheele/

For the last demo, in December, I worked in pastel, completing both of these during the two afternoons:

 

Oak Bluffs/Lights/Fog, 10″x10″, pastel on paper.

 

Trailing Fields, 6″x22″, pastel on paper.

 

Other Highlights from 2017

I had a successful show last winter/spring with my gallery of 20 years, Albert Shahinian Fine Art in Rhinebeck. It is such a pleasure to work with Albert and Joanna, who are also friends and neighbors in our Hudson Valley arts community.

Hill Beyond Hill, 3 panels of 24″x20″/ea., sold by Albert Shahinian Fine Art

Here is a link to my post on the show, updated to label pieces that sold later in the year, as well as those that went during the show (the others are, of course, still available):

https://scheeleart.wordpress.com/2017/02/11/gallerystudio-a-symbiosis-solo-show-with-albert-shahinian-fine-art/

___  _______________________  ___

In April I went to Florida to do a large painting for my friends Karen and Len:

 

Working in the pool enclosure, enjoying the April warmth and humidity. Last touches.

___  _______________________  ___

During my third year with Louisa Gould Gallery and my 18th or so showing on the Vineyard, we had the kind of year that the artist really looks for. I had some relaxing off-season visits that gave us more time to connect. The crazy Cape and Islands tour in September with Hurricane Jose was followed by several days of sun/fog/sun/fog, rolling in and out, that had even islanders exclaiming. This started as I was leaving Nantucket on the ferry, included a wild rainbow at sea, and continued into the next day while I photographed favorite and new locales on MV and Chappy with my husband. There will be paintings to follow!

This piece, which I delivered to LGG the next month, was of a moment just after the fog cleared.

Big Sky over Sengekontacket, 44″x68″.

In 2017 Louisa and I sold work big, medium, and small and in a range of palettes and formats. When this happens, I feel truly appreciated and at home in the gallery. The below are a few that found new homes since my last post.

Gleaming Sunset, 24″x24″.

 

Whispering Marsh, 12″x36″. sold by Louisa Gould Gallery.

 

Older Favorites Find New Homes

In the past several months I have been delighted to see a number of pieces that, despite generating admiration, have lingered too long in gallery or studio leave my walls for others:

 

Winter Light, 24″x30″, from my December demo/open studio; a view of the Jersey Turnpike with the gorgeous, polluted light of a winter afternoon.

 

Height of Summer, 36″x48″, from my September demo/open studio; a romantic piece with unusual color that has received much attention.

 

Mountain Fields, 20″x24″pastel on paper, a subtle-bright interpretation, sold by Albert Shahinan Fine Art.

___  ______________________  ___

The Luminous Landscape at Albert Shahinian Fine Art continues through the month of January, closing with a last reception on January 27th. I have several pieces in the show and many more in inventory, accessible for viewing. I look forward to the reception, which is also a 20th-year anniversary party, an opportunity to enjoy the warmth of our arts community during the winter months.

http://www.shahinianfineart.com/ChristieScheele.html

En Masse, the dynamic small works show at Thompson Giroux Gallery in Chatham, NY,  continues to January 7th. They have been generating anticipation for my spring show with the many small works they have of mine seeded throughout the gallery, as well as larger pieces in inventory. One of my last sales of 2017 was Blue Tidal Pool, one of my favorite paintings from the past decade:

BlueTidal Pool, 20″X24″, sold by Thompson Giroux Gallery.

___  ____________________________  ___

I have a new workshop at the Woodstock School of Art, rescheduled for March 3rd-4th. The theme, somewhat more descriptive than my workshops that emphasize formal elements, is for students to create a suite of paintings of the four seasons.

Many representational painters explore a zone on the spectrum of realism, on one end, and very abstracted imagery, on the other. I have often emphasized the abstract in my teaching, feeling that the go-to for landscape painters early on is to try to copy everything they see within a scene. So my approach is to encourage students to think instead about the needs of the painting, inventing an image that is not a copy but a new reality.

In the past year I have been closely examining my connection to place through my Atlas Project. The theme of this new workshop, more descriptive than abstract, may have emerged from these musings. That said, students will be focusing their attention, with my help, on all of those formal elements in order to create compelling, personal paintings.

https://woodstockschoolofart.org/course/form-color-narrative-landscape-painting-seasons/

___  ____________________________  ___

 

I look forward to a focused, productive year ahead. We have much work to do on the national level, and also need our creative retreats more than ever. I hope you enjoy yours, and am filled with gratitude that you have supported mine. ♥

 


Late Summer 2017 Newsletter

June brought two great-story sales. The first was of this piece, a favorite of mine since I did it a few years back. My husband delivered it to Louisa Gould Gallery on Martha’s Vineyard in early June and a few days later it was headed  to Madrid on a private jet. The collector even helped unwrap it after being drawn into the gallery by my 50″x90″ piece in the window.

Rolling Cloud, 44″x62″.

 

This octych has received a great deal of attention, including a blog post of its own. It was shown and appreciated at Gold Gallery in Boston, and then at Albert Shahinian Fine Art in Rhinebeck this past winter.

Green Waves, 13″x76″ overall, oil on linen.

https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/

In May I was contacted by a woman in NC who told me that she wanted to buy it, and had the perfect spot for it. She had read the blog post and loved the story. She had never bought original art before, except for one print. She found me through a google search.

After much back and forth, it turned out that she had seen the price on the small oil-on-paper study that I had done leading up to the final piece, and the actual cost was way beyond what she had anticipated or budgeted for. So I offered her some other, smaller pieces in the green palette that she prefers…and then didn’t hear back from her for a few weeks.

This happens with some frequency. For a discussion of why original art created by a career artist costs what it does, you can read this blog post:

https://scheeleart.wordpress.com/2014/11/02/this-painting-costs-what/

In the end, she could not resist the piece and I could not resist making a price accommodation to enable her to have it, though it was still a huge leap for her both in cost and in faith, as she hadn’t set eyes on the actual piece.

My galleriest Albert Shahinian, who had the piece and is also an expert art handler, did the packing and shipping, and here is Green Waves in its perfect spot:

 

 

_________________________________________________________

My Atlas Project is gaining momentum and focus. I earlier began a description of the evolution of this  endeavor and got so carried away that I found I needed a separate post, which I will be working on going forward.

In brief, motivated last fall by a number of factors including an upcoming residency on Nantucket and my fears over an acceleration of climate change with the new administration in Washington, I decided I needed to marry more concretely my deep love of the outdoor world and its complexities with my visual expression.

The third and most complex grouping, Atlas/Hudson River Valley had a trial run during a recent studio tour/open studio. Each site map circles closer to what I want, this most recent one being a collaged road map with map pins showing the locations of the paintings in the grouping and monotype thumbnails of the same. Like the earlier versions, this folds up into a small map.

I ran out of time—this was an excruciatingly slow process, with many design elements and much trial and error—and didn’t get any of the written piece figured out, but in discussion during the open studio I figured out how to approach this in a way that has integrity with the map.

This will all coalesce into a large solo show at Thompson Giroux Gallery in Chatham, NY,  March 31-May 6 in 2018, of Atlas/Hudson river Valley and Atlas/Forms of Water. There will be many more paintings and therefore more thumbnails on the map; most likely an off-center extension at top right to show the source of the river in the Adirondacks; and a narrow extension the length of the left side to add written and visual detail about our area. The show will feature monotypes, collages, and pastels as well as oil paintings.

Overlook with River, 24″x36″, the last piece finished before the July Tour.

 

The Studio Tour overall was a sweet weekend with folks from my mailing list coming through as well as those who were new to me. Usually it is a low-pressure event for me and I have a lovely time at the outset setting up my studio for viewing. I had knocked myself out working on the Site Map and printing linocut wall tags for the Atlas Project this time around, but it was well worth it for how the deadline brought the project together enough for me to hone many aspects and trouble-shoot the things that are not yet quite right.

 

Front wall of studio arranged as Atlas/Hudson River Valley, for Studio Tour 2017.

______________________________________________________

The day after the Studio Tour ended I was off for a week to teach on Nantucket. So lovely to see the island wearing its summer color, after spending two weeks there in February! I taught my composition workshop, Constructing/Deconstructing the Landscape, to a receptive and able group of six. These are the exercises that they had finished at the end of day #2.

For demo purposes I did several small oil-on-paper pieces, choosing subject matter according to the requests of my students:

Horizontal Wave, 5″x12″.

 

Warm Fall Fields, 5″x12″.

 

Dusk Palms, 5″x5″.

 

After my workshop was over I spent a long afternoon in the print shop, rediscovering what works for my imagery in monotype (there are always a row of failures before some successes). This is my favorite of the batch:

Monotype Sunset over Tidal Flats, 8″x10″.

_________________________________________________________

In June I had a discussion with some of the artists who I mentor about curating a show of their artwork, and got a very positive response. I contacted what I thought would be the perfect venue for a show of such an eclectic group of artists, the ArtBar in Kingston. The only slot Allie had open in 2017 was for August, so this exhibition of 18 artists had to come together very quickly!

It was interesting switching hats back and forth from mentor to curator, and there will be follow-up in my groups on my experience with the artists as curator. I have heard repeatedly from gallery owners that it is their quality-of-life choice to represent talented artists who are also easy and responsive to work with, so this is a theme that I pass along.

On the card, top to bottom: Betsy Jacaruso, Rebecca Darlington, Elizabeth Panzer, and Sandra Nystrom.

I selected the work and Allie, who owns the venue, hung the show. The opening reception was busy and the the comments very enthusiastic. The list of all of the artists involved: Polly Law, Sandra Nystrom, Rebecca Darlington, Linda Lynton, Linda Puiatti, Al Desetta, Betsy Jacaruso, Patti Gibbons, Lois Linet, Stacie Flint, Elizabeth Panzer, Dave Channon, Karen Schaffel, Julia Santos Solomen, Mary Katz, Loel Barr, Mark Loete, Cathy Metitchecchia.

This is my short description of the work I have done with these, and many other, artists over the years:

My mentoring work began as a way of helping other artists enter or expand their presence in the art market by providing support for both studio practice and exhibiting. The groups are a blend of coaching, support group, and targeted career advice for emerging and mid-level artists.

An article, written by Lynn Woods, will be coming out shortly on the show in the Kingston Times and I will add the link.

 I love two things the most, I think, about working with artists in this way. One is that the artwork is so varied, and as my artistic taste is too, it is a huge pleasure watching and sometimes helping these artists hone their voices into bodies of work that have depth and impact.
The other is that, in our overly busy and complicated lifestyle, I can inform, simplify and advise. So, while every venue, gallery-artist relationship and even many sales have their own unique wrinkles that make generalization difficult, there are guidelines that can help emerging artists streamline their approach and be more decisive in their responses—and feel better about the process.

____________________________________________________

Coming up, very soon, this four-person show at the Nantucket Artists Association, a brainchild of Program Coordinator Mary Emery: Due East, 4 Woodstock Artists on Nantucket, featuring the work of Polly Law, Kate McGloughlin, Jenny Nelson, and myself; all artists who teach and/or have done residencies at the AAN. Dates are September 1-22.

https://www.nantucketarts.org/dues-east-woodstock-artists-on-nantucket1.html

A medium-sized oil-on-linen that will be featured in the show:

Color Field/Incoming Tide, 30″x30″.

_________________________________________________________

Recently finished, my second Atlas/Hudson River Valley mixed-media/collage:

Atlas/HV Collage, 2 panels of 16″x8″/ea.

 

And in oil, an image of the tide coming in over the tidal flats mid-Cape, always a moment of bliss for me:

Sky Meets Water, 18″x24″.

 

This piece fits into the Atlas/Forms of Water segment. It is a different type of category from Atlas/Hudson River Valley, and there will be overlap, making for a more dynamic installation.

______________________________________________________

A few of my other sales so far this season:

 

Calm Crossing, 38″x70″, sold by the Louisa Gould Gallery.

 

Monotype/Wave#5, 8″x10″, sold by the Julie Heller Gallery.

 

Haybales, 8″x24″, pastel on paper, studio sale.

_________________________________________________

Upcoming workshops are at the PAAM September 11-14, the loveliest time of the year to be on the Cape:

https://www.paam.org/workshops/summer-2017/?course_detail=abstraction-and-narrative-in-the-landscape&start_date=9-11-17

And the Woodstock School of Art October 28-30, also a stunning time of year for the locale:

http://woodstockschoolofart.org/course/color-mixing-landscape-painters/

Enjoy your rest of summer season and beginning of fall!


2017 Late Spring News and Upcoming Events

This spring my mind has been on many of the seasonal imperatives, like creating new work for my galleries on the Cape and Islands and sorting through and shipping or delivering their selections. It has also, after a huge jump-start on my Atlas Project during my residency at the Nantucket Arts Association, been very much on advancing that exploration; and the spring has been spiced up by a few other new projects.

Mountain Sky/Blues, 24″x48″, newest piece, of the Catskills from the river.

I have scheduled a talk to discuss my Atlas Project for July 15 during the Shandaken Artists Studio Tour, 4:30-6pm. I am currently developing the third sequence, Atlas/Hudson Valley segment. This means that, in addition to other work in my studio,  I will hang a grouping of each of the sections that I have been working on this year: Atlas/Forms of Water/Snow; Atlas/Island (Nantucket); and the most extensive sequence to date, the Hudson River and Catskills work and mapping thereof.

 

Red River Shore, 20″x30″.

In my studio work progresses on my third prototype map for this grouping, which will include mini-monotypes of the paintings involved; maps of various sorts of the area; and a number of other elements, both descriptive and visual. I am hoping that this map will be the working template that clicks for me so that I can use it for new groupings/exhibitions going forward. This involves lots of trial and error, applied problem-solving and then experimenting with the materials (maps, acrylics, printmaking, rice paper, collage, river mud, etc.).

I have found that when I pose myself a complex creative problem to be solved, following a simple process works quite well. I start by seeing how far I can think my way into it, often using moments when I am driving or walking, and when I hit an aspect or aspects that stump me, I plant those as a seed, and then let go of the conscious effort. Some time later—usually weeks—the answer will pop into my head, my subconscious having been at work on it all the while, sometimes aided by new information that comes my way in the interval.

Here is where I am so far with the latest Site Map and associated prints:

 

Work table with HV map in progress; site map for the Atlas/Island (Nantucket) grouping in the background.

 

Trees with Mists, 18″x48″.

 

Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:

 

2 Shores, 12″x12″.

 

My new series is bringing me ever closer to the many aspects of the natural world that I have in the past observed, researched and delighted in. Which of these things and how they can manifest in the work is the adventure. As is true of most meaningful new endeavors, the space this holds for me is both stimulating and disquieting.

 

My first gallery show of Atlas/Hudson Valley is scheduled for 2018 at Thompson Giroux Gallery in Chatham, NY.

To view more oil paintings that are currently in my studio, click here:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

_______________________________________________________

During spring I am always preparing to deliver or ship new work to my galleries in Martha’s Vineyard, Nantucket, and/or Cape Cod. Below are some new pieces at the Louisa Gould Gallery in Vineyard Haven on Martha’s Vineyard. She always has a beautifully installed grouping of my work on display throughout the year, so please stop by if you are on the island.

 

Summer Inlet, 48″x24″, 2017.

 

Sengekontacket Greens, 12″x12″, 2017.

 

Katama Field, 12″x12″, 2017.

 

Summer Wave, 12″x12″, 2017.

 

______________________________________________________

 

My residency at the Arts Association of Nantucket in February resulted in many advancements in my problem-solving curve for the Atlas Project; a number of small paintings; and some monotypes (see my blog post on the residency):

https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/

The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.

 

 

And a few others:

 

Monotype/Green Marsh, 8″x10″.

 

Monotype/White Field #2, monotype and pastel, 8″x10″.

 

Monotype/Wave#5, 8″x10″.

See more of my prints and pastels here:

https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/

 

____________________________________________________

In April I flew to South Florida to do a large painting for friends with a new house there. I managed to pack in one big suitcase everything I needed, including the 16″x20″ version of the wave image that I had painted ahead of time. The one thing that did not fit in my suitcase was the 48″x60″ stretched linen canvas, which we had shipped from my wonderful stretcher-makers in Vermont, Brickyard Enterprises.

I had exactly one week to do this large piece and so, concerned about the possibility of things going wrong, I put in long days for the first several, working under an overhang in the pool enclosure.

 

 

Happily, nothing did go wrong, so we had a finished piece on the wall ahead of deadline and then I got to play, spending time at the Morikami Gardens and the beach (more wave paintings to come!).

 

 

______________________________________________________

 

My winter-spring show with Albert Shahinian Fine Art wrapped up in early April. We had a nice run of of two receptions—one at the gallery and one at my studio; a number of sales of pieces small and large, old and new; and an interview with the Poughkeepsie Journal containing questions that I quite enjoyed:

http://www.poughkeepsiejournal.com/story/entertainment/2017/03/22/landscapes-art-artists/99454762/

 

March reception in my studio.

Several of the pieces that went to new homes from our show “Gallery/Studio: A Symbiosis”:

 

Glistening Greys, 10″X10″, oil on linen.

 

“White Trail”, 40″x30″.

 

Affinity/Duo/Palms, diptych of 2 paintings of 16″x8″/ea.

 

______________________________________________________

 

I am teaching four more workshops in 2017, several of them new. In my workshops I emphasize composition as well as color, and share not only my techniques, but also an eclectic delight in many styles and aspects of contemporary and historical art.

The Woodstock School of Art:

June 17-19, Sat.-Mon, 9-4pm, Form and Content: A Landscape Painting Intensive
Oct.28-30, Sat.-Mon. 9-4pm, Color Mixing for Landscape Painters.
The Nantucket Arts Association July 18-20,Constructing/Deconstructing the Landscape;  and Mentoring for Artists, July 21.
Provincetown Artist Association and Museum, Sept. 11-14, Mon.-Thurs. 9:30-1:30, Abstraction and Narrative in the Landscape.

 

_______________________________________________________

I have plans for some new pastels in the near future—its a good time of year to approach these, with the studio windows wide open (ah, and I must mention sounds of birds and the creek behind my studio), mitigating any effects of flying dust. Below is a fairly recent one, in which I was pushing the color somewhat.

 

Turquoise Sky/White Cloud, 20″x20″.

 

Over the years I have at times felt pressure from some of my galleries to work brighter. I am very often a moody painter, though I don’t ever want to limit myself to any palette, locale, format, or mood. I do love a bright sunny day, but painting dramatic clouds and subtle, tonal color often draws me, and many of my collectors will follow me into that terrain.

With the pastel above, I set myself the intention of not going as dark along the horizon as I often do in a seascape, and in general keeping the colors more saturated or desaturated with white instead of grey. I wanted to see if I could make myself happy with a lower contrast, brighter image. And I did.

This is turning a request, essentially, into a creative problem. When people ask me how and whether being a full time, self-supporting artist affects my decision-making in the studio, that is part of the answer—that if I feel that I am being nudged in a particular direction, can I turn that into an interesting problem? And after I work that one out, what else can I do that is generated exclusively by, to use Kandinsky’s term, inner necessity?

 

Cotue of the Scalloped Edges, 6″x10.5″.


“Gallery:Studio – A Symbiosis” Solo Show with Albert Shahinian Fine Art

card-02-2017-csfrontb-copy
card-02-2017-csback-copy
asfawall
A quiet chat during a lull...

Having a quiet chat during a lull in the reception…

 

 “GALLERY:STUDIO – A SYMBIOSIS” is a retrospective and a culmination, presenting over 60 works drawn from a broad range of Scheele’s recent output – including paintings, pastels, monoprints and mixed-media.  In designing this show, artist and gallery were keen on making more accessible to visitors and collectors the opportunity to acquire a painting (hence the special sale).  As a culmination, the exhibit and sale end a significant period of Scheele’s aesthetic explorations, making time and space available for her focus on, and movement toward, a complex new project.  Finally, important to both parties, this exhibit celebrates a friendship born, but not limited by, their respective callings as artist and art venue.
Light that Glows, 32"x60".

Light that Glows, 32″x60″. $7,500.

 

Soft Greys from Peaked Hill, 10"x60".

Soft Greys from Peaked Hill, 10″x60″, $4,200.

 

Green Waves, 13"x76" overall, oil on linen.

Green Waves, 12″x75″, $8,000. (Sold)

 

https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/

 

Rare Summer Silence, 20"x30".

Rare Summer Silence, 20″x30″, $3,200.

 

Cranberry Bog in Reds, 48"x24", 2013.

Cranberry Bog in Reds, 48″x24″, $5,000.

 

Affinity/WinterSunset, 36"x48", $6,500.

Affinity/WinterSunset, 36″x48″, $6,500. (Sold)

 

"Extravagant Sky", 36"X60".

“Extravagant Sky”, 36″X60″. $8,000.

 

TriptychinReds

Triptych in Reds, 3 panels of 24″x24″/ea., $7,500.

 

White Field, 20"x40".

White Field, 20″x40″, $3,600. (Sold)

 

Angle of Repose, 40"x30",

Angle of Repose, 40″x30″, $5,000.

 

Drifting CLouds, 20"x20".

Drifting Clouds, 20″x20″, $2,200. (Sold)

 

"Affinity/Dusk Road", 30"x30".

“Affinity/Dusk Road”, 30″x30″, $4,000.

 

SunsetonTremont

Sunset with Taillights, 40″x20″, $3,800.

 

SunsetContours

Sunset Contours, 20″X20″, $2,200. (Sold)

 

dawnharbor

Sunset Harbor, 20″X16″.

 

 

HiiiBeyondHill

Hill Beyond Hill, 3 panels of 24″x20″/ea., $7,000. (Sold)

 

Height of Summer, 36"x48".

Height of Summer, 36″x48″, $6,500 (sold).

 

 

summerfields

                         Summer Fields, 30″x30″, $4,000.

Moving Sky, 30"x36".

Moving Sky, 30″x36″, $4,500. (Sold)

 

Juncture, 18"x60".

Juncture, 18″x52″, $4,200.

 

 

affinityinmotion

Affinity/In Motion, 48″x12″, $4,000.

 

Sundrenched Field, 20"x24".

Sundrenched Field, 20″x24″. $2,500. (Sold)

 

 

Skyblues/Seablues, 10"x8".

Skyblues/Seablues, 10″x8″, $800.

 

Winter in Blue/White, 12"x12", oil on linen (at Albert Shahinian Fine Art).

Winter in Blue/White, 12″x12″, $1,300. (Sold)

 

Angular Tidal Flats, oil on paper on 12″x12″ board. (Sold.)

 

Mauve Sky, 6"x12", oil on board, $650.

Mauve Sky, 6″x12″, oil on board, $650. (Sold)

 

Affinity/Duo/Palms, 2 paintings of 16"x8"/ea.

Affinity/Duo/Palms, 2 paintings of 16″x8″/ea, $2,000. (Sold)

 

Glistening Greys, 10"X10", oil on linen.

Glistening Greys, 10″X10″, oil on linen. (Sold.)

 

Gold Bush, 10"x10". oil on board, $700.

Gold Bush, 10″x10″. oil on board, $700. (Sold)

 

2 Suns, 10"x10", oil on board, $700.

2 Suns, 10″x10″, oil on board, $700. (Sold.)

 

"Study/Sunset Sea", 5"x5", oil on primed paper.

“Study/Sunset Sea”, 5″x5″, oil on primed paper, $550.

 

Study/Skyline, oil on paper, 5"x5", $550.

Study/Skyline, oil on paper, 7″x7″, $700.

 

"Factory at Work", 7>5"x3.5" (courtesy Julie Heller Gallery).

“Factory at Work”, 7.5″x3.5″, $600.

 

Affinity/Boatyard, 10"x10", 2014, oil on linen with frayed edges on board overlaid with graphite lines.

Affinity/Boatyard, 10″x10″, 2014, oil on linen with frayed edges on board overlaid with graphite lines, $900. (Sold)

 

"Hilltop Contour", oil on a vintage child's slate. (Courtesy JHG)

“Hilltop Contour”, oil on a vintage child’s slate, $750.

 

Additional works at the gallery:

 

Gleaming Bridge, 20"x40", $3,600.

Gleaming Bridge, 20″x40″, $3,600.

 

 

Summer Sky over Divided Fields, 20"x24".

Summer Sky over Divided Fields, 20″x24″, $2,500 (sold).

 

Black Treeline, 36"x48", $6,500

Black Treeline, 36″x48″, $6,500. (Sold)

 

Sweeping Greens/Jostling Trees, 28"x68", $7,500.

Sweeping Greens/Jostling Trees, 28″x68″, $7,500.

 

Mists from Palmer Hill, 12"X36", 2014.

Mists from Palmer Hill, 12″X36″, $2,800. (Sold)

 

Dawn Headlights, 12"X36".

Dawn Headlights, 12″X36″, $2,800.

 

RefractedGolds, 20"x40", $3,600.

RefractedGolds, 20″x40″, $3,600.

 

Favorite Field/Soft Greens, 3 panels of 12"X12"/ea., $3,200. (CRG)

Favorite Field/Soft Greens, 3 panels of 12″X12″/ea., $3,200.

 

"Intervening Space", 20"X20".

“Intervening Space”, 20″X20″, $2,200 (sold).

 

Stormy Sea, 12"X12".

Stormy Sea, 12″X12″, $1,300.

 

Evening Shoreline, 12"X12", $1,300. (ASFA)

Evening Shoreline, 12″X12″, $1,300.

 

Study/Mountain Contours, oil on paper

Study/Mountain Contours, oil on primed paper, 4″x14″, $800.

 

Affinity/Bridge at Sunset, 12"x24".

Affinity/Bridge at Sunset, 12″x24″, $2,000.

 

Green Waves, oil on paper,

Green Waves, oil on paper, $1,600.

 

 

 

"Conviction of Beauty", 12"x

“Conviction of Beauty”, 12″x42″.

 

Red Sky with Gleam, 5"x12", $800.

Red Sky with Gleam, pastel on paper, 5″x12″, $800.

 

River Sunset, 9.5"x19".

River Sunset, pastel on paper, 11.5″x19″, $1,600.

 

Mountain Fields, pastel on paper, 20"X24", $2,500.

Mountain Fields, pastel on paper, 20″X24″, $2,500. (Sold)

 

White Trail, 40"x30", $5,000.

White Trail, 40″x30″, $5,000. (Sold)

 


As 2016 Rolls into 2017…

 This is a time when we celebrate the start of a fresh new year, looking outward at loved ones and community for warmth, stimulation, and support. It is likewise a time of introspection, as we examine the  creative and life-of-the-mind pursuits, often solitary, that give the deepest meaning to our lives. 
 
Looking back at my art-related projects of 2016, a recent one was my blog post “Paintings of Infinite Worth”, in which I discuss four beloved paintings from last century.  Analyzing artwork is always stimulating and fun for me, and if I love the work, deeply felt. I feel lucky that I get to practice this skill while teaching; looking at artists’ work in mentoring meetings; in public talks —such as I did at the Provincetown Artists Association and Museum in September—and here on my blog.
It has been quite some time since I have done this with one of my own pieces, so I have selected “Calm Crossing”, painted last spring for my Martha’s Vineyard gallery, to deconstruct.
calmcrossing

Calm Crossing, 32″x68″, oil on linen (at Louisa Gould Gallery, Vineyard Haven, MA).

 I wanted this piece to convey the feeling of openness and welcome that the view of Martha’s Vineyard and the Sound have from the deck of the ferry, making it a more specific narrative than many of my paintings. I actually started with the cloud and color, testing as I went along—how turquoise and bright can I make this while still retaining the feel of the north Atlantic? Going quite literal and descriptive for a moment, the flatter the water the more it reflects the sky. So, how flat can the Sound between Cape Cod and MV actually be?
I have seen it pretty calm (the occasions when Jack always says, “See, our little boat would be fine to do this crossing on a day like today!”), so ultimately I felt free to just follow my own nose in regard to color and reflection.
Considering the relationship of the shapes, bits of the cloud come off the bottom center, angling towards the island, itself a low wedge shape. To the right, another wisp sits over the break in the land shape, but not so low as to feel that it is pressing down. As that cloud moves off to the right, below it a reflection of almost the same color moves diagonally left and down, so that the two shapes create a sideways V of surface tension that opens toward the center of the painting.
This kind of play in a scene that is otherwise a banded horizontal composition is what holds the surface together and keeps the eye happily circulating. Likewise, all of the subtle variations along the edge of the cloudbank, softer at the top,  invite the viewer to linger.
The context of the formal part of this discussion is that, with minimalism, there are few of the distractions that busy details create, so everything that is there must hold up to intense scrutiny. This also, then, connects to my analysis of the Rothko and the Frankenthaler in the Paintings of Infinite Worth post.
______________________________________
In late summer and early autumn I spent some time simplifying, rearranging, and painting my studio. Since I started out by getting rid of two large pieces of furniture that stored multiple things, I was spurred to action by the resulting piles of stuff. Sifting through old files—show postcards; letters; consignment sheets from galleries long gone; grant applications—I found myself in an unexpectedly intense emotional state.
I am still trying to put my finger on this stew of emotion. It did not include nostalgia, interestingly, or even pride, but did produce a sense of…wonder? The files were evidence of the accretion created by so very much effort over many years, including a good number of things that I had forgotten about or forgotten the details of.
That such a number of seemingly random tidbits added up to something quite substantial —my life’s work—made me feel as if I am sitting atop this huge pile of career events; relationships; and hard work, and that all of that is now supporting me. It also strikes me now how this would be true of so many people of a certain age, especially those working in arenas where both work and success are largely self-generated. Further, as an avid reader of literary fiction, I can see that this is the stuff that novelists work with—details that end up coalescing into life narrative.
The most moving piece of paper that I found was a letter from my old friend Joan D’Arcy, a gifted arts writer who passed away some years ago. This letter was written shortly after her husband died, at which time I had given her a small painting.
Interestingly, in a  twist to this story, a few years later Joan told me how much her husband had loved this piece, her memory apparently having been reshaped by a conflation of events on the timeline. I never corrected her.
letterfromjoan
“…shames the obvious.” Such a gorgeous turn of phrase.
Sorting through my studio, I also took a good look at the few that are left of these pastel-on-primed-paper pieces from 1992, done during a period when the serene feel was not working for me. I remember vividly doing these, our small twins (finally!!!) asleep in the late evening.
Jagged Peaks, 20"x24".

Jagged Peaks, 10″x24″.

 

Brown Shoreline, 24"x20".

Brown Shoreline, 24″x20″.

 

Birdseye Shoreline,

Birdseye Shoreline, 10″x24″.

______________________________________

Last summer I did, on a very hot July day, a demo at the Woodstock School of Art. It is hard to complete a sentence while working on a painting to start with—so much focus is on the progress of the piece—and on top of that the editing of a short video tends to break things up. Nonetheless, I am pleased with the result and hope that you enjoy watching.
________________________________________
A new exploration for me this past fall has been working with monotype, a printmaking process wherein you work directly on a plate to create one-of-a-kind images. An experienced painter can often move fairly quickly along the learning curve with monotypes, so I have had great pleasure in the process and am happy with many of my results.
M/Dark Road, monotype and pastel.

Dark Road,  monotype and pastel, 10″x8″.

 

Monotype, Wave #3, 8"x10".

Monotype, Wave #3, 8″x10″.

 

Monotype, Fall Marsh, 8"x10".

Monotype, Fall Marsh, 8″x10″.

Additional images can be viewed at:

https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/

___________________________________________

 The development of the actual paintings always (naturally!) comes first on my list of what I love to do most. These pieces are among my own top picks from 2016, often because I remember certain challenges in the process of creation that led to a satisfying result.
Layers of Meaning, 30"x24", oil on linen.

Layers of Meaning, 30″x24″, oil on linen.

 

Glistening Greys, 10"X10", oil on linen.

Glistening Greys, 10″X10″, oil on linen.

 

"Lingering", 10"x10".

“Lingering”, 10″x10″, oil on linen (sold by Julie Heller Gallery).

 

Winter in Blue/White, 12"x12", oil on linen (at Albert Shahinian Fine Art).

Winter in Blue/White, 12″x12″, oil on linen (at Albert Shahinian Fine Art).

_________________________________________

I am very pleased to have new representation at Gallery 901 in Santa Fe, NM. Please check out the gallery if you are in town:

http://www.gallery901.org/christie-scheele/

________________________________________

A number of my pieces have been gifted from one spouse to the other for the holidays. In the case of Trove/Atmospherics,  the story leading up to the surprise gift from a dear friend to her wife has twists and turns that have gone on for years (even though the piece dates only to winter of 2015):
Trove:Atmospherics, 35 panels of 3"x5"/ea., 30"x48" overall.

Trove:Atmospherics, 35 panels of 3″x5″/ea., 30″x48″ overall.

___________________________________________

I have just added some newly returned work to my data-base, and taken off the aforementioned holiday gifts. If you are looking for a large painting, this is a rare moment to peruse the many choices:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

Since I sold the piece in October that was on my large living room wall, I have had the pleasure of replacing it, temporarily at least, with this favorite that I recently had returned to me:

 

"Rolling Cloud", 44"x68".

“Rolling Cloud”, 44″x68″.

________________________________________

Looking ahead, my thoughts are on the project I am developing for my residency in Nantucket in Feb.-March. This will involve an expanded and more experiential exploration of place, using drawing, printmaking, painting, writing…and who knows what else? Memory will be a theme.

Also coming up this winter, a special show/sale starting in early February at Albert Shahinian Fine Art in Rhinebeck, NY. More on this in a few weeks.

Finally, for those of you who do the drive from Kingston, NY up Route #28 to your home or weekend place, or if you just want to listen to a very well-produced culture/history/arts audio tour of the Catskills, check  out this piece by neighbor and friend Brett Barry of Silver Hollow Audio (who Catskills/HV/Berkshires folks will know from the segments that he does on WAMC). My bit is about half-way into it, but with Brett’s interview prompts that created the individual discussions followed by skillful editing, the whole piece is beautifully interwoven and well worth listening to.

http://drive28.com/

_______________________________________

I am wishing us,  individually and collectively, a year of truth-seeking and compassion; of finding community; and exploring our deepest joys.


Paintings at Terrapin Restaurant/ Albert Shahinian Fine Art

I recently had an invitation to place my work in the newly renovated space of Terrapin Restaurant in Rhinebeck, NY. The designer, also a collector of mine, thought that my work work be perfect to bring views of the Hudson Valley into the restaurant, long known for its locally sourced food.

Immediately looping my gallery—Albert Shahinian Fine Art, located just a few blocks away—  into the process, we came up with solutions to some of my concerns. Lighting, in restaurants, is always a big one, as well as how to make clear to diners the names of the artist and gallery; that the work is available for purchase; and that a price list is available, without overly obtrusive wall cards and signage.

At chef Josh’s suggestion, we settled on using mostly farm field and meadow imagery.

Sweeping Greens/Jostling Trees, 28"x68", $7,500.

Sweeping Greens/Jostling Trees, the largest piece at 28″x68″.

Fast forward several weeks and the designer, JT, and Albert and I arrived for the installation. Dodging the still working painters; metal fabricators; and workers with a lift to do the lights in this vaulted space, we commenced hanging on the walls that we could, and Albert finished the job through the course of that week.

The fellows with the lift installing new lighting.

The fellows with the lift installing new lighting. First two paintings up in background!

 

Albert, genius curator and installer, hanging the third to go up.

Albert, genius curator and installer, hanging the third piece to go up.

 

After all was said and done, the space looks like this:

 

A view toward the entry.

A view toward the entry.

 

This view captures a little bit of the sense of space and light, with "Similar Figures".

This view captures a little bit of the sense of space and light, with “Similar Figures”.

Before the launch party, Abbe Aronson, PR person for the event, asked for comments from us and composed this:

 

 

ESTEEMED HUDSON VALLEY RESTAURANT TO UNVEIL NEW DINING ROOM 
IN COLLAB WITH LOCAL DESIGNER, ARTISANS
“FIRST LOOK, FIRST TASTE” PARTY SET FOR MAY 5TH

MODERN UPDATE OF “FARM TO TABLE MEETS BARN TO TABLE”

RHINEBECK, NY – After drawing gasps of appreciation for food, décor and setting for 15 years in its current location in the historic circa 1825 “First Baptist Church,” award-winning Terrapin restaurant is undergoing a stunning renovation in its main dining room, to be unveiled on Thursday, May 5th at a “First Look, First Taste” cocktail party.

“First Look, First Taste” celebrates not only the redesigned space but also the new spring menus in both the dining room and adjacent Bistro. The party takes place from 6-8 p.m. by invitation only, after which the dining room opens for reservations. As always, emphasis on organic, local cuisine shines at Terrapin, but now will be presented in a chic new setting that, while refreshed, still evokes key sensibilities of the Hudson Valley.

“It was time for a change,” said Chef Josh Kroner  who said long-time restaurant patrons as well as new guests were defaulting more and more to Bistro, not because they necessarily preferred the casual menu there but because the dining room had become known as ‘formal’ – “and that’s not the way I intend for people to eat at Terrapin.”

Enter JT McKay of bluecashew Design, an offshoot of neighboring bluecashew Kitchen Pharmacy and longtime friend of Kroner’s. “Josh was ‘farm to table’ before farm to table became a marketing term. That sort of food wasn’t a gimmick for him. So when we began to discuss the dining room redesign, we decided to give a proverbial ‘nod’ to this world.”

McKay continued, “There’s a real sense of bringing the outside inside with the new look here. We’re focusing on modern earth tones in the palette and using furnishings and design elements that evoke history and substance, so the two-inch thick red and white oak tables, which are old barn wood with contemporary finishes, are more than just reclaimed materials – they have real presence. Their age and history inform the energy of the entire room.”

Sweeping Greens", the largest piece at

Kroner added with a laugh, “I’ve wanted to collaborate with JT for years. The first time he came to my house, he rearranged all of the furniture and the lighting, so I know he was dying to get his hands on this place!”

Nearly all the key elements in the redesigned Terrapin dining room are new, including the lighting scheme, carpeting, place settings, metal railings and chairs, much of which are sourced locally and some of which are available for purchase through bluecashew  Wabi Sabi Wood (WSW), based here in Rhinebeck, was tapped to create the dining tables, the true anchor of the room now that the restaurant is abandoning tablecloths in lieu of a more updated look. Company co-owner Patrick Neri explained that in this project, Terrapin and WSW “have focused on bringing the highest quality ingredients into the hands of skilled craftsmen. WSW uses wood reclaimed from the hand-hewn beams of 18th century barns.  These beams once stood as trees in the Hudson Valley’s long forgotten old growth forests. The material represents some of the finest wood that ever grew from American soil. With these ingredients we built tables to be the foundation on which the craftsmanship of Terrapin will be displayed. Beneath every dinner plate lays a stunning display of hundreds of years etched in wood grain and patina. This truly will be ‘farm to table meets barn to table.’”

Paintings from Hudson Valley artist Christie Scheele will grace the new walls, curated and installed by Albert Shahinian  he of the eponymously named fine art gallery also located in the village of Rhinebeck. Says Scheele, “The single most distinctive aspect to what I do as a landscape painter lies in my ability to reduce a scene to its essentials.  This gives the viewer what is important, without the distraction, or visual clutter, of too much detail. Both by providing this overview and by using soft ‘scumbled’ edges, my paintings can quiet a viewer’s mind and evoke a direct response.”

She continued, “My work is, above all, about creating space—within the image of the painting, most often a wide-open vista—but also emotional and mental space for the viewer. The large, open space of the restaurant and the new color scheme in soft cream and a deep, slightly grayed green are perfect for my work. The elegance of the off-black metalwork that accents the room, with its strong, clean lines, also meshes beautifully with my strong, albeit soft-edged, shapes and sweeping contours.”

Moving Sky, 30"x36".

Moving Sky, 30″x36″.

Shahinian said working with Kroner and Terrapin was a very natural and important collaboration for the neighboring businesses. “Many of our gallery visitors ask us about dining in the village. For years we’ve suggested Terrapin as one of the top places to dine. It seems logical that part of a Terrapin ‘experience’ could suggest a visit to the gallery! There is synergy between such diverse businesses:  we both present high standards of quality, presentation, respect for our product and clientele, and offer high value for our visitors. One could say, ‘It takes a village to support a village!’”

With friends at the launch party.

With friends at the launch party.

Rhinebeck is a great town for a day trip, which could include a glorious stroll to the Hudson at Poet’s Walk; a visit to Albert Shahinian Fine Art; and dinner at Terrapin, where my work will be up for at least the next six months. Hope you make it!