Tag Archives: Main Street Arts

Meet The Artist in Residence: James Adelman

James Adelman, artist in residence at Main Street Arts during the month of January 2020, is working in one of our two studio spaces on our second floor. We asked James some questions about his work and studio practice:

James Adelman in his Brooklyn studio.

James Adelman in his Brooklyn studio.

Q: How would you describe your work?
Pretty traditional by most standards. I find 2-dimensions wholly adequate to convey infinite possibilities, so primarily I make oil paintings and charcoal drawings.

I am fascinated with contradictory notions and emotions felt simultaneously. The intersections and parallels of futility and persistence, despair and hope, loneliness and contentment.

Many are representational featuring ambiguous subjects with ephemeral, atmospheric qualities. They could read like stills from a movie reel, telling a nonlinear story. Sometimes haunting, but with stillness and quietude as well.

"Three Dresses" Charcoal on Paper 18 x 24"

“Three Dresses” Charcoal on Paper 18 x 24″

Q: What is your process for creating a work of art?
Often my work begins with a meditation or visualization exercise, followed by small sketches. I try to stay in a trance state and think as little as possible for as long as possible.

The sketches are translated into drawings, staged photographs, or paintings. Any of these may serve as the basis of further drawings, photos, or paintings. Sketches become photos become drawings that inform more photos that become paintings. Like a cycle.

The idea or visual is not as critical to me as maintaining the mood or emotion throughout the process. I want work imbued with emotional resonance and pictures which solicit emotive response and elude analysis.

Meditation Derived Charcoal Study 9 x 12" and Oil on Canvas 30 x 40"

Meditation Derived Charcoal Study 9 x 12″ and Oil on Linen 30 x 40″

Q: What are your goals for this residency?
I was nominated to apply for a Pollock-Krasner Foundation photography grant, so one project will be developing that portfolio. But also paintings and drawings.

I have a mountain of ideas, visuals, and references built up from the Summer which I just haven’t had psychic space to reflect on or organize. Main Street Arts seems like the right place to regain that space and dive in and see some of the longstanding projects advance.

Q: How do you promote your artwork?
I don’t really! Or at least I’m terrible at it. I carry forward announcements for events etc for the sake of the venues, but  most opportunities and supporters come to me through friends. It all comes back to friends. We are a tribal species.

James Adelman, Oil on Canvas, 30 x 40″

Q: Who are some of your favorite artists and inspirations?
Not just visual artists. Bruce Lee, David Lynch, Mr. Rogers, Gerhard Richter, Friends, Mark Tansey, Lisa Yuskavage, Marilyn Minter, Inka Essenhigh, Stanley Kubrick, Emily Evelleth, Edward Hopper, Vilhelm Hammershoi, James Casebere, Amy Bennet, George Tooker, Francis Bacon, Whistler, Kurt Cobain,… the list goes on and perpetually evolves, of course.

Q: What is the most useful tool in your studio?
Imagination! Then eye, mind, and hand. After that I think I use a palette knife most. Also I’m a big fan of homemade painting carts and how they evolve organically. Sort of a hobby.

James’ Studio Cart

Q: Do you collect artwork? Tell us about your collection.
Yes when I’m able, but only modestly scaled work. I have about 20 pieces, most came from friends as gifts or trades. Sometimes residents leave work out of gratitude, which is always humbling and amazing. There’s an amazing Alex Kanevsky I won in a raffle I could never have afforded it otherwise. I also got a Dik Liu at a Christmas benefit.

Q: What was your experience like at art school?
I think this quote from Mark Twain about sums it up: “I’m glad I did it, partly because it was well worth it, but mostly because I shall never have to do it again”

Q: Who are your strongest influences and why?
Ha, this will be a long one… Inka Essenhigh had a profound impact on me and my work. I admired her a lot then unbelievably she taught a class while I was in grad school. Later I was her teaching assistant for the same class: ‘Painting from Imagination’. It rocked my world. It is crazy that I know her.

Inka Essenhigh "Forms from Deep Underground" 2014, Oil on linen, 54 x 64"

Inka Essenhigh “Forms from Deep Underground” 2014, Oil on linen, 54 x 64″

Mark Tansey must be the most influential artist for me though. I was his studio assistant for several years and a huge fan long before. He employs one assistant at a time and there is a mentorship component, which he considers a long standing painting tradition.

He worked for Helen Frankenthaler around the same age and was very open with techniques, materials, and process with me.

Mark Tansey "White on White" Oil on Canvas, 78 x 138.5"

Mark Tansey “White on White” Oil on Canvas, 78 x 138.5″

It was incredible meeting an artist I’ve studied and for years and emulated for a time. Being able to ask about pictures in the book and told almost exactly how they were made, plus insights and revelations surrounding them at length. I got to see new work develop stage by stage. It is hard for that not to permeate the subconscious, especially if your willing.

I traveled to Rhode Island 3-4 days at a time, staying in a guest house over the garage. He has a Tribeca studio, but  Rhode Island was the primary workplace. We’d have dinner each night and talk art, philosophy, politics etc for hours.

Mark Tansey "The Innocent Eye Test" Oil on Canvas, 78 x 120"

Mark Tansey “The Innocent Eye Test” Oil on Canvas, 78 x 120″

It was amazing to have access to such a powerful intellect, especially in an ongoing format like that. The conversations could carry on to great depths as we reconvened consecutive nights and weeks.

Challenging at times too though, sometimes I had to read whole books just to participate. Often his wife Jean, who I regard as highly and deserves all credit for the food, would join us. They are an extraordinarily generous family in all regards.

Q: What’s next for you?
Driving to Utah to see my brother’s brand new baby! Then not sure. Probably driving aimlessly to places I’ve never seen, exploring. Taking advantage of having remote work and a Saab. I know I’ll be back in Woodstock again in May.

James Adelman "Swingset" Charcoal on Paper, 18 x 24"

James Adelman “Swingset” Charcoal on Paper, 18 x 24″

Q: Where else can we find you?
On my website,  www.AdelmanArt.com and @AdelmanArt on Instagram.

Introducing Literary Arts Coordinator, Rachel Crawford


I want to thank all of you for welcoming me to the Main Street Arts family as the new Literary Arts Coordinator. As I get to know Clifton Springs, I find that so much of the charm I love about Western New York is present and thriving—and I’m humbled to be part of the work Bradley and Sarah put into integrating the arts here. It’s remarkable that they see literature as integral to the arts and I couldn’t be more excited to share our upcoming events with the rest of you.

For the sake of providing a little background as to what literature means to me and what my experience entails, I completed my bachelor’s degree in Comparative Literature (with a focus in Russian) at the University of Rochester and went on to complete my master’s in English Literature there as well. During my time at the university, I can say that it was the internships and volunteering opportunities with Open Letter Books—a Rochester-based press that publishes literature in translation—that left the greatest impression on me. I learned how prevalent contemporary literature in translation is,  why we should all be reading living authors, and diversifying what we read.


While I was completing my master’s degree, I began freelancing for City Newspaper covering the literary community, and interviewing visiting authors. I was granted the opportunity to write a cover story about literary translators in Rochester who bring women’s voices to the spotlight. These translators’ roles are so significant to creating diversity in the literary arts. Marginality in literature has always interested me—the other or the subaltern; who speaks and who is spoken for. Throughout both my graduate and undergraduate careers, I focused on voice and representation. I spoke on two panels in New York (the New York Public Library and Columbia Teachers College) on women and madness in literature. After that, I presented at the University of Johannesburg and co-presented at the Catholic University of Portugal—each on Zimbabwean author Yvonne Vera, through the lens of ecofeminism.

But these are just my interests—I want to know what you’re reading: science fiction? nonfiction? Or maybe you’re revisiting Little Women to prepare for the newest film adaptation. I know some people who solely read specific genres of graphic novels or who casually flip through the New Yorker every week. Maybe you listen to books during your long commute or during a run. I want to talk about all of that with you.

For those of you who may be curious, I’m currently reading Joytime Killbox—a collection of short stories by Rochester-based author Brian Wood (which hits shelves October 15th).  (Joytime Killbox is published by BOA Editions, also based in Rochester.) I’m also  reading On Earth We’re Briefly Gorgeous by Ocean Vuong, a melancholic and mournful rendering of a difficult relationship with a parent. (Of course, there’s a stack of books on my nightstand waiting to be read.)


With Main Street Arts, I want to bring literature from independent publishers (especially our Western New York neighbors) to the forefront of our growing literary community. Moreover, I want to facilitate an inclusive space where readers can meet authors and poets and discuss what makes a work of fiction or poetry engaging. We will be hosting author visits, poetry readings, fiction workshops, a book club, and film screenings.—so stay tuned for more programs like these, yet to be announced.

Finally, a few fun facts about me: I’m the mother of a thirteen year-old boy who goes to the School of the Arts in Rochester, New York. We try to be adventurous about food, music, art, and by traveling whenever we can. I love a good glass of bubbly. My son and I enjoy camping––there’s no sound I love more than the Adirondack loons at night, paired with the stars during a new moon. But more than anything, I love meeting new people and exchanging ideas. As the saying goes, I’ve never met a stranger—so please come say hello to me at Sulfur Books!


Rachel Crawford


Meet the Artist in Residence: David Fludd

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

Artist David Fludd

Artist David Fludd

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo studio

Photo studio

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

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

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

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

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

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


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

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

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

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

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

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

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

Found picture frame

Found picture frame

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

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

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

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

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

In the studio with Dale

In the studio with Dale (cat on chair)

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

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

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

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

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

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

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

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

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

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

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

Inside the Artist’s Studio with Carol Acquilano

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

Painting on-site at Linwood Gardens in Pavillion, NY

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

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

"Summer Growth" watercolor on paper

“Summer Growth” watercolor on paper

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

My portable watercolor "studio" at Linwood

My portable watercolor “studio” at Linwood

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


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

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

From The Director: Heightened Awareness

roberto bertoia, gregory page, main street arts

Heightened Awareness (Installation shot)

The themes that are explored in this exhibition are a nod to the fact that we (human beings) don’t fully experience life. Seldom do we allow ourselves to fully experience all of the subtle nuances that exist in our world. Many of us are glued to glowing screens, experiencing things removed from real time and processed through a social media feed. This mediated existence leaves us missing out on things in the moment and maybe some of us don’t care about that. Perhaps we relish in the fact that technology and human life are becoming one and the very idea of “being in the moment” is changing, however, it is a certainty that there are other things happening that are worthy of our attention.

Left: LPV No. 3 (Detail) by Roberto Bertoia; Right: Motifs From ISU Greenhouse (Detail) by Gregory Page

Left: LPV No. 3 (Detail) by Roberto Bertoia; Right: Motifs From ISU Greenhouse (Detail) by Gregory Page

Heightened Awareness presents the work of Roberto Bertoia and Gregory Page, two artists who are interested in these ideas and their work comes from a place of slowing down and noticing the quiet moments in life. Both artists have a desire to be aware of the minute details of their surroundings. This exhibition is a contemplation on being present in the moment and truly experiencing things.

Gregory Page, Lithography

The translucent film for the print “Euonymus Alatus Burning Bush , State 1″ by Gregory Page

Gregory Page has 11 large-scale lithographs featured in the exhibition and each of them utilize his own unique process of drying plants, rehydrating them in a lithographic drawing solution, and arranging them on a translucent film which is then used to make the final printing plate. The plants he uses in his work come from as close as his own backyard and as far away as Edinburgh, Scotland. For Greg, it is about experiencing nature and plant life first-hand.

“I love getting up in the morning, getting in the garden and getting my hands in the dirt. Moving some compost around, planting something and watching it grow. The garden has been a real inspiration for me for a long time.” —Gregory Page

Gregory page, Lithograph, Main Street Arts

“Motifs from ISU Greenhouse, Selection II” (detail) by Gregory Page

It is also about cataloging and making a record of things that exist in our world. With nature in a state of flux, it becomes important to create a record of things as they existed in a certain moment in time.

The sculpture of Roberto Bertoia is made with second-hand, salvaged pieces of wood. He turns them into something new, something other than what was originally intended. He uses his material in an intuitive way, building without a solidified plan, similar to a painter responding to each brushstroke. Through this organic and fluid process his finished pieces are an homage to architecture and design and create interesting relationships between the interior and exterior.

Roberto Bertoia, Sculpture

“Untitled 1″ (detail) by Roberto Bertoia

He enjoys the paradox of seeing and not seeing and contemplating what is hidden and what is revealed. Roberto’s sculpture can be a metaphor for the ways we hide and reveal specific things about ourselves. The subtle moments that slowly shape our perspective on how we interact with people and the world we create for ourselves is something that he finds inspiring.

Roberto Bertoia, Sculpture

“Where Am I To Live” by Roberto Bertoia

“I try to be open and receptive to what’s going on around me. What may seem everyday or mundane may seem more important when I end up in the studio.” —Roberto Bertoia

The notion of slowing down and paying attention is not a new idea but it is one that we are constantly reminded of. Specifically, I think this is the way that we should experience art. Instead of breezing through an exhibition or merely scrolling through an artist’s Instagram feed, let’s spend some time thinking in front of the actual artwork. We may be surprised by where this small, yet meaningful  experience will take us.

The exhibition Heightened Awareness will run through Friday,  August 17, 2018 and you can view available work on the gallery’s Artsy page.


Inside the Artist’s Studio with Jody Selin

Until about the age of 6, I grew up in fairly rural area of Greensboro, North Carolina. My parents were avid gardeners and some of my fondest memories where of snapping green beans, skinned knees and following my parents around the yard, as they pruned and planted throughout the growing season.

Jody Selin working in her studio

Jody Selin working in her studio

There was plenty of land to roam as unsupervised kids and we took full advantage of it. If asked, we could recite the trees in our yard; cherry, pear, oak, dogwood and magnolias. It was here that I naturally developed a love of being outdoors, gardening and a fascination with plant and earth sciences. These earliest childhood impressions, along with a mother who encouraged creativity, are what I carry into my work today. 

Various pieces in progress

Various pieces in progress

So, for the better part of 20 plus years, I’ve been making art and choosing to live creatively. Originally, I came to Western New York to pursue my MFA in Ceramics at RIT’s School for American Craft, eventually settling in Buffalo, NY. Before this, I had traveled around the US and Caribbean for several years, where my natural inclination for plant biology overlapped with a love for the enormous plant growth and lush, saturation of the sub-tropics. The ecology of western NY has been just as inspiring, with the diverse hiking trails, rivers and Great Lakes. 


Detail of “Entangled Growth” from CULTIVATE exhibition

"Medium Pollinator Cluster" from the CULTIVATE exhibition

“Medium Pollinator Cluster” from the CULTIVATE exhibition

Working with my hands, traveling, hiking and experiencing people and places outside of my direct understanding have always been an interest for me. At my best, I am curious. 

These recent works, featured in the CULTIVATE exhibition, are a reflection of this continued curiosity. Threads of previous works in content and style are always present although, I intentionally choose to pursue work that is continually explorative and in response to my direct natural environment. 

Jody Selin is one of eight gallery artists represented by Main Street Arts. She is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Jody and her work can be found on our website. View more pieces byJody Selin on the gallery’s Artsy page.

"Bad Seed" by Chad Grohman

Inside the Artist’s Studio with Chad Grohman

Landscape by Chad Grohman

Landscape painting by Chad Grohman

I am from Buffalo, NY and have spent all but one year of my life there, minus the four years of undergrad at Rochester Institute of Technology. I didn’t really live in Rochester so much as the college itself, so I don’t really count that. My MFA was in a distance program so I stayed in Buffalo.

That being said, I have shown mostly in Rochester and other other cities besides Buffalo. As a commercial illustrator, I draw or paint many subjects in many media. When my personal artwork is shown in galleries, I tend to mostly paint landscapes. I paint landscapes because the landscape is where I prefer to be; outside. That’s the great thing about being an illustrator —as a freelancer, I can use what ever minutes I choose to be outside. While there walking or sitting, I began to draw and paint from life, as well as in the studio from photos. It was not until about 2010 that I really began painting landscapes.

Landscape by Chad Grohman

Landscape by Chad Grohman

Many years ago I began practicing and studying Buddhism. Outdoors is a wonderful place to practice. The school I belong to has a beautiful liturgy that is well suited for outdoors. Holding an outdoor service for the land and painting the land is an amazing combination.

School Days by Chad Grohman

“School Days” featured in the CULTIVATE exhibition at Main Street Arts

I am a Nichiren Shu novice Buddhist priest. In the CULTIVATE exhibition, I am showing artwork inspired by recent training trips to Japan — both rural and urban. The cats included in many of the pieces represent all realms of existence, primarily the bodhisattva (concern for others), human, animal, hell realms. The cats are spiritual — they suffer, they are beneficial, and are often confused.

"Original Disciples" by Chad Grohman

“Original Disciples” by Chad Grohman, included in the CULTIVATE exhibition

The artwork is mounted on cardboard. I prefer the basic nature of using cardboard and watercolor paper. I have long been attracted to and inspired by hobo art and the limited materials they use.

"Bad Seed" by Chad Grohman

“Bad Seed” by Chad Grohman, included in the CULTIVATE exhibtion

Chad Grohman is one of eight gallery artists represented by Main Street Arts. He is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Chad and his work can be found on our website. View more pieces by Chad Grohman on the gallery’s Artsy page.


The finished print with blue, red and grey added by hand.

Inside The Artist’s Studio with Sylvia Taylor

Every spring the spotted salamanders migrate from the woods behind my home in Ithaca, New York.  We watch for them on rainy nights. With a flashlight you can see their little dinosaur bodies moving forward into the night.  My print called The Quickening,  was inspired by the salamander migration.

salamander night

A Little Dinosaur in the Garden

Most of my work is created by a process called relief printmaking. It involves carving a piece of wood or linoleum, rolling ink onto the surface, and then transferring the ink/image onto paper. The final print will be the mirror image of the carved plate.   My favorite part of the process is carving the plate.

But first, I must get the drawing onto the plate.

I often draw directly onto the linoleum plate.

I often draw directly onto the linoleum plate.

Now for the fun part!

Cutting the Lino

Cutting the Lino

More Cutting...

More Cutting…

When you first roll ink onto the plate, it seems to spring to life before your eyes.  I love this part.

The image comes to life and any areas that need to be tweaked show up clearly.

The image comes to life

The plate is inked up and ready to proof

The plate is inked up and ready to proof

Next step is printing. Here’s my press:

My Printing Press

My Printing Press

The Ink from the Lino Plate is Transferred to the Paper...

The Ink from the Lino Plate is Transferred to the Paper…

It typically takes a few days for the ink to dry, depending on the weather

It typically takes a few days for the ink to dry, depending on the weather.

Once they are dry, I can add color and experiment.

Painting spots...

Painting spots…

The final print:

The finished print with blue, red and grey added by hand.

The finished print, “The Quickening”,  with blue, red and grey added by hand.

The word quickening references the idea of something speeding up but it is also a word used in pregnancy for the first moment that a woman feels the baby move in utero. Because I was a midwife for many years, I especially love that double entendre. I frequently see the process of making art with midwife eyes. Birth metaphors always come to mind.

In this print I was interested in exploring a certain kind of psychological undercurrent. Sometimes we experience the kind of change or upheaval that is marked by a departure from life as it has been. There is no going back and no discernible path forward. It’s like the proverbial night sea journey. Carl Jung talks about it as kind of a descent into Hades — to the land of ghosts somewhere beyond this world and beyond consciousness. Whenever I have a character in my art holding a salamander, it’s there to help find the way forward.

We were lost.

We Were Lost

Sylvia Taylor is one of eight gallery artists represented by Main Street Arts. She is featured in the exhibition CULTIVATE which runs April 7 through May 18, 2018. More information about Sylvia and her work can be found on our website. View more pieces by Sylvia Taylor on the gallery’s Artsy page.

From The Director: Into the Unknown, Overlooked, and Unfamiliar

The three bodies of work presented in this exhibition are entirely different. Jasna Bogdanovska, Harry Littell, and Nigel Maister have each explored specific concepts through their imagery. Some are abstracted views of reality while others are a document of a specific time and place.

During the installation process of Unknown, Overlooked, and Unfamiliar

During the installation process of Unknown, Overlooked, and Unfamiliar

Although each body of work is different, there is an overlap between them and a connection from one idea to the next. The name of the show Unknown, Overlooked, and Unfamiliar comes from my thinking about each of the artists and distilling their ideas surrounding the work into one word.

The Liminal #31 and #32 by Nigel Maister

The Liminal #31 and #32 by Nigel Maister

Unknown pertains to Nigel’s work and the way that he is investigating the relationship between the real and the imagined. He is using abstracted views of branches, leaves, and other flora as a way to depict the unseen. By pushing the values and colors of his images taken in the dark of night, he creates new worlds that are neither completely real nor entirely a figment of his imagination. The Liminal #31 and #32, part of a larger series (The Liminal) show two sides of his intentions. Both of these images may exist in a dream but one is more like an overload of saturation and visual stimulation, while the other could be a foreboding scene from a nightmare. The push and pull between being overstated and understated is one of the interesting things about the series as a whole and it makes for a varied experience when taking in the exhibition.

Farm drainage tile, Romulus by Harry Littell

Farm drainage tile, Romulus by Harry Littell

Overlooked came to mind when thinking about Harry’s project. He is investigating the upstate NY landscape and the small towns that we live in, drive through, or remember from years past. His photographs sometimes document a rather lifeless subject in a way that brings a depth of possible meaning or emotion. In Farm drainage tile (Romulus), a simple bundle of drainage tile sitting in a field becomes many things all at once. It is a monolithic structure, it is a stand-in for a large bale of hay typically seen in a field, and it is also waiting to go in the ground for its intended purpose. Without Harry finding beauty or an interest in this image, we may have just driven by and not paid any attention.

"Palimpsest" by Jasna Bogdanovska

“Palimpsest” by Jasna Bogdanovska

Unfamiliar connects to something in Jasna’s images. She is investigating her own identity, a dual identity. Born in Macedonia but living in the United States, she found the exact geographic midpoint between her two homes in the town of Grindavík, Iceland. This place that was once unfamiliar to her now became the symbol of her dual identity and the springboard for a series of photographs. Through a layered symbolism, she explores personal stories and ideas that relate back to this. The image pictured above, Palimpsest consists of a book resting on a rock in a shallow body of water. The meaning of the title has to do with a change occurring to something (i.e. a piece of writing or a place, perhaps even a person) with the original still showing through after the revision. In a way, this could be a self portrait. The book may have originally been written to describe a person who was born and lived in Macedonia. Pages inside have then been erased and rewritten, describing someone who now lives in America. The book is resting on a rock, which may represent Iceland, the place that is in between.

Installation shot: Unknown, Overlooked, and Unfamiliar

Installation shot: Unknown, Overlooked, and Unfamiliar

So, even though Jasna, Harry, and Nigel make completely different work, the overlap between them is present in this exhibition. I would suggest seeing it in person to find your own parallels and connections. Stop in before the show closes at the end of the month!

Installation shot: Unknown, Overlooked, and Unfamiliar

Installation shot: Unknown, Overlooked, and Unfamiliar

See Unknown, Overlooked, and Unfamiliar at Main Street Arts through Friday, March 30, 2018. You can also preview the exhibition on Artsy: Artsy.net/mainstreetarts.