2010 Exhibition

Anna Adler

6’ x 1’ x 1’,

Steel, concrete, dirt, found branches

Anna Adler

6’ x 1’ x 1’

Steel, concrete, dirt, found branches

Anna Adler

6’ x 1’ x 1’, Steel, concrete, 
dirt, found branches

Alex Uribe

Wood, chain

Alex Uribe

Wood, chain

Anne Huibregtse

Painted steel

Anne Huibregtse

Painted steel

Augie Della Vecchia
Tree, metal screening, cherry

In this piece I am combining industrial material with nature to provide the viewer with a sense of the supernatural.

Augie Della Vecchia
Tree, metal screening, cherry

In this piece I am combining industrial material with nature to provide the viewer with a sense of the supernatural.

Thomas Ryan Barkman

11’ x 8’ x 1’

Aluminum, stainless steel, steel, delrin

on the air...the wave of sonic perfection, weave through my molecules, glorious wave, nerve endings in this being; apart from you, wave, I cannot call home.one note a tone, two a song....vibration the universe it takes to contain.... entwined, singing softly, pulsing on the wave in the warm vastness of all......nature’s energy.

Thomas Ryan Barkman

11’ x 8’ x 1’

Aluminum, stainless steel, steel, delrin

on the air...the wave of sonic perfection, weave through my molecules, glorious wave, nerve endings in this being; apart from you, wave, I cannot call home.one note a tone, two a song....vibration the universe it takes to contain.... entwined, singing softly, pulsing on the wave in the warm vastness of all......nature’s energy.

Elizabeth Mansour Barksdale

6’ - 9’ tall in an area 25’ long x 20’ wide, 4 x 4’s,

hardware, green corrugated roofing, etc.

With my sculpture In a Sea of Grass, I play with the idea of a serpent gliding through the earth as if through water.
A serpent made of milled and manufactured materials as if they had grown on their own into a new life-form. By liberating my work from a pedestal and by making negative space central to it, I not only incorporate my work more directly into the site, but I also
invite the viewer to walk through my work, experiencing it from the inside as I do.

Elizabeth Mansour Barksdale

6’ - 9’ tall in an area 25’ long x 20’ wide, 4 x 4’s,

hardware, green corrugated roofing, etc.

With my sculpture In a Sea of Grass, I play with the idea of a serpent gliding through the earth as if through water.
A serpent made of milled and manufactured materials as if they had grown on their own into a new life-form. By liberating my work from a pedestal and by making negative space central to it, I not only incorporate my work more directly into the site, but I also
invite the viewer to walk through my work, experiencing it from the inside as I do.

Bernard Klevickas

10‘ x 14‘, 4’

Powder coating on hydraulically formed aluminum with polished stainless steel

I am a sculptor who utilizes industrial manufacturing processes in an expressionist manner to create objects of meticulous refinement with an interest in exploring the possibilities of surface and form. Untitled (red assembly) is an abstract construction exploring a compound curve on a surface that is then replicated, rotated and flipped to created an undulating surface. The surface is suspended off-kilter in midair upon a treelike structural support. I wish to thank Dick Polich and Polich-Tallix Fine Art Foundry; this sculpture would not have been possible without their support.

Bernard Klevickas

10‘ x 14‘, 4’

Powder coating on hydraulically formed aluminum with polished stainless steel

I am a sculptor who utilizes industrial manufacturing processes in an expressionist manner to create objects of meticulous refinement with an interest in exploring the possibilities of surface and form. Untitled (red assembly) is an abstract construction exploring a compound curve on a surface that is then replicated, rotated and flipped to created an undulating surface. The surface is suspended off-kilter in midair upon a treelike structural support. I wish to thank Dick Polich and Polich-Tallix Fine Art Foundry; this sculpture would not have been possible without their support.

Brian Bellushio

Mixed media

Brian Bellushio
Mixed media

Kit Burke-Smith
Wire, drywall tape
For my piece at Saunders Farm I created a form that protrudes from the spaces between the rocks in a section of one of the stone walls. 
My goal was an extruded, meandering form created out of the negative space of the wall. I have a background in metal smithing and jewellery, so I wanted the forms I created to have a similar gesture or sensibility of a forged line with shifting planes that fit in the spaces between the rocks.

Kit Burke-Smith
Wire, drywall tape
For my piece at Saunders Farm I created a form that protrudes from the spaces between the rocks in a section of one of the stone walls. 
My goal was an extruded, meandering form created out of the negative space of the wall. I have a background in metal smiting and jewellry, so I wanted the forms I created to have a similar gesture or sensibility of a forged line with shifting planes that fit in the spaces between the rocks.

Diana Carulli

16’x 9’x variable

Rusted steel

Diana Carulli

16’x 9’x variable

Rusted steel

Diana Carulli

16’x 9’x variable

Rusted steel

Cathrin Hoskinson

24” x 20”

Steel

Cathrin Hoskinson

24” x 20”

Steel

Christine Dempsey

Life sized,Wire, felt, pvc, chia seeds, Florencia Escudero, El pajaro canta hasta que muere, Wax +paint

I am an Argentine artist, but the many places I have lived and traveled have deeply impacted my work.
Every three years or so I have moved to a different location. I am attracted any sort of material according to certain properties such as the way something smells or feels, its color and texture. I produced a series of small figures of birds.
I was inspired by the film The Birds and its subtle allusion to complacency.

Christine Dempsey

Life sized,Wire, felt, pvc, chia seeds, Florencia Escudero, El pajaro canta hasta que muere, Wax +paint

I am an Argentine artist, but the many places I have lived and traveled have deeply impacted my work.
Every three years or so I have moved to a different location. I am attracted any sort of material according to certain properties such as the way something smells or feels, its color and texture. I produced a series of small figures of birds.
I was inspired by the film The Birds and its subtle allusion to complacency.

Cindy Booth
4’ x 4 ‘x 10’
Copper & steel

This 10’ welded metal flower is my first sculpture at Saunders Farm. It is made of copper that’s been heated and hammered
to create an organic feel and welded on to a steel frame to create a plant form based on Historic Botanical drawings. 
The wind on the hill makes it bob & weave as plants naturally do.

Cindy Booth
4’ x 4 ‘x 10’
Copper & steel

This 10’ welded metal flower is my first sculpture at Saunders Farm. It is made of copper that’s been heated and hammered
to create an organic feel and welded on to a steel frame to create a plant form based on Historic Botanical drawings. 
The wind on the hill makes it bob & weave as plants naturally do.

Ada Pilar Cruz
Magenta Veil
Sky Blue Reflection, Sizes variable, Mylar, acrylic and waxed sinew threads

Dakin Roy

Sizes variable

Wood, metal, plastic, foam, paper

Dakin Roy

Sizes variable

Wood, metal, plastic, foam, paper

Dakin Roy

Sizes variable

Wood, metal, plastic, foam, paper

Dana Kenn
Dimensions variable

Painted canvas, wood, astroturf

This piece started out as a theatrical scenic idea of burial mounds and a military tent city growing up out of the ground in the mist of the Hudson valley. Tents...Pyramids..Triangles...a delivery of bright color over a large footprint... a kind of textured earthy graffiti.  It is made of wood and scenically painted canvas, as well as inclusion of my signature astro-turf. 

I like the idea of several units spread out and jutting from the hillside in a rhythmical order. The most joy I had was building this piece on site in the twilight of several late afternoons, with the cows standing around in a semi-circle and the horses nudging me with their noses to see what I was doing.

Dana Kenn
Dimensions variable

Painted canvas, wood, astroturf

This piece started out as a theatrical scenic idea of burial mounds and a military tent city growing up out of the ground in the mist of the Hudson valley. Tents...Pyramids..Triangles...a delivery of bright color over a large footprint... a kind of textured earthy graffiti.  It is made of wood and scenically painted canvas, as well as inclusion of my signature astro-turf. 

I like the idea of several units spread out and jutting from the hillside in a rhythmical order. The most joy I had was building this piece on site in the twilight of several late afternoons, with the cows standing around in a semi-circle and the horses nudging me with their noses to see what I was doing.

Elizabeth Mansour Barksdale
6’ - 9’ tall in an area 25’ long x 20’ wide, 4 x 4’s

hardware, green corrugated roofing, etc.

With my sculpture In a Sea of Grass, I play with the idea of a serpent gliding through the earth as if through water.
A serpent made of milled and manufactured materials as if they had grown on their own into a new life-form. By liberating my work from a pedestal and by making negative space central to it, I not only incorporate my work more directly into the site, but I also invite the viewer to walk through my work, experiencing it from the inside as I do.

A. Eric Arctander

400 linear feet

Resin

My art is site-specific demarking what is special about place. That quality may be an aspect of nature, myth or history. 49 1/2 demarks the mile, from New York City, of the Old Albany Post Road on which this farm is located. This early colonialroad was once the major link between New York and Albany and played a significant role during the American Revolution. While the specialness of place is often one outside of time, my art is always sited as temporary; just a reminder, then it disappears as a dream upon awakening.

Geoff Feder

162” X 49” X 45”

Salvaged wood,steel, bronze, zylene paint, gun blue,

Geoff Feder is inspired by the constant development of the urban landscape and the contrast of progress with the natural world. Geoff juxtaposes industrial material with the fragile subject matter of birds through the medium of welded metals. 
Graffiti is also a strong element in his work; creating a sense of
turmoil, it also represents the passing of time and the imprint of culture.

Elena Kalman

6’x 6’x 12’

Light weight scrap metal, including computer discs, perforated sheets and mesh

I select highly textural, light weight metal scrap I can easily tie together, allowing some movement in the wind.
I work with the outdoor site and materials in hand to design a piece that would bring my assemblage and landscape into organic union.

Sometimes, I intuitively produce a piece, which in time invokes a very personal meaning to me. This happened to my assemblage called Interrupted Flight -1. Only after I made it, I remembered that my father when he was terminally ill was thinking about mechanics of flight, still dreaming of designing a new flying machine. It is his flight that was interrupted.

Elena Kalman

6’x 6’x 12’

Light weight scrap metal, including computer discs, perforated sheets and mesh

I select highly textural, light weight metal scrap I can easily tie together, allowing some movement in the wind.
I work with the outdoor site and materials in hand to design a piece that would bring my assemblage and landscape into organic union.

Sometimes, I intuitively produce a piece, which in time invokes a very personal meaning to me. This happened to my assemblage called Interrupted Flight -1. Only after I made it, I remembered that my father when he was terminally ill was thinking about mechanics of flight, still dreaming of designing a new flying machine. It is his flight that was interrupted.

Denis J Folz
13’ tall

Steel

I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images.

I am at my infancy with sculpting, working with steel is something I should have done years ago. 
Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. 
I try to see objects in nature, sketch them, move the space around and bring a form together.

Denis J Folz
13’ tall

Steel

I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images.

I am at my infancy with sculpting, working with steel is something I should have done years ago. 
Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. 
I try to see objects in nature, sketch them, move the space around and bring a form together.

Denis J Folz
13’ tall

Steel

I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images.

I am at my infancy with sculpting, working with steel is something I should have done years ago. 
Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. 
I try to see objects in nature, sketch them, move the space around and bring a form together.

Denis J Folz
13’ tall

Steel

I don’t set out to produce art about one subject or another. I’m never without a sketchbook to hand so I am constantly drawing and sometimes the drawings are left in the sketchbook and other times they develop into more in-depth ideas and detailed images.

I am at my infancy with sculpting, working with steel is something I should have done years ago. 
Realizing this I intend to pursue this new form and dig into other materials. I tend to work fast, never at ease with moving ahead slowly. 
I try to see objects in nature, sketch them, move the space around and bring a form together.

Franc Palaia

5’5”x 4’ x 7’

Wood, plexiglas, photo-vinyl, aluminum.

I have been making public art since the mid 1990’s which includes murals, sculpture and outdoor works for public transit systems in New York and New Jersey.

My murals and transit works usually reflect local history of the area. The imagery includes architecture, historical sites, personalities, important events or geography.

“Passive Solar Illuminated Photo Bus Shelter in ¾ Scale”, is a mixed media bus shelter made to my personal body scale or 20-25% smaller than a traditional transit shelter. I incorporate green technologies such as solar panels, light, recycled materials and passive translucent photography.

Franc Palaia

5’5”x 4’ x 7’

Wood, plexiglas, photo-vinyl, aluminum.

I have been making public art since the mid 1990’s which includes murals, sculpture and outdoor works for public transit systems in New York and New Jersey.

My murals and transit works usually reflect local history of the area. The imagery includes architecture, historical sites, personalities, important events or geography.

“Passive Solar Illuminated Photo Bus Shelter in ¾ Scale”, is a mixed media bus shelter made to my personal body scale or 20-25% smaller than a traditional transit shelter. I incorporate green technologies such as solar panels, light, recycled materials and passive translucent photography.

Franc Palaia

5’5”x 4’ x 7’

Wood, plexiglas, photo-vinyl, aluminum.

I have been making public art since the mid 1990’s which includes murals, sculpture and outdoor works for public transit systems in New York and New Jersey.

My murals and transit works usually reflect local history of the area. The imagery includes architecture, historical sites, personalities, important events or geography.

“Passive Solar Illuminated Photo Bus Shelter in ¾ Scale”, is a mixed media bus shelter made to my personal body scale or 20-25% smaller than a traditional transit shelter. I incorporate green technologies such as solar panels, light, recycled materials and passive translucent photography.

Fred Schlitzer

10’ x 4’

Mixed media

Fred Schlitzer

10’ x 4’

Mixed media

Gary Garrido Schneider
Approx. 8’ h x 3’ w

Digital Image printed on banner. Mounted on metal poles.

I am interested in how mundane utilitarian objects and materials can be transformed by being taken out of their expected context. My recent public installations investigate how casual interventions and actions can discreetly transform the landscape and how the visitor interacts with a space.

Gary Garrido Schneider
Approx. 8’ h x 3’ w

Digital Image printed on banner. Mounted on metal poles.

I am interested in how mundane utilitarian objects and materials can be transformed by being taken out of their expected context. My recent public installations investigate how casual interventions and actions can discreetly transform the landscape and how the visitor interacts with a space.

Genevieve White

Plaster, water, body
Performance

I use my body to test my limits and expose my vulnerability.
I am interested in the states of repression and freedom, identity shifts and body language. 
I wrap my head entirely with yarn, obstructing my senses, which becomes a heavy head.
I finally stretch the twine away with my hands to free myself from my mask until I re-appear. 
The rope or the things that bind us is also what can make us free. This is the symbolic nature that drives most of my performances.
Navigating from the inside out, I try to unravel truths and myths about others and myself. I am interested in using the body as a map, a vessel, a container, a follower, an interdependent and independent being that impacts its environment.

Geoff Feder

162” X 49” X 45”

Salvaged wood,steel, bronze, zylene paint, gun blue,

Geoff Feder is inspired by the constant development of the urban landscape and the contrast of progress with the natural world. Geoff juxtaposes industrial material with the fragile subject matter of birds through the medium of welded metals. 
Graffiti is also a strong element in his work; creating a sense of
turmoil, it also represents the passing of time and the imprint of culture.

George Heintz

Dimensions variable

Mixed media

George Heintz

Dimensions variable

Mixed media

Grace Knowlton

30” diameter

Scrap steel

Ruth Hardinger

Variable, approx 18 ft high, 60 ft wide, 25 ft deep

Rope, concrete, rocks

Continuous Draw #4 is an integrated tension structure—everything is connected and held in balance. This sculptural/architectural installation employs weights suspended at intervals on a long continuous strand of rope connected between the trees, drawing in the volume, breadth, and space of this pastoral site. In an aesthetic of addressing the environmental, social and cultural damage we now face, I turn to connection, void and balance as primary elements in these dynamic tension structures to speak to my concerns about balancing these predicaments. This is the 4th year I’ve re-used these rope and block materials in the Saunders Farm Project.

Herman Roggeman

Steel

Herman Roggeman

Steel

Hideki Takahashi

5’ x 180’

Acrylic on denim

Ilse Schreiber-Noll

Carved wood, steel, acrylic

This book asks the viewer to sign and to commit to protect our environment, to work towards peace, and to bring change to our troubled planet.
Change can only occur by reevaluating our lifestyle and attitudes. We need to familiarize ourselves and our children with the facts that cause our planet’s dilemma.
Then we can help to reverse and slow down some of the environmental damage we have done. 
Change must start in our own home; the building block for a larger cause: Adjusting
our lifestyle will help to save the planet. Practicing tolerance towards people we differ from leads to peace.

Ilse Schreiber-Noll

Carved wood, steel, acrylic

This book asks the viewer to sign and to commit to protect our environment, to work towards peace, and to bring change to our troubled planet.
Change can only occur by reevaluating our lifestyle and attitudes. We need to familiarize ourselves and our children with the facts that cause our planet’s dilemma.
Then we can help to reverse and slow down some of the environmental damage we have done. 
Change must start in our own home; the building block for a larger cause: Adjusting our lifestyle will help to save the planet. Practicing tolerance towards people we differ from leads to peace.

Jim Lloyd

Sizes variable

Steel

Jim Lloyd

Sizes variable

Steel

John Allen
Variable
Lithichrome
John Allen is a little known, essentially not-for-profit artist, who lives nearby and does something else for a living.

Jo-Ann Brody

Life sized
Pvc pipe, polyurethane foam, adhesive, pigment

A figure sprinting out of the woods and down the hill—she is running towards life, glowing with color in sun, more subdued in the shade, vital, flexible. She reflects my fascination with gesture, here explored in a new media.

Jo-Ann Brody

Life sized
Pvc pipe, polyurethane foam, adhesive, pigment

A figure sprinting out of the woods and down the hill—she is running towards life, glowing with color in sun, more subdued in the shade, vital, flexible. She reflects my fascination with gesture, here explored in a new media.

Jodi Carlson

5’ x 5’ x 15’

Aluminum

My sketchbook is filled with drawings of abstract flowers in vases, and my family is quite garden-centric. During last year’s Farm Project I began to wonder how a giant flower in a vase would look in this rugged and hilly farm terrain. I like the contrasts it presents, as a natural item placed in a man-made vessel, plunked back into nature. And, like other contemporary sculpture that has turned small everyday objects into the gigantic, it prods viewers into enjoying a broadened perspective.

Jodi Carlson

5’ x 5’ x 15’

Aluminum

My sketchbook is filled with drawings of abstract flowers in vases, and my family is quite garden-centric. During last year’s Farm Project I began to wonder how a giant flower in a vase would look in this rugged and hilly farm terrain. I like the contrasts it presents, as a natural item placed in a man-made vessel, plunked back into nature. And, like other contemporary sculpture that has turned small everyday objects into the gigantic, it prods viewers into enjoying a broadened perspective.

Justin Allen

Plot of land (75 yard square)
Earth, 4 red survey flags
This is an exercise in the usage of space.
Beth Bailis
Fusion Relief Sculpture
74” X 36” X 5”
Canvas, ceramic, rope, steel framework

In Fusion Constructions, the active penetration of painted canvas through the gapes and tears of ceramic shapes creates three-dimensional space. The ceramic forms curve and bulge off the surface, interacting with other incorporated elements. This evokes in the viewer a heightened sense of light, color and space.

“Bailis’ work often breaks the limits of traditional square canvas and two-dimensional space, with objects reaching out and off in every direction. In her engagement of three-dimensional space, Ms. Bailis is as much a sculptor as a painter and collage artist. Her rescue of “throw away” objects is a reminder that everything has aesthetic potential.” --Statement by Eileen McTiernan, Gallery Director of Mount Beacon Fine Art in Beacon, NY, where Bailis had a solo show of Fusion Paintings and Collages in December 2008- January, 2009.

Justin Allen

Plot of land (75 yard square)
Earth, 4 red survey flags
This is an exercise in the usage of space.
Beth Bailis
Fusion Relief Sculpture
74” X 36” X 5”
Canvas, ceramic, rope, steel framework

In Fusion Constructions, the active penetration of painted canvas through the gapes and tears of ceramic shapes creates three-dimensional space. The ceramic forms curve and bulge off the surface, interacting with other incorporated elements. This evokes in the viewer a heightened sense of light, color and space.

“Bailis’ work often breaks the limits of traditional square canvas and two-dimensional space, with objects reaching out and off in every direction. In her engagement of three-dimensional space, Ms. Bailis is as much a sculptor as a painter and collage artist. Her rescue of “throw away” objects is a reminder that everything has aesthetic potential.” --Statement by Eileen McTiernan, Gallery Director of Mount Beacon Fine Art in Beacon, NY, where Bailis had a solo show of Fusion Paintings and Collages in December 2008- January, 2009.

Justin Allen

Plot of land (75 yard square)
Earth, 4 red survey flags
This is an exercise in the usage of space.
Beth Bailis
Fusion Relief Sculpture
74” X 36” X 5”
Canvas, ceramic, rope, steel framework

In Fusion Constructions, the active penetration of painted canvas through the gapes and tears of ceramic shapes creates three-dimensional space. The ceramic forms curve and bulge off the surface, interacting with other incorporated elements. This evokes in the viewer a heightened sense of light, color and space.

“Bailis’ work often breaks the limits of traditional square canvas and two-dimensional space, with objects reaching out and off in every direction. In her engagement of three-dimensional space, Ms. Bailis is as much a sculptor as a painter and collage artist. Her rescue of “throw away” objects is a reminder that everything has aesthetic potential.” --Statement by Eileen McTiernan, Gallery Director of Mount Beacon Fine Art in Beacon, NY, where Bailis had a solo show of Fusion Paintings and Collages in December 2008- January, 2009.

Kevin Stapp

Monofilament

Dimensions variable

I like lines radiating out of the tree with the sun making linear glints suspended in space. Perpendiculars like the lines to the tree
and the post-industrial material itself perpendicular to the organic natural setting.

Kevin Stapp

Monofilament

Dimensions variable

I like lines radiating out of the tree with the sun making linear glints suspended in space. Perpendiculars like the lines to the tree
and the post-industrial material itself perpendicular to the organic natural setting.

Where the Sidewalk Ends *
Inspired by the writing of Shel Silverstein

The lovely company: Sarah Bek, Karina Fernicola-Ikezoe, Sara Mulry & Sydney Rebecca Schiff along with the beauty & inhabitants of the farm and special musical guest THE AUDIENCE creating our score with the fanciful toys & noise makers that we bring!

I am utterly moved at the thought of exploring the innocence of grass which interferes with sight line while at once partnering with curious cows! Our brand of physical, primal and playful interaction tumbles and frolics with the evocative joy of Saunders Farm. I have created a dance which embraces the “too tall grass,” the “nosey cows,” and the possibly “need to know” children. In the spirit of Shel Silvertsein this contribution is entitled “Where the side walk ends.” It is be a call to reflect, laugh, moo and be free.

Where the Sidewalk Ends *
Inspired by the writing of Shel Silverstein

The lovely company: Sarah Bek, Karina Fernicola-Ikezoe, Sara Mulry & Sydney Rebecca Schiff along with the beauty & inhabitants of the farm and special musical guest THE AUDIENCE creating our score with the fanciful toys & noise makers that we bring!

I am utterly moved at the thought of exploring the innocence of grass which interferes with sight line while at once partnering with curious cows! Our brand of physical, primal and playful interaction tumbles and frolics with the evocative joy of Saunders Farm. I have created a dance which embraces the “too tall grass,” the “nosey cows,” and the possibly “need to know” children. In the spirit of Shel Silvertsein this contribution is entitled “Where the side walk ends.” It is be a call to reflect, laugh, moo and be free.

Performance

The Ladies’ Auxiliary is a collective dedicated to the promotion and preservation of the homely aesthetic. Our membership is comprised of married women professionally trained in the functionless arts who have chosen to reside in wholesome communities where they can nurture their families and fixations. Our non-political, self-serving organization selects projects based upon their potential futility.

A Discerning Hostess is one who actively caters to the wants and needs of each individual guest. The Ladies have anticipated these needs and carefully selected refreshments accordingly. Parody and satire are key ingredients as the collective perfects our recipe for predestined mediocrity.

Larissa Killough

Black rope

Often we must experience the void to understand why we try so hard to avoid it. Through the journey, we discover our limitations and uncover the infinite possibilities within.

Larissa Killough

Black rope

Often we must experience the void to understand why we try so hard to avoid it. Through the journey, we discover our limitations and uncover the infinite possibilities within.

Lisa Breznak
70” diameter x 80” high

Mixed Media: polymer cement, polystyrene, paint, metal, varnish

The title Flower Fountain alludes not only to the cistern upon which it sits as a collection of life-giving water and a fountain for its dispersal, but also to a flower as a fountain for dispersing pollen to propagate ornamental and food bearing plant life. Both are necessities for life and both are becoming endangered. Gold is used to make the flower into an object of contemplation in a space where the actual flowers may be taken for granted. It also reminds us that function and interdependency are shared by everything, I want my work to demonstrate that beauty, ideas, humor and significance need not be mutually exclusive.

Lisa Breznak
70” diameter x 80” high

Mixed Media: polymer cement, polystyrene, paint, metal, varnish

The title Flower Fountain alludes not only to the cistern upon which it sits as a collection of life-giving water and a fountain for its dispersal, but also to a flower as a fountain for dispersing pollen to propagate ornamental and food bearing plant life. Both are necessities for life and both are becoming endangered. Gold is used to make the flower into an object of contemplation in a space where the actual flowers may be taken for granted. It also reminds us that function and interdependency are shared by everything, I want my work to demonstrate that beauty, ideas, humor and significance need not be mutually exclusive.

Margie Cohen
60” x 24” x 18”

Rusted steel

It is ironic that a sculptor whose pervading theme is irony should use iron as a medium. I have an idiomatic personal vocabulary to express myself.

My sculptures are about dreams, events in my life or emotion. Oft times there are conflicting themes: a piece will look playful but have a menacing undercurrent.

I was a very curious child and delighted in taking things apart to see how they worked. I explored the woods and roamed freely through construction/dump site, filling my pockets with found treasures. Today, the patina of rusty metal and the inherent difficulty of working with iron satisfies my soul.

Margie Cohen
60” x 24” x 18”

Rusted steel

It is ironic that a sculptor whose pervading theme is irony should use iron as a medium. I have an idiomatic personal vocabulary to express myself.

My sculptures are about dreams, events in my life or emotion. Oft times there are conflicting themes: a piece will look playful but have a menacing undercurrent.

I was a very curious child and delighted in taking things apart to see how they worked. I explored the woods and roamed freely through construction/dump site, filling my pockets with found treasures. Today, the patina of rusty metal and the inherent difficulty of working with iron satisfies my soul.

Max Yawney

18’ x 20’ x abt 7’

Canvas, wood, acrylic paint and a ballbearing system

The poetic distinctions in the form and imagistic content provide the subject matter. The phenomenal experience of the work countering the farm is the alter ego of this work.

Mick McGuire

7’ X 3’

Spandex, plastic, color gells

Objects have no color until we perceive and define them. The farm is a place for growing and harvesting–will the infant colors grow on you in this incubator?

Mick McGuire

7’ X 3’

Spandex, plastic, color gells

Objects have no color until we perceive and define them. The farm is a place for growing and harvesting–will the infant colors grow on you in this incubator?

Mick McGuire

7’ X 3’

Spandex, plastic, color gells

Objects have no color until we perceive and define them. The farm is a place for growing and harvesting–will the infant colors grow on you in this incubator?

Carla Rae Johnson

8’ x 8’ x 8’

Commodification Station: (wood & hardware) Goods: Wood, hardware, natural “found” materials (seeds, leaves, stones, grasses, bark, branches, mushrooms, shells, feathers, bones, fur, and weeds transported from 10-12 states!)

“It’s a farm-stand.” “It’s a performance.” “It’s a parody in the pasture.” “Art has succumbed to commodification: now, it’s Nature’s turn!”

The Meadow Mogul, (a humorous character motivated by greed, self-interest, and indifference to practices of ecology and sustainability) encourages visitors to participate in the commod-ification of “nature” and the earth. Visitors have the opportunity to purchase “goods” from the bounty of nature. That these goods are of questionable “use” to human consumers does not impede sales transactions any more than in any other retail situations. References to current financial,ecological, political and cultural transgressions.

Michael Anthony Natiello

12’ x 2’ x 12’

Hand-hewn timbers, iron hoops, barbed wire, chains

Michael Anthony Natiello

12’ x 2’ x 12’

Hand-hewn timbers, iron hoops, barbed wire, chains

Michael Poast

10’ x 6’ x 5’

Steel

Michael Poast

10’ x 6’ x 5’

Steel

David Provan

7’x 9’x 9’

Wood

This piece - Lulu - draws strength and structure from my past. Its skeletal, wooden framework is the result of a cannibalization
of some of my past works and the memories that permeate them: a desk top from my SoHo loft; a 1991 sculpture called Something From Nothing; a miniature teahouse (T-House) from 2009; my bed platform; etc. The past is composted and reconfigured into something new and terrible.

Sheilah Rechtschaffer

10 yards x 60 inches

Recycled latex house paint on camouflage netting fabric

Camouflage no longer hides or deceives. In fact just the opposite.

This year the big hit in fashion is camouflaged clothing. Not only in the traditional hiding colors of woodland or the digital print of the desert, but in garish expanded patterns in hot pink, neon yellow, lavender and acid green.

It has always been interesting that artists are sensitive to change and in my case amused or saddened by it.

The surprise here at Saunders Farm is that through filtered light there is another message of duality. Perhaps the beauty of the environment is so present that it potentiates and absorbs the art of intention. Thus, allowing the viewer to imagine something else.

Sheilah Rechtschaffer

10 yards x 60 inches

Recycled latex house paint on camouflage netting fabric

Camouflage no longer hides or deceives. In fact just the opposite.

This year the big hit in fashion is camouflaged clothing. Not only in the traditional hiding colors of woodland or the digital print of the desert, but in garish expanded patterns in hot pink, neon yellow, lavender and acid green.

It has always been interesting that artists are sensitive to change and in my case amused or saddened by it.

The surprise here at Saunders Farm is that through filtered light there is another message of duality. Perhaps the beauty of the environment is so present that it potentiates and absorbs the art of intention. Thus, allowing the viewer to imagine something else.

Robert Van Winkle

11’2” x 8’ x 8’

This sculpture is made of 316 stainless steel plate. 
The sculpture is a plasma cut which was cut on a Cad Plasma Machine and was left as unfinished stainless steel.

Sarah W. Young

Performance

Pets and the City is a series of stories fictionalizing Sarah’s subversive life as an animal rescuer.

Alison, Pets and the City’s, beleaguered narrator, is a die-hard animal lover/activist engaged in constant rescue operations, in constant need of money, constantly in romantic quandaries, who, along with her crazy animal activist friends, will stop at nothing - i.e. nothing - to save an animal.

A bad ventriloquist, she nonetheless dives into ventriloquism, teeming up with Allie, her mini-me ventriloquist dummy.

At Saunders Farm, Sarah (as Alison) and Allie will read stories from Pets and the City, taking on MacDonalds, factory farmers and other abusers of animals.

Sarah W. Young

Performance

Pets and the City is a series of stories fictionalizing Sarah’s subversive life as an animal rescuer.

Alison, Pets and the City’s, beleaguered narrator, is a die-hard animal lover/activist engaged in constant rescue operations, in constant need of money, constantly in romantic quandaries, who, along with her crazy animal activist friends, will stop at nothing - i.e. nothing - to save an animal.

A bad ventriloquist, she nonetheless dives into ventriloquism, teeming up with Allie, her mini-me ventriloquist dummy.

At Saunders Farm, Sarah (as Alison) and Allie will read stories from Pets and the City, taking on MacDonalds, factory farmers and other abusers of animals.

Sonia Roy

4’x 5’x 3’

Fabric and metal

Sonia Roy

4’x 5’x 3’

Fabric and metal

Sarah Haviland

Steel and galvanized wire mesh

4’x 4 1/2’x 5’

Spirit of Place watches over Saunders Farm. The human-scaled bird-figure perches in a hilltop field overlooking the Hudson Highlands, its open wire-mesh-and-steel frame suggesting both presence and absence. Silvery lines show up against dark forest and green leaves, glitter in the sunlight, and sometimes disappear entirely from view against the sky.

This sculpture is part of a series of human-bird figures made transparent in wire mesh or opaque in cement, terracotta, or cast stone. The images are created in human scale and in smaller bird-size. Whether defined as specific portraits, or as more abstract shapes or personifications, these hybrid spirits echo mythological figures relating to the soul found in cultures worldwide.

Sarah Haviland

Steel and galvanized wire mesh

4’x 4 1/2’x 5’

Spirit of Place watches over Saunders Farm. The human-scaled bird-figure perches in a hilltop field overlooking the Hudson Highlands, its open wire-mesh-and-steel frame suggesting both presence and absence. Silvery lines show up against dark forest and green leaves, glitter in the sunlight, and sometimes disappear entirely from view against the sky.

This sculpture is part of a series of human-bird figures made transparent in wire mesh or opaque in cement, terracotta, or cast stone. The images are created in human scale and in smaller bird-size. Whether defined as specific portraits, or as more abstract shapes or personifications, these hybrid spirits echo mythological figures relating to the soul found in cultures worldwide.

STUDIO No.9 (Brian Beaton & Lorraine A. Gregus)

9 ‘ dia X 6‘ high

Recovered Steel

Lorraine and Brian collaborated to create the concept for this year’s exhibition: The Scrap Metal Wig-Wam. This idea is based on the wigwams on view at Tea Town Lake Reservation in Yorktown, NY. 
Like the people who first created these structures, our choice of material, recovered steel, is based on what we find in our environment as well as our interest in salvaged items.

STUDIO No.9 (Brian Beaton & Lorraine A. Gregus)

9 ‘ dia X 6‘ high

Recovered Steel

Lorraine and Brian collaborated to create the concept for this year’s exhibition: The Scrap Metal Wig-Wam. This idea is based on the wigwams on view at Tea Town Lake Reservation in Yorktown, NY. 
Like the people who first created these structures, our choice of material, recovered steel, is based on what we find in our environment as well as our interest in salvaged items.

STUDIO No.9 (Brian Beaton & Lorraine A. Gregus)

9 ‘ dia X 6‘ high

Recovered Steel

Lorraine and Brian collaborated to create the concept for this year’s exhibition: The Scrap Metal Wig-Wam. This idea is based on the wigwams on view at Tea Town Lake Reservation in Yorktown, NY. 
Like the people who first created these structures, our choice of material, recovered steel, is based on what we find in our environment as well as our interest in salvaged items.

Tom Holmes

8’ x 10’ x 36’

Wood and metal

Tom Holmes

8’ x 10’ x 36’

Wood and metal

Ursula Clark
Sizes variable

Ursula Clark
Sizes variable

Max Yawney

18’ x 20’ x abt 7’

Canvas, wood, acrylic paint and a ballbearing system

The poetic distinctions in the form and imagistic content provide the subject matter. The phenomenal experience of the work countering the farm is the alter ego of this work.