2016 Exhibition

John Allen

Granite

Size variable

This piece, Bleatings, is about psychic space more than sculptural (3-D) space. There is a before and an after and a middle, around which a nimbus of history, speculation, memory, and imaginatIon hovers.

John Allen

Granite

Size variable

This piece, Bleatings, is about psychic space more than sculptural (3-D) space. There is a before and an after and a middle, around which a nimbus of history, speculation, memory, and imaginatIon hovers.

John Allen

Granite

Size variable

This piece, Bleatings, is about psychic space more than sculptural (3-D) space. There is a before and an after and a middle, around which a nimbus of history, speculation, memory, and imaginatIon hovers.

Ann Provan

Enamel and flashing on wood

8’ x 2’ x 1’

My piece, called Psycho Pollination, is a standing abstract female figure with painted chakras. Chakras represent the seven centers
of spiritual power in the human body in Sanskrit and Indian culture.

I wanted to create a strong geometric shape with a human component. The shape is somewhat cartoony, a feminine body with a head that is a mix of a Buddha with a topknot and a bit like Olive Oyl, Popeye’s girlfriend. The chakras are depicted as colorful painted owners on one side and as concentric circular tantras on the other side. The wooden structure is protected with a covering of brass and aluminum roof flashing hammered all over the surface with tiny nails, reminiscent of old fashioned tin toys. This was a challenging project for me as the figure stands 8 feet tall, and is anchored with cement footings. I am excited to have had the opportunity to exhibit Psycho Pollination on the beautiful Saunders Farm property in the Farm Project 2016.

Ann Provan

Enamel and flashing on wood

8’ x 2’ x 1’

My piece, called Psycho Pollination, is a standing abstract female figure with painted chakras. Chakras represent the seven centers
of spiritual power in the human body in Sanskrit and Indian culture.

I wanted to create a strong geometric shape with a human component. The shape is somewhat cartoony, a feminine body with a head that is a mix of a Buddha with a topknot and a bit like Olive Oyl, Popeye’s girlfriend. The chakras are depicted as colorful painted owners on one side and as concentric circular tantras on the other side. The wooden structure is protected with a covering of brass and aluminum roof flashing hammered all over the surface with tiny nails, reminiscent of old fashioned tin toys. This was a challenging project for me as the figure stands 8 feet tall, and is anchored with cement footings. I am excited to have had the opportunity to exhibit Psycho Pollination on the beautiful Saunders Farm property in the Farm Project 2016.

Roger Baumann

Wood, metal, audio

6’ x 6’ x 6’

Roger Baumann

Wood, metal, audio

6’ x 6’ x 6’

Ben Birillo

Painted wood

Ben Birillo

Painted wood

Jo-Ann Brody

Fossilcrete over PVC pipe

61”-69” tall (6 pieces)

These women are the continuation of a series started in clay many years ago. Now in cement the women are pared down into the most minimal forms yet in Brody’s ongoing vocabulary. The iconic forms suggest bones, totems, trees. They closely resemble Brody’s original woman forest installations. The rough forms are an immediate response done rapidly over a period of just a few days just as the much smaller clay figures were. Brody has always searched for the immediacy the clay work had in her cement figures. These figures demonstrate a successful search. While each figure is created as a solo piece, mass- ing them together enhances each. Color is consciously added to these figures with each of the figures having a singular color.

Jo-Ann Brody

Fossilcrete over PVC pipe

61”-69” tall (6 pieces)

These women are the continuation of a series started in clay many years ago. Now in cement the women are pared down into the most minimal forms yet in Brody’s ongoing vocabulary. The iconic forms suggest bones, totems, trees. They closely resemble Brody’s original woman forest installations. The rough forms are an immediate response done rapidly over a period of just a few days just as the much smaller clay figures were. Brody has always searched for the immediacy the clay work had in her cement figures. These figures demonstrate a successful search. While each figure is created as a solo piece, mass- ing them together enhances each. Color is consciously added to these figures with each of the figures having a singular color.

Cindy Booth & Regina Filannino

Vine, fabric, metal, twine, feathers

Cindy Booth & Regina Filannino

Vine, fabric, metal, twine, feathers

Susan Buroker

Metal and mahogany

8’ x 6’ x 3.5’

Susan Buroker

Metal and mahogany

8’ x 6’ x 3.5’

Jodi Carlson

Steel

13’ x 15’ x 12’

Circles and Arcs is the first sculpture in a series called the Trampoline Series. After posting an ISO (In Search Of) online for trampolines, 6 people from the NY tri-state area gave me trampolines of different sizes. For this particular piece, I set about exploring circles and curves (some- thing I’ve craved this year). The companion piece to Circles and Arcs is a semi-abstract sculpture titled Big, Big Bug, which was created at the same time.

Jodi Carlson

Steel

13’ x 15’ x 12’

Circles and Arcs is the first sculpture in a series called the Trampoline Series. After posting an ISO (In Search Of) online for trampolines, 6 people from the NY tri-state area gave me trampolines of different sizes. For this particular piece, I set about exploring circles and curves (some- thing I’ve craved this year). The companion piece to Circles and Arcs is a semi-abstract sculpture titled Big, Big Bug, which was created at the same time.

Steven Ceraso

Wood, steel

5’ x 3’ x 10’

Modular construction, systems of attachment, repetition of form and design have become increasingly important in these large-scale works. Helix 2 makes use of line, form, and building materials to create an object that is inspired by the surrounding environment. These materials are recycled and repurposed. Each sculpture that I have exhibited on this site has become progressively more in tune with the landscape.

Steven Ceraso

Wood, steel

5’ x 3’ x 10’

Modular construction, systems of attachment, repetition of form and design have become increasingly important in these large-scale works. Helix 2 makes use of line, form, and building materials to create an object that is inspired by the surrounding environment. These materials are recycled and repurposed. Each sculpture that I have exhibited on this site has become progressively more in tune with the landscape.

Dave Channon

Steel and bronze

13’ x 4’ x 4’

I began welding metal sculptures in 2008. The approach is collage or assemblage, starting with a found object that inspires the concept.

Grandfather Time started as a bronze clock face and a pair of antique lumber grappling hooks resembling legs. Individual components remain recognizable in origin but are transformed into a new context through imagination, sweat, and many electrons. All my sculptures have an animated, dynamically imbalanced attitude and a playful sense of humor, often resembling human figures, birds, or prehistoric beasts. The process is up-cycling, the reuse of waste into objects of great value.

Dave Channon

Steel and bronze

13’ x 4’ x 4’

I began welding metal sculptures in 2008. The approach is collage or assemblage, starting with a found object that inspires the concept.

Grandfather Time started as a bronze clock face and a pair of antique lumber grappling hooks resembling legs. Individual components remain recognizable in origin but are transformed into a new context through imagination, sweat, and many electrons. All my sculptures have an animated, dynamically imbalanced attitude and a playful sense of humor, often resembling human figures, birds, or prehistoric beasts. The process is up-cycling, the reuse of waste into objects of great value.

Ada Pilar Cruz

Clay

Una gura nunca puede ser de nitiva.
Es siempre un principio—un camino abierto, interminable,
porque la gura es lo que falta,
lo que no tenemos.

A gure can never be de nitive.
It is always a beginning—an open, interminable path, because the gure is what is missing,
what we don’t have.

—Juan Carlos Onetti

Ada Pilar Cruz

Clay

Una gura nunca puede ser de nitiva.
Es siempre un principio—un camino abierto, interminable,
porque la gura es lo que falta,
lo que no tenemos.

A gure can never be de nitive.
It is always a beginning—an open, interminable path, because the gure is what is missing,
what we don’t have.

—Juan Carlos Onetti

Augie Della Vecchia

Found objects

Size variable

Augie Della Vecchia

Found objects

Size variable

Augie Della Vecchia

Found objects

Size variable

David Provan

Powder coat on steel

144” x 48 “x 48”

This piece is a direct response to the demands of the Saunders Farm site, as filtered through my perception, skills, and biases. I understood the site to require: Monumentality (to be seen within the vast expanses of the Farm, it is 28 feet high); Durability (to withstand wind, rain, and cows, it’s fabricated from super-stable PVC pipe, over a steel armature); Colorfulness (to stand out in the overpowering greenness of the place, it is painted the full spectrum of Rustoleum spray paint; and Cheapness.

David Provan

Powder coat on steel

144” x 48 “x 48”

This piece is a direct response to the demands of the Saunders Farm site, as filtered through my perception, skills, and biases. I understood the site to require: Monumentality (to be seen within the vast expanses of the Farm, it is 28 feet high); Durability (to withstand wind, rain, and cows, it’s fabricated from super-stable PVC pipe, over a steel armature); Colorfulness (to stand out in the overpowering greenness of the place, it is painted the full spectrum of Rustoleum spray paint; and Cheapness.

Maria Driscoll McMahon-iii

Performance and soundscape Too Soon for Dinosaurs is a space-time mash-up. It is an absurd attempt to inventory all past and present animal species and to speculate on all possible future species. It incorporates unlikely pairings of beings – some of them hybrids – select- ed, through chance, from disparate eras and geographies (including exo-planetary locales!) There are also allusions to the reach (over- reach?) of science and, as always, musings on the animal/human/ post-human condition.

Maria Driscoll McMahon-iii

Performance and soundscape Too Soon for Dinosaurs is a space-time mash-up. It is an absurd attempt to inventory all past and present animal species and to speculate on all possible future species. It incorporates unlikely pairings of beings – some of them hybrids – select- ed, through chance, from disparate eras and geographies (including exo-planetary locales!) There are also allusions to the reach (over- reach?) of science and, as always, musings on the animal/human/ post-human condition.

Maria Driscoll McMahon-iii

Performance and soundscape Too Soon for Dinosaurs is a space-time mash-up. It is an absurd attempt to inventory all past and present animal species and to speculate on all possible future species. It incorporates unlikely pairings of beings – some of them hybrids – select- ed, through chance, from disparate eras and geographies (including exo-planetary locales!) There are also allusions to the reach (over- reach?) of science and, as always, musings on the animal/human/ post-human condition.

Katrina Ellis

Acrylic paint & medium, found blanket, fabric, wire

51” x 37” x 6”

Katrina Ellis views the creation of her mixed-media artworks as a kind of visual storytelling. Pulling from traditions of craft and mythos, she utilizes repetitive mark-making and patterns to create paintings and objects that inform each other and imply a greater narrative. Drawing from her emotional memory and the natural world, she expresses both a wonderment and alienation, often with a subtlety that may allow the content to appear deceptively simple at first glance.

As a creative only-child, Katrina grew up grasping for the magic in the everyday. Exploring the possibilities of a flexible reality, she attempts to look at the world simultaneously through child-like and knowing eyes. She is influenced greatly by the human propensity to view life through narratives: visual art, cinematic works, and music all play into this desire.

Katrina Ellis

Acrylic paint & medium, found blanket, fabric, wire

51” x 37” x 6”

Katrina Ellis views the creation of her mixed-media artworks as a kind of visual storytelling. Pulling from traditions of craft and mythos, she utilizes repetitive mark-making and patterns to create paintings and objects that inform each other and imply a greater narrative. Drawing from her emotional memory and the natural world, she expresses both a wonderment and alienation, often with a subtlety that may allow the content to appear deceptively simple at first glance.

As a creative only-child, Katrina grew up grasping for the magic in the everyday. Exploring the possibilities of a flexible reality, she attempts to look at the world simultaneously through child-like and knowing eyes. She is influenced greatly by the human propensity to view life through narratives: visual art, cinematic works, and music all play into this desire.

David Fischweicher

Steel

6’ x 3.5’ x 1’

David Fischweicher has shown extensively in New York State over the past 30 years. David works mostly in steel and sometimes wood. Galleries include Gallery 66, Blue Door Arts Group, Westchester Art Guild, Mamaroneck Artist Group, Bethune Gallery, Flushing Meadows Theatre, YOHO artist group, and many more.

David Fischweicher

Steel

6’ x 3.5’ x 1’

David Fischweicher has shown extensively in New York State over the past 30 years. David works mostly in steel and sometimes wood. Galleries include Gallery 66, Blue Door Arts Group, Westchester Art Guild, Mamaroneck Artist Group, Bethune Gallery, Flushing Meadows Theatre, YOHO artist group, and many more.

David Fischweicher

Steel

6’ x 3.5’ x 1’

David Fischweicher has shown extensively in New York State over the past 30 years. David works mostly in steel and sometimes wood. Galleries include Gallery 66, Blue Door Arts Group, Westchester Art Guild, Mamaroneck Artist Group, Bethune Gallery, Flushing Meadows Theatre, YOHO artist group, and many more.

Bob Friedman

Clay and mixed media

Inspired by current conflicts over immigration, the figures represent a number of diverse racial and ethnic groups seeking asylum from terror and violence.

Bob Friedman

Clay and mixed media

Inspired by current conflicts over immigration, the figures represent a number of diverse racial and ethnic groups seeking asylum from terror and violence.

Judith Johnson

Mild steel and corten

10’ x 4’ x 4’

So much is being discovered in the eld of particle physics and quantum theory. Proofs that are amazing, one sees the possibility that matter may indeed emerge from ?, an energy without evidence.
This piece is constriction, black hole, and another b-bang. Imagine repeatedly.

Sarah Haviland

Galvanized wire mesh, recycled metal chair, laminated photo 36” x36” x 12”

Joining my series of winged benches, this child-size silver chair suspended in the trees brings another perspective to an image of reflection, imagination, and welcome. But here the seat of consciousness bears the beautiful blue-green disc of Earth. Hovering at an angle high above us, it may remind us of our delicate place in the natural order.

Sarah Haviland

Galvanized wire mesh, recycled metal chair, laminated photo

36” x36” x 12”

Joining my series of winged benches, this child-size silver chair suspended in the trees brings another perspective to an image of reflection, imagination, and welcome. But here the seat of consciousness bears the beautiful blue-green disc of Earth. Hovering at an angle high above us, it may remind us of our delicate place in the natural order.

Barney Hodes

Cement on steel

Size variable

Barney Hodes

Cement on steel

Size variable

Untitled

Cement on steel

Size variable

Eric Jacobson

Painted steel and copper and brass sheet

9’ x 6’ x 6’

I create sculpture in order to express my ideas visually. This includes my take on our environment and on socio/economic issues. Creating this imagery in constructed sculpture is both challenging and exciting to me.

My sculpture is an exploration of form, lines, colors, balance, and movement, in three dimensions. I utilize colored copper, brass, or painted steel tubing in various sizes as my “brushstrokes” or lines.
I incorporate moving parts, as in a mobile, and often have elements that will produce sound when they bump together.

I think of my process as drawing, or currently, even painting in space. My sculpture is usually abstract but signifies relationships between the organic and inorganic aspects of our world. I am interested in the layers of meaning in relationships, and this influences my work.

Eric Jacobson

Painted steel and copper and brass sheet

9’ x 6’ x 6’

I create sculpture in order to express my ideas visually. This includes my take on our environment and on socio/economic issues. Creating this imagery in constructed sculpture is both challenging and exciting to me.

My sculpture is an exploration of form, lines, colors, balance, and movement, in three dimensions. I utilize colored copper, brass, or painted steel tubing in various sizes as my “brushstrokes” or lines.
I incorporate moving parts, as in a mobile, and often have elements that will produce sound when they bump together.

I think of my process as drawing, or currently, even painting in space. My sculpture is usually abstract but signifies relationships between the organic and inorganic aspects of our world. I am interested in the layers of meaning in relationships, and this influences my work.

Judith Johnson

Mild steel and corten

10’ x 4’ x 4’

So much is being discovered in the eld of particle physics and quantum theory. Proofs that are amazing, one sees the possibility that matter may indeed emerge from ?, an energy without evidence.
This piece is constriction, black hole, and another b-bang. Imagine repeatedly.

Larissa Killough

Canvas, wire, thread, acrylic paint

5’ x 4’, 6’ x 4’, 7’ x 4’

Three pods
Unique in size, shape, and color Represent the three of us Mother
Son
Daughter
Together we form Tripod Supporting each other
Strong individually
Powerful together

Larissa Killough

Canvas, wire, thread, acrylic paint

5’ x 4’, 6’ x 4’, 7’ x 4’

Three pods
Unique in size, shape, and color Represent the three of us Mother
Son
Daughter
Together we form Tripod Supporting each other
Strong individually
Powerful together

Maria Lago

Ceramic plaster, burlap, steel bars, epoxy resin

75” x 36” x 24”

I employ primitive symbols and archetypal images in my work in response to a variety of contemporary issues. Most recently, in my series Exodus and The Wanderers, I’ve responded to the massive waves of human migration as war and climate change displace populations all over the earth.

Symbols allow me to explore the universal condition and interpret my personal experience within a common visual code. My own images emerge organically from this collective unconscious. To me, painting is more possession than representation.

I myself am an immigrant from Spain to the U.S. Growing up in northern Spain near the caves of Altamira with their Paleolithic paintings, I freely rambled through the caves becoming familiar with the raw and deeply human, earthy imagery, and this still seems to resonate in my artwork. The Wanderers sculptures are elongated human figures built of metal rods wrapped and draped in burlap covered with white ceramic plaster, and large balls built of intertwined, thick vines wrapped in burlap open in places to show the structure, coated with white ceramic plaster. I worked outdoors making the human figures, and the balls, representing seeds of creation and change, evolved from heaps of vines that I cut away as I made space for my work.

Improvisation with varied materials has become essential to me, and I continually explore different mediums to create new and different effects. To me, each medium is like a separate language, and as I combine them, new languages and messages emerge.

Maria Lago

Ceramic plaster, burlap, steel bars, epoxy resin

75” x 36” x 24”

I employ primitive symbols and archetypal images in my work in response to a variety of contemporary issues. Most recently, in my series Exodus and The Wanderers, I’ve responded to the massive waves of human migration as war and climate change displace populations all over the earth.

Symbols allow me to explore the universal condition and interpret my personal experience within a common visual code. My own images emerge organically from this collective unconscious. To me, painting is more possession than representation.

I myself am an immigrant from Spain to the U.S. Growing up in northern Spain near the caves of Altamira with their Paleolithic paintings, I freely rambled through the caves becoming familiar with the raw and deeply human, earthy imagery, and this still seems to resonate in my artwork. The Wanderers sculptures are elongated human figures built of metal rods wrapped and draped in burlap covered with white ceramic plaster, and large balls built of intertwined, thick vines wrapped in burlap open in places to show the structure, coated with white ceramic plaster. I worked outdoors making the human figures, and the balls, representing seeds of creation and change, evolved from heaps of vines that I cut away as I made space for my work.

Improvisation with varied materials has become essential to me, and I continually explore different mediums to create new and different effects. To me, each medium is like a separate language, and as I combine them, new languages and messages emerge.

Thea Lanzisero

Steel with concrete base

11’ x 3’ x 3’

I make structures that bridge my daydreams with reality.

Thea Lanzisero

Steel with concrete base

11’ x 3’ x 3’

I make structures that bridge my daydreams with reality.

David Link

Wood

3’ x 3’ x 5-1/2’’

My work is about form, space, and color. I explore subtle di erences in angles and proportions. I look for elegance. I want to show simple harmony in form.

When form is reduced to geometric shapes, the basic elements of balance, harmony, and beauty are revealed. I’m interested in the interplay of form and space. I am interested in universal beauty.

David Link

Wood

3’ x 3’ x 5-1/2’’

My work is about form, space, and color. I explore subtle di erences in angles and proportions. I look for elegance. I want to show simple harmony in form.

When form is reduced to geometric shapes, the basic elements of balance, harmony, and beauty are revealed. I’m interested in the interplay of form and space. I am interested in universal beauty.

Jim Lloyd

Welded steel

10’ by variable (3 pieces)

Jim Lloyd

Welded steel

10’ by variable (3 pieces)

Jim Lloyd

Welded steel

10’ by variable (3 pieces)

Jim Lloyd

Welded steel

10’ by variable (3 pieces)

Bob Madden

Granite, marble, wool, sailcloth

48” x 36” x 36”

Big Fish is intended to remind us that you shouldn’t allow yourself to be judged by someone else’s criteria for success. While many cultures value fame or fortune, those metrics are not universally viewed as the basis for a happy and meaningful life. Know your environment, understand your needs, and determine if you need to be the big sh always fighting to stay on top, or maybe a smaller happy fish.

Bob Madden

Granite, marble, wool, sailcloth

48” x 36” x 36”

Big Fish is intended to remind us that you shouldn’t allow yourself to be judged by someone else’s criteria for success. While many cultures value fame or fortune, those metrics are not universally viewed as the basis for a happy and meaningful life. Know your environment, understand your needs, and determine if you need to be the big sh always fighting to stay on top, or maybe a smaller happy fish.

Marcy B. Freedman-iii

Wandering around the farm, attired in special buttons, I chatted with visitors about their cell phones. I offered to give each person a button, on one condition: he or she was required to turn o his or her cell phone for the following hour. Almost everyone agreed to my suggestion! I then explained my motivation: I want my fellow human beings to experience the here and the now, as fully as possible, without unnecessary distractions.

Marcy B. Freedman-iii

Wandering around the farm, attired in special buttons, I chatted with visitors about their cell phones. I offered to give each person a button, on one condition: he or she was required to turn o his or her cell phone for the following hour. Almost everyone agreed to my suggestion! I then explained my motivation: I want my fellow human beings to experience the here and the now, as fully as possible, without unnecessary distractions.

Marcy B. Freedman-iii

Wandering around the farm, attired in special buttons, I chatted with visitors about their cell phones. I offered to give each person a button, on one condition: he or she was required to turn o his or her cell phone for the following hour. Almost everyone agreed to my suggestion! I then explained my motivation: I want my fellow human beings to experience the here and the now, as fully as possible, without unnecessary distractions.

John Martin

Metal, wood, solar lights, wire, and paint

This piece is the fourth in a series consisting of seven red stripes meant to evoke our flag. It is displayed to allow for the white stripes, the white stars, and the blue background of the union to be provided by the sky at both day and night.

The color red and the number seven carry a lot of emotional symbolism, which is an important part of this piece. Much like the other pieces in this series, it continues to represent pride and disappointment. Renewed hope in future is represented by the formation being dimensionally true to to the red stripes in our flag and that it glows at night with the aid of solar lights. There is also an expression of disappointment with the orientation of the flag hanging in a cage, with a void where union of the stars would be and opposite that of a proper display of the flag.

John Martin

Metal, wood, solar lights, wire, and paint

This piece is the fourth in a series consisting of seven red stripes meant to evoke our flag. It is displayed to allow for the white stripes, the white stars, and the blue background of the union to be provided by the sky at both day and night.

The color red and the number seven carry a lot of emotional symbolism, which is an important part of this piece. Much like the other pieces in this series, it continues to represent pride and disappointment. Renewed hope in future is represented by the formation being dimensionally true to to the red stripes in our flag and that it glows at night with the aid of solar lights. There is also an expression of disappointment with the orientation of the flag hanging in a cage, with a void where union of the stars would be and opposite that of a proper display of the flag.

Maureen McCourt

Yarn in 5 trees

In my work I create subversively soft situations/objects that engage the viewer in conversations and participation. I am interested in the democratic relationship practiced through the orientation of the participant in my work. My work challenges notions of gender, capitalism, and the hierarchy of institutions through my use of passive gestures such as baking and my skilful use of a hot glue gun. The use of passive gestures becomes a device to invite interactions within the environments, that I occupy and/or create.

Maureen McCourt

Yarn in 5 trees

In my work I create subversively soft situations/objects that engage the viewer in conversations and participation. I am interested in the democratic relationship practiced through the orientation of the participant in my work. My work challenges notions of gender, capitalism, and the hierarchy of institutions through my use of passive gestures such as baking and my skilful use of a hot glue gun. The use of passive gestures becomes a device to invite interactions within the environments, that I occupy and/or create.

Alison McNulty

Hand-carved text in local rock (granite schist) embedded in earth in view of a ridge

Size variable

My artwork explores the fragile nature of our relationship to the mate- rial world and is informed by natural sciences, philosophy, and poetics. I work in relationship to the site using ordinary, reclaimed materials to consider the intangible value and history of ubiquitous matter, the range of our sensibilities to organize processes and material agencies, and to shed light on how we make meaning from both our language and embodied experience. This project —my first working outdoors and carving stone—responds to natural phenomena, the experience of becoming that connects human to nonhuman environment, and relates geological time to the temporality of the body.

Alison McNulty

Hand-carved text in local rock (granite schist) embedded in earth in view of a ridge

Size variable

My artwork explores the fragile nature of our relationship to the mate- rial world and is informed by natural sciences, philosophy, and poetics. I work in relationship to the site using ordinary, reclaimed materials to consider the intangible value and history of ubiquitous matter, the range of our sensibilities to organize processes and material agencies, and to shed light on how we make meaning from both our language and embodied experience. This project —my first working outdoors and carving stone—responds to natural phenomena, the experience of becoming that connects human to nonhuman environment, and relates geological time to the temporality of the body.

Alison McNulty

Hand-carved text in local rock (granite schist) embedded in earth in view of a ridge

Size variable

My artwork explores the fragile nature of our relationship to the mate- rial world and is informed by natural sciences, philosophy, and poetics. I work in relationship to the site using ordinary, reclaimed materials to consider the intangible value and history of ubiquitous matter, the range of our sensibilities to organize processes and material agencies, and to shed light on how we make meaning from both our language and embodied experience. This project —my first working outdoors and carving stone—responds to natural phenomena, the experience of becoming that connects human to nonhuman environment, and relates geological time to the temporality of the body.

Margeaux Walter-iii

Performance

In Semblance, Margeaux Walter created four characters camouflaged into the surrounding landscape-a birch tree, pine tree, boulder, and grass character. The costumed nature performers acted as avatars for the environment, drawing people in to experience the scenery in an interactive, visceral and playful way. By simulating nature in her costumed figures, her performance draws attention to the human footprint and growing disconnect between the environment and contemporary consumer lifestyle.

Margeaux Walter-iii

Performance

In Semblance, Margeaux Walter created four characters camouflaged into the surrounding landscape-a birch tree, pine tree, boulder, and grass character. The costumed nature performers acted as avatars for the environment, drawing people in to experience the scenery in an interactive, visceral and playful way. By simulating nature in her costumed figures, her performance draws attention to the human footprint and growing disconnect between the environment and contemporary consumer lifestyle.

Margeaux Walter-iii

Performance

In Semblance, Margeaux Walter created four characters camouflaged into the surrounding landscape-a birch tree, pine tree, boulder, and grass character. The costumed nature performers acted as avatars for the environment, drawing people in to experience the scenery in an interactive, visceral and playful way. By simulating nature in her costumed figures, her performance draws attention to the human footprint and growing disconnect between the environment and contemporary consumer lifestyle.

Michael & Joanna Natiello

Plywood, paint, red oak

8’ x 8’ x 4”

Michael & Joanna Natiello

Plywood, paint, red oak

8’ x 8’ x 4”

Beth Gersh-Nesic-iii

Performance

Word Exchange: Meditating on the Power of Words by Donating to and Selecting from a Pile of Words In a Basket. Words are gifts, which we either give or withhold, depending on our personal volition. The purpose of the piece is to take a moment to think about the deliberate use of a word (the donated word) and the effect of a received word (the randomly selected word) within the context of a focused and meditative act. (Conversations about the performance were welcome.)

Beth Gersh-Nesic-iii

Performance

Word Exchange: Meditating on the Power of Words by Donating to and Selecting from a Pile of Words In a Basket. Words are gifts, which we either give or withhold, depending on our personal volition. The purpose of the piece is to take a moment to think about the deliberate use of a word (the donated word) and the effect of a received word (the randomly selected word) within the context of a focused and meditative act. (Conversations about the performance were welcome.)

Beth Gersh-Nesic-iii

Performance

Word Exchange: Meditating on the Power of Words by Donating to and Selecting from a Pile of Words In a Basket. Words are gifts, which we either give or withhold, depending on our personal volition. The purpose of the piece is to take a moment to think about the deliberate use of a word (the donated word) and the effect of a received word (the randomly selected word) within the context of a focused and meditative act. (Conversations about the performance were welcome.)

Page Ogden

Steel, screen

5’ x 7’ x 4’9”

I went in search for the meaning of The Cube. Louis Kahn’s quote settled the question: The cube can represent truth because all sides are the same. These cubes are caught in a net of wind of mesh, of landscape. They are prisoners of time in that they are only fully expressed at dawn and dusk, appearing and dissolving in the long angles of the sun. At the same time, they are rescued because you are standing here in the moment.

Page Ogden

Steel, screen

5’ x 7’ x 4’9”

I went in search for the meaning of The Cube. Louis Kahn’s quote settled the question: The cube can represent truth because all sides are the same. These cubes are caught in a net of wind of mesh, of landscape. They are prisoners of time in that they are only fully expressed at dawn and dusk, appearing and dissolving in the long angles of the sun. At the same time, they are rescued because you are standing here in the moment.

Chris Plaisted

Steel, aluminum

The sketch of this started as a dark piece, gnarly roots, black materials, but changed to a more optimistic/whimsical piece as I was working on it. I hope the weather and surrounding environment will intensify each element’s properties, spinning the clouds and reflecting the surroundings, sunlight/moonlight shining o the globe, and glistening in the rain. It has personality so it needed a proper name.

Chris Plaisted

Steel, aluminum

The sketch of this started as a dark piece, gnarly roots, black materials, but changed to a more optimistic/whimsical piece as I was working on it. I hope the weather and surrounding environment will intensify each element’s properties, spinning the clouds and reflecting the surroundings, sunlight/moonlight shining o the globe, and glistening in the rain. It has personality so it needed a proper name.

Hildreth Potts

Wire, lamp shade, dish racks, organ pipes, copper plumbing pipes, rebar, mesh, and paper mâché

5’ x 4’ x 2’

Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination.

This 2016 work is Three Herons hunting fish. People come to Saunders Farm and what are they hunting for? Information? Ideas? Inspiration? Beauty? Something to do? Something totally new and different? Something sustaining? Maybe art is for us what sh are for herons...

Hildreth Potts

Wire, lamp shade, dish racks, organ pipes, copper plumbing pipes, rebar, mesh, and paper mâché

5’ x 4’ x 2’

Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination.

This 2016 work is Three Herons hunting fish. People come to Saunders Farm and what are they hunting for? Information? Ideas? Inspiration? Beauty? Something to do? Something totally new and different? Something sustaining? Maybe art is for us what sh are for herons...

Hildreth Potts

Wire, lamp shade, dish racks, organ pipes, copper plumbing pipes, rebar, mesh, and paper mâché

5’ x 4’ x 2’

Animal forms are central to my work. I find the commonalities of our coexistence a great mystery and comfort. Animals often help us visualize the paradoxes and pathos of our own lives, of our beliefs and philosophies; they reintroduce us to beauty daily, they remind us of fierceness and fragility, they are our boon companions both on earth and on the vast steppes of metaphysics and imagination.

This 2016 work is Three Herons hunting fish. People come to Saunders Farm and what are they hunting for? Information? Ideas? Inspiration? Beauty? Something to do? Something totally new and different? Something sustaining? Maybe art is for us what sh are for herons...

Sheilah Rechtschaffer

Spray paint, magic marker shrink-wrapped on aluminum canoe 14’6” x 2’9” on iron pedestal

No forward, no backward, going neither left nor right, expresses this moment in just about every category political, national and international. In a world of instant communication, crisis and propaganda is our daily fare.

Camouflage doesn’t hide. It represents another uneasy event.

Thank you Herman Roggerman for suggesting “I come away from the trees” in 2016 and constructing the pedestal. Dell Jones for loaning me her canoe. Kirsten Kucer for helping on the project. And, always, Bert Rechtschaffer for his participation and input. All made it possible to facilitate my execution this year.

Sheilah Rechtschaffer

Spray paint, magic marker shrink-wrapped on aluminum canoe 14’6” x 2’9” on iron pedestal

No forward, no backward, going neither left nor right, expresses this moment in just about every category political, national and international. In a world of instant communication, crisis and propaganda is our daily fare.

Camouflage doesn’t hide. It represents another uneasy event.

Thank you Herman Roggerman for suggesting “I come away from the trees” in 2016 and constructing the pedestal. Dell Jones for loaning me her canoe. Kirsten Kucer for helping on the project. And, always, Bert Rechtschaffer for his participation and input. All made it possible to facilitate my execution this year.

Herman Roggerman

Steel, stainless steel, paint

8’x 4’ x 4’

Herman Roggerman

Steel, stainless steel, paint

8’x 4’ x 4’

Bob van Winkle

Steel

Bob van Winkle

Steel

Peter Schlemowitz

Painted plywood, steel fittings

6’ x 6’ 2” x 10’ 5”

A frozen animation, blue cloud, green lightening, and purple, red, and yellow sprites, a continuation of my connected forms linear sculpture.

Peter Schlemowitz

Painted plywood, steel fittings

6’ x 6’ 2” x 10’ 5”

A frozen animation, blue cloud, green lightening, and purple, red, and yellow sprites, a continuation of my connected forms linear sculpture.

Fred Schlitzer

Welds on steel

6’ x 6”

Fred Schlitzer

Welds on steel

6’ x 6”

Audrey Shachnow 

3/4“ marine plywood, threaded rods, acrylic paint, brass hardware

120” x 96” x 26”

Audrey Shachnow’s large-scale installation The Golden Muse poses the question: What makes a muse a muse? To quote a poet: “Mother of memories, mistress of mistresses, you who are my every pleasure, you who are my every obligation — you will remember the beauty of caresses, the bliss of home and reside and the charm of evenings, mother of memories, mistress of mistresses.” — Baudelaire

Audrey Shachnow

3/4“ marine plywood, threaded rods, acrylic paint, brass hardware

120” x 96” x 26”

Audrey Shachnow’s large-scale installation The Golden Muse poses the question: What makes a muse a muse? To quote a poet: “Mother of memories, mistress of mistresses, you who are my every pleasure, you who are my every obligation — you will remember the beauty of caresses, the bliss of home and reside and the charm of evenings, mother of memories, mistress of mistresses.” — Baudelaire

Audrey Shachnow The Golden Muse

3/4“ marine plywood, threaded rods, acrylic paint, brass hardware

120” x 96” x 26”

Audrey Shachnow’s large-scale installation The Golden Muse poses the question: What makes a muse a muse? To quote a poet: “Mother of memories, mistress of mistresses, you who are my every pleasure, you who are my every obligation — you will remember the beauty of caresses, the bliss of home and reside and the charm of evenings, mother of memories, mistress of mistresses.” — Baudelaire

Herrat Sommerhof

Painted wood

85” x 37” x 16”

Herrat Sommerhof

Painted wood

85” x 37” x 16”

Storm King School (John Carruthers, teacher)

Wood

12’ x 5’ x 11’

This sculpture was a product of the process and the materials. During the Spring trimester at The Storm King School, I run a “Builder’s Club.” We work out ideas for the big yearly sculpture that will go into the Collaborative Concepts show. We started by finding a large roll of chicken wire in the closet. We researched different sculpture techniques with chicken wire. We saw some figurative work that suggested the technique we used–rolling it into a ball that made it dense but still lightweight. This became our “eyeball.” After looking at some Burning Man sculptures, we decided to try a “walking eyeball” because we had learned how to make stable legs with our last sculpture, Robot Spider. We built the legs, and then needed a way to connect the eye to the legs. After brainstorming what an “eye” might represent, we came up with the dollar bill-illuminati-masonic symbol of the pyramid. That image suggested a “conspiracy theory” theme. After we built the pyramid, one of the students remembered that there was an old TV in the boy’s dorm storeroom that would look great inside the pyramid. I found some old surveillance cameras in the maintenance shop. The TV and cameras suggested surveillance. After assembling the piece, we brainstormed a name, and Snowden seemed like the only real title it could have. So the process, materials, and an intuitive approach created this year’s piece, Snowden. We hope you enjoy!

Storm King School (John Carruthers, teacher)

Wood

12’ x 5’ x 11’

This sculpture was a product of the process and the materials. During the Spring trimester at The Storm King School, I run a “Builder’s Club.” We work out ideas for the big yearly sculpture that will go into the Collaborative Concepts show. We started by finding a large roll of chicken wire in the closet. We researched different sculpture techniques with chicken wire. We saw some figurative work that suggested the technique we used–rolling it into a ball that made it dense but still lightweight. This became our “eyeball.” After looking at some Burning Man sculptures, we decided to try a “walking eyeball” because we had learned how to make stable legs with our last sculpture, Robot Spider. We built the legs, and then needed a way to connect the eye to the legs. After brainstorming what an “eye” might represent, we came up with the dollar bill-illuminati-masonic symbol of the pyramid. That image suggested a “conspiracy theory” theme. After we built the pyramid, one of the students remembered that there was an old TV in the boy’s dorm storeroom that would look great inside the pyramid. I found some old surveillance cameras in the maintenance shop. The TV and cameras suggested surveillance. After assembling the piece, we brainstormed a name, and Snowden seemed like the only real title it could have. So the process, materials, and an intuitive approach created this year’s piece, Snowden. We hope you enjoy!

Naomi Teppich

Ferrocement, stainless steel

36” x 65” x 65”

Extreme weather conditions cause excessive changes in nature. These changes are caused by human consumption of fossil fuels. In the future the climate may change so much that cacti normally found only in the Southwest would be commonplace on the Eastern coast. Therefore it wouldn’t be unusual to find them growing in Garrison, NY, among the cows at Saunders Farm. This year my cactus sculpture looks like a sea urchin... a hybrid of sorts...which can also refer to our endangered ocean species including coral, sh, and many other creatures. Urchin Cactus is made of ferro- cement and small, stainless steel circular tiles. It stands on a bed of gravel. The color is rust orange and dark green and it has a rough cement texture.

Naomi Teppich

Ferrocement, stainless steel

36” x 65” x 65”

Extreme weather conditions cause excessive changes in nature. These changes are caused by human consumption of fossil fuels. In the future the climate may change so much that cacti normally found only in the Southwest would be commonplace on the Eastern coast. Therefore it wouldn’t be unusual to find them growing in Garrison, NY, among the cows at Saunders Farm. This year my cactus sculpture looks like a sea urchin... a hybrid of sorts...which can also refer to our endangered ocean species including coral, sh, and many other creatures. Urchin Cactus is made of ferro- cement and small, stainless steel circular tiles. It stands on a bed of gravel. The color is rust orange and dark green and it has a rough cement texture.

Jim Thomson

Manikin, surfboard, vinyl

A reflection on how life comes in waves and how we ride each wave to the next stage of life. A repurposed manikin perched on a rescued surfboard atop rolling waves made from melted vinyl siding hanging from a tree.

Jim Thomson

Manikin, surfboard, vinyl

A reflection on how life comes in waves and how we ride each wave to the next stage of life. A repurposed manikin perched on a rescued surfboard atop rolling waves made from melted vinyl siding hanging from a tree.

Alex Uribe

Brick, fencing

Alex Uribe

Brick, fencing

Chuck von Schmidt

Aluminum, wood

8’ x 8’ x 6”

Often a companion for those late nights in the studio, perhaps even more often a muse. That must be why artists are often labeled Lunatics.

Chuck von Schmidt

Aluminum, wood

8’ x 8’ x 6”

Often a companion for those late nights in the studio, perhaps even more often a muse. That must be why artists are often labeled Lunatics.

Elizabeth White

Cement and concrete

Size variable

I use life-cast leaves to represent individuals away from their roots. In site-speci c installations they are arranged singularly or in clusters, un- derfoot or under cover, up against or over a wall. In view of the current economic disasters, political conditions, military actions, and climate or earth changes I see immigration as the new normal. What may be them today is us tomorrow.

Dedicated to Paul Genovesi

Elizabeth White

Cement and concrete

Size variable

I use life-cast leaves to represent individuals away from their roots. In site-speci c installations they are arranged singularly or in clusters, un- derfoot or under cover, up against or over a wall. In view of the current economic disasters, political conditions, military actions, and climate or earth changes I see immigration as the new normal. What may be them today is us tomorrow.

Dedicated to Paul Genovesi

Elizabeth White

Cement and concrete

Size variable

I use life-cast leaves to represent individuals away from their roots. In site-speci c installations they are arranged singularly or in clusters, un- derfoot or under cover, up against or over a wall. In view of the current economic disasters, political conditions, military actions, and climate or earth changes I see immigration as the new normal. What may be them today is us tomorrow.

Dedicated to Paul Genovesi

Eva Whorley

Beverage tabs, satellite dish

7’ x 10’

Hung from the same tree as Ride the Wave, Eva Whorley and Jim Thomson take inspiration from well known re-cycle artists, creating a huge jelly sh from a re-used satellite dish and thousands of aluminum tabs that they have collected for Shriners Hospitals. The students are the next wave of environmental artists taking stewardship of Mother Earth.

Eva Whorley

Beverage tabs, satellite dish

7’ x 10’

Hung from the same tree as Ride the Wave, Eva Whorley and Jim Thomson take inspiration from well known re-cycle artists, creating a huge jelly sh from a re-used satellite dish and thousands of aluminum tabs that they have collected for Shriners Hospitals. The students are the next wave of environmental artists taking stewardship of Mother Earth.

Ellen Wilkinson

Painted plywood

72” x 41.5” x 20” and 34.5” x 34.5” x 34.5”

The sculpture Disrupted Pink, consists of a trapezoid and triangle with alternating stripes of light and dark pink. The stripes refer to geological layers. The trapezoid is upended, turned on its side, to represent shifts in land mass and geological disruptions. From a distance, the triangle looks like the missing top of the trapezoid form. Was the trapezoid itself a triangle? Upon closer inspection the triangle reveals itself to be a tease. The shape does not match the top of the trapezoid. The two forms of this striped perceptual puzzle will interact with the landscape as each day unfolds, shifting their relationship to each other and to the landscape.

Ellen Wilkinson

Painted plywood

72” x 41.5” x 20” and 34.5” x 34.5” x 34.5”

The sculpture Disrupted Pink, consists of a trapezoid and triangle with alternating stripes of light and dark pink. The stripes refer to geological layers. The trapezoid is upended, turned on its side, to represent shifts in land mass and geological disruptions. From a distance, the triangle looks like the missing top of the trapezoid form. Was the trapezoid itself a triangle? Upon closer inspection the triangle reveals itself to be a tease. The shape does not match the top of the trapezoid. The two forms of this striped perceptual puzzle will interact with the landscape as each day unfolds, shifting their relationship to each other and to the landscape.

Max Yawney

Coroplast, wood

Max Yawney

Coroplast, wood

Grey Zeien

Wood, acrylic paint

8’ tall, 6 pieces

Grey Zeien

Wood, acrylic painted wood, pvc

Size variable, 6 pieces