Located in historic Hubbard Hall in Cambridge, NY, and amidst the rolling hills of Washington County in upstate New York, Valley Artisans Market is one of the oldest arts cooperatives in the country. Local fine artists and craftsmen work in a variety of hand-crafted media including glass, paper, cloth, photography, oil paintings, pastels, wood, mosaic, sculpture, metal, jewelry, ceramics and more. The Small Gallery features rotating shows by members and guest artists, and the market is always staffed by one of its artisan members.
August 5, 2022 - August 30, 2022
Artist Reception and Gallery Talk by the Artists will be held on Friday August 5, 4:00 -6:00. The public is welcome!
About the Artists
I was given paper scraps from a mill that made filter paper. It could absorb much more water than any other paper I had ever used. It also easily held it’s shape as I worked with it on the heated tiles of my kitchen floor. This process reminded me of my childhood. Every Saturday my sisters and I spent the morning helping our mother clean the house. My job was washing the floors, I remember throwing the wet wash rag in the air and marveling at the shapes it made when it hit the floor. My supply of filter paper scraps is gone. But my method of forming shapes on the heated tiles of kitchen floor remains the same, as does my excitement about the way the shapes just seem to make sense and feel right. Once they have dried and have been hung on the wall, I can’t stop looking at them. My hope is that the more I think about what makes sense and feels right, the better prepared I will be to make the best decisions I can in this complex life.
Carol Bollinger Green
Recent drawings and paintings are created intuitively, using watercolor, colored pencil, oil pastel, acrylic, and/or collage, on heavy weight papers, canvas or board. I enjoy preparing the studio, going outdoors for a walk along fields and woods, and returning to play with the materials Color, gesture, mark, and placement are chosen without observing a subject or having a concept in mind. Will there be a grand gesture of red, a decisive black line, a cool wash of blue, maybe faint spots of green? Sensing the moment, using a body-centered approach, what color arises, what movement, shape, placement? Checking back to sense how this feels, what color surfaces now? As with dreams, images may come and go and change without reason. Curiosity and wonder invite me to explore and experiment, free from expectations, and to stay present with whatever is unfolding spontaneously.
Bridget Rose Green
Bridget Rose Green is an artist and an educator. She approaches school days and the arts process in a way that balances the fresh with the familiar; excitement encourages trust and ease. She appreciates the call to facilitate engagement within elementary studies, as well as to cultivate space in evening and summer lulls where arts and imagination could root and thrive, perhaps.
Ceramics, painting, writing and sound are key focus points for Bridget’s ongoing practices. Workshops in Santa Fe and New York offer inspiration through new methods and opportunities for community recreation. She hopes cross-pollination will yield eventual evolution in her ceramics – she utilizes hand building and wheel techniques, and variations in firing methods: electric, gas in reduction, and wood. She values function in form; many a set emerges from variations on a theme. Two-dimensional works tend to acrylic local landscapes. Writing and words play an integral role in pathfinding.
Bridget currently lives and works in Santa Fe, New Mexico, where the light and sky are just right for listening.
Felting is the oldest known manipulation of the natural world. It is older than stone work, basketry or claywork. That is because wool doesn’t require human intervention to felt; the wool of a sheep’s coat, for instance, is naturally felted.
Susannah White theorizes that early humans recognized this quality and were immediately drawn to felt’s versatility.
The natural process of turning frayed fibers into a solid piece of fabric is only a short leap to stunning artwork. Susannah herself has mastered that process.
Susannah began working with fibers more than five decades ago. “Our family had a farm where we spent most of time when not in school. Our neighbors were sheep farmers and I started playing with their wool back in the 1960s.” Because she loved everything textile, she discovered felting on her own. When she saw a museum exhibit featuring felted wool from an ancient tomb in China, her life’s calling was realized. As a young felter, she absorbed everything she could about the process.
Susannah describes felting as a physical change in fiber. “Any protein has scales along the fiber. You aggravate the fiber with hot water and [then add] something annoying to the fiber – like soap – which causes the scales to open up. You use your hands by massaging, rubbing, and pounding the fiber, which makes the scales lock on to one another. Once in cold water, everything contracts and locks and makes a permanent change in the fiber,” she explains.
For Susannah, felting came by way of weaving (starting with her first loom at age 13) and textile design in college. With the birth of her children, however, Susannah didn’t have the luxury of time to warp a loom. She returned to felting by fashioning felted toys for her kids. “I believe strongly that children should have the most carefully made objects in their life,” she maintains, “and the objects most thoughtfully done should be for children.” “When I was young, my dad traveled all over the world and would bring back puppets. He built a puppet theater. There was one thing that frustrated me: he gave me Steiff hand puppets. They are fun to work with but when you removed your hand, all the life left them like a deflated balloon. I was always sure to make puppets so they retained some life force. I wanted my puppets to have a lively aspect whether or not they are in use,” she says.
To be sure, her passion for shepherding, feltmaking, quality craftmanship, and puppet artistry all intersected in her unique work.
Susannah’s puppets and performing objects are made from the wool of family or friends’ sheep. The vibrant colors, she says, come either from plants or from the natural color of the wool. “Because I work in textile design, I am aware of the carcinogenic and mutagenic qualities of commercial dyes. Plant dyes are relatively harmless, depending on the mordant used. I only use alum and cream of tartar. The colors are very beautiful— they can be very intense or very subtle — and have a distinctive living quality to them. They complement one another. Each year I grow or wild harvest more of the plants I need for color,” she says. Indeed, at this point, Susannah only purchases three plants for dyes: indigo, brazil wood and madder. And this year, experiments with growing indigo began in the Cambridge Community Garden. “We successfully grew and harvested fresh indigo and dyed both wool and silk, though only in small amounts. We’ll see if we can increase the amount of color we get next year.”
“If you are looking at old rugs or tapestries and see that beautiful rose/salmon color,” she says, “that’s madder.” (One time she accidentally fermented some madder. Not wanting to waste it, she threw some wool into the dye and was delighted to get a brilliant red from it!) It is the capricious unpredictability that makes dyeing with plants so fascinating and lively for her.
Currently, she is most delighted by making sweet and simple mouse and chicken finger puppets and never tires of these characters. “Part of being a craftsman is that you spend your life developing your skill and then you spend whatever remains of your life just doing it. It is not my goal to make anything different. My goal is to make everything well. I’m at the phase in my life when I know what I am doing,” she says. But even after 40 years of working with felt, she has still taught herself more. She has recently learned that the tighter a puppet is on one’s hand, the more control one has.
Susannah is not just the artist behind the scenes. Three generations of her family, collectively known as Dancing Hands, give performances to audiences for free, though COVID has postponed most performances over the past 20 months. She takes pride in trying to preserve a heritage craft.
In summing up her craft she says, “There’s that saying that one person can’t change the world. But one person can make felt, which is a permanent change.”
- Christopher Smith: I paint because I have to…
September 2, 2022 - September 27, 2022
- Neke Flora: Photography
September 30, 2022 - October 25, 2022
- Nancy Roberts, Elizabeth Roberts, Janet Roberts: Mosaic, Painting, and Sculpture
October 28, 2022 - November 19, 2022
See past shows →
Virginia McNeice, known to us as Jini, was a cherished member at VAM for decades. After her death in 2019, many people were dismayed to know her beautiful art would cease to be created. Her family is now selling her remaining artwork. If you would like to know more,...
Enjoy this time lapse video of member Martha Starke creating her botanical artwork of one of her newest designs, Flower Pedals.