Emergence -
silk cocoons, natural dyes, thread site specific
$12,000.
“Cocoons reference new life and the remains of a home that has been emptied or abandoned. A vehicle for transformation. Hand-dyed with tea, coffee, oak gall, sunflower and walnut inks, then stitched together, they become an organism, growing and invasive. Emblematic of maps, shifting borders, mass migrations, spreads of disease, the insidious contagion of misinformation, lies, and fear. Mapping the myriad lives connected to one another and yet separate. The piece travels from the ceiling, across the wall, around corners, and seeps onto the floor. Beautiful, discomfiting, textured. Benevolent and sinister in each iteration from 2020 to 2026 it grows, morphing, spreading and invading the space it occupies.”
This work uses material, scale, and installation to examine collective systems, expanding like a living map to reflect migration, contagion, and interconnectedness as a meditation on instability and shared human conditions.
Current Perspectives (1980-2026)
Christine Aaron
New Rochelle, NY
Emergence
silk cocoons, natural dyes, thread
96 x 96 x 5 in
Cipher -
burnt drawing on Thai Kozo with inlaid jute
39" x 27"
$1,200.
”I witness the proliferation of lies, and derision for and denial of fact, science, medical expertise and knowledge. Honesty, kindness and responsibility towards those with less (visibility, voice, access) is labeled as weakness. I watch the dismantling and deterioration of values I hold dear. In response, I create burnt drawings. Burning has been used intentionally throughout history to destroy and sanctify. It evokes absence and presence, destruction and regeneration. I systematically and obsessively burn thousands of holes into fragile skins of paper- to create an archive of lives lost, reference language, record keeping, mapping, and ritual. Cast shadows through burnt marks are an ethereal presence, visual evidence of absence. What remains appears as a code or secret language that is instead unreadable, enacting erasure as an action of defiance and mourning.”
This work employs process, repetition, and material intervention to confront systems of information, loss, and erasure, transforming fragile paper into a coded field where burning acts as both record and ritual, reflecting on the instability of truth and the persistence of memory.
Current Perspectives (1980-2026)
Christine Aaron
New Rochelle, NY
Cipher
burnt drawing on Thai Kozo with inlaid jute
39 x 27 x 1 in
Pitchers -
acrylic on paper
12" x 16" x 1.5"
$1,500.
“I paint on canvas and paper—landscapes, interiors, figures, and still life. I work from preliminary drawings or photographs done on or around my home and environs, and/or I paint directly, plein air. I believe in the power of patience and the subtle nuance of the commonplace to evoke the transcendent. The substance of the painting—its ability to evoke the inchoate and ineffable mystery of life–lies in how well it parallels nature, rather than how well it mimics nature’s appearance.”
Rooted in observational painting, this work uses restraint and sensitivity to light and atmosphere to transform familiar subjects into contemplative reflections on perception, presence, and the enduring resonance of nature.
Early Visions (1776-1900)
James Baker
Chester, CT
Pitchers
acrylic on paper
12 x 16 x 1.5 in
Snow Window -
acrylic on board
12" x 9" x 1.5"
$1,500.
“I paint on canvas and paper—landscapes, interiors, figures, and still life. I work from preliminary drawings or photographs done on or around my home and environs, and/or I paint directly, plein air. I believe in the power of patience and the subtle nuance of the commonplace to evoke the transcendent. The substance of the painting—its ability to evoke the inchoate and ineffable mystery of life–lies in how well it parallels nature, rather than how well it mimics nature’s appearance.”
Rooted in observational painting, this work uses restraint and sensitivity to light and atmosphere to transform familiar subjects into contemplative reflections on perception, presence, and the enduring resonance of nature.
Early Visions (1776-1900)
James Baker
Chester, CT
Snow Window
acrylic on board
12 x 9 x 1.5 in
Window and Oranges -
acrylic on canvas
13" x 10.5" x 1.5"
$1,500.
“I paint on canvas and paper—landscapes, interiors, figures, and still life. I work from preliminary drawings or photographs done on or around my home and environs, and/or I paint directly, plein air. I believe in the power of patience and the subtle nuance of the commonplace to evoke the transcendent. The substance of the painting—its ability to evoke the inchoate and ineffable mystery of life–lies in how well it parallels nature, rather than how well it mimics nature’s appearance.”
Rooted in observational painting, this work uses restraint and sensitivity to light and atmosphere to transform familiar subjects into contemplative reflections on perception, presence, and the enduring resonance of nature.
Early Visions (1776-1900)
James Baker
Chester, CT
Window and Oranges
acrylic on canvas
13.5 x 11 x 2 in
Nova -
acrylic on wood
26" x 22"
$2,000.
“I view my work as arising from the artistic innova-tions that occurred during the period described as "Modern Shifts 1900-1980." The evolution of ab-straction that took place during this period was in-tellectually and artistically inspiring to me as a young artist. I use wood panels to paint on because I find the sculptural element to be of interest. It is another component in the interplay of the geomet-ric forms I use. My work involves blending color, line, and various forms to create a visual language. It is my intention to take these universal forms and create something new.”
This work fits within the evolution of 20th-century abstraction, where geometry, color, and formal innovation define the work.
Modern Shifts (1900-1980)
Pernel Berkeley
Danbury, CT
Nova
acrylic on wood panel
26 x 22 in
Electric Light Orchestra -
acrylic on wood
33" x 29"
$2,000.
“I view my work as arising from the artistic innova-tions that occurred during the period described as "Modern Shifts 1900-1980." The evolution of ab-straction that took place during this period was in-tellectually and artistically inspiring to me as a young artist. I use wood panels to paint on because I find the sculptural element to be of interest. It is another component in the interplay of the geomet-ric forms I use. My work involves blending color, line, and various forms to create a visual language. It is my intention to take these universal forms and create something new.”
This work fits within the evolution of 20th-century abstraction, where geometry, color, and formal innovation define the work.
Modern Shifts (1900-1980)
Pernel Berkeley
Danbury, CT
Electric Light Orchestra
acrylic on wood panel
33 x 29 in
Forget-Me-Not -
glazed ceramic
21" x 12" x 10"
$1,500.
”My sculptures are stacked, wheel-thrown forms that I cut and reassembled into new configurations. Embossed surfaces and layered glazes emphasize their sense of accumulation, fragmentation, and repair. The Hedgerow series is inspired by the untended hedgerow bordering my studio. These ceramic works draw from the tangled coexistence of old and new growth, focusing on invasive vines that can overwhelm surrounding vegetation. To me, these pieces become metaphors for the ongoing erosion of women’s rights. The open, bottomless blue interiors of my vessels evoke life, freedom, and resistance, underscoring growth as a contested and fragile condition.”
This work uses the language of the vessel and organic growth to explore cycles of accumulation, invasion, and resistance, transforming natural forms into a metaphor for social instability and the contested conditions of autonomy and change.
Current Perspectives (1980-2026)
Irja Boden
Ghent, NY
Forget-Me-Not
glazed ceramic
21 x 12 x 10 in
Lynx Handle -
glazed ceramic
13" x 16" x 14"
$1,500.
”My sculptures are stacked, wheel-thrown forms that I cut and reassembled into new configurations. Embossed surfaces and layered glazes emphasize their sense of accumulation, fragmentation, and repair. The Hedgerow series is inspired by the untended hedgerow bordering my studio. These ceramic works draw from the tangled coexistence of old and new growth, focusing on invasive vines that can overwhelm surrounding vegetation. To me, these pieces become metaphors for the ongoing erosion of women’s rights. The open, bottomless blue interiors of my vessels evoke life, freedom, and resistance, underscoring growth as a contested and fragile condition.”
This work uses the language of the vessel and organic growth to explore cycles of accumulation, invasion, and resistance, transforming natural forms into a metaphor for social instability and the contested conditions of autonomy and change.
Current Perspectives (1980-2026)
Irja Boden
Ghent, NY
Lynx Handle
glazed ceramic
13 x 16 x 14 in
Window 74th Street -
oil on wood panel
18" x 18"
$1,200.
“The paintings featured here are inspired by viewsfrom a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility.
These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.”This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
Lisa Brody
South Kent, CT
74th Street Window
oil on wood panel
18 x 18 in
Living Room View -
oil on wood panel
8" x 8"
$900.
“The paintings featured here are inspired by viewsfrom a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility.
These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.”
This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
Lisa Brody
South Kent, CT
Living Room View
oil on wood panel
8 x 8 in
Snowy Fire Escape -
oil on wood panel
8" x 8"
$900.
“The paintings featured here are inspired by viewsfrom a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility.
These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.”
This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
Lisa Brody
South Kent, CT
Snowy Fire Escape
oil on wood panel
8 x 8 in
Bedroom View -
oil on wood panel
12" x 12"
$1,000.
“The paintings featured here are inspired by views from a New York city apartment. Framed by the very windows and walls that contain me, they offer a perspective that both connects and separates me from the world outside. Through this lens, I become not just an observer, but a participant in the landscape, channeling my emotional responses to the urban environment into my work. There is a long history of artists painting views through windows. It is both a framing and compositional device but also a psychological and metaphorical exploration of both the inner and outer world of the artist. We look through windows to observe, think, dream and escape. The windows provide a source of light and darkness, space, and a feeling of longing and possibility.
These urban landscapes are directly painted within a contemporary outlook while paying homage to the rich history of landscape painting. By merging tradition with the abstract, my work invites viewers to reconsider how landscapes can reflect not just the external world, but also the inner emotional landscapes that shape our connections to place.”
This work situates the tradition of landscape painting within a contemporary urban context, using the window as both a formal device and a psychological threshold to explore perception, distance, and the emotional resonance of place.
Current Perspectives (1980-2026)
Lisa Brody
South Kent, CT
Bedroom view
oil on wood panel
12 x 12 in
For Love or Money -
home-cooked bioplastic, shredded US currency, red rose petals, food coloring, hand-stitched with crochet thread and pearl cotton
47" x 47"
$15,000.
”For Love or Money examines the marriage union using the double wedding ring quilt pattern, created from biodegradable starch-based plastic cooked with rose petals and shredded U.S. currency from the NY Federal Reserve Bank. In America, there was a tradition of gifting handmade wedding quilts to daughters when they married. In the Victorian times, women were faced with the dilemma of marrying for love or financial stability. Using techniques of "women's work" — cooking bioplastics and stitching — the labor embedded in both the piece and marriage itself is called into question. As the bioplastics eventually deteriorate, so does the illusion: is marriage a construct, a business arrangement, or a partnership built on love?”
This work uses the visual language of traditional craft to examine the intersection of domestic labor, economics, and personal relationships, reframing a familiar form to question cultural expectations and the structures underlying intimacy and exchange.<br>
Current Perspectives (1980-2026)
Janine Brown
Westport, CT
For Love or Money
home-cooked bioplastic, shredded US currency, red rose petals, food coloring, hand-stitched
47 x 47 in
Bittersweet Thoughts -
home-cooked bioplastic, calendula petals, white zinnia petals,hand-stitched with crochet thread and pearl cotton, wood stretcher bars
15.5" x 15.5" x 1.75"
$1,875.
”I used the quilt pattern, Joy’s Delight, from Maggie Malone’s 5,500 Quilt Block Designs as the pattern for this piece about remembrance. The pattern was published by the Needle Craft Supply Company likely in the early-to-mid 20th century. The pattern is crafted from home-cooked bioplastic embedded flower petals using the Language of Flowers as a symbolic element. The calendula petals represent joy or grief depending on the cultural origins and white zinnia petals represent fond remembrance. ”
This work draws on historical quilt traditions and symbolic materials to reflect on memory, loss, and the ways personal and cultural histories are preserved through pattern and craft.
Early Visions (1776-1900)
Janine Brown
Westport, CT
BittersweetThoughts
home-cooked bioplastic, calendula petals, white zinnia petals, hand-stitched
15.5 x 15.5 x 1.75 in
Nested Stories Yellow -
Chenille wire, sari silk, copper wire
50" x 40"
$4,800.
”Nested Stories Yellow reflects the idea of an accumulation of layered human experience held within the structure of the grid. Using sari silk and wire, the work reimagines the grid as a fluid and responsive system. Yellow, drawn from the visible spectrum, points to a shared field of perception where stories coexist and intersect across time and geography. Within this structure, the grid shifts from a fixed framework into a fluid one capable of holding tension, repair, and connection. The work reflects a contemporary approach to abstraction, where structure is softened and opened, allowing for a sense of visible unity shaped through processes of rupture and restoration”
This work reinterprets the modernist grid as a fluid, interconnected system, using material and structure to explore accumulation, rupture, and the shared complexity of human experience across time and place.
Current Perspectives (1980-2026)
Serena Buschi
Bedford, NY
Nested Stories Yellow
chenille wire, sari silk, copper wire
50 x 40 in
Beach at Sunset -
cotton warp; wool and silk weft, handspun by the artist
63" x 30"
$2,200.
”Not until the latter half of the 20th century have women played such an active role in the public realm, equaling that of men. Fiber art, primarily the domain of women, has become much more prevalent and accepted during the same period. My goal in my work is to use that medium to convey the power and strength of women while also, quite often, working through my own personal feelings of betrayal and loss. Influenced by the work of fiber artists Chicago, Tawney and Abakanowicz and creating backgrounds reminiscent of Avery and Rothko, I create woven pieces portraying female images.”
This work draws on the expanded role of fiber art and figuration to assert presence, identity, and emotional complexity, using material and form to articulate women’s experience within broader cultural and historical shifts.
Current Perspectives (1980-2026)
Carolyn Carson
Carnegie, PA
Beach at Sunset
fiber
63 x 30 in
Red Sea -
cotton warp; wool and silk weft, handspun by the artist
63" x 30"
$2,200.
”I start by spinning dyed or undyed wool on a wheel and then weaving on a floor loom, making design decisions as I go, working intuitively. Weaving for me is almost a metaphor for life, as I’m never quite certain how it will look in the end. While women, the common theme in most of my work, are now ‘equal’ players in society, achieving that goal is often fraught with pain and anxiety. Much of my work is a statement on women’s roles but also conveys my own pain and angst.”
This work uses the language of weaving and the female figure to explore identity, labor, and emotional experience, transforming material process into a reflection on the complexities and tensions of women’s roles in contemporary life.
Current Perspectives (1980-2026)
Carolyn Carson
Carnegie, PA
Fragments of Now -
pigment powder on canvas
30" x 38"
$3,500.
”This work reflects on instability as a shared condition of contemporary life. I work with powdered pigment and water, allowing gravity and time to shape the surface before I intervene. The materials behave unpredictably, spreading, resisting, and settling, so the painting becomes a record of both control and surrender. I think of the process as a collaboration, where each mark holds a moment of change rather than a fixed image. It connects to a broader American experience of constant transition—movement, displacement, and becoming—where identity is continuously shaped through shifting conditions.”
This work uses process and material unpredictability to register change over time, presenting abstraction as a record of instability, transition, and the ongoing formation of identity.
Current Perspectives (1980-2026)
Marina Chistyakova/Chisty
New York, NY
Fragments of Now
pigment powder on canvas
30 x 38 in
Orb -
porcelain
11" x 8"
$1,400.
“Organic forms in nature, including flowers, fruits, seeds, shells, and plants, inspire me to interpret abstractly. I explore cycles of birth, life and death, growth and decay, rhythm and change. I seek to create work that inspires contemplation and beauty in an increasingly technological and chaotic world. I work with porcelain because its plasticity and smooth texture best expresses the curvy, organic forms I create. When fired, porcelain is simultaneously thin and strong.”
This work uses organic abstraction and porcelain to evoke cycles of growth, decay, and renewal, offering a contemplative reflection on the enduring rhythms of the natural world.
Modern Shifts (1900-1980)
GRAND PRIZE AWARDEE
Elizabeth Cohen
Wellesley, MA
Carved Nesting Set -
porcelain
6" x 11" x 12"
$3,800.
“Organic forms in nature, including flowers, fruits, seeds, shells, and plants, inspire me to interpret abstractly. I explore cycles of birth, life and death, growth and decay, rhythm and change. I seek to create work that inspires contemplation and beauty in an increasingly technological and chaotic world. I work with porcelain because its plasticity and smooth texture best expresses the curvy, organic forms I create. When fired, porcelain is simultaneously thin and strong.”
This work uses organic abstraction and porcelain to evoke cycles of growth, decay, and renewal, offering a contemplative reflection on the enduring rhythms of the natural world.
Modern Shifts (1900-1980)
Elizabeth Cohen
Wellesley, MA
Carved Nesting Set
porcelain
6 x 11 x 12 in
Where Water Holds the Land -
acrylic on canvas
24" x 30" x 1.5"
$1,600.
”Where Water Holds the Land participates in a broader contemporary shift away from purely representational landscape toward ecological consciousness as visual language. Rather than depicting land as backdrop or scenery, my work treats terrain and water as living, interdependent systems — a perspective increasingly central to contemporary art responding to climate anxiety and environmental urgency. My painting's aerial, almost cartographic perspective echoes modern art's embrace of non-Western spatial traditions, dissolving the single-point perspective that dominated Western painting for centuries. Its meditative patterning connects to a renewed interest in slow, labor-intensive mark-making as resistance to digital immediacy honoring process as meaning itself.”
This work reimagines landscape through an ecological and cartographic lens, using layered pattern and aerial perspective to emphasize the interdependence of land, water, and environmental systems.
Current Perspectives (1980-2026)
Rosemary Cotnoir
Westbrook, CT
Where Water Holds the Land
acrylic on canvas
24 x 30 x 1.5 in
Rosemary Cotnoir
Westbrook, CT
Flowing South
acrylic on canvas
30 x 30 x 1.5 in
Rosemary Cotnoir
Westbrook, CT
Rooted in Light
acrylic on canvas
50 x 26 x 1.5 in
Elysa DeMartini
Stamford, CT
Echos of Memories
pillowcases
18 x 10 - 9 x 10 in
$200. each or $1400 for all
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Natalie Eisenberg
Birmingham, MI
Marina
oil on canvas
41 x 31 x 1.5 in
Patricia Frik
Housatonic, MA
Wire Nests
industrial wire
13 x 13 x 3 in
Patricia Frik
Housatonic, MA
Wire Spiral
industrial wire
18 x 18 x 3.5 in
Sold
Mark W Geiger
Albany, NY
Off Season
generative AI image
24 x 24 in
Laura Gurton
Northampton, MA
Unknown Species no.387
oil on linen
36 x 48 x 2 in
Christopher Jones
Norwalk, CT
Cythera III
oil on canvas
48 x 60 x 1.5 in
Martine Kasmin
Livingston, NJ
Sleeping on Pink Hills
oil, oil stick on canvas
36 x 30 in
Martine Kasmin
Livingston, NJ
Changing Course
oil, oil stick on canvas
48 x 36 in
Elizabeth Killgore
Stamford, CT
High Society
oil on linen
60 x 48 x 1.5 in
Dede Lifgren
Brewster, NY
Measured Variations
acrylic on cardboard on screen
54 x 37 in
Linda Lowry
Boulder, CO
Vanessa After Balthus
oil on canvas
60 x 40 x 2 in
Sold
Joan Macfarlane
Sharon, CT
Evening Glow
chine colle monotype
17 x 21 in
Joan Macfarlane
Sharon, CT
Heating Up
monotype
11 x 13 in
Nancy McTague-Stock
Norwalk, CT
A Memory Lane
unique drypoint
4 x 6 in
Nancy McTague-Stock
Norwalk, CT
Sunset Light
unique drypoint
4 x 6 in
Nancy McTague-Stock
Norwalk, CT
Afternoon Delight
unique drypoint
6 x 4 in
Janet Moore
Saint Louis, MO
So Much Water
handwoven tapestry in wool, cotton, lurex
60 x 42 in
Donna Namnoum
Canton, CT
Red Orange Pink Droopy Tree
glazed stoneware
13 x 15 x 8.5 in
Donna Namnoum
Canton, CT
Blue and Bronze: Tangled Bud Covered Vessel
glazed stoneware
15 x 8.5 x 8.5 in
Heather Neilson
New Hartford, CT
Crossed Passage
oil and cold wax
18 x 18 x 1 in
Heather Neilson
New Hartford, CT
Meridian
oil and cold wax
36 x 36 x 1.5 in
Jack Rosenberg
Washington Depot, CT
The Card Players
oil on aluminum composite panel
40 x 60 x 2 in
Alison Scherr
Peapack, NJ
Homecoming
latex on canvas
54 x 78 x 1.5 in
Rosalind Shaffer
Weston, CT
Internal Spiral
porcelain, glaze, silverleaf
10.75 x 10 x 5 in
Rosalind Shaffer
Weston, CT
Sweet Tooth
white earthenware
16 x 7 x 7 in
Marlene Siff
Westport, CT
Ultimate Oneness
mixed media on Japanese paper
16 x 18 x 5.5 in
Narelle Sissons
New Canaan, CT
Birthday Balloons
oil on canvas
40 x 50 x 2 in
Anne Louise Tetenbaum
Westport, CT
Battery-Dance-III
gelatin silver print
11 x 14 in
Anne Louise Tetenbaum
Westport, CT
Battery-Dance-IV
gelatin silver print
11 x 14 in
Anne Louise Tetenbaum
Westport, CT
Battery-Dance-VI
gelatin silver print
11 x 14 in
Ezra Thompson
Port Jefferson Station, NY
Church Bus
oil on canvas
36 x 36 x 1.5 in
Ezra Thompson
Port Jefferson Station, NY
Coloring Book
oil on linen
13 x 13 x 1.5 in
Derek Uhlman
New Canaan, CT
Red Flow
PLA biopolymer
10 x 8 x 6 in
Patricia Weise
Winsted, CT
Cyclamen in Sink
gouache
15 x 12 in
Patricia Weise
Winsted, CT
Summer Reflection
gouache
11 x 14 in
A Nation of Vision: Artist Studios
