6’ x 1’ x 1’, Steel, concrete,
John Allen is a little known, essentially not-for-profit artist, who lives nearby and does something else for a living.
Brooklyn city block.
Plot of land (75 yard square)
Earth, 4 red survey flags
This is an exercise in the usage of space.
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.
Elizabeth Mansour Barksdale
In an Sea of Grass
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.
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.
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.
Pvc pipe, polyurethane foam,
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.
The Space Between
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 metalsmiting and jewelry,
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.
16’x 9’x variable, Rusted steel
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.
Ada Pilar Cruz
Violet Moon Web
Sky Blue Reflection, Sizes variable, Mylar, acrylic and waxed sinew threads
Augie Della Vecchia
Jane’s Cherry Tree
Tree, metal screening, cherry In this piece I am combining industrial material with nature
to provide the viewer with a sense of the supernatural.
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.
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.
Denis J Folz
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.
Continuous Draw #4,
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.
Spirit of Place
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.
STETCH ON THIS
Dimensions variable Mixed media
Harvesting the Moon
8’ x 10’ x 36’/Wood and metal
24” x 20”
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 abound.
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.
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.
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.
30” diameter/Scrap steel
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.
Garden of Eden
Where’s the Bastard, Amber?
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?
Michael Anthony Natiello
Golgotha and The Three Vagabonds
12’ x 2’ x 12’
Hand-hewn timbers, iron hoops, barbed wire, chains
Bus Shelter in
5’5”x 4’ x 7’
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.
10’ x 6’ x 5’
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.
4’x 5’x 3’
Fabric and metal
Birdhouses Made from Recycled Materials
Wood, metal, plastic, foam, paper
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.
10’ x 4’/Mixed media
Commit: A Book
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.
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.
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.
Farm Cow NO2
5’ x 180’
Acrylic on denim
Plaster, water, body
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.
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.
Zebra Snowflake/Spinning Circus Tent
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.
Sarah W. Young
Pets and the City
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.
A. Eric Arctander
400 linear feet
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.
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.
5’ x 5’ x 15’
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.
Marcy B. Freedman
The Farmer’s Daughter: Sowing seeds of art . . . in your mind!
An interactive performance
For this performance, I invite visitors to spend a few minutes with me, one at a time, in a secluded spot on the farm. I ask the participant to close his or her eyes and listen, as I describe an artwork that will exist only in his or her imagination!
The Farmer’s Daughter involves direct contact with members of the public. Thus, it is an antidote to the impersonal cyberspace interactions that dominate our lives. Furthermore, this performance suggests an alternative to the marketplace mentality that has corrupted the artworld – my art is available to anyone, free of charge.
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.
Untitled (red assembly)
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.
Lulu the Cannibal (the
Shape of Memory)7’x 9’x 9’
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.
The Collaborative Concepts Committee for
Saunders Farm, 2010:
A. Eric Arctander, Jo-Ann Brody, Sarah Haviland, Jim Lloyd, Michael Anthony Natiello, Herman Roggeman, Sheilah Rechtshaffer
Marcy B Freedman--Performance
Collaborative Concepts at Saunders Farm
is made possible, in part, with public funds from the New York State Council on the Arts Decentralization Program.
In Putnam County the Decentralization Program is administered by the Putnam Arts Council. This show is also made possible
with the generous funding of the Anne Anastasi Charitable Foundation and the generosity of our donors:
Frank Addeo & Deborah Bershad
Deb’s Hair Design, Cold Spring, NY
Hudson Valley Center for Contemporary Art
David M. Kleiner, Ameriprise Financial
Michelle Le Blanc
Frederick X. Pazmino, Oppenheimer & Co., Inc.
Collaborative Concepts 126 Bryant Pond Road, Putnam Valley NY 10579 - 1.845.528.1797
With special thanks:
Jonathan Galente and Marybeth Minton
Joyce Picone of the Putnam Arts Council
Thanks to the following for their generous
donations of time, talent and wisdom:
A Eric Arctander and Dell Jones
(administration and grant writing)
(brochure and catalog design)
Justin Allen for bigjworks, Jim Lloyd, Sheilah
Rechtschaffer, and many of the artists
Tabitha Pearson Marshall
(host and support)
(hostess and support)
The siting committee
The engineering committee
(art angel: expertise, installation, repair)
Robert Van Winkle
(crane work, installation)