New England Destination Guide

New England Destination Guide


New England Destination Guide

I am very excited to have connected with Tomiko Harvey at Passports and Grubs to write this New England Destination Guide! A fellow colleague – Jessie Leiber over at Little Legends Design suggested I do a New England travel guide of the places my work has taken me. Below are some places off the beaten path that are perfect for the aspiring adventurer.

In addition to being a graphic designer, I am a fine art photographer who has exhibited work in over 32 exhibitions in the last 3 years. As an avid traveller, I have made a point to go to the receptions of these exhibitions to mainly network, meet new people and see a new place. I’ve been lucky to have exhibited abroad as well as nationally and have exhibited in almost all of New England. Today, I will share with you gems that cannot be missed that I have discovered while adventuring around New England!


1. Pomfret, CT – Celebrations Gallery and Shoppes

Unfortunately the shop has since closed, but the town of Pomfret, CT is certainly a destination off the beaten path. Located in the heart of Windham County Connecticut, it is a town that boasts beautiful rolling hills and bed and breakfasts that promote a country vacation. The town it’s self is known for a strong artist and crafters community and it’s businesses are a reflection of that. While on a vacation in the country you can stop by local artistsan shops and find the local dressmaker, furniture maker, holistic health practitioners, ceramics and other unique products. One must not forget to stop by Martha’s Herbery for local greens and herbs.


2. Beverly, MA – Cabot Street Studios

This business has since dissolved and is now Zeitgeist Gallery. I had my first studio at this location for about 6 months. I feel like Beverly often gets overshadowed a lot because Salem, MA is right next store. The tourists flock to Salem for it’s obvious charm, but Beverly, has a lot of charm of it’s own. It is a small artist and holistic practitioner community that is well connected. With Montserrat College of Art right there, it is a great resource and destination for an emerging artist.


3. Greenfield, MA – The Boxcar Gallery

This location too has since closed (noticing a trend here??). I swear there are galleries my work has been in elsewhere that have remained open! Greenfield is a hub of commerce and culture and one of the cool things about this gallery was that yes, it was indeed an old Boxcar – turned – gallery! Also interesting to note that this particular exhibition had original works of art from JMW Turner. It was pretty cool to exhibit my work amongst a classic. Greenfield is nestled in the Hampshire County in Western MA, and a great location spring and fall – especially so to see the foliage.


4. Cambridge, MA – Gallery 263, Kathryn Schultz Gallery, University Place Gallery

Cambridge, MA is an interesting city as it houses many famous universities, businesses and is a high tech cosmopolitan city that boasts historical charm. The combination of the past and the future provides a unique symbiosis for emerging fields in art, science and technology. Cambridge, MA has a lot of unique gems and museums to walk through; for example the Harvard Natural History Museum and the MIT Museum provide invigorating stimulation.


5. Provincetown, MA – Gallery Ehva

This destination has a fond place in my heart because my family and I would take me to Provincetown every summer growing up. As a child, I had dreamed of exhibiting in Provincetown and finally it happened in June 2014! I had met a gallery owner through an arts festival in Provincetown and we connected and planned to exhibit my work in their upcoming show that reflected Amy Winehouse; it featured works done by my age group (20 somethings) which was rare for me. We later partied the night away in Provincetown.


6. Bethlehem, NH – 42 Maple Contemporary Arts Center

After going to college in the infamous Christmas City in Pennsylvania, being accepted into an exhibition in Bethlehem, NH was the ultimate irony. Bethlehem, NH is very different than Bethlehem, PA especially it’s location. In New Hampshire it is situated in the middle of Franconia National Park. A location where you can see the sights and hike the mountains. My work was accepted into a show called the Bee’s Knees which promoted the depopulation of the Bee species at a location known as “The Tallest Toy Box in Town” – 42 Maple Contemporary Center.


7. Gloucester, MA – Rocky Neck Arts Colony

Noted as the oldest artists colony in the country, Rocky Neck Arts Colony is nestled in Gloucester, MA – a charming, unique fishing town on the North Shore. The Rocky Neck Arts Colony community center is located in a renovated church in downtown Gloucester on a stretch of rocky land that sticks out into the water. There are many unique shops, galleries and restaurants to wander around. It is a nice way to spend a summer day without having to go all the way to Cape Cod.


8. Bar Harbor, ME – MDI Biological Laboratory

This exhibition was unique as it was located at a biological laboratory in Bar Harbor, Maine. The exhibition was celebrating the centennial of Acadia National Park. I have heard of Bar Harbor being an excellent summer destination and with a unique combination of art and science it was a road trip not to be missed. Traveling only 5 hours from Boston, made it be an accessible getaway for the weekend. The trip was short enough where you weren’t stuck in the car all day but long enough to motivate you to stay longer. The area was magnificent with it’s scenic views and blue horizons. It’s a perfect destination for the outdoorsy and the beach goers. As an emerging artist in the field of art and science exploring the biological laboratory was a dream. It was interesting to see the scientists working there and the types of people the reception attracted.

There you have it! The above locations have a fond place in my heart for they are slightly different than your typical country destination or even your beach community. Adventuring to these locations has been an eye-opener for me to see new sights and senses. It had never occurred to me that you can combine travel with exhibiting art, but if you make a point to attend the events it will naturally become a part of it.


Kristi Beisecker is an artist and freelance designer in Massachusetts. In her spare time she creates photograms using electricity and organic materials with analog darkroom processing. She also reads and writes about science and spirituality, composes and performs music and gives spiritual guidance.

Check her out on Social Media: instagram | twitter | facebook | pinterest

Bar Harbor, ME – A Taste of Blue

Bar Harbor, ME – A Taste of Blue

Team K has taken on Bar Harbor! My intern went to Bar Harbor last week on a family vacation and I am here this week for one of my artist receptions; Pine Needles and Rose are being exhibited at the MDI Biological Laboratory through September. So far it’s been a dream and very reminiscent of my trip to Big Sur in 2013. The coast is just as dramatic. I left Boston at 7 am and arrived on Bar Harbor Rd at 11:45. I made a few stops along the way for food and bathroom breaks but otherwise the drive was very painless. It seemed shorter than I expected.


Due to the anticipated cloudy weather tomorrow, I decided to do most of the scenic sightseeing today through drives.

Unfortunately for me it was $25 a vehicle to get into the parks of the popular places; sand beach, etc. but I was content driving along the coast. There are a few free entrances to the Wild Gardens, etc. that I will be making a visit to tomorrow before my reception. I ate at Bar Harbor Beerworks and had their mussels which were amazing! I then did a little shopping and pick up blueberry incense and jam and a couple of postcards.


Boston, MA – Americans for the Arts Convention

As I lay here trying to sleep, I figured I’d do my write up for the Americans for the Arts Convention that I attended this past weekend. I came back to Wellesley on Thursday to attend a convention that the Mass Cultural Council invited me to. I had been looking for events and networking opportunities over the winter to attend to this year. 13450098_3131250960504_2202132617928704052_n

While the theme of the convention this year was Public Art and I originally felt that it wasn’t really up my alley being a photographer, I still learned a lot from it and gained some inspiration. There are new trends and innovations within the arts community that are crossing over to the corporate world which I find interesting. It was also a unique convention in the sense that since it was public art so you were mingling with city officials from all over. Unfortunately a lot of it I felt was related to policy, which to me is totally unrelatable. Not to mention I felt like it was hard to network with some of these people since they were 10, 20, 30, 40 years older than me. Though it did give me some insight and direction as to where I should aim in my career.

In terms of learning, I felt that the skills, management and processes to produce these monumental projects were of like-mind in the sense that project management is project management no matter what the outcome was, which was very relatable for me. Coming to this event from a marketing/journalism background I thought was interesting. As many of these people were administrative/policy/advocacy members and then wearing the artist hat, it was interesting to see the other sides of the judging panel.

Although the best parts were seeing a colleague of mine and a community that I have been in contact with out here in Western MA there. It was nice to see the staff at the Arts Extension Services there. As if it wasn’t for the class that I took with them, I would not have met my current landlord! I also met and introduced myself to Jane Echelman whom I have admired since college. I told her that I had seen her at her Wellfleet talk last summer and that I wrote a paper about her work in college comparing it to 1960s sculpture; she seemed flattered! Then properly handed her my biz card with a copy of my photographs on it. :)

All in all, I’m glad I went, though I’m glad I was invited by Mass Cultural Council. Unless the theme was really up my alley, I don’t think it was worth $500 to attend, though I did get a lot of inspiration from it.

Bar Harbor, ME – MDI Biological Lab

Bar Harbor, ME – MDI Biological Lab

E-announcement AMSExhibition June 20th – September 30th

A Fresh Field of Life: Artists, Naturalists and the Vision for Acadia is the theme of the MDI Biological Laboratory’s fifth annual Art Meets Science exhibit that features science-inspired work by local, national, and international artists. Concurrent with the centennial celebration of Acadia National Park, this year’s exhibition tells the story of art and science coming together on this island in the 19th century, the founding of a national part and how art and science connect our knowledge in the 21st century.

Featured Art & Science Collaborators

Robyn Ellenbogen with Keven Strange, Ph.D., & Dustin Updike, Ph.D.
Linda Rowell-Kelley with Jane Disney, Ph.D.

Opening Reception > Thursday, July 7th
Preview showing for artists and their guests begins at 4 pm
Open to the public at 5-7 pm

Weekly guided tours > June 21st through September 30th
For more information and to pre-register:

Interview with Meghan Widger, textile and fiber artist

Interview with Meghan Widger, textile and fiber artist

Interview with Meghan Widger, textile and fiber artist

In the past 6 months I had the pleasure of working on a collaboration with another artist. While I work with other people consistently in my visual marketing career, I never thought to work with others in my personal artwork. I’ve been in a collaborative mood lately, and decided to take a page out of what many people on instagram and social media do – collaborate! 12985347_3074752308073_8999664223126705948_n

I had been following Meghan Widger, or Hills and Thread on instagram for awhile, as I admired her work and skill with fabric and quilting. Then an idea struck me as I was working with the mandala form with my images and thought that they’d look awesome with a quilting technique, closely linked to traditional tapestries, so I reached out to her and we scheduled a Skype meeting.

One of the things I love the most about the internet is being able to network and connect with other like minded individuals. I, for one, wouldn’t have a career, if it weren’t for the internet, or maybe I would but it wouldn’t be where it is today. Anyway, I’ve successfully used the internet for networking and collaborations regarding my work, and when done ‘right’ can be a really amazing tool to help you in proceed your career.

I’ve sat down with Meghan Widger, owner of Hills and Thread and asked her a few questions about the work she does today.

10300425_3033096746710_6723044646097716898_n1. What made you start the work you do today?
As far as I can remember, I’ve always loved creating. But my sewing journey started at age 14. I got really hooked on the show Project Runway and just felt like I wanted to do what the designers did. I felt a spark, like this was something I could be good at. I wanted to learn, so my awesome parents gifted me with a sewing machine. I taught myself to use it and designed my own garments. However my interested shifted from fashion design to quilting, and has been evolving and expanding ever since.

2. Do you have a vision, goal, or destination in the work you do?
My main destination is to someday teach my own workshops. I want to teach people not only the skills and knowledge to sew or paint, but how to enjoy the process and how therapeutic it can be. I’d also like to travel around to display and sell my work at different festivals and shows. Basically I just want to learn, share, and teach.

3. What did you enjoy about working with me/us?
I enjoyed getting to know a new artist and learning about your Electrography project. Collaborating two completely different skills and talents is such a fun experience. Not only did I learn a lot from you but I also gained a lot of inspiration from this project! 3_Beisecker_Pineneedles

4. What do you do outside of when you’re not designing/creating?
I spend most of my time creating. If I’m not sewing then I’m painting or making something else. But If I’m not making something then I’m taking care of my plants, practicing yoga, or listening to music/podcasts. I love being outside, reading/writing, and thrift store shopping.

5. What made you start Hills and Thread?
Starting Hills and Thread was actually a huge step for me. As an introverted person who used to be painfully shy, I never liked to draw attention to myself and was never one to show off my work. I realized that starting my own business would be constantly challenging me to go outside my comfort zone and, in turn, help me evolve and grow. It took a lot for me to just start posting things I made on social media for exposure, then I was terrified of starting an Etsy shop. But every time you do something that scares you, you take control and the fear loses its power little by little. I decided I wanted to overcome as many fears as possible not only for myself, but to inspire others to do the same.

I, myself, enjoyed working with Meghan and Hills and Thread and look forward to see how this project develops. We have plans to develop our collaboration down the road, possibly supporting a cause that helps Kenyan women through sewing and other awesome ideas. If you are looking for a unique gift idea, or a new home decor piece; check out our work at at: SHOP K GLYPHICS ( and Hills and Thread (

Be on the lookout for future articles by Kristi which will feature ‘tips and tricks for artists to get ahead,’ Artwork ‘currently on view,’ Projects ‘in the studio,’ Travel Stories ‘on the road and in the air,’ and finally ‘lifestyle’ adventures. You can find more about Kristi, and her work on her blog:

The Final Verdict

The Final Verdict

I have no toleration for art theft; NONE whatsoever. While you may or may not have intentionally stole it, it doesn’t matter. The fact of the matter is the new logo and the old one are too similar to be accused of otherwise. The fact that there was no communication to me from point A) our last discussions of the project to point B) where you posted your new logo on facebook has led me to believe that you stole the main concepts; stole most of my efforts.

Yeah, the crystal and the colors may have been your ideas… but the circle and the layout and everything else was my creation. But ideas are subjective and are not copyrighted. I made it happen, therefore the work is mine and I never passed off the logo to you for you to use in any shape or form. NEVER.

Oh and your reaction? Extremely childish; blocking me on all social media and returning my items is a slap in the face.  The fact that you gave me a list of businesses when I left Northampton where you didn’t want me to drop your name, should have been a big sign.

And my blog? You knew I wrote here, knew that I write about my life and what happens with it. It’s how I document my life. But posting the blog is NO different than you posting your new logo without letting me know you went on to a different designer.

Another fact of the matter is, that you claim I was frustrating. No point in our communications indicated you were frustrated. You requested a change, so I made it. To accuse me going too far with the changes, is ridiculous. To say your artist friend ‘surprised you’ is ridiculous. You may have had a barter, but the logo was something in addition to. To accuse me or make any other reasoning in this, is ridiculous. Anything else you say sounds like an excuse.

I spoke to 5 of my creative friends who work in this industry and surrounding ones and they say you stole it. One of them came up to me and said she commented on the post you made public on your FACEBOOK. I never accused you stealing publicly. Yet, you took this publicly. CHILDISH. You wrote in an email the public post was not something how you’d normally deal with things; so why post it in the first place? And you claimed you could post all the communications and whatever to show the world? Well guess what, visuals matter and the thing is they’re too similar to be accused of otherwise, my friends would’ve agreed and stood-up for me.

I tried to be a responsible and negotiable adult with you. Tried to negotiate with you to take down the logo and in return I’d take down the blog post. Yet, you terminated communication to me and threw my items back at me. Then keep telling me that you’ll go in a different direction of the ‘professional’ logo? Hun, I am a professional. I’ve worked with other PAYING companies; you never paid me anything. But you can’t negotiate with a child.

So I reported a copyright infringement to facebook and they took it down. My negotiation remains the same. I will leave the original blog post up until you take any traces of your new logo down.

This is the last I will ever speak and post about this. I have other more important things to do.



I feel the only way to be credited and redeemed in this situation is to post this to my blog. Typically, I would let this go, but since this is kind of a serious issue where I feel that a knife was stabbed in my back, it is the best way.

About a year ago one of my business-owning friends put out a call for logos on their facebook page where the payment was merchandise from their shop. Since the shop was up my alley as a designer and artist, I figured it was worth a shot.

I am paranoid about copyright and stealing since it’s so easy to do so on the internet, I decided to not post the original to the competition post on her business page so sent it to her privately.

She really liked my logo and exclaimed how much she liked my work, so she decided to cancel the competition and would award me the merchandise and use my logo. We continued to work on the draft and revised it a bit. There are now several drafts from the original competition entry. I got the feeling that she didn’t want to pay the merchandise to me right away and through her comments decided that we wait a bit so she can have more ideas. A few months ago, I messaged her again after it had been awhile since we worked on it and she said it wasn’t on her radar. OK, I respect your schedule and that you have a busy life.

Logo her friend made

Just a few days ago, my business friend posted the left logo to her page exclaimed that this season was a good time for change, and that she was ‘surprised’ by a friend with this logo.

I sat in SHOCK. Because the colors, layout and format of this logo is the exact same from the logo draft my friend and I left off with; just a crude version of it.

Logo I made and where we left off

I immediately messaged my friend about this and asked, “Why is this here when the last thing you told me was ‘it wasn’t on your radar?”

She responded with COMPLETE AND UTTER NONESENSE. I’m sorry, but I DO not buy what my friend told me.

NO ONE gets this close on the first try… NO ONE!

My friend responded with this…

It wasn’t on my radar, I am doing a barter with a friend for her wedding jewelry. And she surprised me with a logo that fit what I was looking for. I didn’t ask for a logo it just kinda happened. She is doing some photography for my website. I remember we were working on it, in that moment it wasn’t what I was looking for. This was just a pleasant surprise that someone had made for me. It was no disrespect to you or what you do and it wasn’t my intention to hurt your feelings. Im really sorry thats how you feel. Like I said it wasn’t my intention for this to happen or for your feelings to be hurt.

I brought up this incident with a few of my friends and they told me that she probably said that as to avoid an issue with me.

I’m SORRY I DO NOT BUY WHAT YOU SAID. After months of not communicating with me and explaining to me about what you do and don’t want with a logo, you realize that we can work out these issues as a team?! That’s the whole point of working with a designer. WE AREN’T SUPPOSED TO READ YOUR DAMN MIND.

New Project: Quilt Mandalas

New Project: Quilt Mandalas

Last summer I participated in the Hyarts Artist Shanty program in Hyannis, MA. Since then I have maximized my experience by writing down inspiration, tidbits and things people have said to me, that came to my mind and random things. I usually do this with action-packed experiences because if I have a lot on my mind I tend to forget it!

While working on this experience I experimented a little bit with my artwork on clothing and I really like how it turned out. It was really sell-able as well and seems to be the most cost effective way to produce artwork prints. However, getting into clothing manufacturing is a bit tricky. I’m not a seamstress and can hardly cut a straight line so I wouldn’t be the one making the clothes. I have to find a manufacturer that will do private labeling… essentially I design the clothing and claim it, but it will be manufactured in a factory, or something like it. Part of me wants to collaborate with others on the fashion line but part of me doesn’t want to split the credit…sounds selfish but I want it to make it my own, but without doing the dirty work! Only because it’ll just be another thing to be added onto my plate so I want to focus on what matters, the artwork.

So, I started searching on instagram for artists whose work will mix well with my owIMG_0272n. Since my mandalas fit the hippy, new agey vibe and I’ve been wanting to market to this crowd more. I connected with a fiber artist and designer from Missouri whose done some awesome incredible things. She made a whole bunch of bags, filled them with school supplies and then sent them off to a non-profit organization – Generation Next, for students in Africa.

She owns a small etsy based business called, Hills and Thread, and designs bags and other fabric based items with quilting techniques.  I contacted her if she wanted to collaborate and she was ecstatic to! We skyped the following week and came up with a bunch of ideas. It’s nice seeing my work in a different form with color and in a completely different light.

We have other plans to expand this project if successful. BUT I’m happy with the current progress.


CAMBRIDGE, MA – ArtScope Mag Mention

CAMBRIDGE, MA – ArtScope Mag Mention


In preparation for the 30. Below exhibit in Cambridge, MA which opened today at the Katheryn Schultz Gallery, Kristi was mentioned for her ‘stark and intriguing’ artwork in ArtScope’s latest issue:

Kristi Beisecker’s “Olivo,” a black and white 22” x 28” photographic image, is stark and intriguing. A stand-alone image that challenges viewers to make sense of what they are seeing, it appears to be time-lapsed in motion with light bursting in multiple directions. A bit organic, a bit alien, floating in a void of darkness, she pushes the limits of traditional print photography.

Thanks so much ArtScope Magazine!

3 Artistic Apps to Bring Out Your Artsy Side

3 Artistic Apps to Bring Out Your Artsy Side

Artistry comes from the soul and is then translated with the movement of our hands regardless if we’re holding a pencil, a mouse, or a stylus. Though the problem with designing anything on a computer is the tedium and imprecision that comes with it, thus a lot of artists still prefer to draw free hand and leave desktop platform to the graphic designers.

Perhaps the best invention that combines art and technology is the drawing tablet and the apps that transform your portable computer into a modern sketchpad. As a contributor of SitePoint notes, a stylus is generally much easier and more comfortable to hold in your hand than a mouse, and allow for an incredible degree of precision in your work?

Here are the top recommended iPad apps for artists:

  1. Paper by FiftyThree
    The availability of free drawing apps are quite slim, so if you’re not looking to invest in a mechanical sketchpad, Paper by FiftyThree should work for you. Designed for the budding and the seasoned artists, this beautiful app can be used with or without a stylus.
  2. ArtRage
    For a variety of art mediums, ArtRage has got you covered. To transform your digital canvas into spectacular work of art, you’re provided with additional tools such as pens, pastels and even spray paint, along with rollers and palette knives to help you build and blend.
  3. Procreate – Sketch, paint, create
    Possible the most powerful artistic app on the market, Procreate is an Apple Design Award winner and has the most amazing resolution, layering system, and 128 brushes for all your toolbox needs. The app is definitely worth more than its price.

To think that your tablet can do much more than your laptop might have been bizarre five years ago, but now mobile tech designers are surprising us with new functions of our devices. Gaming Realms, such as, the group that supplies online slots for Pocketfruity, predicted that mobile usage would exceed desktop usage in 2013, and in plenty of ways, it has, especially now that we can see the versatility of our tablets. And the ability to sketch on your iPad is as authentic as your vision can get from a technological standpoint.

PARIS, FR – Vernissage de l’exposition “GAIA”

PARIS, FR – Vernissage de l’exposition “GAIA”


As usual click the above image to be taken to the facebook album.

Pine Needles hanging.
Pine Needles hanging.


Visite de l’exposition du mairie du 18ème Eric Lejoindre et de la conseillère de Paris Danièle Premel commentée par la commissaire de l’exposition Julia Rajacic / Paris 18th city mayor Eric Lejoindre with the counsillor in charge of popular education Danièle Premel visiting the exhibition with the curator Julia Rajacic

Visit of the exhibition of the hall of the 18th Eric Lejoindre and the adviser of Paris danièle premel commented on by the commissioner of the exhibition Julia Rajacic / Paris 18th City Mayor Eric Lejoindre with the counsillor in charge of popular education danièle premel Visiting the exhibition with the curator Julia Rajacic

CAMBRIDGE, MA – 30 Below

CAMBRIDGE, MA – 30 Below

Olivo was accepted into Cambridge Art Association’s 30 Below exhibition for next January.

Juried by Mary M. Tinti, Curator of the Fitchburg Art Museum
Presented at the Kathryn Schultz Gallery, January 9 – 28, 2016
Award Presented January 14th Reception | Best in Show, $250

About Our Juror
Mary M. Tinti is the curator at the Fitchburg Art Museum (FAM). Tinti is an art historian and curator specializing in modern and contemporary art, with a focus on public art. Prior to her appointment at FAM she was the Koch Curatorial Fellow at deCordova Sculpture Park and Museum in Lincoln. ‘Ms. Tinti received her bachelor of arts degree in 2000 from Providence College and a Ph.D in 2008 from Rutgers University. Prior to joining the staff at deCordova, she was the first-ever public art fellow at the New England Foundation for the Arts (2010-2011) and the deputy artistic director of WaterFire Providence (2008-2010).
For more information click here.

30. below : Important Dates
JANUARY 4, 2016: Shipped Artwork Deadline
DECEMBER 12 – JANUARY 7, 2016: In Person Drop – Off
JANUARY 9 – 28, 2016: Show dates
JANUARY 14, 6-9PM: Opening Reception
JANUARY 29TH & 30TH, 11-5PM: End of Show Pick-UP

Congratulations to the accepted artists!

Christopher Abrams Could Cloud 3 Copper Wire, Styrene Plastic 7″LX5″WX4″H $250
Kristi Beisecker Olivo Traditional Photography 22″x28″ $400
Darek Bittner New York #17 Collage 8×10″ $350
Molly Blumberg Clouds For Mountains Handmade Paper, Found Wood 72″x20″x8″ $950
Olivia Boi Hardshape Series #86 Spray Paint and Latex Paint on Canvas 28 x 33″ $500
Carlie Bristow Untitled, part of “Food Landscapes” series Digital Print 16X20 $200
Emily Brodrick Jagged Acrylic Yarns 3’x3′ 1,700
Celine Browning Draw Plastic, Wood 18″x6″x8″ $375
Mia Cross Oleg’s Flowers Oil on Canvas on board 43″ x 36″ $2,000
Elizabeth Ellendwood Building Study 4 Archival Silver Gelatin Print 16×20 $450
Sarah Fagan Organize VII (Daylight Saving Time) Acrylic on Canvas 12 x 12″ $450
Anthony Febo “The Patriot Act” as part of the series “Captain America vs. The Universe” Digital Print 16X20 $150
Emily Garfield Aorta Isles (Cityspace #210) Water-Soluble pencil 24”x32″ $1,250
Aubrey Gauthier Funny enough Wood, Paint and Paper 3″ x 2.75″ $100
Graehound Durner’s Chandelier Mixed Watermedia on Arches Black 44″ x 30″ $2,300
Amanda Hawkins Mount Desert Isle Acrylic 34×36 NFS
Sofie Hodara Drone On Toner Transfer on paper 26 x 42″ $1,200
Alli Keller 23 (Lawn Games) Lithograph 23 x 29.5″ $400
Haley MacKeil Thin Wall, Revealed Linocut 22″ x 30″ $250
Brittany Marcoux The Birthday Tape Archival Inkjet Print 15″ x 19″ $300
Dina Martinelli Zulma Acrylic on Canvas 30″x36″ $300
Norah Remmers Small and Wise #2 Woodblock Print 26.5 X 32.5” $400
Nicole Reynolds Nobody Home Photography Size? $30
Steve Sangapore Virtuality Acrylic on Canvas 44″ x 32″ x 4″ $1,950
Hilary Tait-Norod This Is Personal Oil and Mixed Media on Canvas 36″ x 60″ $3,200

Info from:

More on the Climate Summit in Paris

More on the Climate Summit in Paris

Below is an article by Michael T. Klare about the upcoming Climate Summit in Paris in which my artwork is in conjunction of during the GAIA exhibition.

Why the Paris Climate Summit Will Be a Peace Conference
Averting a World of Failed States and Resource Wars
By Michael T. Klare

At the end of November, delegations from nearly 200 countries will convene in Paris for what is billed as the most important climate meeting ever held. Officially known as the 21st Conference of the Parties (COP-21) of the United Nations Framework Convention on Climate Change (the 1992 treaty that designated that phenomenon a threat to planetary health and human survival), the Paris summit will be focused on the adoption of measures that would limit global warming to less than catastrophic levels. If it fails, world temperatures in the coming decades are likely to exceed 2 degrees Celsius (3.5 degrees Fahrenheit), the maximum amount most scientists believe the Earth can endure without experiencing irreversible climate shocks, including soaring temperatures and a substantial rise in global sea levels.

A failure to cap carbon emissions guarantees another result as well, though one far less discussed. It will, in the long run, bring on not just climate shocks, but also worldwide instability, insurrection, and warfare. In this sense, COP-21 should be considered not just a climate summit but a peace conference — perhaps the most significant peace convocation in history.

To grasp why, consider the latest scientific findings on the likely impacts of global warming, especially the 2014 report of the Intergovernmental Panel on Climate Change (IPCC). When first published, that report attracted worldwide media coverage for predicting that unchecked climate change will result in severe droughts, intense storms, oppressive heat waves, recurring crop failures, and coastal flooding, all leading to widespread death and deprivation. Recent events, including a punishing drought in California and crippling heat waves in Europe and Asia, have focused more attention on just such impacts. The IPCC report, however, suggested that global warming would have devastating impacts of a social and political nature as well, including economic decline, state collapse, civil strife, mass migrations, and sooner or later resource wars.

These predictions have received far less attention, and yet the possibility of such a future should be obvious enough since human institutions, like natural systems, are vulnerable to climate change. Economies are going to suffer when key commodities — crops, timber, fish, livestock — grow scarcer, are destroyed, or fail. Societies will begin to buckle under the strain of economic decline and massive refugee flows. Armed conflict may not be the most immediate consequence of these developments, the IPCC notes, but combine the effects of climate change with already existing poverty, hunger, resource scarcity, incompetent and corrupt governance, and ethnic, religious, or national resentments, and you’re likely to end up with bitter conflicts over access to food, water, land, and other necessities of life.

The Coming of Climate Civil Wars

Such wars would not arise in a vacuum. Already existing stresses and grievances would be heightened, enflamed undoubtedly by provocative acts and the exhortations of demagogic leaders. Think of the current outbreak of violence in Israel and the Palestinian territories, touched off by clashes over access to the Temple Mount in Jerusalem (also known as the Noble Sanctuary) and the inflammatory rhetoric of assorted leaders. Combine economic and resource deprivation with such situations and you have a perfect recipe for war.

The necessities of life are already unevenly distributed across the planet. Often the divide between those with access to adequate supplies of vital resources and those lacking them coincides with long-term schisms along racial, ethnic, religious, or linguistic lines. The Israelis and Palestinians, for example, harbor deep-seated ethnic and religious hostilities but also experience vastly different possibilities when it comes to access to land and water. Add the stresses of climate change to such situations and you can naturally expect passions to boil over.

Climate change will degrade or destroy many natural systems, often already under stress, on which humans rely for their survival. Some areas that now support agriculture or animal husbandry may become uninhabitable or capable only of providing for greatly diminished populations. Under the pressure of rising temperatures and increasingly fierce droughts, the southern fringe of the Sahara desert, for example, is now being transformed from grasslands capable of sustaining nomadic herders into an empty wasteland, forcing local nomads off their ancestral lands. Many existing farmlands in Africa, Asia, and the Middle East will suffer a similar fate. Rivers that once supplied water year-round will run only sporadically or dry up altogether, again leaving populations with unpalatable choices.

As the IPCC report points out, enormous pressure will be put upon often weak state institutions to adjust to climate change and aid those in desperate need of emergency food, shelter, and other necessities. “Increased human insecurity,” the report says, “may coincide with a decline in the capacity of states to conduct effective adaptation efforts, thus creating the circumstances in which there is greater potential for violent conflict.”

A good example of this peril is provided by the outbreak of civil war in Syria and the subsequent collapse of that country in a welter of fighting and a wave of refugees of a sort that hasn’t been seen since World War II. Between 2006 and 2010, Syria experienced a devastating drought in which climate change is believed to have been a factor, turning nearly 60% of the country into desert. Crops failed and most of the country’s livestock perished, forcing millions of farmers into penury. Desperate and unable to live on their land any longer, they moved into Syria’s major cities in search of work, often facing extreme hardship as well as hostility from well-connected urban elites.

Had Syrian autocrat Bashar al-Assad responded with an emergency program of jobs and housing for those displaced, perhaps conflict could have been averted. Instead, he cut food and fuel subsidies, adding to the misery of the migrants and fanning the flames of revolt. In the view of several prominent scholars, “the rapidly growing urban peripheries of Syria, marked by illegal settlements, overcrowding, poor infrastructure, unemployment, and crime, were neglected by the Assad government and became the heart of the developing unrest.”

A similar picture has unfolded in the Sahel region of Africa, the southern fringe of the Sahara, where severe drought has combined with habitat decline and government neglect to provoke armed violence. The area has faced many such periods in the past, but now, thanks to climate change, there is less time between the droughts. “Instead of 10 years apart, they became five years apart, and now only a couple years apart,” observes Robert Piper, the United Nations regional humanitarian coordinator for the Sahel. “And that, in turn, is putting enormous stresses on what is already an incredibly fragile environment and a highly vulnerable population.”

In Mali, one of several nations straddling this region, the nomadic Tuaregs have been particularly hard hit, as the grasslands they rely on to feed their cattle are turning into desert. A Berber-speaking Muslim population, the Tuaregs have long faced hostility from the central government in Bamako, once controlled by the French and now by black Africans of Christian or animist faith. With their traditional livelihoods in peril and little assistance forthcoming from the capital, the Tuaregs revolted in January 2012, capturing half of Mali before being driven back into the Sahara by French and other foreign forces (with U.S. logistical and intelligence support).

Consider the events in Syria and Mali previews of what is likely to come later in this century on a far larger scale. As climate change intensifies, bringing not just desertification but rising sea levels in low-lying coastal areas and increasingly devastating heat waves in regions that are already hot, ever more parts of the planet will be rendered less habitable, pushing millions of people into desperate flight.

While the strongest and wealthiest governments, especially in more temperate regions, will be better able to cope with these stresses, expect to see the number of failed states grow dramatically, leading to violence and open warfare over what food, arable land, and shelter remains. In other words, imagine significant parts of the planet in the kind of state that Libya, Syria, and Yemen are in today. Some people will stay and fight to survive; others will migrate, almost assuredly encountering a far more violent version of the hostility we already see toward immigrants and refugees in the lands they head for. The result, inevitably, will be a global epidemic of resource civil wars and resource violence of every sort.

Water Wars

Most of these conflicts will be of an internal, civil character: clan against clan, tribe against tribe, sect against sect. On a climate-changed planet, however, don’t rule out struggles among nations for diminished vital resources — especially access to water. It’s already clear that climate change will reduce the supply of water in many tropical and subtropical regions, jeopardizing the continued pursuit of agriculture, the health and functioning of major cities, and possibly the very sinews of society.

The risk of “water wars” will arise when two or more countries depend on the same key water source — the Nile, the Jordan, the Euphrates, the Indus, the Mekong, or other trans-boundary river systems — and one or more of them seek to appropriate a disproportionate share of the ever-shrinking supply of its water. Attempts by countries to build dams and divert the water flow of such riverine systems have already provoked skirmishes and threats of war, as when Turkey and Syria erected dams on the Euphrates, constraining the downstream flow.

One system that has attracted particular concern in this regard is the Brahmaputra River, which originates in China (where it is known as the Yarlung Tsangpo) and passes through India and Bangladesh before emptying into the Indian Ocean. China has already erected one dam on the river and has plans for more, producing considerable unease in India, where the Brahmaputra’s water is vital for agriculture. But what has provoked the most alarm is a Chinese plan to channel water from that river to water-scarce areas in the northern part of that country.

The Chinese insist that no such action is imminent, but intensified warming and increased drought could, in the future, prompt such a move, jeopardizing India’s water supply and possibly provoking a conflict. “China’s construction of dams and the proposed diversion of the Brahmaputra’s waters is not only expected to have repercussions for water flow, agriculture, ecology, and lives and livelihoods downstream,” Sudha Ramachandran writes in The Diplomat, “it could also become another contentious issue undermining Sino-Indian relations.”

Of course, even in a future of far greater water stresses, such situations are not guaranteed to provoke armed combat. Perhaps the states involved will figure out how to share whatever limited resources remain and seek alternative means of survival. Nonetheless, the temptation to employ force is bound to grow as supplies dwindle and millions of people face thirst and starvation. In such circumstances, the survival of the state itself will be at risk, inviting desperate measures.

Lowering the Temperature

There is much that undoubtedly could be done to reduce the risk of water wars, including the adoption of cooperative water-management schemes and the introduction of the wholesale use of drip irrigation and related processes that use water far more efficiently. However, the best way to avoid future climate-related strife is, of course, to reduce the pace of global warming. Every fraction of a degree less warming achieved in Paris and thereafter will mean that much less blood spilled in future climate-driven resource wars.

This is why the Paris climate summit should be viewed as a kind of preemptive peace conference, one that is taking place before the wars truly begin. If delegates to COP-21 succeed in sending us down a path that limits global warming to 2 degrees Celsius, the risk of future violence will be diminished accordingly. Needless to say, even 2 degrees of warming guarantees substantial damage to vital natural systems, potentially severe resource scarcities, and attendant civil strife. As a result, a lower ceiling for temperature rise would be preferable and should be the goal of future conferences. Still, given the carbon emissions pouring into the atmosphere, even a 2-degree cap would be a significant accomplishment.

To achieve such an outcome, delegates will undoubtedly have to begin dealing with conflicts of the present moment as well, including those in Syria, Iraq, Yemen, and Ukraine, in order to collaborate in devising common, mutually binding climate measures. In this sense, too, the Paris summit will be a peace conference. For the first time, the nations of the world will have to step beyond national thinking and embrace a higher goal: the safety of the ecosphere and all its human inhabitants, no matter their national, ethnic, religious, racial, or linguistic identities. Nothing like this has ever been attempted, which means that it will be an exercise in peacemaking of the most essential sort — and, for once, before the wars truly begin.

Michael T. Klare, a TomDispatch regular, is a professor of peace and world security studies at Hampshire College and the author, most recently, of The Race for What’s Left. A documentary movie version of his book Blood and Oil is available from the Media Education Foundation. Follow him on Twitter at @mklare1.

Follow TomDispatch on Twitter and join us on Facebook. Check out the newest Dispatch Book, Nick Turse’s Tomorrow’s Battlefield: U.S. Proxy Wars and Secret Ops in Africa, and Tom Engelhardt’s latest book, Shadow Government: Surveillance, Secret Wars, and a Global Security State in a Single-Superpower World.

Copyright 2015 Michael T. Klare

Original Link:,_are_resource_wars_our_future/

Now at Seaporium!

Now at Seaporium!

Beginning November 1st you can find my products in Hyannis, MA at Seaporium, a consignment shop that features local artisans and handmade crafts. A little sampling of what you see here on the website will be found there. We will mention that the price may be adjusted to adhere to the rules of the shop.

Consigning is going to part of the next phase in our plan to expand to gain more customers. If you own a shop, or feel that our products will fit your customer base, email me and we can discuss.

See what Linda has to say,

So hope this very talented young woman agrees to showcase her items here at Seaporium. Her medium is Electrography. She exposes images by using electricity on an object (plant material) on photo sensitive paper. After they’re developed, she changes to positive on her computer. The electricity exposes the water materials of the plants to give you these beautiful photos! How cool is that?

Check out Seaporium on facebook!

The Beast of Shipping

The Beast of Shipping

I recently had the fun experience of learning how to ship artwork over to Paris. I had a similar experience in 2014 when I shipped a print over to Venice for the Arte Laguna Prize. However, that contest was a bit different as they didn’t give me the luxury of time that this curator has (BIG THANKS! :) ). I had to get my work over there within 2-3 weeks and I thought it would’ve been more expensive to get it printed and framed there in Italy so I had it shipped and I wasn’t comfortable just blindly sending my images to print over to a country where I didn’t speak the language. Luckily for Venice, it was only one print, so it was only $300… one way… and I was able to “donate” the print to the institution. So the Romanian Institute of Humanistic Research and Culture has a bluebell print! 😀 Anyway, my work, this year was accepted into a group show by an emerging Parisian curator and she was curating a show centered around woman and ecology.

I did my initial research and went to the major companies that I usually ship artwork to UPS – FEDEX. At UPS it was about $600 for 2 framed prints one way … and Fedex was $200… which was doable, but still that was one way. I then went to the option of buying frames in Paris and shipping them to the curator before the exhibition. We decided on that, but she was nice enough to alert me that she had a second option and that was obtaining funding for the exhibition! So the $120 dollars I would’ve spent on frames that I would’ve just left there, is being funded by her organization. And by shipping my prints through one tube via USPS I was able to bring the cost down to $17 (+ customs fees eventually)!!! This is crazy. The price dropped from the initial $600 to $17 through funding and flexibility of those involved.

Also I’ve gotten some interest through my network of my european friends that they’d be interest in seeing the exhibit and some family too, so hopefully that’ll work out!

Save your Soul

Save your Soul

I recently left a job opportunity in close proximity to me. It was one of those opportunities that sounded really promising but when it came to do the work itself, everything changed. At least that’s how I perceived it.

I interviewed for a gallery back in June and at the beginning of September the owner contacted me after some thought and said I left an impression (great!). I came in again for a second interview and things seemed to click. However, when I started to get more involved with the position and work, I felt I was treated atrociously and constantly felt being squished and stepped on.

She didn’t respect me… or appeared not to. Micro-managed and didn’t trust me and my background to leave me alone and do the work. Proceeded to push me in a direction that was counter-intuitive than what I was taught and trained to do because she compared me to “most people she had” (and I’m not). When I was working on a graphic design project that I knew very well how to do she almost forced me to do a way (a very inefficient way…) to do the brochure and had a fit whenever I tried to do it “my” way. Those who’ve hired me in the past respected me enough to leave me alone after the first couple of days to do the work alone and then came back to check-in. That wasn’t happening here.

Whenever I tried to fight back, she threw it under the rug and ignored it.

I don’t care if she’s the boss/owner of the business/operation because when you hire someone you need to have a certain level of respect for them – because in return the employee will respect you enough to do the work for you. If the owner doesn’t show respect for you, it’s very hard for the employee to justify to continue to do the work there.

I told her I had 3 pieces of artwork that were accepted into a show out in Worcester which isn’t exactly around the corner from me and the gallery there gave me two days where I happened to be working for her. We agreed that initially Saturday would have been the best day to come in late because she had something later in the afternoon. But I decided to be courteous and ask the gallery if they had an alternative day to drop off artwork and luckily they had. But because of the incident with my prints I described in my last post, “Trick or Treat, Where’s my Prints?” my initial delivery day got bumped to Wednesday fine… Tuesday night I receive an email from my ‘boss’ and she tells me that she’s found reception help for her gallery event that following Thursday and the next day when I originally was scheduled to work after telling her that things weren’t working out but wanted me to come in on Saturday to finish the brochure!! (what?)

So, the point in all of this is that I rearranged my complicated schedule and life to fit her schedule and life, but she dropped me from my scheduled work like it was nothing. Yes, I get that I am an employee — but I wouldn’t even call myself an employee — I was an assistant and she pushed me around as one.

I was also taught that you put the extensions on numbers “th”s, “st”s, etc. on a printed document. My education at Moravian and experience at the print shop taught me this. It looks so much ‘tighter’ and ‘proper’ too, to do this with your numbers in a printed document. I have a friend in my circle whose majored in scheduling and he told me that that’s the right way to do it. However my boss at this gallery told me, “NO you don’t ever put the extensions on numbers in a printed document!!!!”. I never was told this AT ALL. I also got into an argument with someone from my time at Moravian about this and she disagrees with me and that I should “follow” the boss… because she writes the check… really?! I’d be fired from the print shop (and this person I argued with continued to tell me that I wasn’t working at a print shop here… excuse me… same technical rules apply whether or not you work at a print shop when doing PRINT DESIGN) if I constantly made mistakes like that! It’s not like this is the only job I have offered to me.

There were other things there that made me really uncomfortable and that’s why I decided to leave. At this point in my career, I deserve some level of respect and trust when you hire me for the position that I have applied for. I am not looking to be pushed around and treated like crap. I’ve been through too much to put up with that anymore.

Trick or Treat where’s my prints?

Trick or Treat where’s my prints?

I had a bit of drama earlier this week with getting ready for my show at Worcester State. I ordered 2 new prints of new work for my exhibit about 2 weeks ago. It takes about a week and a half for them to deliver to me. I expected them to be on my door step last Saturday but they weren’t. The tracking number said it was delivered at the post office last wednesday (the 23rd). I go to the post office this past Monday and explain the situation because they weren’t on my door step. They couldn’t locate them, and told me to call the PO Tuesday morning between 7-8 am to put on hold for delivery so I can pick them up since my drop-off time was schedule for noon that day.

I then proceeded to call and ask my neighbors if a poster tube was delivered by mistake because that often happens with our mail… and none of them saw it. BUT my neighbor next to us on the left and my family have a decent relationship and often looks after the house when we aren’t there… so I am not always there because I am either out at a meeting or something else, and so my dad asked my neighbor to bring packages to the back porch if he notices that we aren’t around.

SO, my dad failed to tell me this initially, with a previous package that was delivered but my neighbor went ahead and put my prints on the back porch and failed to call or leave a message that they were there. So I freaked out for 24 hours because my prints for this show weren’t around and I didn’t want to spend an extra $60 to re-order a new set of prints at a local print shop. 

My client that is based in Marlborough told me a story where she had a package miss delivered that was full of silver semi precious metal jewelry for a show exhibit and she called the PO and they retracked their steps to find the package. But she reassured me to wait at least 24 hours because it might show up (which it did!) and I didn’t have to re-order them. Prints aren’t something that you can return either, so I’d rather NOT spend an extra $60 to re-print them.

Paris, France

Paris, France

I’m super excited to announce that “Pine Needles” and “Pine Needles #2” were accepted into a new exhibition for later this year that will be in the heart of Paris! It’s theme Women and the Environment’s Protection. Intentionally, it is during the international summit for climate change. I know one location is in a city building and a local gallery. Exact information I will release at a later date.

Worcester State University

Worcester State University

science of art postcardv5 (1)_Page_1

Happy to announce “Olivo”, “Water #2” and “Kelp” were accepted into The Art of Science/The Science of Art exhibition at Worcester State University’s Mary Cosgrove Dolphin Gallery.

Please join us Thursday evening, October 22, from 5-7 PM for the opening reception for the show. The exhibition will be on view Oct. 22 – Dec. 3, Tuesday – Friday, 11 -5, and Saturdays, 1-5.

Bliss Logo Re-Design BC WIP

Bliss Logo Re-Design BC WIP

I have been working hard on the marketing materials for Bliss and I’m excited with the progress we’ve done so far. I am posting these updates on my personal blog because I want to post finished pieces on K Glyphics.

A few weeks ago, we finalized the Bliss re-design logo and now we’re working on the business cards.

Bliss-woboxThe concept behind this logo was found through inspiration from Ancient Egyptian hieroglyphs of the lotus flower. The flower motif is important to Bliss, as when the woman go through this program, they blossom from a rough point in their lives overcoming violence into an empowered woman who has honed skills.

The colors were also inspired by the Ancient Egyptian palette. We originally thought orange was a too corporate feeling, but chose as shade of orange that was a bit subdued to match the earth vibe of the brand’s image.


The logo initially started with a dozen or so sketches and then photographed and uploaded. The sketch to the right was the last one we worked on before it was outlined in Illustrator and colored in in photoshop. I find it easier to do color effects in photoshop than in Illustrator so it was just personal preference on that choice.

1463914_642331162485875_1415535763_nWe were pleased with the outcome of the logo and like the complexity of the logo as it can be broken down into different parts to be used in future aspects of the brand, so the rest of the branding image can have some flexibility.  We also adored the final shape of the logo as it was reminiscent of the old logo, but a more updated – fresh look.

We’re working on finalizing the business card and perhaps hope to have it completed in the coming week.

11143708_2906519222351_499207424530265154_o The business card I had been struggling with since I haven’t done a non-standard size before. I am currently working on perfecting the piece, making sure every detail is just right! When you’re in this field, there are certain details that you pick up as a graphic designer that most people wouldn’t even consider but makes a world of a difference. We’re considering a laser-cut cover for example, or the inside cover should match up with the right fold flap… those things.

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