Maltex Building hold four floors curated by the BCA Art Sales & Leasing staff. These walls feature works by several local artists, rotating semi–annually and can be visited during regular business hours. The Maltex is a great way to experience several different established local artists at the same time.
April - September 2017
I am a visual person. I am a digital photographer who enjoys capturing natural beauty wherever I am. I see in color. Most often, I make my own prints to control the elements of the photo, using Photoshop to enhance images much the way Ansel Adams would have used a darkroom. I try to make images look the wy I remember them. I appreciate beauty, and I try to convey that appreciation in my photographs.
The work I most admire is blatantly in love with nature. When I see Egon Schiele drawings I think, what else is there to do but draw people (or houses, chairs) with such devastating passion and intelligence? When I get tired of working in the sky-trees-fields landscape style I think o Charles Burchfield. His openness and ecstasy before nature is humbling. Obviously all I can do is pursue my own awe. Wyeth said one’s work goes as deep and as far as one’s love. I believe that.
Douglas Biklen is a fine art photographer who specializes in abstract images. His photography has been exhibited at the Nancy Price Gallery (Jamaica, Vermont), the Delavan Art Center (Syracuse, New York), and the Brandon Artists Guild (Brandon, Vermont) where he is a member, and at Burlington City Arts as well as other venues. Biklen first developed an interest in photography as a child, using a Kodak Brownie camera, and later progressed to 35 mm single lens reflex cameras. He was an avid photographer while a Peace Corps Volunteer in Sierra Leone, West Africa during the 1960s. In the 1970s and ’80s he pursued his interest in visual arts by becoming involved in film. In 1988 he was executive producer of an award-winning documentary Regular Lives that aired nationally on PBS. Subsequently he was Educational Advisor to the HBO documentaries Educating Peter (Academy Award winner for best short documentary, 1992) and Graduating Peter (2003). It was not until the 1990s that he returned to Medium Format photography, using a Hasselblad. He studied color photo techniques with Alison Shaw at the Maine Photographic Workshops and digital scanning and image preparation for printing at Light Work/Community Darkrooms at Syracuse University. Biklen’s work can regularly be seen at the Brandon Artists Guild in Brandon, Vermont. Besides his photography, Biklen is internationally known for his research on autism-Biklen co-produced the Academy Award nominated CNN/State of the Art film Autism Is A World (2004), is producer and director (with Rossetti) of the award winning film My Classic Life as an Artist: A Portrait of Larry Bissonnette (2004) and is producer (with Wurzburg) of the roadtrip film Wretches and Jabberers (2010). He is author of more than a dozen books, including Autism and the Myth of the Person Alone (NYU Press, 2005). News accounts of his work in the field of autism have appeared inThe New York Times Magazine, Newsweek, U.S. News & World Report, The Washington Post Magazine, People Magazine, and on theCBS Evening News, CNN News and ABC’s Primetime Live. Douglas Biklen formerly served as Dean of the School of Education at Syracuse University and now resides in Orwell, Vermont.
Photographer Mark Collier entered the world of photography at age 10, when his mother, a Vermont school teacher, brought home a camera and darkroom kit in an effort to keep her chronically bored son occupied during Barre Town Elementary School’s long summer vacation. After spending the next two and a half months photographing everything in sight, Mark realized he had found his calling, and began to pursue photography in earnest.
After graduating from Spaulding High School in Barre, Vt., Mark studied photography and art at Johnson State College before enrolling in the adult degree program at Vermont College of Norwich University. His work was first published in the Washington World and Hardwick Gazette. From there he moved on to the Burlington Free Press and the Times Argus, later transitioning from photojournalism to commercial photography and digital image editing. His clientele included Sloan Marketing, Jager, DiPalo, Kemp Design, Burch and Company, as well as freelancing for about six years. In 2011, Mark returned to the Times Argus and his roots as a photojournalist. In 2013 Mark made to move to Norwich University, becoming the University’s staff photographer.
I have been fascinated with photography since I received my first Kodak Instamatic when I was 10 years old. Growing up in Middlebury, Vermont, I was allowed the freedom to let my imagination run. By age 12, I already had my own darkroom, thanks to my father's influence as a serious amateur photographer. Shortly after that, I purchased my first 35mm single lens reflex camera and started buying black and white film in 50' rolls and reloading my own film canisters. All through my high school years, I spent many hours in the school darkroom, developing my skills.
In the late '60's and early '70's, I attended Johnson State College where I received a B.A. In Liberal Arts. Johnson State is very isolated in the woody hills of Vermont, and there, I refined my “artist's eye” and experimented with all forms of painting, writing, and metal sculpture. Many years have passed, but now, with the advent of digital photography, a renewed fire of artistic creation has been kindled. It is exciting again to view the world through a camera lens and be able to share that vision with others. I strive to suggest a sense of intimacy between the viewer and the subject of the image. Many times, the image will be one that the viewer has passed by often, but perhaps has not looked at in in a manner that I may present. The intimacy begins with that familiarity of the intimate focus on the abstract natural beauty and the interaction of nature and man; and many times, the reclamation of man’s abandoned creations by nature.
Water, with all its varied dimensions, fascinates Hawkins. She is drawn to and inspired by its simplicity and changing nature - from the pond pebbles on the bottom through layers of water, to surface tension, reflection, water splashes and ripples. Minute color relationships and a sense of place have her diving into her oil paints. She remarks that she is continually learning something new whenever she puts brush and color to canvas, each experience bringing a new perspective and vocabulary to her work. Her paintings are inspired by country drives looking at favorite marshes, fields and ever changing Vermont skies. She expresses her recollections in new paintings, exaggerating key highlights, beginning a painting at the top and work ng down, quickly establishing mood through color and composition. She allows the paint, drips and accidental color combinations to guide her vision to create the drama of weather, skies and water. Finished paintings often don't resemble their beginnings; they go through a continual process of change.
Every day I embrace the mundane, the absurd, the juvenile, and the mature. My paintings reflect a mixture of all of these. I begin without a plan, sketching and laying in colors intuitively. I build and edit at a frantic pace until lines begin to define edges and objects. The images, although abstract, contain elements ranging from doodles to quirky cartoon like appendages. In combination, these elements infuse my work with a humorous ambiguity.
As an artist I see art as a form of communication that has a power beyond that of words. Through imagery I attempt to portray ideas that words cannot, like the archetypal beauty that connects all things. I attempt to create a positive experience for the viewer, while also hoping to make a positive commentary on the world.
My imagery demonstrates an abstraction of nature. My inspiration comes from nature and the Japanese ideals of wabi-sabi, a prominent philosophy of Japanese aesthetics. For me wabi-sabi changes the worldview of western civilization. Things we normally view as negative become beautiful. Loneliness, old age, and death become beautiful because they are inevitable and represent the constant flux of the universe. I attempt to address this idea of the movement of eternity, of everything either coming from or returning to nothingness. My work urges the viewer to contemplate the relationship between oneself, nature, and the universe.
Art is entirety. For me, fulfillment lies in expressing myself through diverse mediums and creative approaches. Thus, I do not feel any strong commitment to one particular method of expression over another. Although my art education focused on sculpture and design, currently my work varies between painting, making sculpture and designing items and/or molded pieces.
Painting in the abstract allows me to have spontaneous moments of escape to a place where there are seemingly no rules. I use bright colors. I experiment - mixing paint until it is a thick paste, working with layers of color and paint, mixing it with wax, and then applying it to canvas, wood, or sculptures. When making paintings, I look for questions, I reflect upon my current emotion or I simply become lost in the comfort of the colors I am painting. With clay, I assign a tangible form to motifs that exist outside my everyday surroundings. Built from layers of clay coils, sculpted pieces begin as layers, from the bottom to the top until a finished form emerges. Although unintentional, my sculptures are decidedly feminine in form. Recently, I have begun to experiment with acrylic paint as a top coat instead of glazing or leaving the surface plain. After all, I do enjoy color!
My work reflects the immediacy of the present – neither reminiscing in the past nor moving towards the future. It is entirely me. Here. Now.