Burlington City Arts

Maltex Building

The Maltex Building, located at 431 Pine St, holds four floors of artwork curated by the BCA's External Exhibitions Program. This venue features artwork from nine Vermont artists, rotating bi–annually, and can be visited during regular business hours (Monday - Friday 7am - 7pm). 



April - August 2018



Kathleen Grant



Dancing Poppies, acrylic on canvas, 24" x 36"


Kathleen Grant grew up in Stamford, Connecticut. Her love for art started at a young age. After taking numerous art classes in high school she then attended Johnson State College to pursue her dream of becoming an artist. Kathleen then found her calling; she wanted to share her love and enthusiasm of art through teaching. At the age of 27 she became a K-8 art teacher.  Kathleen found while she worked with the children, they were bringing more inspiration to her art. After teaching for thirty years Kathleen has retired from her teaching career to work as a full time artist and jewelry designer.  She resides in the beautiful Green Mountains of Shelburne, Vermont with her husband, Doug and three cats. She also has three beautiful children of her own, Ashley, Kaitlyn, and Nicholas. As an artist, she finds there are no boundaries when sticking to a specific artistic medium. In her paintings, she works in a wide variety of media including: water colors, pen, oil sticks, acrylic paints, colored pencils, and ink sticks. Kathleen loves to create; she also loves to share her passion, and hopes to inspire her viewers, peers, students, friends and family through her art.​


Stephanie Kossmann



Spring's Breath, monotype, 28" x 19"


I am in love with monotype printmaking. It whispers of nostalgia, intoxicates like oil paint, and shares wonders and spontaneity. We understand each other as mature couples do. Our mutual discovery is appreciative, intense, and flowing. We share secrets. My colorful abstract portraits and landscapes hold safe space for non-judgmental reflection and rejuvenation. There is an expectation placed on artists to articulate what they believe they can best achieve visually. I strive to keep my descriptions lean; to gently guide viewers with a title or a theme. My imagery is derived from my own experiences in anguish and healing, a background in physical landscape geography, and self-hypnosis. It emerges from an appreciation that arts and sciences are related through observation, analysis, and creative problem solving.


Bruce Conklin



Intervale Late Summer, oil on board, 24" x 40"


During my working life, I have been involved in various aspects of design and implementation. These have manifested as aerospace hardware design, graphic design, photography and illustration, museum exhibit design and, most recently, as a working chef. My days now are divided between painting in the mornings and cooking at Vermont Respite House in the afternoons. I am a self-taught painter, working primarily in the studio. My painting is heavily influenced by the Impressionists and by more recent painters as diverse as Milton Avery, Giorgio Morandi, Vilhelm Hammershoi and Avigdor Arikha.


Louise Arnold



Barn at Dusk, oil on canvas, 24" x 36"


I am a landscape painter with a background in Landscape Architecture.  I work both en plein air and from my photographs, painting in New England landscapes with which I have great familiarity.  My subject matter ranges from mountains and streams to barns, abandoned farm machinery and cars, which are prevalent features in many of the landscapes that I paint.  I am interesting in capturing the character or spirit of specific places, and in exploring how the qualities of those places affect me as an artist working in them.  The paintings that result have evolved from this exploration and engagement.


Scott Brown



Jupiter, enamel on plywood, 58" x 24"


This is work that combines old and new hand drawing translated by machines. The whole is conceived evolved and resolved. Broken into disparate elements each color is a unique and separate piece. Precise execution and hand craftsmanship, paintbrush and paint reconstituted as a fully realized assemblage.​


Ken Russack



Shelburne Pond Road, oil on canvas, 20" x 24"


I take color and shape, raw materials with no intrinsic value and assemble them into something coherent that has the power and purpose to speak. If there ever were societies without art, we don’t know about them. It’s artists, through their art, that tell the future who we are.


Karen Henderson



Reverie, mixed media textile, 12" x 12"


In my work, I am interested in the connections between self, place, emotion and time. Seasons, atmospheres and the time of day intrigue me. I try to recreate these natural occurrences, evoking emotions that I associate with them through the use of color, line, and texture. I use different dye techniques (batik, shibori, color removal, rust print) as well as sewing with my weavings and fabric pieces. I draw lines by stitching with thread. Dimension is added with tucks, layers, or other manipulations of fabric. The lines suggest landscape or other aspects of nature. Lately I've been introducing some mixed media techniques like painting with textured acrylics, mono print, and color pencil alongside my fiber approaches. Many of the textile techniques I choose to use are very contemplative, encouraging introspection; while other processes like dyeing and mixed media approaches are more spontaneous and unpredictable. I try to find a balance between the two approaches, hoping to capture those ephemeral, fleeting moments of time that inspire me.


Annie Cameron



State House Tulips, digital photograph, 20" x 20"


I create color images that help me to reveal what I feel about the natural world: its colors shapes, textures, lines, and forms.  My background in science supports my visual expressions where my goal is to make a connection between myself and the observer. I try to make familiar and simple things in nature acquire the elegance that I see through my lenses.  I seek to inspire the observer, subconsciously or not, to develop special vision and see beauty where one might not even know to look. 

My lenses are my brushes and to create images that transcend the ordinary, I must know exactly how each will visually express the light that I see. Although there are spectacular vistas everywhere I go, I also enjoy creating abstracts or close-ups that share what I feel about each place.  I see an invisible image in my mind’s eye and then endeavor to express it artistically.  My years as a photography instructor have helped me refine and express to my students myriad photographic concepts, thereby helping me to become a better artist. 


Amy Morel



League of Women Voters, steel and paper, 18" x 8" x 6"


My practice has been to collect material from all aspects of my life, reconfigure it, and use it to express thoughts, ideas and experiences. Steel serves simultaneously as the opposing force to and support structure for other materials. Steel’s strength offsets paper’s fragility; its hardness opposes the softness of fabric. Steel also becomes an armature on which hang both the tangible and intangible bits of our material world. Things otherwise used up or forgotten are saved. Small things are treasured, and find new meaning.