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.
October 2016 - April 2017
Many of my paintings develop from my immersion in Art History, which I have studied and taught for over thirty years. I assemble my works from materials both traditional and non-traditional: oil and acrylic paint, fabric and rice paper, glass beads and gold leaf. Each painting is a new beginning, though often in dialogue with artists or objects from the past, whether those be fossils, Egyptian artifacts, or iconic twentieth century paintings such as "The Conversation" by Matisse.
Born in 1942, my parents worked for the war effort. I spent these years with my aunt who was a professional painter. She started me on the path at age 6. I have been painting ever since with pauses during college, the Marine Corps and a couple of professorships in Vermont during the sixties. I gave up this career at age 30 and returned to my passion. I have had galleries in California, Vermont, Budapest and most recently in Almeria, Spain. I have had numerous exhibitions and commissions over the years. I dislike trying to explain paintings and what they mean. I am self-taught and proud of it.
My paintings are abstract, energetic and colorful. There is little cognition involved save color choice and composition. The paint takes me where it wants to go. Recently I have been using liquid acrylics on canvas and wood panels and then adding airbrush paint and tempera which has created some exciting passages. I want people to connect viscerally to my work and I encourage close-up observation of the surfaces.
Sabrina Fadial examines the commodification and marginalization of Beauty in both Women and Nature. Bearing witness through a sometimes uneasy juxtaposition of materials, the organic and fragile beauty of flowers and plants exist in a place between impermanence & permanence and masculine & feminine. Sabrina examines the transformation of the body itself as object upon which the norms of cultural narrative are inscribed.how and Sell.
Nature is wicked awesome. To appreciate the energies of the natural world and depict inspiring scenes is nothing new. That drive in an artist is probably as old as art itself. To truly commune with nature and go beyond the beauty -into the sense of place- is my goal.
Painting in acrylics or oils is such a wonderful medium for expressing my vision. Whether it is a misty Autumn morning in Vermont, a crisp 40-below afternoon in the Canadian Rockies, or a warm breezy day on the Atlantic, I place brush to canvas and let the appreciation flow. Sometimes I work from a photo I took, sometimes I set my easel up where I’m inspired. Sometimes it’s a joy, sometimes it’s agonizing, but it is always worth it.
In my work I try to honor the gifts I have been given as an artist by balancing my view of the natural world with how it deserves to be seen. I rarely incorporate buildings, roads or other structures, because I feel they distract from the core of naturalism. I hope my work evokes a love of nature, and a respect of place. My highest hope is that it fosters appreciation for what we could lose if we are not mindful of our choices as a people. But I’m happy with “beautiful” too.
Ever since he was a tiny baby strapped to his father's back and enjoying weekend hikes in The Green Mountains, Michael Farnsworth has known the natural world and felt a connection to places. To this day he searches for places that speak to him, and most often those places are wild or close to it. How he feels above tree line or on at a lakeshore is hard for him to put into words. And luckily he doesn't have to; he puts that feeling into paint or photographs. Michael's passion is for the places we live in and the mark we leave on the land. He strives to help people see the importance of place and the gift of living within such a beautiful world. Whether you live in the heart of Burlington, or in a quiet retreat in Stowe, Michael's artwork calls you home to nature.
I have been a professional artist for over 20 years. I sell my oil pastel paintings, oils, acrylics and monotypes at juried art shows across the US. I am represented locally by Burlington City Arts and in Stonington, CT by Devon House Stonington Gallery. Love of color and landscape continue to fuel my creative process.
In all my art, I strive to uncover the extraordinary hidden within the ordinary. We’ve become such a visual society and we’re constantly inundated with images. Despite so much to look at, I find it’s disturbingly easy to lose sight of what matters and miss the beauty unfolding right in front of us. That’s why, with my compositions, I focus so intently on seeing the everyday in a brand new way. My current pieces grew from my experimentation in the 1980s with developing Polaroid instant photos directly onto wet, watercolor paper. I used the still-wet colors from these image transfers as the palettes that I painted with. The resulting pieces were half photo-realistic, half impressionistic. Thinking back, the whole process strikes me as a non-computerized version of Photoshop. at the River Gallery School in Brattleboro, VT.
Patricia Lebon Herb
Patricia LeBon-Herb has studied at the St. Paul’s School of the Associated Arts, the Minneapolis College of Art and Design, and the Akademie Voor Schone Kunst, Antwerp, Belgium. She is a current exhibitor with Burlington City Arts. She is a member of the National Association of Women Artists in New York (NAWA). She has exhibited at the NAWA Gallery in New York City; Johnson Memorial Gallery, Middlebury College; Walk Over Gallery and Art on Main in Bristol; Frog Hollow, Great Falls Club, Art House, Ilsley Library, Carol’s Hungry Mind Café and Storm Café in Middlebury; Champlain Maritime Museum; Fletcher Allen Hospital and the Maltex Building in Burlington. She is a local curator of fine art and has been a judge for the fall 2010 Woodlands Native American art exhibition in Sault Ste. Marie, Michigan. Her artwork has been reproduced on the cover of books published by Oxford University Press and Rowman & Littlefield as well as on posters for the International Film Festival at Middlebury College, Addison County Humane Society, and WomenSafe. She lives in Middlebury, Vermont.
Linda & Dean Moran
What is fabric marbling? Taking a centuries-old art form used on paper by royal families for security purposes, the artistic team of Dean and Linda Moran have successfully interpreted the form on fabric. Marbling begins with a water bath of carrageenan (a food preservative) and pretreated fabrics. Dropping paint on the bath and then manipulating the droplets creates designs that then transfer to fabric. It's a laborious process from pretreating and then heat-setting final pieces. They experiment with both traditional and contemporary patterns.
Fascinated by the whims and mysteries of nature, the Morans incorporate dimensional form as they explore the marriage of marbling and fabric, using traditional methods that are environmentally safe. Using needle, thread, yarns, and beads, they have created a personal art form using traditional as well as contemporary patterns and variations to enhance their creative spirits. They sell marbled fabric internationally, they exhibit their artwork in galleries and museums, and they teach marbling classes around the United States.
A prolific artist, Emily O. “Lee” Garrison (1928–2014) revisited certain subjects—flowers, grasses, water, her friends’ gardens, familiar landscapes—and painted them time and again, each canvas capturing a new emotion, a change in season, or the play of light at a particular time of day. An avid traveler, she captured subjects in places as far-flung as the gardens of Positano and the mountains around Chiusaforte in Italy to the archeological excavation at Sardis in Turkey. Garrison often claimed inspiration from the Chinese artists of the Sung (Song) dynasty, not so much for their style but for their creative process of long meditation and contemplation followed by rapid execution. Color, too, became such a key element in her work that virtually every painting shecreated from the 1970s on contained a shorthand along the very edges of the canvas, recording what particular paint and colors were used, as well as the specific date/s the painting was worked or reworked, the season, and time/s of day. A close friend and fellow artist once observed thatGarrison “studied colors in a systematic way. For as long as I knew her, she had sheets of color references and explorations. … Besides being a dedicated, empathetic observer of the energies of nature, she always worked on her sober craft—how to get a color combination just right, with some daring and surprise.”
Lee Garrison embraced life and approached her work with a tremendous passion for exploration, life-long learning, people, and nature. Though she lived variously in Boston (her long-time home), New York, Italy, and elsewhere in the world, she spent her summers painting and sketching on the shores of Lake Champlain for more than 30 years. Prior to her death, Garrison made arrangements to leave her life’s work to the Burlington City Arts Foundation (BCA). For the last two years, BCA has been working to inventory, curate, catalog, and photograph thousands of oil paintings, watercolors, sketchbooks, and other items from Garrison’s studio into a collection that now comprises more than 500 digitally archived artworks. BCA is grateful for this generous gift, which, through its sale, will continue to support the arts and regional artists.