Burlington City Arts

UVM Medical Center

University of Vermont Medical Center (formerly Fletcher Allen) has been exhibiting the work of Vermont artists on the main medical center campus in various locations for several years, thanks to its ongoing partnership with Burlington City Arts.


April - August 2017

Mary Hill

I love pattern and textile design. The abstract paintings are a way for me to organize color and form in an intuitive way. My hand moves and chooses paint color. I think the abstracts hint at overall decorative design...and then wander into other territory. An adventure into the unknown: I like that. The landscapes were created when my kids were teenagers. I was working on using a lighter color palette (analogy for “lightening up” myself…”chillax” Mom.) I painted them in response to a challenging few years, adding white to a palette that was usually thick with dark, rich colors. I work with many colors of paint spread out on a tray. I like using acrylic because of the easy clean up. I work from images in my head: when I set out to paint something I think up a design. What I paint that day depends on how I am feeling. I never have knowledge of the exact outcome of the work. Painting makes time disappear. I feel like I have created a little bit of peace in my corner of the world after I have been painting.

Michelle Turbide

My work is about the transformation of the soul through lived experiences that change, evolve, and grow us. While it could be described as abstract, expressionism, ethereal figurative work, or mysterious dreamscapes… it is really not about what you see in the piece, but about what you feel in the witnessing. My intent is for my work to settle into your being and communicate a message that is not always seen or felt at first glance but subtly speaks as you allow yourself to move into it. My process involves entering a state of liminal space and collective unconscious and excavating a visual narrative that holds the energy of the experience. I strive for my art to be a journey for the viewer to relate to the emotions, mystery, and depth of the essence behind the piece.

Kathleen Berry Bergeron

With passion anything is possible. I paint with conviction and anticipation never sure of the final result. This is the excitement in art. I am constantly fascinated finding new and expressive ways to captivate the viewer and make them part of the experience. As I gaze upon a subject, I imagine the different techniques that could be employed to evoke in the audience the same powerful impact that it gave me. Color and value are key in translating my ideas. My work begins a statement that can be finished by the person viewing it. I always use quality materials in creating a piece but it is my passion for the process that hopefully is the essential element that sets it apart. "Painting is like a dance partner , you don't control it but learn to move with it".

Ken Russack

Ken started his painting career as a freshman in high school under the tutelage of one of his early mentors, Maynard Sandol.  He continued to paint and take classes during his underclass studies at Oswego State.  He then took a 30 year hiatus, moved to Vermont, raised a family, and never got rid of his paints. One day he was drawn to the idea of plein aire painting and what became a minor obsession of grasping the nuances and complexities of this new found art.  His work was supported by several key individuals including Fioanna Cooper, Carolyn Walton and Mark Boedges.  The paintings on display today were painted primarily at the Burlington waterfront and in particular the freight yard.  I was drawn to this urban landscape and how it subtlety interacts with our daily lives.  The train yard offered a bigger than life backdrop which provided me an uncountable amount of opportunities to capture this urban landscape.  I also saw the immense presence of the trains and the people that work this business in the heart of our downtown. Ken continues to paint the urban landscape, and the pastoral scenes whenever possible.  His style is a compilation of the impressionist slant, with a bit of Hopper thrown in for good measure. Ken Lives with his wife and best critic, Janice Lara in Burlington Vermont.  He has 3 daughters: Chloe, Vanessa and Charlotte and two grand children, Rowan and Hazel.

Jeff Herwood

My style of photography leans towards classical realism less so abstract. Within that, I enjoy documenting what I call “Seldom Seen Scenes”. A break in the clouds after a rainstorm, a moment in dance, a sunset well after the sun has set; light interplaying with form. This entails early morning and late night hikes, inclement weather and above all else, patience. Living in a constantly changing world, the power of photography is its ability to isolate a moment in time that will never exist again. Moving through time each moment becomes a further distant memory. Ansel Adams spent as much time in dodging and burning in the darkroom not only to perfect his images but also to recreate his beloved moments in Yosemite, his time of creativity, serenity and great passion. Monet pursued not only stopping time but light as well when he spent two years painting the Rouen Cathedral dozens of times at different  points  in the year to capture its different light and mood. Even the seemingly inconsequential can become consequential when one can isolate those elements that we can relate to on an emotional level. Some of my inspirations and influences are Georgia O’keefe, the Impressionists, Jamie Wyeth, the Hudson River School,  F.L. Olmstead, Zaha Hadid and of course, Ansel Adams.

Kari Meyer

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.