In addition to our exhibitions at the BCA Center on Church Street, BCA hosts external exhibitions at partnering locales in and around Burlington. All artwork is available for sale. For more information, to purchase, or to see additional works by these artists, please contact Kate Ashman at (802) 865-7296 or firstname.lastname@example.org.
The Burlington International Airport features Vermont artists from BCA's External Exhibitions program in several spaces. These exhibits are located in the Skyway and Gates 1-8 (both located on the 2nd floor) as well as above the escalator in the main building. Artwork rotates every few months in these locations. These exhibitions run through June, 2021.
Ken Russack (Gates)
Let's start with what is a pastel? In its simplest form, Pastel is a colored drawing medium made from pure colored pigment mixed with a binder to form a stick. That simple! These paintings are soft pastels, the most widely used form of pastel. The sticks have a higher portion of pigment and less binder. The drawing can be readily smudged and blended, but it results in a higher proportion of dust. Finished drawings made with soft pastels require protecting, either framing under glass or spraying with a fixative to prevent smudging. This is the reason these paintings are behind glare-free glass and double matted.
Russack painted these images in and around northern Vermont. They represent the mostly rural landscape that we are so proud of. In particular, He has arrived at a style that brings an abstract spin to the subject matter. Bold images, strong shadows and brilliant colors complete the paintings.
Ken lives in Burlington VT with his wife Janice. He has been painting for numerous years and although mostly an oil painter, these pastels provided an escape, especially during these Covid times to explore and reach to the unknowns. You can view more of his work at kenrussack.com.
Nancy Chapman (Skyway)
Nancy Chapman’s work is landscape based and stems from memory. She is aware of nature’s active dialogue. Painting can be a way for her to touch what cannot be literally touched. Her work celebrates natural beauty through form, texture, line and color with oil paint on canvas and/or on paper. Her goal is not to describe a scene for the viewer, but rather to render the setting’s spirit; to reveal the story.
Chapman is a landscape based and abstract oil painter. She moved to Vermont from Rhode Island in 2018, where she has established herself in her new home studio and has enjoyed connecting with her Vermont art community. Chapman received her MFA in Visual Studies at Vermont College, Montpelier, VT, (1993), served on RISCA Board (’04 -’11), and was selected Teacher of the Year, RI AEA (’03). She won the E. C. Gordon Harris Award for best painting for the South County Arts Association’s All Members Annual Exhibit (2007), and was a juried member of the Providence Art Club (2007- 2017).
She has studied with gifted artists such as Phoebe Florie, Aya Itagaki, Carol Fitzsimonds, Douglas David, Amy Bynger, and Jane Davies. Her work has been exhibited at Mystic Art Center, Mystic, CT, Yawkey Center, Massachusetts General Hospital, Boston, MA; Hera Gallery, Wakefield, RI; Bannister Gallery, Rhode Island Collage, Providence, RI; Krause Gallery, Providence, RI; Capital One, Providence, RI; AVA Gallery, Lebanon, NH; Woods Gallery, Montpellier, VT; Providence Art Club, Providence, RI.; Bryan Memorial Gallery, Jefferson, VT.
Hilton Garden Inn
BCA was honored to partner with the Hilton Garden Inn to select artwork from 10 local artists to be included in the design and décor of Burlington’s newest boutique hotel. Learn more about Hilton Garden Inn here. This exhibition is ongoing.
Primarily a self-taught artist, Casey explores her experiences through the engaging and often unpredictable print medium of monoprinting. She is most interested in the spiritual aspects that emerge in the image, particularly relating to how we live in the world and how the world lives in us. In the beginning the work may be a search for answers, but in the end it's more about being here without them.
Casey Blanchard was born in Greenwich, CT in 1953. She lives in Shelburne, VT with her husband, Dan Cox, and their daughter, Julia Cox. Her artwork is found on the walls of health care facilities, private residential collections, corporate offices, the hospitality industry, on web designs and various published materials.
Johanne Durocher Yordan
Johanne is a Burlington based artist who works out of her studio on Pine Street. She was born in Quebec, Canada, but has lived most of her life in Vermont. It was not until 1998 that Johanne began committing herself to her artwork and finding her own voice. She studied at the University of Vermont and has since developed a diverse body of work that is a testament to her ability to succeed as an independent artist. Creating work that fits a variety of audiences, while always building upon her unique self-taught style, is the secret to her success. Johanne has always been the type of person who explores on her own, tapping into the unknown and developing her own fashion and techniques. Many of her paintings include found or collected items which add depth and meaning to combine form and function to her work. Her abstract work captures her emotions and represents her unique style and expression. Johanne has exhibited her work extensively throughout Vermont in both solo and group exhibitions over the past 12 years.
Cameron Schmitz grew up in Greenwich, Connecticut and spent idle time in her youth drawing. Encouraged by two artistic parents, including her mother who is also a painter, she learned at a very early age the joy and satisfaction of participating in the visual arts.
Schmitz holds a Master of Fine Arts in Painting from the Pennsylvania Academy of Fine Arts and Bachelor of Fine Arts in Painting & Drawing from the University of New Hampshire, in addition to studying Art and Art History at Studio Arts Center International in Florence, Italy.
Following a month-long artist residency at the Vermont Studio Center in 2006, Schmitz moved to Vermont after discovering Vermont's rugged landscape to be uniquely inspirational. Now located in the Brattleboro area, Schmitz actively exhibits her work regionally and nationally. Her work has been featured at Fitchburg Art Museum's biannual exhibition, Ne England/New Talent, Green Mountain College, Kyoto Seika University in Japan, Emory University, Northern Arizona University Art Museum, and Rogue Space in Chelsea, New York. Her work is represented by The Drawing Room Art Gallery in Cos Cob, CT and Furchgott Sourdiffe in Shelburne, VT, and she is an artist member of the Copley Society of Art in Boston. In addition to her painting practice, Schmitz is also the Gallery Curator of The Drawing Room Art Gallery and teaches painting at the River Gallery School in Brattleboro, VT.
I strive to create unique interpretive, impressionistic and abstract images that relate my personal vision of or reaction to the subject matter before me. Before I even pull out the camera I try to experience all that my subject reveals, or even what it makes illusive – not just the obvious, like the literal view, the colors, texture and patterns - but the less obvious sensual aspects, the energy and the “feeling” that it conveys. Whether in landscape, abstract, street photography, fine art nude or whatever else captures my interest, I seek to find and interpret life’s visual symphonies, one click at a time.
I feel that to a large extent my photographs consist of three different points of view: the raw material that is the literal subject matter of the image that my camera captures; what I see, sense, and work to portray when I interpret that subject; and what the viewer sees when looking at the image on the wall. Those may be three very distinct views of what is essentially rooted in the same thing. That, to me, is stimulating art. And that is a great part of what draws me to photography.
Jeff Schneiderman works as a wedding, portrait and fine art photographer in Williston, VT. He has been taking photographs for over 35 years, traveled extensively throughout the U.S. and the world and has made Vermont his home for the last 27 years. Patterns are a major theme in Jeff’s work as he is fascinated with the designs in nature how they are reflected in things manmade. More of Jeff's work can be seen at: www.jeffschneiderman.com."
Krista Cheney is a native Vermonter, currently living in St. George, Vermont. She studied English Literature and Agricultural Economics at the University of Vermont. She has studied photography since 2003, taking classes and workshops at local venues and the Maine Media Workshops in Rockport, Maine.
Carolyn Enz-Hack's work includes painting, sculpture, and scenery design. While she has spent most of her life on a farm she holds a degree in theatrical design from Rutgers University and has spent years designing for the theatre. Her rural sensibility is informed by themes explored in ancient theatrical and religious literature, and by developments in cross-disciplinary Science. Each piece is an attempt to process the exterior world through an internal lens. Her most recent solo exhibitions have been at the Castleton Downtown Gallery in Rutland, Vermont, and Creare Inc. and the Dartmouth Hitchcock Medical Center both in Lebanon, New Hampshire. She is the recipient of a Vermont Arts Endowment Award, a painting merit award from the Chaffee Center for the Arts, a residency at the Vermont Studio Center, and her work has been selected for exhibition in regional and nationally competitive shows.
Erinn Simon is a fiber artist and yarnbomber. She crochets tapestries, toys, baby mobiles, vegetables, baked goods, blankets, scarves for trees, and the occasional bloodthirsty zombie cupcake. Her work has appeared in group shows in Burlington, Seattle, and Australia and she ships her one of a kind creations to customers around the world. She lives in the Old North End of Burlington with her husband and three kids. You can find her on facebook as Callie Callie Jump Jump.
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). These exhibitions run through August, 2021.
Eric Eickmann (pictured)
I address the female form with respectful insight to the architecture of sexuality, vulnerability, and the rawness of power. Painting is cutting out all pain. The visual and tactile are the same. Art is feeling and energy. The absurdity of making pictures is transcended. I don’t know where my own misery and another meet or separate. On the surface I search for a resolution. It seems largely unresolvable. Then an angel reaches down and strokes my head. The resulting peace solidifies in form. Formlessness folds in and amongst the lines. I am lost in the color and meaning of symbols. I consume the media and feel the culture of beauty. I want to drink the skin presented by electrical pulses turning on pixels. The data of our lives is a secondary bridge. Possible evolution of consciousness. Energy doesn’t evolve. Energy just is.
Biklen is a fine art photographer who specializes in abstract images. He 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. 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. Biklen formerly served as Dean of the School of Education at Syracuse University and now resides in Orwell, Vermont.
I paint mixed media pieces inspired by the Vermont landscape, which celebrate both the wonder and complexity of life. For me, painting is the continual process of paying attention. When I remember to slow down, I notice the beauty, laughter, and moments of simple joy that are all around me: the sun dipping over the horizon; crisp leaves under my feet; Mary Oliver’s wild geese overhead. These ordinary things inform my work and compel me to return again and again to the easel. I love the little joys and surprises that happen while I’m painting - the way a warm yellow pops next to a cool blue; the drips that can alter a whole composition. Working with the mistakes and the happenstance pushes me to find solutions. How can I create calm from chaos? Beauty from mud? It’s all a metaphor for life - to embrace the messy complicated world that is all around and turn it into something beautiful and true. And, hopefully, have some fun along the way.
My preferred medium is oil. From my very first memories, I have always seen myself as an artist. I vividly remember coloring in kindergarten, experiencing a pleasant feeling like a trance, a kind of meditation, pure joy. I still feel that way when I paint. I enjoy painting still life because it is an easy way to fall into color; I am all about color and movement. In many ways, I have been putting myself through my own school of painting, where I break apart the subject simplify it, and then put it back together. Flowers, to me, are the opposite of still. Growing and dying in a short time frame, they are perfect symbols for life, death, love, and beauty. My brushstrokes are layered with my own internal emotions depicting how I feel when I paint the stroke, weather its happiness, sorrow, satisfaction, or love.
Sam Macy is a graduate of The University of Vermont where he studied mathematics, art and architecture. His first-ever collection celebrates one of Vermont's most loved and iconic places: Shelburne Farms. As born-and-bred Vermonters who grew up enjoying the farm's acres of hiking trails and other notable features, the farm epitomizes "home" for Sam and his wife. It was a natural first choice for his premier Collection.
Erika Lawlor Schmidt
Every spring I wait for the sights and sounds of birds, frogs, bees and animals returning to our surrounding hills and forests. This relationship to the natural world and understanding its delicate balance is integral to my very being, a link to my youth and a real hope for the sustenance and wellness for my children and grandchildren. A reasonable route and motivation for my work as an artist is now compelled by and linked to forms of activism in support of efforts and legislation to protect wild places and wildlife.
I have for a long time, been focused on making work about the interconnectedness and interdependence of all things, a kindred spirit to Eastern philosophies. This recent series of monotypes is celebratory yet elegiac not exactly different from earlier work, except that I have created this primarily for children. Playful, imaginary in color and scale, the images are meant to prompt inquiry and invite children to identify the mammals, birds, reptiles, and insects and to then perhaps to write about them, a poem or story that comes from what they know, what they are curious about or what they imagine. A child’s creative process is important, sharing what we create is important and the discussion about our fragile relationship with all living creatures on this miraculous planet is important. The role of artists today is to create awareness and platforms for action.
Bodily; suggestive and alluring, my work is often comprised of torsi-like forms complete with breasts, belly, and pelvis. The imagery comes from a lexicon of figures that I began developing when I was immobilized by an illness. Experiencing physical limitations, I instinctively began to draw and abstract the shape of my own body to reconnect and reclaim it. I now draw these forms automatically and obsessively. They now deviate far from the figure, yet remain cohesive and bodily. While I make overt references to the body, I also create shapes that resemble bones or organs; visceral and sinewy. The forms are unusual, riddled with bulbous protuberances, abject and grotesque. Yet, they are beautiful. Unexpected and sometimes disconcerting, the forms are not quite what they are expected to be from the first impression of beauty, symmetry, and patterning. They retain autonomy as they tease perfection with a pseudo-repetition.
The empowered forms are somewhat contradicted by the overlying skeletal structures that often accompany them. The “cages” or “nets” entered my work when, on a quest for plain, utilitarian underwear, I was pulled into the abyss of online shopping. I became fascinated by over-the-top lingerie. I am intrigued by the way the fabric forces women’s bodies into a series of geometric shapes, as if packaged. Between the nets and figures, my work is able to begin exploring the perplexities of femininity created by the societal decorum of beauty and the conflation of expression and repression found in the female form.
Anghelache explores the subject of nature through abstract expression and movement, as seen in her explosive Butterflies Series. She strives for uniqueness and creativity in her paintings, as well as to combine abstract sensibilities with sophisticated and high imagination. Here she orchestrates the conception and intensity of vertical and horizontal lines to represent the minuscule veins of wings and body. She has chosen to paint butterflies because they are a symbol of fragility and beauty, and a deep and powerful representation of life, change, endurance, and hope. The symbolism she conveys with her purple butterflies is a less common theme. The color purple is often associated with royalty and strongly represents spirituality. She finds the message of purple butterflies to be about having courage and trusting in yourself. The artists feels that joy and inspiration have arrived to her artwork through nature.
Lorraine B. Good Room
The Lorraine B. Good room is located on the 2nd floor of the BCA Center. The art in this room is available for viewing during our regular open hours, except when the room is being used for programming, meetings and rental events. This exhibition runs through June, 2021.
Ginter's approach to making art is that of an exploration into the reoccurring oddities and subtle fascinations of the natural world. The uniqueness of it all provides her with aesthetic inspiration, and she draws parallels between these narratives and the stories of human beings- whether from ancient myths, history, or her own personal experiences.
Every scene in nature tells a million little stories, and she works to incorporate an extreme amount of detail to tell not only the macro, but the micro stories in a scene. This gives the viewer a greater sense of depth, not only visually, but narratively, depending on how close they choose to engage with the piece.
UVM Medical Center
The University of Vermont Medical Center, located at 111 Colchester Avenue, has been exhibiting and purchasing the work of Vermont artists on the main medical center campus in various locations for many years, thanks to its ongoing partnership with Burlington City Arts. Rotating artwork can be found in the ACC East Pavilion 2 & West Pavilion 3, McClure 4, Breast Care Center, and Cancer Center. Permanent artwork is also on display throughout the hospital.
This series of paintings consists of imagined/remembered landscapes, done in acrylic on canvas or panel. In the warmer months Boucher paints with oils on location (plein air). She has been painting since childhood, and over 25 years has sold her artwork at galleries and at juried outdoor art festivals. You can view more of her work at www.carolboucher.com and at Shore Acres in North Hero, VT, in addition to other BCA venues. The artist thanks you for taking the time to view her work!
My landscape paintings represent my effort to depict the essence of a place or moment in nature through the evocation of my memories of that place, rather than through the faithful reproduction of specific landmarks. I rely on photographs as a form of note-taking, and along with quick sketches and occasional on-site studies, I use photos to compose each painting in the studio as a composite image.
I work in the hope that viewers will also be moved by these images, and reminded of the importance of a diverse environment to our physical health, our psychological well-being, and our future as humans on our remarkable planet. Each of my paintings is a meditation, and a little prayer.
I'm focused on the detail and dreamlike color combinations. Many of my botanical paintings have phosphorescent and UV sensitive pigments mixed into the paint to allow secondary paintings to be revealed. I've always been enchanted by the magic in flowers.Over my years as an artist I have acquired a love for travel, exploring botanical gardens for inspiration. Having lived in Hawaii for 15 years my love for the ocean and flora shaped my art and the way I see color.
My first solo art show was in Roppongi, Tokyo, Japan. I have also done art for surf contest posters and trophies, commission pieces, surf apparel graphics and my Original paintings represented in Wyland Galleries on Oahu. My Studio in Vermont I'm able to work in a much larger scale and do more stencil work. My first project in Vermont was an 80' covered bridge, the floor stenciled by hand in red buffalo plaid. When I finish a painting I hope it gives the viewer a genuine feeling of paradise. Balance in each painting is important for me, having the right amount of patterns and loose elements complete a piece. Sometimes the glowing, secondary painting represents how a bee would see a blossom, in ultraviolet. Many patterns remain invisible on flowers to the human eye. Subject matter is around every bend, every petal and my "Bee Series" is an homage to our planets flower keepers. When I create each series putting in the detail is out of respect and enjoyment.
Motivated by the love of painting I create art that is free of representational reference. I delve into each piece with passion, intuition, and vision. Each painting becomes a deliberate dance of joy as each mark reveals beauty and truth. Spending time in the studio each day I delight in the freedom to voice my thoughts and feelings, translating them into abstract forms of expression. With no reference to the real world, I eagerly explore the wild places where hidden feelings dwell. Through my work, I hope to share my experience as something to behold.
Photographer, traveler, data nerd, foodie, geographer, dog lover, sunset enthusiast: Kelly O’Neal creates ethereal, painterly photographs of the beauty of place. Unlike most photographers, she seeks to move the camera during exposure, relying on years of practice to create the look she wants on her digital film. Rather than documenting what your eyes directly see, she captures colors & shapes and seeks to evoke the essence of a locale and its quintessential moments.
Kelly self-taught this technique beginning in 2007 in her basement apartment, combating the stress of a consulting job by photographing flower bouquets at midnight. Probably while drinking whiskey. Soon she expanded this technique to landscapes, and took the technique on the road during her travels. Kelly grew up in Jacksonville, Florida and is currently based in Vermont where her photographic assistant, Teddy Bear, gets impatient for his cookie while waiting for mom to finish shooting beautiful sunsets over Lake Champlain.
The Pierson Library, located at 5376 Shelburne Road, in Shelburne, features artwork curated by the BCA's External Exhibitions Program on a rotating basis. These exhibitions run through June, 2021.
This series represent a modernist, impressionist view of our urban and rural landscapes. Ken’s paintings mainly capture the subject matter of houses and buildings as Portraits of the local scene. In this collection, the paintings take on nuances and personalities as if they are speaking to you. They offer a time in space that reflects their daily moods as life traversers their facades. The strength of shadows and light enhance the character of these portraits.
From a reference perspective, the paintings offer a bit of Hopper-esque tranquility. The paintings of the Old North End bring a colorful depiction that is a mainstay of this area of Burlington. Sans people, the paintings offer a focused look on the face of the buildings as if they want to speak to you. They provide a time sensitive experience that in so many ways reflect the ever-changing landscape, yet at the same time create a stop in time never to be repeated. Houses and building’s age, some more graceful than others. And like the human factor in a parallel universe, they fight off aging thru renovations, new paint schemes, and simple care to themselves.
As a painter, spending time with these subjects has been a calming and rewarding experience. All of these paintings started out as studies en plein air, and completed as studio works. All paintings are oil, with a varnish finish.
Ken lives in Burlington with his wife Janice who is his most ardent supporter and critic. Ken also has three daughters, and five grandchildren. You can see more of his work at His work kenrussack.com.
In 1986, Phil moved his family to the beautiful green mountain state of Vermont. After a period of experimentation, he found himself radiating towards illustration software, rendering product and technical subjects. Painting for him, had to share his time with work, while he raised his family. Children grew, moved out, and he gradually rebalanced his schedule to once again favor the landscape painting. Along the way, he discovered the rich tradition of New England artistry that had inspired generations of artists. Casting aside the last bit of guilt over leaving the formal concerns of modern abstraction behind, he joined the mass of contemporary artists working with these traditions. Currently, he paints daily at his rural home in Williston, Vermont.
In his own words, Phil takes color and shape, raw materials with no intrinsic value and assembles them into something more coherent than before, that has the power and purpose to speak. “If there were ever societies without artistry, we don’t know about them. Its artists, who through their art, tell the future who we were.”
Mascoma Bank is located at 431 Pine Street in Burlington and features artwork curated by BCA's External Exhibitions Program on a rotating basis. These exhibitions run through May, 2021.
Jill Madden grew up in coastal Rhode Island, attended Middlebury College where she studied Mandarin Chinese and art. She studied Chinese ink painting in Hualien, Taiwan for two years, taught Mandarin and art in Sitka, Alaska for several years, then returned to the east coast to attend graduate school.
Jill studied at the New York Studio School, and then received a post-baccalaureate degree from Brandeis University, and an MFA in painting from Boston University, where she held a Constantin Alajalov scholarship, and studied with John Walker and John Moore.
Her work has been shown in New England, New York, Philadelphia, Ireland and England. While a resident artist at the Vermont Studio School, she studied under Lois Dodd, who remains a strong influence. Madden is the recipient of a Winsor and Newton Emerging Artists award, a Basin Harbor Fellowship, a Custom House Fellowship in Westport, Ireland, a Baer Art Center Artist Residency in Hofsos, Iceland, and a Jentel Foundation for the Arts residency in Banner, Wyoming. The artist currently resides and paints in Weybridge, Vermont.