2013 exposed

Exposed 2013

July 13 - October 15, 2013
Curated by Rachel Moore

22nd annual outdoor sculpture exhibition Exposed., hosting sculptures, site-specific installations and participatory work from national and international artists throughout the town of Stowe.

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Taylor Apostol
Adria Arch
Leila Bandar
Edwin Bennett
Scott Boyd
Ethan Bond-Watts
Cody James Brgant
Theodore Ceraldi
Jim Coates
Christopher Curtis
Catherine Evans
Susie J. Gray
Matt Harding
Rob Hitzig
Tom Holmes
R. Elliot Katz
Hector Leiva
Jack Reed
Colleen Rudolf
Dave Stevenson
Peggy Smith
Gerald Stoner
Sarah J. Tortora
Judith Wrend


Lizzy Fox
Shannon Schmidt
M. Pinchuk
Keith J. Varadi

 Taylor Apostol

Taylor Apostol graduated from the University of Vermont with a BA in Studio Art and Italian Studies. She studied sculpture and marble carving in Florence and Carrara, Italy. Two of her large-scale marble works are located at the Carving Studio & Sculpture Center in West Rutland, Vermont. In November 2012 she completed a 9-foot-tall marble sculpture, The Seminal Water Drop, for Sias International University in Xinzheng, China. Apostol is represented by JAG Modern Art in Philadelphia and has sculptures in collections in Florida, Pennsylvania, Vermont, China and Italy. She will be pursuing an MFA at Boston University this fall.


Colletta Verticale is a hollowed out cube of Danby marble that is plugged with giant carved wooden toothpicks. This sculpture is the third and largest in the series titled Collettiva that continues my exploration of combining marble boxes and wood toothpicks. I selected native Vermont marble and wood because of its quality and also to display the natural beauty and industry of the state. The simplified form is related to the human body while intentionally leaving ample room for interpretation. The collection of toothpicks may simply be enjoyed for their visual interest or interpreted as an examination of the concept of the multiple, group or gathering. The large-scale and multitude of toothpicks jutting out Online Pokies at various angles energizes the surrounding environment. This provides a new space for individual or group interaction with the sculpture and altered landscape.

Taylor Apostol website


Adria Arch

Adria Arch studied at Rhode Island School of Design, Carnegie Mellon University and the Massachusetts College of Art and Design, where she earned an MFA in painting. She has taught widely throughout the Boston area, including the DeCordova Sculpture Park and Museum, Montserrat College of Art, Massachusetts College of Art and Design, and Endicott College. Her work was recently featured in a solo exhibition at Danforth Art in Framingham, MA, and will be presented at another solo exhibition at the Art Complex Museum in Duxbury, MA this summer.


The shapes and lines that we all draw while talking or daydreaming in class have been my subject for the past several years. I am moved by these drawings for their unselfconscious quality and mystery. The doodles could be cryptograms, geometric diagrams, or pictographs from another civilization. At their heart, however, they are very human marks, not necessarily elegant and usually offhand. For me, these symbols are a joyous and mysterious language that is both deeply personal and universal.

My installation at the Black Cap Cafe features fragments of doodles created by frequenters of the cafe and artists at the Vermont Studio Center. A window of the cafe is festooned with vinyl recreations of some of these doodles, magnified many times larger than their original sizes. The open porch of the cafe features another of these dynamic shapes laser-cut from MDF board, then painted with acrylic. The antic, often humorous, designs draw attention to the human need to make a mark.

Adria Arch website


Leila Bandar

Leila Bandar graduated from Bard College in 1999 and then earned her master's from Boston University in 2001, where she received the Dean's Scholarship and the Marianna Pineda Award. During her first years in Vermont she worked at the Vermont Studio Center as their Sculpture Technician, and now teaches a course on jewelry and small metals at Johnson State College, where she is the Coordinator of Campus Arts. She loves working with people, and currently lives in Underhill with her husband and two-year-old son. Bandar has come to believe a passion for sculpture can reveal magical and unexpected paths.


To make these three pieces, I asked myself, How can a sculpture become a "signpost" returning us to nature? I wanted the series to be tall, so I used 2x4's, 2x6's, and screws. I left the centers hollow. Using Fibonacci's ratios, I marked the pillars and decided where to put the openings. I worked with an electric chainsaw and hand chisels until the form emerged. I used fire from a propane torch to smooth the surfaces, and bring out the wood grain. Words came to mind only at the very end. I call these pieces "totems" because they reflect a message that could be passed from one generation to another. The viewer constructs the story. My hope is that their story connects them to cycles of nature, weather patterns in the sky, and an ability to look, listen, and rest/reset.


Edwin Bennett

Edwin Francis Bennett was born and raised in Fort Benton, MT. He earned a BFA in painting from The University of Montana, Missoula in 1999. He has since lived in Taipei, Taiwan teaching English and in Juneau as a member of the United States Coast Guard and employee of the Alaska Department of Environmental Conservation. Bennett moved to Maine in the spring of 2010 to attend the Maine College of Art, completing his MFA in studio arts in 2012. He lives and works as a landscaper and artist in Casco, ME.


Cut is a site-specific installation consisting of a 6-inch wide by 8-foot high clearing through the woods. All material within this area—including branches, leaves, and shrubbery—will be removed, creating a narrow sightline, and the ground will be covered with a 6-inch strip of red mulch. The woodland will be allowed to re-grow at the end of the exhibition with the mulch left in place to eventually become part of the forest floor.

Scott Boyd

Scott Boyd has been working in various media, including wood, marble, steel, and bronze, since 1980. He lives and works in Stowe. He received a BA from Reed College and an MFA in sculpture from Yale University's School of Art. He has also studied sculpture at the Ecole des Beaux Arts in Paris, and marble carving in Tinos, Greece and Pietrasanta, Italy. His work has been shown in New York City and Garrison, New York; Boston, Massachusetts; New Haven, Connecticut; Portland, Oregon; and Paris, France.


'Tis light makes colour visible: at night
, red, green, and russet vanish from thy sight.
So to thee light by darkness is made known:
Since God hath none, He, seeing all, denies
Himself eternally to mortal eyes.
From the dark jungle as a tiger bright,
form from the viewless Spirit leaps to light.

—Mawlawi Rumi

Scott Boyd website.



Ethan Bond-Watts

Ethan Bond-Watts received his foundation in art through an apprenticeship with American glass master Alan Goldfarb in Burlington. At 19, Bond-Watts was promoted to "gaffer," given his own furnace, bench and assistant. He continued his studies of glass art in Venice and Seattle. In 2004, Bond-Watts began producing his own lines of art glass and public installation sculpture, including Emergence, an architectural-scale blown glass installation at the University of Vermont student center. Five years later, he graduated magna cum laude from the Environmental Program at the University of Vermont. His current work applies mixed media sculpture to explore environmental concepts.


Steel, drip irrigation system, burlap, growing medium, live plants

A steel armature gives structure to a living sculpture whose ecology adapts to its site. Reflecting the green roof and living wall movement in architecture, Seed offers the viewer a consideration of growth, form, ecology and place. This sculpture's softened lines and dynamic flesh create a visceral contrast to its built environment, while its formal reference to nuts and seeds indicate a latent vitality on the scale of landscape. It is intended to reveal the inexorable connection between living thing and place, and to conjure an essential biophilic human response.

Ethan Bond-Watts website.


Cody James Brgant

Cody James Brgant makes art using the disciplines of photography and sculpture. He began practicing photography at Peoples Academy High School in his hometown of Morrisville, Vermont. During his college years, he further developed his interest in art through independent travel in New Zealand, a semester of study at the Glasgow School of Art in Scotland, and ultimately, a BA in Studio Art at the University of Vermont, where he was awarded The Jennifer Goldstein Memorial Prize. His work has been displayed in and around Burlington, VT and Montreal. Currently he lives and works in Brooklyn.


Tree Cubed
Growth vs. rigidity, organic vs. manmade, freeform curves vs. straight lines. This installation is part of an ongoing project where I transform natural materials such as branches, trees, or flowers by casting a sculptural cube of concrete around their base. In Tree Cubed, I worked with a live tree, in situ, and constructed a four-foot concrete cube at its base, where the trees' trunk emerges from the middle of the cube. Juxtaposed, the natural born tree and manmade concrete cube offer contrasting characteristics in material, form, process and ideology.



Theodore Ceraldi

Ceraldi is a graduate of Cooper Union in New York City. His work has been acquired by many private collectors and shown in several one-man shows. His sculpture and ironwork is installed in the United States, England and Saudi Arabia. His sculpture, Big Red Swing, is cited in New York's 50 Best Art in Public Places. A model of his House for an Artist, along with accompanying conceptual drawings, were exhibited at MOMA in New York City. He has taught landscape drawing, figure painting, and two and three-dimensional design. His work embraces process, the poetry of form and formal relationships.


First Light
As written in Genesis 1:1-5, "God said, 'Let there be light', and there was light. God saw that light was good, and God divided light from darkness." Steven Hawking's theory of the Big Bang puts first light at 10 to the minus 43rd of a second after the singularity (the beginning). The gold ball (first light) approximates the size of the known universe at this moment. He also calls this 'God's hiccup'. The First Light of the known universe. The piece, First Light, is part of a series of four sculptures: Absence of Light (black hole), Dark Matter, and Dark Energy. These represent my manifestation into sculpture of theoretical physics of the unknown and known universe.

Theodore Ceraldi website.



Jim Coates

Jim Coates lives in southern New Hampshire, where he maintains a studio. He completed his MFA at Clemson University and his BFA at the University of South Carolina. His environmental sculpture, installations, objects and drawings have been exhibited nationally, and he has received individual artist fellowships from the South Carolina State Arts Commission, Massachusetts Council on the Arts, and the New Hampshire State Council on the Arts, which recently designated him as a Lifetime Fellow. Coates is also a former MacDowell Artist Colony Fellow, and Professor of Sculpture at the University of Massachusetts Lowell.


The Stowe Dream Ladders
Wood and wire

The Stowe Dream Ladders creates a mystical place for contemplation. A ladder usually leads to something specific—e.g., a ladder leaning against a wall under a window could provide an entrance or an exit. In this installation, however, I placed precarious ladder forms that simply reach into the sky. I think of them metaphorically as dream ladders and portals. The rungs of the ladders shift direction as if cobbled together with one's own life turns and experiences, providing an opportunity for reflection.

I have always been interested in shelter forms (primitive, modern and contemporary) and their relationship to the natural environment. Intrigued by the formal shape that these structures often take, as well as by their simplicity and proportions, I use natural materials to focus on the ephemeral and fragile qualities found both in nature and our built environment. The woodland forest continues to guide my studio practice.

Christopher Curtis

Vermont’s natural beauty has deeply influenced the work of Stowe native Christopher Curtis. Born in 1951, he lived atop rocky Mt. Mansfield in his preschool summers, developing an early affection for stone. Carving came later, under the direction of Paul Aschenbach at the University of Vermont, where he combined studies of art and science, graduating in 1974. Curtis’ interest in science is evident in his sculpture, as his use of technology sometimes contrasts sharply with the natural stone surfaces. He maintains studios in Barre, VT and Stowe, adjacent to West Branch Gallery and Sculpture Park where he is a partner.


Puzzle Three
In today’s world of ever faster everything, our culture’s steady drift away from all things natural is easy to observe. But when we trade our connections with the natural world for more connections with the digital world are we really trading up?

This simple sculpture, easily decodable as an oversized throwback to a childhood puzzle, transforms an ordinary boulder into an object of contemplation. It is somewhat ironic that the sculpture is made possible by the very technology it is meant to critique.

Christopher Curtis website


Catherine Evans

Catherine Evans is based in the Boston area. Her art deals with the repurposing of common objects; transforming everyday materials into the powerful, the unordinary; stretching preconceived notions of the limits and boundaries connected to that object. Multiples are an important part of her work. Repetition of process is also paramount, building connection between the art and her as the maker. Often, her creations embody the multitasking required in doing work in a woman's life—repetitive braiding, knotting, tying as a way of fixing, maintaining and being. She finds a calmness and satisfaction in creating art through life’s concerns.


This installation, Thistle, is a tribute the importance of trees in our lives. It is based on a piece I created for an ancient apple tree in my backyard. In making such a sculpture, the circumference of a trunk is measured and a band is created especially for that tree.

The project first became public in 2011 for Art in the Park, in Historic Elm Park, Worcester, MA. That project involved Thistle bands on nine trees throughout the park.

In Worcester, I realized the celebratory appropriateness of both the bright pink color and form. The Long Horned Beetle infestation had forced the removal of 28,000 trees, leaving both parks and people devastated. These bands of “Thistles” appeared as bright, playful tutus, giving the trees a very distinct look of celebration as victors of the blight.

I have taken this celebration of the tree project forward to other areas. A singular Thistle brought attention to an historic elm tree planted by Thoreau in Concord, MA. A Thistle installation hung in the grove at Moses Brown School in Providence, RI. Another tree installation was chosen for Contemporary Sculpture at Chesterwood in Stockbridge, MA.

Catherine Evans website


Susie J. Gray

Susie J. Gray could never decide what she wanted to be when she grew up. Consequently, she wears multiple hats, usually one at a time, but sometimes is required to stack them atop each other. Fortunately, she likes hats! When she is being the boss of herself, she spends her time designing edible landscapes; creating willow structures; and doing graphic design, illustration, painting and various fiber crafts. She is devoted to everything old-fashioned. Likes to laugh. And gave up on becoming a grown-up years ago. Gray lives in the village of Waitsfield, VT with a prolific colony of dust bunnies.


Looking East, 6 Degrees North
This piece pays tribute to my six-month sojourn in a beautiful woodland in Kent, England. Daily working alongside a local underwoodsman, I learned traditional woodland management techniques using traditional tools, and then had the opportunity to craft, by hand, the same green wood crafts that have been made in England for centuries.

In form, this piece takes its inspiration from two popular green wood structures frequently found in the English landscape, a bower and a hurdle fence. It also features many weaving patterns historically used in basketry that have been adapted for working on pieces of a much larger scale, including living willow structures.

Living willow structures are intended to be permanent fixtures in the landscape they are planted in, growing and changing with the years. Willow is particularly fitted to this concept, due to its adaptability, flexibility and propensity to live. Because this piece is not intended to be a permanent structure I am deviating from using strictly willow in its construction and will explore incorporating native and invasive species of woody plants and herbaceous perennials found along the waterways and in the woodlands of Vermont.

Susie J. Gray website


Matt Harding

Having recently graduated from East Carolina University with his MFA, Matt Harding is now free to explore his formalist sculptural education within a contemporary context. Focused on promoting the values of traditional object making, the relationship between the material and spiritual worlds in his work draws parallels between the urban and rural landscapes in which he lives. Matt Harding works in southern Vermont and Brooklyn.


Historically, I have used paint to apply surface patterning to my sculptural forms. While I enjoy their semi-permanent deterioration, chipping and rusting, there is a level of disconnect and personal disappointment between the spirit of the material and meaning of surface. Recently, I have switched to large-scale metal casting and fabrication techniques to make components that contain patterning within the material itself—a conscience decision to promote the recognizable language of pattern, while rejecting its presence as superficial decoration.
In Thank You Greenville, We Are Ready To Go, large aluminum castings have been assembled together. While the forms come from my own specific ideas, this piece is intended to be open-ended, leaving room for independent narrative to develop, hopefully creating internal dialog and independent thought.

Matt Harding website

Rob Hitzig

Robert Hitzig was born obstinate and self-directed. Though he never found these traits to be particularly useful for most forms of employment, they led, circuitously, to his becoming an artist. Prior to discovering the most useful outlet for his talents, Robert worked as a forester with the Peace Corps and an environmental scientist with the U.S. EPA. While his last formal art class was in the 8th grade, he is a voracious student of art and art history, preferring to learn what he wants, in a way that he wants, and completely happy not being told what to do.


Box of Courage is a sculpture designed to instill emotional strength in viewers willing to interact with it. Boxes are seductive. We all have an innate desire to climb into them, just like cats. And as children, we freely succumb to this desire, uninhibitedly. As adults, however, we resist, leaving childlike desires and behaviors behind, regardless of how innocuous they may be. Box of Courage gives viewers an opportunity to reconnect with their inner child, become playful for a moment, and surrender to the security of a box. In doing so, participants benefit from the courage that is a natural outgrowth of being in a secure place. Additionally, they may develop the emotional strength that grows from trying something that is a little bit uncomfortable or challenging Online Pokies, thereby becoming more courageous. Photographing the experience is strongly encouraged. Thereby, the viewer might recognize that they have become the art. And, in having documentation of the event, they may be able to relive the experience.

Rob Hitzig website


Tom Holmes

Tom Holmes is a sculptor working in stone, metal, wood, light, ice and water. He works seasonally, tracking the weather. Different temperatures demand independent responses to materials and approaches. Ice follows the freezing mark of winter; stone and steel the exterior workspace of summer. Spring begins the search for materials; and fall settles all debts, emotional, physical and intellectual.


Inner Strength is a reference to the frame: The space to show art in the modern context. The square superimposed on the rectangle, on the circle, the cube. All forms floating within the frame. The frame becoming the form. Art historic references to the confines of the gallery space. Confines of the modern context. The sculpture within the frame pushes on these boundaries, escaping its own past. It takes inner strength to complete the journey.

Tom Holmes website


R. Elliott Katz

R. Elliott Katz received his degree in art from Colby College and has since shown throughout the Northeast at institutions including the BCA Center in Burlington, Vermont, MassMOCA/Berkshire Botanical Gardens in North Adams/Stockbridge MA, the Chesterwood Museum also in Stockbridge, MA among others. Katz is anticipating his first solo show at the University of Vermont in October of 2013. Katz is also the Studio Manager and Working Resident at the Seven Below Arts Initiative, an artist-in-residence program jointly formed by Trey Anastasio and Burlington City Arts. Seven Below draws national and international contemporary artists to live and work in Northern Vermont.


In a drab back alley or near the loading dock of a superstore wasteland, a pedestrian might stumble upon an exquisitely made cast concrete sculpture. Distortion Arch recontextualizes a classical form—the archway— and a banal industrial building material—the standard concrete masonry unit (CMU)—and elegantly bends them both just outside the realm of possibility.

R. Elliott Katz website


Hector Leiva

Hector Leiva is a computer and network based artist who uses video, installation, and software applications to address themes of alienation, identity, and the construction of memories. He received his MFA in Photographic and Electronic Media from the Maryland Institute College of Art in 2011.


The Matter of Memory is an ongoing work that investigates the relationship between memory and place. This smartphone application can make an audio recording tied to a specific location. When the user is about to record, he or she presented with the question, “Why is this place important to you?” Once uploaded, users must be within 100 feet of the spot where it was recorded to be able to listen to it.

By requiring listeners to stay within a certain radius of the recording’s origin, the artwork imposes questions of how memories are created and affected by time and space. The complexity among the liminal spaces of the everyday, the spaces we inhabit, and the histories that exist within these spaces can be examined through the audio recordings made by the public. The smartphone is a unique tool that expands this piece beyond the limiting space of an installation.

Hector Leiva website


Jack Reed

Jack Reed is an artist and set designer working in Los Angeles, California. He received his artistic training at Middlebury College, graduating with a BA in Studio Art in 2010. As a Stowe native, Reed is excited to return home and participate in Exposed 2013.


Over the last century, humanity has increasingly separated itself from the organic world. Our surroundings have become more urban and domestic, our experiences more manufactured, digital and synthetic. We have left the “natural” behind and entered the artificial kingdom.

In this hybrid world, modern society employs unique strategies to reintegrate nature into the increasingly disparate human experience. Nature is now curated and controlled, engineered and designed. It must accommodate our expectations of beauty, ease and recreation. The result is the emergence of kitsch-nature—easily appreciated but hardly authentic.
Variegated Toadstool is a response to this phenomenon. Inspired by the organic form of colonizing toadstools, yet created with domestic materials and colors, the sculpture is an aberration. It provides a “natural” signifier (most notably through form) within a manmade structure and context. We can interpret this in a positive light: striving to minimize the discernible separation of humans from nature by suggesting a successful integration. Or, it can be read as a warning—to what extent are we willing to alter our environment to fulfill our whims and fancies?


Colleen Rudolf

Colleen Rudolf is a multi-media artist. Born 1981 in New York City, Colleen earned her undergraduate degree from Skidmore College in 2003 with departmental honors in Fine Art. After three years of traveling and working in various fields, she decided to refine and broaden her skill set with a graduate degree from the Pennsylvania Academy of the Fine Arts. During her time there she was awarded the Fellowship Juried Prize honorable mention and the Justine Cretella Memorial Scholarship. She graduated in 2008 and currently works out of her studio in Philadelphia, dividing her time between portraiture and other projects.


Much of my work is an attempt to transform my anxieties about human existence into something mysterious and buoyant. As the modern-day dog is a descendent of the wolf, I am interested in the meeting of the two. What do evolution and the process of domestication mean for all of us? What is it like to encounter a former version of oneself?

During the making of this piece I became aware of controversial predator management legislation in the western U.S., specifically Idaho, Utah, and Minnesota. This legislation involves aerial sniping and trapping of wolves. Farley Mowat speaks eloquently to the consequences of our interactions with other creatures in his book Never Cry Wolf:

Somewhere to the eastward a wolf howled lightly, questioningly. I knew the voice for I had heard it many times before. It was George sounding the wasteland for an echo from the missing members of his family. But for me it was a voice which spoke of the lost world which once was ours before we chose the alien role; a world which I had glimpsed and almost entered...only to be excluded at the end, by my own self.

Colleen Rudolf website


Dave Stevenson

Dave Stevenson has sculpted in California, Montana, New York and the Caribbean. He chose these spots for their scenic inspiration and access to snowboarding, surfing, climbing, swimming and cycling. The fluid, arcing contours of his sculptures express the dynamics of these pursuits: speed, form and balance. Stevenson’s sculptures are in the headquarters of Pfizer Inc., the office of director James Cameron, and private collections across the United States and abroad. In 2012, he was awarded a Creative Grant from the Northern Manhattan Arts Alliance. He is a graduate of The College of William and Mary, and resides in Manhattan.


Eager to bound off its pedestal, Dragon reaches, twists, beckons toward sentience. Energy radiates from a distinctive center of balance, or nucleus; joints materialize where curves meet and change direction. These features create the illusion of movement and suggest an underlying skeleton. Dragon is fundamentally a geometric abstraction, but its dynamic, symmetrical posture is undeniably anthropomorphic; despite being non-representational, its gesture and proportion are familiar.

Peggy Smith

Peggy Smith graduated from Wheelock College in 1967. She worked as a high school art teacher in the early ‘70s, and is currently the owner of Coldwell Banker Carlson Real Estate. Her art has been exhibited at the Helen Day Art Center; The Bran Gallery; Chase Collegiate School in Waterbury, CT; Johnson College in Johnson, VT; and Italy.


I started this work in January of last year as an expression of the strength of women. I was inspired by the Amazon women legends and imagined them going to battle with these beautiful hammered designed breastplates. I designed them so that they look like bronze and have an antiquity to them, as if they were recently dug from some ancient site.

At the time, unbeknownst to me, inside my own breasts, cancer was growing. I was diagnosed in June and ended up being operated on in August. Throughout the process I kept thinking how ironic it was that my psyche must have known that the cancer was growing.

The breastplates proved to be a symbol of women who have to battle breast cancer. But to me, they still represent the strength of women, the struggles that they must endure. These struggles are not limited to breast cancer; the breastplates symbolize the many ways in which women fight to protect themselves, their families, and their beliefs. If not for the women in North Korea, families would starve. Women around the globe are able to figure out how to feed their families, take care of the sick, and nurture the world. Everyday they get up; pick up their armor; and fight to make their life, their family’s life, and the world a better place.

These breastplates are a celebration for all women.

Gerald Stoner

Gerald Stoner teaches art and photography at Bellows Free Academy and the Community College of Vermont. His sculpture has been displayed in exhibitions nationwide.

The trio of pieces making up Circus Series #7 by Gerald Stoner…seems to defy gravity. Composed of welded, weathered steel, each stands about nine feet tall. Stoner’s compositions gracefully balance geometric shapes, with cut beams perched on thinner forms and designs ground into the rusty surfaces…. —Seven Days’ Marc Awodey

Stoner was born in Kokomo, Indiana, and grew up in New York. He received his MFA in sculpture from Northern Illinois University. He lives in Underhill, Vermont.



The process of working with steel is natural for me, being a descendent of many generations of Midwestern steel mill workers. Steel’s dexterity remains a constant exploration in my work, truly celebrating the material. The permanence and personality of steel—whimsical, brutal, thought provoking—is centrally embraced by my sculpture. Every piece has a story to tell.

This sculpture pair encompasses attributes of movement using the steel in its raw form, constructing tumbling I-beams with gearing components from a Ferris wheel. It creates a sense of motion, suggesting the gears and supporting I-beams propel through space.

Gerald Stoner website


Sarah J. Tortora

Sarah J. Tortora, born in 1988 in New Haven, CT, is a visual artist currently living and working in Philadelphia. She received an MFA from the University of Pennsylvania in 2013, and while in attendance served as a Lecturer of Contemporary Art at the Institute of Contemporary Art in Philadelphia. Sarah was a resident at the Vermont Studio Center in the summer of 2012, and this summer is attending the Skowhegan School of Painting and Sculpture in Maine.


The prospect of creating a monument to a mountain seems a daunting task, as natural landforms are the original monuments, and it is the majesty of such geography that brings many individuals to Stowe. Drift, with the graphic nature of its outer plywood profile and the hand-hewn geometry of its interior posts, exists as a formal abstraction of a natural landform. By manipulating organic materials, this work attempts to function as a model of a mountain and a monument to a mountain. Rendered at human scale, Drift alludes to these references as a physical equal, acquiring an anthropomorphism that, whether considered approachable or aggressive, aims to offer a highly transformed experience of place.

Sarah J. Tortora website

Judith Wrend

Judith Wrend grew up in Kalamazoo, and currently lives and works in Morrisville, VT. She received degrees in Spanish from Kalamazoo College and the University of Chicago. In the early 1970s, she took a welding class, and knew she had found her life’s work. She exhibits at juried art festivals and is represented by the West Branch Gallery in Stowe. Her work is included in the Bronfman Collection, Seagrams Building and IVACO in Montreal; Dana-Farber Cancer Institute in Boston; Vermont Art in State Buildings in Middlesex; GE Energy Systems in Atlanta; and Copley Hospital in Morrisville.


Welded aluminum, finished with automotive paint

Many of my sculptures are kinetic, but this one is a stabile. Two irregular pyramids stand ever so close, leaning toward and around each other, almost touching. The figures almost seem to move. There is a magnetic attraction. You can feel the tension as the relationship develops.

Judith Wrend website


2013 ex 1

Calendar of Events 

July 13 - October 15, 2013
Montpelier Movement Collective Performance Event
8/1/13 | 6 - 7 PM
[Montpelier Movement Collective]
The Dance Walk

The Montpelier Movement Collective has devised a moving installation tour to bring resonating imagery to the town of Stowe. By researching every Exposed visual artist’s project history and personal intention, and the mediums used, the MMC has structured dance performances alongside the visual tour to accompany the concept and story of each sculpture.

Each visual artist’s project history has informed the content and meaning of the dance work, and each sculpture’s contour, texture and dimensions has influenced how to both shape the forms of our bodies as well as layer those forms in space. By adding a moving dimension to the three-dimensional sculptures, new elements of each artwork will be brought to life.

Featuring Hanna Satterlee, Willow Wonder, Avi Waring, Chelsea Palin, and Isadora Snapp.
Polly Motley & Molly Davies Performance

2013 ex 2

8/8/13 | 6 - 7 PM
[Polly Motley Dance] "She’ll Be Comin’ ‘Round the Mountain reflects recent experiments by myself and the other dancers with repetition, music, restraint and relationship. The work will be organized on the front lawn of the Helen Day Art Center. It will include live music and the possibility for audience participation"

Polly Motley began making dances in 1974, after training in diverse forms of eastern and western traditional and experimental dance. Her work has been commissioned and presented in Europe and Asia, and in the United States by venues including: Jacob’s Pillow Dance Festival, Danspace Project, the Asia Society, Jack Tilton Gallery, Baryshnikov Art Center and The Kitchen. She is very pleased to be working with mostly Vermont dancers for this presentation. She lives in Vermont and Texas.
Direction: Polly Motley
Dancing: John Bennet, Maura Gahan,John Jasperse, Hanna Satterlee, Tracy Martin, Polly Motley, Avi Waring, Willow Wonder

Music: Annie Gosfield, Massive Attack, Neil Young, David Behrman, Thai monks
Sound tech: Philip Roy
Special thanks to Molly Davies and the Robison Foundation.


Patty Smith & Robert Grundstein Performance
9/19/13 | 6 - 8 PM
Make Some Noise. Move Around

The 19th century was really okay. Even in the era of 21st century post-modernism, Romantics are people too, ya know. All of which means, everybody should come and see a visceral performance of dance, piano and costume. Patty Smith will elicit the meaning of French Impressionism by way of Chopin, and Grundstein will provide the Chopin and other works.

There will be two performances of identical shows. They won’t be too long and won’t be too short. They’ll be just right and will reconceive the classical performance away from that of an aesthetic incarceration to a light of passage of fun.

Catalogue and pricing available at Helen Day Art Center and Stowe Area Association.
Contact: Rachel Moore, curator. E-mail or call 802.253.8358
Presented by Stephen & Petra Levin

Major Partners

Mary Jean & Steve Beimdiek
Gail & Steven Blumsack
Frank J. Motter Construction


Cushman Design Group
LWI Metalworks 
Frank & Elaine Ittleman


Patterson & Smith Contruction
Dave Couch Signs
The Xpress
Stowe Reporter
National Endowment for the Arts
Vermont Arts Council


Jane & Jamie Allister
The Butler House
Green Mountain Inn


Damon Kinzie


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