Constant flux, giving and receiving
- frida@artyardbklyn.org
- Oct 10
- 11 min read
This week at AYB has been one of reflection and growth. In response to the devastating 9/18/25 fire, we gathered in an Advanced Studio session on Zoom titled Heart on Fire with Karla Prickett — a space for reflection, healing, and artistic expression.
On Tuesday, we shifted gears to focus on technique, diving into nuanced color mixing with Golden Acrylics during an in-person session at 180 Franklin Avenue, led by Evelyn.
Meanwhile, Dennis has been training docents for our upcoming exhibition at PS 34 and organizing what’s quickly becoming a jam-packed season of ART YARD Art Matters School Partnerships.
And big news — save the date! Our Gala Opening Reception for Movers & Shakers is set for November 22, 6–8pm.
Read on for all the details!
We began the week on Monday with a powerful Advanced Studio session on Zoom led by AYB Artist Karla Prickett. Titled Heart on FIRE, the session invited us to create a responsive expression to the September 18th fire in Red Hook and AYB’s resulting “migration.”
Karla's well researched presentation included works depicting fire by J W Turner, William Blake, Currier and Ives, Grandma Moses, George Caitlin, José Paez, Jacob Lawrence, Salvador Dali, Nicholas Roerich, Rene Magrit, Anselm Kiefer, Joan Miro, Maria Helena Vieira da Silva, Olga Rosonova, Jackson Pollock, Tsukioka Yoshitos, Leonora Carrington, Remedios Varo, Do Ho Suh, and Patrick Zachmann - we were enthralled!!
Nicholas Roerich, The Last Angel, 1912, Jacob Lawrence, The Migration Series Panel No. 51, 1940-41, Grandma Moses, The Burning of Troy, 1943, and Jackson Pollock, The Flame, 1934-38
Through symbolic or literal interpretations of fire, participating artists explored themes of disruption, resilience, and transformation — coming together in community to process and express what cannot always be put into words.
Karla recaps: “This session brought great work, insightful comments, and rich conversation! It was a very enjoyable exchange of thoughts and inspired imagery, with so many thoughtful applications of the elements from our lesson.
Cammie’s piece, Burning Bridges, speaks to a complex personal dilemma, with a flame of hope centered beneath a bridge-like arch. The compositional elements form the shape of an eye—both evocative and symbolic.
Adji’s painting is an allegory for fighting the inevitable. In bold complementary colors, a beautifully drawn figure kneels, engulfed in fire—posed in a position of surrender, with blue “cold feet.” It’s a powerful image of internal conflict and tension.
Fatima received several compliments for her stunning marker drawing of fire. It’s hard to look away from this piece! The use of color is fantastic, and the movement created by the shapes keeps the viewer engaged. The work strongly expresses the duality of fire as both a force of destruction and, at times, a source of glowing warmth, light, and renewal.
I’m drawn to many aspects of Flo’s layered narrative: the depth created by the urban landscape; the message written across the back of the central figure; the natural world acting as a lens in the foreground; the expressive color palette and irregular edges. It conveys destruction, yes—but also hope, embodied in the light of a vigilant candle.
Florian Velayandom Neven du Mont, Heart on Fire
Meridith and I (Karla) both chose to reflect on the Red Hook building engulfed in flames. Perhaps we shared a similar affection for the place from an arts admin perspective—mourning the loss of a hub created through years of planning, organizing, and building community. The bricks and mortar of an organization, gone. Her skill with watercolor captured the haunting emotion of that loss—the helplessness as the orange, yellow, and red fury of fire consumed the architecture.
My own work (Karla) was inspired by the video Meridith sent the morning of the fire. I found a piece of printed paper in my flat file, gridded in a way that allowed me to reference a four-story structure. I used colored B pencil to capture the orange-red glow of the fire on the brick facade. Cut paper flames and fire hoses became symbols of the overwhelming chaos. I chose a black silhouette for the warehouse windows and shutters to symbolize the erasure of life and belongings within the AYB Studio on the second level.
Travis, in his fascinating composition, burned the paper itself and depicted plants blooming from the resulting void and ashes—showing rebirth and resilience. His work embodies the Art Yard spirit: turning hardship into inspiration, showing that even after loss, new life and creativity can emerge.
Ajani’s applied ink and then rubbed it off, leaving behind a haunting residue. In their piece Devoured in heat, spit out in ash flames of destruction, hopes of growth—a poetic, symbolic black-and-white drawing featured a singed paper edge and an emotional depth that lingered.
Leah’s composition caught everyone’s attention and earned many compliments. Fatima pointed out the unique perspective of looking down on the subject. The movement, color, and personification of the flames reminded me of the Remedios Varo example from our lesson. Leah’s inclusion of a cross amid the flames referenced religious experiences from her childhood—an engaging and thought-provoking composition.
Thank you, adds Karla, to everyone who participated in this lesson, and to Meridith and Ajani for invaluable technical assistance!”
On Tuesday evening, Advanced Studio met in person at 180 Franklin Avenue for the first in a three-part lesson cycle titled The Dynamic Self, with Teaching Artist Evelyn Beliveau which will culminate in a self-portrait in acrylic paint on an 11x14-inch canvas board.
Evelyn explaining the concepts, and demonstrating techniques.
Evelyn summarizes: “The central concepts of the project are the idea of the self as a changing entity (connecting to our Year of Migration), paint as a liquid and mutable medium well-suited to emphasize the fluidity of the self, and color theory within a limited palette (no white paint). We had an excellent group present, with a wide range of experience levels with acrylics and limited palettes—and everyone was game to dive in.
For this week's lesson, we started with color. I prepared a sample palette test page with 12 boxes, each painted with a color mixed from different combinations of three tubes of paint: alizarin crimson, ultramarine blue, and cadmium yellow. The top row shows each primary color straight out of the tube, the middle two rows show different ratios of pairs of primaries, and the bottom row shows combinations of all three primaries. While we are constraining our palette by omitting white paint, there is still an infinite range of nuanced colors we can create with the paints at hand.
As I demonstrated paint-mixing, I asked participants to note the different characteristics of the colors on the palette: hue, intensity, and value. Hue refers to the name or family of the color, as it would appear in a rainbow or color wheel (red, purple, etc.). Intensity refers to brilliance or saturation, with high-intensity colors shining off the page and low-intensity colors approaching neutral gray. Value refers to light and dark: how pale or dark a color appears. For example, yellow straight from the tube is high intensity and high value, while a blend of red, yellow, and blue produces a dark-value, low-intensity brown. The darkest value we identified was a deep purple mixed from crimson and blue, since mixing in even just a little yellow reduces the intensity but lightens the value. These distinctions will be important in later stages of the project, when participants will mix colors to portray highlights and shadows in observational self-portraits.
As participants settled in at stations equipped with templates on mixed-media paper, palettes, palette knives, brushes, water cups, and paper towels, I read aloud two reflection questions to orient us to the broader ideas of the project:
What are your tributaries? (Inputs and influences from the world)
What are your outlets? (What you give back to the world)
These questions arise from the metaphor of self-as-river, taking inspiration from author Robert Macfarlane's recent book, Is a River Alive? In an author talk I attended, Macfarlane asked us to consider ways in which a river can be considered to have personhood, and ways in which we are rivers—in constant flux, giving and receiving from our surroundings. Participants brainstormed answers to these questions, and some chose to share at the end. Art and art-making appeared in the answers to both questions for several people.
Work time was focused, with a warm air of camaraderie. Many compliments at critique highlighted the welcoming atmosphere and the feeling in the room during the session. Participants also shared about their experience slowing down to focus on subtle gradations of color and the nuances of paint-handling. For those who finished the 12 squares of the palette, I introduced an exercise on brushwork: signing one's name in paint. This comes from a mentor of mine, who encourages painters to endow every brushstroke with the facility, fluidity, and confidence of a signature—an almost habitual motion of the hand that is deeply personal. When an area is painted that way, even in a single color, the energy is palpable.”
We propped the artworks in the book shelves for critique. Participating artists: Kevin Anderson, Assata Benoit, Evelyn Beliveau, Kelly de la Torres, Leah Eliopulos, Cindy Estrella Zacarias, Abriel Gardner, Adji Ngathe Kebe, Meridith McNeal, Sean Meier, Florian Velayandom Neven du Mont, Jas Pinturas, Maria Polanco, Taylor Pope, Jacob Rath, Cheyenne Rivera, Lenika Silva, Liana St. Bernard, and Fatima Traore.
This lesson cycle will continue on October 28 and November 4, open to both returning and new participants.
Managing Director Dennis Buonagura writes: “On Wednesday, I met with Ashlee, Kiara, Skylar, Paula, Kasen, and Anthony for an additional docent training session and update. These students are members of the school's ATC - Artistically Talented Class - led by Miss Carpena, PS 34's art teacher. They meet several times a week and receive one-on-one guidance in addition to their weekly group art classes. Since they weren't in our ART YARD Art Matters at PS34 programs this past cycle (due to scheduling), they studied the labels, viewed their colleagues' works, and learned about the projects (cultural foods, talaveras, and mariposas) centered around Hispanic Heritage Month. I am sure they will all excel at next week's event.
Student artwork on display
PS 34, The President Barack Obama School, is a Jersey City community school - which is a public school that partners with local organizations that offer support to students and families, addressing academic, social, emotional, and physical needs. These schools go beyond traditional education by providing "wraparound services," such as health and social services, and fostering strong family and community engagement to help students thrive.
ART YARD is proud to be one of their partners and participants.
One of the many wonderful programs at PS 34 is the Community Closet. It’s a program that provides free clothing and other essential items to students and their families who are in need. As part of a larger community school initiative, this service helps remove non-academic barriers to learning by addressing the material needs of the students. I donated jackets, and some hand-knit (by me!) hats and scarves to this program on behalf of ART YARD BKLYN.
PS 34 also offers free fruits and vegetables - the school works in partnership with city and federal programs designed to address food insecurity and promote healthy eating. The produce may be provided through federal initiatives, such as the Fresh Fruit and Vegetable Program (FFVP), or local Jersey City efforts, like the "Healthy Greens JC" program.
I love arriving at the school and seeing a life-size cutout of President Obama greeting me and I particularly love this little model (doll?) proudly displayed in a glass case.
It's a great school!”
The ART YARD BKLYN Benefit Party is shaping up to be a truly special evening and the official opening of our first exhibition of the season, Year of Migration. This celebration is being organized by our dedicated Benefit Committee—Ardelia (Dede) Lovelace, Meridith McNeal, Tangie Murray, Ajani Russell, with Allison Schwartz taking the lead.
Mark your calendars for Saturday, November 22nd, from 6:00 to 9:00 PM at 180 Franklin Avenue, Brooklyn—the same welcoming space where our Advanced Studio sessions are currently held. The evening will feature live music by AYB artists alongside a professional DJ, poetry and tarot readings, hands-on art-making inspired by the Invasive Species collage project with Ajani Russell, and a lively raffle with original artworks, creative services, and art-related products.
We are actively seeking sponsors to help support this event and the important work of ART YARD BKLYN. If you’re able to sponsor or know someone who might be interested in supporting our community, please get in touch—we’d love to hear from you.
Every part of the event—from performances to workshops—is provided by our own community of artists, showcasing the creativity and resilience that make ART YARD BKLYN so special. Delicious refreshments will also be served, ensuring a welcoming and festive atmosphere.
One of the featured raffle prizes at this year’s Benefit will be a 20x20" pillow printed with Phoenix Rising, a powerful painting by AYB Artist Fatima Traore. This image—symbolic of transformation and renewal—feels especially resonant as we look ahead to the year. The pillow (along with bags, notebooks, and pins featuring the same artwork) is available now on the AYB Red Bubble Storefront. Redbubble handles production and shipping, and AYB receives all profits above the base manufacturing cost.
Perhaps we should all be wearing the Phoenix Rising pin at the party?
Stay tuned for more details as the event approaches, and get ready to celebrate art, community, and resilience with us this November!
OTHER ART NEWS
We’re thrilled to share that AYB artist Chace Mondesir has been selected for and awarded placement in the Dear New York photography exhibition, currently on view at Grand Central Terminal.
The show, organized by Brandon Stanton of Humans of New York, features portraits and personal stories from everyday New Yorkers, alongside work by local artists and over 600 NYC public school students in a companion community art showcase in Vanderbilt Hall.
The exhibition is on view through October 19, 2025, with the Main Concourse open daily from 5:00 AM to 2:00 AM and Vanderbilt Hall open on select days with varying hours throughout the run.
Congratulations to Chace for being recognized in this significant public exhibition!
AYB Board Member Cecile Chong invites us to visit Governors Island for the KODA Open House—congratulations, Cecile! She’s currently featured in a stunning solo survey exhibition titled Blue and White Tides at KODA, located in House 407B on Governors Island, on view Saturdays and Sundays from 11am to 5pm through November 2. Don’t miss the Open Studios and Artist Walkthrough on Saturday, October 18 at 2:30pm, and the exhibition closing walkthrough on Saturday, November 1 at 3pm.
In addition to her Governors Island show, Cecile is also participating in the group exhibition Whispers, Flutters, and Collide at Sarah Crown (373 Broadway #215, New York, NY 10013), with an opening reception on October 11 from 4 to 6pm. The show runs through November 1.
You can also visit Cecile during EFA Open Studios, where she’ll be welcoming visitors to her studio (#712) on Friday, October 17 from 4 to 9pm.
Her solo exhibition other Nature – Marshland Tales is currently on view at The Visual Arts Center of New Jersey and runs through January 18.
I'm (Meridith) delighted to share that I have work included in the upcoming exhibition Figureworks Collective: 25 at 25 — celebrating 25 years of Figureworks’ commitment to fine art of the human form.
The show features 25 works by 25 artists who have exhibited with Figureworks over the past 25 years. I’m honored to be included — and as many of you know, I’ve been proudly represented by Figureworks for years.
Some of you may remember our many visits to exhibitions at Figureworks when it was located in Brooklyn — including my own 2008 solo show Keeping Room, which centered around my very first art doll house. That early exploration of the miniature feels especially relevant now, as I prepare for Peer a miniature retrospective of my work at Small House Gallery in London this November, and as AYB artists get ready to present their own miniature works in our spring 2026 exhibition Hold Dear also at Small House Gallery.
Keeping Room Dollhouse views, 2008 & Trip to Keeping Room at Figureworks, 2008
Figureworks Collective: 25 at 25 will be on view from November 8 through December 21, 2025, at Figureworks at Green, located at 92 Partition Street in Saugerties, NY. The opening reception takes place on Saturday, November 8 from 3–6PM, and is part of the Saugerties Art Walk, which features receptions at six walkable galleries throughout the day.
❤️🔥
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