That's how the light gets in
- frida@artyardbklyn.org
- Dec 19, 2025
- 11 min read
Ring the bells that still can ring
Forget your perfect offering
There is a crack, a crack in everything
That's how the light gets in
~ Leonard Cohen
This week in Advanced Studio on Zoom, AYB artist Vera B. asked us to contemplate the question “What’s the deepest silence you’ve known?” as a springboard for a rich and reflective session. Vera introduced Golden: The Power of Silence in a World of Noise, inviting us to slow down and consider silence not as emptiness, but as a powerful, generative force—one that can sharpen focus, deepen awareness, and restore balance amid the constant hum of modern life.
Drawing from Justin Zorn and Leigh Marz’s exploration of silence, the conversation traced how cutting through auditory, informational, and internal noise can lead to greater clarity, improved health, and a more intentional way of being. Rather than framing silence as passive or unproductive, Golden reframes it as an active practice—one that helps us tune into the signal beneath the clutter, reconnect with ourselves and others, and imagine new ways of working, healing, and creating together.
Vera summarizes: “The text, Golden: The Power Of Silence In A World Of Noise by Justin Zorn and Leigh Marz, was used to guide students on a journey from noise to silence. They learned about the three types of noise, definitions of silence, and the impact of immersive silent experiences on the body and sense of the self. We reviewed the work of two artists, Yayoi Kusama and Tricia Hersey, who responded to the noise in their world with their own form of silence. Students were given liberty to create work from four different prompts, or choose one of their own.
Screen shots from Vera's presentation
The AYB artists never cease to amaze me with the unique ways they morph a lesson into a work of art. Thank you to everyone who showed up and Meridith for the opportunity to teach my first art lesson.
Karla’s piece caused Rashidah to shudder at the idea of a world with no music. She used a white gel pen to erase the notes on a piece of sheet music, to represent silence. She placed the sheet music over a “noisy” precipitation map, which I really liked.
Adji recreated the room she lived in when she first moved to NY and how she found “freedom of choice” in the silence.
Flo described the silence he experienced in Senegal as “deep, spiritual and mystical.” His piece depicts the darkened room where he sat with his family and talked.
Leah’s photographic painting illustrates her definition of silence, as nature. (A few days after the session Meridith compared Leah’s piece to Sally Mann’s photographs of Civil War battlefields.)
For Meridith, the deepest silence she knows is being in her studio, dusk and when it snows. She combined these elements in her miniature creation.
The use of textures, light and shadow and the color saturation are beautiful in Cheyenne’s finished two-paneled piece. I am a huge fan of textured/impasto type art and this was executed very well. The book Golden discussed this Japanese principle, Ma, which emphasizes the importance of gaps, spaces and pauses in between. I see this in the strip of black paint at the border between the two images. I also see this in the halos around the head in both images.
Rashidah received feedback for her use of color, texture and spark of light. It illustrates the deep darkness she experienced during a cave exploring trip.
Dami used a digital program to illustrate her definition of silence, from a mental perspective. My eye was immediately drawn to the yellow at the center and the small figures in the tree.
Aaron used Blender, a program that creates 3D art. When I first viewed it I felt like I was in the room. I sensed a push/pull as I peered at the darkest point in the piece. I wanted to get closer and I didn’t. The dark figure, which I didn’t see immediately, gives the eerie/scary feeling he was aiming for. The transition from bright like to deep darkness was something that stood out as well. I could sense the silence at all points of the light gradient.
My (Vera B.) piece was inspired by the “science of silence,” discussed in the book. During deep meditative experiences the Default Mode Network or “me network,” is turned off and what I termed the “we network” is turned on. Using Canva, I created a collage. The background is a picture of earth, half on fire and half intact. As the figures increase in size and move through the transformative portals of silence, the “me network” (image on the head) is turned off and the “we network” (image on the body) gets stronger. The message I want to send is that the noise that’s contributing to the world we live in can be remedied by understanding how interconnected we really are. And consistent, intentional, immersive silent experiences can put us on a path toward real change.
PS: I highly recommend everyone read this book.”
On Tuesday, Advanced Studio gathered in person at 180 Franklin Avenue we had a full house and an exceptional session with AYB Artist Neah Gray who shared an excellent PowerPoint which spurred lively conversation about Brooklyn architecture past and present.
But first, we celebrated Hanukkah! Jacob described the Festival of Light, and intoned the prayers for us in Hebrew and translated. Jacob explains: “I discussed the Hanukkah story, and the meaning of the holiday. The menorah has 8 lights, since it commemorates a miracle where a pot of oil only had enough oil to light the eternal flame for one day, but it instead lasted eight. I asked someone who had never lit the candles before to do it, and Dylan lit them.
Neah recaps the session: “For our second-to-last Advanced Studio class of the semester, we traveled back in time to explore Brooklyn architecture from the 1900s. Together, we viewed archival images of Williamsburg, Crown Heights, Bed-Stuy, the Brooklyn Navy Yard, Red Hook, and more—placing us in a moment when trolleys were still common and graffiti-covered trains were the norm. Images of the Brooklyn Bridge and the Henry Hudson Bridge helped us think through how socio-economic politics shape our urban landscape. As we compared the past to the present, we noticed both how much and how little has changed. The Grand Army Plaza Arch remains largely the same, as do Prospect Park’s layout and boathouse. Brooklyn’s architecture serves as a visual record of migration, movement, and cultural exchange.
Through collage, students reimagined and built their own urban landscapes, drawing inspiration from our class discussions, NYC, and places they’ve traveled or visited. We explored how architecture and urban planning reflect the histories and stories of the people who lived there—and those who were displaced.
Advanced Studio at work at 180 Franklin Avenue
Fatima created a collage that felt like stepping into a new world. The relationship between foreground and background captured the layered nature of Brooklyn’s landscape. She topped it off with a quote—“The past is always the present”—which beautifully summarized our lesson, reminding us that past architecture continues to shape the city we live in today.
We were joined by two of my close friends, Jay and Rebekah, who attended AYB class for the first time. Their collages exuded both confidence and vulnerability. They jumped right in, engaged in conversation, and incorporated thoughtful imagery—Jay’s inclusion of Dionne Warwick and Rebekah’s focus on different kinds of people directly reflect NYC culture.
Rebekah Bobb (left) Jadeen Samuels (right), Brooklyn Architecture Collage
I loved Shellorne’s recreation of the Brooklyn Bridge, using brick-pattern cutouts and illustrated feet to create an image that was instantly recognizable.
I also appreciated Dylan and Delanny’s participation—they came in excited for the lesson, and I enjoyed helping Delanny figure out what she wanted to cut out and collage.
Dylan (left) and Delanny Gomez (right), Brooklyn Architecture Collages
The depth of field in Seb and Maria's collages stood out as well; creating a street and sidewalk from stacked books and runway images was a smart and inventive choice.
Sabastian LaBossiere (left) and Maria Polanco (right), Brooklyn Architecture Collage
Cheyenne’s collage really struck me. She included ransom-style lettering spelling out “Reclaim Brooklyn,” a bold and powerful statement in this era of gentrification and rapid technological change. Within her collage were layers of women interacting and kissing, girls on a fire escape, and a woman photographing a NYC landscape. NYC is a melting pot of cultures, races, personalities, and pockets of people living their own lives, and Cheyenne’s work reflects the diversity and subcultures that make Brooklyn what it is.
Flo’s artwork offered a thoughtful nod to prominent NYC figures like Spike Lee, whose Brooklyn roots and love for the Knicks resonate far beyond the city.
Overall, our class was filled with great energy. We connected through shared experiences and knowledge of Brooklyn while using collage—one of my favorite techniques—to create work that was as layered, distinctive, and dynamic as the city itself. We learned from one another while making art that reflected our individual perspectives on life.”
Brooklyn Architecture Collages by: Briana (Cammi) Camacho, Leah Eliopulos, Fisola Famuyiwa, Abriel (bob) Gardner, Neah Gray, Rashidah Green, Mia Lew, Georgia Rae Lyken, Chace Mondesir, Jacob Rath, Ajani Russell: (use arrows to scroll)
Other Art News
Inspired by Evelyn Beliveau’s recent Advanced Studio session, AYB Artist Jazz Guilett led their 8th grade reading class at Explore Charter School in Flatbush in an ekphrastic writing project based on A Midsummer Night’s Dream. Working in groups of five to six, students practiced responding to one another’s ideas while developing playful, collaborative pieces of writing.
Jazz Guilett's Ekphrastic Writing bulletin board
AYB Managing Director Dennis Buonagura writes: “I went downtown to artist Maira Kalman's holiday pop-up shop in Tribeca - fun, lots of handmade items by Maira for sale (posters, needlepoint/embroidery pouches, napkins, table-runners, etc). But, lucky me, I got to chat with Maira and her son Alex (artist, and founder of Mmuseumm) - our conversation was not about art (well, not really) but about the celery stalk Maira noticed in my tote bag (an ART YARD BKLYN tote bag, mind you). I'd stopped at Gourmet Garage before going up to the pop-up and bought celery, carrots, and mushrooms for soup. The celery was sticking out of the top of the bag. Maira asked if I followed a recipe or was it a family secret - but I told her I add ingredients as I go along and had no set recipe. That topic morphed into recipes for pot pies - Maira asked if I made one large pie or several little ones - she likes to make the one big pie! I felt weird to ask a photo but she was very happy to oblige - so much so that she directed me in holding the camera higher for a better shot.
Maira and Dennis; Maira Kalman, A Field of Red Poppies, embroidery; and Maira Kalman, Toklas and Stein in their salon at 27 rue de Fleurus with their famous art collection.
On Saturday, Joe and I took the Q train to our old neighborhood (we grew up on the same street - with AYB Artist Marie Roberts) in Brooklyn to meet Marie and attend the Edward R. Murrow's production of WHITE CHRISTMAS - starring AYB Artist Ailey Haynes (as Judy Haynes - yup, Ailey was one of the Haynes Sisters - if only Marley was attending the same school - they'd have been the Haynes Sisters playing the Haynes Sisters!).
I'm a big fan of the 1954 film and often don't like when any productions toy with the original - BUT this production was ulta professional, superbly rehearsed and directed, with a huge cast of happy students. Sets, costumes, lighting - all done by the students. A gigantically talented cast - our own Ailey was the superstar - in the role played by Vera Ellen in the film - Marie, Joe, and I were in awe of how graceful and sophisticated Ailey is (well, she always was, even as a 2 year old) - so perfect for the role. A lovely and velvety-smooth singing voice - perfectly performed dance routines (there's a LOT of dancing in WHITE CHRISTMAS) - sensitive acting - she's got it all. This is no surprise to me, tho. She was a wonderful little kid who of course turned into a wonderful young adult. As Judy Haynes, she gets to perform the big "Sisters" number - as well as the fantastically choreographed and performed "I Love A Piano" number (note - all songs by Irving Berlin). We even had a singalong to "White Christmas". If you are familiar with the story, in the final scene, massive doors are opened to reveal that it is snowing. Life imitated art that night - when we were leaving the high school and the doors opened, it WAS snowing. We walked with Marie through our childhood neighborhood and passed the houses we grew up in. What could be a better way to spend an evening in Brooklyn - Irving Berlin's music, fabulous performances, a "White Christmas" singalong, Ailey Haynes!, Marie Roberts! - perfect. Happy Holidays!
Marie adds: "I had the pleasure of attending the Edward R Murrow student production of White Christmas with our own Ailey Haynes in a lead role - as one the the Haynes sisters! I expected the production to be good; I did not expect to be blown away, I did not expect live music. The show was visually beautiful - the sets made sense and the costumes were gorgeous. The students did everything: costumes, sets, live music. The cast and crew were professional and everyone looked happy. The joy was contagious. The audience was so supportive and hall monitors, public safety, parents, guardians, students - everyone there exuded that joy and pride. Congratulations to Ailey and the students and their dedicated teachers and staff who made this wonderful production
possible."
Over a month in the making, I (Meridith) just finished a new big painting:
I had a lovely exchange with AYB Artist Luna Velayandom Neven du Mont who is currently in High School in France.
Luna shares her latest finished drawing and writes: " I don’t know when I’ll be back 🥲 but I’m very excited to see you guys !! I read your recaps, everything is amazing , I’m so happy to be able to see your beautiful artwork even from France !! 🌷"
Exhibitions to See
AYB Teaching Artist Mildred Beltré and I went to see Data Consciousness: Reframing Blackness in Contemporary Print at the Print Center New York (535 West 24th Street, Chelsea) through tomorrow December 20, 2025 and Reminisce, Roxa Smith’s exhibition at C24 Gallery (560 W 24th Street, Chelsea) on view through January 11, 2026.
Data Consciousness: Reframing Blackness in Contemporary Print, brings together work by Black contemporary artists who explore expanded modes of printmaking to question the complex interplay between race, technology, and representation in our increasingly data-driven world. The exhibition features Tahir Hemphill, Julia Mallory, Silas Munro, Kameelah Janan Rasheed, and William Villalongo and Shraddha Ramani.
William Villalongo and Shraddha Ramani print installation (left) and Tahir Hemphill, Mappers Delight (right)
Reminisce focuses on interiors and everyday scenes shaped by memory. The paintings on display depict table settings, floral arrangements, lived-in rooms, and familiar landscapes. They do not document moments and objects as they were, but as they are remembered. Through shifts in color, pattern, and perspective, Roxa Smith considers how domestic spaces hold personal history and a sense of home.
What We Are Reading
I (Meridith) really enjoyed Marsha: The Joy and Defiance of Marsha P. Johnson (Penguin Random House, 2025) by artist, filmmaker, writer, and activist Tourmaline. This well researched book presents Marsha P. Johnson’s trailblazing artistry and activism with depth, care, and brilliance. An iconic New York hero, Marsha lived her life with gusto, and Tourmaline—who does the same—brings her story to life with sparkle, remarkable insight, and an exceptionally nuanced approach to disability and mental illness, framed through a positive, generative, and affirming lens. The final chapter, “Marsha, the Legacy,” honors the people, actions, and movements of empowerment, and liberation that will carry her spirit into the future.
🕯️🤍
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