keep scrolling...

keep scrolling...

Autumn in the Hudson Valley is a gorgeous time of year.

Autumn in the Hudson Valley is a gorgeous time of year.

Clear blue sky provides a stunning backdrop to the art

Clear blue sky provides a stunning backdrop to the art

enjoy a beautiful peaceful walk

enjoy a beautiful peaceful walk

come and see the new baby horse...he is a work of art

come and see the new baby horse...he is a work of art

spend the day and bring a picnic lunch

spend the day and bring a picnic lunch

cows love art

cows love art

keep scrolling...

keep scrolling...

John Allen

John Allen is a little known, essentially not-for profit, artist
who lives nearby and makes a living doing something else.

Justin Allen

between two trees
rope, zip ties, galvanized staples, spring

idea process execute coming soon...

Emil Alzamora

life size
gypsum, pigment, epoxy

The human form is a constant within my work. i am interested
in exploring what it means to inhabit one, often exaggerating
or distorting different aspects of the form to reveal an emotional
or physical situation, or to tell a story about a predicament
or an occurrence. limitation and potential are as human as the
flesh, yet hardly as tangible. In my works i strive to make visible
this interaction.

A. Eric Arctander

An undetermined number of standard directional road signs on loan from the Putnam Valley Deptment of Highways, Earl Smith, Superintendent.

My site specific art is the demarking of the specialness of place. This art, located in public and private environments, demark historic, contemporary, mythic or natural aspects of location.

Sandy's farm is an enchanting landscape. Each visit over the years has been like falling through the rabbit hole or flying to a never land~ places that defy demarcation. To reveal that quality, to orient by disorientation, No Direction presents the incongruity of common road signs, arrows, detour and one way (!), sited almost at random in a place of infinite possibilities. Metaphor moving.

A. Eric Arctander

Michael Asbill


Site Specific 30' x 60' x 5'
Existing Cistern, MP3 Player, Speakers,
Battery, Wood, Fiberglass, Chicken Wire

Michael Asbill is a mixed-media artist who has created works with everything from video footage to bullet holes. Michael received his MFA from the University of California, San Diego. In 2000, he moved to the Hudson Valley and began to specialize in creating large-scale public artworks. Michael has exhibited nationally and has received numerous grants. He is an exhibiting member of G.A.S. in Poughkeepsie and is a founding member and resident of CPI, an intentional community devoted to sustainable living and the artsin Accord, NY.

Michael Asbill

Nancy Bauch

3’x 30’
13 boulders, deep sea monofilament, light

“There’s a thread you follow. It goes among things that change. But it doesn’t change. People wonder about what you are pursuing. You have to explain about the thread. But it is hard for others to see. While you hold it you can’t get lost. Tragedies happen; people get hurt or die; and you suffer and get old. Nothing you do can stop time’s unfolding. You don’t ever let go of the thread.”

~ by William Stafford, from The Way It Is, New & Selected Poems. ~

Curt Belshe & Lise Prown

SWARM concerning the locust
Silkscreen and Offset printing on Paper Tags

This installation consists of nearly 600 paper tie tags printed with images of grasshoppers, locust and cicadas. These are paired with words that relate to these ubiquitous insects. The tags are used to create a visual swarm on tree branches, fences etc. These words and images reveal, in their complexity and contradiction, a web of meaning that informs our relationship with this common insect. Topics of agriculture, environment, history and more are referenced in this installation.

“Grasshoppers play an important role in North American grassland ecosystems, serving as food for wildlife and contributing to nutrient cycling. However, periodic grasshopper outbreaks on rangeland can result in competition with other herbivores for vegetation and lead to grasshopper dispersal into crops. Of the 400 species of grasshoppers in the Western United States, fewer than 2 dozen are capable of causing significant economic damage to crops and forage.

Liz Surbeck Biddle

Plaster, paint, wax
9" diameter 1.5" thick

As the warming of the planet seems to be accelerating more and more, forests and jungles are cut down for fuel purposes. Our green trees are so important for the air we breathe. Trees not only give off the oxygen we need to breathe but also absorb the carbon dioxide humans give off. They are our life savers, a simple and sweet symbol of these important parts of our lives.

Liz Biddle

Michael Biddle

Wood, expanded foam, wax, color
14 x 9 x 9

I somehow got interested in cones. They are such elegant austere geometrical shapes, egg like in their purity. They make an interesting canvas on which to apply designs and I tried out several ideas. I wondered how I could introduce them into the wild and ended up creating a little shelter for the tiny decorated cones, hidden, somewhat secretive. It turned out that this became an homage to Joseph Cornell, the inspiring master of assemblage.

Michael Biddle

Scott Boyd

5' x 5' x 3.8' times 3

For this sculpture, I used the farm's existing barn as a waypoint in form, proportion, history and spatial reference to explore ways of relating art to architecture.

Scott Boyd

Jo-Ann Brody

60 to 70 inches tall
colored cement
2006, 2007

Groupings of women move, signal and converse as they occupy the hillside. The women—strong and rooted–are minimal and austere, linear and sensual. They suggest forests, fertility figures, the cycle of life, generations and families, women warriors and refugees.

The figures are created directly in cement in layers over steel pipe. The surface remains rough and variegated. Though created individually, they relate to one another. One figure’s gesture reinforces the next; negative space and rhythmic line imply dance and dialog. Together they create the dance of life.

Richard Bruce

Robert Brush

earth, water,air

ROBERT BRUSH, Producer. Of nothing. Depicting nothing, imbued with expectation. In my background of theater, performance, and set design, I deconstructed known elements of plays and created altered versions of anticipated events. This conceptual approach continues in my current installation work as I focus on the familiar, the repetitive, and question its inherent security and authority. I overlay my work with an inquiry about adolescence, especially as an “American” idiom that extends to the environment. It is informed with the contradictions of limitlessness and restriction, freedom and unease, communality and competition, beauty and impending decay. I rely on the viewer to participate in the creation and development of the work, and grapple with the question: “what is this?”

22 High Street
Beacon, NY 12508

Dina Bursztyn & Julie Chase

found objects
93" x 42"x 21"
summer 2007

This is a collaboration and somehow a fusion of elements from both of our works. Julie makes assemblages and cabinets of wonder with found objects, Dina makes large iconic sculptures, with clay and found objects. Both of us are inspired by nature and tribal cultures, and at the same time interested in making a synthesis between the old and the new; imbuing old forms with new meanings.

Open Studio Art Gallery
Open Fri., Sat. & Sun 12noon-6pm
402 Main St., Catskill, NY 12414

Diana Carulli


a sculpture in steel, is an evolution of my work with labyrinths. At the core of the ancient myth is a bull so irresistible that gods and rulers are set at odds bringing consequences, like the Minotaur, for the rest of us. Saunders Farm angus steer in their great fields strongly impressed me to realize this bull. The expertise of Metal Concepts clinched its creation so that now we can face the bull ourselves.

Diana Carulli

Jodi Carlson

recycled aluminum, old road signs

I am a female metal sculptor who creates contemporary aluminum art and functional pieces. My assemblages are suitable for both in and outdoor exhibition.

I create large swirling scaffold forms into and around which I attach abstract shapes cut from recycled aluminum. The use of old road signs adds color and other graphic elements to my sculpture. The outdoor pieces can be illuminated at night due to their inherent phosphorescent graphics. All of these factors, along with my relationship with nature, interact to produce playful pieces reflecting urban/suburban cultural themes that draw people in.

Jodi Carlson
845.528.4341 (phone/fax)

Ada Pilar Cruz

PORTRAIT OF SAFWA, from Desasosiego series
Wood fired ceramics

The figure from the series, Disquietude, is a portrait of a young girl/woman who had been my student in 1990. I have tried to capture her as I saw/understood her to be at the age of 13: proud, curious and vulnerable. The figure should blend with the environment to give the illusion that as audience/viewer walks the grounds the figure will seem to suddenly materialize on the spot she stands. Footprints, which are hidden in the surrounding grasses are reminiscent of images of footprints of the Buddha. While they are meant to invoke or imply spirituality to the figurative work, they are not meant to be specifically religious.

David Duckworth

Found objects, copper
Site specific, 2007

This sculpture was my first reaction to visiting the farm. The materials were found in field and trash heap. The assemblage joins the remains of nature’s products with the decay of human production. Both suggest obsolescence, yet the former was destroyed before its own natural cycle had come to a close. We can discard our own trifles, but can we continue to indiscriminately destroy nature’s growth, development, and recycling. The work is, in part, a paean to that irrational, yet ever-present beacon of light, hope. But it is also rumination on that light’s dim power and blind attitude midst a fragile world.

David Duckworth

Chris Elliot

I submit a sculpture of importance in the Saunder's Farm Exhibition for consideration. I'd like to thank Herrman Roggeman and Eric Arctander for it's creation. I hope all who happen upon the tree get something out of it and understand why it was included. I, personally, am happy I'd a chance to plant a tree near where I grew up. Cheers all!

Christopher Elliot
6 Fantin-Latour
38000 Grenoble, France
00 33 4 76 44 25 78

Pamela Hardenburg

30+ pieces, size varies
Casting Plaster, graphite, and original cast negatives
1997- Present

Graffiti is poignant and irritating, poetic and intrusive. These epigraphic images, cast from major monuments in Britain, The Netherlands, Italy, France, Turkey and India address the existential nature of 'being' and our primal need to make marks. The collection seeks to rediscover the times, experiences and pathos of the anonymous name and provide reflection on marks and their meaning. The works are evocative souvenirs of history. Sited in the natural environment they address the majesty of nature that man continually marks.

Pam is a practicing artist, consultant, educator and examiner. She lives and works in Chiswick, London. Works may be purchased through Go North Gallery or by contacting the artist.

P.A. Hardenburg
57 Montgomery Rd,
London, GB W4 5LZ

Ruth Hardinger

approx 14 ft x 120 ft x 3 ft
nylon rope and concrete components
Summer 2007

Draw across the breaking point
stretch to reach
reach to connect
connect to weight
weight to pull
pull to taught
One continuous line

Taught. Tension.
the result of a duel
the aspiration for lightness

Draw the line
meet and balance

Ruth Hardinger

Sarah Haviland

10’ x 10’ installation
mirrors, mesh, monofilament, and maple tree

For this installation, I wanted to call attention with visual means to what is beyond, within, on the other side of our experience.

“The Inward Sky” continues a series of installations and figurative sculptures that use mirrors to suggest both the surface of gleaming illusion and a greater mythic depth. While mirrors in daily life primarily reflect self-image, historical meanings evoke wisdom and knowledge, the eye of the divine, and a door to the soul’s journey.

Cathrin Hoskinson


These forms are based on drawings of fireflies and a flock of birds. They repeat shapes of leaves and seeds, gestures and lines of light. I think of them as poems which describe and focus a singular light on their surroundings, using a two dimensional abstraction to make the whole landscape into a painting. The other idea is to have an excuse to sit with my dog for a few days on the balmy hillside of Sandy's wonderful space, tying up bits of mirrors, and climbing huge trees.

Cathrin Hoskinson lives in NYC, and was a longtime resident of Westchester, and longtime employee at Argos foundry in Brewster. Her work has been shown at The Studio in Armonk, and at The Garrison Art Center, Howland Art Center, Schoolhouse Gallery, and Neuberger Museum. Her studio is in Accord, NY.

Gary Jacketti

rubber retread and wood

Jacketti lives and works in Beacon, NY. This work belongs to an ongoing series of wood and rubber sculptures experimenting with the natural physical properties of the rubber and its' reaction to the subsequent attached wood. Other works include bandag runner, cube 1, cube 2, sag, and squeeze. Jacketti is a founding member of beacon artist union, a co-operative gallery in the city of Beacon.

Gary Jacketti
161 main street
beacon, ny 12508

Judith Johnson


A sculptor for more than 50 years, Ms. Johnson makes site specific works in collaboration with landowners. On this site last year, Sails, this year A Herd Of Trees. " Protecting our protectors; Trees cool us, clean our air, control flooding and show us beauty. Clear-cutting, burning, misusing for profit, what becomes of the Earth as trees go the way of the buffalo?"

Thom Joyce

12 ft high
oil base paint on welded steel.

My art, born from the need I feel to create and to manipulate metal
into forms and shapes that come from my love of nature, appear at first to
be part of an insiders joke. Though my work is whimsical it still involves
the viewer to come to terms with what I believe the future may hold for us.
From my NuClear Flower series to to my larger installation of "Solitude's
Gift" I try to make one aware of our footprint on this rock we call earth.
With Ode to Lou Christie I was having fun paying homage to one of my early
heroes. My art is really about the process -- welding, bending, casting,
painting, and patinating, all done with a sly smile and a twinkle in my eye.

Thom Joyce

Matt Kinney

10 foot, buried & 12 inch diameter
Black Locust, Aluminum, Stain and threaded rod

Technology, Place, Investigation and Nature all meet in Totem. Animal tracks taken from Prospect Park in Brooklyn, NY were cast in Aluminum using the Lost Wax Process. Bolted to a half round, Black Locust log, they face the setting sun at Saunder's Farm. Buried, Totem stands approximately seven feet high. It measures about twelve inches in diameter. What interested me most in the making was to be in the heart of an urban metropolis and to find clues and details of Life seemingly running counter to that of The City's.

matthew kinney

Drew Klotz



in the field

in the field

and in the studio

and in the studio