Jared Ainscough: Rebuilding Jon Brooks

Most of the artists I’ve ever known or researched have a studio space that they set aside for work on…

Pigments of Imagination

Back in the 1950s, John Walker’s classmates at the Birmingham College of Art in England might have been forgiven for…

Notes from the Field: The Style of Susy Pilgrim Waters

Really good decoration can be measured in two ways: the first and most obvious is that the interior should please…

Sneak Peeks: The Work of John Walker

In the upcoming March/April issue of New England Home we will be featuring the work of painter John Walker. For…

Ahead of the Curve

Artist Laura Spector is allergic to right angles. On the other hand, she’s never met a curve she didn’t like….

Elements of Surprise

Click here to see metal artist Mariko Kusumoto demonstrate the intricate workings of her sculpture "Kaiten Zushi." You’ve just inherited…

In the aftermath of her mother’s death, she returned to northern New Hampshire and photographed her home with the hope that the images she produced would provide a greater understanding about her mother, her childhood and herself. “A photograph is about a moment between you and what you are photographing,” she says, “and I had no photographs of my mother…I did not know her at all.”

Looking Forward

Mazur’s work from 1960 to 1980 was primarily figurative. “In 1993 there was a real change, although I’ve never thought of my work as abstract,” he says. “The word abstract has very little meaning for me. My tendency is to prefer the distinction between narrative and non-narrative.”

Beauty in the Beasts

McKie’s furniture incorporates what she calls the essence of an animal rather than a strict representation. As she explains about her black marble Hippo Bench, “No hippo has legs like that. I am always trying to strip away everything and get to the bare essentials of the hippo, call it the ‘essence of hippo.’ ”