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February 21, 2026

Centreville Spy

Nonpartisan and Education-based News for Centreville

1A Arts Lead

Beyond black and white: Oerdy Hummel’s journey of art, freedom, and color

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Like many artists, Erdmann “Oerdy” Hummel is a man whose life and art are deeply intertwined. But his story is also a journey through politics and personal resilience that many don’t get to nor would want to experience. To hear him speak is to get caught up in the intensity of his past, the present of an artist committed to his craft, and a future of hope.  It’s to be invited on a trip from East Germany’s Communist regime to one of international acclaim as an artist and a journalist. 

Oerdy’s latest works feature zebras with vibrant, colorful stripes. For him, these zebras are symbols of individuality and joie de vivre, a spirited representation of life’s complexities and the beauty of embracing them, a far cry from the black-and-white thinking he grew up fighting against. 

Reflecting on his choice of subject, Oerdy says, “I love zebras. They are a symbol of freedom to me. Each of these animals is different. Their stripes are individual. Also, zebras are herd animals like humans, and there are many secrets about these zebras.”

It’s a message that resonates deeply with Susan Schauer John, owner of the Zebra Gallery. “I met Oerdy earlier this year through Richard Marks and Amy Haines, who invited him to do a show at the Out of the Fire Restaurant. I immediately fell in love with the work and, of course, the meaning of the work. It’s a 100% fit with the Zebra Gallery and our mission.”

Oerdy’s life story is as striking as his art. Growing up in East Germany, he learned early on that art could be a powerful tool for self-expression and defiance. After multiple attempts to escape the Communist regime, he finally found freedom when the Berlin Wall came down. He then pursued a career in journalism, reporting from some of the world’s most dangerous crisis zones, including Afghanistan, Iraq, and Gaza. Even while documenting these intense experiences, Oerdy never stopped painting. “My personal history is deeply embedded in my art,” he said. “When I was in prison, I thought about freedom and how to get it, and what would I do for my own freedom. Art became a means of resistance, a way to say things that couldn’t be spoken aloud.”

It’s a sentiment that Schauer John understands well. “What I love about Oerdy’s work is that it’s not just beautiful—it’s meaningful. He uses materials like aluminum cans he’s collected at war zones worldwide. That’s amazing, and the symbolism involved in that speaks volumes. I particularly love his style and his work, but more importantly, the meaning behind it, and for me, that richness matters.”

In one of his pieces, a zebra is painted in the yellow and blue of the Ukrainian flag, its body pressing through a wall marred by symbols of oppression. Oerdy explains, “I painted this piece after Russia invaded Ukraine. The zebra, with its yellow and blue stripes, is a symbol of hope breaking through darkness.” It also rejects the black-and-white mindset he associates with authoritarian regimes. “Colors give me hope. The world isn’t black and white. The world is colorful.”

For Schauer John, Oerdy’s art is a profound example of how creativity can bridge cultural divides and speak to universal themes. “Art has this incredible ability to connect us. No matter where we come from, we all understand loss, hope, and resilience,” she says. “What I’d like people to take away from seeing his work is a sense that art is a way to reflect and appreciate all that is around us and all that we’re capable of and how we all share this life on the planet. I think there’s a language in art, whether a painting or a sculpture, that transcends language differences, and I think art brings us together in that way.”

Oerdy’s admiration for American culture is another thread woven throughout his life and work. Growing up under the shadow of the Berlin Wall, he was captivated by American jazz, pop art, and films. “American culture showed me what freedom looked like,” he says. “

When asked what he hopes to leave behind, Oerdy is humble. “I don’t think about that too much. I just enjoy creating art.” Schauer John, however, has no doubt about the lasting impact of his work. “It’s an honor to host an international artist like Oerdy,” she says. “Now, when we’re feeling somewhat divided, it’s important to have perspective, and I think Oerdy brings that, having grown up in East Berlin and gone through what he’s gone through, to be here now is really a sentiment to appreciate what we have. ” 

Through the end of the month, Oerdy’s works are on display at the Zebra Gallery in Easton as part of the Evolutionary Art and Artists series. But Schauer John says that she will continue to exhibit Oerdy’s work and encourage visitors to look beyond the black and white, to experience his journey of courage, creativity, and the belief in the power of art to break down barriers—both literal and metaphorical and to dare to see the world in vivid color.

The Zebra Gallery is located at 5 N. Harrison St. in Easton, MD.
Hours:  Thurs – Sat. 11 – 5 pm,  Sun. 11-4 pm

 

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Capturing stillness: The Photography of Beth Horstman

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On exhibit now and through the end of the month at Adkins Arboretum, Mary-Land Scapes features the works of Beth Horstman and Joan Machinchick, both artists exploring the simplicity and richness of the Eastern Shore. While Machinchick’s watercolors highlight the lushness of the area, Horstman’s approach to photography uses symmetry, negative space, fog, and a balance of black-and-white and color images to reflect her connection to the landscape.

Horstman’s journey into photography began early. “I’ve had a camera since I was 12,” she said. Initially, her subjects were family moments and vacations, but her work took on new life after raising her children. “When everybody left home, it gave me the opportunity to start really looking at simple things that made me feel good.” After moving to the Eastern Shore 10 years ago, Hortsman found a new setting for her photographic exploration. “There’s so much space and character that it was like a photographer’s paradise.”

That spaciousness defines Horstman’s artistic approach. Her preference for isolating subjects and using minimalism is central to her work. “If I can isolate something that attracts me, she says, “I pursue it.” It’s all a way for her to block out distractions, allowing the viewer to focus on the subject without overwhelming detail. “I like the simplicity of one or two, maybe three things, but they all have to go together. That’s why I like fog—it allows me to block out what’s behind the subject.”

Though she’s also drawn to color, for Horstman, black-and-white photography has offered a unique way to convey this simplicity by not distracting the viewer. “However, when color is really strong, it shows something you want to look at.” She illustrates this balance with an example from her portfolio: “I have a photograph of a fishing boat coming through Kent Narrows, and it’s a color photograph, but there are maybe two colors in it—one of them being this super strong red marker. The color plays a role in the photograph, but it’s not overwhelming.”

This delicate balance between simplicity and power is a hallmark of Horstman’s work. She strives for images that offer viewers a visual reprieve. “I guess it’s just that your eye isn’t darting everywhere,” she explains. “It doesn’t take a lot of energy to look at it—it just feels calm. When there’s too much going on, I want to move on.”

Horstman’s creative process is guided by instinct. “It’s definitely a gut feeling,” she says. “I can look at one photo and know it’s exactly what I was aiming for, but another one might feel too colorful or not quite right.” This intuitive approach was fully displayed when she created a series of photographs inspired by her mother’s love of gardening. “My mother was in a care facility, and I wanted her to have a piece of spring inside with her. So, I took photos of greens——and blew four up to 30 by 30 squares. It’s like looking out a window, and they’re printed on metal, so the color really pops.” This series remains one of her favorites, not only for its visual impact but also for its personal connection.

Horstman is also drawn to trees, a frequent subject in Horstman’s photography, each chosen for its personality and how it complements the surrounding environment. “I look for trees that have character,” she says. “Sometimes they’re symmetrical, sometimes they’re not, but they always catch my eye. One of my favorites is a lone cypress tree at Nasawango Creek—it’s just this little tree living happily in the river, with woods behind it. I was able to blur the background and isolate that tree. It’s things like that, moments of solitude in nature that make me want to document them.”

While this article focuses primarily on Horstman’s work, it’s important to note the contributions of Joan Machinchick to the Mary-Land Scapes exhibit. Although the decision to exhibit together came about through Adkins Arboretum, it was a fitting match. While their mediums are different—photography and watercolor—their shared appreciation for nature ties their work together. “Joan’s paintings are so different from my photographs, but we both love nature, and that comes through in our work. For example, her gardens are domestic, and I love that about them. But they still capture the essence of the Eastern Shore.” 

The Mary-Land Scapes exhibit is not just a celebration of the visual beauty of the region but also explores its historical and environmental richness. For Horstman, the Eastern Shore holds a special place in her heart, dating back to her childhood. “We’d drive down here and sail for the weekend,” she says. “When we moved here ten years ago, it felt like coming home. 

As for what’s next, Horstman is content to keep sharing her work at her own pace. “I’ve been shy about putting my work out there,” she said. “But my mission is to share it- and let people experience it.” Early next year, she’ll showcase her work again at Out of the Fire in Easton, continuing to explore the themes of stillness that define her photography.

In a world that often moves too fast, Horstman gives viewers a moment to pause, reflect, and connect with nature in its purest form. Through her lens, even the most ordinary subjects—like a lone tree or a fishing boat—take on new significance, reminding us of the quiet strength and beauty of simplicity.

Mary-Land Scapes will be on view at Adkins Arboretum through October 26, 2024. Her work can be seen at: https://bethhorstman.com

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

“CBMM’s ‘Sailing to Freedom’ explores maritime routes to liberty

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Chesapeake Bay Maritime Museum (CBMM) can always be counted on to provide groundbreaking programs. Once again, they do not disappoint. Their latest exhibit, Sailing to Freedom: Maritime Dimensions of the Underground Railroad, opened on September 27, 2024, and offers visitors a fresh perspective on one of the most critical and compelling periods in American history: The Underground Railroad. But this time, the focus is on a lesser-known part of that story—escape routes to freedom by sea.

Through immersive storytelling, compelling artifacts, and deep historical research, the CBMM)dives into the maritime aspects of the Underground Railroad, shedding light on the lesser-explored routes enslaved African Americans took to liberate themselves via coastal waters. From the log canoes of the Chesapeake Bay to the large ships on the Atlantic, the exhibition explores the ways freedom seekers navigated the waterways, sometimes risking everything for a chance at liberty. It is designed as a self-guided tour, allowing visitors to explore the compelling stories at their own pace

Curated by the New Bedford Whaling Museum’s Maritime History Curator Michael Dyer and Professor Timothy Walker of the University of Massachusetts-Dartmouth, Sailing to Freedom takes inspiration from the book of the same name, which featured essays from over ten scholars, two of which heavily feature the Chesapeake. For CBMM, it was a natural fit. Jen Dolde, CBMM’s Director of Curatorial Affairs and Exhibitions, explained, “We knew that Chesapeake played a central role in this, and we knew that we wanted to enhance this story, both the story that’s already told with objects from our collection, but also saw opportunities to make it our own.”

While the original exhibition focused on broad aspects of the maritime Underground Railroad, CBMM added a local dimension, including key figures of the Chesapeake. The exhibition invites visitors to reconsider the long-held assumption that the Underground Railroad traveled by Harriet Tubman was strictly a land-based network. Instead, it highlights the crucial role waterways like the Chesapeake Bay played in the freedom-seeking journeys of enslaved people. Dolde noted, “People assumed that Tubman always used land routes, but we know that water played a huge part in her life, both in her work as an enslaved person and as she helped others to seek freedom.” 

Also receiving attention is Frederick Douglass’s story, particularly his early experiences as a caulker in the shipbuilding industry. His knowledge of the maritime world and connection to the water played a critical role in his path to freedom. Said Jill Ferris, CBMM’s Vice President of Education & Interpretation, “Douglass was from here, and he knew the comings and goings of ships. His understanding of the maritime world helped him when it came time for his own escape.”

The exhibit also examines how escaping via the sea was not a simple attempt and came with immense risk. Many enslaved people were able to find freedom because of their knowledge of the sea or through their labor in maritime industries. For others, secrecy and daring were the only strategies available.

Said Dolde, “A lot of people may not be aware of the role water played in these stories. Some freedom seekers forged or borrowed protection papers that allowed them to board ships; others simply had access to waterways because of their work. This exhibition humanizes those stories, putting names to individuals and showing the risks they took.”

One of the many strengths of Sailing to Freedom lies in how CBMM incorporates objects from its collection to bring history to life. Visitors will encounter powerful artifacts that speak to both the struggles of enslavement and the triumph of self-emancipation.

Among the artifacts on display is a log canoe model representing the types of small boats used by freedom seekers in the mid-1800s. These vessels, though modest in size, were critical in allowing enslaved people to navigate through the treacherous waters of the Chesapeake Bay, sometimes with their families in tow. Ferris also pointed out that the museum includes “tools used by enslaved people working in the shipbuilding trade, which remind us how intimately African Americans were tied to the maritime industries.”

A portrait of the Katherine Jackson, a ship used to transport 272 enslaved African Americans from Maryland and Washington, D.C., to sugar plantations in Louisiana, serves as a sobering reminder of the brutal legacy of the domestic slave trade and the specific history of the Chesapeake region. “This portrait shows the darker side of the story—the forced sale and transport of enslaved,” said Dolde.

The exhibit also features a profoundly poignant quilt loaned by the Universal Sailing Club, commemorating the 10th anniversary of the Souls at Sea celebration ceremony. Crafted by National African American Quilt Guild members, the quilt depicts 14 ships involved in the transatlantic slave trade, offering a visual representation of the many vessels that carried captive Africans to the Americas. It’s a stunning, reflective piece that connects past atrocities to modern-day efforts to remember and heal.

Perhaps one of the most captivating figures visitors will meet in the exhibition is Henry “Box” Brown. Brown famously escaped from slavery in 1849 by shipping himself from Virginia to abolitionists in Philadelphia in a wooden crate. His story of endurance and creativity is almost hard to believe, and CBMM has found a powerful way to bring this incredible tale to life.

As part of its Museum Masters summer camp, CBMM invited middle school students to research Brown’s story, examine historical manuscripts, and recreate the box he used to ship himself to freedom. The crate, constructed to scale by these students, now sits in the exhibition, providing an intimate and tangible connection to Brown’s ordeal. Ferris described the impact of having students engage in this hands-on historical project: “They looked at the primary sources, looked at the documents, took the measurements, and constructed to size. It’s an incredible way to make history real and accessible.”

Brown’s escape took 27 grueling hours. He faced extreme physical discomfort inside the cramped, dark crate, but his determination to reach freedom was greater than the risk. Ferris said, “It’s a story that’s easy to connect with because you can imagine yourself in his shoes, the fear, the desperation, and the hope–to think, from his perspective, what it would be like to literally mail yourself to freedom.”

One of the most exciting aspects of Sailing to Freedom is the interactive story map, which allows visitors to explore the history in greater depth. As Dolde explained, “We’ve incorporated a story map (accessed via a QR code) that we anticipate and want to grow during the course of this exhibition. It’s a way for people to explore more stories geographically, and we’ll continue adding to it.”

CBMM also encourages visitors to explore related sites throughout the Chesapeake region. The exhibition includes brochures and maps to direct people to other locations linked to the Underground Railroad, allowing them to extend their learning beyond the museum.

Sailing to Freedom is a must-see for those interested in untold stories, courageous journeys, and a fresh perspective on the Underground Railroad.

The exhibit will run throughout 2025, and entry is included with CBMM’s general admission. As with all CBMM programs, members receive free access.

 

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CCF 2024: Monda Raquel Webb Through Storytelling and Social Impact

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Monda Raquel Webb is a force of nature—a visual storyteller who has carved out a unique space in the film industry by bringing hard-to-talk-about narratives to light. As a filmmaker, author, and poet, Webb’s work is deeply rooted in uncovering the stories that often go unnoticed, stories that challenge the status quo and push audiences to think beyond the surface. Her films, which have won international acclaim, explore difficult subjects like racism, homelessness, and social injustice. As the Vice President and Festival Programming Coordinator of the Chesapeake Film Festival, Webb is uniquely qualified to curate and elevate films that provoke thought, inspire change, and reflect diverse and complex narratives

Webb’s journey into filmmaking began long before she ever picked up a camera. “I’ve been a storyteller pretty much all my life,” she said. “Even as a child, I would create stories and share them with anyone who would listen. I remember my grandmother’s best friend telling her, ‘Yeah, that Monda, she’s just making up these stories!’ I don’t know where they came from, but I’ve always expressed myself that way.” This ability to weave narratives eventually led her to filmmaking, a medium where she could bring her stories to life in a way that words alone could not.

Webb describes herself as a “visual archeologist,” a term that encapsulates her approach to storytelling. ” “When it comes to filmmaking, it is a medium where it is ‘show, not tell,’ and we’re such a visual society, and I see everything in pictures,” she said. This perspective allows her to tell stories that are rich in detail and emotion, stories that resonate with audiences on a deep, personal level.

Her films, “Zoo (Volkerschau)” and “Pooch Sitter,” are prime examples of this. These short films have gained over 40 international awards and tackle intense themes like racism and homelessness. However, for Webb, these themes are not just subjects to explore—they reflect her own experiences and the world she grew up in. “I was born in ’68, and there was a hell of a lot going on in the United States and around the world — from civil rights to the assassinations of King and Kennedy. And I believe that all of the emotion and all of the love and the rage and the fire and the fight for a better life for all of us, it’s just bottled up inside me in my DNA.”

Webb’s ability to tackle complex subjects with sensitivity and depth is one of her greatest strengths as a filmmaker. In “Zoo (Volkerschau),” she delves into the disturbing history of human zoos, a little-known chapter of history where people of different ethnicities were displayed in cages for public viewing. “I came across a photograph of a little Black girl in a human zoo, and I was struck by the inhumanity of it all. I knew I had to tell that story,” she recalls.

To make this heavy subject more accessible, Webb chose to tell the story from that perspective — a young child who is part of the exhibit. “I thought, ‘What if I actually tell the story from the perspective of an eight-year-old on exhibit? What would that experience be like?’ And to look at the pathology — what type of circumstances would make the mother do this – to parade in front of staring crowds?”

“Pooch Sitter,” on the other hand, was inspired by a conversation Webb had with a fellow traveler. “I met someone on a plane who shared stories about her quirky pet sitter. At the time, I was also very concerned about the homelessness crisis in our country, and the two ideas merged,” she said. The film tells the story of a homeless woman who survives by caring for other people’s pets—a simple yet profound way of humanizing an often-stigmatized group of people.

It is just this passion for storytelling and social impact that aligns perfectly with her role at the Chesapeake Film Festival. “The Eastern Shore is a bastion for environmental [films], but we also have a strong focus on social justice, documentaries, and student films,” Webb said. This year’s festival is no exception, offering a diverse lineup that reflects the festival’s commitment to both environmental and social issues.

One of the standout films in this year’s festival is “Call Me Dancer,” a documentary about an Indian dancer whose passion for his art challenges cultural expectations. “It’s a powerful story about following your dreams, even when the world is telling you to do something else,” Webb said. Another highlight is “Interception: Jane Kennedy, American Sportscaster,” a film that explores the journey of actress Jayne Kennedy, the first Black woman to be a sportscaster on a major network, even if it was for a short time.

But the festival isn’t just about showcasing films—it’s about creating a dialogue. “We’re doing something a little different this year,” Monda shares. “On the last day of the festival, we’re hosting a panel discussion on the art of storytelling at the Talbot County Library. I’ll talk about adapting my short stories into films alongside other filmmakers who will share their insights into the craft.”

This year, the festival is also expanding its reach with events throughout the Eastern Shore, including a one-day festival in Chestertown, sponsored by the Chesapeake Film Festival and ShoreRivers.

One of the festival’s most anticipated events is the screening of a documentary about adopted elephants, “Diary of an Elephant Orphan.” “It’s a beautiful film that I think people are going to love,” Webb says. “And it’s just one of the many films highlighting the festival’s commitment to environmental and social issues.”

As Webb continues to inspire through her work at the festival, she also offers valuable guidance to those aspiring to enter the filmmaking industry, particularly women of color: “Own your craft. You have to ask yourself, what do I really want to do, and how do I want to impact people, good, bad, or indifferent?”

With that bit of advice, it’s clear that Monda Raquel Webb is herself, a force of nature. Whether exploring the dark corners of history, shedding light on social issues, or mentoring the next generation of filmmakers, Webb’s work is driven by a deep sense of purpose — a purpose that continues to shape her impact on the film industry and beyond.

September 27, Opening Day Film – Call Me Dancer at Noon with films to 5 pm – 5:30 pm – VIP Reception, Ebenezer Theater, Easton, catered by Bluepoint Hospitality – 7:30 pm Environmental Films – Tickets and information visit chesapeakefilmfestival.com

September 28 & 29 – Full days/nights of 35 carefully curated independent films beginning at Noon at the Ebenezer Theater – For tickets and information, visit chesapeakefilmfestival.com

September 29, The Art of Storytelling Panel & Workshop – Talbot County Free Library at 10:30 am – Free Event featuring nine nationally renowned filmmakers discussing their work.

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Easton Art Galleries Unite for Washington Society of Landscape Painters Annual Exhibition

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Outward Bound by John Eiseman at Troika

Already established as a preeminent art destination, Easton, Maryland, will host a groundbreaking event this September, bringing five prominent galleries together in collaboration —Spiralis Gallery, Trippe Gallery, Troika Gallery, Zebra Gallery, and Studio B Gallery. 

For the first time, these galleries will simultaneously showcase the works of members of the Washington Society of Landscape Painters (WSLP), one of the oldest active art organizations in the greater Washington metropolitan area. The exhibit runs September 6–September 30, 2024, and will feature a selection of some of the finest landscape artists and paintings. This event is a great opportunity for area artists to unite and share their work with the public while also spotlighting the galleries that make up Easton’s art scene.

Follow the Sun by Sara Linda Poly at Troika

Founded in 1913, the WSLP has a long history of promoting the en plein air style—painting outdoors. Jean Schwartz, the exhibitions coordinator for the WSLP, has been instrumental in organizing this year’s event. “This is our 2024 annual exhibit, but it’s the first time we’re doing it across five galleries at once,” Schwartz said. “Usually, we find one large gallery that can accommodate around 50 paintings, but this time, with the enthusiasm from all the galleries, it became a unique, collaborative event. It will make for a great art walk and offer a different experience for everyone.”

Betty Huang of Studio B Gallery was the first to be approached by Schwartz. ‘When Jean first mentioned hosting the WSLP exhibit at my gallery, I knew it would be a great opportunity,” she said. “But as we discussed space limitations, the idea to involve more galleries naturally developed. It’s a first for Easton and a unique way to showcase so many talented artists.”

Nanny Trippe, owner of The Trippe Gallery, recalled, “Initially, there was a bit of a conflict because some WSLP artists are under contract with specific galleries. But instead of limiting the exhibition to one gallery, we decided to spread it across all five. This way, we could feature the artists we represent and still have room for new works from other members of the society. It’s good for everybody—it brings more people into town and creates a broader platform for these incredible artists.”

Homestead on the Bay by John Eiseman at Troika

This collaborative spirit also resonated with galleries that typically focus on different genres. Gail Patterson of Spiralis Gallery, which usually showcases African and Haitian art, saw the exhibition as an opportunity to explore new territory. “At first, I wasn’t sure how we’d fit in because we don’t usually showcase landscapes. But the more we discussed it, the more I realized it was a wonderful opportunity to broaden our offerings and connect with the other galleries. I’m all about collaboration, and I think it’s good for Easton. It’s not about I win, you lose; it’s about we all win together.”

Zebra Gallery also doesn’t typically feature landscape, but owner Susan Schauer John embraced the opportunity to diversify the gallery’s offerings. “I loved the idea of the galleries working together and bringing in a whole new geographic audience to Easton. It’s not just about one gallery or another—it’s about the entire town coming together to showcase something special. It’s stretching it slightly, but I love everything about it.”

Huang added, ‘We’ve never done anything like this before. It’s a lot of work, but the potential to elevate Easton’s art scene is worth it. This event shows the power of what we can achieve when we work together.’”

Despite the current enthusiasm, there was some initial skepticism. “There was a little bit of doubt, as much as everyone wanted to participate,” Schwartz said. “But almost all the galleries represent some of our members, so it’s not like we’re a foreign entity. We’re very well acquainted with their work, and now that everything is in place, I think it will be a lot of fun.” With over 140 works spread across five venues, the exhibition promises to attract a significant crowd.

The Mists of Morning by Ted Reed at the Trippe Gallery. 

The logistics of coordinating such an event also required close collaboration among all the galleries. “We’ve all gone in together on group ads and shared promotional materials,” said Trippe. “Each gallery will promote the event in our newsletters, and WSLP will do the same. The combined power of our marketing efforts should bring a lot of attention to this event.”

For Laura Era, owner of Troika Gallery, the collaboration represents both a challenge and an opportunity. “We’ve never done anything like this before—collaborating with other galleries in this way. It’s new territory for us, but it’s exciting. We’ve been here for 27 years, and even now, I can’t predict how the art market will respond to something like this. But that’s part of the excitement. We’re bringing in different kinds of art and doing it together as a community.”

The success of this first-time event could set the stage for future collaborations. “If this is successful, I could see it even becoming an annual event,” Schwartz said. “We could make this our regular venue, just like how Easton has its plein air festival. But it remains to be seen how it’s received. It’s an art community that’s well known, and I hope this becomes something people look forward to every year. We’re creating something bigger than any one of us, and that’s what makes it so special.”

Participating Galleries:

The show opens Friday, September 6th and runs until Monday, September 30th. 

A reception will be held in each gallery from 5:00 to 8:00 PM on the 6th.

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Mid-Shore Arts: Bridging Art and History at the Water’s Edge

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Ja’Lyn Hicks, Kay Brown, Sara Amber Marie Park, Kiara Brummell

Right on the water’s edge in Oxford is a little gem of a museum aptly named the Water’s Edge Museum (WEM). However, “little” in size does not describe its enormous contribution to the community. Take, for instance, just recently, when WEM hosted a vibrant group of 10 to 12-year-olds from Carpe Diem Arts Summer Camp.

This collaboration, which shares a passion for art and community engagement, is not new and has blossomed into an annual event anticipated by both institutions. Sara Amber Marie Park, who has worked with Carpe Diem as a house parent and is now assisting at the museum, explained, “For the past three summers, I’ve worked at their sleepaway camp. These kids, many of whom are artists aged 10 through 16, have been visiting Water’s Edge Museum every summer I’ve been there.”

The day’s activities were intended to create an engaging and inspiring experience for the campers. A scavenger hunt, designed to immerse the kids in the museum’s exhibits without the distraction of their phones, was a highlight. Park described how they brainstormed ways to engage the campers: “We started thinking of interactive things for them to do. They don’t have access to their phones the entire time they’re at camp, except in the evenings. So, we thought about ways they can get the information, which led to the scavenger hunt idea.”

The coloring book is another new addition to the museum’s offerings. Ja’Lyn Hicks, who is overseeing the coloring book project, explained, “We’re turning the paintings in the gallery into individual drawings. The goal is for the kids to unlock their creativity. They don’t have to recreate all the colors they see; they can feel what they do and color it that way.”

Kiara Brummell, the museum’s head docent, addressed the importance of creating a program that resonates with the youth: “Having something like a coloring book and a scavenger hunt will allow them to take the initiative to better understand what’s going on without getting bored very easily.”

But the idea of these games extends beyond simple recreation. “The ultimate goal,” said Park, “is to have something that is a cohesive story. As you turn the page or search for a clue, you learn a story and become immersed in the topic.”

The collaboration with Carpe Diem appears to be a perfect blueprint for future programs, aligning with WEM’s mission of focusing on youth engagement and education. Brummell is all in: “One of the first things I learned about the museum was that it is directed primarily at the youth. Most of the paintings are at eye level for children.”

WEM’s Co-Director, Kay Brown, reflected on her background. “Had I had this type of exposure at a younger age, it would have totally opened up my eyes to a lot. Our kids are not exposed to it, and we need to let them know the rich heritage here. Yes, we want the parents and the elders, but the kids–that’s the seed, that’s the beginning, and it just can grow from there.”

Hicks agreed, “Museums on the Eastern Shore are small and usually underfunded. So after kids come here, they go back to their school and say to their friends, ‘You should check out this place.’ Hopefully, that will spread the word and let kids know that we have a lot of history here, and they can learn about it. They can come and get engaged here.”

Beth Brooks-Mwano, the director of Carpe Diem Art Summer Camp, shared her enthusiasm for the partnership since it began, “We first came here probably three years ago with a group. We were doing a camp that focused on caring for the earth and using art to promote that. I found Water’s Edge Museum and thought, this place is what we’re about—social and environmental justice.” This synergy has continued to grow, bringing campers to a space where they can see their values reflected in the art and history of the Eastern Shore.

The campers themselves were enthusiastic about their visit. Hana Fitz-Williams, a camper whose mother is friends with camp founder Busy Graham and on the board for Carpe Diem, said, “Today I’ve learned that some slaves from different places were healthier than their masters because they adapted so easily to the situation that they were in.” Kavery Srimushnam from Takoma, Maryland added, “I learned about Oxford, and I think the museum is very interesting. The way they’re teaching us history is cool.”

Evelyn Stinwald, another camper, expressed her excitement about the museum’s objectives. “I thought it was really fun to learn about the different goals of the museum and learn what they do here.”

These young voices capture this collaboration’s impact, which extends beyond the museum’s walls. Park said, “If they come out of it inspired by something that they did or learning something new that they want to share with other people, that would be a great measure of how much it’s really benefited them.”

The vision for future programs is bright. Hicks expressed hope for continued collaboration, saying, “Museums on the Eastern Shore are small and usually underfunded. Getting the word out to youth and then having them spread it to their schools and communities can grow awareness.”

Brooks-Mwano summarized it this way: “Our campers have mixed identity, mixed cultures, and mixed interests. And so it’s something for them to all come together and ask, ‘Okay, what sparks the most interest, the most passion in me? Is it taking care of the oceans? Is it advocating for black and brown races? Or do they look around and wonder if the actual oil painting and the technique or the printmaking is interesting? There’s something here to capture everyone’s imagination.”

So,’ little’ does not adequately describe this museum. In a world where history and art often seem distant and abstract, the Water’s Edge Museum and Carpe Diem Summer Camp have forged a connection that brings these concepts to life in a tangible and meaningful way. We can hope that partnerships such as this can enrich visitors’ lives and strengthen the community by creating a lasting legacy for generations to come.

If you haven’t been to the Water’s Edge Museum yet, you owe it to yourself to do so. 

The Water’s Edge Museum is located at 101 Mill Street, Oxford, MD, and open Friday-Monday 11:00 AM to 3:00 PM  For more info: [email protected] (410) 226-1227

 

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A Landmark Reimagined: The Revival of Easton’s Waterfowl Building

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Standing in front of the Waterfowl Building this past weekend started me thinking about how interesting it is to watch history evolve, listen for echoes of the past, and wonder about future possibilities. After all, this is an Easton landmark—the big castle-looking thing with the geese sculpture. Many still refer to it as ‘The Armory’ due to its prior life as the local home of the Maryland National Guard. However, in 1997, the building was transferred to the Waterfowl Festival and became the Waterfowl Building. Built in 1927, this sturdy structure is almost 100 years old, yet very little has changed. And that’s the problem—very little has changed. While some renovations have been done over the years, it is only now that the efforts have genuinely taken off. Thanks to the Waterfowl Festival’s leadership and local community support, its longevity just might have been extended.

“The building has been the center of the community for nearly a century,” said Tony Kern, Vice President of the Waterfowl Festival Board. “It’s hosted everything from the Delmarva Poultry Show and boxing matches in the 30s and 40s to community fundraisers and jazz festivals. It’s a place rich with history.” It also hosted basketball games, a driver’s license academy, and a President. On his campaign trail, John F. Kennedy stopped by many, many years ago. 

“The stories we’ve unearthed are incredible,” said Deena Kilmon, Executive Director of the Waterfowl Festival. Once a National Guard storage area, the basement has long been dubbed ‘the morgue’ due to its eerie collection of old equipment storage lockers. There is even an old shooting range. All these rooms are currently being used as storage, with volunteers helping to inventory and clear them out. 

“We’re becoming a museum of sorts, a repository of all those memories,” said Kilmon. “We’re pulling them up from the basement, seeing what it was like in the past. We’re finding things all over the place and in historical records throughout town, and we hope to be a big part of the Maryland 250 experience (an initiative to celebrate Maryland’s contribution to America as part of the observance of America’s 250th anniversary).”

Another fascinating aspect of the building’s history involves its role as a venue for African American basketball teams during a time when such opportunities were limited. “Traditionally, African American basketball teams had limited places to play, and the armory was one of those places,” said Kilmon. “We’re unearthing this history and discovering how the armory provided space. It was free; everyone could play here. Everyone was welcome.”

Kilmon is happy to continue putting out the welcome mat. The building is currently being used as a fundraiser for various organizations, a gallery space for Plein Air, Academy Art Museum, and Avalon Theater, and rehearsal space for TAP and Easton Improv. “It’s an amazing building,” she said.

This is why bringing buildings into the modern age is so important. But, renovating a building of such historical significance comes with its own challenges and requirements. “The building is covered by the Maryland Historic Trust,” Kern said. “This means we must restore it piece by piece, adhering to strict guidelines to maintain its historic integrity.” Guidelines, which include everything from the materials used to specific construction methods, a detailed process requiring much collaboration and patience.

 One of the first major projects just completed was the replacement of the deteriorated windows, which involved sourcing historically accurate materials and working with specialized craftsmen to recreate the original design. “The windows were 100 years old, with steel frames that had completely rusted,” said Kern. 

Tony Kern at the Waterfowl Building

The window renovations took approximately four years, requiring an initial engineering study. For that, they were able to get some assistance. “Preservation Maryland has a program called ‘Six to Fix,’” said Kern, “And this building was chosen as one of the six that had to be fixed because of its location and prominence. So they provide some free engineering.” Windows were rebuilt off-site, thermal panes were added, and then they were reinstalled. “The Maryland Historic Trust helped fund that, and we also put some money and time into it. The windows are a big thing, and now they’re as beautiful and functional as ever,” he said.

In addition to the window restoration and the removal of some very old carpeting, the building has seen several modern upgrades. “We’ve air-conditioned large parts of the building, especially the office spaces. Previously, we had window units sticking out everywhere,” Kern noted. “Our goal is to make the building more usable and comfortable for the community.”

A project both Kern and Kilmon are excited about is the restoration of the stage, a historical significance that cannot be overstated. In its heyday, it was a central venue for local theater productions, musical performances, and community gatherings. “We’ve found old programs and posters that show the diverse range of events that took place here,” Kilmon said. “Reopening the stage will revive these traditions and provide a platform for new ones.”

It is this combination of old and new that excites Kern. “Our mission of conservation and community aligns perfectly with the restoration of this building,” he said. Kilmon mentioned that people are very interested in what’s going on. “They are constantly coming in,” she said, “sharing memories and expressing their appreciation for the building’s revitalization. They come in and remember, ‘We used to do dances here,’ or ‘It was so beautiful inside.’ It’s amazing to see how much this building still means to the community.”

While significant progress has been made, work still needs to be done. “The roof is our next big project,” Kern said. “We’ve had some leaks, and fixing the roof is essential before we can move on to other interior renovations.” But it’s a project that the group of people sitting on the Board is willing to pursue. “This used to be nothing more than a smelly old building,” said Kern. “But as things get done, you’ll start to see the beauty of it. And the more we talk about the building, the more people want to use the building. We just need to make it more usable and make it a central part of our community again.”

It’s funny how a building can be such a big deal, right? As I walked away, I knew one thing was for sure – there was still plenty of life in this ‘big castle-looking thing with the geese sculpture,’ and you just have to wonder what stories these new walls will tell in the next hundred years.

To find out more about using the space, or to volunteer, or donate, go to: https://waterfowlfestival.org

 

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Founded in Gratitude: Celebrating 20 Years of Plein Air Easton

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We know that part of the Eastern Shore charm lies in its everyday beauty. The kind that we all see so often that we begin to take for granted. But then something special, like Plein Air Easton (PAE), gets underway. We watch artists arrive with fresh eyes and canvases, setting up their easels along streets, in parks, and by the water, ready to transform the familiar into the extraordinary.

Gratitude is the theme this year as PAE celebrates its 20th anniversary, honoring those who have contributed to its success over the past two decades. The Spy sat down with Jessica Bellis, Director of Finance and Operations at the Avalon Foundation, the organization behind the festival, who explained, “It has been our intent this entire year to ground ourselves and come from a place of real thankfulness.”

Despite the festival’s longevity, Bellis is often surprised by people wanting to know more about the event. “Plein Air Easton is an internationally known competition,” she tells them. “Artists from all over the globe apply to participate, and fifty-eight are chosen by a juror to come to Talbot County and paint for ten days, hoping to sell their artwork and win grand prizes.”

More importantly, Bellis wants to ensure that people know that PAE’s roots run deep in the community, involving thousands of people, hundreds of volunteers, and numerous host families. It celebrates Easton’s landscape, art, and the community’s spirit. Since it’s been 20 years, the festival is using it as an opportunity to honor those who have contributed to its success. “I think you’ll see little nods to 20 years at all of our events,” she said

One of the notable highlights this year is honoring Nancy Tankersley, one of the founders of PAE. She was chosen as this year’s competition judge. “Elevating her to this position is part of how we want to celebrate her career and accomplishments,” Bellis said.

In addition, PAE has created a Hall of Fame to recognize key figures who have significantly contributed to its success. “We had a submission process where community members nominated artists, businesses, longtime volunteers, and collectors,” Bellis says. “A committee then selected our inaugural inductees, who will be profiled and celebrated throughout the events.”

This year, the Hall of Fame honors Nancy and Carl Tankersley and the Academy Art Museum. By establishing this new tradition, PAE pays tribute to those who have helped shape its history while reinforcing its commitment to gratitude.

The festival also sees a renewed partnership with the Eastern Shore Land Conservancy. “We’re doing a mini plein air competition with them, inviting back our grand prize winners and some top prize winners to paint on preserved properties,” Bellis says. “This allows us to celebrate their mission through the art of our winners, provides a great venue for our alumni, and gives our population another great place to come look at great artwork.”

Among the many exciting events this year, the Quick Draw is a crowd favorite. “If you haven’t experienced Plein Air Easton’s Quick Draw, it’s something everyone should experience,” Bellis said. “There are usually around 200 artists competing for great prizes and sales. It is fast; it is furious. People are always asking where the Quick Draw paintings are exhibited. They’re right there on the streets of Easton. If you miss it, you miss it!”

The festival also features free public demonstrations by renowned artists at the Waterfowl Building and Christ Church. Said Bellis, “This means you can save the thousands of dollars you would spend on taking workshops and then spend it on the paintings that you can take home and look at for years and years and years to come.”

In addition, an activity that made its mark last year is returning, and it’s a perfect relief from the hot weather. It’s a ‘paint-in’ at the Waterfowl Building. “Our friends at The Factory are going to have some models in period clothing; we’re going to have some interesting tableaus for painters to sketch still life. We’ll also be pumping some great music, and there will be cocktails to purchase. It will be a great time to sit with your sketchbook or paint palette and sketch with your friends. It’s a fun night for aspiring artists to feel the week’s inspiration.”

The festival also provides opportunities for young artists. “We have a kid’s corner at the Avalon Theatre, with structured painting activities all weekend long,” says Bellis. There’s even a Plein Air competition for kids, complete with an award ceremony judged by Nancy Tankersley. They can also sell their artwork!”

PAE’s success is also thanks to the support of local organizations. “The Maritime Museum opens its doors to artists in St. Michael’s,” Bellis says. “On Tilghman Island, in partnership with the Waterman’s Museum, artists will paint and then exhibit the day’s work at the Tilghman Island Inn. Then, our dear friends and partners at the Oxford community center are hosting Paint Oxford Day, with a special exhibition of the Oxford paintings that evening. This shows how deeply Plein Air Easton is embedded in the community.” 

The community is also involved in providing host family housing for many artists, some of whom are here from out of the country. “People open their homes, and the artists stay there at no cost. It helps them acclimate to the community and is a big cost savings. That’s huge,” said Bellis

Beyond the events and activities, PAE is about the connections between artists and the community. “Talk to the artists,” Bellis suggests. “Many are happy to engage with you, and you can even buy paintings right off their easels while it’s still wet. It adds a personal story to the artwork you take home. That’s what makes it all so special — you’re taking home a piece of artwork you experienced for yourself.”

As Plein Air Easton celebrates its 20th anniversary, the festival continues to evolve. “We want to keep focusing on excellence, serving the artists and this community, and bringing joy and connection to everyone involved,” Bellis says. “This event highlights our love for the landscape and our love for supporting the arts.”

Reflecting on her 20-year journey with PAE, Bellis shares a memory: “An artist once pulled me aside and told me with tears and emotion about how participating in the festival changed their life. They were coming from a dark place, and Plein Air Easton allowed them to approach life because of the energy and experience that this community gave them. It changed their perspective as it related to their career. That moment of gratitude will stay with me forever.” 

As Easton prepares to welcome visitors and artists for this year’s festival, the spirit of gratitude and community remains at its heart. “We need more joy, and where you’ll find it is as Plein Air Easton. So just come and experience it. It will be a party; you’ll have a good time.  We forget what a beautiful place we’re in. And when you come and look at this artwork, it will help you remember.”

That’s it in a nutshell: PAE is an invitation–not just for the artists but for us to pause, appreciate, and be grateful for the picturesque scenes surrounding us. 

For more information about Plein Air Easton and a detailed schedule of events, visit the Plein Air Easton website. Join the 20 years of artistic excellence and community spirit.

 

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Crabs, Cars, and Community: The Inaugural Frederick Douglass Unity Day

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Merging community spirit and celebration, June 29, 2024, is set for the inaugural Frederick Douglass Unity Day, a blend of food, fun, and festivity. Organized by the Bailey-Groce Family Foundation and supported by various sponsors, this event aims to bridge gaps and foster unity among people of different backgrounds.

The concept for Frederick Douglass Unity Day originated with Tarence Bailey, Sr., one of the primary promoters and sponsors, who noticed a split in celebrations during Juneteenth and the Fourth of July. “I realized that some people don’t celebrate Juneteenth, and some don’t celebrate the Fourth of July. These holidays are back-to-back, and we needed an event in the middle to bring everyone together,” Bailey said. That event became Unity Day, designed to provide a platform where everyone, regardless of their preferences for these significant dates, can come together to enjoy Eastern Shore-style festivities featuring hot crabs, cold beer, catfish, and classic cars and motorcycles.

Securing a venue was a crucial step, and Bailey, a combat veteran and member of the VFW, found support from the Easton VFW. “The VFW was really excited to partner with us and host the event on their grounds,” Bailey said. The ability to bring this event to life is thanks to this partnership with VFW and other sponsors, including Shore United Bank, The Car Store of Laurel, DE and Salisbury, MD, William Ryan, Solid Tops, Richard Holman, and the Constitutional Alliance. 

(Note: Sponsorship opportunities ranging from $200 to $800 are available through 6/22). 

The Unity Day event offers various activities to cater to all ages and interests. The festivities will kick off at 2 PM and run until dusk, featuring an all-you-can-eat crab feast, with crabs supplied by Harris’s Crab House in Grasonville and prepared on-site by India Thomas of Thomas Family Catering. “The crabs will be steamed right on site, going from the pot to your table,” Bailey said. Also included are all-you-can-eat blue catfish (an invasive species whose consumption helps the environment), supplied by Tilghman Island Seafood, fried chicken, corn on the cob, and cold beer or soft drinks. Thanks to Dallas’ Welding from Cordova, MD, who donated a large grill, hamburgers, and hotdogs, which will also be featured.

Family-friendly activities include a bounce house for kids, a community kickball game (with a prize trophy as bragging rights), and a Double Dutch contest. “We’re bringing back the Double Dutch competition, something we used to see in the ‘80s and ‘90s,” said Bailey. Classic car and motorcycle enthusiasts can showcase their prized vehicles, with trophies awarded for the best car and best motorcycle. The event also features live music by DJ Mercury, adding to the festive atmosphere. “It’s going to be a great day of fun, food, and music,” Bailey says. In case of too much sun or inclement weather on Unity Day, tents will be on the premises, or attendees can enjoy the festivities inside the VFW building.

All proceeds from Unity Day will support the Bailey-Groce Family Foundation’s mission to preserve African American heritage and history on the Eastern Shore. The long-term goal is to establish an African American Cultural Center, making Talbot County a hub for African American history and an international destination for cultural tourism. “We’re trying to make Talbot County the headquarters for African American history,” Bailey says. “I envision a time when people come to the United States, they’ll want to visit Talbot County before they go back home.”

Tickets for this event are available on Eventbrite, through the foundation’s website, or can be purchased at the door. Tickets for adults are priced at $60, while tickets for kids (16 and under) are $40. For those interested in participating in the classic car show, the entry fee is $40, and vendors can secure a spot for a $75 fee.

Bailey hopes that the Frederick Douglass Unity Day will become an annual event, filling a gap between Juneteenth and the Fourth of July and providing a non-political, inclusive celebration for all while also honoring the legacy of Frederick Douglass. It will be a day where community members can enjoy each other’s company, share delicious food, and participate in fun activities, all while supporting a worthy cause. “We want to bring people together over hot crabs, hot catfish, cold beer, nice cars, and motorcycles,” Bailey says. “I see this as a great opportunity to sit down and grab a cold beer with a perfect stranger–Eastern Shore style. After all, we’re all neighbors in this world.”

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From CPA to Creative Leader: Bernard Dellario Ignites a New Era of Art Education at the AAM

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For Bernard Dellario, art has been a lifelong passion that defied expectations. “Art was always my love. I don’t know where it came from,” he said in a recent interview with the Spy. “Because I didn’t have any direction from parents, peers, or people I grew up with – no one in my family was artistically inclined. I just, for some reason, loved to do it.”

Dellario is bringing that passion to the Academy Art Museum as their new Adult Educational Coordinator.

Bernard Dellario

Though drawn to creative expression, Dellario didn’t initially plan an artistic career path. To him, art classes were just an aside in college after deciding that art alone wouldn’t pay the bills. “I figured I needed a more lucrative career first. Finance checked that box. I went on to become a CPA.” And for almost 40 years he did just that, never giving up his creative side and continuing to develop his artistic style when he could. 

However, Dellario’s muse could not be denied forever. Now fully retired, he can focus on his artistic development.

Moving to the Washington D.C. area also proved pivotal for cultivating Dellario’s artistic voice. “If I hadn’t landed there, I wonder if I’d have found the same path,” he said. “Being exposed to so much incredible artwork really lit my fire.” He began taking art classes, and the instructors recognized his innate talents. “They kept nurturing me, so I took as many classes as possible – at least once a week, sometimes weekends too.” “I was voraciously learning.” He credits those instructors for profoundly impacting the artist he has become. 

But that same guidance and instruction stoked a passion Dellario didn’t even know he had. It was one serendipitous moment that unlocked Dellario’s own teaching abilities. “I was in a figure drawing class with a really good instructor everyone wanted,” he said. “One day, he asked me if I would sub for him. I agreed, but I was freaking out!” However, leading that first session was revelatory: “I ran the class for my peers and found out I was pretty good at teaching.” 

But more than just teaching, Dellario wanted to give others what he got from his teachers—inspiration and encouragement. Identifying and nurturing budding artistic talents has become one of Dellario’s greatest joys. “Oh yeah, I’ve found budding artists,” he said. And when he does, he’s compelled to elevate them: “I nurture them further and try to give them opportunities.” 

He cited examples like sponsoring two promising painters to join the prestigious Washington Society of Landscape Painters, where he serves as president. Another student who just won first place at a Plein Air event in Pennsylvania sent him an email thanking him for his support and mentoring. “I saw her potential. I knew she was going somewhere – and she is.” 

Bernie Dellario Expressive Landscape

In his new role as Adult Education Coordinator for the Academy Art Museum, Dellario hopes to fan that creative spark for learners of all ages and backgrounds. “We’ll have about 30 different offerings this spring/summer,” he said, “classes like pysanky egg art, bookbinding, rug hooking – expanding beyond the traditional painting and drawing.” He aims to engage diverse artistic interests: “I want to appeal to a broader audience, with a broader range of interests, and get more people here doing different things.”

Reducing barriers to entry is also a priority. “We’ll offer introductory classes where supplies are provided,” he said. “If someone wants to try something new but doesn’t want to invest in all the supplies upfront, it’ll be easy to just sign up and dive in.” Making art education accessible is very important to Dellario’s vision.

Bernie Dellario – Alla Prima Still Life

Besides accessibility, Dellario is also on a mission to find great talent for AAM by bringing in acclaimed artists from around the region and country to teach workshops and classes. “Whenever I see somebody that might be good, I ask, ‘Hey, do you want to come teach at the Academy?’ I’ve added new people locally who hadn’t considered teaching before and others from nearby areas who can easily come share their expertise.” 

PleinAir painting is one of Dellario’s artistic passions, which he aims to cultivate further at the Academy. To that end, he has Charles Newman and Hiu Lai Chong, two award winners from Plein Air Easton, teaching workshops. However, he doesn’t like to limit himself to any one discipline. “Any good artist should be able to tackle any subject,” Dellario stated. “I like figure drawing, still life – I want to be versatile across different media and approaches.”

This versatility is something he strives to instill in his students as well. “When I’m teaching, I always offer for students to come paint alongside me after the lesson,” he said, understanding the immense value of hands-on learning from an instructor. He can typically be found on Fridays doing just that: “I coordinate outdoor painting sessions,” he said. “I love it when it’s nice to just get outside and paint.” Whether teaching or painting, Dellario is always open to inspiration. “I never know when it will hit me – I may be at the grocery store buying fruits and veggies to eat, then decide to paint them instead! It just happens.”

It is precisely that innovative vision and enthusiasm for creativity that is a perfect fit for Dellario as the Academy’s new artistic leader. “We’re going to have so many fresh offerings taught by instructors who are true experts in their craft,” he said. “My advice? Consider what the Academy has in store. We’re committed to making art education accessible, enriching, and inclusive for everyone.”

If Bernard Dellario’s winding journey is any indication, the Easton community has an abundance of inspiring afternoons of artistic exploration ahead under his guidance.

 

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