2022 Exhibitions

13th Annual Self-Published Photobook Show

TWO EXHIBITIONS plus Online Catalog

Purchase photobooks directly from artist
See online catalog “to purchase” link
for each artist entry


Davis Orton Gallery and Griffin Museum of PhotographyDAVIS ORTON PHOTOBOOK EXHIBITION
photographs of books

November 19 – December 18, 2022
Reception: Saturday, December 3, 3-5pm

Winchester, MA.  January 12 to February 26, 2023
Reception Saturday, January 14, 4-6pm

Crista Dix, Executive Director, Griffin Museum of Photography
Karen Davis, Curator/Cofounder, Davis Orton Gallery

Leah Abrahams…Do You See What I See?
Steve Anderson…Surruralism Retrospective Part Two
Nancy Baron…Riders on the 10
Peter Baumgartner…Foliage
Robin Boger…Summer: A Season in Farlow Park
Shannon Davis…Controlled Burn
Jane Ebaugh & John Verner…Care Through Touch
Beth Galton…Covid Diary
Joe Greene…Ashtray
Lynn Harrison…At Peace in Nature
Jane Hopkins…Cemetery Reflections
Judi Iranyi…Arg-e-Bam
Doug Johnson…Places Faces
Laura June Kirsch…Romantic Lowlife Fantasies
Sal Taylor Kydd & Dawn Surratt…A Passing Song
Julia Kuskin…Phone Book
Flynn Larson…Cosmic Dance
Tony Loreti…Garden in the Fens
Linda Morrow…Learning to Swim
Laila Nahar…Color of Life: Old Delhi  

Dale Niles…What Lies Within
Ann Rosen…Ascending Towards Normalcy
Elliot Schildkrout…Standing in the Mirror
Jon-Marc Seimon…#kaddish
Robindeep Singh…Anywhere but Nowhere & Saddapind
David Sokosh…Things That Look Like the Moon (but are not the moon)
Thomas Whitworth…More Constructed Scenarios
Sharon Wickham…Seeing Paint with Joan


Books are Jaye R. Phillips’ recurrent theme, vessel, tool, and inspiration. Her Choreography Notebook is part of her ongoing collage series which arose from her photography of books….books as vessels containing traces, messages, shards, dreams, openings, awakenings, and voices.
The medium of collage for Phillips gathers fragments of light and time and allows moving forward and backward in time and space. In terms of light as an element, She also see books as reflectors and absorbers of the visual.

Phillips is drawn to the writer John Berger and his grounding words from Keeping a Rendezvous:
When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story….the story’s voice makes everything its own.,

Artist Bio

Jaye R. Phillips is fine art and performance photographer living and working in Arlington, Massachusetts. Her photographs have been exhibited in solo and group exhibitions including at Harvard University, Addison Gallery of American Art, the Museum of Contemporary Art/Chicago, and the DeCordova Art Museum. Her most recent group show was in Half the Sky: Intersections in Social Practice Art at LuXun Academy of Fine Arts in Shenyang, China.
Her work is included in the Polaroid International Collection and the Harvard Theatre Arts Collection.

She has photographed professionally for dance companies including Boston Ballet, Streb/SLAM, Eiko and Koma, and the Institute of Contemporary Art/Art and Dance series.

Her work has appeared in the New York Times Book Review, Art Forum, WGBH-TV La Plaza series, Time is not Even, Space is not Empty published by the Walker Art Center, and Zapotec Weavers of Teotitlan published by the Museum of New Mexico Press. She studied photography with Minor White at MIT, and studio arts at the Museum of Fine Arts School in Boston.

Point of View
photo-based art and books

by the
Women Photographers Collective

of the Hudson Valley

October 8 to November 13, 2022
Reception: Sat.,October 8, 5:30-8pm
also 2nd Saturday Hudson Gallery Crawl

See images, artist statements and bios for
all exhibiting artists

Books by seven Collective artists

In Point of View, the Collective’s second exhibition, Davis Orton Gallery has invited each artist to present work from her own point of view. In this way, the exhibition represents personal choice and includes old and new images using a variety of processes.   

The artists of the collective are a diverse group who range from street photographers to alternative process practitioners to abstract imagemakers. They include professors, journalists, curators, published authors and fine arts exhibitors all enjoying the camaraderie and professional support the Collective provides. Artist-Writer-Teacher Kay Kenny whose studio is in Saugerties NY initiated the group and is its primary facilitator.

The growing  Collective, now twenty, was formed in early 2021 as a way for Hudson Valley women photographers to network and support each other in their creative work, especially to counteract the isolation and disconnectedness of the pandemic.

Gail Albert • Ana Bergen • Patt Blue • Karen Davis
Shari Diamond • Jill Enfield • Lori Grinker
Maria Fernanda Hubeaut • Kay Kenny • Lois Linet
Dorothea Marcus • Anne Arden McDonald • Meryl Meisler
Charley Mitcherson • Jan Nagle • Susan Phillips
Carla Shapiro • Ruth Wetzel

interiors, portraits, still lifes, cityscapes

Saturday, September 10, 5:30-8pm

also 2nd Saturday Hudson Gallery Crawl

September 3 to October 2, 2022

Cassandra Goldwater
Ellen Feldman
Karen Davis
Moira Barrett

Portfolio Showcase
(selected through call for portfolios)
Suzette Dushi & Wenda Habenicht

Cassandra Goldwater

Echoes, pigment print, edition of 5 by Cassandra Goldwater

Ellen Feldman

Red Lips, pigment print, edition of 7 by Ellen Feldman

Karen Davis
Hudson: It’s Complicated

Hudson – Painted Yellow, pigment print, edition of 5 by Karen Davis

Moira Barrett
I Am the Weather (daily notes on turning seventy)

July 28, 2022, pigment print by Moira Barrett

Portfolio Showcase Theme: Montage/Collage
Two portfolios selected through our  Call for Portfolios 

Suzette Dushi

Circles, pigment print, edition of 5+2AP, by Suzette Dushi

Wenda Habenicht

Diptych #69, pigment print by Wenda Habenicht

About the Artists and Their Work

Cassandra Goldwater, Inferences

Complements, pigment print, edition of 5 by Cassandra Goldwater

Doppelgängers, pigment print, edition of 5 by Cassandra Goldwater

Cassandra Goldwater’s photography includes found objects – trash and treasures – the play of light and shadow on surfaces from attic to basement, and the natural world in all its mystery, beauty, and peculiarities.

Her series of montages “Inferences” are informed by Plato’s Republic and its parable of the cave – the idea that shadows and light both hide and shape “truth”- Roger Ballen,  and Xu Bing, whose work often juxtaposes culture, history and the perception of realities.

In “Inferences,” Goldwater creates seamless links between the disparate parts of her world and her photographs – an interplay, between that world and her imagination.

Cassandra Goldwater uses photography to wrestle with current events and histories both personal and political.  While many of her images combine found objects, she is also drawn to the interplay of the natural environment and imagination.

Her photographs and sculptures have been featured at the Davis Orton Gallery, Hudson NY, and have been exhibited in group shows at the Griffin Museum of Photography, Winchester MA,  DeCordova Museum, Lincoln MA,  Bedford MA Library, LexArt, Creative Connections Gallery and Lexington MA Open Studios Her commentary on the photographic work of Jennette Williams and Jellen van Meene appears in the Women’s Review of Books.

Ms. Goldwater studied photography at the DeCordova Museum, New England School of Photography, New Hampshire Institute of Arts and Science and Griffin Museum of Photography.  She has studied with Cig Harvey at Santa Fe Workshops and Sean Kernan at the North Country Workshops.

Ellen Feldman, Encounters

A Reckoning, pigment print, edition of 7 by Ellen Feldman

Woman With Many Arms, pigment print, edition of 7 by Ellen Feldman

Encounters combines Ellen Feldman’s roots in street photography with her more recent exploration of constructed images, or montage. In her street photographs, she catches people in their environment; she look for gesture and expression, fleeting juxtapositions, color, and nascent drama or narrative.

In this series, she presents single-frame street photographs that capture montage-like juxtapositions of subjects, as well as actual montages, which are constructed from entire photos or their fragments. Sometimes the artificial nature of montage is hard to detect; other times it is celebrated.

In both her street photography and her composites, the subject is generally the grit of urban life. She seeks out the complication of visual properties, such as scale, perspective, line, color, and the relation of figure to ground. While the results may veer toward abstraction, her reality-based sources and suggestions of narrative are always present.

Ellen Feldman is a fine arts photographer, whose work includes street photography and long-term projects. Her work reflects her film studies background—in the primacy of physical gesture, bold color, and a sense of narrative.

Feldman’s photographs have appeared in solo exhibits at the Griffin Museum of Photography, Winchester, MA (satellite galleries), the Davis Orton Gallery, Hudson, NY, and the French Cultural Center, Boston, MA; and many juried exhibits.

Feldman created the photobook “We Who March: Photographs and Reflections on the Women’s March, January 21, 2017,” with contributions by thirty photographers. She created a photo/comic book: “The Dancer as the Invisible Girl,” and two books of street photos: “Les Mystères de Paris / Paris Mysteries” and “A Week in Prague: Wall People / Street People.”

Feldman is Photography Editor of the Women’s Review of Books, published by Wellesley College. She holds a Ph.D. in Cinema Studies from New York University.

Karen Davis, Hudson: It’s Complicated

Hudson-Reflection, pigment print, edition of 5 by Karen Davis

Hudson – Columns, pigment print, edition of 5 by Karen Davis

Hudson NY, beyond tourist magnet, is a diverse little city by most social and economic indicators; it deserves a portrait as challenging as it is. I have lived in Hudson for over thirteen years. Since my first day in town, place by place, I have been building a personal photographic portrait of the city.

“Hudson: It’s Complicated” is a series of montages created from photographs of Hudson that I made during the pandemic. Walking its streets and alleys, I photographed domestic buildings, commercial buildings, garages, carriage houses, front, side, and back yards, storefronts, parks, and objects I’d find laying around.

Each montage is composed of three photographs: a large image over two smaller images. Much as I experience Hudson, I set out to create unity and division within each piece. First, he viewer may encounter the montage as a single image. A few seconds more, and the montage breaks into its three component parts–offering a broader or more complicated view.  And that is the point.


Karen Davis’s work is featured at the Massachusetts Museum of Contemporary Art and in the collections of Center for Photography at Woodstock; Lishui Museum of Photography (China); Houghton Rare Books Library, Harvard University and corporate and private collections. The second edition of her word and image book, Still Stepping: A Family Portrait, was published in 2022. Davis, of Hudson NY, is a Critical Mass 2018 finalist and recipient of the 2009 Artists Fellowship Award-CPW. Her photographs and artist books have appeared in numerous solo, featured and group exhibits throughout the country.

Karen is curator/co-founder of Davis Orton Gallery in Hudson NY, which exhibits photography, mixed media and photobooks. She has taught portfolio development at Radcliffe Seminars, Harvard University, Lesley University and the Griffin Museum of Photography and other photo-based courses including photobook workshops and word and image art courses at the Art Institute of Boston, Tufts University’s X-College and Suffolk University.

Moira Barrett, I am the Weather (daily notes on turning 70)

May 14, 2022, pigment print, edition of 5 by Moira Barrett

June 18, 2022, pigment print, edition of 5, by Moira Barrett

Algorithm: n., a rule (or set of rules) specifying how to solve a problem.

Moira’s Algorithm

  1. As a snapshot of your environment, take a daily photo of the sky with your iphone.
  2. Using a sophisticated, interchangeable lens camera, take an intellectually challenging self-portrait daily that is a response to or in relationship to that day’s sky photo.
  3. Pair the photographs placing the sky photo above the self-portrait.
  4. Repeat for a set period of time: one year.

Moira Barrett notes, “The days pass and I grow older and perhaps even wiser. With the pandemic we have all grown used to noticing and marking the small things in our lives: the morning light, the cup on the table, the wrinkle. We have all felt confined in some way, yet one constant is the changing sky, always visible, never still.”

Barrett has passed a milestone – 70. Each day she records and memorializes her relationship to the world. She does this as a daily practice to keep her mind and creativity moving and as a way of coping with upheaval and uncertainty.  Each day she reflects on her environment and wonders: “How much of my inner climate will I reveal; am I a reflection of my world, or is the world reflecting me?”

Moira Barrett is a fine art photographer based in New England. She uses traditional and photo-transfer techniques, video, and construction to address issues of self, memory, relationships and aging.

Her work has been featured in numerous exhibitions and galleries, including Cambridge Art Association’s BLUE, RED, Northeast Prize, and 2019 Open Photo Exhibit; the Davis Orton Gallery of Hudson, NY; NAVE Gallery of Somerville, MA; Susan Maasch Fine Art Gallery of Portland, ME; and Boston Young Contemporaries juried show. Dana Hoey has reviewed her work in the Women’s Review of Books.

Moira is married to Johanna Schulman, a retired financial planner and artist, lives in Cambridge, MA and is the parent of Annie Barrett, Assistant Coach for Women’s basketball at NYU. Originally from Rochester, New York, she has a BA in Art from SUNY Buffalo and an MFA in Visual Arts from Lesley University College of Art and Design.

Portfolio Showcase:  Memory and Dreams
Selected through our International Call for Portfolios

Suzette Dushi, Phantasm

The Dancer, pigment print by Suzette Dushi

Suzette Dushi’s “Phantasm” is a series of surreal tableaus which blend fantasy with reality. Here, photographs of old, broken and discarded mannequins are collaged with cutouts and snippets from magazines, newspapers, pamphlets or any other found images to create a strange and extraordinary world. Inanimate objects become part of a real world creating tension and discomfort. Her imaginary characters become actors on a stage. Dushi’s work invites the viewer to imagine, suggest a narrative and engage emotionally with these tableaus which are fragments of a fantastical and occult world created by her subconscious.

Born in Istanbul, Turkey, artist Suzette Dushi  lives and works in New York and Long Island.
Her photographs have appeared in various group exhibitions including the Istanbul Biennial, the Islip Art Museum and the 13th and 17th Julia Margaret Cameron Award for Women Photographers. They have appeared in print and online publications including DekUnu Magazine, F-Stop Magazine, Tint Journal and ArtAscent Magazine where she was awarded Gold Artist for her series, “Winter.” Her photographs are held in private collections in the US and abroad.
Dushi studied photography at the International Center of Photography. She is a graduate of New York University with a degree in Marketing and worked as a financial analyst in banking. 

Wenda Habenicht, Diptychs

Diptych 29, pigment print by Wenda Habenicht

Wenda Habenicht’s “Diptychs” is an ongoing series of  two equal size images, paired and placed side-by-side. Eliminating the separation between photographs allows her images to merge and flow into each other. It’s is the relationship with one another that makes the whole greater than the sum of its parts.

Coming from a background of building wood constructed sculpture, she often begins her diptychs with subjects of architecture or structures that define and manipulate space. Her process is to juxtapose unexpected images to create a work that transforms the subjects into a new context or scenario. In this way she entices the viewer to visually enter and ponder the curious and mysterious space and logic of her photographs.

Born in Elkhart, Indiana, Wenda Habenicht grew up in Boulder, Colorado and attended Beloit College in Wisconsin before moving to New York City to earn her MFA at Columbia University. 

Wenda’s outdoor sculpture installations have appeared throughout the US. Her first large scale outdoor sited work was built in 1982 at The Midwest Coast, Art and Agriculture in Caledonia, Illinois and was followed by outdoor sculpture installations built and exhibited in the Eastern & Midwestern United States and Canada. While living in Brooklyn, she created numerous works of architecturally and/or anthropomorphically derived sculpture, often participatory and many of which were sited outdoors. Her work has been reviewed in numerous journals and newspapers in the US and Canada.

After a twenty-two year hiatus from making art, Wenda started working in photography for the first time in 2012 and from there, returned to building sculpture and creating works on paper.

Memory and Dreams

July 23 to August 28, 2022
Reception: Saturday, July 23, 5:30-8pm

Carla Shapiro
Karen Davis
Kay Kenny
Ruth Wetzel

Portfolio Showcase Photographers
(selected through international competition)
Annette LeMay Burke & Ann Prochilo

Carla Shapiro
There Is No Place Like Home

from “There Is No Place Like Home” by Carla Shapiro

Karen Davis
Selections From a Visual Memoir

Close as Children from “The McCann Family” by Karen Davis

Kay Kenny
The Stone Goddesses Series

Goddess 5 from “The Stone Goddesses Series”, pigment print by Kay Kenny

Ruth Wetzel
Pool Noir

Final Float, pigment print by Ruth Wetzel


Portfolio Showcase Theme: Memory and Dreams
Two portfolios selected through our International Call for Portfolios 

Annette LeMay Burke
Memory Building

Rumpus Room from Memory Building by Annette LeMay Burke

Ann Prochilo
Leaving Home

Draped by Ann Prochilo

About the Artists and Their Work

Carla Shapiro, There Is No Place Like Home

From “There Is No Place Like Home” by Carla Shapiro

from “There Is No Place Like Home” by Carla Shapiro

When Carla Shapiro’s mother died alone during COVID she sought comfort in remembering her childhood home and knowing that it was so much more than a physical entity. It was a sanctuary, a place of dreams and possibilities.

Her home nurtured and protected her family. It was filled with laughter, love, and joy. There was also anger. It was the reflection of the best and worst of life—the love she felt and the fights they had. It was made by the aromas from her mother’s cooking and the scuffs on the dining room floor from twirls of glee.

Inspired by memories of her mother and home, Shapiro uses images of Hudson Valley houses and family snapshots, glowing from the light she captures before sunrise, to create this homage.  

Carla Shapiro is a photographer and educator based in upstate New York. Her photographic projects explore loss and longing, memory and nostalgia, womanhood, aging, and the human condition.

Carla has received numerous awards including two photography fellowships from The New York Foundation for the Arts (NYFA), a Golden Light Award from The Maine Photographic Workshops and a Pratt Development Fund to travel to Madagascar to photograph the Baobab trees. She has had multiple residencies at the MacDowell Colony, Yaddo and The Ucross Foundation and has exhibited her work in solo and group shows across the country.

Carla is a Professor in the Graduate Department at Pratt Institute and at Pace University. She received a BFA from Syracuse University, then attended ICP and began her career as an artist.

Karen Davis, Selections From a Visual Memoir

Excerpt from “Self Portrait at Fifty-Eight,” Accordion Book, 32″ x 12″ x 2.5″, edition of 1

Mother Dreams by Karen Davis

Much of the work photo-based artist Karen Davis, Hudson NY, creates is related to her ongoing project, a visual memoir.  For this exhibition, she has selected images from two series within the memoir that relate to her exploration of family, self, memories and dreams.

In “The McCann Family,” she uses her sister’s set of four-inch plastic dolls the way her sister did—as stand-ins for her family. Davis shares memories of childhood that she discovered she could best express through these toy dioramas.  Davis’s memories of summers at Nantasket Beach are among the happiest of childhood – even as flashes of less joyful moments pop up now and then. Her one-of-a-kind artist book memoir, “Beach Snapshots and Memories,” honors those days from age five to fourteen. From “Self-Portrait at Fifty-Eight,” she reveals, through fantasy diptychs and collage, in an oversized accordion book, the realm of dream as she faced getting older.


Karen Davis’s work is featured at the Massachusetts Museum of Contemporary Art and in the collections of Center for Photography at Woodstock; Lishui Museum of Photography (China); Houghton Rare Books Library, Harvard University and corporate and private collections. The second edition of her word and image book, Still Stepping: A Family Portrait, was published in 2022. Davis, of Hudson NY, is a Critical Mass 2018 finalist and recipient of the 2009 Artists Fellowship Award-CPW. Her photographs and artist books have appeared in numerous solo, featured and group exhibits throughout the country.

Karen is curator/co-founder of Davis Orton Gallery in Hudson NY, which exhibits photography, mixed media and photobooks. She has taught portfolio development at Radcliffe Seminars, Harvard University, Lesley University and the Griffin Museum of Photography and other photo-based and word and image art courses at the Art Institute of Boston, Tufts University’s X-College and Suffolk University.

Kay Kenny, The Stone Goddess Series

The Stone Goddess 15 by Kay Kenny

From The Stone Goddesses Series, Hippothoe, pigment print by Kay Kenny

In these years of troubled times, Kay Kenny thinks about the ancient Greeks and Romans—their culture and the fragility of democracy. She photographs the Greek & Roman statues in her images in the Metropolitan Museum’s sculpture courts and places them in photographs she has taken in various locations in the USA. For her, the goddesses are avatars from the past, silently watching our descent and the earth’s climate made vulnerable to our whims.

Kay Kenny, whose studio is in Saugerties NY
 is a photographer, painter and writer of art criticism and articles on the visual arts.

Recent solo exhibitions include Casa Columbo Museum, Jersey City, NJ; Griffin Museum of Photography, Winchester, MA; Hunterdon Art Museum, Clinton, NJ. Her work has appeared in solo and featured shows including in Medellin, Columbia, Taipei,Taiwan, Lubbock, TX and New York City.  Kay’s photographs are in notable corporate, museum, and private collections.

Among her awards are the 2021 Soho Photo Alternative Photography Award; 2016 NJSCA Artist Fellowship for Works on Paper; 2015 Arthur Griffin Legacy Award; Griffin Museum. She is a three-time recipient of NJSCA fellowship awards. Recent publications about her work include Photography’s Antiquarian Avant-Garde, by Lyle Rexer; Light & Lens,Photography in the Digital Age, & Photographic Possibilities by Robert Hirsch and Focal Press.

A photography teacher for over twenty-five years, Kay received a BFA from Syracuse University, MA from Rutgers University, and MFA from Syracuse University.

Ruth Wetzel, Pool Noir

Forward Flip by Ruth Wetzel

Pool Group 5 by Ruth Wetzel

Pool Noir examines human vulnerabilities. In 2022, most people feel closer to vulnerabilities of illness, isolation, and duress. However, simple joys also have made a comeback. Humans love being in water.  The experience walks a fine line of danger and delight, scintillation, and sensuality, especially at night.

Wetzel’s photographs do not identify the subjects directly, making the figures/feelings more universal. They present an “everyman” feeling his body in water, surrounded by the scale of the darkness.

Ruth Wetzel of Upstate New York brings to her viewers an intimate, at times mysterious, look at waterscapes. Her work has been shown and collected nationally and internationally. Recent solo shows include Davis-Orton Gallery in Hudson, NY and The Arsenal Gallery at Central Park. Group shows in 2019 include Millepiani Exhibition Space, Rome, Italy, and Foley Gallery, NY, NY.  Ruth has received fellowships from Baer Art Center, Iceland; Virginia Center for Creative Arts; Women’s Studio Workshop and New York State Council on the Arts.

Ruth holds an M.F.A. from Maryland Institute, College of Art, and a B.S. in Design from Buffalo State College.

Portfolio Showcase:  Memory and Dreams
Selected through our International Call for Portfolios

Annette LeMay Burke, Memory Building

Chuck’s Corvette by Anne LeMay Burke

In response to her parents’ deaths, Anne LeMay Burke created this series, Memory Building. Sheprojected her parents’ vernacular family photographs onto the surfaces of her childhood home, in the same locations that they were originally made, and rephotographed the scene. By fusing photos from the past onto the present-day walls, she unearthed six decades of engrained memories and captured her family’s vanishing presence that once permeated their mid-century suburban home—the container for so much of her personal history.

Constructing these tableaus made the memories more substantive for Burke, providing solace for her grieving and creating a new family pictorial legacy for future generations. With so many formative experiences rooted and intertwined within this building, saying goodbye to it was also saying goodbye to her parents. Even as the rooms were literally whitewashed in preparation for new owners, her memories continued to resonate within the walls.

Annette LeMay Burke is a photographic artist and Northern California native who lives in the heart of Silicon Valley. A longtime observer of the evolution of the western landscape, Burke is interested in how our environment changes over time and the artifacts—both tangible and temporal—that are left behind.

Burke’s monograph, Fauxliage: Disguised Cell Phone Towers of the American West, was published by Daylight Books in 2021. Also in 2021, Burke was awarded first place in the Lenscratch Vernacular Photography Exhibition, won the Imago Lisboa Photography Festival in Portugal, and was a semi-finalist for the Smithsonian Institution’s National Portrait Gallery Outwin Boochever Competition. She was a finalist for Critical Mass in 2017.

Ann Prochilo, Leaving Home

Father, Daughter by Ann Prochilo

“Leaving Home” is about belonging, an empty house and the indelible watermark of family. Prochilo’s mother’s favorite adage was, “This too shall pass”. Rather than a reminder of impermanence and the wisdom of the long-view, she took it as a clarion call to preserve the temporal. The middle-child of six, she haunted rooms where being alone had never before been possible. She clung to the light and space, the unrevealed stories of generations. The urge to grasp the ephemeral in the face of dissolution was fraught with guilt and reverence. Prochilo says, “We carry on — a testament to love, loss and the refuge of home.”

Ann Prochilo (American) is a photographic artist based in Malta and San Francisco. Her narrative-driven photographs explore belonging, memory and change. Born into a large family in Long Island, New York, Prochilo is the chronological middle-child of six. Her vision and voice are shaped by a boisterous hierarchy of birth order and gender, musical theater and public service.

Prochilo received a BA from Indiana University where she pursued dual interests in fine arts and medicine. She has had a wide-ranging career as midwife, AIDS activist and founder of an advocacy relations agency. After 15 years facilitating productive relationships between patient advocates and pharmaceutical companies, she has returned to a full-time arts practice; Prochilo exhibits nationally and internationally.

Moments Through Time – A Moment in Time

June 11 to July 17, 2022
Karen Marshall

Karen Davis

Portfolio Showcase
Julia Arstorp

Lora Brody


Karen Marshall
Between Girls

Between Girls: Lesley, Jen, Molly (1985/86), silver gelatin print, 16×20″ by Karen Marshall

Karen Davis
Jazz’s World

Nicole in Flight, 16×20″, silver gelatin print by Karen Davis

Portfolio Showcase Theme: Girls!
Selected through our International Call for Portfolios

Julia Arstorp

Waiting, archival pigment print by Julia Arstorp

Waiting, archival pigment print by Julia Arstorp

Lora Brody

Fatima and sisters, 11x17" pigment print, ed of 10 by Lora Brody

Fatima and sisters, 11×17″ pigment print, ed of 10 by Lora Brody

About the Artists and Their Work

Karen Marshall, Between Girls

Between Girls 2, 16×20″ by Karen Marshall

In 1985, Karen Marshall began photographing a group of teenagers in New York City. Her intent was to look at the emotional bonding that happens between girls at age 16 and document the emblematic relationships that often develop at this time in their lives.

In the fall of 1985, Marshall met Molly Brover, a bright, exuberant 16-year-old high school junior, and asked if she could photograph her and her friends. Enthusiastic to show Marshall her Upper West Side girl world, Molly agreed, and Marshall was soon privy to her ever rotating group of girlfriends, spending time with the teenagers on a regular basis and documenting the everyday rituals of their friendship.

Ten months into the project, Molly was hit by a car and killed while on vacation in Cape Cod. Marshall was devastated but resolved to keep the project going.  She knew that Molly would remain 17, while the rest of them would become women, and that break in continuity among the girls inspired her to continue to document them in various ways over the years to come.

An endeavor that began with 35mm black and white photographs evolved into a 30-year meditation on friendship which expanded to include audio interviews, old school video, a three-screen channeled video, collage, and a collection of small books and ephemera that explore the archive. In 2021 the book of Between Girls was published by Kehrer Verlag in Germany.

Karen Marshall is a documentary photographer whose work examines the psychological lives of her subjects within the social landscape.  Her photographs have appeared in numerous publications including The New York Times Magazine, the London Sunday Times, The Atlantic, New York Magazine, NPR Picture Show, GUP Magazine, Vice I_D, The Washington Post, CNN, to name a few. Her three-decade project Between Girls was published by Kehrer Verlag in 2021.  Marshall is the recipient of artist fellowships and sponsorships through the New York Foundation for the Arts, as well as grants and support from private foundations. Her photographs have been widely exhibited internationally and are part of several collections, including the Feminist Artbase at the Brooklyn Museum.   Karen Marshall is Chair of the Documentary Practice and Visual Journalism program at the International Center of Photography in New York City.

Karen Davis, Jazz’s World

Jazz and Friends at Zina's Salon, silver gelatin print by Karen Davis

Jazz and Friends at Zina’s Salon, silver gelatin print by Karen Davis

Jazz’s World represent a period in the 90s in Cambridge MA when friends of Karen Davis’s grown children were starting families of their own. In 1991, her daughter, Andrea, became godmother to her friend, Cherry’s, baby girl. From that time on, Davis was an invitee to many of the events in Jazzmyne’s life.

In 1997, Jazz celebrated her sixth birthday with a Princess party at Davis’s house. After ice cream and cake, Jazz and her friends packed away their crowns and gowns and headed for the sidewalk.  Cherry produced the jump rope, and the games began.

Two-plus years later, it was the Sunday evening before Zina, Cherry’s friend, officially opened her new hair salon in East Cambridge. After working out of her apartment for years, Zina now had her own shop. She invited Jazz and six of her friends to come in for new hairdos. They, in return, would bring fliers to school the next day advertising Zina’s opening. Cherry invited Davis to come by.  When she arrived, the girls, all in Zina T-shirts, were dancing around. Some had new hair styles, some waited their turn. Zina hung the resulting photographs of the girls with their new hairdos on a wall in her shop.

Twenty-one years later, Zina, Cherry and Davis met up at a community event. They started developing plans to round up the girls, now over thirty years old, and make new portraits of them at Zina’s salon, which is still going strong.


Photographs by Karen Davis of Hudson NY are featured at the Massachusetts Museum of Contemporary Art and in the collections of Center for Photography at Woodstock; Lishui Museum of Photography (China); Houghton Rare Books Library, Harvard University and corporate and private collections. The second edition of her word and image book, Still Stepping: A Family Portrait, was published in 2022. She is a Critical Mass 2018 finalist and recipient of the 2009 Artists Fellowship Award-CPW. Her photographs and artist books have appeared in numerous solo and featured exhibits throughout the country.

Karen is curator/co-founder of Davis Orton Gallery in Hudson NY, now in its thirteenth year, exhibiting photography, mixed media and photobooks. She has taught Portfolio Development at Radcliffe Seminars, Harvard University, Lesley University and the Griffin Museum of Photography; The Self-Published Photobook Workshop at the Griffin Museum and other photo-based and word and image art courses at the Art Institute of Boston, Tufts University’s X-College and Suffolk University.

Portfolio Showcase:  Girls
Selected through our International Call for Portfolios

Julia Arstorp, Leaving

Brave, archival pigment print by Julia Arstorp

Brave, archival pigment print by Julia Arstorp

The images in Leaving by Julia Arstorp were made in collaboration with the artist’s daughter starting in 2012, at a time when Arstorp first felt her pulling away. This was the beginning of the long walk out of childhood and the realization that her daughter would, inevitably, move out and into the world without her.  “I feel lucky she offered me this glimpse into her life, allowing me to feel a part of her world as she became more independent and removed from mine,” Arstorp says.

Julia Arstorp is a fine art photographer whose work explores connections found through family history, childhood memories and our natural surroundings.

Her photography has been exhibited nationally, including the Griffin Museum of Photography, Winchester MA, SE Center for Photography, the A.Smith Gallery in Texas, the Photo Place Gallery in Vermont. She received Honorable Mention in the 2020 and 2021 Julia Margaret Cameron Alternative Process Awards. Her work has been published in The Hand Magazine and is highlighted in the book, “Cyanotype Toning” published in 2021.

Based in Connecticut, Julia owned a portrait business for over 20 years. She now works solely on fine art photography, including handmade prints using historic processes.

Lora Brody, Sisterhood

Savana and Sisters, archival pigment print by Lora Brody

Savana and Sisters, archival pigment print by Lora Brody

In Sisterhood, each of Lora Brody’s portraits represents a moment in the history of a complex and mysterious relationship. Having grown up without sisters of her own, she has always been curious about the bond between them. Brody notes that sisters have a unique relationship; they grow up in reference to one another. For a number of years, they occupy the same space in terms of dwelling and family order. They are individuals but tied by family and by life experiences, some of which they may not remember the same way.

For each photo shoot, Brody waits and watches for a revealing moment into these life-long relationships. She observes reactions and interactions – laughter, a sober look, a sly glance, a teasing gesture. Sometimes there is an intimate, face to face interaction, sometimes a broadcast of vulnerability or independence and sometimes they drift apart, each sister into her own world.

Boston-based portrait artist, Lora Brody, creates opportunities for her subjects to tell stories through self-presentation. Her images have been exhibited at the Museum of Fine Arts Boston, The Griffin Museum of Photography, Harvard University, and the Provincetown Art Association and Museum. Her pictures hang in the Boston Red Sox Corporate Office and other private collections. The Boston Globe Sunday Magazine has published her images both as cover photographs and a photo essay. Awards include a PX3 Prix de la Photographie, Paris, and the Gold Medal in the 2014 San Francisco International Photography Exhibition.

Brody, an Affiliated Scholar at the Brandeis University Women’s Studies Research Center, created the Reunion Project, which uses photography and the written word to explore seniors’ self-perceptions about aging while giving them a voice to connect to younger generations.

Flowers Everywhere

May 7 to June 5, 2022
Reception: Saturday, May 14, 5:30-8pm

Vaughn Sills

Laurie Peek

Portfolio Showcase: Flower! Flowers!
Georgia Landman
Janine Menlove

Vaughn Sills
Inside Outside

Vaughn Sills, Purple Parrot Tulips, Northumberland Strait

Vaughn Sills, Purple Parrot Tulips, Northumberland Strait

Laurie Peek
In Lieu of Flowers and The Way Home

Laurie Peek, For Jeffrey

Laurie Peek, Arrangement For Jeffrey

Portfolio ShowcaseTheme: Flowers! Flowers!
Selected through our International Call for Portfolios

Georgia Landman
Perfect Imperfections

Georgia Landman - Milkweed

Milkweed by Georgia Landman, pigment print, 17×22″, ed10

Janine Menlove
Flower Power

Time Travel by Janine Menlove, pigment print, 17×22″, ed12

About the Artists and Their Work

Vaughn Sills, Inside Outside

Vaughn Sills, Mountain Ash

Vaughn Sills, Mountain Ash

Yellow Peonies, Northumberland Strait by Vaughn Sills

In “Inside Outside,” Vaughn Sills juxtaposes the human-inhabited environment with the wild, untamed natural world. Domestic life is represented by flowers in vases and alludes to women’s work in gardens and in the home; the outside world is seen in the images (placed behind the flowers) of her landscapes and seascapes.

The work also relates to mortality and beauty. The landscapes and seascapes she makes are part of her series about grieving for her mother. Flowers, their beauty so ephemeral, remind us of death and contrast with the feeling of eternity and infinitude implied by the sea and rolling hills.

The planet’s emergency today inevitably adds a third layer of meaning. The seas are rising; the shores will be submerged – all by our hand. The farmer’s field pollutes local streams and ponds; many of the glorious flowers Sills purchases are delivered to the flower market by trucks and airplanes that contribute to climate change. Sills notes: ‘We can no longer assume that the natural world we have known is eternal.”


Vaughn Sills’ photographs explore how our physical and social environments influence and reflect our deepest inner experiences.

Sills’ photographs have been exhibited in art, history and botanic museums and galleries; they are in the collections of the Smithsonian American Art Museum, DeCordova Museum, Harvard Art Museum, the Polaroid Collection, and the Eaton Vance Collection, among others. Several significant awards include two Artist’s Fellowships in Photography by the Massachusetts Cultural Council. Other grants and awards have come from the Artadia Dialogue for Art and Culture, the Polaroid Foundation, and The New England Foundation for the Arts. Her books, Places for the Spirit, Traditional African American Gardens (2010) and One Family (2001) have earned awards from the Garden Writers Association and the Magazine Association for the Southeast.

Sills lives and works in Cambridge, Massachusetts and Prince Edward Island, Canada — where she not only photographs, but quilts and gardens following in the footsteps and learning from the many women before her. Most recently, she’s taught at the Griffin Museum of Photography, and before that at Simmons University, where she is an Associate Professor Emerita of Photography.

Laurie Peeks, In Lieu of Flowers & The Way Home

Laurie Peek, For Akindele

Laurie Peek, Arrangement For Akindele

Laurie Peek, Arrangement For Jim

Laurie Peek, Arrangement For Jim

Laurie Peek created her series, In Lieu of Flowers, in memory of her thirty-seven-year-old son, Jackson R. Turner, who drowned in Tulum, Mexico in July 2020. Because of covid there was no funeral. Drawing on her experience with loss and impermanence, her layered images of flowers, many grown in her garden, serve to honor, not only her son but also her mother, grandmothers, teachers and friends whose funerals she could not attend. “These are the flowers I did not send; they are meant, as well, for those who’ve experienced a similar loss, especially in these covid times,” she says.

The Way Home series grew out of  In Lieu of Flowers. Brighter, bolder, reaching out of the frame…. the images signify that life is regaining its richness and meaning as Peek slowly accepts her new reality.

Printed on velum, In addition to her layers of imagery, Peek adds the hand-made, labor intensive element of gilding the backs of her prints with gold and silver metallic leaf. The result are luminous and represent expressions both of profound grief and a celebration of life.


Photographer Laurie Peek of upstate New York brings her poetic eye to everyday phenomena. In her recent work, In Lieu of Flowers and The Way Home, she draws on her experience of loss and impermanence.

Solo shows include: Car Parts: Metallic Transports, Union Arts Center, Sparkill, NY and Rockland Reverso, Rockland Center for the Arts, West Nyack, NY. Recent international group shows include: Abstract Views, International Garden Photographer of the Year, Kew Gardens, London, UK and Barcelona 2021 Foto Biennale, FotoNostrum Gallery, Spain. Her work has been published and reviewed in print and online at, among others, Lensratch 3-2-2022, The Photo Review 2019 Competition issue, and Fraction Magazine 10th Anniversary issue.

A practicing fine art photographer for over twenty years, Peek’s experience in photography is deep. This includes an MFA in photography from Visual Studies Workshop/SUNY Buffalo and work as a photo archivist, photo librarian, photojournalist and gallery manager.

 Portfolio Showcase    Theme: Flowers! Flowers!
Selected through our International Call for Portfolios

Georgia Landman, Perfect Imperfection

Rose by Georgia Landman, pigment print, 17x22" ed10

Rose by Georgia Landman, pigment print, 17×22″ ed10

‘Perfect Imperfections’ is about objects Georgia Landman finds in nature that are in a state of decay. When she picks up a leaf, branch or flower she’s astonished by the patterns, intricate details and colors they hold. Fascinated by the aging process, she feels a connection between these objects and how humans age. While people lament their wrinkles, she finds beauty in every stage of life.

Landman approaches photographing her objects as making portraits. She pose them and takes away anything distracting so that they can shine for what they are. Examining her finished work, she sees details that are barely visible to the eye. It is her hope that looking at her Perfect Imperfection images, people will become more comfortable with the topic of aging, and, on occasion, pause to pick up and smell a decaying rose.

A contemporary fine art and freelance photographer, Georgia Landman (American) of New Concord, New York was born in Thessaloniki, Greece, grew up in The Netherlands and moved to the US in 2001.

She has exhibited her work at the Griffin Museum of Photography, Winchester MA; Vermont Center of Photography, Brattleboro VT; Gutstein Gallery, Savannah GA, and Tivoli Artists Gallery, Tivoli NY. Recent shows in Upstate New York include: The Dig, Millerton, Spencertown Academy Gallery; Thompson-Giroux Gallery, Chatham, and Churchtown Dairy.

Landman earned her BFA in photography at Savannah College of Art and Design (SCAD) in Savannah, GA, graduating summa cum laude in 2010.

Janine Menlove, Flower Power

State of Mind by Janine Menlove, pigment print, 17x22", ed12

State of Mind by Janine Menlove, pigment print, 17×22″, ed12

Janine Menlove is drawn to photomontage because of its ability to create a narrative of both personal and global reference within a composition of diverse and fragmented visual information. It can breakdown limitations between imagination and reality. Her goal is to offer a slice of beauty and whimsy in our chaotic and divided world.  The essential ingredient in her work is the flower—an object that suggests a sense of occasion, contemplation and love.

Janine Menlove has worked as a photographer and managed a commercial photography studio and business for over 30 years. Her work has been published nationally and internationally in brochures, annual reports, magazines and books.  Janine lives and works in Northwestern Yonkers. She is an artist member and represented at the Upstream Gallery, Hastings-on-Hudson.