VTica

VTica

by Arlene Distler

One of the truly gratifying aspects of being a writer on the arts is witnessing close-up the dedication and passion of both artists and those whose desire it is to bring those artists’ work to the public eye.

Vermont Institute of Contemporary Art (VTica), is a new non-profit arts venue that exemplifies this kind of dedication. The first show, which opened December 17th, and will go through the winter, is titled “Abstractions.” This is an extraordinary show, in an extraordinary space.

To forge ahead as a “contemporary” artist in Vermont is to be singularly, perhaps even obsessively, dedicated to your art. There is not much in the way of monetary reward, or an embracing public. But if there is one person determined to change that, it is Robert Sarly. VTica is his vision, and he has spearheaded the project, aided and abetted by his partner in life and work, Abby Raeder. Through their efforts they are hoping to make abstract painting a more comfortable fit for Vermonters, and visitors to the state. Exposure is everything!

Perhaps Sarly and Raeder share my own suspicion that there are many more fans of abstract art than one might suppose, lurking in the hills and hamlets of the Green Mountains. After all, the Brattleboro Museum and Art Center, only an hour’s ride south, has thrived in recent years on a steady diet of exhibits that ask the viewer to stretch their notion of painting and sculpture. In shows such as “In The Zone”, a tri-annual show featuring work by artists within Vermont’s borders or within100 miles, there is no lack of non-representational work, be it repeated graphic elements on a grid, more “painterly” gestural painting, or anything in between or beside.

But it is no secret that more realistic work finds a larger audience in these parts. And while abstract work may remain a more rarefied species, Sarly is determined to at the least expand the number of those who derive from it pleasure, and more––a means of spiritual connection and insight. He is clearly up to the task.

At the culmination of several years’ worth of planning and renovation Vtica opened its doors officially in mid-December. Located in the center of Chester in the former American Legion building at 15 Depot Street, it is no ivory tower shrine to art––it is accessible and welcoming.

In his address to the crowd opening night, Sarly, like a football coach giving a pep talk to his team at half-time, spoke of the need to “see ourselves differently”–– that with the interstate, and especially the internet, there is greater sophistication of the rural population, and easier access to and from cultural centers. People in the cities are more conscious of life style, desire to get away from pollution, eat healthy food, etc. Sarly believes fine art, not just paintings of covered bridges, could be yet another draw for the art-loving traveler. From the point of view of arts advocates, the state’s abundance of fine artists is a resource that’s been a secret too-long and too-well kept.

In additon to being a repository for fine art, both as gallery and museum, plans are for VTica to house an artist residency program, film showings, and musical performances.

How Sarly has come to this juncture in his life is a most unlikely story. Though a patron of the arts for thirty years, Sarly is firmly ensconced in the world of high-finance. A stressful world, it is easy to imagine. Fifteen years ago Sarly felt a need to de-stress from his work (he is Senior Vice-President at Morgan-Stanley), and took up painting. He fell in love with it. “I painted,” says Sarly, whose own work is expressive, non-representational, “to keep myself centered and grounded.”

Then he met Abby Raeder, a bright-eyed woman with a background in sales, marketing, and non-profit management, as well as carpentry and contractor work. One day Raeder asked him what his hopes and dreams were. He answered, “Start an art gallery.” She held him to that dream, and two and a half years ago agreed to help him realize it.

Sarly’s approach to art is strongly colored by a spiritual and religious bent (he is on the Board of Directors of the Massachusetts Council of Churches, as well as the board of the Andover/Newton Theological School). From his vantage point “contemporary,” art is really “contemplative” art.

“Scripture is so specific,” he says, “there are too many chances to disagree! Religion tends to be a divider, and what we need now is to unite.” Contemplative art, according to Sarly, provides a means of going into a deeper place that touches on universal “Truth and Beauty,” and, he asserts with conviction that sounds born of experience, “this makes the struggles of life worthwhile.”

“With the kind of paintings I show, there is a dimension that says, ‘there is meaning beneath the surface.’” This is more gratifying, he continues, than “literalist” art, where “everything is shown”––The looking (at abstract art) in itself is a kind of spiritual practice, opening doors to the inner life.

The work of five artists are featured in VTica’s inaugural show, “Abstractions”: Jim Kardas’ bold geometries, Harry Rich’s cerebral yet lush acrylics, Frances Holliday Alford’s kaleidoscopic gem-like collages, Scott Morgan’s paintings in acrylic or oil that evoke biomorphic objects close-up or earth topography seen from miles high, and Frieda Post’s watercolors that shimmer like gossamer multi-hued webs. Each are given generous wall space in the 2,000 square foot gallery. Riki Moss’ fantastical sconces made from abaca (banana leaf) pulp lend incidental subtle luminescence.

For those who hunger for an adventurous gallery-going experience, or those who simply wish to expand their artistic horizons, Sarly’s and Raeder’s dream-made-reality is a must visit.

The vision of VTica celebrates the liberating challenges and joys that contemporary art lays before us. I applaud the opportunity to make these discoveries, and to partake of abstract art’s rich tradition, here in southern Vermont.