The Re Institute
calendar | past | statement | artists |proposals | contact
1395 Boston Corners Rd, Millerton NY 12546
calendar | past | statement | artists |proposals | contact
1395 Boston Corners Rd, Millerton NY 12546
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August 22nd to October 11th Opening from 2pm to 6pm Dark Whimsy ? or Not ! Second floor: Kathleen Vance, Claudia Renfro, Kate Hamilton, Sascha Mallon, Betsey Regan, Dee Shapiro |
Betsey Regan:
I am a materials-based artist, primarily a painter. I work in multiple series. The themes exhibited here include: animals, the military, Woodstock, drunken sluts, breast cancer and Hurricane Sandy. While the subjects are dark, they often come off as amusing and curious. A curator came to my studio to select a series for a show. He remarked: “these themes are all related” Slathering plaster onto paper and canvas and then sanding, gouging and scraping cause pain and release pain at the same time. The process echoes the message. Dee Shapiro: My practice explores the intersection of pattern with nature, geometry and craft. I have been making art since the 1990’s, producing several bodies of work, large and small from the Fibonacci progression to abstract geometric pieces on graph paper to small city and landscapes to drawings to an interpretation of biological and organic forms to artist books. I work with many different materials such as paint, ink, yarn, beads, wood, paper and packaging. In my more recent work, I include collage and assemblage and have taken iconic nude paintings by male artists and readdressed them on paper with mixed media materials. Dee Shapiro has exhibited widely in New York and elsewhere since the late seventies. Her works are included in the Solomon R. Guggenheim Museum, The Everson Museum, Herbert F.Johnson Museum, Cornell University Birmingham Museum, Dayton Institute, LAMOCA, Buffalo AKG Art Museum, Colorado University New York Public Library Print Collection and several other museums and university collections. Her work is also in the collection of Pepsico Corporation, IBM, General Electric, Louis-Dreyfus Group and many other corporate as well as private collections. She was a Yaddo Fellow 2017, 2019, 2022 She was a gallery director and curator at New York City galleries, a photo editor for Reader’s Digest Books an editor and stylist for Time Life Books-American Country Series, and art editor for Frigatezine.com. She created the Leopard Skin Cow for Cow Parade New York, 2000 She taught studio art and art history for SUNY, Empire State College until retirement. Kate Hamilton: I sew. I think in tangents, and I work conceptually with fabric. I am hugely influenced by theater, and probably, metaphor. I focus on the body (though it is always absent) and I wonder who we are and what life is about. I believe the body is both personal and political. My own body is beginning to collapse. Increasingly, I’m interested in human use/control of words. Kate Hamilton is an artist based in the Mid-Hudson Valley and New York City. Working across design, sculpture, and costume, she explores the expressive and symbolic dimensions of clothing. Her hats and garments have been collected and sold internationally, while her costume designs have been featured in performances spanning art, dance, opera, and theater in New York, Berlin, and Zurich. Her sculptural work has been exhibited throughout New York and the surrounding region. Hamilton was born with a caul—a rare condition that continues to inform the mystique and sensibility of her practice. Sascha Mallon: Spilled Milk It starts and ends with the river of all things connected. The story is about a woman, who lives in a house on a hill. She does not leave the house at all. Right now I am not sure why, but we will find out about this part later. She is lonely for sure. One night she sneaks out and discovers all the beauty of the flowers. She likes to play with the bunnies, feel the wind and count the stars. She is really happy. So she starts doing this every night. The seasons change and it gets really cold. She can't let go and is still sneaking out every night hoping for the blossoms and bunnies. One night in the winter, she falls asleep under the stars. She starts dreaming of spring. Her dreams are very beautiful, so she decides to stay curled up in her dreams. Her body turns into Ice. When spring comes her body turns into the river of all things connected and her tears turn into seeds for a field of flowers with bunnies, clouds and birds. “I was born in Austria, where fairy tales were a formative part of my upbringing. Stories by the Brothers Grimm and Hans Christian Andersen shaped my way of thinking early on, particularly their ability to address complex emotional and ethical questions through poetic, symbolic language. This influence continues to inform my work, which often uses gentle imagery to explore deeper inner states. I am influenced by landscapes and narratives that hold both beauty and unease, where care and vulnerability coexist. Alongside ceramics, I use crochet techniques, connecting my practice to European craft traditions and slow, embodied forms of knowledge. My Buddhist practice also informs my work, shaping an understanding of interconnectedness, impermanence, and compassion. These influences come together in installations that reflect inner transformation while remaining open to shared human experience.” Kathleen Vance: Kathleen Vance is an environmental artist that creates projects that connect people to local aspects of nature that are overlooked or under appreciated. “In my work I distinguish forms that are indicative of growth and explore the variance between experiences of an authentic natural encounter vs. an inauthentic encounter. I look for the ways in which nature can be brought back into the course of one’s daily life. I am intrigued by areas where manicured nature is being reclaimed by the wild. With my installations I engage viewers with the experience of a space being overtaken by natural elements. I bring discarded particles from forestry floor together to be revivified in my constructions.”- Kathleen Vance Artist Bio Kathleen Vance is an environmental artist who creates artworks that connect people to local aspects of nature that are overlooked or underappreciated. Her sculptural installations have been featured at the Museum of Contemporary Art in Krakow, the Museum of Contemporary Art in Jacksonville, Orlando Museum of Art, Weatherspoon Art Museum, the Peeler Art Center, the Weisman Art Museum, Brandywine River Museum of Art, the Bruce Museum, the Albany International Airport, the Center for Contemporary Art Wiesbaden, SPRING/BREAK New York,VOLTA New York, PULSE New York and Miami, art Karlsruhe, EXPO Chicago and Sotheby’s. Vance received her B.F.A. from Pratt Institute and her M.F.A. from Hunter College in sculpture. She has received numerous grants and awards for her artwork including: a travel grant to research the geo-thermal regions of Iceland, a grant from the Puffin foundation for public sculpture, a development grant from Aljira, Center for Contemporary Art in conjunction with the Creative Capital Foundation, a grant from the Brooklyn Arts council which aided the development and implementation of an outdoor community based art project in East New York, and a grant from Arts Mid-Hudson for the creation of new environmental sculptural works. Ms. Vance was artist in residence in Berlin, Germany, presenting a workshop on environmental arts in connection with the Grunewald Parks Department in Germany as well as an artist in residence at the Château de Beaurepaire in the Loire Valley. Kathleen Vance has exhibited extensively in New York and internationally and continues to live and work in New York. Claudia Renfro: My work is both intuitive and process centric. Using a variety of mixed media, I create characters that generally begin from one point, maybe a head, lips or a foot. They may showcase the good, the bad, the ugly and the absurd, each character a moment captured in their own universe. Imaginary conversations can be felt by the viewer, often with humorous and irreverent takeaways. I also work in textile arts, embroidering primarily on linen and my sculptures are crafted using recycled and found materials. These are cast in bronze and further embellished by hand to suit each individual piece. Each piece, no matter the media is like a character in its own story, yet they are all part of the same conversation. |
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Sascha Mallon Spilled Milk
Sascha Mallon Spilled Milk
Kate Hamilton, mesh boat 2021, aluminum mesh, 4x3.5x1.5, 2021
Kate Hamilton, Empty Pockets 2012, sailcloth, waist 13.5' h18'
Dee Shapiro, Framed Women, Mixed media on Paper, 2025, 48 x 70
Dee Shapiro, Women Painting Female Nudes, Mixed Media on Paper, 2024, 48" x 120"
Betsey Regan, Lonely Batman, Fresco on Paper, 32x26
Betsey Regan, Nite Rider, Fresco on Paper, 30x22
Kathleen Vance, Boundsticksi, 2020 sisaltwine,sticks
Kathleen Vance, Traveling Landscape, "Rondout Creek, Hudson River Confluence”, 2024, (soil, sand, artificial foliage, vintage cases, resin, light fixture) 22”x35”x24
Claudia Renfro, Mr Natural, 2026, embroidery thread,fabic,on linen, 45 x 38
Claudia Renfro, The Red Purse, 2026, fabric,twine, thread,wire mesh.beads,metal jewlery on linen, 90 x 60
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