If you are a retreat planner, we encourage you to consider how our stunning new 4000 sq ft. Art Space could be used to bring the "creative spirit" into your event while you are here on campus.  We have a large spacious room upstairs, a small pottery studio (four wheels), a woodworking shop, and a fiber arts space downstairs (both floors are accessible). If you would like to use this space for art activities, please contact Mary Romano, our reservations manager. Mary can also help you get in touch with our Artist-in-Residence to see how that person could lead an arts workshop for your group using the theme of your retreat. Rates apply.

Learn more about our Art Space.

Learn more about our Artist-in-Residence program.

Ask about Art Programming for your group or for yourself.

See below to learn more about the Artist-in-Residence who will be here during your stay.


 

Maya Horton

November - February 2016 

Maya At Lake

Maya Horton is a 24 year old visual artist from New York. She has a Bachelor’s degree in Sociology, and a background in social justice, alternative education, and biointensive farming. Her portfolio can be found online at mayahorton.com or on Instagram @mayahorton. Using a variety of media such as paints, pastels, clay, textiles, articles from nature, or objects of significance to the participant, Maya enjoys helping groups explore the themes of microcosm and macrocosm, or a group's own themes, in a way that is meaningful, celebratory, and in integrity with each group's intentions for their retreat. She can also offer partly structured workshops with a focus or query to begin the creative process, or support a more loosely held open studio time - in either case she will be available to support in process and technique.

“We humans are poised between microcosm and macrocosm, containing one, sensing the other, comprehending both.” ~Physicist, Dr. Frank Wilczek

My art process is informed by a curiosity about the patterns and cycles weaving the world’s microcosm and macrocosm together, and the stories that are narrated and lived out in the space “between.” I notice that complex dynamics amongst people and in the natural world are expressed on many layers of both time and scale, and that an entire system will often voice itself in something small and immediate –river rocks that gracefully wear a long geological history on one square inch, a seed that can store the life force of a much larger organism for centuries until it is ready to germinate, a body of students that unwittingly mirrors the tangled dynamics of the school’s staff and administration, or a single individual who enacts the stories and beliefs of five generations before them. In these and so many ways, the part contains the whole.

Maya Tree

In some instances, my work points to this very literally – for example, wood burning the image of a tree onto a dead branch or piece of scrap wood – but my drawings, paintings, and mixed media work are usually renderings of details I encounter that point loudly and often joyfully to something about the larger picture they inhabit. These details range from insects I notice when working in the garden who remind me of constant change and fluidity; wildflowers I see on walks that have been used for respiratory health for thousands of years before this land was “our” land; goats that walk at one day old without any apparent fear or hesitation; an archetype from the Tarot that I drew almost every day for a week; loved landscapes that looked familiar the first time I saw them; or moments with folks in my life whose wisdom is rooted beneath our feet and glides above the logic in our heads.

I believe that attention is a powerful force, and so I wonder if by giving attention to details that seem to be unseen or underestimated, one is moving energy towards a place of balance where contradictions can exist side by side. At the very least, engaging with tiny wonders by drawing or painting them is something that brings me a sense of balance, because somewhat like working in a garden or orchard or community of people with vastly different backgrounds, it requires me to step outside of my own story and into another that is both equally true and unfamiliar. I think creativity of any kind is a way to both access and hold these details up to the light, and getting to witness and experience the stories that are contained and told through the lenses of others’ artwork is the most exciting aspect of facilitating creative spaces. 

Maya Goats

Martha "Maud" Bartlett - Potter

April - August 2017

Maud's website

A bowl by Martha

Maud's first official role in teaching was at SPC in 1984-5 as a young woman when the first pottery studio was created here:

The studio became a hub of community and even with my lack of experience the media of clay taught us all. Clay has been my longest enduring medium of choice. For 34 years I have been in relationship with clay. When clay wasn't in my life, it was clay that always brought me back to my life. More recently fabric art has snuck into my consciousness through the back door. I began my fabric art journey while teaching art in the public schools and an artist came to work with my students. Now, it too, is here to stay.

I am now just retiring from 17+ years as a public school art teacher in Louisville, KY (ages 11 and up). My teaching style did not always work well with uncooperative or unmotivated students as I tend to allow the media teach the student and then I would model as needed. Given enough time or a class setting more conducive to intimacy I could usually get my students to take initiative and pride in their work. My class was often the reason they came to school.

During my time at Stony Point Center I hope to be able to make a viable clay space, kiln firing success, wheel working studio a hub of creativity and conversation for the Stony Point Community and its guests while also exploring functional clay forms through aesthetics and functionality.

 

Martha's Bowls

How does Maud see her art?

The purpose of my art has been personally therapeutic and a tool for dialogue with my inner self. As I have gotten older and have accumulated more 2D visual art than I can display in my home I have turned to the functional arts, bringing beauty to daily experiences like eating and sleeping. I also see art as a medium for creating deep relationships and community.

A few words about Maud's spiritual journey:

I am on a spiritual path. Been on it seriously since I was a child having the presence of Jesus in my bedroom. Yes, I have been flooded with God's light and continue to hone my practices. My practice has come in several ways. My work with young people has given me great opportunity to practice unconditional love. My studies in the martial arts have led me to eastern Taoism and Buddhist teachings which have infiltrated my understandings of this path of life, good and evil, and breathing-movement prayer/unification of mind, body, spirit.  I am also a shamanic practitioner with much experience entering deep conscious space for healing and growth. Added to this non-verbal practice I have just begun a practice of journaling dialogue I learned through classes in the Akashic Records. This has been helpful to be able to put words to the wisdom.

The beginning of Maud's passion for art:

One day when I was little, I had a baby sitter who could draw. She drew a picture of me sitting at the table and she drew me the way I was, with a little white undershirt with the small straps. When she showed it to me I told her I wanted to have different clothes, that I didn't like the undershirt. She said, "Go put on something else." So I ran to my room and changed my shirt. She drew the new shirt right on top of the other one and I saw the magic in it. Wow!  I think I was forever hooked from that moment on. I saw how we make our lives, it doesn't just happen to us...

Martha Maud Bartlett