Open Studios
Upstate Art Weekend Open Studios x The Source
Opening is Saturday, May 16th 3-6pm
&
Open Studios is Sunday, May 17th 11-5pm
On Saturday May 16th from 3pm-6pm there will be an opening including Zeljko McMullen, Nico Alonso and Juliet Rania who will create an immersive ritual experience beginning at 3:30pm
& Our annual Akashic Records reading with Kat Hunt will be on “Alchemical Law” and will be at 4:30pm
On Sunday Open Studios 11-5pm
Hiera Techne (trans. The Holy technique ) is a Greek name for alchemy or the transmutation of gross matter into spirit.
Drawing from this inspiration several artists who have spent time at the source will show work that gives a glimpse into the transcendent life of matter, including:
Danielle Gaddus
Threshold (the way in), arrangement 2
Variable size
Acid dyed silk + wind
Rearranged into a new constellation utilizing the same hand dyed silk from a previous installation at The Source for The earth is the highest form of agape
silk + the elements
tension ↔ flow
intention ↔ let go
body + space + presence
somatic modes of perception
Danielle explains her process. “I explore somatic perception and phenomenological forces utilizing silk + space. My work encapsulates dualities within material and environment, as silk alters state responsively through dying processes and entropic environmental conditions. Through architectural intervention, dynamic exchange of light/shadow; tension/flow; gravity/weightlessness are experienced by the viewer through direct, unmediated experience.”
Kaden Bard Dawson
Untitled
2025
Cyanotype print on Strathmore 140 lb watercolor paper, toned with turmeric.
6.5 x 10 in
Juliet Rania
Incubator 42.07677° N, 74.20742° W
Three samples taken from Slugs at The Source
Three yellow boxes, white wood plinth, Petri Dishes
Incubator 42°02'13.2"N 74°07’03.9"W
Sample taken from Millstream Mud
Blue Lucite Pedestal, Clear Lucite Box ,Petri Dish
These sculptures of microbial swabs are taken from samples of the natural world around Woodstock.
Alexandra Krylova
‘Shunya’
Rooted in the idea of shunya, this body of work turns toward stillness as a living presence. For Alexandra, nature is refuge — a threshold where time slows, where beginnings and endings meet, and where one may walk beside ancestors, memory, and the many selves carried across a lifetime. Through these photographs, she invites the viewer into an embodied pause: a deep inhale, a soft return to center, and a fleeting experience of peace.
William Kim’s Archival works
avoiding eye contact as adults do while they started to think thoughts of their own, 2024
kids scooters
44 x 24 x 32”
In avoiding eye contact as adults do while they started to think thoughts of their own, 2024 three outworn, pink razor kids scooters form an ambiguous image of unity. The scooters differ by marks of time and scratches from exposure to the street. They are joint by their wheels and handle bars, with one scooter smaller than the other two. An image akin to
parents and an only child. The vehicles are rendered dysfunctional, a standstill image of false appeal. This work echoes unity, dependence and individualism.
wanna see you hearing sorry I wanna see you saying no, 2024
kids bikes
68 x 48 x 28”
Variable
“and the praise you sang to me was utter fake initially” (⇀‸↼〝)⊃━☆ﾟ.*·。ﾟ
wanna see you hearing sorry I wanna see you saying no, 2024 is a push and pull between two kids bikes joint by their hand brake and front wheel. The bikes found over the course of eight months, off of the streets of Brooklyn Clinton Hill were modified to fit each others bodies. For the bolt to bind the two, one front axis was widened, the other tightened.
“Inevitably boys bikes will to me, retell the early days of sharing a room with my older brother. Brotherhood as green house and as cage, as demand and protection. This piece is joint by the hand brake and the front wheel. I had to find my own direction but had to be paced by him, not to run into the next wall. With this piece now living at The Source, I see
us laying arm in arm, swaying in our memories…”
you cannot fall if you are trapped, 2024
kids bikes
35 x 42 x 35”
"you are my summer, I am your winter but you say you no fan of seasons” (。・・。) (•◡•)
In you cannot fall if you are trapped, 2024 two kids bikes are joint by their wheels. The two pastel colored, fairy-tale looking bikes were found off the streets of Brooklyn. This piece is modifiable and fluid in its form, each rendering is site-responsive. This piece echos the duality of bonds, on the one the certainty which we receive from being with someone, on the other the limitations that a single-channeled reflection of one's self causes. "Whenever I notice left-behind belonging on the curb, I immediately am catapulted into fantasies of potential pasts. Where have these bikes traveled to, which street have they belonged and which doorbell to ring to bring them back home.... With this pairing I draw a fictional friendship between two people who likely have never met; or, if so then this piece shall be their friendship’s monolith.
forever together again, 2024
kids bikes
36 x 28 x 34''
“I never wanted to be again with you, I always longed for one seamless sky, no interruption, horizon-like infinite.” In forever together again two candy-colored kids bikes stand side by side, intertwined, sharing their front wheel. With empathy and consoling care forever together again, 2024 revisits childhood spheres and poetically comments on structural classification systems. A playful scene alike two lovers caressing one another, presents our global desire for among-ness and interconnectedness. The presented unity is veiled in childhood, love, longing and joyful juvenility. However this entity carries a double-edged undertone of yearning, nostalgia and loss since the unification entails their disfunctionality. The two characters inhabit psychological qualities that swing between aloneness and among-ness, protection and limitation, singularity and community. The
complementary color-coding comments on opposing forces of binary systems; gender classification of male and female, as well as gang wars. forever together again is placed in torn duality - glamor-garbage, desired-discarded, united-limited - and there utters our mundane quest of belonging. "When I at first stumbled upon these kids bikes discarded on Brooklyn's streets, I immediately shed tears, I saw them as discarded dreams, saw the person behind and that thrown-away past. I thought of the American Dream, and how possessions claim to fulfill this pathway; how items function as masks or tools of
identification. I felt stroke by nostalgia.. thought of how my first bike empowered me to grow up and to grow into a personality, and, at the same time how all those bikes are so heavily charged with pre-determined (gender)roles."
By nature forever together again is an oxymoron that spotlights a stage of in-between-ness, of liminality, of search for safety within community. Through subtle interventions the artist twists terms and provokes propositions of new meaning-making. A phrase but as state forever together again exhibits our essential need for unity and the perpetual search for belonging in an ever-changing environment of nowadays.
said so but none saw, 2024
3 kids bikes
83 x 22 x 29", variable
exhibited at Chthonic Panic, The Source, NYC 2024-07, Keep Off the Grass, Steuben Gallery, 2024-04
In said so but none saw, 2024 three kids bikes are joint by their wheels. The neon-yellow middle bike floats in the air, with its chain dangling off the cogwheel nearly touching the ground. Meanwhile another pink bike stands upside down with its supporting wheels elevated off the floor. The third, baby blue bike faces away.
“The black tire hints marriage and so do the switched handlebars. I worked along the dynamics of cheat and seduction, novelty and decay. The infantile, pink bike portrays a young fling, a flirt or an unjust ongoing love affair. Or yes, it could be a child with
their parents. My parents are still married. It is very surprising, almost miraculous to me. Once I had been the initiator for a divorce, at other times the reason to stay together.”
In each of Kim’s bike pieces ambiguity dictates the underlying character.
to belong to be longest, 2023
2 kids bikes
44 x 22 x 28'', variable
exhibited at Keep Off the Grass, Steuben Gallery, NYC 2024-04, Site 003. Grass Stains, Cooper Park, NYC 2024-07, tranquil, Brooklyn Navy Yard, NYC, 2024-11
In to belong to belongest, 2023 two worn out kids bikes are conjoint by the front wheel and occur on the edge of oneness. We witness an ambiguous situation, obscure likewise jolly, dancing while wrestling. This is William Kim’s first ever bike piece and introduces this continuous body of work, born on the streets of New York City.
"When I at first stumbled upon these kids bikes discarded on Brooklyn's streets, I immediately shed tears, I saw them as discarded dreams, saw the person behind and that thrown-away past. I thought of the American Dream, and how possessions claim to fulfill this pathway; how items function as masks or tools of identification. I felt stroke by nostalgia.. thought of how my first bike empowered me to grow up and to grow into a personality, and, at the same time how all those bikes are so heavily charged with pre-determined (gender)roles." The artist removed the bike seats to accentuate their false invitation to reinvigorate childhood and recycle the bikes. The rusted bike chains are out of place and creek ghostly around the uninhabited metallic frame. In adaptation of the preset visual information, Kim replaced the lettering which now reads “belong” and “belongest”. With miniature gestures the artist uses the readymade of the kids bike and applies feelings of attachment, interconnectedness, coming-of-age, loss and unity.
Alexandra Krylova
Alexandra Krylova (b. Moscow, Russia) lives between Brooklyn and the Hudson Valley, where she has spent the past decade and has been part of the creative co-living community The Source. After a lifelong connection to theatre, she returned to photography in 2020, drawn again to the image as a place of attention, feeling, and quiet revelation.
Rooted in the idea of shunya, this body of work turns toward stillness as a living presence. For Alexandra, nature is refuge — a threshold where time slows, where beginnings and endings meet, and where one may walk beside ancestors, memory, and the many selves carried across a lifetime. Through these photographs, she invites the viewer into an embodied pause: a deep inhale, a soft return to center, and a fleeting experience of peace.
Juliet Rania
Juliet Rania is a transdisciplinary artist born and raised in New York City. Her practice engages mysticism, ritual, and microbiology, exploring collaborations with the unseen. She holds a BA from The New School and an MA from Sarah Lawrence College. Recent work includes ritual actions with visual artist and composer Zeljko McMullen, alongside the continued development of her bio art practice. Her Incubator Series comprises sculptural works created in collaboration with site-specific microbiomes, each capturing an ecosystem from locations integral to her daily life. For the past three years she has curated exhibitions at The Source, located in Woodstock, NY.
