On view: January 3-30, 2026
Reception: January 8, 2026 6-8:00pm
Sasha Kopf
I began learning woodworking from my father in 2022, after I had left my job as an attorney and was trying to figure out my next career move. My intention was just to learn a bit of basic cabinetry while I had some spare time on my hands, but pretty soon, I was coming to the woodshop every day and doing projects on my own.
My work features marquetry, a technique in which many pieces of wood veneer are cut and pieced together to form an image. I cut each piece of wood on a scroll saw, and a single image can include hundreds of pieces of veneer of different colors and patterns. I enjoy making portraits of animals, especially obscure and under-appreciated ones. I also enjoy making abstract shapes that mimic natural forms.
Esther S White
Functional pottery decorated with scenes and characters from classical mythology, heroic poetry, and superhero comics by Northampton-based artist Esther S White. Featuring Beowulf, Wolverine, Theseus and the Minotaur, Cerberus, Arachne, Argus, the Apple of Discord, and the Muses.
Myrrh Brooks
Myrrh Brooks explores themes of home, belonging, and the understated moments that often go unnoticed beside the whirs, clicks, and flashes of modern life. She graduated from Smith College as an Ada Comstock Scholar in 2022 with a degree in Studio Art – Book Studies Concentration. There she fell in love with woodcuts and has built her artistic practice around woodcuts and making books. The prints shown here are the illustrations for her 2024 children’s book, Apples For Georgia, published by Penny Bun Press. Copies are available at several W. Mass libraries and other locations around the continent. Prints, framed prints, and book copies are available online and through Penny Bun Press.
Chenda Cope
Remnants is a collection of gestural casts that straddle the line between abstraction and representation. These objects are primarily composed of waste materials, saved and sorted from my own trash. Due to the way in which these forms are made, the contents of each piece is not readily obvious, offering a slow viewing experience in which texture and color shifts are slowly emergent. These bodies bring that which has been forgotten/ignored/erased into visible forms. Hung on the wall are “remnants of the remnants” – drawings and material sketches made as a byproduct of the casting process. The accompanying text, available in both audio and written form, blends poetry, memoir and scholarship to speak to the experience of living with invisible illness, drawing connections between illness, waste, the body, material, and art.
