A R T I N T H E V A L L E Y THE ART OF KAREN EISENBERG By Karissa Masse
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“I love to work with my hands and let my hands do the work more than relying on machines. There is something very empowering and satisfying about moving metal, something that you can’t just move with your fingers. To be able to bend it and transform it.”
Etourist season begins, but, in fact, very year, the Mt. Washington Valley blooms in population as the summer we are a small community. With about 2,100 residents in North Conway, we regularly see our friends and neighbors in the grocery store, at the library, or on the trails. At times we’ll bump into an old teacher, or an important person who influenced us along our paths through life. For me, Karen Eisenberg is one of these people. I am an artist and gallery owner in North Conway, and as I reflect on the path that took me to where I am today, Karen stands out as a pivotal influence. An accomplished metalsmith and jewelry de signer who now showcases in my gallery, Karen first appeared in my life in 1992 as the new art teacher at Fryeburg Academy. As a budding artist in my sophomore year, I was enthralled with her completely novel approach to what became my first experience with fine art. Although I had previously developed some drawing skills, Karen’s completely academic approach, steeped in the rich traditions of ancient masters, drew me into a captivating world of Art with a capital “A.” The tacky craft projects and chalky tempera paint I had previously known were suddenly replaced with academic studies in contrast, values, proportions, and balance. We sat in dimly lit rooms, rendering moody still-life drawings. We wrestled with aluminum wire, turning lines into sculptural forms. We used fat Sharpies, completely shielded from our view, blindly exploring the contour lines of a live model—typically a fellow student standing up on top of the tables. Karen came to the arts at an early age. She grew up in Pomona, NY, a cre ative community just outside of NYC that is home to a lot of artists and musicians. At age 14, her family moved to Randolph, NH, which she described as a “difficult transition.” Since the public-school academics there were lagging behind her old school, she was placed into higher-level classes to compensate. The new school also couldn’t accommodate her hunger for art and music (she had also been studying cello), so her parents finally enrolled her at Gould Academy in Bethel, ME, for her junior and senior years. Gould had a strong art program, and she found an influential guide and mentor in Jim Owen, her ceramics and metalsmithing teacher. “He was someone I was afraid of, but he was also really encouraging. He made big, beautiful Japanese-looking pots and always encouraged us to focus on form. He’d tell you to stop, get off your [pottery] wheel, and look at your pot from far away. And he wanted us to leave some
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