Keene Art Walk 2025: Alicia Drakiotes by Alletta L-R

 A: What has your journey to your current artistry been?

A.D.: Studied in college, then pursued a working career and at age 50  began

pursuing my artistic dream.

A: I know you have been a catalyst in other artists getting their work shown and you’re passionate about your community work. Was there someone in your life, at any stage of your career, who helped push you forward in a similar way?

A.D.: In Jr High  studies my art instructor Lina Berry, was a positive influence

for forging ahead with my aspirations.

In High school my instructor Norma Safford instilled the desire to work

forward and fulfill my creative dream.

At KSC my degree program combined Journalism and Art in a Visual

Communications degree.  Resulting in a brief career in Journalism before

moving on.

A: What do you find special about local communities of artists?

A.D.: Local communities are important for support and reassurance.

A: Your works are often products of the environment around you. You’ve said that you find beauty in items that have shown their age, such as rust on a car. What do you find beautiful about aging both in items and people? 

A.D.: Our world changes day to day, but by portraying it and finding beauty in

what we see, we can hold that aspect and vision for eternity.  Thus those

that follow us will appreciate, hopefully, what we have portrayed.

A: What does your studio practice look like day-to-day?

A.D.: Presently it is rather crowded and chaotic as I ready work large and small

paintings for 3 upcoming exhibitions through July and August.

Come September there will be a greater order as I ready it for Open Studio

hours.

A: I’m drawn to your works “A bee happily collects pollen from a lupin bloom.” and “A wild rabbit pauses in a New England garden.”. In both of these you work on archival woven substrates. This material adds such intriguing visual texture to the pieces. What material have you found you prefer painting on? Linen, canvas, another?

A.D.: Linen and panels are easier to manipulate the oil paint over. The woven

substrate presented a challenge as numerous applications of paint were

required against the dimensional background. It was a creative experience I wanted to try.

A: Could you give a bit of insight on your process when it comes to working with woven substrates?

A.D.: The acid free cotton based watercolor paper is archival, meaning it will

last and not  undermine the pigments.  I used an acrylic layer to seal it

and then applied an oil base before applying my painting compositions to

it. In this case I utilized a heavy 300# weight paper , in the future I

will try a less bulky cotton rag paper.

A: Is this your first time participating in the Keene ArtWalk? If not, how many years have you

participated?

A.D.: I have participated in Keene Art Walk many years, perhaps 25 or more.  It

was one of my first venues to present my art to the public and I feel it is

a great way for emerging creative folks to show their work.

A: What are you most excited to display at this year’s Keene ArtWalk?

A.D.: I am working on pieces that promote the color blue for this 2025

Artwalk.  One of which is an Open book with flowers emerging from the pages

from a new Series titled "Seeds of Knowledge".

A: How do you practice self compassion as an artist in moments of burn out, block, or frustration?

A.D.: A short break and then I try a different direction in my work. The woven

paper concept was one, the "Seeds of Knowledge" was another way .

A: Looking at “A rainy night in August depicts the west side of Main St and Gilbo Ave corner.” I feel nostalgic of all the times I have walked home in the rain at night down that street. You capture it in such a transporting way. Do you have any personal works that bring back memories in a similar way or maybe any works of others that feel ‘transporting’ to you?

A.D.: Rainy Night is a poetic piece, now in a local collection, but it does evoke

familiar thoughts about newness after the rain, similar to Spring flowers

and the renewed hope they bring.

In these days of political whirlwinds ( IMO) I am finding myself emerging

myself in Spring and floral influenced works.

A: Do you have anything to add?

A.D.: I appreciate your interest in my work.  My local gallery is currently

within Hannah Grimes Marketplace in Keene and I encourage folks to peruse

the work as it changes seasonally. 

Keene Art Walk 2025: Annie Ferreira by Alletta L-R

 A: What has your journey to your current artistry been?

A.F.: Art is one of the biggest saving grace in my life. In my twenties I

became clinically depressed for a very long time (7 years). They tried everything to help me for

years, multiple hospitalizations, psychotropic drugs and I was even was treated Electric

convulsive therapy. I eventually found comfort in drugs and alcohol.

A.F.: At 30 I went to detox and it was at this point that my second life began. A life I never thought I

could have. They suggested a hobby, so I decided I would try art. I knew I had no talent, but

something happened when I did it, I stopped thinking about all my anxiety and I got lost in it. It was so amazing. My art was pretty bad and everyone told me, “Don’t quit your day job”, I didn’t

have one anyway, so I continued. I had no intent to become good but to continue to relax and feel

free for a few hours. It kept me going. It was powerful.

A.F.: Over the years I have improved. I am so proud when someone buys a piece. I am a woman with

no natural given talent that now makes art for people’s walls. Life is funny.

I am now a RN and help others with mental illness and addiction. I have five beautiful children

and a wonderful husband. I thank the Lord and my art for my healing.

No one should underestimate the power of creating art.

A: Looking at your work it appears you paint on surfaces other than canvas. What surface has

challenged you the most? What did you learn from working on that material?

A.F.: I sometimes go to thrift stores and buy paintings; I paint over them and recycle. I can also find them in home décor stores discounted. It just saves me on material, benefits the environment, and it also has a built-in frame.

A: Your work includes many female figures, does this manifest from self-portraiture or people

around you? 

A.F.: They are different versions of me. I don’t try to do this, it just happens.

A: What does your studio practice look like day-to-day?

A.F.: I do not have one. I’m not a serious artist.

A: A defining feature of your paintings are the swirl motifs that can be found either in plain sight or woven into the fabric of your visual storytelling. What inspired this artistic choice that appears as a signature to your pieces? 

A.F.: The swirls are the end of the painting at the point I am completely relaxed and free. I just go with it.

A: Is this your first time participating in the Keene ArtWalk? If not, how many years have you

participated?

A.F.: This is my 3 rd time

A: What are you most excited to display at this year’s Keene ArtWalk?

A.F.: It’s a still life of an apple. It is simple. I love painting still life’s of food, a loaf of bread and a jar of peanut butter is one of my favorites.

A: How do you practice self-compassion as an artist in moments of burn out, block, or frustration?

A.F.: Because I am not a professional artist, I do not face these problems. This is therapy and it doesn’t matter how it comes out, it really doesn’t. I just spent 2 hours away from my fears and anxiety. The product is a representation of that, even if its bad art it’s always good for me.

A.F.: You do not have to be a great artist to be an artist.

Keene Art Walk 2025: Ashlyn Smith by Alletta L-R

 A: What has your journey to your current artistry been?

A.S.: I’ve loved art since I was a kid. I’d always ask for drawing pads, pencils, paints, and paint brushes for any special occasion that entailed a gift and my family has continued to be supportive of this interest since then. I continued to practice and explore the arts and found a special love for painting and drawing - luckily this was also where my skill was best displayed. I love being able to catch the smaller details with a pencil, and paint the vibrant life I see around me. It’s funny because currently, the majority of my works are from art assignments in college or late high school. Going forward my goal and hope is to really focus on what I want my practice to be, what I want my aesthetic to be, and ultimately what I want my overall “brand” as an artist to build up to. 

A: Something I appreciate about your work is how much of you is put into it. As an outside viewer, it is clear the influence of the people and environments around you directly have in your process. What have you found is a substantial and continuous source of inspiration for you?

A.S.: A lot of my inspiration definitely comes from people and nature, which makes it easy to find inspiration basically everywhere I go. I find so much joy in taking walks and people watching and I tend to take a lot of candid pictures of these moments that can later be used as references for paintings or drawings. I think there’s so much to learn and see just by being present wherever we are. More specially, my faith has helped me appreciate how incredible and intentional the world we see around us is. Having that as inspiration for my artwork makes me appreciate the little things much more. Every ray of sun, every bird flying in the sky, every flower dancing in the wind, is all a reminder for me to slow down, be still, and know there is purpose and beauty in everything. Simply put, I think I find my best inspiration when I intentionally “romanticize” life and seek beauty in the mundane. 

A: What does your studio practice look like day-to-day?

A.S.: I’m currently a college student and working as a childcare teaching assistant so time for my art varies quite a bit from day to day. Currently, my studio practice is “I paint when I can”. Now that it’s getting warmer I love being outside to paint. Not en plein air (although I’d love to try that) but I’ll set up my easel outside and continue working on some paintings. When I have free time I’ll sketch in a small sketchbook, and sometimes these can be important for future painting. I’ve been trying to build the habit of bringing my sketchbook everywhere I go so I can sketch compositions or ideas before I forget them. My dream is to have a studio space one day where I can spend intentional time creating, but sometimes you just have to work with the time you have. 

A: Your work has been created on wood, canvas, paper, and building structures. How has your work as a muralist challenged you? How has your mural work affected how you return to your smaller scale pieces?

A.S.: Although the mural was super fun to do, part of what I think makes my art special (especially my pencil works) is the amount of detail I like to capture. So when painting on a much larger “canvas” I had to adjust to more general suggestions of detail instead of fine, realistic detail. It was a challenge for sure, but in a way I found it fun and even though it was a 120+ hour painting, it felt quicker to do compared to say my pencil portraits. Working on a larger scale made me realize that I may not need as much detail as I normally include in my work for the eye to see something as realistic. In all honesty, I did love coming back to my smaller canvases and being able to draw in all the details I see within a composition. However, I would 100% do another mural if I am ever given the opportunity again. 

A: Is this your first time participating in the Keene ArtWalk? If not, how many years have you

participated?

A.S.: This is my first year participating in the Keene ArtWalk as an individual artist. In high school I was able to display select works of mine among other students within a window assigned to our school, but it’s such a special opportunity to have a collection of my artworks be displayed on its own. I’m super thankful and excited!

A: What are you most excited to display at this year’s Keene ArtWalk?

A.S.: As I mentioned before, I’m currently hoping to work on my own brand as an artist. So viewers will see some of my “assignment” work from school among some commission work, but currently I am working on a few pieces that will hopefully lead to a style or aesthetic that I want to continue as my personal and chosen practice. These pieces are meant to be candid snapshots, things that bring back memories, things that spark a feeling of nostalgia. I’ve been having a really fun time finding and painting vintage photos, one being “the boy on the beach”. A painting of a little boy in a lobster shirt that is referencing an image my grandmother took in the summer of 1985. 

A: You often play with ideas of memory and nostalgia. Is there a nostalgic piece of media that influenced you as a young artist to your artistry now? 

A.S.: I have noticed that the images I chose to create artwork tend to feel nostalgic in a way and I think this is why I want to take my own personal art practice in that same direction. I don’t recall anything art related that sparked this love for memories and nostalgia, but rather printed photos I’ve seen throughout my life. My mother is a huge photo-taker, we have books upon books filled with pictures from me and my sister’s childhood. I've always loved looking through old photos, whether it be of my childhood or my grandmothers, on social media or even a random photo stack at a thrift store. It’s crazy to think that a moment from someone’s life stands still forever within a photo. I think it’s beautiful. I think it’s special beyond words and I guess something in me just said, that’s what I want to capture in my work. 

A: One of your pieces I’m most fond of proves the saying you need to keep living in order to create art. Oil on Wooden Panel, inspired by your conversations with Melodie you portray a hand holding cards. French tip nails, two rings, and impeccable details on the cards. What can you say about the process of this work?

A.S.: This painting was an assignment from college a little less than a year ago. Essentially, the only guideline we were asked to follow was to paint a photo in black and white. I enjoyed it because I feel when a photo is in black and white the details seem to pop out more, in turn making it easier to paint. After applying gesso to the wooden canvas and sketching out the image, I began with a red grasile - a type of underpainting that acts as a guide, including values and details within the reference photo that create a “map” for the final painting. Then I mixed up my values, and beginning with the darker shadows I built my way up to the lighter values. It’s a slow process of looking at your reference photo and mimicking the shapes and values you see as best you can with paint and a brush. My last steps, for any piece, includes painting in the darkest values and the highlights - like the sparkles on the rings or the find wrinkles within her fingers. This really brings everything to life. 

A: The paintings “You Are My Sunshine” and “Momma” showcase an infectiously positive energy, and an appreciation you have for your mother. How does she continue to impact your work?

A.S.: I’m glad you asked me this question because one of my favorite things to talk about is my mom. She is no doubt one of my biggest supporters and my biggest inspiration. She is a light to this world. The way she lives and has always lived her life is to bring joy to everyone around her. She smiles at every stranger, makes conversation with the one who looks lonely, she's probably thinking about cracking a joke at any given moment and will dance any time she hears music no matter who’s watching. She is exactly who I want to be as I continue to grow up. Not only is she the kindest human, she is an incredible mother. I am endlessly blessed to have people like my parents supporting me and cheering me on through every stage of life. Be it sports, academics, arts, etc., my mother was always the one cheering loudest (I say this extremely literally, ask anyone who knows her). I want my art to bring joy to people, to make them smile, and that thinking process absolutely comes from my mother and the (I’m stealing your work here) infectious joy she has always brought to my family and I’s life. 

A: How do you practice self compassion as an artist in moments of burn out, block, or frustration?

A.S.: As much as I love art and I would spend the rest of my days just painting and drawing if I could, there are absolutely some moments when I simply don’t want to do anything art related. Sometimes I can’t get a section of drawing right, sometimes the details of a painting aren’t looking as realistic as I’d hoped, or sometimes I’ve just worked on the same thing for too long. I’m sure many artists can relate to being super self critical and becoming somewhat of a perfectionist and when it comes to creating an artwork that can be frustrating. Because why would you want to show the world something you’re not proud of? Sometimes a piece comes out exactly how you envisioned it but most times it doesn’t. I think I’ve learned that I have to be okay with the “imperfect”. I think I’ve also learned that it’s okay to step back from things even if we love them. It’s important to realize there is more to life than just our hobbies and passions. This life is shorter than we realize, and maybe that’s sad to think about but for me it’s all the reason to be intentional about how we live. When I feel burnt out or blocked, I go to people and places that fill me back up. When it comes to art, I can be so hyper focused on one thing for a good amount of time, but stepping back is a good thing. Taking a walk, having a good conversation, resting, eating a good meal with people you love, reading a book - I hope that everyone has their thing that fills them up. This is what makes life special, I think. I always tell myself that if my ability to create art was taken away… what would fill its place? It is such a joy to be an artist, but sometimes, it’s a gift to focus on just living.

Keene Art Walk 2025: Elijah Fisher by Alletta L-R

A: What has your journey to your current artistry been?

E: For most of my life I viewed art as a hobby, something relaxing and fun to fill spare

time with. But it was around five years ago when I started high school that I

decided to get serious. I suppose I was dissatisfied with my current skill, and future

events like college and careers felt more tangible. So I started practicing anatomy,

poses and character design, using sketchbooks instead of scrap paper and

discovering new interests and passions. My love of storytelling especially became

something that evolved with my technical skill, and today I’ve filled twenty-two

books cover to cover, my thoughts bending more towards realizing my story ideas

rather than just creating concept art for them.

A: What drew you to pursue digital illustration over studio work?

E: Since I was so comfortable with a pencil and paper, it was difficult for me to start

using other mediums like painting, printmaking, etc. They required so much

preparation and mistakes were hard to fix.

But the first tablet I received felt like an exciting extension of what I was used to, it

let me transfer my paper sketches to drawing apps, add color stress-free, and had

an undo button.

But now I’ve finally gotten used to other mediums like acrylic paint and watercolor

and it’s a completely different state of mind for me.

I feel I’ve developed tremendous speed with digital art, and it’s easier for me to

realize my ideas in complete forms using those programs.

But physical art is so much more personal; having to sit with a mistake makes

success so gratifying, and I love the feeling of being new and inexperienced at

something again.

A: From looking at your work there is clear reference to video games and other media. Are these

influences that date back to childhood for you? If so, what pieces of childhood media do you

think shaped you the most as an artist?

E: I think I’ve drawn Godzilla fanart since I could hold a pencil, and obviously my

interests grow over time. I’ve always loved media with interesting character design

and art styles, so I think fanart is a way for me to appreciate and digest what I like

about a character.

Some childhood inspirations are The Legend of Zelda, Jeff Smith’s BONE series,

Godzilla, and Sonic the Hedgehog.

A: What does your studio practice look like day-to-day?

E: Very loose and relaxed! If I’ve got an idea I want to develop into a finished piece,

I’ll listen to music or watch t.v. at my desk (or on my bed) until it’s done or another

obligation presents itself. Even if I can’t bring my tablet or sketchbook with me, I

make sure never to be without access to paper and a writing implement. Doodling

is second nature to me.

A: In your work “Defeat Eddie”, there are many layers to this drawing, from character icons to

realistic action shots. What goes into your process when it comes to mapping out an image?

E: That piece in particular was inspired by an online movement of people making fake

screenshots of video games that don’t exist. So every aspect is in service of

creating the illusion of a game that I have no way of making with my skill set.

Overall, my main priority is to draw something fun or interesting so I don’t get

bored, and I try to think about basic composition, how to draw the viewer’s eye to

the many small details I put in.

A: Is this your first time participating in the Keene ArtWalk? If not, how many years have you

participated?

E: This is my third time participating, though the first time was courtesy of my high

school art teacher Shannon Perry, who entered our senior paintings for us. If you

remember three big parakeets on Local Burger a few years back, that was yours

truly.

A: What are you most excited to display at this year’s Keene ArtWalk?

E: That would have to be my digital piece “In the Garden”. I’m very proud of the

rendering and it feels like a triumph that I’ve worked towards for many years. I also

want to intrigue people with this small look at a story I’m working on.

A: Something that stands out to me about your work is your attention to detail when it comes to

natural lights and shadows. What do you look towards to make those decisions on where you

place light and shadow?

E: I believe that art is driven by passion; being in love with a person or a thing or idea

that you go above and beyond to represent it on the canvas and get others to

understand. In my case, I go crazy for the way light reacts to different conditions

and objects, and I love expressing that in new contexts. Often I’ll stop dead in my

tracks to make note of the color of an object in shadow, how the light bounces and

reacts. It gets me excited just thinking about it.

A: How do you practice self compassion as an artist in moments of burn out, block, or frustration?

E: Burnout is especially tough when you treat art as an escape, but it’s something I

can deal with pretty consistently. I tell myself that I only feel awful now, and a few

days of being lazy, playing video games and not being productive is okay.

That works with personal projects, where I can still doodle and still not be

“working”, but it’s different under an external obligation like a commission or

assignment. Then I have no choice but to cut any personal distractions and get the

job done.

A: Do you have anything to add?

E: Art is about emotion, the way the creator feels while making it, or the way you feel

experiencing it. It is a human endeavor that we must keep human. Try to do

something new, especially if it’s frightening, and don’t let a machine generate it for

you. Live life, eat yummy foods, cry at television, laugh with friends.

-Chao!