Matter and memory: The mixed media art of Sophie Eisner

Sophie Eisner in her studio in Kingston, New York.
Hannah Vaughan

Sophie Eisner in her studio in Kingston, New York.
Sophie Eisner is a mixed media artist working in steel, fabric, concrete, silicone and other materials. Her solo show “Holding Patterns” at the Norfolk Library will be on view through July 1.
Thematically, “Holding Patterns” explores the energy of potential and how the human body holds emotional experience. Her work often depicts empty vessels and uses negative space to explore tension between objects.
Inspired by the memory of a traumatic childhood injury at her family home in Norfolk, Eisner remembers how her father took care of her.
“When I was three years old, I fell and cut my knee badly. My dad picked me up and put me in the kitchen sink. I think about that in terms of objects and the relationship between space, feelings and memories. Physical space and emotional quality are very merged,” she said.
Perhaps due to this experience, sinks and empty vessels figure frequently in Eisner’s work. She has a fondness for the smoothness and utility of their design as well as empty bowls. But Eisner explores other ideas and works in different mediums, often welding metal coils.
“If we take that into the metaphorical range, it’s like a human where we’re not all made at once but who you are grows out of this accumulation of experiences and events that sort of mark you over time. So, that’s another way that I’ve explored ideas of memory,” she said.
While Eisner’s work deals with personal experiences, it is open to viewer interpretation, often in a non-linear fashion.
“It is like when you have a dream, you forget about it and then you remember it later. There’s enough logic or structure there that it feels familiar or like it could be known, even though it’s not necessarily nameable,” she said.
Blue velvet is one of Eisner’s preferred fabrics, which she uses to convey value. She was attracted to the material after seeing an empty violin case and was struck by the beauty of the velvet as well as the absence of the object, which is as of much interest to Eisner as what is present.
“Building those narratives, the loose idea of how one thing starts to ‘talk to the other’ and that vibration between them can change really dramatically depending on where they’re placed. The sweet spot between harmony and tension as I’m working in the studio is an opportunity to do more of a meditative practice,” she said.
Up next, Eisner will be showing at the new O+ Headquarters in Kingston in July and August. O+ is an organization that facilitates artists getting healthcare in exchange for their work. She will also be part of a pop-up exhibition at Atlas Studios in Newburgh, New York for Upstate Art Weekend July 17 through 21.
This story has been corrected to fix the end date of Eisner's solo show at the Norfolk Library (July 1) and that she works with many materials, including silicone.
Legal Notice
The Planning & Zoning Commission of the Town of Salisbury will hold a Public Hearing on Special Permit Application #2025-0303 by owner Camp Sloane YMCA Inc to construct a detached apartment on a single family residential lot at 162 Indian Mountain Road, Lakeville, Map 06, Lot 01 per Section 208 of the Salisbury Zoning Regulations. The hearing will be held on Monday, November 17, 2025 at 5:45 PM. There is no physical location for this meeting. This meeting will be held virtually via Zoom where interested persons can listen to & speak on the matter. The application, agenda and meeting instructions will be listed at www.salisburyct.us/agendas/. The application materials will be listed at www.salisburyct.us/planning-zoning-meeting-documents/. Written comments may be submitted to the Land Use Office, Salisbury Town Hall, 27 Main Street, P.O. Box 548, Salisbury, CT or via email to landuse@salisburyct.us. Paper copies of the agenda, meeting instructions, and application materials may be reviewed Monday through Thursday between the hours of 8:00 AM and 3:30 PM at the Land Use Office, Salisbury Town Hall, 27 Main Street, Salisbury CT.
Salisbury Planning & Zoning Commission
Martin Whalen, Secretary
11-06-25
11-13-25
Notice of Decision
Town of Salisbury
Planning & Zoning Commission
Notice is hereby given that the following action was taken by the Planning & Zoning Commission of the Town of Salisbury, Connecticut on October 20, 2025:
8-24 referral was deemed consistent with the Plan of Conservation and Development - For the use of town-owned land at 20 Salmon Kill Road, Salisbury for housing, recreation, and conservation. The property is shown on Salisbury Assessor’s Map 11 as Lot 26.
Any aggrieved person may appeal these decisions to the Connecticut Superior Court in accordance with the provisions of Connecticut General Statutes §8-8.
Town of Salisbury
Planning &
Zoning Commission
Martin Whalen, Secretary
11-06-25
Notice of Decision
Town of Salisbury
Inland Wetlands & Watercourses Commission
Notice is hereby given that the following actions were taken by the Inland Wetlands & Watercourses Commission of the Town of Salisbury, Connecticut on October 27, 2025:
Exempt - Application IWWC-25-75 by Elaine Watson to install a 4’ by 45’ removable dock adjacent to the high-water mark of Lake Wononscopomuc. The property is shown on Salisbury Assessor’s map 47 lot 11 and is a vacant parcel located between 123 & 137 Sharon Road, across from and associated with 126 Sharon Road. The owners of the property are Paul and Elaine Watson.
Approved with the condition that any additional permits required for this project are filed with the Land Use Office - Application IWWC-25-74 by Richard Riegel, Principal of Lime Rock Park II, LLC to reinforce compromised river bank and implement riparian restoration in partnership with Trout Unlimited. The property is shown on Salisbury Assessor’s map 04 lot 16 and is known as 497 Lime Rock Road, Lakeville. The owner of the property is Lime Rock Park II, LLC.
Approved - Application IWWC-25-72 by George Johannesen of Allied Engineering Associates, Inc. for an addition to the existing house, construct garage, relocate driveway, landscaping. The property is shown on Salisbury Assessor’s map 08 lot 03 and is known as 396 Salmon Kill Road, Lakeville. The owners of the property are Randall Allen and Margaret Holden.
Approved subject to conditions recommended by the Town Consulting Engineer and the relinquishment of permit 2024-IW-036 - Application IWWC-25-69 by Bob Stair to construct an addition to the existing house and driveway in the upland review area. The property is shown on Salisbury Assessor’s map 67 lot 07 and is known as 300 Between the Lakes Road, Salisbury. The owner of the property is 280 BTLR LLC.
Approved subject to conditions recommended by the Town Consulting Engineer - Application IWWC-25-73 by Hotchkiss School (Michael J. Virzi) for a restoration plan for the existing temporary dining building at the Hotchkiss School. The property is shown on Salisbury Assessor’s map 06 lot 09 and is known as 22 Lime Rock Road, Lakeville. The owner of the property is Hotchkiss School.
Any aggrieved person may appeal this decision to the Connecticut Superior Court in accordance with the provisions of Connecticut General Statutes §22a-43(a) & §8-8.
11-06-25
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ESTATE OF
DEBRA ANN WHITBECK
Late of North Canaan
(25-00419)
The Hon. Jordan M. Richards, Judge of the Court of Probate, District of Litchfield Hills Probate Court, by decree dated October 16, 2025, ordered that all claims must be presented to the fiduciary at the address below. Failure to promptly present any such claim may result in the loss of rights to recover on such claim.
The fiduciary is:
Donna L. Cooke
65 Orchard Street
North Canaan, CT 06018
Megan M. Foley
Clerk
11-06-25
NOTICE TO CREDITORS
ESTATE OF
THOMAS CROSBY DOANE
Late of North Canaan
(25-00388)
The Hon. Jordan M. Richards, Judge of the Court of Probate, District of Litchfield Hills Probate Court, by decree dated October 9, 2025, ordered that all claims must be presented to the fiduciary at the address below. Failure to promptly present any such claim may result in the loss of rights to recover on such claim.
The fiduciary is:
Jase Doane
5 Clearwater Lane
East Hampton, CT 06424
Megan M. Foley
Clerk
11-06-25
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Sharon, 2 Bd/ /2bth 1900 sqft home: on private Estate-Gbg, Water, Mow/plow included. utilities addtl. Please call: 860-309-4482.
Falls Village, CT
Saturday November 8 Tag Sale in the Barn: 91 Main Street in Falls Village 10 to 3 pm. Please Park in town parking available along Main St. Tools, wood working tools, bench, furniture, antique doors, out door planters, Halloween and Christmas decorations and much more.

In Amenia this fall, three artists came together to experiment with an ancient process — extracting blue pigment from freshly harvested Japanese indigo. What began as a simple offer from a Massachusetts farmer to share her surplus crop became a collaborative exploration of chemistry, ecology and the art of making by hand.
“Collaboration is part of our DNA as people who work with textiles,” said Amenia-based artist Christy Gast as she welcomed me into her vast studio. “The whole history of every part of textile production has to do with cooperation and collaboration,” she continued.
That sense of shared purpose is at the heart of the invitation Gast extended to artists Natalie Baxter and Janis Stemmermann to process a bumper crop of Japanese indigo (Persicaria tinctoria) at her studio this fall. All three artists’ practices intersect through material, process and an interest in the handmade. Gast and Stemmermann have collaborated on a series of hand-knit vests dyed with black walnut, available through Stemmermann’s store, Russell Janis. Baxter is a Wassaic Project residency and fellowship alum, who is leading a community quilting workshop there on Nov. 15. She also co-directs “Cottage Courses” with artist Polly Shindler, a series of hands-on artmaking workshops throughout the region.
“Lisa Dachinger of Hilltop Farm & Fiber Arts north of Pittsfield, Massachusetts had an abundance of indigo this year,” said Gast of her learning about the crop’s availability.In two trips to the farm, Gast harvested the plants and began experimenting with the ancient art and science of extracting pigment from the plants and transforming it into rich, layered blues.

“There are a lot of steps,” Gast noted with a laugh, as vats of aerated indigo bubbled in the corner of the studio. The process is slow and physical, dependent on timing, temperature and a kind of faith in chemistry. The freshly harvested Japanese indigo leaves are first soaked in warm water and left to ferment for several days. The plant matter is then removed, the solution is strained and the pH is raised with the addition of calcium hydroxide, and then the mixture is aerated, poured back and forth between containers until it oxidizes and the pigment turns dark blue. After the indigo settles to the bottom, the resulting paste is filtered, dried and ground into powder. Only then is it ready for dyeing.
But as Stemmermann pointed out, “It’s not a dye. It’s a coating and reaction.” Indigo’s elusive chemistry means each piece is unpredictable, shaped as much by chance as by control. To achieve a deep, saturated blue, “you have to layer it and dip it up to eight times,” she explained.
Each artist uses dye in their work, albeit quite differently, yet all share a deep sensitivity to material and process. “There is a seasonality to textile work,” said Baxter, referring to dye plants.“First, there’s the planting. And then you wait for them to grow, you harvest them, you dye the fabric and then it’s wintertime.” During quilt season when our attention turns inward, the patient, hands-on process becomes a meditation on slowness for Baxter, mirroring the rhythm of the earth and a quiet longing to move with it.

For Gast, working with plant dyes is a way to align artistic practice with ecology and activism. “I’m working on a project that will be showing at Mass MoCA in 2027,” she explained. “It’s a collaborative opera about peatlands for which I’m producing a textile installation that functions as the curtains. I’m using as many natural and regional processes as possible because our work has to do with local-to-global activism and conservation. There is a chemical alchemy in peatlands, which despite covering just 3% of the Earth’s surface, capture more than twice the carbon of all the planet’s forests combined. There’s a direct poetic alignment between plant dye processes and peatlands, which preserved some of the earliest textiles we know of. And the color palette is ancient, both familiar and uncanny.”
There’s a certain chaos in balancing experimentation with intent. For Gast, Baxter, and Stemmermann, this first attempt at pigment extraction has been as much about curiosity as outcome, a communal act of making, rooted in patience, experimentation and discovery.
To find out more about these artists, visit: christygast.com, nataliebaxter.com and janisstemmermann.com