BIO


Sheryl Massaro is a Maryland native now living in Frederick County. In addition to participating in numerous exhibits in Maryland, Virginia, and Pennsylvania galleries, and the Washington County Museum of Fine Arts, she has had solo exhibits locally of both art and photography. Her work, including oils, photography, and ceramics, is in private collections on the East and West Coasts.

 

Massaro began painting in 2004 and has wavered rarely from oils. Although having no formal art training, she has had some remarkable teachers: Howard Cohen (landscapes), Chris Madden (figure drawing); Walt Bartman, Sr. (figure and plein air landscape painting, drawing); Lee Newman (drawing, painting); and Johan Lowie (drawing, painting, abstract and surrealism). Photography began as a record of landscapes during plein air painting sessions, when she began to appreciate many of them as having a valid life of their own. Massaro began working with ceramics in 2011 and is developing a series of abstract wall pieces tied to canvas.

 

Massaro also is a poet, Frederick County Master Gardener, a consultant on health communications related to drug abuse and addiction, and is on the Board of Contributors of The Frederick News-Post.


Massaro has an MFA in Creative Writing/Poetry from The American University and has studied with several key poets, including Allen Ginsberg, Stanley Kunitz, Howard Nemerov, and Galway Kinnell. She has attended Bread Loaf Conferences and has had residencies at Yaddo (New York) and St. Peter’s (Canada) colonies. Several individual poems have been published in small literary journals as well as The New York Times. She teaches occasional small-group poetry writing classes.

 

ARTIST STATEMENT

 

In my poetry, art, and photography, I endeavor to tap into and convey life’s undertows. These are the unspoken things that ultimately bring close and bind artists and their readers or viewers.

 

They are in the lives of agricultural fields and barns, abandoned and in use, in bodies of water and their islands and shores; in the bodies and eyes of animals, wild and domestic; in the landscape of the human form; in architecture; and, especially, in the light and shading that enable each of these to be hidden, noticed, or noticeably hidden. 

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