Artist Mills: Galleries, Studios and a Lifestyle
New England was the seat of the Industrial Revolution, and relics of this time are scattered across the region in the form of mill buildings. It is not uncommon to see them in disarray, bricks crumbling, windowpanes cracked, crouching by the side of a river. What used to be symbols of commerce were left to deteriorate after companies moved or modernized production. Yet, in the last few decades, some people have seen a chance for growth amid decay, and many of these mills are being given new life as spaces for artisans, small businesses and, of course, artists.
Art New England reached out to artists working in studios in three such spaces: Salmon Falls Mills in Rollinsford, New Hampshire, 14 Cedar Street Studios in Amesbury, Massachusetts, and Hope Artiste Village in Pawtucket, Rhode Island. The artists in these buildings come from a variety of backgrounds and a broad range of media, and they make up part of a rich tapestry of arts and culture made possible by the mills.
The architectural aspects of mill buildings make them suited to many artists’ needs. With high ceilings and immense windows, mill spaces provide good lighting, ventilation and open spaces. “When you have a lofty space, you have lofty thoughts,” said Pamela Lussier, an artist with a studio in Salmon Falls Mills which she shares with her husband, David. Long hallways connecting spaces can allow for conversation and art to flow freely. In 14 Cedar Street Studios, artists use the hall spaces as a sort of unconventional gallery space to hang finished work and share it with visitors and fellow tenants.
One artist shared the story of how she was able to work with Hope Artiste Village on a custom design build. Nicole Chesney is a glass worker with an extensive range of requirements and restrictions. When she was looking to move out of her last studio, Hope Artiste Village was just starting renovations on another block of the building. Chesney approached them and negotiated a deal to collaborate on a space just for her. She was nervous to tackle such a large project, yet excited by the possibilities. “I’m either building the Barbie Dream Studio, or I’m going to be living in my car.” This was almost twelve years ago, and it seems that it ended up being the former.
Sometimes, architectural features illuminate the history of the mill buildings in ways that inspire the artists. Kate Wilson, who has a studio at Hope Artiste Village, shared that she drilled into one of a pair of black beams that run through her studio, and the smell of pine and sap was “overwhelming.” The moment made her appreciate the craft that went into this structure. “They don’t make them like this anymore. They can’t, the materials don’t exist anymore. So it’s an honor for me to be here.”
“The hardwood floors in old mill buildings tell the story of all the nicks and crevices and in the space at Hope Artiste, there’s this two-part epoxy paint from the late 1800s that they can’t sand off. It’s just got this gorgeous, gorgeous, patinaed green and black color,” said Anastasia Azure of her Hope Artiste Village studio. Azure is moving out of Hope Artiste Village for another renovated mill, Shady Lea Mill, which was used most recently as a staple factory. According to Azure, this can be seen in the floors covered in glittering staples of all sizes and varieties—history quite literally imbedded in the ground of the building.
Lussier even expressed dislike of mill buildings that had lost that historical charm. Her previous studio in Wilmington, Connecticut, had floors that were “too clean.” In contrast, the floors at Salmon Falls Mills are “perfect. The floor was plenty used by the mill people. You can see industry had been done there.” These echoes of the past allow artists to connect to a history of makers and workers intrinsic to the mills. “I love feeling like I’m just another person who’s able to use this space,” said Wilson.
It’s not just historical communities that these mill buildings provide connections to. So many artists are working at dining room tables, in spare rooms, attics and basements—all locations several artists who spoke with Art New England listed as previous studio spaces. The one thing these spaces have in common, besides restrictive size, is that they create an environment that can be lonely. “It’s really great being part of a community rather than working in isolation,” said artist and long-time Art New England contributor B Amore, of working in the Waltham Mills community in Waltham, Massachusetts.
These mills provide a community of positivity and support for working artists. “The last time I had an environment like this was in art school… when I came to this building and realized that camaraderie, that support, I was blown away at how much this had been missing,” said Rachel Wilcox, an artist at 14 Cedar Street Studios. Human connection, whether it’s sharing ideas, workshopping problems, or just having a quick chat with a fellow tenant in the hallways on your way into work, can change the way an artist works. “It’s just a very wonderful creative, supportive network that I really appreciate and enjoy,” said Adrienne Silversmith, a mixed media artist at 14 Cedar Street who has been renting her studio there since 2019.
Many if not most of these renovated mill buildings are mixed use spaces. From small businesses bringing in potential visitors, to food makers like coffee roasters and pie makers adding to the sensory atmosphere, these tenants keep the mills fresh and offer new and exciting avenues for the artists. “You meet people who think differently from the way you do, and I feel like I always grow as an artist if I learn to think differently, to get outside myself,” said M. J. Levy Dickson, an artist at Hope Artiste Village. Dance, music and other kinds of art can invigorate and inspire visual artists. “It’s hard not to be influenced by what everyone’s doing. I do think that sometimes you can see that thread go in and out of people’s work,” said Rachel Wilcox of 14 Cedar Street Studios.
For instance, Outsider Collective is a nonprofit in Hope Artiste Village serving artists of all abilities, including intellectually and developmentally disabled artists, run by Carrie Hyde-Riley. Several artists from Hope Artiste Village teach classes at Outsider Collective, including Anastasia Azure. Several other Hope Artiste Village tenants mentioned Outsider Collective as an important part of the community there. Not only does this benefit the artists by allowing them to teach and to make new connections, but this kind of communal space allows disabled artists to be included in the community in a meaningful way.
Some might wonder how they can support these innovative spaces. Firstly, becoming involved in town governments, having a say in what happens to these pieces of history. Many of these buildings are still in disarray, and many communities are unsure what to make of them. “You look at them [mill buildings] from the outside, and I always think about the potential of that building when it’s not renovated, and it’s a great use of a building that might just rot,” said Pamela Lussier.
Second, supporting the artists and small businesses housed there. Many mills have regular open hours. “I like when people who are just kind of out and about come and visit because it adds to the atmosphere and energy of the place,” said Wilcox. 14 Cedar Street Studios will participate in the 2024 Open Studios event for the town of Amesbury on November 9 and 10, while Salmon Falls Mills will host Open Studios on November 18 and 19. “We have an amazing group of artists in that building, people who have worldwide reputations in different media, and that’s an asset to the community and to the surrounding communities, but not if nobody knows about it,” said Roger Myers, a woodworker at Salmon Falls Mills.
As Nicole Chesney said, “you can’t want the presence and contributions of artists and not support them. You have to really live up to that.” Explore. Connect. Look for ways to engage with the artists living and working in your community, wherever they might be. And if you’re an artist, consider what you can do to reach out and bring your community to you. M. J. Levy Dickson posed this: “It might not be what you can do for the artist, but what can the artist do for the community?”
Autumn Duke is a writer and editorial assistant for Art New England currently living in New Hampshire. She graduated from Emmanuel College with a BA in writing, editing and publishing and is currently in the MFA writing program at the University of New Hampshire.