After hearing a performance of a motet by J.S. Bach, Mozart was heard to exclaim: “Now, here is something one can learn from!” Both composers were represented in a program presented recently at the Bridgehampton Presbyterian Church by the Choral Society of the Hamptons and the South Fork Chamber Ensemble. Anyone caring about choral music, and community choral music in particular, might have uttered a similar exclamation.

Under the baton of its longtime music director, Mark Mangini, the Choral Society, accompanied by an accomplished instrumental ensemble, performed a thoughtfully chosen program of seasonally thematic compositions offering both vocal and musical challenges. Engaging program notes by Mr. Mangini and Fred Volkmer added to the enjoyment of a large, diverse, and appreciative audience.  This is what community music-making can and should be.

The afternoon began with a setting of “Hodie Christus Natus Est” by Heinrich Schütz, arguably Germany’s first great composer. It is joyful, optimistic music by a composer who lived and worked during the Thirty Years War, one of the darkest periods of German history. The singers not only did justice to the recurring, jubilant Alleluias, but, with clear direction from Mr. Mangini, smoothly navigated the kinds of changes in tempo and meter that plague many amateur choirs. From at least one seat in the house, the balance between singers and instrumentalists tilted rather heavily in favor of the players, but this did not detract much from the impact of the overall performance.

Although there is no direct evidence that he studied Schütz’s music, Johann Sebastian Bach was of the same musical lineage, so it was altogether fitting that the “Hodie” was followed by Bach’s K 61, “Nun komm, der Heiden Heiland,” written in 1714 for the first Sunday in Advent. In both the overture and the closing chorale, it was clear that the chorus benefited from careful attention to German diction in rehearsal. 

In the overture, where each voice part sings the long notes of the melody alone against the dotted rhythms in the orchestra, some of the problems of having a high proportion of women singing tenor were exposed. The notes were present, but in that part of a woman’s vocal register they cannot be sung with the kind of authority called for by the text and musical setting. In fairness, though, that was the only moment where this was a glaring problem. 

The three professional soloists, Rada Hastings, soprano, Nils Neubert, tenor, and Jason Eck, bass, acquitted themselves well, especially in the tenor recitative and the bass aria.

Henry Purcell’s “Behold, I Bring Glad Tidings” followed. This is largely a piece for soloists, one of whom, Carol Balodis, an alto, is a member of the Choral Society. Ms. Balodis did an outstanding job, more than holding her own vocally and musically with Mr. Neubert and Mr. Eck. The chorus made the most of its limited role, contrasting a beautifully soft “To God on high and on earth” with the exuberant “Glory!” that preceded it. 

In a nifty bit of programming that quietly acknowledged the coincidence this year of Christmas Eve and the first night of Hanukkah, the Purcell, with its call for peace on earth, good will toward men, was followed by Hugo Weisgall’s  “Evening Prayer for Peace.” The sentiments expressed in the two works may have been similar, but the “Prayer for Peace” was sung a capella, in Hebrew, and in a strikingly different harmonic language from anything earlier in the concert. Even without instrumental support, for the most part the chorus handled the melodic and harmonic challenges quite well. This short piece was followed by Weisgall’s “Fortress, Rock of Our Salvation.”

Performances of early compositions by musical prodigies often provide more of a curiosity than a satisfying musical experience, but this is not the case with the Missa Brevis in F, written when Mozart was just 18. There is unmistakable sophistication in this six-movement setting of the Mass. From the precision of the off-beat entrances in the Kyrie to the wonderfully subtle, dynamic inflections of the Gloria’s “Amen,” both singers and instrumentalists rose to the occasion at the end of their second performance of the day, recovering nicely from some slight ensemble issues in the Credo.

Among the most impressive aspects of the entire day was that all of the solos in the Mozart were sung by members of the Choral Society — Hannah Faye Huizing, Suzanne Nicoletti, Christine Cadarette, Joshua Huizing, and Thomas P. Milton were simply outstanding in the composer’s musically and vocally challenging solo lines. The future of the Choral Society is exceedingly bright with singers such as these leading the way.

Community choruses offer their own unique opportunities and challenges, and they require a musical director with a special blend of gifts to get the kind of results that a sellout audience was on hand to appreciate Sunday evening. This was indeed “something one could learn from.” And enjoy.

The artistic career of Phyllis Hammond, a Springs sculptor, began almost 80 years ago when, as an 8-year-old, she took a one-hour train trip all by herself from Melrose, Mass., to the Museum of Fine Arts in Boston to sketch the Greek and Roman sculptures there. Not too much has fazed her since then.

When she was 24, for example, divorced and living with her 2-year-old daughter on Cape Cod, Hurricane Carol took dead aim at the Cape and killed eight of her neighbors. She had to rebuild almost the entire house. “What I did next was take myself back to the museum school,” she recalled. “I had no formal training. I made a portfolio, was accepted, and once I put my foot in the door it was seven years before I emerged.”

When she did, it was with a one-year travel scholarship to any country in the world. Rather than go somewhere in Europe, at that point still the epicenter of modern art, she opted for Japan, where she was the first American woman to study at the Kyoto City College of Fine Arts.

Back in the States, one of Ms. Hammond’s earliest jobs was making schematic drawings, first for mainframe computer manuals, then at Raytheon for Patriot missiles. “There were 50 draftsmen at Raytheon and only two were women. The other woman went to M.I.T.” She also worked as a dinnerware designer for Corning, but it was teaching that sustained her for much of her career.

“I’d work really hard on my art, have an exhibition, and then go back to teaching again for two years. Once I paid off my debts, I’d quit teaching and go back to the studio.” 

Now 86, Ms. Hammond shows no sign of slowing down. In October she installed five new steel and aluminum sculptures in Dag Hammarskjold Plaza in Manhattan and four more at the Summit Library in New Jersey. Her vast studio and its grounds are filled with recently finished pieces, works in progress, and 40 years’ worth of clay sculpture. In 1960, when she was just out of college and newly married, her mother-in-law gave her enough money to buy a large, state-of-the-art kiln, which she kept until a year ago. Those early ceramic pieces included cylinders, two or three feet tall, whose openings revealed portions of human faces. These works eventually gave way to tall monoliths built of stoneware slabs, again with faces peering out from the abstract, drapery-like material, reminiscent of the emergence of Michelangelo’s unfinished slaves from the marble.

“That kiln made it possible for me to make huge clay sculptures and to entirely fill the 2,500-square-foot Pindar Gallery in SoHo with five solo shows over 10 years,” she remembered. “I was doing whole environments.” She also showed at 112 Greene Street and at the Howard Wise Gallery on West 57th Street.

  The sculptor’s circumstances changed in 1984, when she married Dr. Aldo Perotto, a professor at the Albert Einstein College of Medicine. That summer, they stayed with his closest friend, Dr. Ed Delagi, at his house on Gerard Drive in Springs, and the next year they bought a house of their own on nearby Neck Path. When Dr. Perotto retired in 1995, they sold their year-round house in Briarcliff Manor, N.Y., and moved full-time to Springs. 

Ms. Hammond was ready to say goodbye to clay. “I wanted to reinvent myself.” She was teaching a class for adults at Pierson High School at the time, and it sent her, unexpectedly, in a new direction, via a class project that began with the students drawing lines on large sheets of paper. “I encouraged them to scribble, to experiment. Then they would color in the negative spaces, cut them out, and put them together as paper sculptures.” 

 That was the genesis of her work today. Her sculptures start with spontaneously doodled pencil drawings, which she then redraws in more detail and scans into a computer. Software converts the drawings into a vector program, which can be read by a waterjet machine that cuts the shapes from 4-by-8-foot sheets of aluminum. 

“After that, you have what will become the sculpture and what was cut out,” she said. “I figured out how to use the throwaway piece, so you have the positive and negative, which can even be combined in a two-panel piece.”

She refines the aluminum shapes with a hammer and anvil and takes them to Liberty Iron Work in Southampton, where they are fed into a rolling machine. The final step is powder-coating. The finished pieces exist as individual units but also as elements of eight-foot screens, which engage with each other and the viewer in a constantly changing visual dialogue.

Dr. Perotto and Ms. Hammond moved to a three-acre parcel on Springs-Fireplace Road with a view of Accabonac Harbor in 2000. Charles Forberg, the architect of LongHouse, also designed their house, with exterior walls of concrete and cedar. 

The studio, which has four large glass garage doors, was built five years ago. Ms. Hammond has made it available to other artists, including Bill King, who worked there for three years before his death last year. He gave her pieces of his work in return, but, she said, his more important gift was advice. “The first thing he said to me was, ‘Don’t worry about money. Just make the work, the money will come.’ Nobody had ever said anything like that to me. So I did just that. It was so liberating.” 

Another barterer to whom she is grateful is John Deben, the owner of Liberty Iron Work and an art collector who has sent his welders to work in her studio and given her free time on the rolling machine in exchange for some of her earlier ceramic pieces.

Tumbleweed Tuesday might be a thing of the past, but empty storefronts still proliferate in East Hampton Village during the off-season. This winter, however, the windows of at least one high-end Main Street clothing purveyor, Malia Mills, will not be papered over. The company has decided to make its empty space available to artists for a series of exhibitions, the first of which will open on Saturday with a reception from 5 to 7 p.m. It will feature the work of the East End artists Bastienne Schmidt, Almond Zigmund, Margaret Garrett, and Philippe Cheng.

On a recent afternoon in the whitewashed space, with a few artworks leaning against the walls, Mr. Cheng said that “Bastienne and I are friends with Carol and Malia Mills, who have 10 shops around the country, including one in Southampton and one in East Hampton. Carol said to us, ‘Our shop in East Hampton is dormant for six months. Maybe you and some of your artist friends would like to use it.’ ”  Having managed a retail shop in New York City a number of years ago, Mr. Cheng was at first reluctant to undertake the responsibility of running even a temporary gallery. As he thought about it, however, he realized that it might work if it loosely followed the idea of a cooperative, with artists organizing shows, hanging the work, and being in the gallery — i.e., with no support or administrative staff.

As of now, Coco Myers, an art consultant whose online gallery, folioeast.com, showcases the work of some 25 artists, will put together two exhibitions during February. Other slots in January, March, and April will be announced. Mr. Cheng mentioned that one of Guild Hall’s upcoming artists in residence might show during the last two weeks of April.

“We are living in such challenging times,” he said. “We’re all grasping for something with meaning, so we decided we would give a portion of sales to four charities: Project Most, Sprouts in Bridgehampton, Jeff’s Kitchen at Hayground School, and Perfect Earth.” Edwina von Gal, the founder of Perfect Earth, hopes to give a talk at the space, and other artists will be invited to speak or perform. “If we can show 40 artists and help four charities in the next four months, it would be a nice kind of uplift,” he said.

Malia Mills’s first show will run through Dec. 31. Among the artists who will show work later this winter are Roisin Bateman, Carolyn Conrad, Mary Ellen Bartley, Janet Jennings, Denise Gale, Christine Matthai, Jane Martin, Francine Fletcher, Mark Weber, Janice Stanton, Donna Greene, Saskia Fried­rich, and Jeremy Grosvenor.

Mr. Cheng hopes this project can be a model for other businesses that pay rent for spaces that are empty half the year. “Imagine if there were three or four or five shops willing to do this. It doesn’t cost anything to hang some artwork. Carol and Malia have a great spirit. I’m very grateful to them for their vision and willingness to see what’s possible. I think it’s an interesting adventure for the artists, too.”

The Southampton Arts Center will present “100 Years of New Orleans Music: From Louis Armstrong to Trombone Shorty” on Saturday evening at 7. Members of the HooDoo Loungers, including the musician, historian, and filmmaker Joe Lauro and the drummer Claes Brondal, will begin the musical retrospective with the Gut Bucket Blues and Jazz of Bunk Johnson.

The concert will follow a chronological timeline, continuing with the hot jazz of Louis Armstrong, the New Orleans “swamp rock” and voodoo sounds of Dr. John and the Neville Brothers, and ending with the current brass band style exemplified by Trombone Shorty and the Soul Rebels. Tickets are $10.

The Hampton Theatre Company in Quogue has added a new, one-weekend production to its 2016-2017 season. “Joy to the World,” a program of holiday stories by Arthur Conan Doyle, Isaac Bashevis Singer, O. Henry, and other noted writers, will be read by members of the company tomorrow at 7 p.m., Saturday at 8, and Sunday afternoon at 2:30.

Among the stories are Conan Doyle’s “The Adventure of the Blue Carbuncle,” Singer’s “Zlateh the Goat,” and, from The New York Sun of 1897, “Yes, Virginia, There is a Santa Claus.”

The company veterans Matthew Conlon, James Ewing, Terrance Fiore, Amanda Griemsmann, Sarah Hunnewell, Diana Marbury, Joe Pallister, Ben Schnickel, and Tristan Vaughan will read, and Sarah Hunnewell and James Ewing will direct.

Tickets are $15, $5 for students 21 and under, and free for HTC members.

Looking at the happy, bright-colored paintings of Guy Yanai, an Israeli artist who has taken over the first floor of Harper’s Books in East Hampton through mid-December, a viewer might be tempted to decide they were a cross-pollinated canvas offspring of the visions of Jennifer Bartlett, Richard Die­benkorn, and David Hockney.

The bright, warm-weather scenes, on view for the last couple of months, might feel out of season, but they are also warming and festive. The representational compositions of sunny-day activities and seaside places are knowable but distanced. The artist paints in bands that make the subject matter appear to be viewed through Venetian blinds, perhaps, or the horizontal bands of a video screen.

Like stock images or postcards, the paintings of sailboats and a lighthouse could be trite, but Mr. Yanai’s way of transforming them into his own visual language becomes a rigorous formal exercise. The shadows a sailboat casts don’t always match the expected reflections on the water. The background behind a houseplant doesn’t match up from side to side. The plants themselves are often spindly and devoid of foliage. They are not there to be pretty.

Mr. Yanai actively cultivates contradictions. He says his paintings should be both representative and nonrepresentational. He captures the essence of things in a way that would never be mistaken for a replication of an object. Despite the holiday-snapshot appeal of some of the subjects, there’s an ironic distance to them. Viewers are always aware that they are looking at an interpretation of a landscape, a seascape, a building, or a plant.

The artist takes his subjects from images, things he might see on a screen or on a wall, or that he takes from life. He actively redefines them and makes them his own. The bright colors and neutral expression may seem superficial, but they are also personal.

His relationship to the objects he paints may be devoid of meaning or deeply symbolic. The strategies he employs are distancing, yet he recognizes it. “Objects touch a very deep part in our psyche . . . that recognizable object gives us an ontological security,” he said in an interview.

This is why the paintings work on several levels. They can be pleasant and atmospheric — objects that engage quickly and quietly — or they can pull viewers into their layers, enchanting them with their forms and motives, striations, and strong verticals.

Last summer, Yuka Silvera found herself seated next to Tony Walton in a theater in Dexter, Mich., watching “My Fair Lady.” It was opening night. “Every time Eliza came out,” she said, “he would poke me.”

It was a good thing he did, because otherwise she might have assumed she was dreaming. Mr. Walton, who is an award-winning costume and set designer for theater and film, in addition to his directing credits, had tapped Ms. Silvera to design the costumes Eliza Doolittle wore in his production of the musical at the Encore Musical Theatre Company.

Mr. Walton’s first wife, Julie Andrews, played Eliza in the original Broadway and London runs of the classic, which dates to 1956. Cecil Beaton, a legendary designer, conceived the original costumes. Talk about a tough act to follow.

With a next-to-nothing budget, she whipped up a collection of dresses to help externally transform Eliza, the daughter of a dustman (British for garbage collector), into the swan she was developing into under the tutelage of Henry Higgins.

Those who attend this weekend’s performances of the Hampton Ballet Theatre School’s production of “The Nutcracker” will no doubt be swept away by the dancing, but also by the magic in Ms. Silvera’s costumes. 

She has been casting her design spells on Sara Jo Strickland’s young dancers since the company’s first performance of the popular Christmastime entertainment in 2008. Since then, she has expanded the company’s costumes to accommodate the growing number of students and has branched out into theater, opera, and film costume design. But everything that followed came from the exposure she had there. 

The company started with about 25 students and has since grown to 100. It has grown so much that Ms. Silvera needed to delegate a good portion of the sewing to an assistant and a professional seamstress so she could work on all of the new designs needed for an expanding cast. 

“The night before a dress rehearsal, I used to sew while sleeping,” she said with a laugh. “Now, no more.” She also designs hats for the characters.

Because she and Ms. Strickland share a similar aesthetic — “She is not about the cutie-cutie,” Ms. Silvera said — she is given free rein to design what she wants.

“I’m very fashion-forward; I like to add something new to these designs.” She incorporated ideas from Alexander McQueen’s Victorian collection into a tutu for “The Nutcracker.” And, she and Ms. Strickland both like a vintage color scheme. “There’s a lot of red in the costumes, but the colors are mostly faded.”

Over the years, the two have worked on other ballets, including “Cinderella,” “Peter and the Wolf,” “Les Sylphides,” and “The Littlest Mermaid.” In 2010, Ms. Silvera began to be noticed by the South Fork’s theatrical community. New assignments and productions came with the attention. 

Through Emma Walton Hamilton, she became the costumer for the Young Artists and Writers Project’s spring and winter shows at Stony Brook Southampton. Kate Mueth began using her designs in productions such as “The Mystery of Irma Vep” and “The Allergist’s Wife” at Mulford Farm in East Hampton and in “Eve” and “Zima.”

Soon, she was designing for Stephen Hamilton, Ms. Hamilton’s husband, who often directs an intimately staged play at Guild Hall in the spring. “Uncle Vanya” in 2012 was the first of such productions, and it featured Ms. Silvera’s work. By 2013, she was the designer for Guild Hall’s summer production of “The Cripple of Inishmaan,” having worked previous seasons as an assistant to the costume designer of the venue’s productions of “LUV” and “Tonight at 8:30.”

Mr. Walton, who is Ms. Hamilton’s father, became familiar with her work through these efforts. In a career dating back to 1957 in costume design, set design, and art direction for theater and film, Mr. Walton has won several Tony Awards for set design and an Oscar and an Emmy Award as well.

Working with him and designing for the opera “Acis and Galatea” are high points for her, Ms. Silvera said. Mr. Hamilton directed that production, which was staged in Tannersville, N.Y., in 2015. She put together the wardrobe for the regular characters as well as the costumes for the Greek statues that came to life.

Although she had a background in fashion, Ms. Silvera had not really designed professionally until she came here. She studied costume design in her native Japan and worked as a pattern maker for five years before relocating to Santa Barbara, Calif., to study English. In New York, she took classes at the Fashion Institute of Technology and worked at Yumi Katsura, a high-end bridal design house from Japan. 

“I always liked costume design . . . but I was not confident enough to start anything,” she said. “I was worried about my English, and I didn’t know anybody.”

After she married Todd Silvera and they had a daughter, the family moved to the South Fork, and Mr. Silvera opened Aventura Motors, a vintage car sales and restoration business in South­ampton. At the age of 4, their daughter began taking ballet classes with Miss Sara, as Ms. Silvera calls her. 

Although she is no longer dancing, her daughter’s initial interest in dance is still paying dividends in Ms. Silvera’s design career. She was able to join the United Scenic Artists union a few years ago. Now she has wardrobe design credits for two films — “Good Bones,” from 2014, and “Beach House,” which was filmed on the South Fork last year and is in postproduction. She is in discussions for another film, but did not want to share details. “A film a year, I would like that,” she said.

Attempting to recreate the work of Beaton with no budget led to some creative solutions for “My Fair Lady.” Ms. Silvera recycled dresses she kept from previous productions such as “Uncle Vanya” and bought inexpensive dresses from China as a base on which to add more luxurious fabric. As a pattern maker, she said, she likes to come up with designs “from scratch, but this was different.” 

Mr. Walton appreciated the effort and the designs. 

“When I first came to New York, I bought a book about costume designers, and Tony was one of those interviewed,” she said. “I remember thinking, ‘This is so far away, how do I get to there?’ Then, I’m sitting next to one of the greatest costume designers in the world and he’s thanking me for helping him. It was thrilling.”

“The Nutcracker” will be presented at Guild Hall tomorrow at 7 p.m., Saturday at 1 and 7 p.m., and Sunday at 2 p.m. Advance tickets through the dance school’s website are $25, $20 for children. Tickets purchased on the day of the show will cost $5 more. Premium tickets and group sales are available.

Two years in the making, the East End Special Players will bring a new production to Sag Harbor on Saturday called “Trouble in Jamaica.”

The 25-year-old company features the work of learning-challenged residents of the five East End towns, in performance, conception, and now writing. The new play is a comedy set to music that takes place in an apartment in Queens. It was a collaborative effort of the members of the troupe.

Jacqui Leader, the group’s artistic director, said the players were “getting more and more into every aspect” of the productions “and trusting themselves even more.”

Their previous play, “Gigi, the Life of a Doll,” had a simple theme: When life gives you lemons, make lemonade. “From that they matured to thinking as even better writers, coming up with more stories.”

Most of the prior productions have been inspired by the hours of videotape Ms. Leader takes of the performers as they improvise to develop whatever characters they want to be. Thomas Weinberger, who died last month and was one of the stars of the ensemble, was key in coming up with the idea that the play would be set in a tenement and that the building would be condemned.

The ideas kept flowing. One actor wanted to be “a crazy lady who ate French fries in the park and danced,” Ms. Leader said. Some decided to be jewelry thieves; others decided to be cops. A country-western singer, a waitress, and a marriage counselor are other characters they created, each from their own process.

Mr. Weinberger’s character was the building’s superintendent, who never kept up with his duties because he was watching hockey all day. His death was hard for the group, and Ms. Leader was not sure they could proceed without him. They held a celebration of his life, and despite the sadness of the event, they found themselves singing and holding hands by the end. 

Another actor stepped up to take his place, and the performers are dedicating their work to Mr. Weinberger. “Tommy was a brilliant actor. He once told me that he was a hambone in school, but that the East End Special Players turned him into an actor,” Ms. Leader said.

The subtitle of “Trouble in Jamaica” is “A Stinking Dirty Musical.” Ms. Leader, who created the script using the group’s ideas, is not a fan of musicals, but the actors wanted to sing. “So we did parodies with the songs. It was more fun, and they really get to sing. We really put a funny piece together.”

The performance at the Bay Street Theater is part of a benefit for the company. It includes a catered wine reception beginning at 5 p.m. and a “champagne-infused” auction after the performance. Reserved seats are $75; general admission is $50, $30 for students.

Meet the Artists

The Parrish Art Museum in Water Mill will present two opportunities for engagement with artists whose work is on view in “Artists Choose Artists.” Tomorrow at 6 p.m., Suzanne Anker, Ben Butler, Bill Komoski, and Toni Ross will give intimate talks in the galleries about their creative processes. Donald Lipski, the juror who selected Ms. Anker and Mr. Butler, is also scheduled to attend.

The museum will screen the “Artists Choose Artists” video on Friday, Dec. 23, at 6 p.m. The video documents the Parrish curators’ visits to the artists’ studios. Several of the artists will be available to discuss their work in the galleries following the screening.

Each program is $10, free for members and students. The exhibition will continue through Jan. 16.

“Materiality and Process,” the fifth annual reinstallation of the museum’s permanent collection, is on view now through November 2017. Ninety paintings, sculptures, mixed-media works, and works on paper, including recent acquisitions by artists new to the collection, have been organized into nine thematic narratives.

Grenning Gallery Pop-Up

The Grenning Gallery in Sag Harbor has opened “Miracle on Madison Street,” a group exhibition, in what it calls a pop-up space in the Christy’s Building Art Center at 3 Madison Street, around the corner from its Washington Street location. The show will run through Dec. 31.

Among the gallery’s core artists whose work will be on view are Ben Fenske, Ramiro, and Marc Dalessio. The show will also include plein-air works by Oleg Zhuravlev, Viktor Butko, Olga Karpacheva, and Irina Rybakova, members of the Russian-American Alliance, and Carl Bretske.

Janet Lehr Holiday Show

Janet Lehr Inc. in East Hampton will open its holiday group exhibition with a reception on Saturday from 6 to 9 p.m. The show will include contemporary art by Kenny Scharf, Miles Jaffee, Hunt Slonem, David Demers, Colin Christian, Lucas Samaras, Will Cotton, Adam Handler, Man Ray, Larry Rivers, Lucas Samaras, Willem de Kooning, Perle Fine, Wolf Kahn, Weegee, and others.

Trunk Show

A two-day trunk show featuring jewelry, apparel, paintings, photographs, ceramics, and books by nine South Fork artists will open tomorrow with a reception from 5 to 8 p.m. at 21 Gould Street in East Hampton. The show will also be on view Saturday from 1 to 7 p.m.

Susan Nieland, who organized the exhibition, will show her handmade jewelry. Taylor Barton will be represented by “Pedro ’n’ Pip,” a book with music she calls a “rock ’n’ roll odyssey” for children. Judy d’Mello will bring organic cotton and silk tunics handwoven in India, while Sue Heatley will show artist-made scarves and wraps in silk, wool, and satin.

Abstract paintings by Janet Goleas and paintings and handmade ceramics by Rosario Varela will be on view, as will limited-edition archival pigment prints by the photographer Lindsay Morris. Jill Musnicki will also show limited-edition photographs, as well as handmade embroidered bags, and Anna Clejan will exhibit handmade ceramics.

Four at Ashawagh

Ashawagh Hall in Springs will present “Short Days,” an exhibition of work by Anahi DeCanio, John Todaro, Annie Sessler, and Sarah Jaffe Turnbull, on Saturday from 10 a.m. to 8 p.m. and Sunday from 10 to 5. A reception will take place Saturday from 4 to 8.

A connection between nature and abstraction links the work of the artists. Ms. DeCanio will exhibit new abstract paintings, including her textured, layered, Zen landscapes. Mr. Todaro will show work from a new series of semi-abstract photographs with an emphasis on botanical forms.

Ceramic sculptures, monotypes, and solarplate etchings by Ms. Jaffe Turnbull reflect her interest in the interplay among color, light, and shape. Ms. Sessler’s Japanese-inspired ink impressions are hand-rubbed onto cloth.

Dragonetti at Quogue Library

Michele Dragonetti, a photographer who divides her time between Montauk and New York City, will exhibit selections from her ongoing Boat Hull series at the Quogue Library’s art gallery through Dec. 31. 

The series was begun among the marinas of Montauk, where Ms. Dragonetti was drawn to boats out of the water and in need of repair, and has expanded to include images from Sag Harbor, Noyac, Vermont, Connecticut, Los Angeles, and Portugal.