Moments in Time, a one-man show for American watercolorist, Peter Hussey, recently opened in the Vernon Cancer Center at Newton-Wellesley Hospital. The show, which runs through Friday, December 3, 2010, includes 26 original watercolors, depicting a wide variety of New England scenes. 25% of the show proceeds will benefit the Integrative Support Services offered at the Vernon Cancer Center. 

The show is located in the lower level of the Vernon Cancer Center, which is open from 8:00 am to 5:00 pm Monday through Friday. Valet parking is available at the West entrance with self-parking in the West Parking Lot. 

For more information about the show, please contact Haillie MacNeill at (617) 243-5491 or 

About Integrative Support Services at the VCC

The Vernon Cancer Center’s Integrative Support Services include: a patient navigator who provides support from the point of diagnosis through the entire continuum of care; genetic testing and comprehensive risk assessment to identify family history of cancer;  access to a wide variety of clinical trials including research conducted in collaboration with Massachusetts General Hospital, Brigham and Women’s Hospital and Dana-Farber Partners Cancer Care; nutritional support to help patients get adequate nutrition and meet dietary needs; psychological and social services to help patients and their families deal with the emotional impact of the initial diagnosis and treatment; therapeutic services such as massage, Reiki, yoga, and other relaxation methods; pain management services tailored to deal with each patient’s unique diagnosis. 

About the Artist

Peter Hussey creates large scale watercolors that focus on architectural detail. His paintings are beautifully crisp images of doorways, rooftops, cupolas, turrets, and their attendant surfaces that when handled in the different light of day, are endless in their richness and variety. His work, though not photorealist, is firmly rooted in 20th century Realism. 

Peter’s paintings are meant to be pleasing to look at and at the same time intellectually stimulating. For some, they are what they are – a window, a roofline, a door ajar. For others, owing a large degree to his use of close perspective, they are thoughtful abstractions of lines and surfaces caught in the push and pull between what’s near and what’s far away. He elevates the simplicity of his subjects, but invites his viewers to reach their own conclusions.