Art Maine Annual Guide 2018 by Maine Magazine

2018 Annual Guide

A guide to 65 of Maineâ&#x20AC;&#x2122;s most collectable artists

Fine home builders, general contractors, and developers

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CONTENTS

27 ART AT HOME

Architects, interior designers, builders, and more experts on the intersection of art and design, featuring works from Art Collector Maine Photography by Jeff Roberts

107 ARTIST INTERVIEWS

Twenty-two Art Collector Maine artists on their process, inspiration, style, and more

147 ARTIST PROFILES

A showcase of Art Collector Maine artists and their work ON THE COVER: Early evening at The Portland Art Gallery on Middle Street Cover photograph: Jeff Roberts

Moon Over Atlantic #9, 48”x 72” ed.4 Moon Over Atlantic #9, 48”x 72” ed.4

Limited edition prints and framed photographs using the highest quality Limited edition printsmaterials and framed the highest quality archival andphotographs conservationusing practices. archival materials and conservation practices.

CHRIS BECKER PHOTO CHRIS w w w . c h rBECKER i s b e c k e r p hPHOTO oto.com www.chrisbeckerphoto.com 127 ocean Ave, kennebunkport 127 ocean Ave, kennebunkport 207.967.0069 207.967.0069 may through october 10 am - 6 pm may through april october 10 am - 6/ by pmappt nov weekends nov through april weekends / by appt

PUBLISHER & CEO Kevin Thomas

ASSOCIATE PUBLISHER & COO Andrea King

EDITOR-IN-CHIEF Rebecca Falzano

MANAGING EDITOR Susan Axelrod

ART DIRECTOR Heidi Kirn

DIRECTOR OF SALES Jeffrey D’Amico

ADVERTISING ACCOUNT MANAGERS

Karen Bowe, Ryan Hammond, Peter Heinz, Kerry Rasor, Tom Urban, Emily Wedick

PRODUCTION MANAGER Joel Kuschke

DIRECTOR OF EVENTS & SPONSORSHIPS Terri Coakley

ONLINE EDITOR Shelbi Wassick

EDITORIAL ASSISTANT Brittany Cost

OFFICE ADMINISTRATOR Alice Chaplick

COMMUNITY DEVELOPMENT MANAGER Casey Lovejoy

SPECIAL PROJECTS Emily McConnell

PROOFREADER Leah Whalen

WRITERS

Susan Axelrod, Brittany Cost

PHOTOGRAPHER Jeff Roberts

STAFF PHOTOGRAPHER Sean Thomas

STAFF VIDEOGRAPHER Lamia Lazrak

ART COLLECTOR MAINE

Laura A. Bryer, Jack Leonardi, Taylor McCafferty, Kendra McDonald, Emma Wilson

CIRCULATION MANAGER Sarah Lynn

THE BRAND COMPANY

Chris Kast, Melissa Pearson, Mali Welch

LOVE MAINE RADIO WITH DR. LISA BELISLE

Spencer Albee, Dr. Lisa Belisle, Brittany Cost, Casey Lovejoy, Shelbi Wassick

MAINE MAGAZINE

Paul Koenig, Kate Seremeth

OLD PORT MAGAZINE

Susan Axelrod, Kate Seremeth PRESIDENT Kevin Thomas CHIEF OPERATING OFFICER Andrea King CHIEF FINANCIAL OFFICER Jack Leonardi

Art Maine is published annually by Maine Media Collective, LLC, Kevin Thomas, President.

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Editorial and subscription information: phone 207.772.3373 | fax 888.836.6715 75 Market Street | Suite 203 | Portland | ME | 04101 Opinions expressed in articles or advertisements, unless otherwise noted, do not necessarily reflect the opinions of the publisher, staff, or advisory board. Every effort has been made to ensure that all information presented in this issue is accurate, and neither Maine Home+Design nor any of its staff are responsible for omissions or information that has been misrepresented to the magazine. Copyright ©2018 Maine Media Collective, LLC All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission, in writing, from the publisher. Printed in the U.S.A. Employment inquiries can be directed to jobs@themainemag.com Subscribe: mainehomedesign.com

S TA F F N OTE Photograph by Sean Thomas

hile visiting the Marsden Hartley exhibit at the Colby College Museum of Art, I was struck by his claim to be “the painter of Maine” at the turn of the 20th century. I considered for a moment his belief in his iconoclastic role and was amused by his self-confidence. And then I wondered, isn’t this in a way what Art Collector Maine is doing? Bringing an artist’s interpretation and sense of place and wonder of Maine into his or her chosen art form? This issue is composed of three parts, all featuring Art Collector Maine artists and artwork available for purchase. In the first section we invite you into 21 distinctive Maine homes and businesses that showcase the way art can enrich a living or work space. In the second section we introduce the personal voices of our artists as they share their process and inspirations. The third section is a gallery of talented artists sharing their vision and a signature image of their work. Art Collector Maine has much to celebrate in 2017, including recordbreaking revenue. We opened our third gallery, the Gallery at Bald Head Cliff in Ogunquit; hosted a full schedule of openings and shows at all three galleries; orchestrated Art of Dining dinners for the Kennebunkport Festival; and hosted

premiere events with collaborators such as Legacy Properties Sotheby’s International Realty, Maine Spirits, and Camden National Bank. And there is more to come. With 2018 approaching, we are adding some exciting new elements: multi-artist shows, the new Boothbay Harbor Food and Wine festival, and pop-up shows in communities like Camden. We are innovative and nimble when finding ways to introduce clients and the creative community to our artists. We have many people to thank for this year’s success: our clients, who energize us with their value of investing in art, and Maine Media Collective, who through the magazines, Love Maine Radio, Maine Live, festivals, and multiple events provides a unique access point for our artists to meet others in the creative industry. Lastly, we are most appreciative of the Art Collector Maine artists. Their talent, vision, and humility is captivating and uplifting. As you thumb through these pages, what image exemplifies Maine to you? Why? Stop into our Portland Art Gallery or comment on one of our social media pages—we’d love to know.

Emma Wilson Managing Director, Art Collector Maine ewilson@artcollectormaine.com

artcollectormaine.com

Lou Schellenberg

Sheep Jones

Elizabeth Hoy

Maine Farmland Trust Gallery | Belfast Art Walks & Art Talks 2018: May 25, June 22, July 27, August 24, September 28 mainefarmlandtrustgallery.org

Joseph A. Fiore Art Center at Rolling Acres Farm | Jefferson A PROGRAM OF MAINE FARMLAND TRUST

Open Studio Days 2018: Sunday July 29, August 26, September 30, 12-3pm mainefarmlandtrust.org/jaf-art-center/

Jude Valentine

BRIT TA BRUCE

R E ST L E S S | 3 6 ” X 3 6 ” | O I L O N C A N VA S

154 Middle Street, Portland, Maine | 207.956.7105

Moxie Maine shares the empowering stories of Maine women, from educators and small business owners to artists and CEOs. Maine women are courageous, creating lives of all shapes and colors, navigating family, career, and health decisions, and always evolvingâ&#x20AC;&#x201D;we recognize your moxie, and we celebrate it. Your story is our story, unfolding on the pages of Moxie Maine. On newsstands January 2018 moxiemainemagazine.com

Get to know your neighbors. PODCAST

#318

SUZETTE MCAVOY Suzette McAvoy is executive director and chief curator at the Center for Maine Contemporary Art in Rockland.

THOMAS BELLUSCIO

PODCAST

#319

Thomas Belluscio is a registered Maine guide and certified wilderness first responder. He is also the founder of Northeast Wilderness Company, an outdoors outfit that offers workshops, studies, and guided trips.

AMANDA HUOTARI AND FRITZ GROBE

PODCAST

#320

Amanda Huotari is a performer and serves as the executive artistic director of Celebration Barn Theater in South Paris. Fritz Grobe is board president of Celebration Barn Theater. He is also co-founder of EepyBird Studios, best known for viral videos featuring the explosive combination of Coke and Mentos. SPONSORED BY

Love Maine Radio introduces you to our neighbors, one conversation at a time. Hear what they have to say. Welcome to our community.

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JULIE CYR

G O O S E G I R L | 3 6 ” X 3 6 ” | O I L O N C A N VA S

154 Middle Street, Portland, Maine | 207.956.7105

ART AT HOME Architects, interior designers, builders, and more experts on the intersection of art and design, featuring works from Art Collector Maine Photography by Jeff Roberts

“Much like Holly’s gorgeous landscape, the structure and tones of the great room, coupled with the floor-to-ceiling windows, really helps its inhabitants feel closer to Maine’s natural beauty.” —GABE GORDON, KATAHDIN CEDAR LOG HOMES ART: Holly Lombardo, Golden Trees, acrylic on canvas, 36” x 60” BUILDER: Quality Home Builders of Maine DESIGNER: Katahdin Cedar Log Homes

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“David Allen’s paintings of Maine’s working waterfront scenes are at home in a traditionally appointed room in this multigenerational saltwater farm. The contemporary artwork blends with the room’s nautical family heirlooms, including vintage ships in bottles.” —BRETT JOHNSON, MAINE STREET DESIGN CO. ART: David Allen, Fish Shack, New Harbor, oil on board, 24” x 24” & Stonington Harbor, oil on board, 60” x 48” DESIGNER: Brett Johnson, Maine Street Design Co.

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Where Art and Comfort Meet Rooms are about place, about home, about you. Art-filled rooms bridge the gap, reinforcing our family narratives, influencing our feelings about spaces we live in, containers for ourvalues and aestheticsâ&#x20AC;&#x201D;they are beacons of lightâ&#x20AC;&#x201D;the surest way we know we are home.

Maine Street Design Co. interiors | design | furnishings www.mainestreetdesign.com | 207.541.9187

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“One of the most rewarding parts of our job is working with people who understand, respect, and preserve the natural environment around us, and creating spaces that artfully reflect a desire for sustainability and energy efficiency. Working with The Nature Conservancy of Maine, we completely renovated and transformed their existing office space within the historic Fort Andross Mill Business Center alongside the Androscoggin River in Brunswick. The new space was designed to meet the goals for LEED and WELL certifications. Objectives included creating a space that supports staff wellbeing and productivity, models green and sustainable design, and inspires innovative and collaborative problem solving. The new space features natural and recycled elements and reflects the Conservancy’s mission. David Moser’s stone sculptures, made from stones gathered along the Maine coast, fit perfectly into the palette of natural materials used in this space. The curving wood wall is made from yellow birch sustainably harvested from the Conservancy’s own certified forest property in the St. John River valley, the carpet tiles underfoot, with a pattern reminiscent of crashing surf, are made from recycled fishing nets, and the counter in the kitchen was crafted using historic log drive lumber salvaged from the bottom of the Penobscot River.” —HARRY HEPBURN, BRIBURN ARCHITECT: Harry Hepburn, Briburn ART: David Moser, Provocation, stone, wood, and granite, 5’ x 30” BUILDER: Warren Construction Group LIGHTING: LED lighting by Lighting Science CARPET: Interface

www.briburn.com 207.774.8482 Portland, Maine

Heidi Kirn

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“Darthea Cross’s work delicately complements this gentle and dark meeting space. We seek quiet, privacy and inspiration in our conference rooms, where artists and craftsmen collaborate with clients to bring dreams into focus.” —DAVID DUNCAN MORRIS, CALEB JOHNSON STUDIO ARCHITECT: Caleb Johnson Studio ART: Darthea Cross, Isles Edge, acrylic and ink on panel, 36” x 36” BUILDER: Woodhull of Maine FURNITURE/ACCESSORIES: Aeron chairs, floor lamp, and table, Gabriel K. Sutton; credenza, Portland Flea-For-All INTERIOR DESIGNER: David Morris and Kristen Lavalle, Caleb Johnson Studio LIGHTING: YLighting

The Lost Kitchen FREEDOM

and why it belongs on your list. Read more at themainemag.com/eat/the-lost-kitchen

themainemag.com + @eatmaine Food editor Karen Watterson and our entire team are serious about a lot of things, and where to eat and why are on top of the list. Discover your next favorite dining spot in Old Port and Maine magazines, and on our blog, Facebook, and Instagram.

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WE DELIVER. Subscribe 207 772 3373 themainemag.com/subscribe

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“I’ve loved Eric Hopkins’s work for years, so I knew that his boldly conceived abstract paintings and his mesmerizing glasswork would be a perfect fit for this client’s house. A converted barn with soaring ceilings and a cozy yet spacious feel, it’s the perfect home for the works I chose from Eric’s studio. It didn’t hurt that the client is a fan of Eric’s work and had several of his pieces already. “ —DEBORAH CHATFIELD, CHATFIELD DESIGN ART: Eric Hopkins, paintings above fireplace from left: Night Island, oil on canvas, 38” x 40”; Fast Red Fish #1, ink and watercolor, 28” x 36”; Fast Red Fish #2, ink and watercolor, 28” x 36”; painting to right of fireplace: Red Fish #3, watercolor, 37” x 29”; wood piece: Indian Maiden, found wood, 39” x 1.4” x 10”; fish plate on shelf: Faux Glass Plate #2, oil paint on pine, 11 “ x 18”; glass dome on coffee table, Sky Dome, blown glass, 8” x 10”; fish plate by window, Faux Glass Plate #4, oil paint on pine, 15” x 20”; globe at right, Gaia Globe, blown glass, 18” INTERIOR DESIGNER: Chatfield Design

chatfield design fine interiors

rockport, maine . chatfielddesign.com ASID . IIDA . 207-236-7771

WARM MODERN Chilton’s Hygge table is designed and built in Maine from solid ambrosia maple, known for its rich, distinctive wood grain. Shown with Tappan Taped Back Chairs. Exclusively from Chilton Furniture Co.

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“Our passion at Chilton Furniture is to work with local builders to create original furniture designs inspired by traditional Shaker styles, as well as modern Scandinavian and Japanese interiors. We love wood furniture, which has the ability to maintain a visual and sensual warmth even while offering clean, modern lines. The understated sophistication of Ingunn Joergensen’s art shown alongside our furniture is a perfect union of this warmth and minimalism.” —JEN LEVIN, CHILTON FURNITURE ART: Ingunn Joergensen, Madrugada, oil on canvas, 24” x 30” & That Golden Hour, oil on canvas, 36” x 26” FIREPLACE: Wittus Shaker woodstove with short bench FURNITURE: Hygge table in wormy maple, Tappan taped-back side chairs in maple with butternut tape, Lokie benches in rift sawn white oak, all Chilton Furniture LIGHTING: Hubbardton Forge Cirque Chandelier

Your Inspiration. Our Expertise. Working as a team, we rely on our experience and innovation to create beautiful kitchens that truly enhance and reflect your home. As part of our service, we expertly guide you through the selection of all the finishes making your kitchen perfect for you.

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“A wide range of textures defines this kitchen and dining space in a new Kennebunkport home, a deeply personal design with a strong reference to Craftsman style. Built with reclaimed beams, brickwork, and flooring, the layered mood of the room is matched by the rich textures of Willa Venema’s encaustic paintings. The warm brown tones of the beamed ceiling, floor, and furnishings are complemented by the artist’s vibrant blues, and her evocative scenes are a reminder that the Maine coastline is nearby.” —JONATHAN TRUDO, CREATIVE COAST CONSTRUCTION ART: Willa Venema, Boat Series: Three Dories with Moonlight, encaustic on panel, 30” x 30” & Afternoon Sun Sparkle, encaustic on panel, 36” x 36” BUILDER/DESIGNER: Jonathan Trudo, Creative Coast Construction INTERIOR DOORS: Old House Parts KITCHEN DESIGNER: Nancy Bither, Atlantic Design Center LIGHTING: Pottery Barn TILE: Atlantic Design Center WINDOWS: Pella

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“The front entry of this gorgeous old shingle-style home in Kennebunkport makes a bold statement with original black-and-white marble tile and a stunning, Stark Carpet bordered runner on the staircase. The soft colors of Joanne Parent’s painting provide contrast and warmth. Thanks to its fireplace, the foyer is a great spot to read.” —LOUISE HURLBUTT, HURLBUTT DESIGNS ART: Joanne Parent, Close to Night, oil on canvas, 40” x 30” FURNISHINGS: Chair, Thibaut Fine Furniture; stair runner, Stark Carpet INTERIOR DESIGNER: Louise Hurlbutt, Hurlbutt Designs

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| custom builders of finely crafted homes and commercial properties | 207.536.0235 | SYLVAINSEVIGNY.COM

“The design intent for the home was to be open and sunlit, a mix of drywall and the warmth of wood accents. The spaces are defined but still open to one another. The floating stair acts as a screening between the entry and the dining area, a great backdrop for this piece of art.” —KEVIN BROWNE, KEVIN BROWNE ARCHITECTURE ARCHITECT: Kevin Browne and Chris Herlihy, Kevin Browne Architecture ART: Elizabeth Hoy, Into Line and Order, oil on panel, 24” x 48” & A Constituent of Beaches, oil on panel, 24 “ x 24” BUILDER: Sylvain + Sevigny Custom Builders LIGHTING: House of Lights

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Photo by Darren Setlow

DESIGNERS

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INTERIORS

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“The interior of the House at Town Landing combines the warmth and ease of Scandinavian design with an elevated coastal aesthetic drawn from its island surroundings. A light tonal value in the primary finishes—pickled fir beams, classic birch flooring, soft gray walls, and timeless brass light fixtures—lends simplicity to the space, while pops of deep blue tie into the stunning ocean views beyond. Matthew Russ’s painting, Long Pond #1, complements the palette inside the home, while also enhancing the connectivity to the outdoors. The overall effect of the home’s interior is elegant, relaxed, and subdued, but as strikingly bold as the coastal Maine scene beyond.” —ELENA DURALDE AND BRADY-ANNE CUSHING, KNICKERBOCKER GROUP ARCHITECT: Knickerbocker Group ART: Matthew Russ, Long Pond #1, oil on canvas, 32” x 32” BUILDER: Knickerbocker Group CABINET COLOR: Benjamin Moore Newburyport Blue CUSTOM BANQUETTE: Chapman Construction, Mercier Upholstery COUNTERTOP: Blue Rock Industries HARDWARE: Signature Hardware INTERIOR DESIGNERS: Brady-Anne Cushing, interior design manager, Knickerbocker Group; Elena Duralde, interior designer, Knickerbocker Group LIGHTING: Woods Electric LIGHT FIXTURES: Fogg Lighting MILLWORK: Knickerbocker Group TILE: Pendleton Flooring, Old Port Specialty Tile WINDOWS: Marvin

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“The collaboration of textured walls, vibrant colors and patterns, and unique furniture selections provide a perfect backdrop for Bill Crosby’s striking painting Spring Awakening. The attention to detail and specific way each item in the room is placed allows the painting to reach its full dramatic potential. Both the room and art complement one another to portray harmonious movement and drama.” —LEANDRA FREMONT-SMITH, LEANDRA FREMONT-SMITH INTERIORS ART: William Crosby, Spring Awakening, acrylic on canvas, 40” x 40” BUILDER: Rousseau Builders CHAIRS: Pillars Antiques INTERIOR DESIGNER: Leandra Fremont-Smith Interiors RUG: Bradford’s Rug Gallery UPHOLSTERY AND WINDOW TREATMENTS: Alfred’s Upholstery & Co. WALLCOVERING: Phillip Jeffries

Fine home builders, general contractors, and developers

899 Post Road • Wells, ME 04090 • 207.646.6194 • Rmoodyconstruction.com

“We chose Jean Jack for this room because of her use of colors and the calmness of the scenes in her paintings. This space has a lot of great details with a bead-board ceiling, stone fireplace, reclaimed farmhouse beams and nickel-gap walls; we felt Jean’s work was a perfect fit for the feeling we wanted when enjoying this room.” —JOSHUA MOODY, RICHARD MOODY & SONS CONSTRUCTION ARCHITECT: DiDonato Architects ART: Jean Jack, Fishing Village, oil on canvas, 40” x 48” BUILDER: Richard Moody & Sons Construction FIREPLACE: Heatilator, Architectural Fireplaces FURNITURE: Pottery Barn, Anthony Catalfano Home INTERIOR DESIGN: Richard Moody & Sons Construction LIGHTING: The Lighthouse, Restoration Hardware MILLWORK: Richard Moody & Sons Construction

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“My interiors usually evolve around a single element; a single theme. I know those anchor elements when I see them. They capture my imagination, and won’t let go. My first floor living space took shape around a cast iron window frame. It helped to create a sense of both separation and connection, allowing fabrics, natural materials and distinct furniture styles to work together—and stand apart. The window invites guests to find one another, or to locate a quiet space for reflection. Every interior should speak to the life and passions of the people who call it home. So I listen. I learn. And when my work is done, and done well, I’m able to achieve that balance.” —NICOLA MANGANELLO, NICOLA’S HOME ART: Claire Bigbee, Descending Light #2, acrylic on canvas, 24” x 36” INTERIOR DESIGNER: Nicola’s Home

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A Unique Design Firm to Create Your One-of-a-kind Home

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PHOTOGRAPHY BY JANET BARRETT

“The serene blues and greens of Ruth Hamill’s oversized encaustic work nicely echo the coastal views and add a vibrant pop of color to the neutral palette. Shown on left is a starter step with volute custom-bending handrail on a curved double stairway leading down to an elegant archway supported by columns opening up into the dining room. Art blends architecture, lighting, and design.” —RUSS DOUCETTE, RUSS DOUCETTE CUSTOM HOME BUILDERS ART: Ruth Hamill, Jump Into It, encaustic on canvas, 32” x 52” BUILDER/DESIGNER: Russ Doucette Custom Home Builders LIGHTING: House of Lights WINDOWS: Loranger

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“Marsha Donahue’s paintings really pop on the white-pine walls of this custom-built home. There’s a certain charm to wooden walls that brings the outside in and gives this lakefront residence such an incredible Maine feeling. And Marsha’s paintings, whose colors and theme reflect the home’s surroundings, enhance that feeling.” —SCOTT STONE, SCHIAVI CUSTOM BUILDERS ART: Marsha Donahue, Abol Summer, oil on panel, 24” x 30” & Remote Shoreline, oil on canvas, 40” x 30” BUILDER/DESIGNER: Schiavi Custom Builders COUNTERTOP: Mike Mowatt KITCHEN DESIGNER: Schiavi Custom Builders LIGHTING: Schiavi Custom Builders WINDOWS: Schiavi Custom Builders

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BUILT FOR LIVING.

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“Part of the benefit of working in our industry is that we have the opportunity to work with talented interior designers, such as on this job. Sometimes we are involved in final selections, like pairing art with the design of the room. Both need to complement each other, and while Dick Alden’s marble sculpture echoes this bathroom’s finishes, its curvy form provides a contrast to the room’s straight lines.” —LARRY STODDARD, DISTINCTIVE TILE AND DESIGN ART: Dick Alden, Penelope II, marble, 18” x 12” BUILDER: Wright-Ryan Construction INTERIOR DESIGNER: Centerline Design & Build LIGHTING: Centerline Design & Build TILE: Distinctive Tile and Design

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Home Automation | Home Theater | Motorized Shading | Lighting Control | Audio Systems

Fulminating, Acrylic on Canvas , 30” x 40”

32 Main Street, Freeport, Maine 207 939 2480 SCOT TBOWEART.COM

“The art I create is abstract expressionism. I feel art is alive and has the potential to communicate an array of emotional responses. For this project, I chose this eclectic mid 1700’s Falmouth Foreside home. The goal was to pair a piece of art that was contemporary and abstract without detracting from the beauty of the architectural period. This juxtaposition creates a space of uniqueness and reflection, and a harmonious parallel between the home and the art.” —SCOTT BOWE ART: Scott Bowe, Design Division, acrylic on canvas, 40” x 30” & Prismatic Pulse Study, acrylic on canvas, 12” x 18” BUILDER: Maguire Construction, Inc. DESIGNER: Nicola’s Home WINDOWS: Kolbe

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“Nancy Simonds’s playful pieces are right at home in the great room and eat-in kitchen of this custom home. The bright colors and whimsical shapes are an ideal match for the casual setting, where traditional elements, such as hand-hewn beams and reclaimed chestnut flooring, contrast with contemporary design.” —KEVIN LORD, THOMAS AND LORD ARCHITECT: Peterson Design Group ART: Nancy Simonds, Summer Greens, gouache on paper, 55” x 23” & Cresting Spring Blues, gouache on paper, 44” x 44” BUILDER: Thomas and Lord COUNTERS: Maine Marble and Granite FURNITURE/ACCESSORIES: Nicola’s Home INTERIOR DESIGNER: Nicola’s Home KITCHEN DESIGNER: Sylco Cabinetry WINDOWS: Andersen A-Series from Eldridge Lumber

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Home for good.

“Ann Sklar’s painting as part of Landscapes: Endless Horizons is her interpretation of a ‘modern landscape meant to evoke a mood of contemplation, a quiet time … they are meditations on what we see every day and the idea behind them is to inspire a new emotion each time they are seen.’ Natural light, as it plays in building interiors, operates in a similar manner. Light, ever moving, plays to our visual experience, impacting our inner emotional response and biological rhythms. Here the morning light is invited to gently wash the ceiling, limiting the high visual contrast from the outdoors in. Continuously shifting floor patterns of light are created by an external louvered sunshade. The texture of stone is highlighted by light striking its vertical surface. Fabric hung at the wall face softens the exterior brightness. It is the movement of light and shadow that enlivens an interior, and provokes a unique emotional response from its occupant.” —JESSIE CARROLL, WHITTEN ARCHITECTS ARCHITECT: Jessie Carroll, Whitten Architects ART: Ann Sklar, My Favorite Place, oil on canvas, 36” x 36” BUILDER: Thorner Building Corp. CURTAINS: Jan Robinson Interiors FIREPLACE: Tod Alexander, Atlantic Brick WINDOWS: Marvin

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“Enduring design is the synthesis of the owner’s vision, the artistry of the craftsman, and the light touch of thoughtful design. When you step back and take in the finished product, you know you have succeeded when you it all feels as it should be.” —PAUL ATTARDO, ATTARDO PONDELIS ARCHITECTURE ARCHITECT: Attardo Pondelis Architecture ART: Allen Bunker, Do You Love Me, oil on canvas, 36” x 48” BUILDER: Mark Conforte, Conforte Builders LIGHTING: Paul Attardo PAINT RESTORATION: Allen Dotson

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“Drawing from the natural environment, the art complements the organic aesthetic of this home with its abundant natural light, wood-burning stone fireplace, and open concept post and beam living area.” —SHAWN DOUSTON, DOUSTON CONSTRUCTION, INC. ARCHITECT: Caleb Johnson Architects ART: Jane Dahmen, Morning Sun, acrylic on panel, 60” x 72” BUILDER: Douston Construction, Inc. FIREPLACE: Raymond Dussault & Son, Inc. KITCHEN DESIGNER: Angella Spugnardi, Home Again by Hancock Lumber TILE: Blue Rock Stone Center WINDOWS: Andersen

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Rural Maine Artist KATHLEENPERELKAARTIST.COM ∏ 207.474.6168 See more at: The Common Ground Fair Upcountry Artist Show at Sugarloaf: Oct 7-8 Pinnacle Gallery Open House: Nov 18

ON VIE W IN 2018 Eliot Porter’s Nature

December 22, 2017 through March 18, 2018

The 2018 Portland Museum of Art Biennial January 26 through May 30, 2018

The Robbers: German Art in a Time of Crisis February 16 through July 15, 2018

Clarence White and His World: The Art and Craft of Photography, 1895–1925 June 22 through September 16, 2018

Painter and Poet: The Wonderful World of Ashley Bryan August 3 through November 25, 2018

Ashley Bryan (United States, born 1923), Final illustration for “Oh, when the children sing in peace,” 2006, from Let It Shine: Three Favorite Spirituals pages 24-25 [Atheneum Books for Young Readers, 2007], collage of cut colored paper on paper, 12 x 20 1/2 inches. Collection of The Ashley Bryan Center

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Food editor Karen Watterson and our entire team are serious about a lot of things, and where to eat and why are on top of the list. Discover your next favorite dining spot in Old Port and Maine magazines, and on our blog, Facebook, and Instagram.

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Antoinette Prien Schultze The Drummond Memorial Monument

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SEA GEOMETRY NO. 214 | 64” X 60” | ACRYLIC AND OIL ON CANVAS

ARTIST INTERVIEWS Art Collector Maine artists on their process, inspiration, style, and more

Daniel Corey, Autumn, oil on canvas, 30” x 24”

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TIM SAPPINGTON

Tim Sappington was born and raised in Washington, D.C., where his mother introduced him to the national galleries. This began a lifelong interest in scenic art and landscape. A practicing architect, Sappington has also had experience with set design and stagecraft. He enjoys painting near his home in northern New Hampshire and along the Maine seacoast. Life at Two Lights, enamel on wood with Lexan and stained glass, 42” x 72”

Q. YOU’VE BEEN WORKING ON SOMETHING VERY NEW THAT COMBINES YOUR WORK AS AN ARCHITECT, ARTIST, AND STAGE DESIGNER. COULD YOU DESCRIBE THAT? A. This is a large piece, 6-by-3 1/2. It’s all cabinetry using

lightweight materials, including high-grade plywood, and then pine laminated together for thickness. It can either be freestanding or it can hang. This work is actually internally illuminated by LED light tape, which is quite brilliant, but it burns only 13 watts, so it’s ecological. It never heats up and lasts for 60,000 hours. The painting has some philosophical and almost religious qualities. You could be secular about it and call it evolution, or you could call it creation. There’s the surf, sky, and rocks, and then at the bottom of the painting there’s a tidal pool. In the tidal pool, we worked with a Maine marine biologist. She had me put in all the types of snails, clam shells, miniature starfish, stones, and seaweed types.

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Q. YOU ARE ALSO INTERESTED IN MUSIC. HOW DOES MUSIC FACTOR INTO THE WAY YOU PERCEIVE THIS WORK? A. I think of it as a symphony with a number of individual movements, which hopefully all harmonize together. You can think of Berlioz’s Symphonie Fantastique or Beethoven’s Pastorale Symphony. Somehow this painting is very much associated with music, along with much of my work.

Q. WHAT’S THE NEXT PIECE THAT YOU’LL BE WORKING ON? A. A young guy helped me with my latest work. His name

is Caramon Burrows. Caramon helps with the ideas and the carpentry; he carved the tiny cedar boat. We would like to do a work inspired by Winslow Homer’s Weatherbeaten, which is in the Portland Museum of Art. It has dark rocks and a splash of white surf. I’m going to do a smaller piece, maybe 3-by-4 feet, and I’m going to drill the droplets of water. I have 40 or 50 different dental bits. I think I’m going to do an illuminated nebula to suggest the creation of the universe, our galaxy, and all the planets and the sun, just something that lights up in a very dark area.

SUE VITTNER

Sue Vittner’s life is a balance of travel and exploration, inside and out. She has lived and worked in Antarctica, and traveled to India, Bali, Bolivia, Peru, Mexico, and Europe, as well as throughout the United States. After college, she joined AmeriCorps, then moved to Maine, where she worked as a case manager with refugees. She is a massage therapist and life coach, as well as a painter and photographer. Light in the Meadow, acrylic on canvas, 37” x 49”

Q. IN ADDITION TO MAKING ART, YOU DO MASSAGE AND YOGA. HOW IS PAINTING INTEGRATED INTO THOSE OTHER ASPECTS OF YOUR LIFE? A. Since I paint using my hands instead of a brush, my process is very relaxing; it’s very therapeutic. I can paint and two hours will go by and it will seem like just ten minutes. It’s a very similar feeling when I’m giving a massage and on the yoga mat. Time flies and I feel like I’m in the flow. I think the connection is the feeling of rhythm, movement, and flow.

Q. WHAT HAVE YOU BEEN WORKING ON LATELY? A. I’ve been painting a lot of large pieces, 5-by-4 feet; I’ve

had a few commissions for those sizes, and it’s really fun to paint on such a large scale. I’ve also been experimenting

with different colors; my main palette consists of blues, greens, and whites, but I’ve been dabbling a little bit with reds and oranges.

Q. YOU USUALLY TRAVEL IN THE WINTER. WHERE ARE YOU HEADED THIS YEAR? A. My partner Todd Glacy and I are going on a four-month,

cross-country road trip. Todd does music, speaking gigs, and sound healing, and I’ll sell art—I’m building up an inventory of smaller pieces I can transport. I’ve lived in the West before, so I’m yearning to see that open sky and huge mountains again; I miss that. When I lived out there I was mostly painting with watercolors, and definitely not with my hands, so I’m interested in how the colors and the space will influence my painting once I come back.

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SCOTT BOWE

Scott Bowe was born in Fairfield County, Connecticut. His family relocated to Maine in his early teens, and he attended Waynflete School in Portland. After graduation he was accepted to Semester at Sea, where he circumnavigated the globe, visited nine countries, and discovered his passion for art. After college, he moved to California to become an actor, studying at the famous Groundlings School and appearing in films, commercials, and print ads. But Maine and his desire to make art called him back to the state he calls home, and where he now lives with his wife and children. Fulminating, acrylic on canvas, 30” x 40”

Q. HOW HAS YOUR WORK EVOLVED IN THE PAST YEAR? A. I’ve been experimenting with different techniques. It’s still

abstract expressionism. It still comes from my emotions and how I’m feeling. But I’m working more on different techniques that are applicable. For instance, I’m really into fluid acrylic painting—also called pouring. It’s a thinner paint, so when you move the canvas, it will flow. You never really know what you’re going to get when this color interacts with that color. So it takes a lot of practice.

Q. YOU HAVE A FAMILY, YOU HAVE A GALLERY; HOW DO YOU MAKE TIME FOR PAINTING? A. I am balancing a lot. But I’m not a scheduled artist—I have

to be in the right frame of mind. When I get a really strong emotional feeling, I kind of slip away. And my studio’s right in the basement of our house, so I don’t have to say, “Okay, I’ll see you guys in a couple hours.” When I get that feeling, it’s like an eruption. And I have to get it out onto the canvas. I just disappear for a little while and come back when things are kind of calm in my head.

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Q. HOW HAS HAVING THE GALLERY IMPACTED YOUR LIFE AS AN ARTIST?

In the past year I’ve done 100-plus paintings, so I have a large inventory now, and with the gallery being open for a year I have to focus more on the marketing side. You can be the greatest painter, the greatest actor, the greatest dancer, the greatest singer—but never be seen or heard. Because you’re afraid to get out there. What I have to keep constantly reminding myself is that Scott Bowe is a brand. As much as artists don’t really like to hear that in our own heads, the fact of the matter is you have to create that brand for that recognition and validation.

Q. DO YOU DO COMMISSIONS? A. I’ve been doing a lot of commission work, which I enjoy

because I love brainstorming with other people on what they want as opposed to when it’s all about me. There are a lot of questions to ask. One of the first is, “What kind of music do you listen to?” That gives me a really strong indicator of what their personality is like. And then I like to work under the lighting that the painting will be seen under. It’s just much more fulfilling to create something in collaboration with someone, and then to hear the feedback. It’s like a present.

PHYLLIS BACHAND

Phyllis Bachand was born in Georgia and grew up in Florida. Her first career was in marketing research and she eventually had her own firm in Washington, D.C. She left the business world in 1989 to study at the Corcoran School of Art. In 1991 she received her Master’s of Fine Art from the Maryland Institute College of Art. Her work, which has always been drawn from nature, has been exhibited in New York City, Chicago, Washington, D.C., and Toronto, as well as in Maine and in Florida, where she spends the winters. Guests in Eden, oil on canvas, 40” x 30”

Q. COULD YOU DESCRIBE YOUR CREATIVE PROCESS? A. I tend to do a series based on one idea. I don’t do just

one painting; I do quite a few. And then I generally start with a drawing. Sometimes I start with sketches. And then I draw in graphite right on the canvas. And if I don’t like it, I put turpentine on the work and keep going. I start over all the time. I end up with different tones; because I use turpentine, I get some darks and lights in my work. From there I start to paint. I try to lose the drawing that’s underneath it, and think about only the composition that I’m doing after that.

Q. WHAT’S THE AVERAGE PERIOD OF TIME THAT YOU WORK ON A PAINTING? A. It varies. When I think the painting is finished, I live with it

for a while because I generally change it again. I like some of those changes to show through so that the viewer sees the

evolution of the painting. It gives the work a sense of energy and vitality, and I like it. When the viewer is seeing all those changes, and the shadow of the drawn lines, it keeps them interested. It keeps them in the painting, looking.

Q. WHAT ARE YOU WORKING ON NOW? A. In my newest work, I went back to my first love, which is

drawing. I love to draw, and I love line. So I started doing a little more abstraction. I’m now doing my paintings first with a lot of line. I wanted to explode the flowers. The paintings should appear as if the viewer is looking through a garden of many different kinds of flowers. I had been doing a lot of hydrangeas and peonies in my previous work. I’ve also put in more abstract symbols so that some of the flowers are more expressive of color than shape. The viewer can see that the flowers are there, but they can’t tell what exactly it is because it’s just a shape. It breaks up the stiffness of the flower.

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MILENA BANKS

Serbian-born Milena Banks, now living in Maine, has lived in China, Japan, and the United Kingdom. Everywhere she has lived, she has always been observing, remembering, and leaving a little of her heart behind. Her art is nostalgic, full of color and vivid scenes that express a sense of longing. She studied under master artist Enzo Russo, a protege of Giorgio de Chirico; has had a solo show at the Greenwich Art Gallery; and has exhibited in many juried shows. In addition to painting, she writes historical novels and rescues horses and dogs. Living Water, oil on canvas, 48” by 48”

Q. YOU ALWAYS SEEM TO BE INTERESTED IN NEW EXPERIENCES AND NEW APPROACHES TO YOUR WORK. WHAT HAVE YOU BEEN WORKING ON RECENTLY? A. I just did a whole series of African animals. I did monkeys,

Q. YOU RECENTLY CONVERTED TO CATHOLICISM. HOW DOES YOUR NEWFOUND FAITH INFLUENCE YOUR WORK? A. It doesn’t necessarily relate to my paintings, but it’s so

and I did an orangutan, a crocodile, and a huge elephant, along with a few others. I’m also painting a series of under-the-ocean works with lots of fish.

exciting knowing that there is something else unknown. Religion is about celebrating life, and it reveals that there really is good and there is evil. Everything is an interplay, and our life is a battle with the unseen.

Q. WHERE DO YOU FIND THE INSPIRATION TO PAINT THESE ANIMALS? A. I was writing a book about Kenya, and I stopped halfway

Q. HOW DO DIFFERENT ENERGIES AFFECT YOUR ARTISTIC PROCESS? A. I can just pick up on energy, and my whole life I’ve been

through that book. Suddenly I woke up one morning singing this song about cats and rats and elephants and humpty-back camels. I thought, “What the heck is that song?” It turns out that it was by the Irish Rovers, and it’s about Noah. I started thinking about it, and then I thought, “Oh my God, I’m just going to paint a pink elephant.” I did this huge elephant and then I didn’t want to paint just one lonely elephant, so I did this whole jungle scene of all these different animals. Now I’m doing ocean paintings. I don’t know what will happen next.

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painting energy. I’m very sensitive to everything I see. As a child, I realized that every place you go has a feeling, and everything is imbued with its own sense. Whether it’s a tree, shrub, motorcycle, car, person, or whatever else, I capture their being and the energy that’s around them. Everybody has an energy. Energy moves, and it’s repressed in some places and allowed to flow in others. That’s exactly how the ocean is. It’s how horses move when they run across a field. It doesn’t really matter what I paint; I just paint the way the light shines off of energy. That’s what I do. That’s why I feel like I can just paint anything because I’m not really painting the object; I’m painting what’s there.

MARCIA CRUMLEY

Marcia Crumley is a Boston artist with close ties to Maine, having owned a rustic camp on a lake and painted there for more than 20 years. Her primary focus is landscapes, driven by her lifelong love of the outdoors. Her formal training includes studying drawing and painting at the School of the Museum of Fine Arts, Boston, and Massachusetts College of Art. Pine Bluff, acrylic on canvas, 20” x 20”

Q. ARE THERE ANY NEW TECHNIQUES THAT YOU’VE BEEN WORKING ON RECENTLY? A. In terms of new processes, I’m still refining the technique I

have of working with the underpainting. Using a magenta or violet underpainting, I prime the whole canvas in that color, and then I do a lot of paintings of trees. I’m really fascinated by the personalities of different trees. Then I paint the foliage, and leave the underpainting visible around the edges of the trees and the sky, so that the viewer can feel dynamism and personal energy coming out of the trees.

Q. DO YOU HAVE A FAVORITE TYPE OF TREE THAT YOU LIKE TO PAINT? A. No, but I love birch trees because I think those have the most expressive personality. I also love Maine pine trees and red pines.

Q. WHICH PAINTERS HAVE MOST INFLUENCED YOUR WORK? A. I went to see a David Hockney show recently, and he’s

obviously fascinated with trees. I read interview in which he talked about his love for trees. There was an old stump near his

house in Bridlington, and he was madly in love with this stump. He saw it as this living thing. He was just destroyed when someone cut it up and took it away. Most people would think, it’s just a stump. I’m also interested in Marsden Hartley, and I like Rockwell Kent. The focus is on the landscape itself, and all of them make very personal use of color.

Q. WHERE DO YOU PAINT, AND HOW DO YOUR SURROUNDINGS AFFECT YOU WHEN YOU PAINT? A. I paint in Maine, and then I have a studio in the South End

of Boston. I paint mostly Maine paintings down there; I don’t always paint Maine paintings in Maine. In this Marsden Hartley book for the Colby College exhibition on his work, the author was talking about how Hartley’s most poignant paintings of Maine weren’t painted in the state. They were painted in New York. When he was painting in New York, he could focus his memory on what was most important about the scene, and he used his imagination more. If I’m trying to paint something in front of me, I try to put the entire scene into the piece, and it doesn’t work out. I do take a lot of photos, and I sometimes will look at the photos before I start painting. Then, when I start to paint, I don’t look at anything. I paint completely from my imagination.

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LEON ANDERSON

Leon Anderson has been a plein air painter for over 30 years. His work can be seen in many public and private collections, including pieces at the Anchorage Museum of Art and History, the Museum at the University of Alaska, Fairbanks, and most recently, 12 large paintings at the headquarters of MaineHealth Partners, Inc. in Portland, Maine. A native of Alaska, Leon currently resides in the Portland area. When I Close My Eyes at Night, wood sculpture, 27” x 42”

Q. DO YOU WORK WITH A PARTICULAR KIND OF WOOD? A. It varies. Recently I’ve been building pieces out of wood that I salvage from old doors.

Q. WHEN YOU BEGIN CONSTRUCTING AN ARTWORK, DO YOU HAVE A PRECONCEIVED IDEA OF THE WORK WILL LOOK LIKE? A. All my works start on paper. I draw them out first. Once I’ve finally resolved the construction on paper, and then I do what’s called the build, I know exactly what it’s going to be. In general I’m exploring surface texture because a work is always about how much attention it demands from the viewer. If somebody can glance at a work and walk away, it’s failed.

Q. WHAT DO YOU MEAN BY THAT? A. An artwork can’t work for everybody, but a piece that

works well means that a person spends a lot of time looking and discovering as they look. Surface texture is another way to capture somebody’s interest in the piece.

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Q. HOW DO YOU ADD THE TEXTURE OR CREATE THE TEXTURE? A. I try not to be formulaic. It’s easy to fall into a rut, doing

everything the same way. I will try different things sometimes. A lot of the color I use is spray paint. Sometimes it’s encaustic, which is hot wax. I’ll use a torch or an iron. I’ll use rough sand paper to avoid giving it a polished look, or work with the texture of the wood itself. It’s about discovering the texture; I’m much more interested in discovering the end product as opposed to having preconceived it.

Q. HOW DO YOU PUT YOUR PIECES TOGETHER? A. They are glued and joined, meaning that where two pieces

of wood meet they’re not just fitted together with glue. They’re kind of like a puzzle you put together.

Q. WHAT ARE YOU PLANNING TO EXPLORE IN THE FUTURE? A. I’m still interested in continuing to build the relationship

between the work on the wall and the shadow it casts. People don’t always realize that the shadow affects the piece. When you hang the piece on the wall, it integrates with the space, so it becomes much more than just a painting. In a gallery setting, I can use LED flood lights to create colored shadows. People don’t talk about shadows being vivid colors, like lavender, yellow, magenta, or green.

KIM CASE

Kim Case has studied at the School of the Museum of Fine Arts, Boston, Tufts University, and the Salt Institute in Portland. Her work strives to reflect the natural beauty of her home in New England. Lupines , oil on canvas, 18” x 18”

Q. WHEN YOU PAINT, DO YOU START FROM A DRAWING? A. Yes, I sketch from life. I also take photographs. My work

always involves some kind of a hand sketch before it goes to canvas. Without that, I can get lost. There’s something about the sketching, the image first, that helps me to visualize the work.

Q. WHAT NEW DEVELOPMENTS HAVE OCCURRED IN YOUR WORK RECENTLY? A. About a year ago, I started creating portraits, and I’ve also

become more involved in doing environmental portraiture. I’m interested in painting people in a particular place, and what the place has to say about them. Recently, I painted an image of my son in the doorway of the old family summer house, and immediately, the painting just puts you there in that moment. And he will forever be that size and age.

Q. HOW DO YOU CONCEPTUALIZE YOUR PROCESS? A. I’ve been thinking about what it means to be creative

consistently. I need to have a ritual in place before the painting

can begin. Sometimes I find that if I’ve skipped a piece of the process or my own personal ritual, then I can get stuck. Interestingly, I’ve been reading two books written by nonpainters about art, ritual, and creativity. Elizabeth Gilbert and Twyla Tharp wrote about the creative process, and how you build and nurture your practice. Both have been really influential in leading me through the steps of a ritual: picking out the right canvas size, and the process of sketching, and then mixing my palate for each work. And then I have my coffee and my music at just the right level of volume.

Q. HAVE YOU TRAVELED AT ALL? ARE YOU INFLUENCED BY THAT KIND OF EXPERIENCE? A. I just recently took a trip to Barcelona with my father. He’s 80 now, and we had the opportunity to visit the home of one of my favorite painters, Joaquín Sorolla. From his studio, I could tell his life had been fully committed to his art. This was who he was, and what he did. And the whole world knew it. It was just stunning. It made me want to just come back and create my own gigantic studio and shamelessly take over that identity. There are few artists I know who identify themselves as only artists and live it without self-consciousness.

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JULIE HOUCK

As a contemporary landscape painter working in oils and encaustics, Julie Houck aspires to convey not only the scene but also the moment and mood. The moment is fleeting but the painting allows us to live in that moment a bit longer, to linger, to reflect, to contemplate, to enjoy. She is inspired by the interplay of light on the landscape, which is ever-elusive and always changing. Painting softly allows her the opportunity to recreate that one particular special moment when the land, light, and atmosphere seamlessly fuse. Light Bridge, oil on linen, 34” x 46”

Q. YOUR PAINTING SEEMS TO FOCUS ON LANDSCAPES. WHAT ARE YOU TRYING TO CONVEY IN THEM? A. I approach a landscape in terms of trying to distill it down

to its minimal components to what that essence is. So it’s a little more of a visceral experience than an actual rendering what something looks like. I’m particularly drawn to wetlands, to marshlands. The landscape is always changing; it changes with every tide. I’m drawn to the serenity of it, especially the landscape during the wintertime when it’s not so obvious inyour-face bright sunshine and blue sky, blue water, and green trees. There are more subtle grays in these three seasons out of the year: fall, winter, and then the spring. Even mud season is beautiful.

Q. WHAT IS YOUR PROCESS LIKE? A. I’ll usually do smaller studies in the field as a reference, and

then I will use those as points of departure for the larger, more contemporary works. But it’s not exactly a paint-by-number process where I have the small one, and I blow it up by scale to make the large one look just like it. For me, the process is a little more interpretative and reactive and responsive. I’ll see something out there that catches my eye, and I’ll get it down and then I’ll maybe use parts of that, or some of it will become an inspiration for something in a larger piece, but it’s not a direct match in terms of blowing it up larger. And the little pieces actually stand alone as finished paintings. They’re fresher, they’re more reactive, they’re looser, they’re capturing a moment in time, while the contemporary pieces are developed over a period of weeks.

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Q. LIGHT IS CLEARLY A KEY COMPONENT IN YOUR WORK. HOW DO YOU CREATE IT? A. You always see the evidence of light and the transmission of

light in my paintings. I tend to work between two different ways of creating that light: indirect and direct. Indirect is working in transparent layers where I might lay in up to 40 different layers of paint to create the translucent feel in a sky. It appears like the spectrum of the sky washing over where it’s almost cloudless, but it’s an atmospheric wash. These are the edgier, contemporary, more minimalist types of pieces. The pieces that are more developed with actual cloudscapes are more atmospheric as well as luminescent in that the clouds have movement to them. These are a combination of indirect, which is the many transparent layers, as well as direct, which means applying paint in opaque brush strokes. It’s a solid thing, you can’t see through it. I combine those two processes to create whatever the scene is.

Q. HOW DID YOU LEARN TO DO THAT? A. I’m classically trained. I went to classical ateliers when I

decided to redirect my career from photography to painting. I didn’t go back to the traditional art school, although I did study at the Academy of Art University in San Francisco. I entered a traditional program of drawing and painting, then I ended up going to private ateliers taught by classical realists in San Francisco and in France. Because I wanted to learn and study light, and learn light on form, and there’s no better way to learn about light than to study in a classical atelier, because that’s all they teach, light on form. And once you understand how light hits any sort of three-dimensional object or space, that’s very freeing. It’s like downloading the software program, teaching you how to use it, and saying, okay, you’re on your own, go.

JUDY O’DONNELL

Judy O’Donnell has been a professional sculptor for over 30 years. Her sculpture and paintings have been exhibited in shows throughout Maine and New England. She has studied extensively at Maine College of Art with sculptor John Ventimiglia, painter Diane Dahlke and painter Richard Lethem. Judy studied sculptural design for three years under Mike Shaughnessey and Duncan Hewitt at the University of Southern Maine, and earned a Bachelors of Fine Arts degree. Reclining Woman, stainless steel, 50” x 30”

Q. HOW DID YOU GET YOUR START AS A SCULPTOR? A. I’ve always been a maker. When I was a kid, I was putting

together three-dimensional objects like glass bottles and making forms out of them. So learning how to use real metals was very exciting. I started as a bronze sculptor. I took many, many courses in bronze with John Ventimiglia at MECA and the first course I took, when I was a summer course student, he said, “You’re a sculptor.” I didn’t think anything of it, and then I realized he was absolutely right.

Q. YOU PAINT, TOO, BUT WHAT ARE THE SKILLS YOU NEED AS A SCULPTOR THAT ARE DIFFERENT FROM WHAT YOU NEED AS A PAINTER? A. I have an excellent sense of three-dimensional design. I

mean, it’s just an innate quality—some people have it and some people don’t. I see in three dimensions and I can see what it’s going to be before it actually goes together. I’m also a process artist, which means that I have concepts that I’m going to work with, or shapes sometimes (I’ve been getting the pieces pre-shaped for me now instead of spending that whole time banging), and then I’ll move things around like a collage artist. That’s basically how I sculpt, just like a collage artist. I move things around and say, “Okay, that’s it.” Then I weld it together.

Q. DOES ANY OF YOUR WORK START WITH FOUND OBJECTS?

Not all the time; sometimes I buy and have things cut and pre-formed but many of the pieces in the stainless realm were leftover pieces that were cut for industrial use. I’ll say, “Okay, I can make a series of that,” because as soon as I see the shape I know what it’s going to be. I don’t work in one particular way. It’s very intuitive. It’s based on formal elements of art: shape, line, texture. How am I going to end up: positive and negative? Does it flow? I’m not working with squares as other metal artists do; more often than not, my forms have an “S” or rounded shape. Sometimes it’ll take it quite a long time to find just the right piece to finish one of my sculptures. I have to keep going to the metal recyclers. They know me by name and what I’m looking for.

Q. YOUR WORK MUST SOMETIMES BE PHYSICALLY DIFFICULT. DOES ANYONE HELP YOU? A. I have a guy, Charlie, a retired welder. I couldn’t match

his skill and I couldn’t lift the things he lifts. We have a very symbiotic relationship. I’m teaching him the principles of art; he’s teaching me the principles of metal. We’re good to each other that way. He remembers what I tell him and I remember what he tells me. He’ll say, “Engineering wise, that’s not going to work,” and I’ll say, “The whole idea is to push it to the edge where people think it’s going to fall down but it doesn’t.” So I challenge him quite a bit.

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JUDY KANE

Judy Kane graduated from Mount Holyoke College and Clark University, earned a PhD in psychology from Boston College, and practiced psychology for 25 years in Portland. She first fell in love with painting when she received five paint-by-number sets for her tenth birthday, but it wasn’t until she took continuing education classes at the Maine College of Art that she wholeheartedly pursued her interest in art. She has studied under Diane Dahlke, Lois Dodd, Janet Manyan, Carol Marine, Stan Moeller, and Holly Ready. Cottage Rocker by the Sea, oil on canvas, 9” x 12”

Q. HOW HAS YOUR WORK EVOLVED RECENTLY? A. This year I am getting more courageous in my painting. I am being bolder in my strokes and my application of paint, and I’m really getting into this robustness.

Q. ARE THERE ANY NEW SUBJECTS THAT YOU’RE EXPLORING? A. I do landscapes and still lifes, but right now I’m doing a

series on chairs. It’s so much fun. As a former psychologist, I’m interested in people. A chair is so expressive, almost like a person. And then how you group the chairs can say so much, depending on whether it’s one or two chairs, or more. It’s almost like the portrait of a person. I wanted to get into a larger motif, so I’m making each portrait at least 16 by 20 inches, and some are 24 by 24 inches. I’ve been doing Adirondacks, rocking chairs, wicker chairs, and metal chairs. I’m also painting my grandson’s highchair. It’s great subject matter for different compositions. The viewer can find their own narrative in the particular chair or composition of chairs.

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Q. WHERE DO YOU DO MOST OF YOUR WORK? A. I live in Maine in the summer and Florida in the winter,

and I am lucky enough to have studios in both places. I also paint outside, but painting in the studio are so much easier. Everything I need is within reach. I have now established a structure where I don’t take any phone calls. I don’t let the outside world in. This is my time to focus and give myself the real enjoyment of doing what I love.

Q. WHERE IN MAINE DO YOU LIVE? A. I live in Falmouth, and then we have a lake place at Little

Sebago. I have a studio in the woods. It’s just my own little cabin for solace and solitude. My husband doesn’t bother me there unless he comes with a glass of wine in the evenings.

Q. HOW DID YOU DECIDE TO REDEDICATE YOURSELF TO ART? A. Working as a psychologist, I left my interest in art behind.

When I finally took a drawing course at Maine College of Art, that’s when I realized, oh, yes, this is what I love. I also love to learn, and painting is an endless learning experience because you never perfect it. There’s always a new aspect to challenge you. It’s lifelong learning.

JODI EDWARDS

Jodi Edwards was born into a very artistic family in Syracuse, New York. She graduated from the New School for Social Research in New York City. While she was developing as an artist, she was also becoming a singersongwriter and eventually relocated to New Orleans to pursue a career in music. She then became an ESL teacher before moving with her husband to southern Maine and working on her art full time. Rollercoaster, acrylic on board, 48” x 48”

Q. WHAT ARE SOME OF THE HIGHLIGHTS OF THE PAST YEAR FOR YOU? A. My work has gotten better. I’ve grown, and I’m stretching

more. I’ve had critiques, which have helped push me to the next level. I took a class with (nationally known contemporary artist) Bess Cutler. I’ve studied color theory a bit on my own. I’ve started using more grays and muted colors, which has improved my work, as well as learning about value, hue, and saturation.

Q. WHAT IS YOUR PROCESS LIKE? A. I paint to music—jazz standards and blues are some of my

favorites, as well as anything that makes me feel something groovy. You could just say that music is my muse; there are so many incredible musicians who really fire me up. I’ve gotten more free and that’s not an easy thing to do. It seems like the freer I can get—where I am uninhibited, where I just take a risk—that makes my work better.

Q. WHICH ARTISTS DO YOU ADMIRE, LIVING OR DEAD? A. Joan Miro is at the top. I guess I’d put de Kooning after him. Miro, Pollack, de Kooning and Kandinsky are my favorites, in that order.

Q. WHAT OTHER PROJECTS ARE YOU WORKING ON? A. My husband and I are rebuilding a house in Surry on 52

acres—it’s a farmhouse. It’s been in my husband’s family for six generations. It had a fire in it. I’m in charge of the whole thing. I’m the general contractor, which has been a huge challenge, but very rewarding. It’s going to be funky, because it’s Jodi. Thank God my husband lets me do my thing, like, I’ve got to have yellow cabinets. I’ve got to have a color. I can’t do that boring wood.

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JESSICA LEE IVES

Jessica Lee Ives received her B.F.A. from the Cooper Union School of Art and was named one of Glamour Magazine’s Top Ten College Women of 2003. Her work as an artistin-residence at Ground Zero in New York City after September 11, 2001, earned her the Clark Foundation Fellowship with which she pursued her M.A. at New York University, combining work in the fields of art, religion, and public service. Radiant, oil on panel, 24” x 36”

Q. HOW LONG HAVE YOU BEEN PAINTING PROFESSIONALLY NOW? A. I actually started selling my work in high school. I made

a deal with my parents after I spent time doing dishes at Fitzpatrick’s Deli in downtown Camden. After that, I asked them, “Instead of doing dishes, I’ll paint the whole summer. If I can sell enough work at the Youth Arts Festival in August so that it’s comparable to what I would make as a dishwasher, will you let me keep painting instead of doing other work?” And they agreed. I’ve painted and sold my work ever since then. Thankfully, my parents were willing to let me do something out of the ordinary.

Q. WATER IS A PROMINENT FEATURE IN A LOT OF YOUR WORKS. WHY? A. I have always been connected to water and have become

increasingly so since getting involved with triathlon. As I began open water swimming, I started bringing an underwater camera with me. Open water swimming, early in the morning in a lake in Maine, and you’re in the shadows, but you can see the light off on the distant shoreline; you get to see the entire scene in a quick moment as you’re taking in this gasp of air, and then you’re back down into the deep shadows again. There’s just that perfect moment of life and light and color, and then quietness.

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Q. HOW DO YOU BRING THAT ENERGY INTO YOUR PAINTING? A. As I swam, I kept thinking, I want to paint this. I finally

started bringing the camera with me and experimenting with photos and painting from photos. My late 20s was the first time I stopped painting exclusively en plein air and started working inside from photos. It allows me to be totally immersed in an activity, visually capturing some memories combined with the body experience of it, and recreate that in the studio.

Q. YOU MOVED TO BEND, OREGON, FOR A PERIOD. WHAT MOTIVATED YOUR DECISION TO MOVE THERE? A. My work was including more figures, and I wanted to

learn to paint the body from the inside out. I’m interested in people moving through the landscape and participating in the landscape, and knowing their place in the landscape. I decided to do a clinical and sports massage therapy program out in Oregon. I think the human body is amazing, and I want to remind people and myself that we were made to move and to move through the world.

JENNIFER LITCHFIELD

Jennifer Litchfield has been living and painting in Maine for the past 22 years. Originally from Australia, where she pursued a medical career in Sydney, she moved to the United States after meeting and marrying her American husband, photographer Peter Felsthenthal, with whom she lives on Barters Island in the midcoast. Pond Dreaming, acrylic on lInen, 30” x 30”

Q. WHAT ARE SOME OF THE NEWER THINGS YOU HAVE BEEN WORKING ON? A. I have been doing rock paintings, in acrylics, including

some big ones. I love doing them, but these things I can’t do in plein air; they’re studio work. My process with them is that I’m out, I’m wandering, I take a whole bunch of photographs, and then I look at them, and I contemplate them, and I play with them. And see what I can do with them using Lightroom and Photoshop to create my vision of what this painting might be about, to some degree. Then I use that for reference. There are a number of layers that go into these paintings, which is why I use acrylics—painting in layers in oil is tedious because it takes much longer for the paint to dry.

Q. WHERE DO YOU GO TO FIND INSPIRATION? A. I live on Barters Island, in Boothbay, so there are two places

nearby that come to mind. One is Ocean Point— I’ve just done a whole series of small oils of Ocean Point, with rocks and surf. The rocks there are so amazing, and you can see right out to

Monhegan. We have a wonderful land trust—the Boothbay Region Land Trust—and those are just great places to wander. There’s also a place on Barters Island where I go— there are several stones and birch trees there, and I have taken a number of photographs at different times of the year of those birch trees. What I paint is nothing like them. But they are my inspiration.

Q. DO YOU EVER TRAVEL OUTSIDE OF MAINE TO INSPIRE YOUR ART? A. I have an artists’ trip coming up in France, where I’m going

to be painting in and around a beautiful town in the northern part of Provence. So that will probably give me some new inspiration, and may even inspire some other works that aren’t necessarily totally representational, but I don’t know. It’s always like a little exploration for me. I do these things without a lot of attachment to what the outcome might be. So there’s that kind of openness to whatever it is that allows for creativity.

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JEAN KIGEL

Jean Kigel is a specialist in brush painting, gyotaku monoprints, and watercolor. She draws her inspiration from many sources, notably from travel and study in China, Japan, and Latvia, perennial gardening, and the ocean environment of her studio and home. Attic Window Series: Waldoboro Chimneys, watercolor on canvas, 16” x 20”

Q. HOW DID YOU GET INSPIRED TO DO YOUR ATTIC WINDOWS SERIES? A. Attic windows inspire me because attics store little

histories. If you go into an attic, you can find hand-written letters, sea chests, penmanship books, and antiques, like sewing machines. These are things that people couldn’t throw away, but no longer had use for. And most attics have windows. As I’m painting from the street viewpoint, I offer a look into the past, into a history of maybe generations of one family. As a child, I spent hours in attics. A staircase led up from my bedroom to the attic, where I would open wooden chests, find fisherman’s sweaters, wonderful photographs, and musty books. From the attic I’d look out to fields and ponds and dream.

Q. WHAT’S YOUR PROCESS LIKE? A. I work a lot with design, assembling separate tops of

houses, which I sketch and sketch again. I re-compose which house is going to be in front, and which behind, until a find the combination I want to use. Working in either watercolor or oil, I often lay a ground color that will show through subsequent layers. I do make preliminary drawings, often loose ones, on paper or canvas due to the complexity of architecture, even

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when I decide to tilt my buildings. After composing, I begin layering, glazing, using colors that will shine through layers, waiting for layers to dry. At some point I invent trees, or shapes that represent trees, placing them between buildings and behind them.

Q. HOW ARE YOUR SEASCAPES DIFFERENT FROM THE ATTIC WINDOWS? With my seascapes, I’m using long, low, horizontal formats on which I paint geometric slashes in the sea and sky. I add maybe a boat or an island in shades of blues or in analogous blues and purples. I just did one in shades of lavenders and whites that came out well.

Q. WHO ARE THE ARTISTS YOU ADMIRE? A. When I started out with Asian brush painting in the 80’s,

I painted only with black ink, and for years, I didn’t go into color. I found color garish. I was very much influenced by the Western painters Rothko and Motherwell, in addition to many of the Japanese artists. Sato is the Japanese artist I really admired and still do. He works beautifully in black and white, semi-abstractly, but with a touch of realism. That’s what I’m trying for—realism with a blend of abstract, especially now with my geometric seascapes, landscapes, and attic windows.

DOUGLAS CAVES

Douglas H. Caves Sr. has been a lifelong student of the arts. He attended the Fine Arts Program at Mt. Wachusett Community College, has studied painting and drawing at the Worcester Art Museum, and has studied creative writing at Clark University. Caves moved from an abstract approach to painting in his late twenties to explore the more representational genres that seemed to suit his need to have his feet planted firmly on the ground while his head and heart explored beyond the limits of physical reach. Lobster House, Cape Porpoise, acrylic on canvas, 30” x 40”

Q. WHICH ARTISTS HAVE MOST INFLUENCED YOUR WORK? A. Rembrandt was probably the first artist that I was really

taken with. I admired the way he handled paint and his layering, translucence, and brushstrokes. I was interested in the impressionists, too. Later on, I was greatly influenced by the New York school and abstract expressionists, including Pollack.

Q. WHAT NEW TECHNIQUES HAVE YOU BEEN PURSUING IN YOUR WORK? A. It’s a work in progress for me to focus on both the painterly aspect and quality of light, layering colors over each other and getting a translucent effect for the painting. I want my work to reflect light differently depending on the time of day. I like the mysterious effect that can happen through the layering of transparent colors. Lately I’ve been working a little bit more with opaque applications to make it more painterly, mixing the two methods together and experimenting with that.

Q. WHAT DO YOU TEND TO DEPICT IN YOUR WORK? A. I’m still using landscapes. My go-to motif is the

reacquainted with Andrew Wyeth last summer. I wouldn’t say that I am trying to copy him, but I’m trying to have a conversation with him. I’m influenced by the way he treated his subjects and his stark statements.

Q. DO YOU FIND A STYLISTIC DIFFERENCE BETWEEN PAINTING A LANDSCAPE AND PAINTING AN INTERIOR? A. There’s a certain freedom with a landscape—I don’t have to get too technical. But with the interiors, or with structural paintings, then my approach becomes very technical. I get the drawing down first and set the perspective. Painting en plein air is a direct approach, and it’s freer. But when I’m doing a more studied painting, it’s slower. Because it’s more methodical, it’s harder to keep the work feeling alive.

Q. HOW DO YOU MAKE A STUDIED WORK FEEL ALIVE? A. Sometimes I have to search for the emotion inside. I use

memories. I’ve been around for a bit, so I’ve got a lot of memories. I have experience that I can tap into. To me that’s important, to put emotion into the work, instead of just putting the time in.

farmhouse on the hill in Groton. Doing interiors recently, I got

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DEBORAH RANDALL

Deborah Randall earned a Bachelor of Fine Arts degree from California College of the Arts and a Master of Fine Art degree from Savannah College of Art and Design. She started her professional career as an artist by teaching painting at Georgetown University and Colby College. Her perspective on light, color, and emotion was influenced equally by the energy of 80s-era punk rock shows and outdoor coastal adventures as she grew up in Washington, D.C., and northern California. Just After Sunset, oil on canvas, 42” x 50”

Q. HOW DID YOU BECOME A FULL-TIME ARTIST? A. I went to undergrad and graduate school for painting and

then taught art at the college level for 18 years. I first moved to Maine for a job at Colby College then subsequently took a job at Georgetown University. When my spouse and I returned to Maine and got a divorce I could no longer support myself with adjunct university teaching so I had to figure out a new path. I researched for about a year and considered opening a bakery or doing catering among other things but I thought, “You know, the one thing I am good at and want to do is paint so I need to just paint.” I opened a gallery in Kennebunkport and this is my seventh year.

Q. HOW DO YOU STRUCTURE YOUR TIME SO YOU CAN BOTH RUN THE GALLERY AND PAINT? A. This is all I do, 24/7. I find that if I hire help, things don’t

get sold. People want to see me. I have a small easel and I work on small things when I’m there. Most of the people who buy my art from the gallery are tourists. A lot of them are transplants from the East Coast living somewhere else and they want a piece of the East Coast to remember their childhood or where they used to live. So it’s kind of fun to meet people from all over the world that walk in. But I have a studio at home, a large studio, where I work all winter, when I close the gallery. That’s my downtime, and when I do different kinds of work; most of the work I sell in the gallery is landscapes, but I do abstracts as well.

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Q. YOUR LANDSCAPES HAVE A SENSE OF VASTNESS THAT IS USUALLY ASSOCIATED MORE WITH THE WESTERN UNITED STATES. WHAT’S THE STORY BEHIND THAT? A. When I started doing landscapes, I kept pushing the horizon line down lower and lower and lower in the painting because I just love the sky and that feeling of atmospheric perspective of distance and space, especially living by the ocean. It feels like an endless, vast, wonderful space. I want to evoke that feeling of being there. And I think having a lot of sky works in that capacity. It’s ever-changing and it’s always inspiring.

Q. YOUR IMMEDIATE ENVIRONMENT IS OBVIOUSLY A BIG INFLUENCE ON YOUR WORK. A. I live very close to Goose Rocks Beach so I spend a lot of

time there. There’s a beautiful marsh as you approach the beach; every time I go it looks different. The beach itself, too—every season it has a different shape to it because of the storms in the winter. So it always changes and it’s amazing. I was just there the other day and there’s a sandbar so it looked like people were standing on the ocean. It’s just such a bonus in my life, such a joy to be able to experience that. I feel very fortunate after living in cities and not being around water. And I realize I could never not be around water now.

DANIEL COREY

Daniel Corey is a traditional painter rooted in the aesthetic values of the Ashcan school and the French impressionists. Inspired by light quality, color harmony, and abstract shapes, his paintings are created from direct observation and memory. He enjoys the challenge of painting nontraditional views and subjects, and the views that make Maine, Maine. Blueberry Barrens, oil on canvas, 18” x 24”

Q. HOW DID YOU GET INVOLVED IN PAINTING? A. As a young child, my grandmother was an oil painter, and

she bought me my first oil paint set. Later on, I was working as a dishwasher at Bintliff’s in Edgecomb. The food was great, but dishwashing was terrible. Someone that I cared about, and who cared about me, pushed me to quit dishwashing and persue painting full time. At that time, I started renting a home/studio from two retired New York art teachers who had taken a liking to my work in a small local show. Right after I moved in, they left a clipping from a newspaper on the doorstep, suggesting that I enter this competition. And it was the Monhegan Artist Residency. I applied for the residency. I didn’t even know how to photograph any artwork, but I won.

Q. YOU’VE MENTIONED THAT YOU’RE INFLUENCED BY THE ASHCAN SCHOOL. HOW HAS THAT MOVEMENT INSPIRED YOU? A. The Ashcan School is a small movement set up by Robert Henri that was known for grittier paintings. Especially when I was out at Monhegan, my paintings were not the prettiest. The colors were murky. It’s pretty to look around Monhegan, but when you’re by the water, you can smell the cut fish remnants that people are using as bait for lobsters. I wanted my paintings to convey that smell.

Q. HOW HAS YOUR WORK EVOLVED SINCE THEN? A. I’ve definitely become more of a romantic, in the sense that I’ll try to portray a subject in the most beautiful way possible.

Q. IS THERE A SUBJECT THAT YOU’RE DRAWN TO AGAIN AND AGAIN? A. I probably have the most fun with night colors. Certain

flowers, I’ve painted them until they’re dead. I have a lobster boat motif I like to revisit; each time I try to push in a different direction. Finding and pushing color harmonies is the goal in all subjects.

Q. WHAT HAVE YOU LEARNED OVER THE COURSE OF YOUR CAREER? A. Don’t dig for gold; cherish the dirt. And everything’s a self-

portrait. Everything you do becomes a self-portait, a reflection of your effort, knowledge, and how many cups of coffee you’ve had. Whatever you are, your work becomes a self-portrait of that moment.

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BARB CONE

Barb Cone has studios in So. Thomaston, Maine, and Concord, Massachusetts. The cofounder of MassMax, the New England Chapter of International Encaustic Artists (IEA), she says she likes to experiment with many different materials in her work, letting her ideas dictate what she ultimately uses. Barb is the recipient of IEA’s 2016 LaVendeenne Award for Artistry, and her work appears in Encaustic Art in the Twenty-First Century (Schiffer Publishing, 2016). Mudflat Moon No. 2, encaustic and oil stick on cradled birch panel, 36” x 36” x 1.5”

Q. HOW DID YOU GET YOUR START AS AN ENCAUSTIC ARTIST? A. I did a lot of other things first. A few years after I was

suddenly widowed, I moved from the West Coast to Vermont, where I taught in the local community college and worked for a regional newspaper. I started taking some art classes just for fun. I was painting in watercolors and then moved into oils. In the 90s, I was introduced to encaustic at a workshop in Santa Fe, New Mexico. Encaustic wasn’t very well known at that point. After painting in oils, working on large-scale installations work, and curating some exhibitions, I found my encaustic paints from the workshop one day and thought, “I need to figure out how to use encaustic.” In truth, at least at the time, there wasn’t a lot of guidance. Encaustic artists had to find their own way with encaustic. That’s why their work is so varied. Encaustic is the most interesting and most versatile material I’ve ever worked in, and I haven’t begun to do everything with it that is possible to do.

Q. SO WHAT WAS IT THAT INSPIRED YOU TO MAKE THAT SHIFT TO THE ART WORLD? A. At the art center where I first took my classes in New

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had been one of the Works Progress Administration (WPA) artists in the 30s. He was tall and formidable, and he scared the hell out of all of us. One day he looked at what I was working on, and said, “So are you an artist or not?” I was taken completely by surprise and mumbled something about just taking some classes, and he said, “Well, you’d better decide.” And he turned around and walked away. It took me a long time to decide whether I was an artist or not. I can still hear his voice in my mind sometimes, when I’m working, and it’s not always complimentary. I think, “Go away, Clifford. I’m an artist now and I have to figure it out.”

Q. WHAT DOES ENCAUSTIC ALLOW YOU TO EXPRESS THAT MAKES IT DIFFERENT THAN ANOTHER MEDIUM? A. It’s totally unique. You can make it three-dimensional. You

can build and carve into it. You can make prints with it. Also, encaustic is marvelously translucent. It reflects light from within itself, unlike any other medium. As I layer, I can see down through it to what’s underneath, but maybe not entirely. What’s underneath becomes sort of mysterious, and I like that feeling.

Q. WHAT IS IT ABOUT MAINE THAT INSPIRES YOU? A. Maine is magical. There’s nowhere else quite like it.

ANNE HEYWOOD

Anne Heywood’s work reflects both her New England roots and the 12 years she lived in Italy. She is the recipient of many honors and awards, most recently the invited Guest Artist of the Second Biennial International Pastel Exhibition in Suzhou, China. Her writing and paintings have been featured in international books and magazines, and in 2007, she was recognized by the Great American Art Works with their Anne Heywood Masterclass Assortment of pastels. She is a signature member of the Pastel Society of America and an artist member of the National Association of Women Artists. Her educational background includes a B. A., Art summa cum laude. She is listed in Who’s Who in America. Sunset Reflections (diptych), pastel on paper, 12” x 18” each

Q. WHAT IS THE PHILOSOPHY BEHIND YOUR WORK? A. I like to create work that appeals to the heart and the mind,

and not just the eyes. So I attempt to put emotion or feeling into the work, and maybe pose a question or two. Ralph Waldo Emerson said, “Insist on yourself; never imitate.” And I feel very strongly about that. Even when I’m doing commissions. I believe that since people who hire me for commissions know what my work looks like, my style is what they want. And I actually feel validated that they’re asking me to create something special for them. Something custom.

Q. WHAT INSPIRES YOUR UNUSUAL PET PORTRAITS? A. I’ve had pets all my life, and I really enjoy them and so I just

started doing my own and, then people asked me to paint their pets. Now I’ve taken that little leap to make the animal really creative with what’s around it. So I have the rabbit leaping off the diving board, or Eddie the cat sitting on the motorcycle, because the owner loved motorcycles. There’s a sense of surrealism, and of humor.

Q. WHAT’S ON YOUR PAINTING BUCKET LIST? A. It goes on and on. Every day I find new things as I drive

around Maine—I find it so inspiring—but one of my plans involves our place on Damariscotta Lake, with which I have a real connection; we’ve been coming up for 30 something years to this spot. It has a personal history. The view from the little wharf that we have is of an island, picture the On Golden Pond island, and a treeline in the distance. But the sunsets there are tremendous. I have a date with my husband when he’s here, six o’clock no matter what we’re doing, we meet and we sit on the wharf and watch the sunset and I found myself painting that island scene over and over again. And finally it kicked in: Anne, you’re repeating yourself but in different ways. So my plan is, I’m going to do like Monet did and surround myself in a room, with that scene, different sunsets, different angles. I just enjoy that scene so much, it speaks to me in so many ways, I want to surround myself with it.

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AURORA WINKLER

The mountains, rivers, and oceans have always been Aurora Winkler’s inspiration for art making. After graduating from Sierra Nevada College with a Bachelor of Fine Arts degree in ceramics, she continued to pursue her dream to be an artist. Her studio is currently in the foothills of western Maine, nestled between the rugged White Mountains and the diamondbright Atlantic coast. Aurora’s abstract paintings offer us a visual storytelling. She uses paint & occasionally oil stick and chalk, building up colorfully textured layers on canvas. Her works consist of unique designs and tends to kindle subtle hints of nostalgia. Gaia, acrylic on canvas, 36” x 36”

Q. WHEN DID YOU KNOW YOU WANTED TO BE AN ARTIST? A. I always knew I wanted to be an artist, and my parents

supported that. I grew up off the grid in western Maine. We had no electricity and no TV until I was 13 or 14, so I had to invent things and use my imagination. I would always draw and sketch, and trace my childhood storybooks and color them in. We had a neighbor down the road who taught art, so I would just pop off the bus after school and go to their house with other kids. I learned what clay was, and how to use watercolors.

Q. HAVE YOU ALWAYS BEEN A PAINTER? A. At the Maine College of Art, I started with jewelry and

ceramics. I transferred to Sierra College in Nevada, and got my BFA in sculpture and ceramics. I loved that 3D component, but the glazing and carving in the clay were all painting based and that was my real passion. When I moved back to Maine and got into the Portland art scene, it rekindled my interest

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in painting. I started doing abstract work, which I think ties in with sculpture. For me the approach with clay was about the great mystery. You create this piece and you put it into the kiln—it might survive and it might not. When it comes out after the first firing, you glaze it and put it back in, but you never know exactly how it’s going to turn out.

Q. WHAT IS YOUR PROCESS LIKE? A. I work on the floor, pouring acrylic colors on top of each

other, and I use a squeegee, washcloths, other fabrics, and paper towel to move it around. Every once in a while I use a paintbrush, but not very often. At times I’m working on five paintings at once. I’ll get into a little rhythm, and rotate around from one to the other. At one point I’ll look up and say, “Oh that’s really awesome and now it’s done.” I recently started using oil sticks and chalk on top of the base layer. I’ve always loved cave paintings and primitive art; the line work is just simple mark-making but strong enough so that there’s a story being told.

MARNIE SINCLAIR

Marnie Sinclair is a process artist who works in many different media. Sculpture in wire and bronze are her preferred choices, although recently she has been intrigued with creations that can be made from soft sculpture. Nature’s perfect balance has always inspired her work and she finds the color combinations, textures, and designs especially inspiring. In addition she is an environmental activist who has just completed a book, Balance & Imbalance, A Celebration of Nature and a Call to Action, which is a culmination of seven years of scientifically researched storytelling, coupled with inspired art. The perfect balance in nature, which speaks to how plants communicate, is the counter balance to the many aspects of climate change and environmental degradation that has been created by man. Her primary goal is to raise awareness about the magic that exists in nature, and how our inability to live sustainably is impacting all life on earth. Pine Island 2 Bronze 7” x 17”

Q. DESCRIBE SOME OF YOUR MOST RECENT WORK. A. I’ve been doing relief sculptures of trees on Maine islands

that have a sort of rhythmic feel because of the wind. I thought it would be intriguing to mount them in front of photos that I have taken of the dawn light. The pieces are all made originally in plasticine, and then a mold is made in order to cast them in either bronze or resin. I have to say I got a bit carried away with the detail and textures. The pieces in resin are used with the photos, while another small edition are made in bronze.

Q. MUCH OF YOUR WORK HAS INVOLVED THE ISSUE OF CLIMATE CHANGE. WHAT IS NEW FOR YOU IN THAT ARENA? A. Recently I’ve been focused on adaptations in nature as another positive way that creatures survive. I’m working in fabric and other materials to make soft sculptures of a series of sea creatures, specifically barnacles, hermit crabs, and starfish to name a few that have evolved in wonderful ways to keep their places in the food chain. The hermit crab has always made me wonder how it hangs onto its shell. As it turns out

it has a long flexible appendage, which is its back end, that wraps around the interior of the shell. In order to see how the crab carries its home I made the crab in fabric and then created the shell out of wire so you could see inside.

Q. HOW HAS YOUR ART EVOLVED OVER TIME? A. The good news about making art is that the more you

do the better you get to be. Getting older only adds to the refinement of one’s art and that is heartening. I’ve spent many years working on climate change issues and the negative impacts of man on his environment. It was really getting depressing, so in order keep my own balance I decided to focus on positive aspects of nature like plant communication, animal adaptations, which includes people, and the beautiful environments that surround us. I’ve started painting again, after a 20-year break, and worked on fanciful intertidal zone environments that are home to my soft sculpture creatures. That project is now complete and I am at a crossroads. I have no idea what is coming next, but I do know that only by closing one door can the next one open. So we will see.

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MARSHA DONAHUE

LOOKI NG NOR TH S ANDY STREAM POND | 66” X 88” | OIL ON C ANVAS

AUROR A WINKLER

ECHOS | 36” X 48” | MIX ED MEDIA ON C ANVAS

D O U G L AS C AV ES , S R .

WEBHANNET R I V ER AT DU SK | 18” X 24” | AC RYL IC ON C ANVAS

ALLEN BUNKER

ON THI S PER FEC T DAY | 60” X 50” | OIL ON C ANVAS

NANCY SIMONDS

CR ES TI NG S PR I NG B L U ES | 42” X 42” | GOU AC HE ON PAPER

JE AN JACK

OLD S WI M M I NG HOL E | 48” X 48” | OIL ON C ANVAS

M AT T H E W RUSS

LONG POND #1 | 32” X 32” | OIL ON C ANVAS

ANN SKLAR

M Y FAV OR I TE PL AC E | 36” X 36” | OIL ON C ANVAS

DEBOR AH R ANDALL

TWO FOR THE ROAD | 48” X 48” | AC RYL IC ON PANEL

JANE DAHMEN

FOR S YTHI A | 50” X 50” | AC RYL IC ON C ANVAS

HELEN LEWIS DR AWN TO THE S EA | 40 ” X 30 ” | B EESWAX , OIL , DAMAR RESIN, B U C KRAM ON WOOD PANEL

WILLIAM CROSBY

COAS TLI NE | 60” X 48” | AC RYL IC ON C ANVAS

JILL HOY

S UNS HI NE GL OW | 40” X 40” | OIL ON C ANVAS

ERIC HOPKINS

WATER - LAND - S KY BANDS | 48” X 50” | OIL ON B IRC H PLYWOOD AND PINE

PE TRE A NOYES

LA GR ENOUI LLE | 30” X 30” | MIX ED MEDIA ON C ANVAS

BRIAN BROWNE Photo by: Jay York Photo

HEXAGR AM 4 9-KO (R EV OLUTI ON /METAMORPHOSIS) | 40” X 40” | AC RYL IC ON C ANVAS

JOYCE GR ASSO

THE BR I DGE | 30” X 40” | AC RYL IC ON C ANVAS

ARTIST PROFILES A showcase of Art Collector Maine artists and their work

Jill Hoy, Dow Ledges Pool, oil on canvas, 38” x 48”

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DAVID WILSON “I have been painting this tree for the past 10 years. It’s never quite the same, and it grows differently every time I turn my hand to it. It’s always standing alone, as a symbol, a flag, or a talisman. It grows out of my head, but I see it every day with my eye. Background and foreground flatten and interweave like the coils of Celtic knots or the unfolding of a Chinese landscape. Influences from far-flung sources and history blend to speak about my Scottish heritage and the craggy landscape of the Maine island where I live. Constantly shifting in color and mood, this russet, magenta, or cobalt evergreen growing out of the rocks glows in my imagination.” Spruce-Moss, acrylic on paper, 58” x 36”

PATTI KANE “I am an intuitive artist driven to bring my passion for vibrant, soulful works of art to discerning art collectors. Through vivid color, texture, and impulsive strokes, I strive to capture the magic of light and energy of nature on my canvas.” Stargate, acrylic on canvas, 16” x 16”

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HOLLY L. SMITH “As a contemporary landscape painter and Maine native, I love to convey fleeting moments, when the brilliant colors of the atmosphere give a special mood or feeling, or when natural light falls on subject matter in a certain way, drawing attention to interesting shapes and textures. Afternoon Sail at Cape Porpoise exhibits such a moment, when the light was glowing around the cloud formations. My painting ideas often begin by painting plein air studies on location. Maine’s islands—and its coastline—are awe-inspiring. Hearing the crash of waves and smelling the salt air are meditative acts, and a wonderful way to begin a painting. Later in the studio, these plein air studies are then refined or expanded. This creative process enables me to have a truer memory of the day and a sense of place. I strive to paint those stop-you-in-your-tracks moments when we push aside our busy day and notice the beauty that presents itself to us.” Afternoon Sail at Cape Porpoise, oil on canvas, 24” x 36”

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JILL HOY “I paint plein air in oils during the summer and fall in Maine and Massachusetts. In the winter, I make the transition to studio painting and figurative narratives. The paints I use are oil, gouache, and watercolor. I am interested in place, documentation, movement, rhythm, composition, and light, when working plein air. In the studio, the process is very different, a slower quest for solutions and destination. I start with a kernel of memory, an interaction, or event, and develop the painting as a psychic journey to find its end.” Dock Sand Beach, oil on canvas, 36” x 48”

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HELEN LEWIS “As a contemporary painter, I work predominantly with pigmented beeswax, either in the form of encaustic or cold wax medium, and incorporate oil paint, oil pigment stick, dry pigment, or pastel into many of my pieces. Both media involve building up many layers, then excavating, carving into, and highlighting certain portions of the surface. Weathered, aging brick, peeling paint, and moss on rocks are all intriguing to me. I am fascinated with texture, patina, old script, and ephemera that speak of the passage of time. These elements and features, made beautiful by both human hands and nature, frequently inspire my paintings. I use layers, marks, texture, and color to allude to a place, object, or simply a feeling, such as a spring perennial garden, the sea at night, or lichen-covered stones along a coastal Maine path. Typically, I have an initial plan when starting a painting, but I also work intuitively, building on patterns that form in the wax and pigments as they react to the blow torch. These techniques allow me to capture subtle nuances of color and texture that convey a sense of peace and tranquility.” Past the Breakers, beeswax, dammer resin, and oil on wood panel, 8” x 8”

PETREA NOYES “Working with a laptop and an Intuos tablet and stylus, I use four software programs to facilitate my abstracts. I start with a shape or a color, and then I build on it by painting with pixels on a digital canvas rather than with traditional materials. I started making my pieces this way 20 years ago because I could carry my “studio,” by which I mean my laptop, with me to our family business, an auto repair shop. I never start with a blank canvas. Instead, I use something with colors or forms that I find appealing as a base to begin a new piece. I clone repeatedly to build unexpected shapes and combinations. While working on a piece, a title usually suggests itself to me early on in the process, and then I tend to digitally expand on a section or area of the painting, change the color, flip it upside down, or distort the image. I try not to control the direction of the work by thinking about the traditional rules or concerns of composition. I don’t force it. I just let the piece lead me.” Aerial: Clearwater Beach, pigment inkjet on canvas gallery wrap, 30” x 30”

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A.J. BUECHE “I feel compelled to paint, I’m not sure why. Most often, I paint landscapes, seascapes, or cityscapes with varying degrees of abstraction. I like to challenge myself. There is satisfaction in approaching things from different perspectives and reaching satisfactory conclusions. My process changes over time, but I like to work on small series of paintings, and I try to avoid repetition. I think painting can mean more than representation. Artist statements seem to attempt to explain the inexplicable, and justify objects that don’t need justification. They try to codify a process that cannot be described adequately, reveal to the reader a ‘soul’ that is impossible to reveal, and report a state of being that is changing constantly. “I like oil paint. Oil paint has qualities that make it more malleable than other mediums. It is basic. It is comfortable. It is limitless. I paint with gouache and watercolor when I can’t paint with oils. I believe that people interact with art in ways that can be meaningful, delightful, thoughtful, disgraceful, provoking, inspiring, disturbing, challenging, instructive, enjoyable, and worthwhile, and in many more ways, too. Each person possesses a unique physiology as well as a unique series of life experiences that affect how they view a work of art. Each person sees and reacts to individual works differently, yet we still share many commonalities.” Untitled, oil on canvas, 24” x 24”

RANDY COLBATH “My work is quite diverse. I make figurative, geometric, and abstract pieces that often relate to my life experiences. For example, the ocean has been a large part of my life. Working on ships provides much of my inspiration, and together with my academic background in art history, these experiences have resulted in an array of sculptures. I work mainly in wood, which provides inspiration of its own, as a material, as well as through its lines and curves. My inspiration comes from line and form first, leaving color and natural characteristics as a secondary source. Painting or bleaching are sometimes used to reduce these characteristics when I desire. My decision-making process is intuitive, relying on personal experience, historical references, and principles of design. I use a mode of thought like that of the surrealists, letting my subconscious guide me. I’m currently working on large slabs of wood, my new pieces informed by musical instruments and symbols.” Songs in the Key of Life, wood, 64” x 30” x 3”

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ANN TRAINOR DOMINGUE “Most of my New England–inspired artworks begin with little thumbnail sketches that define a concept and explore compositions. They are then reworked, as I reference snapshots to recall shapes and forms. Next the drawings are scaled up to refine the design, and then rough color drafts are begun, as I flesh out the final design. I always leave plenty of room for serendipity to interfere at each step, especially during the process of painting. Recurring themes in my work include appreciation of waterfront life, reflections, and a sense of spirituality, combined with the feeling of an easy friendship. Togetherness is the conceptual framework for all my work. It is visualized differently in each work, but I continue to refer to it as I develop an art piece. I describe my semiabstract work as messy, uncommon, and friendly contemporary art. My work is messy in a creative way—I enjoy working with non-smooth surfaces, and my process could be considered planned messiness. It’s uncommon in that I enjoy working with unusual images, and I’m ok with not knowing how things will turn out. It’s friendly in that I want viewers to feel a personal connection to my work.” Sharing Life, acrylic on canvas, 36” x 36”

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WHITNEY HEAVEY “Living close to New England’s wonderful and diverse coast, I have always appreciated the colors that nature provides. When I was a child, my grandmother, also an artist, took me for many beach walks and taught me the value of truly experiencing the incredible beauty around us. I strive to reflect the colors that pop up in New England and the range of emotions that the coast inspires. One of my goals with my paintings is to attract the viewer from afar and then keep them interested up close with texture, marks, and color relationships, just as nature does. As a painter, I love the action of painting large and the tactile feel of oil paint. In my studio, I try to experiment with the emotional impact of light, color, and application of paint. In addition to photos, sketches, and writings, I’ve been using videos to emotionally return to the place and time that I am trying to capture. It is always my goal to paint the landscape as it made me feel, and not necessarily how it looked at the time. My focus is primarily on my muse, the ocean, and its coast. I want to bring the viewer to a place in their own memory when they felt strength, relief, calm, joy, introspection, or peace.” Reflecting Time, oil on cradled panel, 36” x 36”

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JOYCE GRASSO “Picasso once said, ‘It took me years to paint like Raphael, but a lifetime to paint like a child.’ As a former art teacher, I have learned from my young students, who were always playful and fearless in their approach to art. Their broad strokes and bright palettes were charged with energy. Since I resumed my career as a painter, I’ve approached each canvas with the same ethos, and I’ve tried to see through the same lens as a child. My materials reflect this mode of perception, as my toolkit includes bold colors, reflective strokes, multiple layers, and varied textures. I grew up in Maine, where the lulling sounds of waves breaking against the shore and the din of distant foghorns were part of my everyday existence. Maine’s simple beauty saturated my soul. It’s part of who I am. My paintings create a feeling of place more than a realistic rendition of a land- or seascape. When we experience what a place feels like, we can access emotions and memories that escape our usual awareness. Every one of my pieces reflects my joyful heart and sense of spontaneity. It gives me great pleasure to create works that are meaningful not only to me but to others as well.” Salt and Sea, acrylic on canvas, 36” x 36”

SALLY BERRY GLENN “Painting on site gives me a raw field study for my studio oil paintings. The elements must be put down in an hour and a half before the light changes. Catching the light, reflections, and atmosphere as I create the composition is exciting and requires intense focus. I often use the field study as a reference for the larger work. Painting in Maine is always a treat, as I grew up in Maine on the coast. It’s in my heart and has become second nature to me. I also paint in California, where I now live.” Beyond the Storm, oil on canvas, 24” x 36”

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TIM BEAVIS “The origins of personal creativity are hard to pinpoint,” says Tim Beavis. However, he believes that his inclination to make art “evolved from a personal crisis,” and that he became an artist to give himself a voice. That intensity of purpose is deeply felt when viewing Beavis’s paintings. He primarily favors landscapes, with a focus on “the horizon line and the quality of light,” he says. Reducing his scope to these two elements allows Beavis to explore the ever-changing landscape via a specific entry point. The consistency of his compositions is not repetitive: rather it reveals the infinite possibilities for finding beauty in simplicity. Beach Series #549, oil on panel, 28” x 48”

DAN DALY “Barnett Newman said, ‘Aesthetics is to artists what ornithology is to birds.’ At this stage of my life, I just paint and draw what interests me. I use oils, watercolors, or ink, and I focus on people, places, or studies of objects that excite me. I fill up sketchbooks and draw constantly. A concern for light and strong color choices are common threads in my work, along with a desire to make an arresting image that reflects my life in Maine and New England throughout the seasons.” Evening Float, oil on linen, 40”x 30”

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M.J. BENSON “I love the horizon, its ever-steady line of delineation between the spaces of land, sky, and sea. It’s the first stroke I make on the surface, and often the last. In between are layers and layers of light and color, sprung from my memory but unbound by realism. I start with a framework, a few rules around composition or color, but it’s the tension between what I expect and what the painting tells me that dictates the flow and finish. I work, and wait, until the ever-fickle shifting between place and memory stills itself harmoniously on the canvas.” Turn, acrylic on canvas, 32” x 32”

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EMILY DODGE “I paint to capture the light and landscape as it exists in one unique moment in time before it changes forever. It is in those moments, before the landscape alters, that my brushstrokes become the history of my hand, brain, and brushes’ movement. My intent as an artist is to record and share light and beauty as if I were an ancient explorer on the coast of Maine, experiencing the painting session as an unsure encounter with a new world. I am enthralled by foliage and water textures. I try to see each parcel of land as an oasis of natural beauty that needs to be memorialized before the next phase of its ever-changing facade. I grasp at ephemeral colors and shapes. An artist’s brushstrokes are tangible in that they are somewhat permanent. They’re useful as permanent possessions—ink or paint marked on paper or canvas—capturing the ephemerality of the light and colors. John Singer Sargent, Edward Seago, and John Marin have made an immeasurable impact on my life. They’ve taught me to find and paint the stored energy that becomes the change, especially the dynamic energy of the coast of Maine. My quest is to follow in their artistic footsteps by seeing, translating, and sharing this energy.” Flying Mountain Trail Overlooking Somes Sound, watercolor on paper, 10” x 16”

JULIE CYR “Bringing life to a canvas is my way of communicating what I cherish about where I live and what inspires me to see my surroundings. Shapes and color on a canvas evoke a sense of a time and place that caused me to pause and take notice. A notable landscape, a soaring bird, or even a memory can spark the process of capturing these events through imagery. My inspiration comes from opening my eyes and pausing to reflect upon the wonder and the beauty of a life fulfilled.” Sanctuary, oil on canvas, 48” x 24”

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BRITTA BRUCE “I love the seductive quality of wet paint and color, and how the painting process transports me into a state of mind that’s a mixture of consciousness and unconsciousness. Using a physical application and working on a larger scale help in the expression of emotion and feelings. Drawing inspiration from nature and everyday life, and combining those with my current emotional state, experimentation, and imagination, I work to create images that evoke emotions and move the viewer.” Drift, oil on canvas, 36” x 48”

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BRENDA CIRIONI “When I was 16 years old, my family home burned to the ground. Memories of that experience— both visual and visceral—have surfaced and now find expression in my Barn Series. My work explores the elements of earth, water, air, and fire, and their impact on nature and life. In the newest additions to this series, the barns are rooted in the landscape, whole and solid; my paintings are celebratory, bursting with color and regeneration. “The ‘found’ materials that I incorporate into my mixed-media paintings feed into this cycle of renewal. These bits of discarded paper, wrappers, fabric, and various oddments allow me to give new life to that which would otherwise end up in a landfill. As in life, with each scrap used, when it’s gone, it’s gone. My method of layering draws attention to the multiplicities and mysteries of nature.” Barn Series, Crow, mixed media on panel, 40” x 40”

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BRIAN BROWNE “I am drawn to Eastern religions and the surrealist strain of European modern art. I am particularly interested in the role of chance in the process of making art, which is central to these disparate disciplines. Using two different processes, my paintings express feeling and action. In some instances, I begin with spontaneous gestural drawing in paint, which is built up, scraped down, and revised from session to session. At other times, without revision, paint from tubes is applied directly to the canvas and then spread in columns from top to bottom.” I Made Myself Invisible, acrylic on canvas, 24” x 24”

MARC VAN DER LEEDEN “My paintings are seen as impressionistic expression rather than as strict representation of architectural and landscape subjects. Utilizing a limited palette with graphite outlines and simple designs, I create watercolors that are clearly my own.” The Rock #3, watercolor on paper 25” x 32”

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PAUL V. BONNEAU “Working en plein air and in the studio from sketches, I create work that is fresh and directly painted. The simple and concrete shapes allow for strong contrasts of light and shadow and an intensification of color. My goal is to capitalize on the joy in even a seemingly ordinary object or scene. I try to keep the memory of a place that has made an impression on me.” Lit Up—Laudholm Farm, acrylic on canvas, 24” x 36”

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