Kathleen Walsh Buchanan
“I have had a lifelong interest in creating art. My path to becoming a working artist is perhaps somewhat atypical- I was educated and employed as a biologist prior becoming a full-time printmaker in 1999. As an undergraduate at Tufts University, I majored in biology and nurtured my creative skills with as many studio art courses as I could possibly fit into my schedule. After graduation in 1993, I worked in the consulting field for a few years before heading off to graduate school. It was while completing my master’s degree in wildlife biology at the University of Alaska that I decided to renew my efforts at studio art and printmaking in particular. At first glance, biology and printmaking seem to have little common ground, but much of my training as a scientist has served me extremely well as an artist. Both disciplines require skill at observing the environment, at not only looking but seeing what is going on around you. I look at biology and art as two dialects in the same language, different ways to communicate what you have learned about the nature of things, about the truth of your experience.
I am constantly inspired by the area where I live- the coast of Maine always reinvents itself with ever-changing ocean and sky, and seasons which each have grace and character all their own. My two young children are my constant companions, and fuel the creative process by reminding me to engage the world with a sense of newness and discovery. In addition, music and poetry influence my work and fill my studio at all times. I look to the work of Rockwell Kent, Sabra Field, Christy Moore, and Billy Collins for guidance and energy to keep creating.
As an artist, I am fascinated by relationships. My connection to the natural world, my role as a mother, and my own sense of self all find expression in my images. I enjoy looking at landscapes and their inhabitants not only as appealing composition subjects, but also as metaphors for our human experience. Collagraph printing, with all its intricacy and subtlety, is a fascinating medium to use in the communication of these ideas.”
Camden, Maine resident and self-taught artist Bayard Chanler was born in New York City, grew up in Tuxedo Park, Palm Beach and summered in Islesboro and 700-Acre Island in Penobscot Bay. These locations played a vital role in stoking his creative fire and shaping his vision – as well, Bayard’s broad-based artistic ability has enabled him to work on canvas and pursue an active profession in the decorative arts field. Some of his works include custom-painted furniture, interior murals, head boards and home accessory pieces. His specialties include colorful floral, landscape interpretations, and marine works.
His art has been shown at Olivera’s, The Seven Knots Gallery, the Islesboro Historical Society, Margo Moore, Camden National Bank in down Camden, the Kimball Shop in Northeast Harbor, Scully and Scully in NYC, and LaRouche on Newbury Street in Boston as well as other galleries. Purchasers of his paintings and other works include Mrs. Henry Parish II, Kelly Preston and John Travolta, and John Train, the renowned financier. For the past 20 years Bayard has been assisting with visual merchandising at Margo Moore in Camden.
His interests are his devotion to painting and the study of art and music, the history and connections of Islesboro and 700 Hundred Acre Islands and extended family. He has over a dozen completed pieces for sale and welcomes commission work for paintings, interior murals and painted furniture pieces. Bayard currently resides in Camden in Maine’s artistic mid-coast.
Lynne Shulman has been a dedicated artist and art educator in Maine for over 35 years. Since graduating from Pratt Institute (BFA) and SUNY New Paltz (MSAE), she has worked in a variety of mediums, each affording her a unique way to communicate her artistic vision. Her work has been exhibited in galleries and museums throughout Maine. Since her retirement from teaching, she has focused her attention on creating wood sculptures, inspired by folk art traditions and the beauty and versatility of found and vintage materials. Her sculptures explore the narratives of human and animal connections, drawing on her experiences along coastal Maine and her travels beyond.
New York born artist Mary Blum began her career with a degree in art history from Wheaton College, MA. Pairing academic work with her process as a visual artist she researched 20th century art at CUNY Graduate Center, NYC and holds an M.A. from Hartford Art School. Her process as a painter has been to simplify to a clear set of elements. In these series she uses a basic vocabulary of form, color and surface effect. The pieces have a highly reflective surface that changes with light and the position of the viewer. This carries a subtle element of surprise and integrates the concept that all solid matter is truly energy in motion. This is a powerful inspiration for her use of reflective foils in the work.
My passion for art took root in the rich soil of my childhood experiences in Maine. My grandfather owned the Topside Inn in Boothbay Harbor. In 1953, the year I was born, he bought a cottage on Capitol Island to accommodate the overflow from the inn and to provide a restful, set-apart environment for visiting family and rambunctious grandchildren. On Capitol, my brother and I were free to roam the woods or spend whole days at Middle Beach. When the tide was out, we would build elaborate sandcastles and adorn them with the treasures we would find in the sand. When the tide came in, we would race each other to Turtle Rock. Life slowed to the rhythms of the tides, and all day we partook of a sensory feast: the sights, scents and sounds of the outdoors along the coast of Maine. N.C. Wyeth was my artistic hero when I was growing up. I loved his grand narrative paintings so full of life and drama. His bold use of color and the skillful way he captured the light and atmosphere stirred in me an early interest in learning to paint. Later, Joaquin Sorolla and Frederick Waugh became favorites. I have enjoyed spending time with the lobstermen and boatbuilders along the coast of Maine; the beauty of their lives and their boats has long been a rich source of inspiration for me. I studied under Impressionist painter Henry Hensche at the Cape School of Art in Provincetown, MA early in my artistic career. The Cape School of Art was established in 1900 with the aim of teaching Claude Monet’s Impressionist theories of color and light. Henry was a master at painting the light. His influence set the direction of my art. I took all I learned from Henry, painting in oil, and applied it the watercolor medium, and in 2004 Watson Guptill published Painting the Impressionist Watercolor, an instructional book I co-authored with Linda Gottlieb, one of my longtime watercolor students. Claude Monet is famous for having said, “I want to paint like the birds sing.” I agree with him on that! I am most alive when I have a paint brush or palette knife in hand, and I’m painting outdoors. I also love to teach others to find the same joy in using color to capture the ever-changing effects of light.
Sumner Winebaum has pursued three careers: at Young & Rubicam, New York as an advertising writer, president of Young & Rubicam, Italy and later, Young & Rubicam, France; then as president of Winebaum News, which became the largest distributor of books, magazines and newspapers north of Boston, but always from the earliest, taking evening studies at New York’s Art Students League to his current full-time engagement, he has worked to learn the craft of sculptor.
In 1953 in New York, Mr. Winebaum married Helen Auerbach, then a successful television and stage actress, now actively involved in land conservation efforts. They have two sons and four grandchildren.
Mr. Winebaum graduated from Portsmouth High School and received a B.A. from the University of Michigan in English, not art.
He has won the Hitchener Award, the deKalb Award, the Lassonde award and many others.
Sumner Winebaum is a prolific sculptor who lives in York, Maine.
I seek to offer viewers a sense of peace and tranquility through the colors and light of my open and spacious landscapes and seascapes. They express my deep love for nature and her ever-changing atmosphere. I especially notice the fast and continuous shift of colors when I am plein air painting. It is great fun and challenging to paint as fast as I can to try to capture the essence of a moment of time in this dear life. It has taught me that everything changes very quickly, so try to be in the now of it all.
Born and raised in rural Maine, I continue to be blown away by the magnificent beauty of layered mountains, open fields, flowing rivers, sparkling ponds and the expansive horizon of the ever moving ocean. My inspiration is, therefore, boundless and extraordinary.
Susan Tobey White
Susan Tobey White defines herself as artist and educator.
As an artist she is best known for her colorful, energetic paintings of dancers, oversized vegetables and decadent food series. In contrast to the high-energy dancers her love of her home state of Maine is evident in her “quieter, although full of movement” paintings of figures, landscapes, lobstering scenes and florals. She welcomes commissions enjoying the challenges they offer. Her most common commissions include dancers, children at play, beach and boating scenes. She has created the images for the 2004 and 2007 North Atlantic Blues Festival Poster and The Maine Celtic Posters for 2008-2012.
As an educator she leads workshops in acrylic painting throughout the year. Having taught elementary art for 15 years she she has the ability to bring concepts to their simplest form. She recently gained the title of being a Golden Artist Educator through Golden Artist Colors, Inc. a prominent manufacturer of acrylic paint.
Jillian Schleicher lives and works from the waters edge at her studio/home in Falmouth, Maine. Her paintings are visual meditations that speak to the entirety of life–what we can see and what lies beyond our senses. Life is her muse. She finds inspiration from life’s seemingly mundane routines and it’s traumatic, heart-wrenching sorrows. One cannot know the agony of great loss without also knowing the exhilaration of great love, great sadness without great happiness, or great apathy without gratitude and appreciation. Her practice is to embrace all that life offers. Her paintings remind the viewer to connect with the peace, joy, and unconditional love that resides within.
Sandra L. Dunn
Sandra Leinonen Dunn is a Maine painter. Her works are part of private collections throughout the United States and abroad. She is a published children’s book illustrator, best known for her illustrations in ‘The Henhouse’ and ‘The Live Bale of Hay’ (both by author Carol Dean, published by Downeast Publishing). She operates a studio at her home in Chelsea, Maine. Sandra Dunn’s paintings are impressionistic in feel. Her brushstrokes and use of color are loose and light- creating the feeling that the brush has danced across the forms being painted. Sandra Leinonen Dunn’s work is a celebration of color, and a meditation on the happiness found in that which is beautiful to the eye. Sandra is also an educator. She has taught art in the public school system for the past 15 years and has given art lessons and workshops outside the school setting. Her Bachelor in Fine Arts degree is from the University of Southern Maine. Sandra also holds a Bachelor of Science degree in Art Education from the University of Southern Maine. Her art education includes studying at the Boston Museum of Fine Arts School, Whitelands College in London, Maine College of Art , the University of Maine at Augusta, and the Round Top Center for the Arts. “As an art educator I have found teaching to be a constant source of inspiration for my work. I am always interested in learning different art forms in order to expand my own knowledge and skills, which enables me to share these art forms with my students. I paint in a realistic though somewhat impressionistic style and the focus of most of my painting is on nature. I work in both water colors and acrylics, and my preferred subjects are still life and landscapes. My work in photography has inspired me as an artist, and has allowed me to observe in great detail the wonderful design and beauty in nature.”
My recent family history includes people who were adept at multiple forms of craftsmanship. In college I
discovered my talent for wood shaping and spent many hours making small sculptures. The creation
line and form plus many years of study and practice of photography and metal fabrication melded
into the sculpture I now do. Wooden vessels and larger scale work are the culmination of thirty
years of artistic and engineering practices.
My work is one of process and material driven reduction. Salvaged wood is carved with hand
operated power tools to arrive at the inherent aesthetic, from very unique wood by using
personal and appropriated styles. Most recently I’ve started to use metal in combination with wood,
brushing it and giving it a grain like surface.
Recent “Core series” works have art historical references. “Core” is a piece that merges the column
and the vase, which references the 16th century mannerist painting “Madonna with the long neck”
by Parmigianino. The second in this series is also vase like and has associations with tribal sculpture,
cubism, and abstraction. Both pieces are gender based and employ negative space. They evoke images
of ancient urns retrieved from sunken ships or recovered from ruins, having been restored but still
evidencing the ravages of time.
M. H. Lewis
M. H. Lewis (Heather) is an accomplished visual artist with a sweeping range of creative and professional experience, which includes sharing her art, vision, instruction and inspiration with students and the community. Lewis possesses a life-long immersion in the arts – first with artist parents, (her father was the late CCC, Delaware artist – Jack Lewis), then traditional fine art training at The Philadelphia College of Art, and over three decades of actively creating art for exhibition and sale. Her art is refreshing and original – she masterfully recreates the beauty of the natural world around her, and infuses it with a certain emotional vitality.
Heather has exhibited extensively in her native Delaware, Central New York, and throughout New England with work included in prominent private and corporate collections. Though Lewis’s roots are in Delaware, she is a longtime resident of the Maine seacoast which is a constant source of inspiration.
She also teaches privately, conducts creativity coaching workshops, and is an adjunct faculty member for York County Community College in Wells, Maine, where she teaches studio arts classes.
Education: The Philadelphia College of Art- Illustration and Printmaking; SUNY Center for Distance Learning/Empire State College, B.A. Concentration in Drawing.
John M.T. Seitzer
artist Statement for John M.T. Seitzer
I am a painter who works in oil, acrylic, watercolor and pastel. For subject matter I paint my impression of the play of light on or reflected from an object: boat, rock, building, tree or human form. A shadow cast creates new shapes used to define three dimensional form. Everything I paint is a reaction to what I see. What I see in turn elicits an emotional response, my color choices are determined by the admixtures of a select few.
Some “local” colors replicate what I see, others “found” are used for the sheer delight of their presence on the painted surface.
Luminous and poetic, “ Emotional Landscapes” are the continuing series of all a prima paintings in oil by artist Lynne Seitzer. The scenes are vague yet familiar, like rhythms held in ones memory they strike a harmonious chord in the viewer. The imagery implies a wonderful sense of expansiveness by creating an exaggerated scale of earth to sky. Color is mixed directly on the canvas using large painting knives. It is a direct, active application and the results are evident in the exceptionally rich and vibrant colors. Seitzer states “I believe this process allows more heart and less structured mind to come through onto the canvas.”
Painter. Oils, watercolors and pastels.
After studies at both Minnesota Sate University and South Central College of Minnesota Lynne began as a free lance artist and designer. She went on to become a fashion illustrator, advertising designer and art director for a group of 20 stores. She earned recognition for this work with several national (NRMA) and international (RAC) design awards. This was followed by a decade of illustrating and designing greeting cards for an international stationery company. Here she developed and worked on card lines and stationery for Target, Kinkos, Hallmark Wedding, Disney, Carlson Craft Wedding, Royall of London, Masterpiece and Nuart Cards. In 1999 she and artist husband John Seitzer opened Joy To The Wind Studio/ Gallery in Boothbay Harbor, Maine. There they paint and teach the creative process to students of all ages. Lynnes’ paintings, portraits and card designs have been collected throughout the United States, Europe and Japan. She has been represented by galleries in Boothbay Harbor and Camden, Maine, St Peter, Minnesota, Manhattan Beach, California and Scottsdale and Sedona, Arizona and is currently an invitee of the Art in The Embassies program.