I see, hear, taste, or experience things every day that spark the genesis of my paintings.
I jot things down as I see or experience them. Sometimes it’s just color combinations or juxtapositions, other times it’s whole compositions, and sometimes it’s just shapes. Often times it is all of these things.
My inspirations are everywhere: the way that the rain and snow splash back onto my windshield while driving; the repeating sound of a foghorn; or the taste of the salty ocean on my lips; it can be the sound of my boys’ laughter or their little footsteps on the stairs; or it can be as simple as how beautiful their blackberry ice cream cones look against the green summer grass.
My work is all about these little or ‘regular’ moments of life. I try to encapsulate the fleeting nature of these little moments–how they feel, how they look, how they sound or how they taste. Hopefully there is a sense of honesty and familiarity in my work that resonates with its viewers. Life is such a gift and I want to record it all.
Inspirations: Julie finds her inspiration in the wonder of daily life. An optimist by nature, she sees the light and shapes that arise out the simple scenes around her. Much of what Julie found beautiful growing up in Maine continues to inspire her to bring that beauty to life on canvas and board.
University of Maine
State University of New York
Julie was born and raised in Waterville, Maine as part of a French Canadian family. There she spent her early years along with her brother and three sisters experiencing this Northern New England community. For 30 years she lived in Portsmouth, New Hampshire, while spending her summers at her home along the coast of Maine – where she has now retired from her music and nursing careers and devotes full time to painting.
Julie began her artistic career as a musician and singer. She performed for many years with an a cappella group called The “Moonbeams”, performing in locations throughout New England . As a part of her musical career, Julie wrote and arranged “jingles” and was the recipient of a national award for her arrangement of the “Daily Dough” commercial for the Maine MegaBucks.
In 2000, Julie began spending her summers in Belfast. There she shared a studio with her sister, a professional artist. Julie began painting the landscapes, barns and wildlife that experienced daily along Mid Coast Maine. Since that time she has had successful shows in Maine, Massachusetts, New Hampshire and Florida.
Megan Carty… an artist with a mission to bring JOY to your walls! I grew up in the city of Westbrook; just outside of beautiful (and inspirational!) coastal Portland, Maine. I’m a Maine girl through-and-through as I’ve traced my mother’s lineage from the current generation to early-colonial settlement in the Vassalboro and China, Maine area. I had a whimsical childhood where art had a place in my own everyday life. After I earned my B.F.A. degree from Syracuse University’s School of Art and Design I spent many years doing graphic design work for a wide assortment of retail clients; but was left feeling unfulfilled and without purpose. Inspired by my life-long dream to be a full-time painter, I’m thrilled to now be focused on my purpose to uplift others through my fine art work. My colorful paintings and prints reside with collectors all over the United States and the United Kingdom. My bubbly personality and passion for my home state of Maine shows through in my colorful floral, coastal, and abstract paintings as I try to spread joy one painting at a time. When I’m not creating, I spend all my time raising my three tiny children with my husband Chris in the countryside. To purchase a painting you see here or to view more, please visit my online home at www.megancartyart.com. To commission your own painting in my style please email me email@example.com and I’d be honored to help!
My paintings evolve from a process of addition and elimination. I begin each piece by layering marine resin on wood panels. The surfaces are ground
and reworked until I see a series of shapes emerging. My paintings reflect my fascination with the Maine coastline and the forces that create it. The rocks,
weather beaten and scarred, tell a story. Once satisfied with the composition and textures, I rub oil paints into the surfaces to add further depth and complexity.
“Marc van der Leeden’s paintings are seen as impressionistic expression rather than strict representation of architectural and landscape subjects. Utilizing a very limited palette with graphite outlines and simplicity of design, he creates watercolors that are clearly his own. His work has been shown nationally in solo shows in New York City and Vermont as well as internationally in Europe. He was featured in Watercolor magazine in Fall 2000 as well as the book entitled “How did you paint that? 100 ways to paint landscapes Vol. 1.”
I guess you could say I’ve been a painter my whole life…. I just didn’t know it. I am a self taught artist who has painted with watercolors for almost 15 years, and now exclusively acrylics. I started painting as a hobby in college after a rigorous science curriculum trumped a desire to express myself creatively.
As my career has changed and free time has become more available, I have painted creatively almost daily now for several years, and started to show my work to the public since Spring 2007. I now graciously have more free time to paint subjects that inspire me. I enjoy capturing light and shadow, and always challenge myself to try something new and improve my own technique. I find inspiration in nature as well as familiar objects, and continue to be amazed at how effortlessly paint will glide over a paper surface or canvas, depositing colors and implying shapes. My impressionist goals are obvious, and my recent exploration of the abstract world has been exciting and fulfilling; I am happy to connect my science background with my art.
I am inspired by the masters, including Sargent, Hopper, Wyeth and of course, Monet, Cassatt and Renoir, to name a few, and follow many contemporary artists whose work inspires me to work harder and learn more. My interest and study of the abstract world is more recent, and provides a new sense of freedome of expression for me. Painting is a passion, and I find now that when I look out the window, I am already thinking about which colors I would use to capture the sunlight or lichen on a tree, or a shadow on the snow. It is a passion, and I learn something new with each painting that I do.
I am a member of the Concord Art Association (CAA) and the National Watercolor Society (NWS) as well as the Natick Artists Open Studio (NAOS) group. I can be reached at firstname.lastname@example.org for all inquiries/commissions.
Bill graduated from University of Illinois College of Pharmacy in 1961. He advanced into management, ultimately moving to Maine in 1976 as a VP General Manager. He and his wife Marie started several businesses and retired in 2001. They have collected sculptures over the years to decorate their home.
Bill was looking for a hobby and found Sculpture initially by attending the Maine College of Art, Carving Studio of Vermont and Naples Art Association workshops. He creates sculptures from Granite, Marble, Alabaster, Wonder Stone, Koa and Pheasant wood from Hawaii. There are also beautiful wood forms in the forests locally and transforming these natural configurations into works of art is another art form he enjoys.
“Every stone and piece of wood has a story inside it as shown by the grain and texture of the medium. I specialize in Granite because it has the most hidden beauty, that manifests itself in the formation of sculpture and finally in the polishing process. I am anxious to share the stories about every sculpture.”
“If you see a sold piece that you would like, “commissions” are always welcome. I will work with you to pick out the right stone, size and presentation that will enhance the beauty of your home.”
“I am fascinated with texture, patina, old script and text, bits of ephemera that speak of the passage of time. Those elements tend to show up in my work, whether in my encaustic paintings or mixed media pieces. My art hints at layers and invites the viewer deeper. I particularly love the luminous qualities and depth of layers that emerge as I fuse the various pigments and elements together with the encaustic medium.”
Helen Lewis has a Bachelor of Arts degree from the University of Mount Union. Her creative process is an extension of her contemplative nature. “In creating, I work to follow the intuitive nudges I sense within my spirit. In essence, I am invited deeper and I seek to mirror that invitation through my art.” More information and samples of her artwork can be seen on her website:
I’ve always believed that an artist’s work should speak for itself. I love questions about my work, but an artist statement is another matter. It’s not about a specific work or series. It’s about philosophy and process, which are more difficult to describe. There may be people out there who are drawn to reading artist statements, and in truth it means a lot to any artist that a viewer would care enough, be interested enough, to want to look at the work and read what the artist has said about it, so I will do my best.
I am interested in a lot of things and I experiment with materials. A lot. For me, the ideas themselves dictate what I use to make the work. A need to say something is where it starts. While the idea is forming in my head of what I want to say, what I should use to make the work — wax, foam, oil stick, inks, old photo-graphs, found objects, film footage, video, hardware store odd and ends- comes at exactly the same time. As the idea takes shape, so does the list of materials I will need. As the image of the finished work becomes clearer and clearer, I have to figure out how to get there.
Some materials are easier to adapt to a purpose for which they were never intended than others. Since most of the time I am experimenting and adapting materials, there is a steep learning curve with lots of trial and error. My first efforts, often representing weeks of work, may be a bit awkward or messy. I often feel at this stage that my ability to make things, my technical ability, is simply not up to the job. But what pushes me forward through the frustration is that image in my head, that thing that wants to come into being if only I can make it happen.
As a contemporary landscape painter working in oils and encaustics, I aspire 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.
I am inspired by the interplay of light on the landscape, which is ever elusive and always changing. Painting softly allows me the opportunity to recreate that one particular special moment when the land, light and atmosphere seamlessly fuse.
Reflecting a serendipitous moment in time can be, however, a deceivingly slow and deliberate process. Both of the media I prefer, oils and encaustic, involve applying layers upon layers of paint. And even though encaustic, painting with hot pigment-colored wax, is known as an especially process-intensive medium, every layer spontaneously changes the piece, so it evolves over time with a life of its own. I find this element of working intriguing.
Simultaneously, my work in oils is highly influenced by my early classical training– particularly the study of light on form. Each landscape is painted in transparent layers with sometimes up to 40 layers of paint in order to recreate the subtle play of light on the landscape as well as to control the incremental changes in tonality.
As an artist, I approach each painting believing that it is not enough to paint the literal view. My goal is to also capture the essence of the landscape and hopefully connect you viscerally to that place and time.
Toby lives and paints in Kittery Point, Maine. She has studied with Stuart Shils, Wendy Turner, Tom Glover, and many other painters throughout New England.
‘Painting, for me, lies between the abstract and the representational, the intention and the mistake.
It lies between color and composition, what’s said and what’s not.
It lies between what I see, what I imagine, and what happens when the paint and the canvas come into conversation with each other and take on a life of their own.’
My Kittery Point studio is open by appointment. To see my website, please go to: www.tobygordonart.com