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
“When you get it right, a painting has something of the sublime. A vitality that is a marriage of color and light, mystery and joy, longing and beauty.”
“Something seen or remembered is the starting point. From there, painting is a process of discovery and arrival. Nuance of tone, expression and the handling of materials are among those elements key to the work. It is important that the finished painting have a visual “lastingness”, such that the work continues to resonate over time.”
Stephen Dinsmore, a Nebraska-born artist, presents paintings that testify to the vitality of representational art as a means of communicating visual poetry. His paintings may border on the abstract being a synthesis from several sources; in other instances they may convey a more specific sense of place and time.
Stephen Dinsmore paints from studios in Nebraska, Maine and Florida.
I found the inspiration for my current body of work at a cove in mid-coast Maine. My paintings reflect the various rock formations along the coast and in the mountains throughout the state. As with all my work, these paintings are a visual chronicle of my continued exploration of the deep silence within nature, as well as within ourselves.These moments of quietude offer a glimpse, a reflection, of the profound wholeness of which everything is a part.
I am intrigued by the interplay of color and line in each of the parts, whether that part is a close observation of a tidal pool and a rock crevice or a distant view of a mountain peak or valley.
Each of my paintings begins by following nature and never completely leaves the natural context. Realistic contour lines provide an entry point for the viewer; other lines establish a sense of the abstract by creating flat or formless spaces. Similarly, the color scheme originates in nature but is not confined to it.
As I work I am reliving the walk – the location of the subject matter – and I am reminded of the duality between the fragility of nature and its power and magnitude.
” Stand before it and there is no beginning / Follow it and there is no end.”
Tao Te Ching
I was born and raised in Ukraine till age 19.
After living in Texas and Colorado, I made Maine my home in 2008. I live my life full of passion and appreciation for my amazing family, adventure and photography.
When shooting landscapes, I am inspired by light and seek out compositions that are emotional, dramatic and yet, very personal.
When not shooting, I spend my days working in the car business, contributing to the local community, schools and raising two young boys with my wife, Krystal.
I primarily shoot Maine landscapes, but also travel about the globe whenever possible seeking that perfect light, and most unique views.
Photography allows me to visit some of the most beautiful places in the world, get out of the city and the daily grind, connect with nature in it’s purest form.
Tim Sappington (b. 1949)
I was born and grew up in Washington DC where my mother, a student of art history, introduced the downtown national galleries. From the beginning, I was entranced by scenic art and spent long hours mesmerized by both western and oriental landscape paintings. I have been active in my own pursuits of painting, drawing and film animation since early childhood, and have been especially attracted to the mountains of New Hampshire and coast of Maine since that time. When I was about twelve my family and I visited the fabled island of Monhegan where I recall the magic of the Cathedral Forest with its fairy houses and where I executed one of my first oil paintings of a wall of lobster buoys.
A little later I had the opportunity to create and paint sets for plays at summer camp in Vermont and in New York at boarding school. Later in college I majored in architecture with a minor in stagecraft. My interest has always been to explore spatial environment and atmosphere. Even after I graduated from Washington University in St. Louis in 1976 with a Masters in Architecture, I continued to work in related fields including film work as an art director with a PBS affiliate. I moved to New Hampshire in 1981 where I have completed over 200 architectural projects, nevertheless the beauty of northern New England beckons me to paint. I have helped many youth discover art, in stage scenery with school and community theater groups as well as in architecture. I have served on the NH State Arts Council and NH Historical Resources Commission furthering my advocacy for the arts. In the last couple of decades I have greatly intensified my painting activity particularly around my home in northern New Hampshire and along the Maine seacoast, including several extended trips to Monhegan with my wife and other serious artists.
I have explored many artistic directions. At the moment I am drawn to the extraordinarily intricate cubistic geometry of the rock and cliff formations found in two Maine parks, Fort Williams and Two Lights, both in Cape Elizabeth just south of Portland. The timeless solidity of the rocks is constantly being attacked by the surf and is often engulfed by the atmosphere. Both tend to soften the presence of the imposing formations and dissolve them into scrim like backdrops. My brushwork continually swings between detailing the minutest fissures and textures on the one hand to maintaining a softer impressionism on the other. The intention of this two-fold technique is to use a hard architectural reality to lend credence to and enhance the mystery and poetic romanticism of my subject.
I make large-scale abstract gouache paintings on paper and panel. In each of my BLOCK STACK, OVOID and ARC series different arrangements of ovals and colors create a feeling of transcendent order. These images are anti-chaos. All strive for a connection to a moment for reflection resolution and calm. My works have luxuriant protean color and are infused with sublime soft texture.
In painting each piece there is an experience of exhilaration and renewal. In each painting I stack and pile simple shapes, placing then sizing and creating visual relationships that build to larger rhythms. Each shape is drawn and carved out by the edge of the brush. My paintings work like Japanese haiku; each image is paired down to its essentials and each becomes a complete world of its own.
In my OVOID series, squares without edges, I enjoy the play of organic shapes against the white of the background creating tension as the ovals touch or separate in varying degrees. These images reflect velvety textures such as moss covered earth as well as disparate edges, sizes and patterns coexisting in nature. Each shape is drawn and carved out by the edge of the brush.
I use gouache paint on Reeves printmaking paper; I blot and dab myriad hues to create complex and delicate surfaces. It is the thrill of potential in each new piece that keeps me exploring in the studio.
I am a graduate of the School of the Museum of Fine Arts, Boston. I maintain a studio in the South End of Boston. My work has been shown at the Butler Museum of American Art, the Danforth Museum, Smith College, Attleboro Museum, Wheelock College, Cambridge Arts Council and the University of Maine Museum of Art. My work is part of over 50 corporate collections. I will be having my 8th solo show this summer at Graficas Gallery, Nantucket and my first solo show in Boulder CO at the 15th Street Studio.
I think a little messy is healthy. Find unmanicured far more interesting. And enjoy the uncommon.
When creating my semi abstract artworks, I begin with design—a holdover from my days in the advertising industry. Little thumbnail drawings begin to untangle the nest of inspirations and begin the process of establishing order. Subject matter and color, medium and size, paint application and story, each contribute something important in this early design process. This convergence of ideas spills out into little designs in black and white, then evolve into small color drafts, created to evaluate the possibilities of larger works.
The foundation is laid but the details are to be determined once the painting process begins. I create art that is grounded in reality while obviously playing with it—reshaping forms and reinterpreting color. Lines sometimes do the heavy lifting, and at other times its color and form that carry the piece to life. I enjoy the painting process itself—scrubbing out complete paintings only to discover half way through that the scrubbing is actually helping to merge elements and improve the work. What a great experience.
My treatment of edges is key to my working style. I love a coarsely defined area that dissolves into another, and even a crisp edge that melts into a softened area. It keeps my eye moving around the piece and not settling on any one area. This variation keeps me going till the fundamental elements feel right. No science. No measuring. No roadmap to a destination. Just a feeling that things have arrived.
|Ann (Mason) Trainor Domingue was born in Fall River, Massachusetts and lived many years in Barrington, Rhode Island before settling in New Hampshire. She is a graduate of Rhode Island College with a BA Studio degree in Painting and has pursued a career as an artist working as an art director/designer, illustrator, teacher and painter.Ann is a Copley Fellow of the Copley Society of Art in Boston. In 2014 she was awarded an Artist Residency at the historic Fine Arts Work Center in Provincetown, MA.Her work hangs in many private and public collections across the country including the permanent collections of Southern New Hampshire University, Keene State College, Hampshire Plaza Tower, Tenn and Tenn law firm, Catholic Medical Center and Manchester Place in Manchester, NH.Ann’s work has been juried into many exhibitions including the Copley Society of Art, Cape Cod Museum of Art, Currier Museum of Art/New Hampshire Art Association Annual Exhibitions, New Hampshire Institute of Art Biennials, as well as New England Watercolor Society and Cape Cod Art Association national and regional exhibitions.
Her award-winning career as an advertising art director and designer has influenced her sense of composition and use of color. Her preferred medium is acrylic primarily for the versatility of surface and drying options.
Diana Card is a completely self-taught artist. She painted in a realistic style until moving to the Maine coast in 1982, when she began painting in the naive style. Diana now considers herself a naive artist in the truest sense.
Her work can be found in private collections in the U.S., the United Kingdom, Germany and Japan.
“My paintings are inspired by people and their relationships, both past and present. I reduce complex themes down to their simplest forms.” — Diana Card
Jodi Edwards was born into a very artistic family in 1959 in Syracuse New York. Throughout her childhood she was given carte blanche for any art supplies she wanted. Creativity was encouraged avalued in her family.
Jodi’s education and background in art is richly diverse. She graduated from the New School for Social Research in New York City in 1984 with a degree in Liberal Arts. (At that time it was attached to Parsons School of Design.) She started modeling for art classes at Parsons to earn money. She worked for many different art schools, (Parsons School of Design, School of Visual Arts, the Art Students League of New York, to name a few) groups, and classes all over New York City. When she was 25, she moved to Southampton, New York, becoming a professional art model. For the next 15 years, she was often requested, enabling her to work for well known and established artists in the Hamptons, some of whom were Norman Bluhm, David Salle, and Larry Rivers. She learned from listening to, and watching renowned artists and teachers which inspired her to start painting in 1985. Within months she was in several art shows, and sold work immediately. She had her first art opening in NYC at Thunderdome Studios in Manhattan, in 1986. She was 26.
While she was waiting tables at a coffeeshop in Southampton, she met Henry Geldzahler the curator of 20th century art for the Metropolitan Museum of Art. He came in every day for breakfast. She had her paintings in the basement, hoping he would come down and take a look and one day, sure enough he did. He told her, “These are good.”
Simultaneously, she was developing as a singer songwriter (something she was equally passionate about). In 1990, she serendipitously met Ella Fitzgerald and became her dresser one night at Lincoln Center in New York City. This event was life changing and when Ella said to her “ one day I’ll hear you sing” it was a powerful affirmation and set her off on a singing career for the next 7 years. She had a steady gig in Sag Harbor, New York for a few years, and started a band. In 1995, having lost her brother to AIDS she moved to New Orleans to pursue a career in music.
In 1997, realizing that the lifestyle of being a muscian was one she no longer wanted to pursue, she became an ESL teacher which provided her with the stability in her life she was seeking. She moved to the northshore of Massachusetts in 1998, and has been teaching ESL successfully for 17 years, all the while pursuing various forms of artistic expression.
One of these artistic expressions took the form of rebuilding a house. In 2002, she bought a fire damaged cottage in Hamilton, Massachusetts. She spent the next 5 years gutting the house down to the studs and rebuilding it. She did 75% of the work herself including framing, wiring, plumbing, roofing, and landscaping. It was her work of art, completely consuming her for nearly a decade. Several articles were written about her in newspapers including the Boston Globe.
In 2011 she sold her cottage. She and her husband moved to Southern Maine, where she has the art studio she’s always dreamed of. In 2012 she began to paint again and pursue the artistic expression she has most passionately loved.
In the fall of 2012 she won 3rd prize best in show at Art in the Park in York ,Maine which was juried by Nancy Davison from the Barn Gallery in Ogunquit Maine.
Jodi is a member of the Kittery Art Association and a member of the subgroup the Seacoast Moderns . She had her first solo show at York Hospital October-December 2014 selling 4 paintings. She lives in Maine with her husband and 2 dogs.
As a Maine native, Holly has always found inspiration in the ever-changing beauty and moods of her surroundings. Painting is a natural expression of her creative vision, and she strives to show others the meaningful, healing tranquility that the Maine landscape offers through colors, shapes, and compositional relationships. She frequently takes the opportunity to experience her locale by travelling to remote island destinations or simply stepping outside her house. In these natural environments, she absorbs the spectacular views of the coastline with its inlets and rolling hillsides, feels the energy of the vegetation and rocks, and smells the sweet aromas of the fir trees and flowers. Her interpretations of these experiences offer glimpses of Maine’s magnificence, heritage, and romance, giving her paintings a truly authentic quality.
In addition to a lifetime devoted to expressing herself through art, Holly is a retired art educator with over 30 years’ experience teaching art and photography to high school students and adults. Holly’s teaching philosophy is to always encourage and inspire her students to view their environs in new and different ways, and to expand their perceptions of who they are and what they are capable of when it comes to becoming a creative artist.
Holly has a Bachelor of Science in Art Education from the University of Southern Maine. Her work is in numerous public and private collections, including The First National Bancorp and The Samoset Resort. See her work in person this summer at Mars Hall Gallery in Port Clyde, Maine, Summer Island Studio in Brunswick, Maine, or contact her directly to visit her studio at her home in Rockport, Maine.
I am a painter who has lived in coastal Maine for the past twenty-five years, and have been during that time increasingly drawn to the unusual beauties of the northeastern coast of the U.S. Having spent my childhood and adolescence on Mexico City, I was deeply, if unconsciously, drawn to a particular sensitivity to color and unusual color combinations typical of Mexico.
My recent paintings, in a contemporary style using acrylic paint, focus on Maine coastal seascapes and landscapes, particularly waterfronts, piers, boats, and fishing villages. My aim is to intensify the visual experience of atmospheres peculiar to coastal Maine, where sky, land, and water meet.
The paintings are an attempt to create, on perhaps traditional themes, an element of surprise, the experience of unexpected color, perhaps unexpected perspective and atmosphere. Most of my paintings sit patiently in my studio for a long time while I keep looking at them, to see if the sense of surprise persists over time. If it seems to, I know the painting is finished.
My paintings on these themes have sold widely, nationally and internationally (including England, Austria, Russia). A recent corporate sale was to LLBean, a painting they will feature as a cover to the catalog for spring or summer, 2015.