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 email@example.com 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
“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.
Ann Trainor Domingue
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.