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.
Katy Allgeyer was born in New Hampshire and attended art school at the Fashion Institute of Technology in New York City. After college, Katy became a leading fashion designer for Liz Claiborne. Katy’s knitwear design expertise ranged from fine gauge machine knitted head-to-toe dressing to bulky hand knit intarsia sweaters that Women’s Wear Daily likened to “wearable art”. Extensive traveling to Europe and Asia influenced Katy’s global outlook and sparked an interest in exploring themes of “location” in her latest fine art works. Katy often incorporates roadmaps, topographical layouts, and nautical charts into her acrylic paintings to underscore this theme. The artist works in acrylic and diverse media.
Katy’s award winning work has been exhibited in galleries nationwide as well as in group shows at the Cornell Museum in Florida and the Coos Art Museum in Oregon. One of Katy’s paintings was selected for a Purchase Award by the King County Public Art Collection in Seattle, Washington in June 2008. The project’s mission was to purchase landscape artworks for the Harborview Medical Center according to a study that stated landscapes of all kinds (abstract, representational, and strategically placed windows to actual views) have a healing recuperative effect on both patients and staff.
“I was thrilled to learn that my painting was selected not only for its beauty but for its healing properties.” ~ Katy Allgeyer
Following 16 years in Los Angeles, in 2005 Katy moved back to the east coast where she maintains studios in Stonington, Maine and High Point, North Carolina.
Creativity has been a constant passion throughout my life. As I have always lived on the coast, I have a strong emotional feeling not only for the beauty of our coastal seas and lands, but I have also developed a deeper understanding of how these sustain us and are necessary to our daily lives. I find these coastal areas particularly magnificent as I paint in Maine.
Born by the shore in Stamford, CT, it was this proximity to New York both early on and as I practiced law which afforded me the opportunity to study the City’s abundant art world, from abstract to landscape. I have studied with a former professor of painting then at The University of Moscow, and with several of the best Coastal artists of the day. I use later Luminist techniques more often in a studio set piece, in my own form of Contemporary Realism.
My work has been written of and advertised in all the major art magazines from Fine Art Connoisseur to American Art Review, and my work has sold nationally and internationally. I have had one person shows or been featured yearly since 1989 from Newport, RI to Carmel, CA. Recently I have been given one person exhibitions at the Cape Cod Maritime Museum, Fall 2012, and the Captain Bangs Hallet House, Summer 2010. This same year I had a featured piece in the “Masters of the Sea” American Society of Marine Artists exhibit at the Cape Cod Museum of Art. One of my paintings is the entryway piece for The Cape Cod Maritime Museum and is also published as part of a book called Cape Cod Water Craft from History Press. I am an elected member of the Board of Directors of the Cape Cod Cultural Center. I teach painting at the Cape Cod Museum of Art. I also show at The Art of the Sea Gallery in South Thomaston, Maine and a number of other fine art galleries across the country.
“My purpose in painting, printmaking or collage, is to make order out of chaos. I want to simplify an image as clearly and directly as I can, getting at the essence of that image by using color and shape. I make art that’s important to me, that I want to explore and see. I respond strongly to what I’m working on; there must be an image, thought or feeling worth manifesting, elucidating or unveiling. My work is complete when nothing can be added to it or subtracted from it.
The process of making art is magical and spiritual and totally absorbing to me. I’m grateful for all of it, even the struggles and challenges, because it all helps me to understand and express myself more clearly.”
Tim Beavis was born in Dayton, Ohio in 1944. He attended The Museum School in Boston, Mass in the mid 60’s. He lives and paints in Kittery Point, Maine. He is best known for his landscape series. Presently he’s exploring more abstract concepts.
Pamela duLong Williams attended the Art Students League, NYC, Boston Museum School of Fine Art, and graduated from Vesper George School of Art, Boston, MA. She has taught painting in oil at Silvermine School of Art, New Canaan, CT, UNH, Durham, NH, Coolidge Art Center, Portsmouth, NH, Heartwood College of Art, Kennebunk, ME, Rowayton Art Center, Rowayton, CT as well as numerous workshops in this country and abroad since 1976. Her works have exhibitied in competitions and collections such as the National Academy, NYC, Allied Artists, NYC, Creditianstalt, NYC, The Louis Williams Cone Collection, The State House Collection of Boston, Artist’s Magazine, American Artist Magazine, Coastal Living Magazine as well as numerous galleries in this country and abroad. She is currently an active member of Silvermine Guild of Artists, New Canaan, CT, The Copley Society, Boston, MA. and the Portrait Society of America.
My paintings are a combination of many reactive processes, yielding this latest body of work. The mediums used are oil, graphite, clay, epoxy, glazes and inks layered to create unique pieces.
In 2013, I moved to Chebeague Island with my family and was immediately struck by the varying coastal landscape. I wanted to distill down to its essence the strong shapes and contrasting colors and textures, without sacrificing the realism of the landscape and surrounds. With a simple palette of colors, I aim to achieve a sense of calm and serenity.
I cannot recall a time, going back to my youth, that I wasn’t fascinated with how artists produce their magic and I’ll always remember my introduction to oil painting—plein air painting with Bill Darling. We would set up our easels at dawn on a hillside in the Northeast Kingdom of Vermont and there I would paint alongside wiser and more talented adult painters. Combined with other art studies, which included figure drawing, sculpture, and watercolor painting, I discovered the broad reach of different art practices.
In 1994, I graduated from Syracuse University, the School of Visual and Performing Arts and appreciate all aspects of fine art. It was here that I developed a love for graphic design and advertising, specifically, how to tell a story. I ventured far, both geographically and creatively, exploring different art mediums and work. Though I have spent many years rendering images in world of design, I have returned to New England and to my artistic roots, using simple tools and basic principles. All the while I hear the words of the man I credit for teaching me how to “see”, artist Larry Golden: “Before you start a painting, start with a good drawing”. It’s these same words from my first art instructor that I share with my own art students on Chebeague Island.
I grew up in the rural part of Westbrook, Maine in a small blue house surrounded by wide open fields where I kept my horse. I went to college at Portland School of Art and graduated class of 1987. There I majored in painting, and later attended classes in painting and jewelry design at Texas Tech University. After my education, I pursued a career as a Jeweler for many years.
After living in Bangor, Maine, where the coast felt all too far away, I now reside in Scarborough. The beauty of the beaches, trees, and open marsh fields were what called me back to painting. My heritage also inspires my artwork; as a child my family and I visited our cottage on the beautiful red sand beaches of Prince Edward Island. Now, with a family of my own, I make the trek to the Island each year to paint. In Sedona, Arizona, where I have had the opportunity to travel, some of my paintings reflect the towering cliff sides which change color as the sun moves across the sky.
When starting a painting, the energy in the brush strokes provoke a movement and a commitment from me as a painter to my viewers. While immersed in the process of painting, and even just observing the scenic beauty of driving down a road, I see the world in mixtures of color, shapes, light, and contrast. It truly cannot be absent, not even by choice. My goal as a painter is to capture the essence of the beauty I see. I strive to translate the complexities found in the natural world around us through my work, although I am still learning this process each day as I put brush to canvas.
Ruth’s studio is in Manchester-by-the-Sea, MA. Her work focuses on landscape interpretation through the seasons and she paints in oils and encaustic, often experimenting with the medium to best suit the subject at hand. After a disciplined approach to the study and practice of traditional oil landscapes and seascapes, Ruth developed a technique using diluted oil paints poured on unprimed canvas to capture the horizon over the sea, and then adapted that process to depict mountain peaks outside her studio while in residence in Breckenridge, Colorado. She turned to encaustic for a dynamic treatment of waves. And she has used a combination of traditional oils, encaustic and experimental oil painting for an ongoing series of Walden Pond in autumn and the trees of New England. It is important to Ruth that her work is grounded in history and she aims to honor the painters who have gone before and extend their reach forward in both time and innovation.
Ruth’s paintings have been juried into group shows by curators of the Institute of Contemporary Art (ICA) Boston, the Rose Art Museum (MA), Jersey City Museum, and the Nassau County Museum of Art (NJ), in addition to group shows from NY to Washington state.
She was awarded the People’s Choice Award at the Crane Estate Art Show, Ipswich, MA.
Ruth’s work is represented by Atrium Art Gallery, Charleston SC; Chicago Art Source Gallery, Chicago, IL; and Gallery 4, Tiverton, RI. Ruth was invited to show work in Provincetown, MA, on Cape Cod at Cortile Gallery for the gallery’s national invitational exhibition and was a guest artist at The Woodstock Gallery, Woodstock, VT, in 2014.
Ruth received a VSC Artist Grant to the Vermont Studio Center and was accepted into residency twice at the Tin Shop in Breckenridge, in 2009 and again in 2010.
Ruth was accepted as an artist member of the Copley Society of Art in Boston in 2014 and is a longstanding member of the Cambridge Art Association (Cambridge, Mass) and the National Association of Women Artists (NYC). Close to home, she is a member of the Rocky Neck Art Colony.
Ruth’s education includes a minor in graphic design, for which she studied in areas that became the underpinnings of her painting practice. These included drawing courses including technical rendering, calligraphy, color, typography, along with design theory and art history. Ruth’s major was journalism with a second minor in English. She worked for 15 years in marketing PR, which included managing a large portion of the public relations side of the Milk Mustache campaign for several years.
Ruth lives in Manchester-by-the-Sea, MA, with her husband and two children.
For 30 years my artist’s palette was my business—a creatively conceived and inspired 125-room Maine hotel with a popular restaurant and award-winning spa. Prior to selling the business, my painter-artist self often felt relegated to weekend warrior status. But since then, today, I work as a full-time artist making my art and home in Hallowell, Maine– where I moved after college–and Chapel Hill, North Carolina–just down the road from where I grew up. For the record I am a mother of two and an artist of many passions. In addition to cooking, as my name implies, other loves include: color, texture, encaustic mixed media, fibers, collage, calligraphy, chocolate making, oil painting, knitting, crocheting plastic bags, baking, sewing, embroidery, mosaicmaking, designing inspired interiors, flower essences, kabala, yoga, cross country skiing, shih tzus, tandem cycling and my 8th grade sweetheart and business partner whom I married 38 years ago. The what-to-paint dilemma can be the procrastinator’s best enabler, and for me it certainly was that way. That is, until I began using Jungian analysis to work with my dreams. Then it occurred to me that since intuition is a form of lucid dreaming, I could “listen” for the painting and allow it to dictate its form. I love this way of working because it demotes my brain and requires that it work in service of my intuition. There’s a spontaneity that comes from working this way, and it is regenerative, not draining. Most encaustic artists like to tell you that the technique of painting with melted wax is an ancient one, but history isn’t the big attraction for me; it’s the wax’s irresistible texture and hypnotic charm, as any kid who’s ever played with melting candles will tell you. Sometimes, I’ll start right out painting melted beeswax medium on a cradled board; other times, I save the wax to add interest and texture to an oil painting or collage. The melted wax colors can be blended and mixed like oil paints, layered, carved into or pooled for an infinity of imaginative effects which are often fun and whimsical, always divinely inspired.
AWARDS AND RECOGNITION –National Juried Encaustic Show, “Big Bad Wax”, Mount Dora, FL, January 2014 –1st Place Blue Ribbon, Maine Open Juried Art Show, 1999 –B/W Hotel International Design Award for design work for my hotel’s Spa Expansion & Renovation, 2004 –Named to Maine Innkeepers Association Hall of Fame, Fall, 2006 –Honored by Maine State Legislature, May 2007, with a Recognition of Achievement Ceremony for my 30-year hotel/restaurant career in Maine hospitality