Show Stoppers

FEATURE-April 2012

by Susan Grisanti

The Portland Museum of Art, the Farnsworth Art Museum, the Center for Maine Contemporary Art, and numerous other art institutions and galleries are preparing exhibitions for the latest crop of work by Maine artists. Here is your first look.

Alan Bray

First Snow, 2012, casein on panel, 20” x 24”

“I continue to try and get at the rawness and unfinished nature of this landscape by taking it apart and putting it back together in a way that reflects modern sensibilities and ways of seeing.”

Upcoming shows:
6th Invitational Biennial Portland Show, Greenhut Galleries,
March 1–April 28; Alan Bray, University of Maine Museum of Art, October 5–January 5

For more:, Caldbeck Gallery


Anne Neely

Cahoosic, 2011, oil on linen, 60” x 80”

“Cahoosic, Maliseet-Passamaquoddy for ‘river,’ flows through a remote heath near my studio in Washington County. I like to paint places where there’s water, to address the beauty of this essential resource, now in peril above and below the earth’s surface.”

Upcoming show:
Counterpoint III: Anne Neely and Tom Chapin, Center for Maine Contemporary Art,
August 4–September 16

For more:

Colin Page

Beneath, 2012, oil on canvas, 72” x 48”

“My upcoming exhibit is an entirely new body of work. The new
direction explores abstraction and the role it plays in traditional plein-air painting.”

Upcoming show:
Dowling Walsh Gallery, August 3–31

For more:, Dowling Walsh Gallery, Courthouse Gallery Fine Art

Craig Mooney

Mountain Horizon, 2012, oil on canvas, 48” x 48”

“Mountain Horizon has equal parts romanticism, escapism, and whimsy. It feels familiar, but is not based on a specific place.
Most of the elements are a composite of places visited, both
imagined and real.”

Upcoming shows:
Choice, Maine Art Shows, June 6–July 5; Sky, Maine Art Shows, July 7–August 2

For more:, Maine Art Paintings and Sculpture, Islesford Dock Gallery

David A. Vickery

Monhegan Mowers, 2011, oil on panel, 19” x 15”

“My work is about the merger of nature and culture—an attempt to make sense of our place in the world. I look at interior spaces and our imprint on the landscape with an eye for the imperfect, quirky, and sometimes elegant adaptations we’ve made in order to live here.”

Upcoming show:
Courthouse Gallery Fine Art, August

For more:, Dowling Walsh Gallery, Courthouse Gallery Fine Art

David Allen

Wooden Ships, 2009, mixed-media collage in acrylic medium, 24” x 18”

“I am inclined to value what others have left behind and regard
history as a renewable resource that should be utilized in making decisions for the future. Human relations with the environment serve as a point of departure in my work. Abandoned spaces and post-industrial detritus are frequently central elements.”

Upcoming shows:
David McLaughlin and the Cannery Exhibit, Waterfall Arts, June;
2012 Summer Exhibition, Asymmetrick Arts, June 1–30

For more:, Asymmetrick Arts

David Estey

Summitry, 2011, acrylic and graphite on Yupo, 18” x 24”

“My most recent work of extraordinarily fresh, abstract expressions was done in acrylic on synthetic paper, without any preconceived notions. Emergent narrative references are totally integrated with and subordinate to the aesthetic whole, securely grounded in the
elements and principles of good design, and felt viscerally in the heart and soul.”

Upcoming shows:
Botany of Desire, Åarh?s Gallery, April 5–29;
David Estey: Improvisations on Yupo, Carver Hill Gallery, June 1–July 3

For more:, Carver Hill Gallery

Dennis Pinette

Burning Ranch #1, 2007, oil on panel, 9” x 14”

“The elusive geometries of fire and water in motion are timelessly hypnotic and transcendent. As ultimate solvents, their powers are absolute in determining life and death. In painting these subjects, my vision is defined by improvisation layered over direct observation.”

Upcoming shows:
6th Invitational Biennial Portland Show, Greenhut Galleries, March 1–April 28;
Selected Works, Caldbeck Gallery, summer 2012

For more:, Caldbeck Gallery

Grace DeGennaro

Weaving #3, 2011, oil on linen, 34” x 21”

“Currently, I am making paintings and work on paper that
reference nineteenth-century Navajo blankets. I am exploring the patterns formed by alternating ‘beads’ of color and the oscillation that results. The paintings are conceived as symmetrical, but through the painting process the resulting images become gently asymmetrical and humanized.”

Upcoming shows:
Woven Mysteries: Grace DeGennaro and Brece Honeycutt, Aucocisco Galleries,
April 11–May 4; CMCA 2012 Biennial Exhibition, Center for Maine Contemporary Art,
September 22–November 4

For more:, Aucocisco Galleries

Henry Isaacs

View from the Thrumcap, Great Cranberry Island, Maine, 2012, oil on linen, 40” x 60”

“View from the Thrumcap is one of my favorite places along the Maine coast. I’ve been painting places like this for 30 years, which has afforded me an increasing freedom of palette and composition. I try to look at the landscape with the excitement of a first visit.”

Upcoming shows:
Lessons from an Island, Island Institute, April 20–June 15;
Choice, Maine Art Shows, June 6–August 2; Sky, Maine Art Shows, July 7–August 2;
Three Colorists, Gleason Fine Art Boothbay, August 2–September 4

For more:, Islesford Dock Gallery,
Maine Art Paintings and Sculpture, Gleason Fine Art

Jane Dahmen

Queen Anne’s Lace on the River, 2011, acrylic on panel, 30” x 60”

“Two-dimensional aspects interest me. For example, verticals formed by trees or plants span the picture plane from top to
bottom, while horizontal bands make a grid pattern behind. A sense of depth is also important, however, and the large format creates an environment into which the viewer can enter.”

Upcoming shows:
Three Women, Powers Gallery, April 28–May 31;
Jane Dahmen New Works, Courthouse Gallery Fine Art, July

For more:, Gleason Fine Art, Courthouse Gallery Fine Art

Janis Sanders

Harbor Rocks, 2012, oil on canvas, 30” x 30”

“There is a unique, highly translucent light at the coast. It has
fascinated me since I first visited New England in college. I am intrigued by the interplay of the observation of that light and its translation through the filters of emotion and memory.”

Upcoming shows:
Choice, Maine Art Shows, June 6–July 5;
Maine Cottage and Architecture, Camden Falls Gallery, August 4–18

For more:, Maine Art Paintings and Sculpture,
Camden Falls Gallery, Allen David Gallery

Jeff Badger

Fish in My Driveway, 2011, ink and
watercolor on paper, 8” x 11”

“This watercolor and ink drawing is from my current series of
drawing, sculpture, and installation works. The series explores the hybridization of human technology and nature. By juxtaposing our rapid technological progression with the seemingly eternal structures of nature, I hope to offer an objective and humorous glimpse at our own behavior.”

Upcoming shows:
Maine Farmland Trust Gallery, March 2013; Rose Contemporary, October 2013

For more:, Rose Contemporary

Keliy Anderson-Staley

Presumpscot River, Westbrook, Maine, 2009, wet-plate collodion tintype, 8” x 10”

“I have been commissioned by the Portland Museum of Art to make tintype images that celebrate Winslow Homer’s artistic legacy. My wet-plate collodion portraits and landscapes are made using nineteenth-century chemical formulas and lenses. My work explores the tension between my contemporary subjects and the historic process I use to depict them.”

Upcoming show:
Between Past and Present: Historic Photographic Processes and the
Winslow Homer Studio, Portland Museum of Art, October 6–December 30

For more:

Lesia Sochor

Despite Technology, 2011, oil on canvas, 32” x 27”

“The spool of thread—a humble form of utilitarian simplicity—
inspired a series of paintings connecting me to my female ancestors. As the work evolves, it includes connections to the global community, both literally and metaphorically. From one generation to the next, this icon’s profound history chronicles stories of
necessity, practicality, fashion, poverty, and sweat.”

Upcoming shows:
Just Sew Stories, Elizabeth Moss Galleries, July 19–August 26;
Islesford Dock Gallery, summer 2012

For more:

Mary Barnes

Estuary, 2011, graphite, ink, and oil on Mylar, 30” x 42”

“I was walking one day on the salt marsh. The sky quickly turned dark. Suddenly, great heavy drops began to fall. Estuary is about the memory of being hit by rain while walking on the soft ground. My art reflects these moments, figuratively and emotionally, from within the landscape.”

Upcoming shows:
Ten High Street, June 29–July 28; Turtle Gallery Group Show, August 26–October 13;
Ali The Greatest, Evolve the Gallery (Oak Park, CA, Las Vegas, and New York City),
January 12–June 28; Momentum X, George Marshall Store Gallery, April 21–May 27;
New Works, Elizabeth Moss Galleries, October

For more:, Ten High Street, Turtle Gallery

Matt Welch

Bleecker Street Olives, 2011, oil on canvas, 3” x 5”

“My work explores everyday objects in a slightly abstracted, still-life format. I like to create a sense of drama by enlarging the scale of the objects and highlighting the interesting points with a simplified light. I try to make work that is somehow playful and serious in the same moment.”

Upcoming show:
Flat Iron Gallery, April 6–May 2

For more:
Flat Iron Gallery

Paul Bonneau

A Turn in the Road, 2011, acrylic on canvas, 16” x 20”

“Painting, it appears to me, is as much about seeing as it is about technique. It’s about finding the joy even in a seemingly ordinary object or place. Working in a plein-air style, I attempt to simplify form and push color to a level that will heighten the viewer’s
experience of the subject.”

Upcoming shows:
Recent Works, Inn by the Sea, March–May; Pushing Color, Flat Iron Gallery, June

For more:, Flat Iron Gallery, Mast Cove Galleries

Stew Henderson

Portfolio, 2010, acrylic and gesso on
marbled paper interior of vintage portfolio, 36” x 39”

“Portfolio is from a current body of work that uses a geometric
language of color, line, and shape. This piece acknowledges the Concrete Art movements of the past by placing a formalist design in a traditional container for art. The addition of new materials throughout this body and a contemporary perspective bring the previous concepts into the present.”

Upcoming show:
Caldbeck Gallery, summer 2012

For more:, Caldbeck Gallery, Aucocisco Galleries

Karen Tusinski

Early Morning Poppyfield, 2012, oil and graphite, 36” x 48”

“My painterly techniques, where figure and ground are one in the assemblage of representative abstraction, suggest a new look at the realm of color field painting. Strong use of color and drawing, devoid of ostentation, are the hallmarks of my work.”

Upcoming show:
Gleason Fine Art, May 26–June 23

For more:
Karen Tusinski Gallery, Gleason Fine Art

Thomas Crotty

Orr’s Island Bridge, 2006, oil, 24” x 36”

“Orr’s Island Bridge is one of a selected group of paintings completed after my 2003 retrospective exhibition at the Portland Museum of Art. This is a group of paintings that have not been exhibited before, and this exhibition marks the first one-person exhibition of my work in the 45 years that I have operated Frost Gully Gallery.”

Upcoming show:
Thomas Crotty Paintings, 2003–2012, Frost Gully Gallery, June 23–July 21

For more:
Frost Gully Gallery

Lissa Hunter

Dark Harvest, 2012, waxed linen, paper cord, paper, paint, charcoal, fiberboard, 36” x 3” x 42”

“My sculpture has been centered on my signature paper-covered, coiled baskets since the beginning of my career. A new emphasis on drawing will be explored in this show, both as its own method of
expression and as an enriching component of my sculptural work.”

Upcoming showS:
Connections, George Marshall Store Gallery, October 6–November 11;
6th Invitational Biennial Portland Show, Greenhut Galleries, March 1–April 28

For more:, George Marshall Store Gallery, Craft Gallery, June Fitzpatrick Gallery

Sarah Baldwin

In the Pace of Red, 2011, mixed media drawing on paper, 9” x 9”

“I investigate my immediate environment through texture, scale, pace, and proximity using inventive mark-making techniques and intuitive drawing practice. My drawings move through urban and rural atmospheres in pace with my own navigation through these spaces. I strive to communicate connections between body and environment.”

Upcoming show:
Install 2, Corey Daniels Gallery, August 11–September 8

For more:; Corey Daniels Gallery

Mark Wethli

Heaven and Earth, 2011, Flashe acrylic on Jaipur paper, 8” x 5”

“The CMCA Honors Award Exhibition will include work by John
Bisbee, Katherine Bradford, Fred Lynch, Todd Watts, and myself—five artists who ‘exemplify CMCA’s mission of advancing contemporary art in Maine.’ I’m planning to include a series of new low-relief wall pieces and works on paper.”

Upcoming show:
CMCA Honors Award Exhibition, Center for Maine Contemporary Art, May 19–July 8

For more:, Icon Contemporary Art

Louise Philbrick

Anthem, 2011, piano parts and paint on plywood, 30.5” x 30.5”

“Found objects, recycled instrument parts, fragments of nature—my visual vocabulary comprises salvaged materials that reveal the
rigors of their history. Every object has a story. My intention is to convey these stories with memory, context, and rhythm in mind,
using an organizing principle informed by nature, math, and scence.”

Upcoming show:
Louise Philbrick: Recent Works, Flat Iron Gallery, March 1–April 4

For more:, Flat Iron Gallery

Sarah Bouchard

Orbs (in-progress, studio shot), architectural vellum, glue, water

“I’m the artist-in-residence at the Masonic Temple in downtown Portland. I’m creating an expansive sculptural/sound installation symbolizing the Temple’s rebirth. I’m also working with the Corey Daniels Gallery on the first in a series of innovative installations opening this summer, and am developing a site-specific installation for the University of Maine at Farmington’s centennial.”

Upcoming shows:
Install 1, Corey Daniels Gallery, July 7–August 4;
Masonic Temple Project, Masonic Temple, private showing summer 2013;
University of Maine at Farmington Art Gallery, September 12–October 19, 2013

For more:, Corey Daniels Gallery

Gary Akers

Wyeth Wicker, 2012, drybrush watercolor on paper, 17” x 21.5”

“I painted Wyeth Wicker at Eight Bells in Port Clyde, Maine. After returning from lunch, I went to the back porch and there was a stunning site—this beautiful wicker basket with the raking light.
It’s such a great, simple composition.”

Upcoming shows:
Gallery Artists, Haynes Galleries, June 15–June 28;
Summer by the Sea, Gary Akers Gallery, July 21–August 12

For more:
Gary Akers Gallery, Haynes Galleries

Brian White

Stern Man, 2007, scallop shells and bronze, 24” x 32” x 14”

“I’m returning to Ten High Street Gallery with a totally new collection of exquisitely crafted women’s shell garments. In addition, there will be large wall sculptures of scenes from nature and a number of new mirror glass works. The wide diversity and beautiful workmanship of these pieces make a stunning, do-not-miss, mid-summer show.”

Upcoming show:
Brian White’s New Works, Ten High Street, August 2–September 1

For more:
Ten High Street

Stephen Porter

Architectural Construction #4, 2012, stainless steel, 94” x 14” x 14”

“My sculpture is based on a formal vocabulary of geometric shapes arranged in ordered configurations that contain a right sense of
balance, size, and proportion. These sculptures are concerned with the harmony created by these relationships and are an attempt to create beauty in formal structures.”

Upcoming showS:
Steel and Stone, June LaCombe Sculpture, June;
Connections, George Marshall Store Gallery, October 6–November 11;
Ali: The Greatest, Evolve the Gallery (Oak Park, CA, Las Vegas, and New York City),
January 12–June 28; Momentum X, George Marshall Store Gallery, April 21–May 27

For more:, June LaCombe Sculpture, Greenhut Galleries,
Courthouse Gallery Fine Art, Carver Hill Gallery, Turtle Gallery

Lauren Gillette

The Mochida Family Moves to Utah, 2009, leather motorcycle jacket, acrylic, fabric, Lazertran photo-transfer paper, 28” x 5” x 27”

“The Mochida Family Moves to Utah is part of an ongoing series of historical leather jackets. Every jacket tells a story, each one representing a single subject. The disparate themes range anywhere from Japanese internment to transgender icon Hedy Jo Star—no subject is too heavy for humor, no individual life without historical context.”

Upcoming shows:
Ali: The Greatest, Evolve the Gallery (Oak Park, California, Las Vegas, and New York City), January 12–June 28; Momentum X, George Marshall Store Gallery, April 21–May 27

For more:

Todd Watts

Blue Guns and Gold, 2012, pigment print, 46.5” x 118”

“I work within the photographic medium, a field most often
associated with the document, but for me mood rather than
depiction is where I find my interest.”

Upcoming shows:
Light, Motion, Sound 2012, Ogunquit Museum of American Art,
May 1–June 17; CMCA 60th Anniversary Honors Exhibition,
Center for Maine Contemporary Art, May 19–July 8; Are We Not Men,
Addison Woolley Gallery, June 1–June 30

For more:

David Graeme Baker

Heliocentrism, 2012, oil on linen, 36” x 52”

“The paintings for the upcoming exhibition at Dowling Walsh
continue my exploration of the themes of solitude, growing up, and coming of age in Maine. There will be several large canvases including Heliocentrism, a painting depicting a moment when teenage awkwardness is replaced by beauty and anticipated motion.”

Upcoming show:
New Work, Dowling Walsh Gallery, August 31–September 28

FOR MORE:, Dowling Walsh Gallery, Courthouse Gallery Fine Art

Lois Dodd

House and Laundry on Foggy Day, 2010, oil on masonite, 16” x 20”

“For more than half a century I have spent summers painting in midcoast Maine. The simplified semi-abstract landscapes, gardens, and figures based on direct observation of my immediate surroundings will be the subject of a career retrospective at the Kemper
Museum in Kansas City and the Portland Museum of Art.”

Upcoming shows:
Lois Dodd: Catching the Light, Kemper Museum of Contemporary Art (Kansas City),
May 18–August 26, 2012, and Portland Museum of Art, January 17–April 7, 2013

For more:
Alexandre Gallery (New York City)

William Irvine

The Clamdigger’s Table, 2012, oil on board, 30” x 34”

“On my walks where I live by the ocean, I pick up what the tide leaves behind: shells, buoys, bait bags, fishermen’s gloves; and then I arrange them on tabletops to evoke the feeling of the sea and those who earn their living there.”

Upcoming show:
William Irvine: New Works, Courthouse Gallery Fine Art, July–August

For more:, Courthouse Gallery Fine Art, George Marshall Store Gallery,
Gleason Fine Art, Greenhut Galleries

Don Voisine

Tumble, 2012, oil on wood, 60” x 32”

“I try to make various elements in my paintings read in multiple ways. For example, the white ground can read simultaneously as a positive or negative space, or in another painting the blacks can flip back and forth as to which is over the other depending on how you look at it.”

Upcoming showS:
Alejandra von Hartz Gallery, Miami, February 10–March 31; Gregory Lind Gallery,
San Francisco, September

For more:, Icon Contemporary Art

Mat Thorne

Explosion, 2011, archival pigment print, 40” x 40”

“This image comes from a series of photographs that are entirely comprised of screenshots from popular American cinema. Culled from many sources and quilted back together, this image depicts a mainstay of Hollywood films, the violent explosion.”

Upcoming show:
2012 Summer Exhibition, Asymmetrick Arts, June 1–30

For more:, Asymmetrick Arts

Samantha Appleton

Teahouse Dominoes in Amara, Iraq, 2004, digital photographic print, 20” x 30”

“There is a direct line between a bombing in Iraq and a presidential visit to Mississippi. Here From There connects the complex issues of our day through documentary images. It invites the viewer to be complicit in the issues that will form American history during a tumultuous decade.”

Upcoming show: Here From There, Center for Maine Contemporary Art, August 4–September 15

For more:

Jacob Bond Hessler

Breakwater, Rockland, Maine, 2009,
c-print on aluminum, 40” x 60”

“Breakwater was taken on a visit home to Maine. I captured this famous Rockland landmark in a stark and minimal way, finding the simplicity in scale. It strips away the complexity and noise of the world to reveal the tranquility that is often lost in the turbulence of modern life.”

Dowling Walsh Gallery, October 5–November 2

FOR MORE:; Dowling Walsh Gallery

Connie Hayes

Going Out, 2012, oil on canvas, 30” x 40”

“My figurative work builds on my inventive use of color, which I have developed through painting landscapes and interiors. Children
create highly intimate spaces as they play, eat, and read. I am
excited to explore in depth the complexity of the figure within these spaces and the insight it provides.”

Abandon, Absorption, and Entrancement, Dowling Walsh Gallery, July

FOR MORE:, Dowling Walsh Gallery, George Marshall Store Gallery

Jamie Wyeth

Jenny Whibley Sings, 2008, oil on board, 25.5” x 35.5”

“As a child I dreamed of living completely surrounded by the sea. I longed for the gull cries, bell-buoy chimes, foghorn moans, and the constant pulse of the waves. When I purchased Kent House on Monhegan, my dream came true—I could dwell on an island in a house built by Rockwell Kent who, in my estimation, best
understood the sea.”

Jamie Wyeth, Rockwell Kent, and Monhegan, Farnsworth Art Museum,
May 12–December 30


Lisa Pixley

Siamese Bears, 2012, pencil on paper and digital rendering

“In the study for Siamese Bears, I like the way the splitting and
pairing of the two bears created an asymmetric harmony along with a tactile softness in the rendering of the fur. They are freakish mutant teddy bears that are slightly too in focus to be altogether sweet.”

Rose Contemporary, November


Frederick Lynch

Pyramidal, 2012, oil, enamel, and aluminum on MDF, 13” x 15”

“The impetus for pursuing forms in various media came from a growing curiosity as to the nature of painted or drawn images that engage the viewer by physical projection and three-dimensional assertions. Implicit in this pursuit is the act of discovery, the
emergence of new and interesting forms, and the anticipated pleasure to be experienced.”

Littlefield Gallery, August 16–mid-October; CMCA Honors Award Exhibition,
Center for Maine Contemporary Art, May 19–July 8; 6th Invitational Biennial Portland Show, Greenhut Galleries, March 1–April 28

FOR MORE:, Littlefield Gallery, Greenhut Galleries

Lauren FenSterstock

Mirror Displacement #2, 2011, paper, charcoal, and plexiglass, dimensions variable

“History, decay, and disorder are all potent tricks of the picturesque gardener, giving way to a knowingly melodramatic visual array. It is telling that we call these views scenery. Like a stage set, the
picturesque garden was created as a site for the dramatic display of human experience.”

A Thickening Rhythm, Coleman Burke Gallery, March 30–May 19; CMCA 2012 Biennial
Exhibition, Center for Maine Contemporary Art, September 22–November 4

FOR MORE:; Aucocisco Galleries

Barbara Sullivan

Stoke the Fire, 2011, Sharpie drawing with attached fresco objects, 108” x 120” x 4”

“My new body of work consists of large Sharpie drawings, which create the context for the shaped fresco objects. In the installation the drawings both support and feature the fresco objects, working together as a complete gallery installation. This work speaks of the natural and the manmade world, and how we share it with its creatures.”

L.C. Bates Museum, May; Turtle Gallery, August 5–25

Caldbeck Gallery

Sam Cady

Great Basin, Katahdin,  2011,  oil on cut out canvas mounted on board,  height  10″ x  26 1/2″

“My works are highly personal meditations on the nature of reality in painting, where I conjure the status of the mythic for the ordinary middle-American objects. In my cut-out and shaped canvases, I
remove the environmental surrounding and present the objects without context, revealing the interface between painting space and the real space of sculpture.”

6th Invitational Biennial Portland Show, Greenhut Galleries, March 1–April 28;
Selected Works, Caldbeck Gallery, summer 2012

Caldbeck Gallery

Alex Katz

Vivien, 2010, oil on linen, 80” x 84”

Alex Katz: Maine/New York focuses on the themes of the city and the country in Alex Katz’s work from the 1950s to the present. It will include 28 paintings and one multipart sculpture, and will be accompanied by a catalog published by Charta and the Colby Museum.

Alex Katz: Maine/New York, Colby College Museum of Art, ongoing from July 14


Kim Bernard

Quantum Revival, 2012, encaustic, wood, and cable, 102” x 144” x 18”

“My present projects investigate the intersection where the hard-and-fast science of physics collides with sublime spirituality, playfulness, and a pinch of humor. Quantum Revival is an installation of 15 red balls swinging from cables of increasing length that, when ‘let loose,’ fall in and out of a choreographed wave dance.”

Upcoming shows:
Momentum X, George Marshall Store Gallery, April 21–May 27; Stuff Moves,
Boston Sculptors Gallery, June 12–July 21

For more:

Harold Garde

Man with Red Hat, 2012, acrylic on canvas, 45” x 56”

“Thirty years ago I left New York and relocated to Belfast, Maine. I was impressed with the beauty of the state, the comforts of a small city, and was delighted with my acceptance into a thriving, vibrant art community. I have been and remain grateful for the support my work has received, and with the opportunity to continue to make and exhibit my paintings and to develop my printmaking skills.”

Upcoming shows:
Harold Garde, Then and Now, Emery Community Arts Center, July 6–August 17;
Harold Garde, Harbor Square Gallery, August 3–September 14

For more:, Harbor Square Gallery

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Rachael Eastman

Presence (Summer), 2011, oil on canvas over box panel, 30” x 40”

“Earth, sea, and sky are simplified to their essence and immersed in color through my hands. Though my paintings are often based on experiential knowledge of specific locations in Maine, my aim is to elude the literal to render nature as felt, walked-through, breathed-in, and condensed.”

Upcoming show:
Saco Museum Mill-ennial, Saco Museum, April 5–June 10

For more: