Magazine

Design Wire June 2025

The historic ASTICOU hotel in Northeast Harbor is set to reopen this month after an extensive $28 million overhaul. Originally built before World War II, the inn was closed last summer to undergo updates that included the renovation of 82 rooms in the original building along with 15 harborside cottages and 17 spa suites. “We’re thrilled to bring the Asticou into a new chapter while honoring the rich history and heritage that has made it such a beloved landmark in Maine,” hotelier Tim Harrington, a founding partner of the KENNEBUNK RESORT COLLECTION and chair of ATLANTIC HOSPITALITY, said in a statement. New amenities include a heated pool, spa, fitness center, fine dining restaurant, and cabana bar, along with programming like guided hikes, yoga, art classes, and boat charters offered through the CLAREMONT HOTEL in Southwest Harbor.


MAINE AUDUBON’s “Bringing Nature Home” project emphasizes the importance of restoring and rebuilding the state’s natural biodiversity by planting native wildflowers, shrubs, and trees that support the widest array of wildlife. The organization’s annual NATIVE PLANTS SALE AND FESTIVAL at GILSLAND FARM in Falmouth features thousands of native plants perfect for Maine yards and gardens. This year, the sale and festival will take place on June 7 from 9 a.m. to 3 p.m. Use the Audubon’s MAINE NATIVE PLANT FINDER to determine which plants best suit your landscape while providing the greatest ecological function and benefit. If you miss the event, you can still order plants online all summer long at shop.mainenativeplants.org, with pickup available at both Gilsland Farm and Fields Pond in Holden.


Photo: Courtesy of the Illustration Institute

The ILLUSTRATION INSTITUTE, a Maine arts nonprofit organization dedicated to raising appreciation and awareness of illustration in its many forms, is moving to THREE CANAL PLAZA in Portland. Cofounded by illustrators SCOTT NASH and NANCY GIBSON-NASH, the institute provides free programs at public venues across the state, runs a summer artist residency program on Peaks Island, and creates and installs exhibitions with partnering institutions like Brunswick’s CURTIS MEMORIAL LIBRARY. The new space will initially be used as an incubation hub, with the goal of building and housing an illustration archive. “We have a legacy of attracting artists and illustrators to Maine, but what I’ve discovered over the past eight years is that we also have an abundance of illustrators here today that are some of the best in the world,” Nash said in a press release.


HANCOCK LUMBER’s Brunswick location is undergoing an expansion that will add 30,000 square feet to the primary build- ing, along with 20,000 square feet of outdoor lumber storage and expanded parking. “Our Brunswick rebuild is a generational project designed for decades to come—our goal is to modernize the experience and build a facility that will last into the next generation,” chief marketing officer Erin Plummer told MaineBiz. Managed by PENOBSCOT GENERAL CONTRACTORS, the firm that redeveloped Hancock’s Augusta and Yarmouth locations, the Brunswick project, which is expected to be completed in the fall, will include a hardware store, drive-through indoor lumberyard, kitchen design showroom, and office spaces, along with an expanded millwork warehouse building.



Photo: Courtesy of Joe Doucet x Partners

“What if buildings could adapt to the seasons as nature does?” asks American industrial designer JOE DOUCET, who spent two years developing a CLIMATE-ADAPTIVE EXTERIOR PAINT that changes colors based on a building’s temperature. Citing a study that claims it takes nearly 3 percent of a building’s total energy cost to raise or lower the internal temperature by just one degree, Doucet formulated a stable, durable paint that has a dark gray color below 77°F and changes to white at higher temperatures. The color-changing paint would likely cost three to five times more than standard paint, but Doucet told FastCompany that “you’d quickly make that back in energy savings.” Although he has no plans to start a paint company, Doucet is interested in licensing his formula to paint manufacturers once it undergoes more rigorous testing.


PORTLAND HOUSING DEVELOPMENT CORPORATION is finishing up the $28 million rehabilitation of the HARBOR TERRACE apartment building at 284 Danforth Street this summer with partners PORTLAND BUILDERS INC., ADRA ARCHITECTURE, and CWS ARCHITECTURE AND INTERIOR DESIGN. Upgrades to the 50-year-old, eight-story building, which includes 120 income-restricted apartments, will reduce the structure’s energy consumption by 30 percent and provide better accessibility. Harbor Terrace’s brick exterior is being replaced with airtight, insulated siding while the interior receives modernized mechanical systems, low-flow water fixtures, individual heat pumps, energy-efficient windows, and new kitchen cabinetry and appliances.


The BRIDGTON HISTORICAL SOCIETY’s preservation and renovation of the nineteenth-century UNITED METHODIST CHURCH on Main Street that will serve as the organization’s new headquarters is almost complete. Though the building didn’t require many structural updates, it did need a new electrical and alarm system and modern wood flooring. An “adopt a window” fundraising campaign paid for the preservation of the 12 stained glass windows installed in 1905, a task carried out by Westbrook’s BAGALA WINDOW WORKS. ROSS HOLDEN, ED SOMERS WOODWORKING, and CRITERIUM ENGINEERS worked together on the building’s revamp, which is expected to finish phase 1 by late summer. Phase 2 will turn the church’s basement into an education center following the grand opening of the first floor.


Photo: Courtesy of Longfellow Communications

Iconic Portland restauranteur MASAHIKO (MASA) MIYAKE, known for local Japanese establishments MIYAKE and PAI MEN, is working on a new venture in West Bayside with his son, Reo, and his son, Reo, and his son’s partner, Helen Carter. The main restaurant, called AOMORI, will focus on Japanese soul food and classic izakaya dishes from the Tohoku region, while the adjacent AOMORI KITCHEN AND MARKET will be a konbini-inspired Japanese convenience store with ready-to-go hot and cold food and drinks. Aomori signed a ten-year lease with REVELER DEVELOPMENT and PORTA AND COMPANY and is set to open at THE ARMATURE at HANOVER WORKS this fall.

These Stuffed Artichokes Celebrate the Early Spring Produce

The artichoke season extends from late February for the smallest ones—the size of a large nut, which are eaten whole—to early spring and summer for the large, fat, plump ones. Artichokes have been enjoyed from Sicily to Naples and beyond since the 1400s. Our immigrant ancestors tucked the seeds and branches from artichokes, thistles, chicory, and figs, among other vegetables and fruits, in their trunks and suitcases when they boarded ships bound for the United States. These were all plants that were not found in America at the time. Today, 80 percent of the globe artichokes sold in the United States are farmed in California, and they are available year-round.

Makes 8 servings

INGREDIENTS

1 lemon, halved
6 large globe artichokes (about 14 ounces each)
¾ cup fresh breadcrumbs
½ cup grated Romano cheese
1 garlic clove, minced
2 tablespoons chopped fresh flat-leaf parsley
1 tablespoon extra-virgin olive oil
Freshly ground black pepper

INSTRUCTIONS

  1. Squeeze the juice of the lemon into a large bowl of cold water and reserve the rinds. Working with one artichoke at a time, trim the bottom and remove the tough outer leaves. Snip off the thorny tips of the remaining leaves and drop the artichoke into the lemon water to prevent it from discoloring.
  2. Bring 1 inch of water to a simmer in a large pot with a tight-fitting lid. Stand the artichokes up in the pot, cover, and simmer for 10 minutes, then transfer the artichokes to a clean work surface; drain the pot and set aside.
  3. Combine the breadcrumbs, cheese, garlic, parsley, and olive oil in a small bowl and season with pepper. Working with one artichoke at a time, pull the leaves slightly open and stuff a little of the filling between the leaves. Arrange the artichokes side by side in the pot.
  4. Pour 1 inch of water into the pot and around the artichokes, add the lemon rinds, cover, and bring to a boil over high heat, then reduce the heat, cover, and steam until the bottoms of the artichokes are tender, 35 to 40 minutes; a knife should insert easily. Make sure the water doesn’t boil away; add more if necessary. Remove from the heat.
  5. Arrange the artichokes on individual plates with enough room for the nibbled leaves, or place a discard bowl on the side. Serve immediately.

Excerpted from Mother Sauce by Lucinda Scala Quinn (Artisan Books, 2025). Photograph by Mikkel Vang. Reprinted with permission of the publisher.

Spring Mainstay with Johnson Paint & Home Remedies

The first Mainstay of 2025, hosted by MH+D and Johnson Paint, a Ring’s End brand, at Home Remedies on West Commercial Street, celebrated women, creativity, and community. Guests were treated to delightful bites and stunning charcuterie boards curated by Experience Maine Culinary, while the lively atmosphere was enhanced by refreshing Aperol spritzes and bubbly. Farrow and Ball representatives were on hand to showcase their latest color collection, inspiring attendees with fresh, vibrant hues. It was an evening that blended design, collaboration, and style, offering a unique opportunity to connect with local talent and discover the latest trends in home decor.

“Bringing our contractors and designers together made for a truly wonderful evening. The relaxed, casual atmosphere was filled with smiles and laughter as names were finally matched with faces. Everyone had a great time mingling and enjoying each other’s company.”

—Becky Gallant, design & decor sales associate, Johnson Paint, A Ring’s End Brand

How Plunge Pools Blend Efficiency and Wellness

What is a plunge pool, and how is it different from a traditional swimming pool?
The Plunge+ brand that we’ve partnered with at Christman Pool Service offers a compact, precast concrete plunge pool specifically designed for smaller spaces and quick installation. It has customizable features like hydrotherapy jets and tanning ledges, offering many relaxation and wellness benefits. Unlike a traditional pool, it is energy-efficient, easier to heat and maintain, more cost effective, and suited for year-round use, even in colder climates like Maine.

What are some benefits of choosing a plunge pool over a full-sized pool?
The biggest value of a plunge pool is time: you don’t have to wait months from breaking ground to finally swimming. Precast options allow for faster installation time, which also means less (and more efficient) use of resources on-site, as well as customization options. Want to keep it small and minimalist? Can do. Prefer to add a spa section in the pool? You got it. Due to their small footprint, plunge pools don’t require extensive landscaping and hardscaping. Plus, a smaller pool means less water, which requires fewer chemicals and less cleaning time.

How can plunge pools be customized to fit different aesthetics?
Because the Plunge+ build is fully customizable from the start, homeowners can choose the coping, plaster finish, and corresponding tile, ensuring aesthetic integration with the surrounding space. This level of customization makes it easy for the pool to complement the style of the yard and home while creating a cohesive and visually appealing look. Pools can easily be set partially out of the ground with a stone veneer finish, or they can be incorporated into a stone patio sitting area.

How can plunge pools be incorporated into wellness routines?
Plunge+ offers a wellness line with therapy pools that include cold plunges, 7- by 7-foot hot tubs, and hot-and-cold dual-plunge pools. These setups are inspired by Scandinavian wellness traditions that combine hot and cold therapies for improved circulation, stress relief, and muscle recovery.

What makes plunge pools particularly well suited to Maine’s climate and landscape?
Plunge+ pools are designed for the Northeast, with a 6-inch steel-reinforced concrete structure that makes them particularly durable in challenging climates. Christman Pool Service selected the Plunge+ brand specifically because its engineering ensures long-lasting, rugged performance, and it is built by pool professionals who understand local needs.

Responses by Cliff Abbott, Mike Scott, and Phil Tierney

Maria Pergay’s Ring Chair Was Inspired by Peeling an Orange

Some great ideas come to you in unexpected places, like the kitchen counter. In 1967, designer Maria Pergay’s idea for her Ring chair was born while peeling an orange for her children with one single cut. Born in Romania to Russian parents, she was just six years old e immigrated to France with her mother in 1937 to escape the Soviet invasion (only to go into hiding when the Nazis invaded during World War II). Pergay went on to study costume and set design at the Institut des Hautes Études Cinématographiques (IDHEC) in Paris and became known for her shop window displays and metalwork. These small metalworks were lauded and purchased by fashion heavyweights like Christian Dior, artists like Salvador Dali, and designers like Pierre Cardin.

Uginox, a major French stainless-steel producer that had heard about her work in metal, approached Pergay to ask if she would be willing to use steel for her work. She responded by saying that steel would not be the appropriate material for her small works but would be a good medium for furniture. One of the first two pieces Pergay produced using steel was the Chaise Anneaux (Ring Chair). She gathered a team of skilled metalworkers to help her fabricate the pieces, pushing them beyond the limits of conventional fabrication at times, guiding their hands when making the cut, directing them to ply and re-ply entire sheets, until the precise forms she envisioned in her imagination were a reality. The Ring is formed from concentric steel halos, their centers meeting at a sharp point to form the seat, all resting atop a pair of sabre legs.

When asked why she made furniture out of steel, Pergay responded that it was because she had a score to settle with Stalin. “You know his name means steel? So the more I hit it, the happier I am.”

Only about 50 Ring chairs were produced. The examples that are not in the permanent collections of museums fetch high prices on the secondary market. The pair shown here sold in 2016 at Wright’s Design Masterworks auction for $85,000. As Pergay told the New York Times in 1970, “Copper is too fragile, aluminum too light, gold too symbolic, silver too weak; bronze is out of fashion and platinum inaccessible. Nothing is more beautiful than steel.”

Katie Capozza of Old Port Specialty Tile Co. Shares Her Dream Tile and More

How would you describe your design philosophy?
I believe that every space has a story, and you must first let its original style and surroundings speak to you before determining the direction to take. By honoring a place’s character, you can create timeless, warm, and beautifully flowing interiors that feel naturally connected to their environment.

One item you believe everyone should own?
A tape measure.

One book everyone who appreciates architecture and design should read?
The Architecture of Happiness by Alain de Botton.

If you had an unlimited budget, what’s one design piece you’d splurge on?
A marble soaking tub!

Your go-to local shop or artisan for unique pieces?
Home Remedies or Blanche and Mimi for gifts and home goods.

Dream tile for kitchen or bath?
Euphoria by Sonoma Tilemakers.

Who is a local artist, maker, or designer you think deserves more recognition?
Tilemaker Debb Todd from D. Todd and Co.

Any architecture or design trends you’ve got your eye on?
I really like seeing warm colors come back, along with softer finishes like tumbled and reclaimed natural stone.

What would be your perfect Maine day?
It begins with my whole family at our camp on Chebeague Island. The morning is spent adventuring with the kids before stopping at Doughty’s Island Market for a snack. Back at camp, we have a slow afternoon lounging on the deck or the beach. Later, friends join us for a fire, drinks in hand, with guitar and singing providing the perfect soundtrack to end the day.

A Flawless, Cozy Basement Meant for Gathering

“The family quarters are the heart and soul of the house. They are where we live—really live—day in and day out,” writes Alabama-based interior designer Caroline Gidiere in her latest book, Interiors for a Life in Good Taste (Rizzoli, 2025). “I always urge my clients to think realistically and practically about how they live in these spaces. Of course, we should make room for aspirations to thoughtful, clever, centered lives. But alongside these aspirations, we must bow to convention and modern conveniences,” she adds. Over the years, Gidiere has developed a thorough list of “musts” for her clients’ family-centered spaces: there must be a microwave; there must be a visible TV in the family room; there must be practical fabrics that stand up to wear and tear; there must be a “drop zone” for coats and keys; and so on.

Dens, family rooms, and rec rooms, according to the designer, must be democratic in offering everyone both a seat and a place to set down a drink (somewhere to prop up your feet is a much- sought-after bonus). Contrary to some modern trends, Gidiere believes the television should occupy a central space in the room without being disguised as artwork. “If the primary function of the room is watching TV, then let it take pride of place,” she proclaims. “Just make sure all the seating has an unobstructed view.” In this deep blue basement built for social gatherings, Gidiere covered the walls in Snakeshead fabric by William Morris. A Kit Reuther painting hangs on the wall above a plush, velvet upholstered sectional that offers plenty of seating for the whole crew, while a leather ottoman and tiny drink table provide a spot for their beverages. Create your own cozy entertainment space with these nine finds.

A Narrow Midcoast Kitchen That Invites the Outdoors In

“The client wanted a warm, welcoming central living space for gathering that included a kitchen, dining area, and screened porch, conceived as a modern interpretation of a traditional Maine camp. The somewhat unusual part of the design is that the plan is quite narrow and linear—the kitchen itself fronts onto a glass wall that opens onto a stone terrace and overlooks a lake, so there’s hardly anything separating the space from the outdoors.

“A service pantry with kitchen appliances is tucked behind and to the side of the primary area. It’s still open to the kitchen but hidden around the corner and away from the main space. A woodstove from Stuv forms the end element of the island, facing the dining table. It provides additional warmth in the kitchen, both literally and figuratively, and creates a focal point.

“The flooring, accent walls, cabinetry, and island are all white ash. It’s a tree that’s found on the property and all over the midcoast area, similar to oak but lighter in tone. A custom tile backsplash was commissioned by the owner from a local artist, Anneli Skaar, and the small painting pictured to the left of the kitchen is by Jeff Colquhoun. The windows are a triple-glazed European system from Unilux.

“Located on a conservation easement in Camden, the house is perched in the woods and sits about 250 feet from a lake. The general concept is that there’s a darker volume of bedrooms and private spaces that sits above this very open, glassy lower level, which is all about the experience of the trees in the woods. It’s a simple, linear layout of kitchen and dining, plus a screened porch element on the end. The trio of spaces really works together as a single space.”

—Riley Pratt, design partner at OPAL

Rangeley Building and Remodeling is a True Family Affair

“Camps used to be simple,” says Mark Gordon, founder of Rangeley Building and Remodeling. “The overall quality of a camp has changed.” While he notes that there was certainly a boom period during the early 1900s (“A lot of great camps went up in that 25-year period because of all the sportsmen coming north,” he says), this didn’t last. For much of the twentieth century, the buildings going up around the Rangeley Lakes region were simple, functional things—four walls and (ideally) a metal roof. But times have changed, and Mark and his team have changed with them. “Now we have the opportunity to really choose our clients and select who we want to work with,” he says. Jill Gordon, designer for Rangeley Building and Remodeling, adds that this selectivity isn’t about style—it’s about ethos. “I never want people to walk into a space and be like, ‘Oh, Rangeley Building and Remodeling built this.’ I want it to feel fresh, like it was designed and built for the client.” She continues, “We live in this town. We want to be able to see people at the IGA and have a good talk about the project.”

The company is a true family affair: it was founded by Mark and is currently headed by the couple. Someday, they hope to pass it down to their sons, and they make a point of hiring children of employees to further support their local community. Although they’ve been in business for nearly 30 years, Rangeley Building and Remodeling hasn’t always done business the way they do today. From the beginning, they’ve worked with a range of budgets and clients, and they’ve always prioritized quality over quantity in their builds, but in the beginning they didn’t prepare quite so meticulously. According to Mark, they now do more planning, budgeting, and pricing “up front” than most builders, which gives the client (and their in-house team) time to really wrap their heads around what will be required of them. “We didn’t just come up with this process off the top of our heads,” he explains. “We joined a peer group.”

Back in 2016, Mark and Jill joined hundreds of other builders and remodelers as members of Remodelers Advantage. During their biannual meetings, the members would break into small groups of similarly sized companies. “You sit together in a room for three days,” says Mark, “and you open up everything about your company.” Jill adds, “We talk about our finances, personal issues, everything. Everyone can benefit from the solutions you come up with.” While they’re no longer active in the group, Mark credits these experiences as being “incredibly enlightening.” “It changed how we do things,” he says. “It reduced so much stress.”

Now, with every build, Mark spends an hour coming up with an initial budget that is not designed to make the clients sign up, but rather to give them a realistic idea of what to expect. While some people have sticker shock, Mark says it’s much better to have that happen early on rather than mid-build. Once they’ve settled on an initial budget and signed a design contract, Jill gets to work on the design and Mark begins creating the set price. “We create the entire floor plan, elevation, all the interior elevations. We draw all the cabinets. We spec everything. The cabinet knobs, the paint colors. All those things happen before we sign a construction contract with clients,” says Jill. “We spend hundreds of hours on this stage,” Mark says. Together, they price out every element, from the faucets to the cabinets, which they then order and store in the 5,000-square-foot company shop. “There’s nothing like designing everything around a lovely fixture, but when you go to order it, it’s no longer available,” Jill says. A month before breaking ground, Mark makes sure that everyone, from the carpenter to the client, has a deep level of familiarity with the designs. “It helps us sleep at night, too,” says Jill. “You never want to go to bed knowing you’re going to drop a bomb on a client the next day.”

This shift in strategy has enabled the company to thrive, grow, and expand. It’s also helped them home in on the type of work they want to do. Take, for example, a recent job on the shores of Rangeley Lake. “There were two buildings, both built in the 1930s,” Jill explains. “Restoring those, for a young couple with a growing family, is one of those projects we just feel so good about. We were able to preserve the old buildings and give them longevity.” To keep the character of the structures intact, they removed the pine edge and center bead boards and put them into storage while they rebuilt the underlying walls. They were also able to save the Douglas fir floors and the entire porch (save for the windows, which needed an upgrade). While they couldn’t save the fireplace, they were able to put in a replica. “Mark is on the history museum board in Rangeley,” adds Jill. “We’re both huge old house lovers, and it’s so important to us that these places persist.”

On the other end of the spectrum is a place they refer to as the “Modern Camp.” Like the 1930s restoration, the clients for this project live year-round in Maine and wanted a place where they could escape into the woods. “This one was so fun because they were adventurous,” says Jill. Inspired by the homeowners’ collection of vintage Tupperware, Jill brought in a playful color palette of burnt orange and pine green, which echoes throughout the house and is used on wallpaper, light fixtures, and statement chairs. “During staging for photography, we used a record player that I borrowed,” she reveals. “I sent them pictures as I was working, and they went and bought their own record player so they could set it up in the living room!”

It’s this type of lighthearted and inspiring client communication that Rangeley Building and Remodeling values most. “At the end of a project, we want to have a great relationship,” says Jill. “We’re friends with a lot of the people we work for. We go back and work for them again. We get referrals from them. They know us, and they know our team.”

See Peter Walls’s Exploration of Maine’s Landscape Using Shaped Panels in Bangor

When the Zillman Art Museum’s executive director and curator George Kinghorn first connected with artist Peter Walls about a solo exhibition, he encouraged Walls to activate the space with a suite of new works. “I’m always interested in artists who are inventive and can produce large-scale works, as well as smaller compositions,” says Kinghorn. “It’s a very ambitious project, and Peter rose to the challenge.” That ambitious project is the exhilarating Memory Palace—20 works, most of which were completed in 2024, currently installed in the museum’s newest two upper-floor galleries.

Walls is well known in both Maine and nationally for his installations in outdoor and other nontraditional art spaces, as well as for his work as a muralist and decorative painter. He moved to Maine from Vermont in 2016 and recently relocated to a new home and studio in Stockton Springs, where he, his artist wife, and his mother-in-law all have studios. Walls studied printmaking in art school. Later he moved to creating sculptures in ceramic and wood before focusing on painting.

These days, his commissioned, public, and collaborative works inform his more personal paintings, especially concerning the materials he uses. Like much of Walls’s public art, the Memory Palace paintings reject the conventional rectangular canvas, preferring edges that flow with the organic forms expressed within the picture. His painting substrates—easel-sized and life-sized (or nearly)—are shaped from high-density urethane foam that he cuts himself or with the aid of a computer numerical control (CNC) router; they are then painted in acrylic mural paints and finished with traditional mural varnishes.

The works in Memory Palace express a delight in and love for the experience of being in nature, describing seasonal ground cover, the play of light and shadow, pools of water, deep forest spaces, and the magnificent and dynamic variety of tree trunks, branches, and root systems. At the same time, they feel more imagined than “realistic” in their rendering. These are memories of places, loyal to nature but overwhelmingly about a feeling for a place, rather than a plein air impression or photograph translated into a painting. “I’m a studio artist,” Walls says, making the distinction between a landscape painter or one who works from direct observation. And while this series of work is indebted to Walls’s extensive wanderings and foraging in Maine’s wild places, it’s his camera that acts “like an imprinting” of imagery in his mind to later be reborn as painterly compositions in the studio.

The exhibition’s title refers to the mnemonic device for visualizing a familiar place and assigning aspects of that place a text, list item, or other information that needs to be recalled later. Walls brings photographs from his explorations of the natural world back to the studio, where in the predawn hours of his daily painting practice, he composes loosely with chalk and determines, as part of this initial drawing line, the shape of the whole panel. “Then I paint them, and some decisions happen quickly, and others are slower with many layers happening, and I get lost in them, in a good way. I know they’re finished when they feel quiet, when they feel like that place.”

Caretaker (Sheepscot Headwaters) and Woods and Water Alliance (Donnell Pond) are hung inches from the floor and barely clear the gallery’s ceiling. Offset from the wall, they are like doorways or portals, and their organic edges give them a sculptural effect, especially where they follow the form of a tree trunk, root, or a river stone. In three large horizontal panels, Bulwark (Schoodic Peninsula) is Walls’s largest gallery work to date, at 17 feet wide. The stunning panorama seems to shift, as if over time. It’s what it feels like to be at Schoodic through changes of light and wind and air temperature and time of day—contemplative time, when one form or phenomenon in the landscape pulls you in for a closer look, then another thing, and then something else.

“The Zillman Art Museum is a cultural resource of the University of Maine and also a major downtown Bangor attraction, uniquely focused on modern and contemporary art,” says Kinghorn. “Exhibitions are often tailored to the space, and we’re thrilled to have this new body of work of Peter’s, created for our galleries and on an immersive scale.” 

Memory Palace will be on view at the University of Maine’s Zillman Art Museum in Bangor until June 28, 2025.

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