Magazine

“Washed Away” Explores the Impact of Climate Change and Politics on Maine and Its Artists

May, 2025 | By: Lucky Platt

From over one hundred submissions by members of the Union of Maine Visual Artists (UMVA), curator Carl Little selected 60 works for the group exhibition Washed Away, on view in the Lewis Gallery of the Portland Public Library. The paintings, drawings, artists’ books, sculptures, and videos all express or narrate the theme of “washed away” from a timely and urgent perspective. “The art is vital and often moving, the materials optimized to underscore the messages,” says Little.

Many works evoke the lived experiences of winter storms on the Maine coast, documenting the impact of climate change on Maine communities and reflecting on the broader implications of flooding and other severe weather events provoked by climate change. In A Walk by the River (2019), a dimensional weaving made from hand-dyed basketry materials, Kimberly Harding depicts the exposed roots of trees on the bank of the Presumpscot River after a storm. The river in this scene is constructed with the tightest weave, rendering it as the most stable and dominant form and suggesting that the force of water is undeniable.

Exhibition works also express the devastation of war, the dissolution of personal and reproductive rights, and the seeming inadequacy of language for this uniquely terrifying moment. Sally Stanton’s Roar (2024) is composed of human and nonhuman figures, most rendered in electric reds, their emotional states ranging from contemplative, serene, and loving to sick and furious. Anita Clearfield created her video animation Before the Flood: The Last Capitalist (2018) by printing hundreds of video frames and then drawing on top of them with acrylic and charcoal. In an unsettling performance that is both irreverent and horrifying, the artist invites viewers into the exhibition by borrowing the language and cadence of a circus ringmaster. Her voice becomes increasingly unintelligible until a mad brushwork of painted waves swallows her.

As much as the works in Washed Away sound the alarm, they also offer real and metaphorical bulwarks—showing what there is to cling to and urging viewers to hold fast. David Dodge Lewis’s Life Ring #1( 2022–23) is gorgeously and aptly rendered in fluid, shifting, erasable mediums of graphite, wax, charcoal, ink, and Conté crayon. Inspired by the artist’s hikes on Monhegan Island, the drawing is one of these bulwarks, a battered but stalwart lifeline. Marcie Jan Bronstein writes in the artist statement that accompanies her ceramic sculpture The Three Graces (2024), “In the wake of this year’s events, what saved me was what always saves me: working in my studio, swimming, walking: centering myself in color, shape, movement, ritual, quiet, privacy. The swimmers have found freedom and joy in a most improbable realm of clay. In a chaotic, barbaric world, swimming with grace and fluidity is both rebellion and salvation.”

The UMVA was founded 50 years ago by and for artists, with a mission to advocate for “artists’ interests, rights, and mutual support.” Member exhibitions, often initiated with open calls like this one, provide opportunities to share new work but also bring members together in a shared space for conversation. “UMVA exhibitions are opportunities for gathering,” says Little, who is also a longtime member and has known many of the exhibiting artists for years. “This union,” he adds, “represents a community of Maine artists committed to enhancing our lives through artwork meant to provoke and please.”   

Washed Away: An Exhibition by members of the Union of Maine Visual Artists will be on view at the Lewis Gallery located in the Portland Public Library from May 2 until June 28, 2025.

Design Wire May 2025

Photos: Maura McEvoy

The LANGLAIS ART PRESERVE in Cushing, along with 18 other sites across the country, has been added as an affiliate to the NATIONAL TRUST FOR HISTORIC PRESERVATION’s prestigious HISTORIC ARTISTS’ HOMES AND STUDIOS membership network. This peer-to-peer coalition of sites leverages the knowledge and experience of individual members to benefit the entire network in critical areas, including historic preservation, visitor and community programming, and communications. The network’s 80 affiliate sites, from intimate studios to expansive compounds, provide visitors with authentic experiences of the places where influential art has been conceived. The 90-acre Langlais Art Preserve showcases artist BERNARD LANGLAIS’s large-scale wooden sculptures and includes a preserved workshop and seasonal barn studio along the St. George River. Another New England site, Stephen Huneck’s DOG MOUNTAIN in St. Johnsbury, Vermont, was also included in the latest affiliate cohort.

Photos: Laure Joliet

Harvard-trained designer CHLOE REDMOND WARNER recently unveiled RAD GOODS, an exclusive line of wallpaper, textiles, and custom case goods inspired by her idyllic summers in Maine. “Time spent on Islesboro has had a profound impact on my design aesthetic, especially through my love for layered, comfortable interiors and confident floral patterns—an appreciation I developed from spending time in homes filled with beautiful English and early American antiques, including homes decorated by Sister Parish,” Warner told MH+D. “The refined, traditional atmosphere of Islesboro, paired with memories of family gatherings and the distinct, colorful bedrooms of my grandmother’s house, shaped my passion for decoration, ornament, and creating cohesive patterns. My first RAD Goods collection draws directly from these influences, incorporating flora from Maine to capture the tender, site-specific atmosphere of a place that means so much to me.” Launched under Warner’s REDMOND ALDRICH DESIGN studio, RAD Goods debuted with the Peony Chintz textile at the 2024 KIPS BAY DECORATOR SHOW HOUSE at Palm Beach.

Renderings: SMRT Architects & Engineers

The BANGOR REGION YMCA has unveiled renderings for a new $57.8 million campus that will be named the CATHY GERO BANGOR REGION YMCA in honor of a longtime member and supporter of the organization. Sitting on a seven-acre site on Main Street, the three-story, 82,000-square-foot building will be nearly twice the size of the current YMCA facility. It will feature a STEAM MAKER SPACE, cafe and food pantry, kids adventure zone, outdoor play- grounds, sports fields, a teen center, and an expanded childcare program as well as a community health center offering mental health support, primary care, and physical therapy. “The design of the new Bangor YMCA takes shape as a thoughtful and contextually rooted response, intricately woven into the fabric of Bangor’s rich urban landscape. It engages with the site in a manner that not only respects its surroundings but also enhances the functionality and aspirations of the YMCA’s programs and mission. The collaboration with the Bangor Region YMCA has been a partnership in every sense of the word,” said Nick Vaughn, director of education and athletics practice at SMRT ARCHITECTS AND ENGINEERS, the firm behind the project. The new facility will break ground in September and is expected to open in spring 2027.

Photos: Courtesy of CASETiFY

In collaboration with the ANDY WARHOL FOUNDATION FOR VISUAL ARTS, phone accessory maker CASETIFY unveiled a new lineup of phone and tech cases inspired by the artist’s iconic pop art. The ANDY WARHOL X CASETIFY COLLECTION showcases three of Warhol’s most well-known works: Banana, Campbell’s Soup Can, and Brillo Box. “They’ve been reimagined by CASETiFY in ways that feel distinctly Warholian—playful, innovative, and thought- provoking,” Michael Dayton Hermann, the foundation’s director of licensing, market- ing, and sales, told Design Milk. Each product comes in special-edition packaging inspired by Warhol’s Heinz Tomato Ketchup Box, adorned with the famous quote: “Art is what you get away with.” Revenue from the collaboration will contribute to the founda- tion’s endowment, which awards over 100 grants annually to artists, art organizations, and curators throughout the United States to support research fellowships, exhibitions, and other programming.

The $56 million, 107,000-square-foot MAINE INTERNATIONAL COLD STORAGE FACILITY that recently opened on Commercial Street in Portland will help the country meet the increasing demand for fresh and frozen food products, including seafood, produce, dairy, and pharmaceuticals. Icelandic-owned shipping company EIMSKIP, Yarmouth-based TREADWELL FRANKLIN INFRASTRUCTURE, the MAINE PORT AUTHORITY, MAINE DEPARTMENT OF TRANSPORTATION, and U.K.-based AMBER INFRASTRUCTURE collaborated on the project, which was completed by FCL BUILDERS in January. The facility, which is operated by TAYLOR LOGISTICS, includes 21,000 pallet positions, 85,500 square feet of storage space, and more than 13 loading docks. It also features the largest rooftop solar photovoltaic array in Maine.

Photo: Courtesy of TEMPOart

Portland public art organization TEMPOART announced the appointment of LAURA ZORCH MCDERMIT as its first full-time executive director. Before coming to Maine, McDermit led the Laramie, Wyoming, Public Art Coalition for five years while championing payment for artists and conceiving innovative projects in public spaces. Prior to that, she spent 15 years piloting artist-led programming at the CARNEGIE MUSEUM OF ART in Pittsburgh, Pennsylvania. McDermit has a master’s degree in arts management and is the co-chair of programming for the national PUBLIC ART EXCHANGE network. “I am excited to join TEMPOart and make Maine my home. It will be an absolute joy to connect with the Portland community to create moments of belonging and curiosity through public art alongside my new neighbors,” she said in a press release.

Two local companies aim to meet the state’s future and current housing needs with modular multifamily housing that can be constructed much faster than traditional residential structures. Maine-based developer DOORYARD is working on a mail-order catalog of options from single-family to 10-unit buildings made with a kit of parts. According to their website, Dooryard homes are “designed to address the unique challenges of infill development, on the smaller and narrower lots that characterize Maine’s village centers and cities built before 1940.” Elsewhere in Maine, KBS BUILDERS has developed a climate-controlled assembly line facility in which 70 percent of each of their modular homes is produced, eliminating the issue of working around seasonal weather changes. According to the CENTER FOR AMERICAN PROGRESS, modular homes represent only about 3 percent of America’s residential construction, whereas in Finland, Norway, and Sweden, 45 percent of homes are modular.

Fish and Whistle’s Crab Dip

May, 2025 | By: Jason Eckerson | Photography: Lauren Lear
fish-and-whistles-crab-dip

There’s nothing quite like a creamy, cheesy crab dip to kick off a spring gathering. Packed with tender lump crabmeat, rich cream cheese, and a touch of Old Bay seasoning, this dish from James Beard–nominated Emerging Chef duo Jason Eckerson and Kate Hamm is the perfect blend of indulgence and coastal charm. Pair it with crusty bread or crispy crackers for a crowd-pleasing appetizer that tastes like a seaside escape.

Makes 8 servings

INGREDIENTS
1 to 2 pounds peekytoe or Jonah lump crabmeat (see note)
8 ounces cream cheese, softened to room temperature
¼ cup sour cream
¼ cup mayonnaise
1 cup grated cheddar cheese
2 garlic cloves, grated
¼ cup sliced scallions
1½ teaspoons Old Bay seasoning
1 teaspoon Worcestershire sauce
½ to 1 teaspoon sesame oil, to taste
Juice from ½ lemon

INSTRUCTIONS
1. Preheat the oven to 400°F.
2. In a large bowl, thoroughly mix all the ingredients except the crabmeat.
3. Fold in the crabmeat. Be careful not to overmix.
4. Taste and adjust seasonings as needed.
5. Transfer the mixture into oven-safe ramekins or a single oven-safe dish, pan, or skillet. Bake for 15 to 20 minutes (it should begin to bubble a bit).
6. Remove from the oven and serve with a warm baguette or saltines.

Note: Both peekytoes (rock crabs) and Jonah crabs are found in the North Atlantic. They are prized for their sweetness and versatility. You should be able to find cooked and picked lump crabmeat at any local seafood market.

PMA’s Biggest Art Party of the Season

May, 2025 | Photography: Alex Kusnarowis / Portland Museum of Art

The Portland Museum of Art’s annual Winter Bash is a delightful celebration where the chill of winter meets the warmth of artistic expression. Inspired by the museum’s As We Are exhibition featuring 14 emerging artists from the state (open through April 27), this year’s blue and green theme was a nod to Maine’s nautical charm. DJ Selena Rox kept the party going while attendees enjoyed Glidden Point oysters, Byers and Sons desserts, Camp Pennant cocktails, and bites from Black Tie Catering and Events and Great Wave Sushi. Artist Nico DePamphilis conducted tarot readings and Sea Studio provided a photo booth full of on-theme accessories.


Guests enjoyed elevated snacks courtesy of Black Tie Catering and Events and Great Wave Sushi. 

Phil Owen, Taylor McFarlane, and friends

Alex Beal, Timothy Diehl, and Adam Zimbalist 

Eva Geiger and Lisa Anspacher Vicéns 


Attendees networked and socialized at the annual Winter Bash at the Portland Museum of Art. 

Fresh Glidden Point oysters added to the event’s nautical theme. 

“Director’s Circle and Contemporaries members help shape Portland’s Arts District, bringing fresh ideas and vital support to the PMA that enables new acquisitions for our permanent collection and helps attract world-class exhibitions. Every year, our members’ impact shines at the Winter Bash and Summer Party— where art, philanthropy, and community come together.”
—Ashleigh H. McKown, PMA, Head of Philanthropy

Bay Chamber Concerts & Music School Gets a Brand-New Look

May, 2025 | By: Becca Abramson | Photography: Sarah Szwajkos

It took Bay Chamber Concerts and Music School, which began as a summer chamber music concert series and has since grown to offer world-class concerts and music education, nearly six decades to find its permanent home in Camden. “We’ve always rented different spaces for our office, our school, and our concerts,” says Josie Davis, executive director of Bay Chamber. “As we’ve grown, we identified an acute need for a single space that could accommodate studio spaces, larger ensemble rooms for group classes, and a concert hall for music school recitals and our professional concert series. When we saw this building go up for sale in Camden, we felt it was an opportunity we couldn’t turn down.”

Bay Chamber partnered with Portland-based Barba and Wheelock Architects and Tamarack Builders to renovate and rehabilitate the structure—part medical office, part yoga studio, and part former historic church—sitting at 5 Mountain Street, just one block from Camden Harbor. “Initially, Bay Chamber thought they’d be able to move in without doing much work,” explains Nancy Barba, principal at Barba and Wheelock Architects. “The more we got into it, the more dubious I was. We found out that the floor system of the church was never addressed, and there was major damage to the structure. The back of the building was a mess and needed to be totally reconstructed—and that’s coming from someone who works in historic buildings and would never take anything down unless they absolutely had to,” she adds.

The building’s interior was entirely reconfigured, and a new, modern section was built to make the structure suitable for Bay Chamber’s growing concerts and educational programs. Barba worked with an acoustical engineer to minimize noise distractions, which meant introducing an extra-large, exposed mechanical system that had to be woven through the existing trusses. A new entry features shou sugi ban siding and rough-hewn granite blocks supporting two wood columns. The modern addition, which houses offices, a music library, studios, and classroom space, features a flat, streamlined roof and thermally modified wood siding that will weather to gray. “The modern aesthetic ties in really nicely with the way we’ve been thinking about our concert programming,” says Davis. “Traditionally, we’ve focused on presenting classical music, and we’re excited to consider what that means when we look at it through a modern lens.”


Exposed ductwork, despite its large size for acoustical noise reduction, is celebrated as part of Hammer Hall’s aesthetic. 


Inside, the Chris Glass stair connects to the new entry and lobby. 

The Bay Chamber building comprises a reimagined former historic church, painted ochre, and a modern addition with wood siding. A view of the building from the north shows nearby Camden Harbor, the town of Camden, and U.S. Route 1. 

Stephen Earle, a Bay Chamber board member and interior designer, took Barba and Wheelock’s interior layout and developed a lively, welcoming aesthetic with pops of bright red. The existing curved linear staircase, designed by Camden architect Chris Glass during a previous renovation 15 years ago, was augmented and opened up to the new lobby. “Glass was my mentor—the first person I worked for when I came to Maine—so it was very meaningful to incorporate his work,” says Barba. A collection of artworks by Bernard Langlais, secured by Bay Chamber’s former director, Monica Kelly, before her passing two months before the building’s completion, hangs on the walls on prominent display. “Monica Kelly was such a wonderful, gentle force as an artist and a leader—she was a real creative mind behind the whole project,” Barba adds.

Despite the history of the church structure, which Barba estimates may date back to 1848, the building does not sit in Camden’s historic district, nor was it funded by historic tax credits, so the rules for its rehabilitation were not strict. “There wasn’t much left from a preservation standpoint on the inside, but on the outside, we tried to retain as much of the original trim and siding as we could.” The not-so-subtle ochre color of the original structure’s exterior was a concerted choice: “We wanted something that would be a beacon for the arts—something that someone would drive by and see the color and say, ‘What’s that? It doesn’t look like a house; it doesn’t look like a church. Something creative must be happening there,’” says Davis. “The color inspires a lot of curiosity.”

Portland-born poet Henry Wadsworth Longfellow once wrote, “Music is the universal language of mankind.” Bay Chamber’s new and improved home allows the organization to continue uplifting this philosophy through accessible events and first-class instruction. “There are professional musicians coming in from New York City and students from just up the street who are our next generation of music lovers and listeners,” says Davis. “We’re all in the same space sharing music in different ways, and that feels really powerful.”

The Surprising Military History of Ray-Ban’s Aviators

May, 2025 | By: Danielle Devine | Photography: Getty Images / eimskif

The first Aviator sunglasses I ever noticed were my father’s. He seemed to constantly be looking for them, often forgetting they were right there in the front pocket of his dress shirt. As a young child, I would play with the gold metal frames that seemed enormous in my small hands, rubbing the smooth lens with my thumb until I found the break with the brand’s etching at the top corner. The story of how the word Ray-Ban found its place on that lens is interesting.

It starts in 1920 with Shorty Schroeder, a pilot in the U.S. Army Signal Corps. The standard gear for pilots at the time included fur-lined goggles accompanied by a hooded leather cap. Schroeder set a record by taking a biplane above 33,000 feet on a test flight; his goggles fogged, and he had no choice but to pull them off. His vision blurred, and his eyes were frozen, but he managed to land the plane. His fellow test pilot, Lieutenant John Macready, extracted him from the plane, but the image of his friend’s eyes stayed with him. In the 1930s, Macready partnered with Bausch and Lomb, a company specializing in eye health products, to develop teardrop-shaped, green-tinted glasses, designed to ban the sun’s intense rays, specifically for aviators like himself and his colleagues. The glasses were released to the military in 1936 and patented as the Ray-Ban Aviator in 1939.

As World War II began, the Aviator’s use within the military remained widespread both in the air and on the ground. When General Douglas MacArthur landed on the beach in the Philippines in 1944, he was wearing a pair. The moment was captured by numerous photojournalists that day and is said to be one of the main reasons the glasses became so popular. Post-war, they were worn by celebrities like Elvis Presley, David Bowie, Freddie Mercury, Tom Cruise, and Gloria Steinem. Today they’re still one of the most popular sunglasses in the world, continuing to shield their wearers from harmful rays.

How can you spot an authentic pair of Ray-Ban Aviator sunglasses? The etching on the lens is one way, along with the frame’s signature construction. They should be made from a thin metal with a double nose bridge, and the teardrop lenses should extend over the eye socket, hiding a good amount of the wearer’s face from view—the perfect accessory for a celebrity attempting to dodge paparazzi while being not only cool but fashionable.

AAmp Studio’s Andrew Ashey Shares His Design Favorites

Photo: Meaghan Peckham

What’s your design philosophy?
Architecture is for humans—it should fit our bodies, please our eyes, and feel good to the touch.

Who has been your biggest design influence?
Louis Kahn for his logical purity, Alvar Aalto for his restrained whimsy, and Paul Rudolph for his raw confidence.

Photo: Courtesy of Chairish
Photo: Getty Images / Aphap 

One piece of furniture in your space that tells a story?
I’ve been dismantling and reassembling a Paul McCobb desk that I found on the sidewalk in SoHo about 20 years ago. It’s made with simple wood joinery and screws that make it easy to break down, which you’d never know just by looking at it.

One item you believe everyone should own?
A very large plant, because they bring so much life and personality to a space.

Architectural element that’s worth the splurge?
Any connection to the outdoors, be it windows, decks, patios, porches, skylights, and so on. My favorite part of most any building is the space between it and its environment.

Favorite place in Maine to get inspired?
I could sit on a dock, boat, or beach for days and read, talk, or stargaze. I tend to have a lot of energy and can easily get caught up in it, so visiting lakes allows me to calm down, step back, and think. 

Photo: Courtesy of Wayside Tavern
Photo: Zack Bowen LLC

What’s your perfect day in Maine?
It starts with a long morning at home followed by a bike ride on my 1986 red Bianchi around Back Cove and through the Eastern Prom. I’d hop on the ferry and stop at Il Leone on Peaks Island for pizza, then it’s back home for some afternoon gardening. Finally, I’d enjoy a glass of wine and people watching outside Friends and Family, capped off with dinner (eggplant terrine, my favorite dish) in my corner bar seat at Wayside Tavern.

Local shop everyone should visit?
Strata on Washington Ave. for their beautifully curated selection of Japanese knives, kitchenware, and books.

A Maximalist Kitchen Nook Designed for a Rockstar Couple’s Personality-Packed Home

May, 2025 | By: Becca Abramson | Photography: Danielle Nagel

Multihyphenate Dani Dazey, a fashion-designer-turned-influencer-turned-interior-decorator, wrote The Maximalist (Abrams, 2025) to “empower even more people to be daring with their decor and express themselves to the fullest.” Throughout her debut design book, readers will discover playful textiles, bold color palettes, and patterns galore. Dazey shares her tips and tricks for curating maximalist spaces that feel fun and fresh. From her own rentals to drag performer Trixie Mattel’s Palm Springs motel to not-at-all-corporate offices, she guides readers through the signature Dazey look and explains how to explore it in their own homes. Despite what some may think, “Bright, playful design is for everyone, whether you live in a modest space or a mansion,” she says.

“People often tell me that living in a home as saturated as my own would be ‘overwhelming,’ but I can tell you that inhabiting a colorful house isn’t chaotic. To me, it’s energizing and creatively nourishing,” Dazey writes in the book’s introduction. When tasked with designing the new home of Fall Out Boy’s drummer Andy Hurley and his wife, Dazey took notes from her own residence to create a personality-packed, eclectic space.

In the cabana-meets-country kitchen, she painted the cabinets in alternating dusty pink and green shades that extend into the (formerly all-white) breakfast nook pictured here. A custom color-matched Mitchell Black wallpaper lines the ceiling and ties in the black window frames the couple chose to keep when they moved into the home. Scalloped edges on the cushions and a ruffled tablecloth add an extra layer of detail. Take a hint from Dazey and create a maximalist nook that sparks joy with these nine finds.


LILI CEMENT TILE IN MARTA
Old Port Specialty Tile Co. // oldporttile.com

THANDIE WATERCOLOR PRINT PILLOW COVER IN KIWI
Ballard Designs // ballarddesigns.com 

CATH KIDSTON CANOPY STRIPE GREEN & PINK WALLPAPER Graham & Brown // grahambrown.com 

GRASSY FIELDS PAINT
Benjamin Moore // benjaminmoore.com 

ROSE GLOW TAPER CANDLE Ro’Table // rotablenyc.com

SUMMER PEACH TREE PAINT Benjamin Moore // benjaminmoore.com 

SCALLOP RATTAN PENDANT Serena & Lily // serenaandlily.com 

COASTAL RATTAN INDOOR/OUTDOOR BISTRO CHAIR Anthropologie // anthropologie.com 

VENEZIA MEDIUM SMOKE GREEN GLASS TAPER CANDLE HOLDER Crate and Barrel // crateandbarrel.com

HellBent Design Studio Crafts a Two-in-One Backyard Building

May, 2025 | Photography: Irvin Serrano | As told to Becca Abramson

“A young Yarmouth couple needed distinct yet connected spaces: a quiet home office for the wife and a personal woodworking shop for the husband’s furniture design and fabrication hobby. Building two separate structures wasn’t practical, so from the start it made sense to bring everything under one roof. The key challenge was determining how to separate the two spaces: should one be above the other, should they be placed side by side, or should they be completely divided within a single structure?

“The final design is a roughly 1,000- square-foot building with two separate entrances and a volumetric shift that defines each space. The office is on the left, while the woodshop occupies the longer right side, featuring a custom translucent clerestory window. While this window doesn’t offer much of a view beyond the treetops and the underside of the roof, it allows soft, even light to filter into the workshop, subtly reinforcing its function. To enhance separation, we poured two distinct concrete slabs to prevent vibrations from transfer- ring between spaces. A double-stud wall further mitigates any additional sound transfer, and TimberHP wood fiber and cellulose insulation—along with independent mechanical systems—ensure thermal and acoustic comfort. I collaborated with Emerald Builders as the contractor, and the timber elements were fabricated by Benjamin and Co.

“Birch plywood panels line the walls inside the woodshop, combining warmth with functional versatility for tool storage and shelving. The floors, both concrete slabs by Jon Meade Design, differ in finish: the woodshop slab exposes more aggregate for an industrial feel, while the office side remains polished and refined.

“The building’s exterior design reflects the distinct functions of each space. To hint at the woodworking aspect, we incorporated timber framing and exposed rafter tails, which visually break down the length of the structure. The timbers—stained and sealed hemlock—will weather grace- fully without turning silver like cedar. The exterior siding, a deep bluish gray, shifts in orientation to create a subtle textural contrast: horizontal along the woodshop’s long volume and vertical on the taller office section.”

—Jamie Broadbent, owner and lead architect, HellBent Design Studio

Pot + Pan Kitchen Emphasizes the Gourmet Side of Edibles

May, 2025 | By: Leah Whalen | Photography: Christina Wnek

Maybe it’s the awnings that catch the eye first: brightly red-and-white candy striped, like an old-fashioned ice cream shop, angling out over busy Forest Avenue at Woodfords Corner in Portland. Or maybe it’s the assortment of brightly colored cookbooks, tea towels, and baking pans in the window, beckoning in the kitchen hobbyist. Inside, the space is welcoming, with gentle music playing and friendly staff asking if they can help. Behind the sparkling counter, the sweet treats are for those 21 and older only: each contains a carefully measured amount of THC, the main active ingredient in cannabis. “We all know about having a glass of wine or celebrating a special occasion with a bottle of champagne. But there are alternatives, and we just happen to offer them,” says Dunia Khudairi, CEO and creative director of Pot and Pan Kitchen. “We’re doing a lot of things differently.”

Along with her business partner Keri-Jon Wilson, Khudairi is determined to change what people think of when they think of cannabis stores. “We’re the only ones doing this across the country. This is completely unique to us and to Maine,” she says. “In addition to my role as CEO, I also act as creative director. Much of the refinement around what fits with the brand and what’s not appropriate for the brand comes through me. I didn’t want our space to have that feeling of utility. I try to compare it to other categories. If I need milk, I don’t just go to the milk store to buy my milk, right? I’d like to find other things while I’m there.”

“I think some people in the cannabis industry came from the illicit market and moved into the legal market, so I feel this industry can be a bit intimidating to the consumer,” she continues. “But the kitchen is somewhere that is very inviting. When you go to someone’s house, there’s this joy and connection that comes from being in their kitchen. I think there’s something about this kitchen-focused space that really allows us to invite people in.” With the help of designer Wendy Polstein of Quill Design and Tom Gagne of Evergreen Building Company, who built the cabinets, caned doors, and that eye-catching awning, they set out to make a space totally unlike other cannabis purveyors.

Wilson and Khudairi engaged classically trained chef Tara Cannaday to head up Pot and Pan’s actual kitchen. Cannaday attended culinary school in Cambridge, Massachusetts, and ran a French macaron food cart when she first came to Maine. “She brings all of this knowledge and expertise specifically about baking, and she has been driving all of the innovation that you’re seeing in the actual food itself,” explains Khudairi. “Our edibles focus on the food experience first and the ingredients second.” They also offer micro-dosed options, which again sets them apart from many other cannabis purveyors. “We get a lot of people coming in here saying, ‘I don’t even know what I should be starting with.’ And we always say, ‘I’m so glad you came in here! Because we’re going start you off with something that’s really low-dosed, which means that the worst thing that happens is that you had an amazing dessert, and you want more!’”

What are these desserts? “We have white chocolate bars that taste like strawberry ice cream cones,” enthuses Khudairi. “We have a mini lemon Bundt cake that’s perfect for two people to split after dinner. We have one gummy called a sunset slush that tastes like you’re eating a yummy fruit punch. You’re able to have this lovely food experience and also have the experience of the infusion of the THC in it as well.”

Looking around, it’s easy to see that the shop is all about facilitating lovely food experiences. In addition to the tempting cakes behind the counter, there’s a wide selection of the hottest new cookbooks stacked around the shop. Cake decorating tools spill out of apothecary jars, and edible glitter and sprinkles fill baker’s shelves. Bread baking kits share space with colorful lasagna pans. There are locally made hot sauces stacked on a shelf just above fancy imported pasta and olive oil from Italy. It’s a delightful, welcoming mixture of items, just like the best home kitchens.

“That’s really what I wanted us to be. This store should be accessible to anyone. You should be able to come in here and shop even if you’re not interested in edibles,” says Khudairi. “We actually end up having many hilarious interactions with customers who are here to buy cake boards or olive oil or a spatula. Then they say, ‘What’s all this over here?’ And we say, ‘Oh, we also sell edibles.’ And they’re like, ‘WHAT?!’” she says, laughing. “But we get so many positive responses. There are so many people who are eating edibles but not talking about the fact that they are. We’re out here saying, it’s okay; it can be a part of your lifestyle. As we like to say, we’re all about tossing the taboo around cannabis. And we’re having so much fun.”

Bake It Easy

 “We’ve discovered over the past six months that three things that our customers regularly ask for are kitchen tools, gadgets, and ingredients,” says Khudairi. Chef Tara oversees Pot and Pan Kitchen’s selection of cooking tools, so everything in the shop comes with her stamp of approval. “I think once you build a rapport with a business that always brings quality things in, you don’t have to do all that extra research yourself,” Khudairi notes. Here are a few items that we were excited to find at Pot and Pan Kitchen. 

  • Great baked goods start with quality flavors, and Pot and Pan has several unusual natural extracts like lemon and orange, as well as vanilla in different concentrations and forms, like vanilla paste and powder.
  • Need to make that bake sale contribution shine? Try some striped or tulip-shaped cupcake liners, then top with sprinkles of every hue. There are also colorful muffin tins from Great Jones to brighten up the kitchen as you bake.
  • If #caketok has enthralled you and you want to level up your cake decorating, Pot and Pan has a comprehensive selection of piping tips, pastry bags, and fondant smoothers.
  • Is bread baking more your vibe? You’ll find powdered sourdough starter, a Danish bread whisk, and a perfect set of rising baskets for your projects.
  • Finally, if you want to make your own signature chocolate chip cookie recipe but with that little something extra, Pot and Pan Kitchen sells their own baking bar. “It’s a 70 percent dark chocolate bar, and every square is 2.5 mg,” says Khudairi. “So if you make your batch of cookie dough, you can chop up your 2.5 mg chocolate, and you add it to that cookie, you know that cookie is 2.5 mg.” Happy baking!

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