DAVID MOSER | Caribbean Nice, 2016, bronze, 26” x 10” x 10”
“For as long as I can remember, I’ve made things. Growing up in the workshop I had apprentice chores, but after they were done I would cobble together toys and, when I was older, furniture. As my talent and focus developed, I sought to apply myself toward the more abstract—objects that were less structured and more intuitive. My approach to design is from a sculptor’s eye. Over a lifetime of building, I have become conditioned to detail, humbled by material, and driven to control it in such a way as to manifest my imagination. Largely, I work in wood, clay, stone, and bronze. I find that, like most people, I have an innate connection to these noble materials. The direct mind-to-hand \ manipulation and tactile satisfaction pacifies me in ways steel, glass, and other composites simply cannot satiate. Indeed, humans have had a shared relationship with these materials longer than any others, and they have formed our experience of the world. Mastering them connects us through the ages. I did not choose to become a sculptor so much as it chose me.”

HOLLY LOMBARDO | Distant Hues, 2017, acrylic on canvas, 24” x 24”
“When I am in the woods or near the ocean, I not only hear the sounds and smell the air, but I see colors. Growing up in Brunswick, I always noticed the colors in nature: the greens and grays in the rocks and ocean, the dappled sunlight on the trunks of the great pines, and the blues and purples in the shadows of the snow. This color palette continues to inspire my work. With each brushstroke I capture light and movement between colors, and I let my eyes dance over the canvas as I record nature’s artwork in my own way. Because I am self-taught, I have no constraints, and I paint with a freedom of expression and curiosity about the colors I mix. When I look out the window during any season, I not only appreciate the majestic colors that Mother Nature has chosen for that day, but I am also thinking about which colors to mix on my own palette to best capture the day’s mood. I am driven by this freedom to express light and color, as I eagerly await the outcome of every new canvas that I unwrap.”

ALLEN BUNKER | Touch Me like You Do, 2015, oil on canvas, 36” x 36”
“If art represents life, then what is life? Life is complex yet simple. Life consists of simple days, waking up, pursuing short activities as well as some interesting ones, and then going to bed and doing them all over again the next day. In time, these simple activities build a life full of complexities. For me painting is the same. If the art is completely imagined in the mind, but there is no physical body to put paint to canvas, there is no painting. It’s the same with life. It needs a creator or life cannot exist. Books could be written about that one point alone, and yet it’s so simple. “I want my work to fully express the complexities of life and yet accomplish this so simply that many people will just push my paintings aside. I want my collectors to struggle with it, to ask, ‘Did he really mean it to be that simple?’ But at the same time they won’t be able to stop looking at it.”

GINNY LANE | Quietside Marsh, 2016, oil on canvas, 24” x 36”
“My passion for painting the Maine coast began during my summers growing up in Seal Cove on Mount Desert Island. My style is expressionistic and impressionistic, and vivid, loose brushstrokes give my paintings a whimsical feel. I create mood, energy, and light best when I am painting outside, en plein air, because I am forced to paint quickly. In the summer, I paint almost daily. Mostly self-taught, I have also taken numerous workshops to improve my skills and technique. Now I share my knowledge and expertise by teaching classes and workshops both in Maine and in Marietta, Georgia.”

SHAUN MACDAVID | Place for Maisie, 2012, oil on canvas, 20” x 32”
“My recent body of work could be best described as abstracted landscape. It draws heavily on the colors, forms, and rhythms found in nature. My work invokes the spirit of a place, conveying its memory and the impressions that form over time. I am not looking to copy nature, but rather to copy the feeling of nature. I often begin by making small pastel sketches and use these as a starting point. Once I move on to the canvas, emotion is expressed through the loose application of the oil paint. In some areas, paint is layered, while in other areas, raw canvas shows through. Places become more than places as they are filled with people, beings, and the memories of what they represent.
“I often choose to paint these abstracted landscapes on two panels that rest side by side. I prefer to work on the floor, as I can apply the paint from above and eliminate excessive drips. I have the freedom to move around the panels as the painting progresses, producing results that are fresh and unexpected. The paintings never appear to be overworked. Rather they are rediscovered as the panels settle into the composition that expresses my intention.”