All four of us, each a visual artist of one kind or another, saw “it” at the same moment. The potential of glass to be lit from behind by reflection while setting upright in a wood base. Abstracts, representationals, portraits, manipulables, different colors overlapping and creating secondary and tertiary colors, shapes and negative spaces combining to make new shapes and spaces.
As many artists who are encompassed by the beauty here, Matthews’s work is inspired and influenced by her surroundings. “I am struck by things visually in an instant. Be it the way light plays off of something or the color interactions on a clear blue day.
The beauty of the Maine landscape, the constantly changing elements, and the ocean are a never-ending source of inspiration for all of Joergensen’s art and design work. “It is the little things that catch my attention, a piece, a fragment, a texture, a thought, a word. Sometimes taking it all in is so much, it is almost overwhelming,” Ingunn shares. “One little shell tells the story of the ocean. A piece of wood tells the story of lived life. Beauty is found in the most unexpected places.”
“The winters are stripped down and everything slows down. I like that solitude. The light is incredible. The blue shadows in the winter and the skies. The beach. The water. The coastline. The pastoral inland views,” Bigbee raves. “The whole state is just a huge painting waiting to be painted.”
“A goal this past year was stepping out of my comfort zone. This included painting larger, and trying some subjects I’ve been contemplating and meaning to get to, especially the beach rocks,” says Alex. “The larger scale allowed me to loosen up, and I can breathe in the spaces working larger. I realize my idea of “larger” is still others’ small works, but for me, these 12 x 12s and especially the 20 x 16 feels big.”
LeCours, who works mostly in oils, takes inspiration from the natural beauty of his native New England. “The first time I painted outside, en plein air, in Portsmouth Harbor, I realized that nothing can replace the excitement and energy of reacting to the elements and painting directly,” he says. “Feeling the sights, sounds and smells and reacting to them with ‘mark making’ was a true epiphany.”
“I don’t like to paint the obvious. I like the viewer to look and find new things like the shapes of colors, textures, playful shapes and scribbles. The vast areas of sky or beach or water give me the room to play,” says Williams. “When looked at up close, all these interesting and unexpected shapes and subtle textures and colors can be found. Yet from a distance, it is clearly a sky or beach or water.”
Bluett has spent the best part of his adult life in the US. He didn’t start painting in earnest until he moved to New York City as a young man back in the late 1980’s. Even then, it was purely as a thing he took huge private pleasure from doing; a hobby.
Elizabeth Ostrander has not forgotten her “inner woman”. She celebrates her with clay and a glaze of acrylic paint to make her come alive in so many of her sculptures. “The mystical and the mythical is an essential part of my female life and experience,” says Ostrander. “Female images in my sculptures reflect not only my own experiences as a woman, but also synchronies beyond myself.”
Born in upstate New York, really, really far upstate New York, Trip Park “started” in the world of art by drawing. Not know where it would eventually lead, he took every opportunity to put pencil to paper. He didn’t just love to draw, he felt he had to draw – every and any place he could.