Richard P. Winslow’s work is taking over the Pop Up on Maine Art Hill November 1 – November 23. Pop Up is part of Studios on Maine Art Hill at 5 Chase Hill Road in Kennebunk.
Winslow, born and raised in Sanford, Maine, presently has a home and studio in Waterboro where not only does he create his incredible works in clay and glass, he also paints in a variety of mediums. Though the travel bug was a large part of his youth, he has called Maine home for many years.
“I started doing pottery many years ago in my college years,” shares Winslow. “The world of work distracted my art and pottery output for several years. It wasn’t until later that I was able to get back to my arts and crafts interest. Now they are primary in my life.”
Winslow primarily does most of his pottery working on the wheel and uses multiple methods to add texture and design to many of his shapes.
“I have explored many firing and glazing options,” says Winslow. “Currently, I mostly fire to cone 5/6 and consistently use glazes that are certified as food safe.”
Currently, Winslow does both painting and pottery and belongs to several arts and crafts associations. He also participates in numerous shows in the Southern Maine area. His studio is on the lower level of his home, where he also maintains an exhibit space.
Richard P. Winslow’s work is at the Pop Up from November 1 – November 23. Pop Up is part of Studios on Maine Art Hill at 5 Chase Hill Road in Kennebunk. Please stop by to learn a bit more about his life and his work.
Words from Artist Charles Bluett.
Cancer will be stopped one day and a comprehensive cure found beyond the progress we have made so far. As a person who has had and has loved ones go and going through cancer, it is all the more apparent to me just how important it is to cure this terrible disease once and for all.
To do this takes so many hard working people and lots and lots of Money to continue the momentum needed to achieve this and so help everyone and their families and loved ones successfully make speedy recoveries and navigate themselves successfully down the path ahead.
The Pink Show is a superb example one such group of hard working people, and the support of those coming to the exhibition is vital in their efforts to play a part in achieving this cure along with thousands of other caring people who keep the need to raise money for research in the public eye at all times.
I am honored and grateful to be asked to participate, and my work, I hope will bring joy and moment of peace to those that view her and I hope are kind enough to purchase her as a result, the monies for which I am overjoyed to know will go towards this global effort to defeat Cancer.
Enjoy the show and my sincerest thanks to all.
To see all works from The Pink Show 2020 click the link below.
To see all of Charles Bluett’s available works click the link below.
“The average risk of a woman in the United States developing breast cancer sometime in her life is 1 in 8,” shares artist Ellen Welch Granter. “Eights is a painting of eight knitting needles with which I have made far, far too many ‘chemo caps.’”
Granter is one of almost thirty artist from Maine Art Hill participating in the 3rd Annual Pink Show raising funds for the Real Men Wear Pink of Maine campaign. This show hangs in the Pop-Up Gallery at Studios Maine Art Hill in Kennebunk from October 1 to October 31. Some artists are participating for the first time, yet many have been involved since the beginning.
The owner of Maine Art Hill, John Spain, aka Real Man, has once again been selected for the to be one of seventeen candidates taking part in the American Cancer Society’s Real Men Wear Pink of Maine. RMWP gives men a leadership role in fighting breast cancer. Spain incorporated The Pink Show into his Real Men Wear Pink campaign as a way to grow the support he is able to give back.
“Breast cancer affects everyone. That’s why we’re recruiting men to fight breast cancer through Real Men Wear Pink. This distinguished group of community leaders is determined to raise awareness and money to support the American Cancer Society’s mission and save more lives than ever before from breast cancer,” says The American Cancer Society. “Every dollar raised helps the American Cancer Society save lives from breast cancer through early detection and prevention, innovative breast cancer research, and patient support.”
Real Men Wear Pink is an opportunity and an honor for Spain. Cancer has touched his world personally, as it has many. This also holds true for Maine Art Hill’s employees and participating artists. Each has fought with this disease, either individually or alongside family members.
“Taking care of each other can be a difficult task. We often don’t know what to do to help. RMWP focuses help where it is needed here in Maine,” says Spain. “This is everyone’s disease, be it a survivor who continues to fight every day or battled bravely but lost the fight. My job and the job of RMWP is to work hard, so they don’t have to.”
The gallery and their artists have teamed up to give 20% of all proceeds back to Spain’s campaign. Each sale is impacting the fight, and everyone on Maine Art Hill is supporting this endeavor.
The complete show may be viewed virtually through www.maine-art.com and opens with sales beginning at 10 AM on October 1. The galleries on Maine Art Hill in Kennebunk are open at 10 AM every day. FMI: 207-204-2042 or [email protected]
Be on the lookout for Spain’s alter ego, Real Man, around the area. To learn more about the show and the cause, visit Maine Art Hill’s Facebook page.
Claire Bigbee, Heather and Holly Blanton, Charles Bluett, Karen Bruson, Donna D’Aquino, Mark Davis, Alex Dunwoodie, Elizabeth Ostrander, Kathy Ostrander Roberts, Margaret Gerding, Ellen Welch Granter, Rick Hamilton, Liz Hoag, Julie Houck, William B. Hoyt, David Jacobson, Ingunn Milla Joergenson, Kevin Keiser, John LeCours, Ryan Kohler, Jill Matthews, Karen McManus, Craig Mooney, Trip Park, David Riley Peterson, Janis Sanders, Bethany Harper Williams, Richard Winslow, David Witbeck.
Craig Mooney’s one-man show is on display for three weeks at The Gallery at Maine Art Hill in Kennebunk, beginning Saturday, September 26, and running through most of October. The gallery at 14 Western Ave is showing this work through October. They are open every day at 10 AM.
Mooney, primarily an oil painter, has been with Maine Art Hill for over thirteen years. His work is well known, and a “Mooney Sky” is unmistakable. This show holds several of these famous seascapes and landscapes, but there are more than a few unexpected beauties.
John Spain, the owner of Maine Art Hill, notes, “A Craig Mooney Solo Show is always stunningly beautiful. However, there are continued surprises each and every time he shows his work in a large collection such as this.”
Mooney built this new body of work around romantic feelings of solace and quietude.
“For me, this is pure escapism from the current climate,” says Mooney. “Times like these, I draw deeper into myself. I’ve sought out more classic motifs such as the lone boat on a quiet shore or the light on morning waves on the horizon. These universal themes may be slightly different but still convey comfort and safety.”
This spring Mooney used his time to experiment with new ways of viewing subjects and different techniques.
“In some cases, I’m striving for an economy of information on my canvas, looking to distill what is essential to convey my intent,” Mooney explains. â€œSometimes, that’s as simple as leaving areas of the canvas unpainted or removing hues I normally include.
Mooney finds inspiration in all the places he has called home. Be it his native Manhattan, the mountains, and farms near his studio in Stowe, Vermont, or the beaches of Maine and Cape Cod, where he spends as much time as he can.
“I imbue these semi-abstract renderings of place with universal emotions. These works are meant to bring peace to those who view them,” Mooney shares. “They are a gentle reminder that life goes on and assure that there is cosmos amid this chaos.”
The Gallery on Maine Art Hill is at 14 Western Avenue in Lower Village, Kennebunk, and is open at 10 AM daily. This show will run from September 26 to October 26. FMI visit maine-art.com or call 967-2803.
MORE ON CRAIG MOONEY
As the seasons change, it’s always exciting to have a new artist find a new home on Maine Art Hill, it is no different with R Scott Baltz. Actually, especially with Baltz. His beginnings in the art world were all about change.
Baltz was born in Pennsylvania but attended college in Delaware. His first year was as a biology major. It was also his last year.
“It wasn’t what I envisioned for myself. However, I was unsure of exactly what I was envisioning for myself,” Baltz laughs. “I am a searcher. It is my personality.”
Baltz spent several years doing odd jobs, which in turn created lots of failures.
“Failure is so critical. It helps us to know what we do not want,” explains Baltz. “Failure is just as important in a painting. It is how we move forward and how we learn.”
When he was in his mid-20s, Baltz discovered photography. In his words, not only did he find it, he was entirely consumed by it. Soon after, he began photography school in Colorado on the western slopes of the Rockies.
“It was a fantastic year, just so incredible. I was starting to learn who I was and what I wanted,” Scott says. “It enabled me to have a sense of direction in my life, and I have very fond memories of this time.”
In his initial photography work, he used 35mm but began progressing into using the large format 4×5 camera, an old-style camera that looks like an accordion.
“Everything is upside down and reversed when you look through the camera. It requires some getting used to,” Baltz says. “I do feel, in retrospect, it allowed me to develop my eye. Particularly regarding composition, which is critical in painting as well.”
For about thirteen years, he worked with a camera. He did everything from calendar work and magazine work to selling prints in galleries. He focused on the details in the landscapes, with the focus being close up.
It was the comment of a dear friend that began his refocusing.
“One of the fantastic things about your work is that you take photos of things I step on.”
“It was so true,” says Baltz. “I like the patterns and simplifying the chaos.
By the late ’80s, Baltz came to Maine with his camera in tow. He was not at all confident about what he was looking for. But as I told his girlfriend at the time, “I’ll let you know when I see it.”
“I ended up at Mount Desert Island and Acadia National Park. I fell in love,” he puts it simply. “The mountains were appealing to me, probably reminiscent of my time in Colorado.”
Baltz is a person who spent a lot of his time around inland bays and the ocean. For him, there was an additional appeal to the island, especially being surrounded by the changes of tide.
“All the things that go with island life are fascinating to me. Its transition. Its movement. Its change,” he says. “Nothing is ever the same. Not only do I like that, but I am also physically drawn to it.”
Baltz swims, paddleboards, kayaks, and is an avid fly fisherman. He is definitely a water person.
“Many of my favorites revolve around the water. It is seen in my paintings. There is usually a prominent place for water in my images,” Baltz shares.
At one point, he truly started spending a great deal of time in Maine. Baltz met an artist, rented a cottage from her, and they became great friends. She was a watercolorist, and it was about this time he felt his photographs changing. They were becoming more painterly.
“Although I wasn’t quite aware of this change until someone asked me if my work was photographs or paintings?” Baltz shares. “That is when I realized the transition was taking place.”
After a one hour lesson in watercolor, he was set loose with some paints and brushes.
“A whole new journey began, and it opened up my world in another way, which photography had not. It was an evolution of things. It was another layer of creativity for me, and I became consumed by it as well.”
Eventually, he put down the camera and sold all of his 4×5 equipment and moved strictly into painting.
“I had worked in watercolor for many years. And I felt another transition coming. I was ready to move on to something meatier, something with a more tactile quality, perhaps another medium,” Scott says. “As it turns out, that medium was oil paint.”
Ironically his photography instructor from Colorado had moved to MDI as well. After a random phone call and the “donation” of 85 tubes of professional paint, change began again.
“His donation allowed me to experiment freely without worrying about the added expense of going into a new medium,” says Baltz. “I loved it. I loved the smell of the oils. I loved the quality and lusciousness of the paint as it sits upon the canvas. I loved the texture of dragging that brush across a canvas or a panel. There was a comfort with the medium.”
For about 20 years now, Baltz has been working exclusively in oil. Recently, however, he has been experimenting with acrylic due to the water-based medium. So, who knows what will come next.
Here is just a bit of explanation for Julie Houck newest print works. So incredibly beautiful. These prints are still one of a kind works, just produced in a manner very different from her landscape work.
In intaglio printing, the lines to be printed are cut into a metal (e.g. copper) plate by means either of a cutting tool called a burin, held in the hand – in which case the process is called engraving; or through the corrosive action of acid – in which case the process is known as etching. In etching, for example, the plate is pre-covered in a thin, acid-resistant resin or wax ground. Using etching needles or burins, the artist or writer (etcher) engraves their image (therefore to be only where the plate beneath is exposed). The plate’s ground side is then dipped into acid, or the acid poured onto it. The acid bites into the surface of the plate where it was exposed. Biting is a printmaking term to describe the acid’s etching, or incising, of the image; its duration depends on the acid strength, metal’s reactivity, temperature, air pressure and the depth desired. After the plate is sufficiently bitten it is removed from the acid bath, the ground is removed gently and the plate is usually dried or cleaned.
To print an intaglio plate, ink or inks are painted, wiped and/or dabbed into the recessed lines (such as with brushes/rubber gloves/rollers). The plate is then rubbed with tarlatan cloth to remove most of its waste (surface ink) and a final smooth wipe is often done with newspaper or old public phone book pages, leaving it in the incisions. Dampened paper will usually be fed against the plate, covered by a blanket, so when pressed by rolling press it is squeezed into the plate’s ink-filled grooves with uniform very high pressure. The blanket is then lifted, revealing the paper and printed image. The final stages repeat for each copy needed
Three to four colors of ink are mixed, each of a different viscosity. This viscosity is adjusted by the addition of uncooked linseed oil.
Metal plates, usually copper or zinc, are used, as in the intaglio processes. The artist produces images on the plate by etching lines or textures. The plate is then inked in several stages. The first ink would be fairly dense—of a relatively high viscosity. The application of the high-viscosity ink is carried out as in any intaglio process: by forcing it into the recesses of the plate and then wiping off the plate’s surface with a tarlatan.
Ink of a second color, and the thinnest viscosity, is then applied to the surface of the plate with a hard rubber roller, so that it covers the plate in one pass and only transfers onto the highest areas of the plate. Ink of a third color, and a much stiffer consistency, is then applied to the lower areas of the plate with a softer rubber roller. The varying viscosities of the two rolled-on inks prevent them from mixing. A fourth color, of even thinner viscosity, can also be applied at this point. This color is either spread out on a glass plate, which is then pressed against the printing plate so that the ink only adheres to the highest points of the metal plate, or it is applied by a hard roller applied with very little pressure.
This process may be done with a monotype as well. Inking the acrylic or plexiglass plate with one ink with a very high viscosity, and following that, rolling a very loose ink over it, produces two tones on a single plate. One may attempt to scratch an image onto the plate, but acrylic and plexiglass plates are more temperamental than copper or zinc, and wear out sooner.
A sheet of printing paper is then placed on the upright plate and passed through a printing press, which prints all of the colors simultaneously. This is of a certain advantage, as in some other multi-color printing processes, correct registration of the blocks presents a difficulty.
MORE ABOUT JULIE HOUCK
The state of Maine is famous for her diverse scenery and skies, and of course, colors. For most of September, three local female artists are celebrating it all.
This collection at Shows on Maine Art Hill, 10 Chase Hill Road in Kennebunk, features the work of Julie Houck, Claire Bigbee, and Liz Hoag. This is the last show of the season for the hilltop gallery, and it is slated to be a beauty. The doors are open on September 5 through September 24.
John Spain, the owner of Maine Art Hill, says, “These three talented, local women continue to amaze. Each sees this area they call home through different eyes and from different vantage points, so together, they capture the best of our state. Separately, they are incredible. Collectively, they are magic.”
Artist Julie Houck finds her magic in the sky. Many of her paintings are in oil, but a few are encaustic or a blend of both. The essence of light and classical training is seen in her work. Transparent layers are used to create luminosity. Landscapes and seascapes are a primary theme in Houck’s work. This year, however, she has also added abstracts.
“My abstract works veer sharply from the physical world. They find their inspiration by delving into the realm of painting what can only be felt, experienced, or thought,” says Houck. “Conversely, I am inspired by the interplay of light on the landscape. Painting softly allows me to recreate that one particularly special moment when the land, light, and atmosphere seamlessly fuse.”
Artist Claire Bigbee’s process with oils is also a response to the atmosphere and the view and the painting. For Bigbee, art is an expression of those moments when struck by her surroundings. There is something behind the scenery that drives her to return to nature. Everything is interconnected and part of one force, a genuine feeling of oneness.
“My paintings are inventions of nature through careful observation of the color relationships when the painting is underway. I prefer this approach rather than the idea of reproducing nature,” shares Bigbee. “Staying open and in the moment where you get lost, or the accidents occur, can turn the painting on or thrust it in a new direction. Those are thrilling moments when you’re on the edge of a painting. You get lost for a while.”
Lastly, we wander inland and change to acrylic paint, and no one does this better than Portland artist Liz Hoag. Finding her sanctuary, Hoag walks in the quiet of the woods, and in her studio, her new works focus on the soft and pure and represent even more of Maine.
“It’s important to find ways to focus on simpler things in life and remember that beauty still exists. Especially in Maine. The brooks, ponds, lakes, woods, and ocean give me that quiet calm I desperately need,” says Hoag. “I’m so lucky to be an artist who gets to interpret the beauty of this world. Taking the peace I find out there, I bring it to paintings so that others can also maybe find peace in beauty.”
This art show is a piece of quiet, a deep breath, and a gentle blossoming of Maine’s colors, and is not to be missed. It opens at Shows on Maine Art Hill starting Saturday, September 5, and runs through Thursday, September 24. The gallery at 10 Chase Hill Road is open daily from 10 AM to 5 PM. FMI call 207-967-0049. This show can be viewed online beginning Wednesday, September 2, at www.maine-art.com/shows.
Read more about each of these artist click the links below
See the complete collection of each artist click the links below
“Right now, my studio is my sanctuary.”
When the world gets crazy, we each need a sanctuary. For some, it is bright and shiny. For others, it is peaceful and calm. For artist Liz Hoag, it’s home.
“Though sometimes it’s hard to focus on complex tasks when thoughts of what’s going on outside these walls swirl in my head, I have managed to quietly create,” shares Hoag. “The creamy feel of paint on a brush and the unexpected success of an even a tiny section of a painting that feels just perfect makes my days.”
If not in her studio, Mother Nature provides a sanctuary of her own.
“Many of us are filled with anxiety about what’s coming in our country. It’s important to find ways to focus on simpler things in life and remember that beauty still exists,” says Hoag, “especially in Maine.”
Nature is moving on with or without us, and Hoag is still out walking, always looking for a painting.
“The brooks, ponds, lakes, woods, and ocean still give me that quiet calm I desperately need,” explains Hoag. “The color and light are still gorgeous, the smell of the air still clean, the woods still quiet. This helps me feel balanced in what feels more and more like an off-balance world.”
Liz Hoag is one of the lucky ones. She is an artist who is inspired to interpret the beauty of her world.
“I take the peace I find out there and bringing it to paintings so others can also…just maybe… find peace in beauty.
A more few links for Liz Hoag
Not only will Julie Houck be exhibiting her skyscapes and landscapes in her 2020 summer show, but she is also sharing a few abstract works.
“I am inspired by the interplay of light on the landscape, which is ever elusive and always changing,” shares Houck. “Painting softly allows me the opportunity to recreate that one particularly special moment when the land, light, and atmosphere seamlessly fuse.”
Conversely, Houck’s abstract works veer sharply from the physical world and find their inspiration by delving into the realm of painting what can only be felt, experienced, or thought.
“This departure from the landscape is merely a change of focus from looking outward, to looking inward for inspiration,” explains Houck. “The possibilities are infinite.”
As an artist, Houck approaches each painting, believing that it is not enough to paint the literal view.
“My goal is to also capture the essence of a place, emotion, thought, or idea and hopefully connect you viscerally to that experience.”
A more few links for Julie Houck
More stories from Julie Houck
Link to her complete collection of available works