“I use the woods as a starting point for an abstract idea. Then, by intentionally cropping the view, I consciously retain a substantive structural focal point within the composition,” shares Hoag. “I use other elements that guide the audience to look around the space and return to the focal point. The forms from nature I choose to retain are weighted and colored in a way that makes the viewer feel sure of their footing, feel balanced, feel comfortable.”
The depth of the pieces Roberts creates, sometimes fifteen or more layers of wax, allows her to occasionally embed bits of ancient ephemera like ship-captains letters or bits of mica, birch bark or other treasures one might find along the coast.
Only us, Maine is a painting about a specific rock formation and cove that for Fitzgerald is home. Each time he returns to this piece of work, he travels a different course, from the color that suggests objects to two hues that are so compatible that together they evoke emotion.