“I also like to interact with local scenes; wooded paths, Maine’s beautiful coastline, or working waterfronts. Whether it’s a coastal scene or a woodland scene,” she explains. “I love the peace that my painting style brings.”
“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.”
“Secretly…it is about the effect of light on the water. Sparkling or leaden, transparent or opaque, glossy or flat, the water’s surface is always mesmerizingly beautiful,” shares Granter. “I tried to convey the sense of peace that the water surface inspires with deeply saturated color fields. Of course, the birds are nearby.”
“I decided to work much larger for this show. It’s a bit of a challenge for me. I can’t focus on one spot of the canvas for too long. After all, it’s so large I have to constantly be backing up, taking in all in, and reworking things,” says Matthews. “I can move around a big piece differently than I can a smaller one. It’s free, but I still have to focus. So it’s a little mix of both.”
After following artist, William B. Hoyt for years, there is no other that captures the light and love found in water. Hoyt is also quite famous for his storytelling abilities. With that said, we are fortunate to have him share a little insight into a few of the pieces he created for WATER.
We love it when our artists take a few minutes to explain exactly what it is they do. Artist Kathy Ostrander Roberts breaks down how she works and how the magic happens. Click the link to watch.
“Goose Rocks Beach holds special lifetime memories for me. It is full of sun, adventure and fun. Now that I live locally I am able to capture this beach in paint anytime. It is a joy,” shares Gerding. “This is one of the first ‘beach’ paintings I have attempted, and it truly tells the story of what the beach means.”
When I was thinking about this new body of work, two things stood out initially. First, I was painting newer versions of much older, more abstracted pieces. Second, sometime after at least a decade of my work tightening up, I’m loosening up again. Corse brush strokes, less definition, a build-up of surfaces. It feels fresh again.
I have always loved the “quiet end” of the beach, where even in the heat of summer you can find open space to rest. The dune divides the ocean from the marsh, and allows for both a sunset and sunrise viewing. The large clouds held such a beautiful blue against the warm sky this evening.
“Horizons, vistas, and even cloud formations, these parts of nature drift above the sea and over buildings. Yet, they are still affixed to the earth, grounded,” explains Mooney. “To me, each is our personal lighthouses, our own beacons.”