Although I revel in the sight of the sea, it’s the Maine light that grabs me. The uncluttered skies hint at the smell of brine, mussels, seaweed, lobster, fish, ducks, and birds. Salty marshes, mysterious dunes, or the sea itself inhabit the lower edge of the painting and gently hold the sky and its moods for our contemplation.
“All my work in this year’s show is of landscapes. Wide and open ones. They vary from dawn to dusk, rivers, marsh, and ocean,” explains artist Ingunn Milla Joergensen. “I spend a lot of time in these various places. It is where I can breathe, reflect, and find peace. This last year these aspects are more important than ever, to recharge and find beauty in nature. “
“I live deeply in color, and these paintings are truly about color. Color relationships, both complementary and contrasting. I work with the colors seen, what’s in front of me, then my other four senses fire up, and I build my artwork. They are brushstrokes over and under lapping-romantic notions, a hardy story coupled to the physical wonders of life on canvas and life.”
“As a general theme, I have been thinking about the fun side of isolation and all the hidden or guarded spaces that exist,” shares Kohler. “Treehouses in the woods, hidden beaches, or even personal watercraft. These are places to be alone and reflect.”
I guess there’s something to be said for making sure the drawing is just right before applying paint,” explains Witbeck. “However, my brain doesn’t seem to work that way. I tend to find the painting through trial and error on the canvas.”
“It starts when something in the landscape speaks to me. It may be a very small thing, instead of something grand,” says Baltz. “Maybe it is just the way the light hits the tree or something that stands out as being a little unusual. So often I find it deeply, movingly so, beautiful.”
My goal is to capture the gesture of the bird. It’s its essence. I am not concerned with details of the eyes or feathers, for example—more, of the form of flight. My recent wall piece of assembled birds of various colors at Maine Art Hill is a good example of what I am after. Each bird is interesting, in and of its self, and together forms a more intricate sculpture. The birds are placed in a formation that is influenced by observed birds in flight. Angling up, lifting off, soaring. Actual colorings influence the birds’ patterns and colors, but the birds are representational of actual birds.
The first layer or two of his current work is acrylic. He works quickly and easily. It comes naturally. Once the painting is in a “good place”, he switches to oils and continues building texture, adding and removing loosely applied layers of color before finally defining focal points of the painting with crisp, graphic lines. The end result being something different and interesting.
“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.”
These prints are still one of a kind works, just produced in a manner very different from her landscape work.