Peterson’s father was originally from Maine, and the family often came north during the summer. He remembers spending that time playing with boats. “Maine is a real fishing community. They used dories for fishing and pulling nets in and stuff like that, but mostly lobster fishing. These boats were iconic watercraft years ago.”
“My works are focused on the energy of the race,” Blanton explains of her “Sports” series. “They are easily distinguishable by compositional elements of color and form. By creating a dialogue between the viewer and the subject matter, this series is a cohesive collection of flat images with a chaotic, pattern-like style where the lines and negative spaces are almost as important as the subject matter.”
Through the use of vibrant coloring and rigorously constructed compositions, I strive to compose paintings that conjure up an immediate visual impact, one that slowly gives way to engage with the detail and structure implicit in each painting.
Wade works exclusively in pastel; he is drawn to the intimacy of the chalk and the ease with which he can blend colors. The magic happens in his studio, a converted shed just off his main house. The studio, equipped with 15-foot ceilings and a house gutter to catch all the pastel dust, is set on 5 1/2 acres of farmland in Lyman, Maine, just a few miles from the Kennebunk farm on which he grew up.
Last year was full of growth and change as Maine Art Hill, the brand, and the new buildings took shape. The 2018 Summer Season was absolutely a crazy, fun and successful adventure. So now here comes the summer of 2019, and we are sure you are wondering what exactly can be expected up here on the hill.
“The friction of waves wears down form and finish to reveal the hidden structure and burnished surfaces,” he explains. “My studio is crammed with bits and pieces of ceramic trials, failures and wins serving as jumping off points for new artistic expression.”
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.
My main motivation behind my work is making connections with people. I love to talk about my work and to hear how it may affect someone. I am a self-taught artist. I use wooden panels that I put together myself. When I am working on a piece I use multiple layers of paint.
Even from her earliest memories all D’Aquino ever wanted to be an artist. She received her BS in Design from The State University College of New York at Buffalo in 1989; and her MFA in Jewelry/Metalsmithing from Kent State University in 1999. Later she went on to teach and use her skills and talents to help grown new artists. Then came the day it was time for something more.
“That’s when things took off. My “Antique Airships” and “Retro Rockets” have been an evolution of this process of fanciful combinations,” says Random. “Combining parts requires special attention to the details of conformity. If a rocket includes a lot of beautifully tarnished silverplate, you can’t just throw in a piece of brass, even if the shape is perfect.” That same sensibility does not permit a component from the 1950s, for example, to be used in combination with one from the 1890s.