In another life I might have been a spy. In this life, I have spent my time and energy listening, both as a psychotherapist and as an artist.
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My method is extremely simple. I seek out places that have a kind of energy I find inviting, a palpable transparency, a tension, a film of light that I can wade into until something reveals itself.
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As a photographer, I like to explore the visual jumping off points where new realities suddenly emerge, where the imagination is allowed to run free.
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As I reflect on these past few years, I am pleased to see the sense of joy and hope that permeates my work. It gives me faith to keep moving forward, one foot in front of the other, trusting the universe and what I do.
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Robert Younger started making art in the mid nineteen-sixties when Minimalism, Conceptualism and Arte Povera were unfolding.
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Originally from Milwaukee, Wisconsin, Alexander Nolan now lives and works in Lubec, Maine.
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My work evolves by applying layer upon layer of oil paint and mixed media. As light, color and space intermingle, complex and intimate internal landscapes emerge, taking the painting out beyond its surface reality. My primary intention is to develop a pulsating, airy atmosphere in which the images can breathe.
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Born and raised on Long Island, New York, Jim Westphalen resides in Vermont and has been a professional and fine art photographer for over 30 years. His work is exhibited in galleries and museums across the country, collected nationally and abroad.
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John Gibson is a painter based out of Greenfield, Massachusetts, who is known for his still life paintings of balls and spheres. Since the 1990s, this has been Gibson’s exclusive interest as he strives to explore the illusion of three dimensionality on a two dimensional surface.
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The ordinary can be quite extraordinary. Through elemental shape and form, my reference is to architectural, structural and mechanical elements. The representation of function is in an allusive and enigmatic sense, suggestive of the past. The objects are evocative of abandoned sites of human activity.
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I think of the work I make as dense short stories—compact and layered, where nuances of character, plot, and setting inform each piece’s structure and theme.
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My imagery and love of language reach back to my childhood, and are rooted in a love of color and a fascination with faces, vessels, and hands and feet, which often work as architecture in my paintings.
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Kitty Wales has taught sculpture and drawing at the College and University level including as Assistant Professor and Senior Lecturer in Sculpture at Boston University for over 25 years. She lives and works in Maine.
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In calculated performances that intersect with photography’s documentary potential, I explore ephemeral occurrences.
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Light. Time. Color. Form. Composition. These are my interests, my tools, my language.
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My work explores how different versions of one’s experience of self over time can co-exist, inform and support one another.
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As a process painter, I don’t use color as ornament -- I use it as force, as structure, as the senses made visible.
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Over the past six years my focus has shifted toward what I call the Image Object, images in our everyday world that are flat while existing in three-dimensional space.
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Lydia favors art that articulates a relationship to self, to body, space, and form. Abstraction gives her means to illustrate the often figurative sensations of loss (future tense), alienation (physical), and doubt.
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On the whole, the work is pared down and atmospheric, which is consistent with my previous paintings. They exist somewhere between representation and abstraction. Between form and formlessness.
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