From time to time, I hit the road to explore different landscapes, the real ones and the landscapes of memory. Recently, I took my minimal watercolor setup and a sketch book to Kentucky for a self-directed residency.Read More
Here in Lincolnville, the back field’s been mowed and the front meadows await their turn, awash in goldenrod and asters. It’s a visual confusion of color and texture that provides habitat and opportunity for new paintings.
By now in most states, schools have started up and that has me thinking about books. Specifically, I'd like to share what's happening as I continue to cross-pollinate books and drawings.Read More
As I get ready for upcoming presentations about my work, I've been thinking about 19th century landscape painters who've inspired me, and what my response has been to artists like Théodore Rousseau, whose painting, Le Printemps, is pictured here.Read More
My statement about the collaborative drawings that Susan Bogle Finnegan and I did in Louisville in 1993, and more about Side by Side, the exhibition of our work that she's curated for the Washington Art Association in Connecticut. We used charcoal, acrylic, brushes, and our hands to paint with, but the most fun was had with a broom. Photo credit: Richard Bram.Read More
My March newsletter was all about woodlots, and generated some lovely conversations. And here we are, it's Arbor Week in Maine, and I'm eager to share some of what I'm learning about the uncanny lives of trees.Read More
Last summer, I acquired the two acre field behind my house, Since then, I've been thinking about how best to care for that additional piece of land. It's time to get started.Read More
Spring, Chocolate Soufflés and Studio Visits. Carol Eisenberg's images of my studio caused one musician friend to comment that the studio walls are full of counterpoint with "the myriad lifelike effect that counterpoint actually reaches for. Or comes out of." I like that. Read more.
Sliding into the New Year, and a look back at 2017 — 2017 was a year of exploration. New territory, new mediums, new answers to old questions. Here are my reviews and previews - an exhibition at the University of Louisville, a museum acquisition, brand new paintings and more. Read more.
Artist Plus Residency Equals Change — This one was written as I was on the way to Santa Fe, and now that I’m back home, I can report that the time I spent there was mind-blowing. I’m starting a new group of paintings based on that experience, and will share them on social media and in future newsletters as they progress. Read more.
The Importance of a Mentor is my tribute to a teacher who was one of the best. I'd known Red Garner since, as he liked to say, I was "a bump on the horizon." Read more.
A Painting Start to Finish - Painting can seem a big mystery to painters and non-painters alike, so I thought I'd share a little of how I approach my practice. Every day, before I head into the studio, I go outside for a walk to see what's changed, and who's newly arrived in the neighborhood. Read more.
Earth Day: Is There Something We Can Do? - As Earth Day approaches, I'm remembering that a few years back, I was invited to participate in an exhibition called Turning in Your Hand: The Blue Marble Project.Each artist who participated was given the gift of a blue marble and asked to respond by creating a piece that reflects our place on the planet we call home. As I thought about what it means to live mindfully on the earth, I began a daily ritual of working with my blue marble. Each day I erased an old charcoal drawing. . . .Read more.
Painting: An Act of Reciprocity - Not long ago a good friend recommended I read Robin Wall Kimmerer's Braiding Sweetgrass. Kimmerer, trained as a botanist, is a member of the Citizen Potawatomi Nation, and understands the natural world as a living presence. For her, writing is an act of reciprocity and a way to give back.I feel the same way about painting. Read more.
The Latest Erratics - Happy Spring 2017, the Year of the Rooster! You may ask what that has to do with glacial erratics, and I answer that the rooster celebrates another event in the cycle of my Erratics installations, articulated sculptures that refer to geological history. The first was twenty years ago, all the way back in 1997, at the Center for Maine Contemporary Art in Rockport. There have been five sightings since then, the two most recent at Beech Hill in Rockport in 2015 and in Farmington in 2016. So the glacier is picking up speed. Read more.