These two photographs are reminiscent of the Victorian Era. Euro in Libro is photoshopped and sized like a tintype and The Ghost of You is also photoshopped and nostalgic of the times of the religion of Spiritualism; when seances and channeling the dead were popular.
Victorian cat photographers such as, Harry Pointer and Harry Whitier Frees used cats as models, sometimes dressing them up in costumes and then selling their photographs as postcards, greeting cards and other advertisements. They were very popular and done for everyone’s amusement.
(I do not pose my cats; I just let them be themselves.)
Euro in Libro, Photography, 2.75” x 3.5”, $50
The Ghost of You, Photography, 4” x 6”, $50
Contact: amybellezza@gmail.com
The Mind Reader
Acrylic and colored pencil on panel - 19 x23 – 2021 - $550.00
The Magician’s Assistant
Acrylic and colored pencil on panel - 15 x22 - 2019 - $450.00
Geometric arrangements that may appear figurative, only tease the viewer into believing that their existence is otherwise.
Contact Info
andrewchulyk@gmail.com 207-468-3962
Spirit Rising
Ann Tracy
In January
Feeling hopeful with talk
Vaccines may be coming
I began to feel
Spirit Rising
I opened the portals
And in she flew
Like an Emily Dickenson bird
Spirit Rising is a limited edition (series of 25) print which can come in sizes from 8 x 8" up to 30 x 30". This can be made as either a print or a print on gallery wrapped canvas.
http://anntracy.blogspot.com/
https://www.etsy.com/shop/AnnTracyFineArt
http://fineartamerica.com/profiles/ann-tracy.html?tab=artworkgalleries
This work is about a Journey.Dorothy escaped the Winged Monkeys through perseverance, courage and determination.With the help of her friends ,and her red shoes she got back to where she wanted to be, Home.
oil,mixed media 24"x32" 2021 $450.00
Anne Strout
207-318-1830
www.annestrout.com
Brooke Lambert is a printmaker and painter whose work explores the world of light,
pattern, and color in the ocean. Her work celebrates light reflecting on the ocean’s
surface and bouncing off cracks and crevices under the water. In our current climate, she
feels strongly about the importance of sharing these moments of brightness and hope.
Her primary medium is collagraph printing, in which she builds low-relief plates, inks
them and runs them through a printing press, creating unique embossed paper prints.
She then paints her prints adding rich, luminous color.
"Afloat" collagraph with gouache 16"x20" 2020 $650
"Fire and Water" collagraph w/ gouache 10"x8" 2020 $250
www.brookelambertartist.com
brookelambertartist@gmail.com
Facebook: @brookelambertprintmaker
Instagram: @brookelambertartist
C E Morse
Worms. From the series: Faded Celebrity
Farrago #10. From the Farrago series
Worms: Archival pigment of paper; image size 12 x 18 ( paper size 16 x 20 ); created 2016, $450.00
Farrago #10: Archival pigment of paper; image size 12 x 18 ( paper size 16 x 20 ); created 2019, $450.00
Growing up a classic car enthusiast, I spent a lot of time in vintage salvage yards where I discovered incredible visual elements that inspired me the same way as did the great abstract painters. I traded my toolbox for a camera.
I now hunt for this wild art from which I create fine art photographs.
I look closely at everything; subjects both manmade & natural; embellished by chance and patinated by nature.
There is no reference to the identity or the scale of what I photograph; the abstract imagery coaxes a personal interpretation contingent upon the viewer’s imagination.
While on the hunt for wild art I stumble across many roadside delights which catch my eye & imagination; such is the case with "Worms"; How could one resist night crawlers "endorsed" by Marilyn?
"The real voyage of discovery consists not in seeking new landscapes, but having new eyes."
- Marcel Proust
C E Morse
87 Mill Road
Studio A
Cumberland Center, ME 04021
(207) 415 3763
#c_e_morse_abstract_art_photo
cmorse1@maine.rr.com
Christine Sullivan
Thanks to the Grateful Dead for inspiration:
“The wheel is turning and you can’t slow down
You can’t let got and you can’t hold on,
...
Big wheel turn by the grace of God
Every time that wheel turn round,
Bound to cover just a little more ground.”
--Jerry Garcia
This wheel is only a glimpse of what we can experience in life. I’m in awe of it all.
Mixed Media Collage, 12” x 12”
$1200
Christine Sullivan
207-553-3958
While most of my landscape paintings are products of my imagination, It was January when we met was inspired by the Portland Performing Arts building. Friends for Life was inspired by the Oregon coast. Both locations hold special meaning for me and seemed to provide clear guidance to capturing their essential nature and energy.
Friends for life, oil on canvas, 50.5 x 62.5, 2019, $2,800
It was January when we met, oil on canvas, 20" x 20", 2020, NFS
These were both created during the quarantine times in 2020, with one of them finally being finished in 2021. Catedral Basilica Santa MarÃa La Antigua is based on a pre-COVID trip to Panama to visit family. There was light in the sky a lot to look forward to. This painting was finished and exhibited a few weeks before everything closed. The exhibition was the first open studio I had done since moving to the Brunswick area, and I had a large crowd. Things were hopeful that I could finally draw a crowd and sell some of my work. A few weeks later the studio closed to the public until June, 2021.
COVID Nights was created just a few weeks after Catedral Basilica Santa MarÃa La Antigua. Obviously things were quite different, and it is a reflection of the darkness that was felt when all the hard work that had gone into finally opening a studio was for naught.
Catedral Basilica Santa MarÃa La Antigua - Oil on Canvas - 24"w x 36"h - 2020 - $750
COVID Nights - Oil on Canvas - 18"w x 27"h - 2021 - $625
Both works can now be seen at Greg Mason Burns's studio at the Fort Andross Mill in Brunswick, ME. To get in touch, please contact him at gmburns@gregmasonburns.com
I am a artist photographer who uses the ancient medium of encaustic wax with my photographs. I use many layers of pigmented and clear wax. Each layer is fused with a heat gun.
I add or subtract wax with many tools, such as dental picks to scribe make texture and scrape the surface to reveal the photograph under and above the wax.
#1, Birds on a Wire, Encaustic Wax on Panel, 8x10, 2021, $100
#2, Brick Island, Encaustic Wax on Panel,17.5x12.75, 2020, $375
Janepageconway.com 207-798-0668
We don’t currently have a viable system for recycling. Maybe we never have and like many broken systems, it’s another thing that's become more obvious during the pandemic.
I feel a great deal of guilt and confusion about it. During lockdown I gave myself the challenge of trying to make something beautiful from the debris.
Jen Joaquin
Born and raised in Maine, I continue to make my home and my art here. My love of color and interest in the structure of things are the main influences in my art. I paint because I like to move paint around, I paint because I don't know what else to do. Mostly I paint because it makes me happy.
Tansy Flowers, acrylic on wood, 24"x18", 2012, NFS
Show Time
Jim Kelly
I always like an element of surrealism in my images.
I like to explore the nature of absurdity in my artwork.
I like bold color and seductive lines in my pieces.
Show Time, mixed media, 38x50 inches, 2021, $1200
The Processional , mixed media, 38x50 inches, 2021, $1200
These two photographs taken in NJ in 1979 speak to the present. In one photograph, striking Puerto Rican contract farmworkers declare “We are not slaves” and another asks “what is justice to me?” They were picking peaches and they struck for better wages. The police were present to “to keep order” as urban blacks and latinx were bused in to take the striking farmworkers' place. In the second photograph, a pensive young farmworker seems caged by profound social realities. For me, these photographs speak to the enduring racism and profound economic disparities at the root of an oppressive social system.
Farmworker in Camp 2 8”X10” 1979. NFS
I ask the question, who am I and where am I going?
Dance of Life 4 block lino print 12” x 12” $150.00
Moral Turning Point 1 silk screen/lino block print 20” x 25” 325.00
joyceellenweinstein.com
website: www.joyceEllenWeinstein.com
These unique prints evoke losses of both the recent pandemic past and decades before. Disappearing Acts arose from the fact of global, horrific death which continues unabated in places. Last Tern, as it sails off the page, becoming transparent, is representative of declining, threatened, endangered and extinct species, victims of a rapidly changing climate. We are the tern.
Disappearing Acts, monotype, 14” h x 10”w unframed, 2021, $200
Last Tern, monoprint, 15”h x 20”w framed, 2020, $200
In 1957 Dorothy Counts-Scoggins walked down North Irwin Avenue in Charlotte, North Carolina and into history as the first Black student to integrate what was then Harding High School.
An antagonistic crowd of white students and adults greeted her with racial slurs. They threw trash at her and spat on her as she calmly walked toward the school.
Today that school is known as Irwin Academic Center and it has become a very diverse magnet school where children are bused from all areas of Charlotte.
My grand-daughter, Penelope Mae Williams, standing in front of Irwin, is one of many children of color who attend the school. Unlike Dorothy, Penelope is greeted each day with welcome smiles, high fives and, pre- covid, hugs. And everyone knows her name, as she is the only child at the school who walks to school, down that same street that Dorothy Counts-Scoggins walked down all those years ago.
The book Penelope is holding and which gives the photograph its name, is “Glory: Magical Visions of Black Beauty” by Kahran and Regis Bethencourt, with contributions by Amanda Seales
Digital Print 8"x11" 2021 $150
acrylic on panel 18" x 18" 2021 $650
In my view, painting is a language and territory in which a unique perspective converges with other voices and perceptions, in order to consult and give meaning to the realities we experience, either intellectual, sensorial or spiritually speaking. I have also found in my drawings and paintings an answer to the limitations we experience as intellective and sensitive beings. Some concepts and ideas can be inexpressible in a linguistic system of knowledge because of their ineffable character, such as the meaning of "detachment", "illumination", and "sublime" that can be found in almost every philosophical tradition. Through paintings, I think, we are able to overcome those linguistic barriers. The creation of new imagery also brings new concepts and new realities. Each time that I draw or paint, an entire world of meanings appears, illuminating the relationship between the cultural, symbolic and the spiritual.
I am a Chilean artist. In 2012 I published a collection of postcards called Luces Jade through Pez Espiral, an independent publishing house dedicated to poetry and object-books in Chile. As an illustrator I have also collaborated on different projects: in the international exhibition Infraleve (2008) as a tribute to the French artist Marcel Duchamp, which culminated in the publication of an object-book and catalogue Caja Blanca (www.infraleve.blogspot.com); in the magazine Dado Roto (Barcelona, 2008); in Paisajes Nómadas (Piedra de Sol, 2011), a poetic anthology which included illustrations of the poem "Füchse von Llafenco" by the Chilean writer Gloria Dünkler; in special issue Nº17 of Alba Magazine (Paris, 2012) with illustrations in the "Metamorphosis" section (www.albamagazin.de).
In February 2020 I was invited to show part of my work at The Common Gallery, (Presque Isle, ME). The exhibition was called Hierophanies, in it, I explored the idea of how we relate to the spiritual in its most symbolic nature. Etymologically, the word itself comes from Greek hiero-, "sacred," and phainein, "to show"), a term designating the manifestation of the sacred. In other words, 'Hierophanies take place in the soul, not in things'. This collection invited us to dive into inner realms of active imagination and crystallize these emblems beyond our own limitations. The two pieces I have submitted to the June Members Exhibit share many of the same topics I mentioned above.
Crow at Dusk Acrylic on canvas board. 11"x14" 2020 $400.00 (before taxes)
Sojourn Acrylic on canvas paper 9" x 12" 2020 $300.00 (before taxes)
Human society as we know it is not likely to survive whatever combination of events will end the Anthropocene, nor does it deserve to. But I believe it’s important that a record of how the world looked as we approached the end is kept by people who have sincerely loved the world and recognize the violence done to it. These pictures are from an on-going cottonwoods project, produced in Spring 2021 in residence at the Red Barn Studio Museum, Lindsborg, Kansas.
Smoky Hill River, Lindsborg, KS, 12" x 12", B&W inkjet print on cotton rag paper, 2021, $240
Shelter Belt, somewhere in McPherson County, KS, 12" x12", B&W inkjet print on cotton rag paper, 2021, $240
Mark Barnette
Portland, ME
207-321-9747
"COVID No. 10 Pandemic series. 2020
On Stonehenge paper done in early ZoAl,April-Oct 2020A in response to my feelings with regard to the Pandemic.
*CRY FREEDOM" is a 1987 epic drama film directed and produced by Richard Attenborough, set in late1970s apartheid-era South Africa. The film centres on the real-life events involving black activist Steve Biko and his friend Donald Woods, who initially finds him destructive, and attempts to understand his way of life. Denzel Washington stars as Biko, while Kevin Kline portrays Woods. Cry Freedom delves into the ideas of discrimination, political corruption, and the repercussions of violence.
COVID-19 No. 10; 2020 Mixed Media on Stonehenge paper; 18" x 26"; 2020; $1,500 ; the framed size is 22" x 30"
CRY FREEDOM; Mixed Media on canvas, 20 x 24; 1987—revised 2021; NFS pvt col.
Comments
Post a Comment