Pemaquid Art Gallery

BRISTOL

Brilliant colors and geometric shapes are my newest visual language for capturing the rocky Maine coast and fishing villages. Placing one color over another until the sky is radiant and the water shimmers pushes me to create outside my traditional art training. This is participation art, inviting the viewer to bring in their own interpretation of the Maine landscape.

First Light, Back Cove 12x12 $400.

Eventide 12 x 24 $600

Just Past Sunset 20x30_$1200

Lowtide Long Cove 10 x 10 $400

DAMARISCOTTA

I am most at home with unplanned outcomes. My work combines many mediums and techniques. I consider myself to be a printmaker who migrates to collage, paint and wax whenever the urge strikes. My work is at the threshold between abstraction and reality. The seasons, temperament and rugged qualities of Maine are themes that continually resurfaces in what I create. I want my work to offer viewers a way to see with new eyes. Juicy colors and rich textures are hallmarks of my work.

Tidepool Poem

Acrylic on paper

15.5 x 18.5

Framed

$400

Summer RIver Journey

Monotype with Collage and Hand additions

16 x 16

Framed

$325

Red Moon

Monotype with Encaustic

12.5 x 15

Framed

$400

Marion's Mallow

Monotype

22 x 28

Framed

$650

SOUTH BRISTOL

“Our natural world is an ever-changing, complex, colorful and multi-dimensional continuum that has amazed me since childhood. A flicker in time offers an amazing slice of this continuum – leaves turned in the wind, the shadow of a cloud, a sea breaking on a ledge, a bird in flight. As an oil painter, whether I am painting a seascape, a landscape, or anything else, and whether painting en plein air or in the studio from memory or notes, I try to capture these moments in my pictures in a way that they may stimulate the emotions of the viewer.“

Johns Bay Swells - oil on linen panel - 12 X 16 - $675

Morning Storm Break - oil on canvas - 12 X 24 - $850

The Intruder - oil on linen panel - 12 X 16 - $500

Morning Haul on Southeast Shoal - oil on canvas - 18 X 24 - $900

A Raven- 12 X 16,  $550

 Close Hauled - 9 X 12,  $450

Winter Blues (Monhegan)- 28 X 22 (gallery wrap), $1,200.

BOOTHBAY

My inspiration is the Maine landscape and the natural surroundings of my home on Sawyer’s Island. My paintings depict the essence of coastal Maine through its ever changing colors and forms. In my Maine coastal landscapes, I focus on developing an interesting contrast of colors within a strong composition and a dynamic quality of brushstrokes that create a sense of both movement and unity.

ROUND POND

Although I grew up in an urban landscape, Brooklyn, NY to be exact, I find my most creative moments are spent in an environment that is a complete polar opposite. Nowadays I spend a large portion of the year in a very rural part of Maine, where I paint outdoors as much as possible. I suppose in some way, this connects me back to the tradition of the Hudson River School painters, however, my goal is not to represent what I see, but to bear whiteness to what I experience. Frequently my studio work is a composite of both my experiences and my memory. When my viewers feel the sense of that place, I know I have been successful.

WALPOLE

With a Master's Degree with honors from Rhode Island School of Design, a Bachelor's Degree in Fine Arts from Principia College, work toward a second Master's Degree at General Theological Seminary in New York City, Gwendolyn has loved working in watercolor, oil, pastel, pencil, mixed media and abstraction for six decades. She has called 35 different places home, has painted in France, England, Wales, Ireland, Italy, Portugal, Switzerland, Costa Rica, Grand Cayman, Canada, and throughout the U.S. Having exhibited in more than 125 juried competitions, she has garnered numerous awards and shown her work in various large-city galleries. Gwendolyn taught AP art at a college prep high school in Memphis, taught private adult art classes in St. Louis, maintained memberships in several professional art organizations, her favorite being St Louis Artist's Guild, and she has owned four public galleries--her current, Gwendolyn Evans Gallery in Walpole, Maine. Prior to moving to Maine five years ago, Gwendolyn owned Shawnee Falls Studio, Gallery & Guesthouse in Pennsylvania--a 1736 historic home, where along with classes and workshops in watercolor, drawing, portraiture, nude figure, and Herstory 9-Piece (a women's studies course which she won a grant to create), she offered 4-course candlelit breakfasts for guests staying in her antique-filled rooms. She created portraits of 911 victims which she gave as gifts to their families. "Diversity best describes my work. I seek whatever inspires, be it nature's beauty which brought me to the coast of Maine, or some truth to be conveyed about the light and dark of life. I choose the medium that best suits the idea. Watercolor is my favorite medium for its vigor and freedom, certainly the one for which I've received most awards, though I'm equally thrilled painting a 3-foot oil abstract incorporating my poetry." Writing, Gwendolyn's other love, includes two books--Bodacious Breakfasts, a cookbook during her Shawnee Guesthouse period, and a 500+ page autobiography, Hiraeth: Beyond My Father's House, A Woman's Journey Home, (both available on Amazon), plus a weekly blog (128 postings thus far) at www.voiceandvisionwordsandworks.com; each including one of the artist's paintings. Gwendolyn's professional art website, www.gwendolynevans.com, reveals the diversity of her work and gives pertinent information regarding Gwendolyn Evans Gallery, 'a hidden gem', located along the shore of the Damariscotta estuary, at 75 Hunters Landing Rd. Walpole, Maine.

DAMARISCOTTA

Since focusing intently on my own painting after retirement, I first painted only in watercolor, loving its unexpected effects, beautiful edges, luminosity and its lyrical, playful potential. In the last several years I have also returned to painting in oils and have enjoyed the re-working and structural abstraction this has allowed me. I paint the incredible beauties of the coastal Maine landscape but more recently have been exploring abstracting shapes of local architecture, boats and harbors, as well as the forms in the natural world, seeing tensions between the flat shapes I am painting on the canvas versus the volumes of the three-dimensional world being painted. I like expressing the dynamic and movement those tensions produce. Painting gives me great joy; the uniqueness of each person’s artistic expression is something I treasure.

“The Oak Winter: Snow”, oil/canvas, 20x20, $700

“The Oak In Winter: Sun”, oil/canvas, 20x20, $700

“Back Parking Lot Geometry”, oil/canvas, “20x24, $800

“A Windy Day At Round Top”, watercolor, 12x16, $350

DAMARISCOTTA

NEW HARBOR

As a child growing up here on the Pemaquid Peninsula I learned to feel a great affinity for its woods and fields, its skies, and especially the surrounding sea with all its salty nautical atmosphere where many of my ancestors and family have earned a living.

Watching the early artists at their easels along the shore inspired me to look more carefully at the beauty around us and later try to capture it myself in watercolor and pastels. Now I find it to be very fulfilling to share my impressions with others.

"Evening Sea", pastel, 12 x 9", $425

"Ebb Tide III" pastel 14"x 10" $450

"Hollyhocks at Home", pastel, 9.5 x 7.5", $350

"O'er the Ledges by the Oil House" pastel 10"x 9" $360

DAMARISCOTTA

After a fulfilling career as a secondary teacher and as a studio potter known for her porcelain artwork, Kathleen specialized in watercolors after retiring to Maine full time. She has studied with internationally known masters Alvaro Castagnet, Tony Couch, Tony Van Hasselt and Evelyn Dunphy. Locally, she has painted with Midcoast artist Jan Kilburn.

Kathleen specializes in original watercolors of coastal Maine, as well as in the Maine Historic Villages and Lighthouses series , from which her print series evolved . While the Villages & Lighthouses showcase the locales so dear to those who have visited the Maine coast, they represent a traditional style in quaint miniatures. Kathleen's other watercolors flow in a more impressionistic style.  The rocky coast’s lighthouses, fishing villages, cottage architecture, wildlife and lush gardens of the Midcoast region are favorite subjects in her watercolors. She especially delights in painting different views of the Pemaquid Point Lighthouse.

Wood Duck -Watercolor - 9"x 13" $300

Acadia's Golden Hour - 12"x 19" $475

Port Clyde Sunset - 11"x16" $450

Monhegan View - 11" x 17" $600

JEFFERSON

Douglas Houle lives in Jefferson, Maine and has been traveling northern New England for the last 32 years. Born in Manchester, Connecticut in 1974, he attended Plymouth State College and graduated with a Bachelor of Fine Arts degree in Painting in 1998. His focus has always been painting New England's buildings, objects and landscapes, creating dramatic images using light and color. After attending college, Douglas spent two years in Vermont participating in local art shows and exploring the Champlain Valley. In 2000 he relocated for a short time to Manchester, New Hampshire, before ultimately moving to Maine in 2001, where he has resided since. In the last several years Douglas has worked hard to establish his artwork in and around the Maine art scene.

“Pemaquid Rocks”

Oil on Canvas

20”x16”

$875

“Squirrel Point”

Oil on Canvas

16”x12”

$475

“Trio”

Oil on Canvas

20”x20”

$975

“Coastal Marsh”

Oil on Canvas

10”x8”

$175

DAMARISCOTTA

As a painter for over 40 years (I still teach watercolor workshops), as well as being a potter for over 10 years ago, I now focus primarily on working in clay. I enjoy the physical process of creating three dimensional work, as well as the more “painterly” aspect of glazing. Innovation and creative expression in clay is exciting to me, as I create both functional and sculptural work.

Daisy Platter 11" $85

Textured Platter $75

Blue Wall Fish $70

Sea Shell Tray $65

DAMARISCOTTA

Will’s paintings in oils are in collections across the country. Favoring coastal subjects such as waves, boats and harbors, he is the owner of Kefauver Studio & Gallery on the Bristol Road in Damariscotta, Maine. His gallery is in a restored barn, and features his work and the work of guest artists. Will instructs teen and adult students painting in oils and acrylics in his studio, online, and and in plein air workshops.

Buoys on the Fence Oil on Canvas 24” x 12” $875

Rockland Breakwater Light Oil on Canvas 11” x 14” $675

Bug Light Afternoon Oil on Canvas 11” x 14” $675

Uprising Oil on Canvas 16” x 20” $875

DAMARISCOTTA

As a Native Mainer, I have always loved the rocky coast with its lovely quaint villages, quiet harbors and scenic landscapes. Using watercolor with soft and warm , but vibrant color, I am endeavoring to portray that beauty. My friend and mentor Peter Spataro, taught me to ......"Paint what your see, combined with what I know , to express what I feel. " That is what I try to pass on to my students as well as with my paintings.

Pemaquid Morning Light

Medium Watercolor

Framed Size. 17.75” x 29”

Unframed Size 11”x 21.5”

Framed Cost. $695.

Unframed Cost- $500.

Monhegan Way

Medium. Watercolor

Framed Size. 18” x 22”

Unframed Size. 11.5” x 15.5”

Framed Cost. $425.

Unframed Cost. $325

Summer Solitude

Medium Watercolor

Framed Size 21.5” x 24.5”

Unframed Size. 14” x 17”

Framed Cost. $695.

Unframed Cost. $500.

Poet’s Cottage

Medium Watercolor

Framed Size . 15” x 18”

Unframed Size. 9” x 12”

Framed Cost. $350.

Unframed Cost. $275

BRISTOL

I paint primarily in oils but sketch in watercolors while traveling. The Maine countryside and isolation of its hidden structures are a never ending source of subject matter. My emphasis is on simplicity, shadows and subtle colors. I paint because it brings me tremendous pleasure.

Red House Watercolor 11x14 $300

Fishing Sheds Watercolor 11x14. $300

Sheepscot River Oil on canvas paper 12 x 16 $350

Monhegan Lobster Shed Watercolor 11x14 $300

BRISTOL

SOUTH BRISTOL

As a year round South Bristol resident, I continually marvel at the beauty and drama of Maine’s land and seascapes. Natural resilience and contrast inspire me to paint and help to sustain me emotionally. I paint primarily with oils, on either rigid wood panels or more flexible stretched canvas. I also enjoy the lushness of soft pastels and surprises of watercolor.

"Sunset Serene" oil on canvas, 18 x 18". $800

"Late afternoon Gold" oil on cradled birch, 10 x 10". $400

Storm Rise, Maine" oil on canvas, 24 x 30". $2200

"Mist and Ledge" oil on canvas, 10 x 24" $700

ALNA

I generally paint landscapes -- mostly of Maine but occasionally further afield, in watercolor, and often using Chinese ink.  This is in keeping with outdoor enthusiasms, environmental interests, and it favors direct drawing and water media on paper over opaque media on canvas.  In a larger sense however, any subject and any materials can be fair game.

    I have studied ‘Western’ watercolor techniques but also traditional ‘Eastern’ ink painting in China, and I appreciate the ‘Eastern’ sense that nature is large and humanity small (despite many contemporary pressures and contradictions).  I try -- to some extent, and I’m sure with mixed results -- to integrate the two approaches, and this can involve non-Western, not strictly realistic perspectives, light, details, and atmosphere.   

Clarry Hill in Autumn    watercolor and Chinese ink    $775
  painting 17 3/4" x 12 1/4", framed 24" x 18"

Quoddy Head Cliffs    watercolor and Chinese ink    $575
  painting 13" x 7 1/2", framed 19" x 13"

   Schoodic Coastal Granite    Chinese ink and white gouache on grey paper    $675
   painting 17 3/4" x 7 3/4", framed 24" x 14"

 Ebbing Tide, LaVerna Preserve    watercolor and Chinese ink     $975
   painting 21 5/8" x 13 1/2", framed 27" x 19"

BRISTOL

My love of nature inspires me to paint local scenes, including the rugged coastline, quiet harbors, inland waterways and country fields and forests, often featuring resident birds or animals. I also enjoy capturing the essence of everyday objects in still life. My art instruction in watercolor, gouache, acrylic, and monoprinting has been primarily from local artists. Using images from my paintings I make note cards, calendars and small reproductions.

 "Beach Treasures". Gouache. 11" x 14" Framed   $300
 "Bristol Mills in Autumn"  Watercolor   16" x 20" Framed   $425
 "Hanging On" Acrylic 16" x 20"  $500
 "O Christmas Tree" Acrylic  12" x 12" $225

BRISTOL

I am a self taught artist working mostly in gouache watercolor and oil. I love to paint animals, particularly birds and, more specifically Corvids. I like detail and work mostly in the studio.

Snow moon Raven

Gouache Watercolor. 19” by 23” $375

Despair

Gouache Watercolor. 22” by 18” $375

Owl

Gouache Watercolor. 18”by 21” $375

Buddhist Mouse

Oil. 16”by 13” $325

DAMARISCOTTA

I enjoy painting watercolors mostly of Maine subjects such as boats, water, wildlife, and still life.

ROUND POND

I have been painting for 32 years, and I never want to stop. It is a wonderful challenge and an endless learning experience. My primary medium is watercolor, and I occasionally paint in gouache and oils. My style is quicker and looser each year. The more spontaneous and intuitive a painting is, the better, as long as I catch the subject and the mood. I paint on site as much as I can, but Maine weather often puts me back in the studio.

"Pemaquid Light Midday"

Watercolor, 16 x 20”, framed

$440

RPL Off Season

Watercolor, 16 by 20” , matted

$400

WISCASSET

I love to be playful with paint and to encourage it to mingle, drip, splatter, and flow. I enjoy mixing colors on paper and strive for a fresh look. I particularly enjoy interpreting reflections, Maine’s coast, and flowers in watercolor. The fluidity of watercolor inspires me to allow my paintings to be alive with discoveries. A looser, more impressionistic quality is often present with a variety of soft and hard edges. To encourage the viewer’s imagination to interact with the art, some things are intentionally “lost”, while other identifiable images remain.

"In the Clouds"  w/c 12 x 15"  framed  $280.

"New Horizons"  w/c 12X16"   $295.

"Popham Beach"  w/c 15.5" x 12.5"  $280.

"Chewonki Marsh"   wc  18x12.5"  framed   $325.

NOBLEBORO

Painting gives me the opportunity to bring beauty, and order to the world. For me the process of painting is like solving a design puzzle . . . getting the shapes, the color, and the values to form a harmonious whole. Sometimes I paint in oils and other times I paint in acrylic. I don’t use paint to portray “reality” . . . I care about how the paint itself looks. The paint becomes a subject as well as the landscape or the figure. I want the viewer to be moved not by how earnestly I have worked to illustrate a scene but by how little I have done to communicate an emotion.

Stonington Harbor

Oil on Board

24 x 24

$2,500

Emma

Oil on Board

24 x 24

$2,500

Beach Roses

Oil on Canvas

16 x 16

$1,200

Coasting

Oil on Canvas

16 x 16

$1,200

BRISTOL

Stained glass was my first exposure to creating art. I was fascinated with the way the light comes through, making the colors radiant, like a prism. I am drawn to subjects I paint by the same luminous quality of light and hue. As I paint, poetry happens in the choice of color and arrangement of objects. I love to closely examine and am fascinated with marbles, bottles, eyes, glass, birds, old boxes, and antique objects. Working with oils allows me to render subjects in vivid colors by applying layers creating the illusion of depth. My detailed renditions invite the viewer in for a closer look. My intent with my paintings is to go beyond realism, bringing life and vibrancy to everyday objects and snapshots in time.

EDGECOMB

In my career as a graphic designer and photographer, my toolbox has evolved from creating things by hand and developing images in the darkroom, to creating on the computer. As much as technology has opened a whole new world of creative tools, I still love working with my hands.

In 2011, I started painting with soft pastels. I love the intensity of the color utilizing pure pigment, the ability to layer colors for effect, and the feel of the medium as I work the pastels with my fingers.

My pastels are about capturing a feeling, a quality of light, a sense of spirituality and the essence of a moment in time. Making art is soul food for me - being outdoors, connecting with nature, creating in my studio, losing all sense of time and place.

Art, like life, is a work in progress, each piece I create is a study for the next, building intuition and opening to trust. If I’m not painting “en plein-aire,” I start with a photograph I have taken, but the end result is always it’s own story.

I hang my pastels in my studio for months, picking them up to add a color, or change a shape until the story that wants to be told is complete.

As an artist, it is my hope to ignite a spark, stimulate a response, and convey my passion for this beautiful place I call home.

-Marsh Reflections

Soft Pastel, 10 x 15, matted and framed-17 x 22, $575

-Island in the Sun

Soft Pastel, 11 x 17, matted and framed-21 x 27, $650

-Dance by the Light of the Moon

Soft Pastel, 11 x 17, matted and framed-21 x 27, $650

-Evening Glow

Soft Pastel, 11 x 17, matted and framed-21 x 27, $650

WHITEFIELD

The beauty of the trees and rock formations on the coast of Maine is something that I can never get enough of. I love their shapes and textures and the stories they tell. I try to convey the interplay between strength and delicacy. The contrast between the peacefulness of the moment and the rough changes that nature brings in the way of seasonal variation, erosion and storm gives me endless material for painting and meditation!. We are such a part of nature and we need to really listen to what she tells us. Will Durant has said that “Civilization lives by geological consent…” and it so true.

BRISTOL

I fell in love with watercolor painting years ago without knowing anything about this medium. My goal is always to capture the light, emphasize its effect and show color in objects that is not always noticed. When I choose a subject I’m looking for the effect of light on an object, showing shadows, reflected warmth or cool, and contrast in value and color. I like to have a man-make object somewhere in the painting (a building, boat or pier), giving the viewer something to relate to. I choose transparent pigments for the most part to allow the white paper to enhance the effect of light on the painting. I enjoy painting Plein Air (painting outside) during the warmer months, but find it to be the most challenging as the light is changing continuously. Becoming good at watercolor painting is a life-long pursuit that is very satisfying when the outcome is positive.

Guest House watercolor 16”x20” $300

Midwinter watercolor 16”x20” $325

Fishing House – Boothbay watercolor 16”x20” $310

Fishing Shack watercolor 10”x14” $225

JEFFERSON

For me, the challenge of creating a painting is to capture that moment in time that first caught my full attention and to share it with the viewer.

Whether using pastels or oils, I try to express that moment with colors seen and unseen. The beautiful small moments that may go unnoticed.

I hope that a viewer finds something there that connects them with their own moment in time and gives them joy.

Monhegan Windowscape Pastel 11x14 500.00

Make a Wish Pastel 9x12 295.00

Pemaquid Summer Pastel 11x14 425.00

Rocky Slopes of Pemaquid Pastel 12x16 525.00

BRISTOL

Title: Maine Woodlands

Medium: oil

Size: 16x20

Price: 695

Title: Island Home

Medium:oil

Size: 12x16

Price: 595

Title: Monhegan Skiffs

Medium: oil

Size: 9x12

Price: 350

Title: Wake up, Wake up

Medium: oil

Size: 12x16

Price: 495

JEFFERSON

As I gain maturity as an artist I find myself feeling freer to use a variety of media to explore color relationships, interesting shapes, and linear movement without restriction and to, perhaps, tell my story.

Of these explorations, COLOR is by far my favorite. I enjoy experimenting with pushing color beyond reality, always thinking about color relationships. I use both the translucency and the opacity of the paints to block and build the shapes and depth of color, adding collage and linear aspects as appropriate.

I am fascinated by the infinite possibilities for putting paint to surface, always learning more each time I approach the easel.

BRISTOL

Curiosity and long walks across landscapes have brought me into the paths of scientists, biologists, and birders, who taught me to pay close attention to the interactions of living things. I strive to represent those interactions both as a moment in time and as a story of the wider experience of life on earth.

I am especially interested in strong rhythms and patterns between subject and environment. I find it’s the shapes around an object, rather than the object itself, that are often the most compelling.

Linocut is a labor-intensive and repetitive process, with the skills of a draughtsman, painter, and sculptor all coming in to play. Once I have drawn a composition onto a linoleum block, I carve away any areas that I do not want to print. When the carving is complete, ink is rolled onto the surface of the linoleum and transferred to paper. The resulting print is a mirror image of the carved block.

There are several techniques for creating multicolor linocuts. I most often use the reduction method, in which all the colors of an image are printed from a single block in successive layers. After each new color is applied to the print, more material is removed from the linoleum block, reducing the printable surface until the image is finished and the block is destroyed.