I have been very fortunate to call the coast of Maine my home for the last forty years. I came here from Connecticut to work as Art Director of WoodenBoat magazine, and ended up staying for the beauty of the people and place. Eventually, I turned to free-lance graphic design, and finally to painting, which is my primary activity now. I love almost everything about Maine. The natural, raw beauty grounds me, feeds my soul, and provides endless inspiration for my work.
I have always appreciated the Whitman quote, “I contain multitudes.” I think this is true of most people and things — of Maine weather, for sure — and it’s true of the art I make. I move along the continuum from abstract to representational without much concern for consistency, yet I enjoy working in series, focusing on what moves me. Ten years ago, for example, simultaneous with building our home, I was inspired to focus on nests, more as symbol than as object. Having been more drawn to landscapes, this was a departure. Then a flock of local bird portraits came forward, birds suddenly filling our new backyard, and symbolizing a certain irrefutable order, just as I needed it.
While working with the Acadia Centennial committee in 2016 I became more aware of the fragility of the night sky —its incredible beauty having always been on my radar — and my painting turned toward them then. In fact, I feel honored to have several of my pieces on a thumb drive in the time capsule at Bar Harbor Bank, to be opened at the Acadia Bicentennial in 2116. The night sky represents a wonderful paradox to me — in the darkness we can see more clearly the larger world outside of us. The spherical paintings are not directly representative of that world but rather of the search for wholeness by embracing both the dark and the light.
My work is a way of expressing and celebrating the natural beauty and order that nourish me.