Carver Hill Gallery represents many artists in shows, and seasonally, that may not always be on our website. Please feel free to email us at email@example.com or call 207-542-9895 if you seek work that you have seen in our gallery but do not see on our website. We also will do our best to find art to suit a specific need.
America Martin is a Colombian-American fine artist based in Los Angeles. America attended the School of the Museum of Fine Arts in Boston as a scholarship student, and completed an eight year apprenticeship with Professor Vernon Wilson of the Art Center College of Design in California. Her work is heavily rooted in the masters, but is distinguishable as her own with a palpable positive spirit and recognizable human expression.
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OIL AND ACRYLIC ON CANVAS PAINTINGS
WORKS ON PAPER
John Winship’s paintings are like anthropological dioramas. Not unlike social documentary photography, the work observes and depicts people engaged in day to day activities. Perhaps these moments were easy to take for granted, but later in life the images likely become powerfully evocative.
The work is easy to relate to, even if Winship’s chosen focus of the 1950’s may seem temporally distant. There is an enveloping quiet beauty about the work that pulls you to it and an almost uncanny familiarity that seems to endure; however, the work is far less straightforward and obvious than it appears. The level of complexity depends on the viewer’s willingness to ask questions.
Jennifer Knaus’ fantastical portraits feature Findhorn style flora atop Renaissance portraits of adults and children with arresting gazes. She paints in oil or egg tempera. Her work has been frequently exhibited in the New Britain Museum of American Art – founded in 1903 and designated the first museum of strictly American art in the country. Jennifer received her MFA from the University of California, Davis, and also studied at the Skowhegan School of Painting and Sculpture in Maine and the San Francisco Art Institute, where she received her BFA. She lives in a beautiful, pastoral setting in Connecticut.
A native of Poughkeepsie NY, Christine received an A.B. in English from Bryn Mawr College in 1991. She then moved to downtown Philadelphia to earn a Certificate in Painting and Printmaking from the Pennsylvania Academy of the Fine Arts. There she was awarded a Louis S. Ware Memorial Scholarship for European Travel. While Artist-in-Residence at the Fleisher Art Memorial from 1997 to 2002, she began teaching and studied at the Barnes Foundation. In 2003 she moved to Brooklyn NY, where she earned a Masters in Fine Arts at Brooklyn College under the late painter Lennart Anderson. Christine currently lives and works in Brooklyn throughout the year and spends summers painting in Maine.
I am surrounded by shipyards housing old hulls, shells and vestiges of past journeys. Vessels that held lives, ﬁshing nets, tackle and charts, rudders, tillers and sails that have navigated both the rocky coves and the open seas. My art reﬂects the mood, colors and imagery of the Maine coast. My seascapes do not describe a particular lighthouse on the rocky shore, but my paint marks the ﬂow of the waves as the tide turns pebbles on the shore. The colors of the changing hues of the water and skies most decidedly inform my palette. The patterns discovered in the erosion of the tide or the planking of a wooden hull inform my drawing. My art is in the details of noticing, of observing and then of reﬂecting back in my studio. I look to the world around me for a muse in the coast and humbly attempt to describe its beauty and meaning in my work.
David Hornung paints what could be considered an amalgam of landscapes, portraits and still lifes in matte acrylic on linen. The individual elements in the paintings appear more as icons; void of detail and largely symbolic. With careful study of what can seem like disconnected imagery, a story can be pieced together. People are observed in their natural surroundings, often appearing with human-made, physical evidence of their presence there, i.e. houses, furniture, and tools. Their effort to make sense of their place in this environment is palpable.
I have always been drawn to the “flattened” pictorial representation one finds historically in icon painting, pictorial textiles, Asian art in general and the pictures that children make. These modes of picturing show us the world while, at the same time, account for the essential duality of painting: that a painting is both image and object. When I am working, I try to maintain an essential flatness throughout the painting, using color, shape and touch rather than volume and illusionistic space to convey meaning.
Philip Frey is a visual artist whose painterly work is focused on the here and now, the feeling or connection to his everyday experience: evocative colors, unexpected light and the sublime quality of ‘ordinary’ objects and surroundings. His work addresses our relationship to visual space and the painting’s surface by gently asking us to observe and to look again and again. He invites us to ‘walk through’ the painting, from dark to light, from enclosed to open spaces, from shape to shape…to enjoy the patterns, forms, colors, brush strokes and marks on the canvas.
My work is about the painting itself, and how all of the elements that create it fit together on the canvas. I am inspired by a feeling, a connection to my everyday experiences: evocative color; unexpected light; and fleeting gestures. Perceptions are the inspiration but the act of painting: the dance between the paint; my tools; my hands; and the surface is the real juice behind my work. It’s about the here and now.
The viewer is drawn to an initial seed of visual inspiration by marks and bits of paint on a journey, partially of their own making, moving through the painting guided by impressions, shapes and colors. In the final analysis, a painting is very complex.
When a painting is going well, there is a palpable feeling of being in the groove, an experience of being present – not thinking about what came before, or what is to come. Essentially, in those carefree, clear and joyful moments, there is ‘no painter’ and ‘no painting.
Megan Hinton arrived at her compelling style after many years of study both in conventional and experimental environments. After receiving her Bachelor of Fine Arts at Ohio Wesleyan, one of America’s oldest Fine Arts programs at a university, she took this strong grounding in art history and technique to a place that would help open and inspire her approach—the seaside of New England. Living on Nantucket Island, she began to vividly explore the effects of light on water and distinct structures that appear on coastlines, the meeting places of land and water. Piers, boats, shoals – natural and manmade structures mediate this space. Hinton’s work began to mirror an attempt to mediate the known and the unknown—what can be controlled and what cannot be. Later, during a residency in the nearly unsettled dunes of Provincetown, Mass., at the very tip of Cape Cod, she took particular interest in how variations in light changed “the real” or the “true” view of our surroundings.
OIL ON LINEN AND OIL ON CANVAS WORKS
WATERCOLOR AND GOUACHE ON PAPER WORKS
“In 2007, a provocative series was inspired by my mother-in-law’s sewing drawer. I was reminded how sewing connected me to my female ancestors. The unassuming spool of thread, full of meaningful purpose, is a powerful icon whose history chronicles stories of necessity, practicality, fashion, poverty and sweat. From one generation to the next it stirs personal recollections and family stories. The image sparked dozens of oil paintings, both literal and metaphorical. The “common thread” sews us into a fabric called The World.”
Nick Gervin is a full time documentary/street photographer from Portland, Maine. He has been working on this current series for over three years – biking and walking the streets of Portland with an open mind and an open shutter day and night. He documents the uninhibited energy of crowds getting out of bars and concerts, police at work, fireman drenching buildings engulfed in flames, almost as if he is a visual historian with a camera. He photographs people candidly, quietly moving through the streets with quick reflexes, a necessary skill for capturing spontaneous, intriguing moments of connection between people.
Rose Umerlik is a soulful, contemplative young painter who seems to be very clear about where she is going. She is a visibly strong woman, in body and spirit, who appears to be one of the lucky ones who never had to search very far to find her voice. However, a serious injury that led to surgery in 2013 forced her to find out what she is truly made of. Umerlik had to push through major physical and emotional challenges to keep working, and the result was a deeply personal collection of paintings that opened a new door for her.
There is a sweet sensitivity about Rose that makes her very accessible, but don’t mistake that accessibility for a lack of vitality. Her determination as an artist clearly trumps her fears and obstacles, and she uses her tools to work through them like a machete. Rose is receptive and open, and has obvious access to her truth. She paints the essence of what is happening in and around her, and we are left to interpret the beautiful forms she leaves behind.
Ron Rovner originally worked in stained glass, but has since adapted the colorful geometric patterns afforded within that medium to canvas, panel, or textured papers using acrylic, charcoal, pastel, and sepia ink. In all his work, various contrasting elements, materials and textures are applied in such a way so as to achieve a harmonious balance which results in a sort of narrative flow suggestive of a musical composition.
As a classically trained pianist and musician, my goal is to create works which emphasize the musical fundamentals of harmony, balance and rhythm. Each piece is unique and entails a process of reconciling apparent opposites such as the ancient with the contemporary, the angular versus the lyrical, and amorphous color background fields with bold foreground figurations. The idea is to create work which combines the creative aspects of music and visual art which represents something more than the mere some of its often disparate parts. The “Nachtmusik” series is inspired by the music of the early twentieth century composers, particularly Arnold Schoenberg. The black squares each represent one of the twelve notes of the musical scale. Each is given equal weight, and there are not repetitions in any of the rows or columns in which they appear.
David Estey can see… what is there, what isn’t there, what may be there. He is a brilliant pictural linguist, creating a complex visual dialogue with this new, intuitive body of work. The pieces in this series were painted with acrylic paint – sometimes scratched with graphite – on Yupo. Yupo is a synthetic paper originally manufactured in Japan that holds super sharp edges while allowing for manipulation. It is durable, recyclable, waterproof, and very smooth. David was intrigued when he heard about it. He bought a few sheets, and began working with acrylic on it. He started out painting only in black. He painted spontaneously, with total emotional output. He realized he could work the paint with other tools, and wipe it off, as well. He fell in love with the freedom this combination afforded him, and started to add color. The result is the best large body of work we have seen him produce. This 2013 exhibit is appropriately titled “Encore,” A back-by-popular-demand show inspired by our 2012 solo exhibition “Improvisations on Yupo.”
Jeffrey Fitgerald is someone you want to give a wide berth to when speaking with him about his art. He is passionate and animated, and wants a person to understand what he sees. He can talk about a 4” x 4” section of a painting for a very long time, but this is not endless drivel – it is a thought provoking explanation of his decision to make something look the way it does. It is painting acumen.
Jeffrey primarily paints in the winter, when the yellows and pinks of summer give way to a cold weather palette. He paints the way he gestures, throwing his whole body into it in a way that makes you feel the turbulence of the water and the sway of the birches and grasses in the woods. Sometimes he paints on raw linen, adding organic texture and color that seems to work perfectly with his painting style.
“The ocean is vast and powerful but can be intimate and tender; the canvas is a welcome and undiscovered country. With this, I paint and draw daily. The act of composition never stops for me. The play of colors contrasting and complementing is always new and strongly evocative. The paintings are about both light and brushstrokes at play. The subject is a moment at a location.”
Todd McKie has been calling attention to himself with his potent, epigrammatic paintings for over thirty years – and we hear him loud and clear. His work packs a punch with a scintillating narrative and colors that make you gasp. Todd labors over his palette and composition, often layering backgrounds to look like modern day frescos. Without further study, one might miss the deeper meaning. His titles, perhaps, can help.
Todd’s paintings depict, with wry humor, life’s conundrums. Conversely, they amuse us with the seemingly naïve, pleasurable moments that happen – almost accidentally – when we let our guard down. You might get the feeling while looking at these works that something is going to reach out and grab you just when you least expect it. They seem to say, “JUST WAIT.” We might smirk and nod our heads with an “I can relate” kind of simpatico.
Shari Weschler Rubeck
Shari Weschler Rubeck’s work derives from her background as a dancer and growing up in a family that was well tuned in to live NYC theatre and dance. Her grandmother was a ballerina who danced with Balanchine, and Shari spent time back stage drinking in the wonder of character transformation.
I use a variety of live models (with engaging wardrobes & personalities) and life studies while being inspired by various fashion media and historical research. Each piece is meticulously visualized, organized and translated into a unique creation. I am a ‘mixologist’. As an artist, I am rarely satisfied and never bored. I fluctuate between giving color & detail to the areas surrounding my characters and leaving them alone in their space. Negative space is carefully considered and expresses tension, while also allowing for areas of visual repose.
Watercolorist Ted Keller has taught art courses for the University of Maine for twenty years. Formerly a sculptor and clay artist, Ted spends most of his time painting now. His images are loose, rich in color, and full of life and humor. The subject matter varies, but most of the paintings are about people in interesting environments. Some scenes are representative of a real place, others are imaginative. Ted says that he feels enormous love for the people he paints. He wants the viewer to understand that though his work can appear caricature-ish, he is absolutely showing reverence for his subjects.
Dianne Schelble has been creating deliciously rich opaque watercolors for over 40 years. Her paintings are vibrant works with generously applied paint, creating a unique look resembling, from afar, a palette knife technique. These paintings are alive in the moment – energetic and bold with intriguing light.
Much of her career was spent painting in watercolor, and she attributes much of her development to Hudson River Valley Art Workshops faculty member and painter Skip Lawrence, with whom she has studied for nearly 16 years. But for her recent series, “Market Day at Chase’s Daily” she switched gears and started painting on panels after inheriting a hoard of high quality acrylics. The resulting paintings really resonated with her, and she didn’t have to separate the viewer from the surface with glass – which she never really liked to do. The appearance of the paintings are consistent with her works on paper – energetic and bold with intriguing light. Instead of exaggerating the colors, she translates them as we absorb the combination of hues holistically. The work is rich and deep, softening the world’s natural and manmade reflection for a saturated field of color. Dianne is a “painter’s painter,” as her work can be found on the walls of many well respected artists.
Elizabeth Opalenik believes that all good portraits are self portraits. She is certain that her many former lives manifest themselves in her images, and, therefore, as she choreographs the shot the portraits are as much about her as the person in them. She thrives on travel and philanthropic projects, which keep her grounded and connected universally. She is a world recognized photographer and educator residing in California who teaches workshops domestically (including New Mexico, Maine, and California) and Internationally (including Italy, Cuba, France, Mexico and most recently the Far East).
She left home in 1969 to the sound of peace marches. Her mother’s response was, “I knew you were different from the time you were two.” Elizabeth liked to feel she was alive, and has had many lives within this life – as manager of the accounting department for Continental Oil Company, manager of a few Jazz clubs, and owner of a construction/design company. Throughout these “lives” however, she craved something else. Something creative and expressive. She decided to take a two week photographic workshop in Maine. It had an impact – Elizabeth went home and sold everything. She was ready to commit to honing the fine art of photography.
Jeff Macdonald has been making art full time for about 8 years now. His career was in the music business, but he has been an art collector, appreciator and supporter for years. He studies and experiments with painting and collage, using interesting combinations of acrylic paint and collected textural material. His compositions range from minimalist to complex, while leaving the source of his inspiration ambiguous. “Not being formally trained I’ve come to rely on the spontaneity of not always knowing what I’m doing or why things are happening…and just going with it.”
Jeff’s work has been hedging toward sculpture lately. His paintings present with beautiful forms and pleasing combinations of color that alternately reach and recede creating a feeling of space and dimension. He has become more masterful at using the placement of the shapes and the hue to create the dimension. There is a modernist sensibility about his work that hints at his influences, but it also feels quite current with an exciting palette and clean execution.
Jeff has been exhibiting at Carver Hill for about a year now with strong sales and interest in his work. He lives and paints full time in Brownville, Maine.
Giggi Gatti is skilled in combining cultivated painting (nineteenth and twentieth century figurative work), medieval frescos, and images from advertising and illustration. His paintings have an uncanny familiarity that is difficult to pinpoint – we have all been there. They possess a nineteenth century folk art feel, but are far more accessible and believable. His brushstrokes are short, slow and deliberate. Nothing happens by accident in these works; they are thoughtful and compelling. Like Modigliani, he outlines his work, but it is much less obvious – it separates his subjects from their environment, which they seem to blend right into. Like faded comic strips, they whisper instead of shout. Gigi’s poetic expression is centered in human solitude and the mysterious charm of existence.
Jon Kolkin has had one foot in the arts and the other in the sciences for over 30 years. Jon began his love affair with photography as a young child working in his father’s darkroom. He expanded his artistic horizons, becoming a nationally recognized clarinetist who toured Europe with the National Youth Symphony. These passions, combined with his fascination with the sciences, resulted in Jon’s decision to pursue a major in chemistry at Emory University with a minor in the Arts.
After college he pursued a degree in Medicine and then began his practice as a physician. However, throughout his medical career he never abandoned his love for the arts. He took photography courses at night while simultaneously completing his residency then honed his artistic skills further after entering private practice. Jon now devotes himself to working full-time as a professional Fine Art photographer when in the United States and teaching medicine to other physicians in underserved countries when traveling around the world.
“There is a tension that exists between order and chaos. I have always been drawn to spaces in nature where most would see disorder and complete randomness, but, in fact, a structure exists and my garden was no exception.”
In the past I have gravitated toward spaces that are not pretty; most would pass them by. So how could I attempt to paint something that already was beautiful? Why would I want to paint dahlias, geraniums, roses and other flowers that most stand in awe of just walking by. I remember in graduate school my professors saying,” Don’t say something is beautiful. A painting must stand on its own merit and not because the image within the painting is beautiful.” I have loved my garden for so many years, but have feared painting it because of those voices in my head telling me a critic would comment, “That’s a pretty painting.” These have been my fears and challenges in painting this new body of work, The Garden Series.
Roberto Boiardi was born in 1963 in Piacenza, Italy, where he currently lives and works. Early on Boiardi dedicated himself to watercolour, which he mastered after enormous dedication to the medium. His inspiration was, among others, J.M.W. Turner’s work in Venice. He carefully studied the palette and application, which helped define the style he worked in for many years. He now paints primarily in oil – on both canvas and board. His paintings have the look of old crumpled photographs, which he creates by preparing the canvas with a layer of cementite and acrylic paste. He then paints in oil, which he frequently mixes with chalk to add even more texture. The result is a wonderfully matt, distressed look that is further complemented by his palette of smoky colors.
One of Roberto’s American influences is Edward Hopper – which becomes clear from the vantage point of his paintings. The viewer is watching people interact from a balcony, car window, doorway, or obscured place out of their view. Roberto seems to capture moments where the rest of the world is tuned out, and the subjects are engaged in casual conversation or play.
Ricardo Cony Etchart
Ricardo Cony Etchart was born to be an artist, but a law degree, accounting, and various other intellectual and philosophical pursuits shanghaied his early efforts. A few years ago, when the kids were less dependent on him and his career was at cruising altitude, he set up shop on the 7th floor of his Buenos Aires apartment and began to put some serious paint down. With a famous Argentinean artist guiding him, he started painting Vermeer style portraits in oil. Ricardo is a perfectionist, and these took him several months each to complete. His early success and natural ability might have led many of us down the road of portraiture, or, at least, realism; however, his incredibly strong sense of color, design, and composition combined with his fascination for people and the human condition led him down an entirely different path. As a native Argentinean, he was deeply influenced by the primitive art of non-Western civilizations – South America, Mexico, and Native America. A quick glance might make one think of pop-art, but there is much more to these pieces than quick, gimmicky images.
Stephen Gleasner is a published writer, veteran woodturner, long distance cyclist and self proclaimed mad-man with over 25 years of experience in all four. Currently, he specializes in the carved and dyed wall pieces he calls “Plyscapes” and turned vessels that explore the patterning possibilities of Baltic Birch plywood. This material is imported from Finland and used in aeronautical applications. Its veneers are all “clear”, meaning free from knots and imperfections that may weaken the wood, and very thin. He uses a lathe for his vessels, and carves with hand tools to create the highly unusual, stunning plyscapes. He applies German dyes to the work when the actual constructing is done. This is a risky process that can quickly go wrong. No one else in the world – as far as we can find – has ever attempted this technique. Stephen considers his “tools” artistic implements as opposed to utilitarian items in his work – like paintbrushes to a painter.