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 (b. 1980 – ) 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
Christina Thwaites (b. 1980 – ) is a British painter based in Orono, Maine. In 2004 she graduated from The University of Edinburgh (Scotland, UK) with an MA in French Literature & History of Art. While living in Paris she attended the Ecole du Louvre and worked as an assistant to watercolourist Patrick Fouilhoux. Her painting skills developed in Italy where she attended La Porta Blu Art School in Rome. During 2010, she worked in Amsterdam (at Kanal 10 Guest studio) and also in Walasiho (a remote village in Sulawesi, Indonesia). In 2011 Christina was invited to Palestine to run art workshops and exhibit with Al-Mahatta Gallery during a residency period at Al Fara refugee camp. In 2011 Christina moved back to Italy and helped set up and run 33officinacreativa, an international artist in residency program in the medieval hill-top village of Toffia. See full bio
Jon Gregg (b. 1945 – ) is a painter’s painter. His trust in the medium is absolute, manifested through patient discovery and revelation, elucidating soulfulness in his paintings. But watching Gregg work can be painful. He puts down a mark, a form appears, and then he scrapes the oil paint away over and over until, for the moment, he’s satisfied. He speaks of his resistance to being “too declarative” with his mark making , and a love of pentimento (where a part of a painting underneath is allowed to show through). What appears to the observer as struggle, for Gregg is play. “Painting is the most fun thing I know,” he professes. The result is like Chinese boxes – surprises within surprises, both subtle and illuminated – runes that are figures and objects embedded in landscapes that feel timeless, yet immediate. Arlene Distler for Art New England See full bio
Harold Garde, a native New Yorker, attended the University of Wyoming following his service in the Army Air Force during World War II. Although Wyoming was off the beaten path for an aspiring young artist, the university’s faculty included three significant modern American painters, Llya Bolotowsky, George McNeil and Leon Kelly. Bolotowsky was a founding member of the American Abstract Artists who produced hardedge geometric paintings that reflected his association in New York with mentor Piet Mondrian. McNeil was an expressionist painter who exhibited with and was active among the circle of New York School artists. Kelly was a Surrealist and involved with the European Surrealists who had established a strong presence in New York during and after the War. Garde credits this extraordinary group of teachers with introducing him to three key artistic movements of the post-war period and that inspired him to become involved in the most avant-garde artistic issues of his time.
Juan Escauriaza (b. 1961 – ) is a self-taught artist painting full time in Madrid. His exhibition history includes seventeen plus solo shows, numerous two person and group shows and a large retrospective sponsored by the City Hall of Madrid. Juan earned a PhD in Geological Sciences and a postgraduate degree in Hydro-Geology and Paleontology. He worked as a scientist/geologist for well-known companies in Spain for ten years, but painting was his true passion and 25 years ago it called him to take the leap and commit to it. In 1994 he dedicated himself solely to painting, with extraordinary critical and commercial success. Juan strives for compelling compositions using people, buildings, trees and manmade objects to create the forms and angles he is looking for. The perspective is often unusual and from a befuddling vantage point. His palette is typically representative of the greys and beiges of concrete set off by a clear blue sky and an occasional shock of red or green, represented by manmade objects like fire hydrants and signs. His incredible control of acrylic paint on linen offers a narrow view of a much larger scene, eliminating the chaos and chatter of a wide angle view. What he sees is perhaps what many of us miss, rewarding the viewer with the serenity and simplicity of form and a moment captured in time.
Rose Umerlik’s abstractions focus on strong form and line. Her goal is to use these elements to paint emotion. Rose’s primary interest is in capturing the complexity of what it is to be human by mirroring that complexity in the interaction and layering of forms and lines in her work. Her larger works are created in oil, but she also creates smaller watercolors and woodcuts.
Rose received her Bachelor of Fine Arts from Syracuse University’s College of Visual and Performing arts, with strong influences from Stephen Zaima who impressed upon her the importance of ones’ own ability to self-evaluate, and the “work method.” The backbone of her studio practice is based on a strong work ethic and her dedication to being present and honest in her work.
OIL ON PANEL
SMALL WORKS ON PAPER
In her new series of paintings, Jean Jack again takes the relationship between landscape and buildings as the initial departure point for the formal investigations of her paintings. The buildings fit themselves into the landscape, and the sky fills in the spaces between the two. In the traditional regionalist parlance, the way this triangle of specifics interrelates is called a ‘sense of place’.
There is a poignant sense of unease and even loneliness in the places Jack paints, however, which is underscored by her dramatic contrasts of complementary colors, and her equally dramatic transitions between reality and unreality. Despite Jack’s use of very real houses and churches as models, these are realistic paintings only in a sense. ‘Idealistic’ is perhaps a better word for the convincing power of the very simplified forms and colors. These bright, sensitive paintings are more of an exquisite arrangement of elements that express an essential feeling about houses in the country from California to Maine rather than a view out of a window.
I paint what I know—figures, still lifes, and landscapes—but push these “knowns” into abstracted places. I combine my love of color, form, line, and design without fully abandoning representation. While I maintain a practice of working from life, studies, sketches, and memory, I aim to exceed the lens of sight and to invigorate the senses. I am a mixed media artist who begins my work from a conceptual place. I work in a constant state of experimentation and discovery. I set out with no expectations. This offers great freedom and a fluid creative process. I select media based on what best serves an idea. It ranges from acrylic and oil, to flashe and collage. I also integrate drawing into painting with graphite and oil sticks — working directly into wet areas with line. All combined, these materials bring a physicality to the work.
Tom Flanagan’s paintings have been called, “jumpy, pointy, sly and deceitfully clever complex hard-edge abstractions that go deep into modernist logic.”
“I’ve always been interested in abstraction because it allows me to build a kind of logical mess that is unique to my sensibilities and experiences. It’s the organization of the ‘mess’ that fascinates me. It’s a kind of nod to what’s outside the studio and my reaction to it.”
With an emphasis on geometric and organic shapes combined with lines mixed with saturated colors, middle tones and greys his work has been described as the physical representation of sound and movement.
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.
Cliff Turner, a painter residing in New Brunswick, Canada, describes his painting objective as this: “Regardless of subject matter or how it is rendered, my focus in each painting is to create light. It is the common element that creates detail in hyperrealism but also mood and emotion in more painterly work.”
Since the popularity of still life painting in the 16th century, artists have used flowers as subjects to represent reproduction, mortality and the transience of life. By nature, humans are attracted to the mystery, beauty and grace of the flower. Creatures large and small are seduced by their nectar. We plant gardens and covet the blooms of a rare and delicate species. But until the 19th century, florals existed somewhere toward the bottom of the painting hierarchy. See full bio
Aurelio Posada is a painter and architect. He was born in Colombia, but now lives and works in Orlando, Florida. As a Design Partner at Hunton-Brady Architects, Aurelio has designed many award winning buildings. His passion for Design and Architecture is reflected in his paintings. He starts by sketching with pencil in his sketch book; when something interesting comes up, he moves to his secondary sketch pad – his IPad Pro. He uses his IPad for the final exploration of geometries, composition and color. This tool is very flexible and versatile, allowing him to generate multiple ideas as the background for each painting. From there he moves to canvas, and continues exploring the created space until he feels it has been resolved. He then decides on additional elements, such as trees, figures, and objects. See full bio
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.
Robert Stark III
Robert (Bob) Stark III was raised on the island of Nantucket, in Massachusetts. He is a full time, second generation painter whose father, Robert Stark Jr, traded the fast paced and hectic life of Wall Street for a slower island life as a career artist and father. Robert, Jr’s subtle seascapes, often punctuated with a red sail on a passing vessel, epitomized this life.
Bob Stark left the island as a teenager to attend The Taft School in Connecticut. He then moved onto Georgetown University where he studied Chinese and Asian culture, as well as Fine Art. Bob continued to refine his craft as a painter, applying his traditional study of Dutch still life painters to his own work.
With orderliness not being a priority, entropy has often been incorporated intentionally or found its way into in my recent foray in wooden sculpture assemblage—often eliminating the fixed focal points of my earlier dry-brush watercolor and, in the past two decades, my work with oil and acrylic renderings. In this new, physical, and dimensional medium, I have renewed and invigorated my artistic drive. Wood remnants, flotsam and jetsam from the shoreline, trim-work from renovated homes, and broken and discarded furniture—what I most enjoy about my work with salvaged materials are the stories behind my acquisition of them, and the opportunity to meld unrelated pieces into a composition that commands a second look.
Philippe Guillerm (b. 1959 -) is a master of form, giving it priority over function in his compelling sculptures. He liberates the soul of his “instruments”, adding physical expression to voice. Philippe is a remarkable craftsman – he seems to work the wood effortlessly, as if it were clay. The end result is a piece that appears as fluid as it should sound.
Guillerm’s music-inspired sculptures are whimsical and curvaceous string instruments. He uses this continuous theme as a way of expressing human nature and needs; you may see an instrument, but Philippe sees an attitude. In addition to the musical theme, many of his sculptures depict sea scenes and animals. His other works include functional art like “Sculptural-speakers”, finely carved furniture, large dimensional wall murals and monumental outdoor pieces. His works reflect dreams, illusions, and reality and invite the viewer to stop and reflect about human nature.
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.
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.
Jeffrey Macdonald has been making art full time for about 10 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 lives and paints full time in Brownville, Maine.
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.
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.
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 small section of a painting for an eternity, and he revels in explaining 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.
Ted Keller is a career artist from Midcoast Maine who keeps a home there, but now resides primarily in New Mexico. For the first 30+ years of his professional life, Ted made and sold ceramic pottery and sculpture while teaching college level art classes at Oregon State University, the University of Maine, and the Rockport Photographic Workshops (now Maine Media). At age 53 he gave up ceramics and started to work as a painter.
Ted worked in oil for a couple of years. He made about 100 paintings, and then put them away. After complete immersion in the exploration of oil, Ted switched to watercolor and stuck with it for 14 years. His subject matter ranged from cityscapes to portraits of deceased artists and proportionally playful interiors with people. Ted is enviably competent in all subject matter, and the style is cohesive and easy to recognize. The images are loose, directly painted, colorful, full of life and sometimes a little quirky.
“Twenty years after my original foray into painting, my original works in oil resurfaced while organizing my studio in Maine. I felt that my voice had made its presence in a few of these paintings. The brush strokes seemed confident and the paintings had life. They are mostly plein air works of the landscape around my Maine home, but they were expressive and they inspired me to start painting in oil again. I returned to New Mexico where still life flower paintings, lush landscapes, and gritty paintings of the streets of NYC emerged.” See full bio
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.
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.
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.