Spring Ahead, Fall Back

Exhibition runs Nov. 14 – the Holidays.

CHRISTINA THWAITES – Magnetic, interactive paintings. She is also offering custom magnetic paintings. See the video below the paintings.


These are really wonderful works of art, but made even more intriguing by allowing the viewer to interact with the work. Another dimension is created with the addition of custom pieces, handmade by Christina, of your kids, friends/family, pets or home objects. Please email us for more details and pricing.

INGRID ELLISON – Works from a solitary place. Some new paintings by Ingrid offer an optimistic palette for ballast in a challenging time.

Ingrid Ellison APRIL SUNRISE 36 x 30 oil on linen

ANDRE BENOIT – Found objects assemblages. Andre has really outdone himself getting highly creative making space in his studio during lockdown.

Andre Benoit CLEOPATRA 31 x 16 x 5 Found objects assemblage with caned chair seat and chair back

CAROL EISENBERG – More fantastical, perplexing photo paintings from this highly talented, newly launched photographer whose career is soaring.

Carol Eisenberg ANICENT FOREST Archival print on Hahnemuhle metallic photo rag

LISETTE FORSYTH – South African artist Lisette Forsyth creates indelible imagery painted in ink and acrylic on revolutionary manifestoes from Cuba and 1920’s newspaper pages. These works depict the fierce desire to create individuality despite the limitations of socialism in Cuba, and the ever-changing and never-changing family in the South African cape.

Lisette Forsyth CLASSIC CUBA Ink and acrylic on revolutionary manifestoes 7 x 9 float framed in walnut with non-reflective glass
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Fall Foliage Group Show 10/9/20 – 11/8/20

Exhibiting works from Philip Frey, America Martin, John Winship, Anne Hebebrand, Christina Thwaites, Jean Jack, Lisa Noonis, Dianne Schelble and Carol Eisenberg. Sculpture/assemblage work by Andre Benoit and Philippe Guillerm. * (Please see the artist’s individual pages for available works)

Philip Frey ZIG ZAG 24 x 36 oil on canvas

“As a painter, Philip Frey’s goal is often a project of soft persuasion. We recognize his scenes easily enough. But as we shift our focus from the recognizable subject to the insistent forms, luscious brushwork and compositional design, the painting slips out of representational focus and back to abstraction, the true place of Frey’s poetry…” Daniel Kany

John Winship WOMAN BESIDE A RIVER 28 x 48 acrylic on canvas

The atmosphere in my paintings is thick, tonality dark, the edges and contours not always sharply defined, the faces often blurred or in shadow. These effects arise out of specific techniques, but are also attempts to break down the specificity of the photograph’s subject matter and allow the viewer to project more freely into the painting. The layers and veils of the painted surfaces are the equivalent of the distance between the viewer and the subjects of the old photographs.

America Martin WOMAN BY THE RIVER 23 x 25 white chalk on paper

“The world is…filled with chaos and collision, serenity and silence, it tumults along, offering those bold enough to reach into it a chance to withdraw a bounty of heat and light and sentience. It is spectacular in its simplicity and alluring in its anarchy. It is into this world that America Martin propels herself, where she seizes, with delicate hand and bullish acumen, scraps of humanity to weave into tapestry…” Art critic Stacy Davies.

Anne Hebebrand THEATER OF THE ABSURD 40 x 30 oil and cold wax on paper on panel

Born into three generations of German artists, Anne Hebebrand’s paintings are anchored in the tradition of the German Expressionists.
My abstract paintings of overlapping geometric shapes rich in texture and color reveal an array of details of delicate transitions and passages. An ongoing exploration of cold wax and oil techniques lead to a tactile surface created not only by adding layers, but also by excavating and unearthing earlier layers of paint. I do not start out with a preconceived image, but a general openness to see what happens.

Christina Thwaites ONE BOAT CHUGGING OUT THE BAY 28 x 40 oil on canvas

My work explores the places and faces around me – often familiar and banal subject matter. Having moved home and country a lot (England, Australia, Italy, Indonesia, Palestine…) – my practice has been a means of connecting myself to location and people. I work a lot with photocopies and photographs, making fast and spontaneous drawings from them before painting. I do this in order to ‘get inside’ the subject before moving away from the source image, as I am less interested in where the painting started, but more in the process, and where the painting ends. I push and pull the paint and constantly work to surprise myself and test the materials I work with. A painting is ‘finished’ when there is a balance of poetry and tension which invites the viewer to question what they see and feel.

Jean Jack HOUSE AT THE END OF THE ROAD 36 x 36 oil on canvas

There is a poignant sense of unease and even loneliness in the places Jack paints, 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.

Show runs through 11/8/20.

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CAROL EISENBERG and DIANNE SCHELBLE are the featured artists
in our SUNDAY, SEPT. 6th opening.
Carol and Dianne will be in attendance from 3 – 5 pm.

Appropriate precautions will be taken.
Show runs through Monday, October 5th.

Carol Eisenberg ASIAN WATER LILIES_15x20_Archival Print
on Hahnemuhle Photo Metallic Rag

Although they read as paintings, these lushly colored photographic images of trees, flowers and birds are digitally ‘’constructed’’ by means of various blending, erasing and transforming techniques. They are further altered by modifications to hue and saturation … and by the insertion of appropriated imagery, gestural strokes or other marks. All of the imagery has been exclusively created and arranged by the artist.

The images are slyly subversive in that although they depict nature, which connotes ‘’beauty,’’ they are replete with urban components in the form of paint, plaster, dirt, words, graffiti or other elements transposed from city walls and sidewalks. The scarred surfaces speak to Carol’s lifelong struggle against feelings of helplessness in the face of injustice, her drive to rebel against conformity, her need to rescue what is damaged and her attraction to the sensuality in decay.

Carol earned an MFA in Media Studies and Photography from Maine Media Workshops + College after a 30 year career as an attorney.  In August/ Sept. 2020 The Maine Jewish Museum in Portland will host a solo exhibition of Carol’s work and her work is featured in the August 2020 issue of Decor Maine.


Dianne Schelble MONUMENT SQUARE 18 x 24 acrylic on panel

Not unlike the urban escapee homesteaders that arrived in Maine a generation ahead of her, Dianne lives with nature inside and out. The space she designed and handcrafted with her husband is carefully considered. Form, function and utility are paramount, but every thoughtfully selected object she surrounds herself with seems to be beautiful. She is a painter’s painter, and highly regarded by her peers. Her work is gestural and energetic. Bold colors are applied with wide brushes and the light is always intriguing. These current works are an expression of her wonderment and fascination with the architecture and nature around her.

Dianne’s work was featured in Palette Magazine with six pages and ten images in an article called “Gutsy Color, Poetic Light – Maine artist Dianne Schelble Captures a Moment” by Martha Wakefield. Her work is part of the United States Art Bank’s permanent collection and thirteen works were installed in a major office building in Washington, D.C. Dianne received her BA from the University of Michigan School of Art in the late 60’s and after an early career in illustration and architectural design, she has spent the better part of 45 years painting and continuing her education through workshops.


* We are happy to show you work from our artists anytime! 
Please email us at hello@carverhillgallery.com or call/text our cell at 
207-542-9895 to set up an appointment.

Mon – Sat ~ 11 – 5
Sunday ~ 12 – 4

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…albeit the year has not gone as planned. Our opening receptions are on hold for the time being, but when the world gives you lemons, paint them! For June and July we are featuring Maine/England artist Christina Thwaites, Canadian artist Cliff Turner, Maine artist Ingrid Ellison, Vermont artist Jonathan Gregg, Florida/Colombia artist Aurelio Posada, Maine artist Katie Wilson, Maine artist Jean Jack, and Maine assemblage artist Andre Benoit. Please bring a mask and come visit. There is so much beautiful work to see! Here are some works from the exhibition.

CLIFF TURNER December 36 x 48 Oil on canvas
CLIFF TURNER December 36 x 48 Oil on canvas
Christina Thwaites OLD WOODEN BOATS 24 x 36 Oil on wood panel
Jonathan Gregg VENETO 20 x 26 Oil on canvas
Andre Benoit CAUGHT 51x21x7 Found objects assemblage- Partial torso image
Aurelio Posada THE HOUSE OF THE THREE PALM TREES 24 X 30 Oil on canvas
Jean Jack ISLAND TIME 48 x 48 oil on canvas

and SUNDAY 12-4.

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ONE DAY ONLY promotion 12/6 and ART WALK reception 12/5!

Handmade marbled two sided origami stars by Shandells

Handmade marbled two sided origami stars by Shandells

Carver Hill Gallery, 28 Bayview Street in Camden, will host a reception during the Camden Art Walk on Thursday, Dec. 5th for a HOLIDAY POP-UP SHOW from 5-7 pm. The gallery will have holiday cards from England, handmade marbled ornaments and boxed matches, handcrafted belts with art buckles, balsam pillows with original paintings on them by Spruce Tree Studio, hand blown glass ornaments, linoleum / wood printed gifts and more.  The gallery will serve refreshments and warm Swedish Glogg to warm the bones. Festive gift bags will be provided.


11 am – 9 pm we will offer a 20% concession for all in-house inventory to celebrate the kick-off of CHRISTMAS by the SEA WEEKEND!!

New small paintings and collages have arrived by Maine artists John Winship, Katie Wilson, Kate Fitzgerald, Ingrid Ellison, Jeff Macdonald and Jeff Fitzgerald and will be featured on the walls. Small archived works from Los Angeles artist America Martin will also be featured.

Small 7 x 5 paintings by John Winship

Small 7 x 5 paintings by John Winship

Show runs through December 24th. FMI carverhillgallerymaine@gmail.com
for access to the gallery outside of business hours or
a private viewing please call or text 207-542-9895

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Thursday, July 25th reception featuring John Winship.

On Thursday, July 25th, Carver Hill Gallery will host an opening reception featuring works by John Winship. The artist will be present from 5 – 7 pm for the reception. A selection from our gallery artists will also be on view including works by Ted Keller, Natasha Karpinskaia, Robert Stark.

“My paintings are based on old snapshots. Over time, I’ve grappled with most of the subjects that a painter with a bent for description will take on: landscapes, still lifes, portraits. But I feel that I elicit an emotional dimension from the snapshots that I don’t attain from other subjects.”

John Winship WOMAN NEAR A BARN 20x32 acrylic on canvas

John Winship WOMAN NEAR A BARN 20×32 acrylic on canvas

“The atmosphere in my paintings is thick, the tonality dark, the edges and contours not always sharply defined, the faces often blurred or in shadow. These effects arise out of specific techniques, but are also attempts to break down the specificity of the photograph’s subject matter and allow the viewer to project more freely into the painting. The layers and veils of the painted surfaces are the equivalent of the distance between the viewer and the subjects of the old photographs.”

John Winship CAMP KINAPIK LOWELL MAINE 1922 acrylic on canvas 44x30

John Winship CAMP KINAPIK LOWELL MAINE 1922 acrylic on canvas 44×30

John Winship taught painting at Gettysburg College for over 20 years. He has had over thirty solo shows in New York, Washington D.C., Philadelphia, and other galleries and museums throughout the northeast.  His paintings have been featured and reviewed in such national publications as “Art in America”, “Artnews”, “The Artist’s Magazine”, “Harper’s”, and National Public Radio’s “All Things Considered”, as well as on numerous book covers.

“John Winship is a painter of dark and evocative scenes; dreamlike, mysterious pictures of people who seem to be from another time.” Linda Wertheimer, NPR, “All Things Considered

Ted Keller is a well-known career artist from Midcoast Maine, now residing 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.

“As you look at my painting here are a few thoughts that might help. I work quickly. I trust my hands more than my mind. I don’t care what I paint as much as how I paint. This allows me freedom to paint whatever interests me at the time. The paintings proceed without much revision. I have mostly worked in watercolor which does not often reward reworking. My paintings do not get better with more time, refinements, and worry. I make paintings spontaneously for better or worse and get on to the next one. I approach the oil paintings in the same way as the watercolors. I am more interested in the process of art than the product, and for that reason I believe I can make a good painting when that freedom brings everything together just right.”

Ted Keller DOWN BOWERY STREET NYC 40x72 oil on canvas

Ted Keller DOWN BOWERY STREET NYC 40×72 oil on canvas

Show runs through September 3, 2019

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Juan Escauriaza & Rose Umerlik POP-UP @ 20 Winter Street, Rockland, July 5th!

ROCKLAND, 7/5/19 FIRST FRIDAY POP-UP OPENING PARTY featuring JUAN ESCAURIAZA and ROSE UMERLIK, 5-8 pm! Show runs 7 days a week through 7/20/19.
20 Winter Street, Rockland (Across from CMCA)

Juan Escauriaza 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 Escauriaza RULES 45 x 57 acrylic on linen

Juan Escauriaza RULES 45 x 57 acrylic on linen

Escauriaza frequently travels to America to paint and study the urban landscape on the East and West Coasts. He seeks out architectural matter which relate in an interesting way to the ground, water and sky around it.  He searches for expansive urban wastelands, sometimes incorporating a sole figure or figures quietly taking in their environment – or perhaps they are oblivious to it. The lack of noticeable interaction with each other or their surroundings represents a sort of lone-ranger-on-a-spiritual quest notion.

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.

Juan Escauriaza CALIFORNIA II 39x39 acrylic on linen

Juan Escauriaza CALIFORNIA II 39×39 acrylic on linen

“The main theme of my paintings is the mystery that lies hidden within the city. The banality reveals mystery, calm, silence and void underneath the sunlight. One may consider the city as humankind’s most important creation – created by people for their own benefit and designed to serve them. However, as it is built, the city itself gains autonomy and power, to the point where it starts altering and changing human habits and behavior. Whereas architecture may last and stay intact for centuries, humans are merely transitory, short-lived creatures – and their individual impermanence intensifies the city’s own presence.

In my artwork one can easily recognize what is being depicted, but in fact, if I have any intention at all, it would be to try and unite the real and metaphysical worlds.

There are stills in films that are real works of art.  I am still under the American obsession; I love German director Wim Wenders’ (Paris Texas) work. No one has been able to reflect the American landscape like he has.


Rose Umerlik is a full time artist who recently moved from Maine to Vermont, where she paints in a beautiful, light filled studio in the trees. Rose has been featured in over a dozen solo shows and many two person and group shows nationally and internationally. She has received numerous awards and grants in places including New York, Vermont, and Berlin, Germany. Her work has been reviewed in Art Scope and Art New England magazines, and featured in many others including Maine Home and Design.

Rose Umerlik PURSUIT 32x52 oil on panel

Rose Umerlik PURSUIT 32×52 oil on panel

Within a very flat pictorial space large expanses of color are intersected by areas of dense activity, either clusters of lines or accumulations of smaller, organic forms. Lines are not always outlines but can have authority in themselves. Together with colors and forms, they suggest presences, or people, in complex relationships with each other, full of force and movement. Until 2008 Umerlik included direct references to nature in her paintings; associations with geology and coastal landscape still surface in the boulderlike shapes and color schemes that have become part of the artist’s abstract vocabulary. Britta Konau – The Canvas – Maine Home and Design Magazine

Umerlik starts her pieces with lines, loosely gesturing with a graphite pencil to capture the emotion she wants to relate. She absorbs the line – like breathing in an idea or a feeling – and then begins to layer the piece as the line dictates the soft forms that will become the skin. The lines appear, disappear, and reappear; they take us on a journey through the work. Sometimes an entire field of color will be covered with a new color, but glimpses of the line and perhaps the former hue that surrounded it will still be visible underneath. It is as if she is trying to show you where the story leaves off by first showing you how she got there. There are typically focal areas of tangle, tension, compression, and even chaos. These areas are tempered by expanses of soft color; and though these areas are resting places for the eyes, in Umerlik’s opinion, these spaces hold an enormous amount of the work’s energy. Her inclusion of black and grey, which she tends to use liberally, takes some guts, but she combines what can be imposing weight with her subtle palette in a way that is almost reminiscent of Georgia O’Keeffe’s work. The combination is arresting, and beautifully balanced.

Rose Umerlik ENCOURAGEMENT 28x44 Oil on panel

Rose Umerlik ENCOURAGEMENT 28×44 Oil on panel


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Next Opening Thursday, June 20th! Featuring Philip Frey, America Martin, Kate Fitzgerald.

On Thursday, June 20th, 2019 from 5 – 7 pm Carver Hill Gallery will feature 2019 work and never-before-seen archived work from 2011-2015 by America Martin. The gallery will also feature Maine artists Philip Frey and Kate FItzgerald. Show runs through July 20th.

America Martin’s work, past and present, is a welcome assault on our senses, and with each new piece she seems determined to raise the stakes, blitzkrieging any assumptions we might impose or any containment we might devise. Not one who glares or gloats or rails…her greatest tool is reflection, and through intense observation she finds enrichment in the common, fulfillment in the flawed and joy in complexity – all of which is transmuted onto canvas and paper where it lives in human figure and form.
Art critic Stacy Davies

America Martin Man with Trumpet and Green Hat 32 x 21 Oil ink pencil on paper

America Martin Man with Trumpet and Green Hat 32 x 21 Oil ink pencil on

Most noteworthy in Philip Frey’s work is his brilliance as a colorist. Frey’s representation of natural light evokes a freshness and optimism, as if we were being called outside to soak up the sun and the green grass. Frey has a remarkable ability to simplify complex environments into dynamic planes of color.  And, his steadfast devotion to perceptual painting – to what lies before him in the here and now – has yielded an abundance of honest and beautiful paintings.
George Kinghorn, Executive Director and Curator University of Maine Museum of Art

Philip Frey When Color SIngs 30 x 40 oil on linen

Philip Frey When Color SIngs 30 x 40 oil on linen

“I work in both oils and acrylics as they each bring their own set of technical properties and challenges to the canvas. There are advantages and disadvantages to both. My seascapes are more often done in oil, while my figurative paintings and portraits are mostly done in acrylic. I enjoy the challenge of representing the human figure in a simply, stylized manner. The gracefulness of line and form stems from my infatuation with painters such as Modigliani and the early works of Picasso. My love of music is a great inspiration for my work. Not only subjectively, as the depiction of performing musicians, but in the lyrical movement of line and light within the piece. However, I feel that composition is the utmost and foremost aspect of a good work of art. A well-balanced design exuding a sense of ease and serenity is that for which I strive.”
Kate Fitzgerald, painter.

Kate Fitzgerald Guitar Player 22x27 oil on canvas 3200

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SEASON OPENING Thursday, MAY 9th, 5 – 7 PM.

Carver Hill Gallery, 28 Bayview Street in Camden, Maine, will open for the season on Thursday, May 9th, with an artist attended reception open to the public from 5 – 7 pm.  This is the gallery’s second season in their new location in Camden, after 6 years in Rockport and 8 years in Rockland.

The season opening will feature primarily Maine artists including local Carver Hill artists Ingrid Ellison and Katie Wilson. Additional Maine artists include Lisa Noonis, Tom Flanagan, and Jean Jack, who are all new to the gallery. Three dimensional work by Philippe Guillerm and Andre Benoit will also be exhibited.

Ingrid Ellison is a Camden painter and arts educator working in oil, mixed media and printmaking. As well as Carver Hill Gallery, Ingrid has exhibited at the Center for Maine Contemporary Art and The University of Maine Bangor. Ingrid Ellison is a graduate of Skidmore College and earned her MFA from American University.

Ingrid Ellison - I Carried You Home - 30 x 30 Oil on panel

Ingrid Ellison – I Carried You Home – 30 x 30 Oil on panel


Katie Wilson, a Rockport painter, received her degree in fine art at the University of NH and worked as a graphic designer for a number of years while she continued her studies in painting. Her paintings have a softness to them, achieved through the bold brushwork. Through the collage the work makes passages into the abstract. Her figurative work and soulful portraits may hint at some emotional tension and have been described as solemn, wistful and haunting. “ I am intrigued by the imagined drama or peace of a past moment. My desire is to translate that moment through my own interpretation of the subject’s inner being.”

Katie Wilson - The Company We Keep I - 30 x 30 Oil, acrylic, collage assemblage on board

Katie Wilson – The Company We Keep I – 30 x 30 Oil, acrylic, collage assemblage on board

Lisa Noonis is a painter from Kittery whose work approaches a wide range of subject matter from still life and landscapes to personal narratives. Her paintings are expressive with a strong use of color and materiality.

“In order to keep my logical brain out of the picture, I paint and draw with my non-dominant hand and often attach a brush to a 3-foot wooden dowel. This gets me back from the canvas and allows me to see the painting. My aim is to develop a visual story that contains unexpected marks and shapes that allow the viewer to enter into a conceptual space and create their own narrative. 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.”

Lisa Noonis - Don't Go Beyond The Shrubs - 30 x 40 Acrylic and collage

Lisa Noonis – Don’t Go Beyond The Shrubs – 30 x 40 Acrylic and collage

Tom Flanagan paints in a “room with a view” in a riverfront warehouse in Brunswick. The white noise is the rushing water, and the natural light in the space makes the bright colors seem electric.

“I’m interested in getting up close to experience and feeling by focusing on how sensations and sensibilities guide visual experience. My paintings are about how those things fit together and what happens with that moment. For me, the process of painting through improvisation is incredibly important. Not knowing where the painting will take me and accepting the concept of mystery are paramount.”

Tom Flanagan - As Oxygen - 36 x 48 Acrylic on canvas

Tom Flanagan – As Oxygen – 36 x 48 Acrylic on canvas

Finally, Jean Jack will exhibit a large selection of her well known farmhouses.

“Often it is on the fast moving interstate where I discover, quite by accident, the perfect simplicity of a farmhouse or a barn. I am not interested in the details as much as the abstractions – the way the afternoon sun falls off a slanting roof or tall forsaken grass cradles an old structure or stairs that once led to a seaside path and now lead nowhere at all. The challenge is to catch the image with my camera from this inconvenient backstage angle. Utilitarian structures that have a weathered history are a more hauntingly lonely expression than the congestion of suburban or city life. Shapes occurring by circumstance intrigue me far more than deliberate artifice.”

Jean Jack - Roadside Meeting House - 36 x 48 Oil on Canvas

Jean Jack – Roadside Meeting House – 36 x 48 Oil on Canvas

Carver Hill Gallery’s spring hours are Tuesday through Saturday, 11 – 5

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