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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.”
“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 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.”
Show runs through September 3, 2019
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.
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.
“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.
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.
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
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
“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.
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.
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.”
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.”
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.”
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.”
Carver Hill Gallery’s spring hours are Tuesday through Saturday, 11 – 5
Carver Hill Gallery, 28 Bayview Street in Camden, will host a reception on Friday, October 19, 2018, from 5 – 7 pm featuring new work by Ted Keller, Jeffrey Fitzgerald, and America Martin. More work from our gallery collective will also be on display. Ted Keller will make a special appearance from Taos, New Mexico.
Ted Keller’s paintings are loose, directly painted, colorful, full of life and sometimes a little quirky. Ted’s one-liner artist statement is “I hope the Love shows”. Ted lived in mid-coast Maine for over thirty five years before moving to Taos New Mexico in 2009. He maintains a house in Union, Maine in order to keep a connection with the mid-coast area. Ted has a BFA in ceramics and painting from Syracuse University, and an MFA in ceramics from the University of Montana. He taught college level art classes for over 20 years at Oregon State University, the University of Maine, and the Rockport Photo Workshop. His work can be found on the walls of interesting people worldwide.
“As you look at my paintings 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 am interested in the process of art and put less focus on the product – because of this, some of the products are good.”
Jeffrey Fitzgerald primarily paints in the winter, when the yellows and pinks of summer give way to a more subtle, 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 to the piece.
“The ocean is vast and powerful, but can be intimate and tender. The canvas is a welcome and undiscovered country. 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.”
America Martin pulls from the stylistic lessons of the classics and its derivations in indigenous subject matter, while redefining what it is to combine abstract and indigenous motifs.
Martin’s art and personality encapsulates a sense of enthusiasm and hope. While born in the USA, the roots of America’s Colombian heritage deeply penetrate her work. People are Martin’s dominant subject. They are large in size, vivacious and accessible, and seem to burst out of the limits of each canvas or sculpture. Within this pulsating interplay of color, texture, line, and shapes, there is always America’s signature expression that identifies each work as an America Martin.
Gallery Hours: FALL 2018 – Tuesday through Saturday 11 – 5
PLEASE JOIN US FOR THE GRAND OPENING OF OUR CAMDEN LOCATION, 28 Bayview Street, on Friday, August 24th, from 5 – 7 pm.
In its thirteenth year, Carver Hill Gallery has moved to a bright and sunny location on Bayview Street. The gallery will be open 7 days a week through September, and will continue into winter with an abbreviated schedule and hours by appointment. Come see us and visit all of our wonderful neighbors on one of the prettiest streets in Maine. We look forward to seeing new and familiar faces in Camden!
Carver Hill Gallery will host a Pop-Up show at the Yellow Boathouse – 20 Winter Street, Rockland – right across from CMCA. The opening reception with America is First Friday, July 6th, from 5 – 8 pm. The show will run through July 22.
We will be unveiling an 8′ by 12′ surprise work painted on North Haven that has never been shown before. Other large oils will be on display, as well.
Scroll below to see some of the new works on paper that will be on display.
Black Hole Gallery, 403 Main St in Rockland, will host Carver Hill Gallery FOR A POP-UP SHOW of Ron Rovner’s work to open on Friday, May 18th, from 5 – 8 pm.
Ron Rovner lived in Maine and vacationed in Santa Fe for 35 years. Now he does the opposite. His interest in art is a common story; he is a music and science guy. A practicing dermatologist for 3 decades, Rovner is also a classically trained pianist. For him, art is the natural expression that ties the two together; his goal is to create works which emphasize the musical fundamentals of harmony, balance and rhythm.
Ron Rovner Nacht Musik 20×20 Aqua Wash over Fiber Paste w acrylic pastel and ink on panel
Rovner started making stained glass pieces early on. He was clearly influenced by Craftsman era architecture and the organization of his shapes was an indication of what would evolve into his current paintings. From glass, he segued into wood constructions, but that got tedious and the process was long and labor intensive. The idea of painting started to enter into the picture.
Ron Rovner Bolero Acrylic and Rusted metal paint construction on panel 24 x 24
“I woke up one night and was at an impasse, and then it hit me.” At 2 a.m. he started thinking about composer Arnold Schoenberg and his 12-tone structures. “The music is very difficult to listen to. Some people call it music for the eye, not for the ear, but it’s interesting to study and observe on paper. The idea of turning it into art was intriguing.”
Some of Rovner’s work speaks more to the feeling or emotional response to the music, and other works reflect the actual construction of music; meaning the latter works are comprised largely of elements that represent Rovner’s visual interpretation of that music.
His “Nachtmusik” pieces (inspired by music of the early twentieth century serialist composers, particularly Schoenberg) are complex variations of similarly complex pieces of music. The more straightforward series he creates are interpretations of quieter, subtle compositions.
Ron Rovner Discordance Tinted Gesso on Cradle Board 24 x 24
There are three variations possible in the context of Schoenberg’s principles: inversion (upside down), retrograde (backward), or retrograde inversion (upside down and backward). The symbols Rovner has created represent these variations, and also unmistakably evoke the Southwest in terms of palette and symbolism, thereby reconciling ancient and contemporary aesthetics.
“My process includes reconciling apparent opposites such as the ancient with the contemporary, the angular versus the lyrical, and amorphous color background fields with bold foreground figurations. My goal is to create work which combines the creative aspects of music and visual art which represents something more than the mere sum of its often disparate parts.”
TWO WEEKENDS ONLY! OPENING FRIDAY, MAY 18, 2018. Join us for a glass and a nibble of from 5 – 8 pm and enjoy “GOOD AFFORADABLE ART!”
BLACK HOLE GALLERY HOURS: 5/18 – 5/20 & 5/25 – 5/27 Fri 12 – 8, Sat 10 – 5 & Sun 12 – 3
403 Main Street Rockland 207-808-2141