Portfolio of Works
Wayne Hall
All of my “rustic” furniture work begins in the woods where the trees are. The patterns of growth and spatial relationships inform all the designs I work out in the studio. Although comfort and structural integrity are important in my work, the purpose is artistic. The rustic furniture style gives me permission to work in the woods as an artist. This work is exciting, mysterious and playful to me, as nearly all creative “work,” however important or sophisticated, still feels like play to the engaged artist.
Liz Hoag
Liz Hoag earned her Bachelor of Fine Arts degree at Cornell University in 1983 and her Master of Fine Arts in Painting from Boston University in 1986. She is drawn to composition, light, and color in landscapes. She started focusing on trees a few years ago because they provide her with endless possibilities. They lend a strong linear element to a composition with extremes of light and dark and depth and an incredibly varied color palette. Something about the negative space that trees produce compels her and allows her to lead the viewer to a specific area of focus. She loves seeing THROUGH trees to the complexities of the composition and the negative spaces. The possible abstract paintings available in the spaces between branches are endless.
Eric Jacobsen
Eric Jacobsen was born and raised in New England. He received a BA in History from Gordon College in Wenham, MA in 1989 and studied fine art at the Lyme Academy of Fine Arts in Old Lyme, CT from 1991-1995. At the Academy he received training in the Beaux Arts tradition of drawing and painting from life.
Eric's true inspiration is the amazing beauty that he sees in nature. Jacobsen is a “Plein Air” painter. He takes his oils wherever he goes, setting up on site, working until his painting is finished.
Philip Wallace Jostrom
Philip Wallace Jostrom is an oil painter from Narrowsburg, NY. He began teaching himself to paint in 2009. Up to that point, he had worked in the New York City film industry as a set decorator and assistant art director on such features as “The Godfather, Part II,” “Marathon Man,” “An Unmarried Woman,” and “The Wiz,” among others. In the 1980’s he worked as an associate casting director on commercials, Broadway shows, and feature films including “Sex, Lies, and Videotape” and “Last Exit to Brooklyn.” He also taught film acting at The New School in NYC for ten years and created a theater company.
Ryan Kohler
I am an oil painter working in Skowhegan, ME. I received a BA in Art from the University of Maine at Augusta in 2011 with a concentration in drawing. Each painting is a one of a kind original (no prints) of my own design and execution. My subject matter ranges from museum scenes and architecture to floral, plein air work, and still lifes. I work from photographs as well as direct observation, whether it be in the field (plein air) or in the studio.
Ann Larsen
Painting the landscape is more about what you do not say than what you do say. Using bold brush strokes and textural paint, I interpret in an impressionistic manner what nature provides. Working from nature is both exciting and challenging, but ultimately there is a dichotomy between painting and creating a work of art that hopefully collectors respond to. I strive to create a feeling of time and place in each painting.
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Henri LePetit
Around the age of twelve, Henri began to accompany his father on scientific assignments. It was during these early travels, which took them for many years throughout the African continent, the Middle East, and later the entire length of South America, that his father one day asked him to help with illustrations for a project. The natural artistic talent that his father possessed provided the guiding hand during these first steps.
Kirk McBride
"Everything has a moment when light and shadow create something breathtaking to view." Kirk McBride is constantly looking for those moments to inspire his oil paintings. He travels often and paints a variety of subjects from seascapes to mountains, from city scenes to landscapes, from foreign cafes to interiors of his own home and studio. The light and shadow relationship is the unifying theme that runs throughout his work.
Jan McElhinny
Jan McElhinny is an oil painter living on the South Shore of Massachusetts. She paints to express her interpretation of what she finds intriguing in the world. Jan is primarily interested in portraying one fleeting idea; usually the light, space, or form in a situation that she finds instantly compelling. Abstracting unnecessary details leads to the elaborate interpretation of her surroundings.
Jonathan McPhillips
Jonathan graduated from Connecticut College in 1993 with a Cum Laude Distinction in Fine Art. He currently resides in Saunderstown, Rhode Island, where his artwork has evolved into a celebration of coastal New England. Working equally in the studio and on location, his work includes beaches, vessels, and architecture of our coastal marine environment.
Aline Ordman
Aline Ordman is influenced and inspired by the New Hampshire and Vermont environment in which she lives. Her paintings not only reflect the area landscapes, but are also inspired by the particular qualities of light and color. Her landscapes, figures and still lifes use these qualities to illuminate the human and natural worlds, to capture the beauty that radiates from a particular passing moment. A flicker of light on a shoulder, a splash of sun on a summer hat, flakes of light in a stand of maples, a shower of late afternoon sun on a hillside- these are the moments that attract her.
Tad Retz
Tad Retz enjoys creating through traditional methods of painting in oil, acrylic, or gouache as well as painting digitally. Though known for his landscapes, he is known to paint other subject matter that inspires him. He has traveled the country studying and learning with numerous artists as schooling. Tad’s work is shown in galleries and shows around the country. He occasionally teaches workshops throughout the U.S. each year.
Tad Retz has been painting professionally since the age of 20. Before that he was a sculptor, receiving the prestigious National Gold Key award for which he was invited to Carnegie Hall in New York City to accept. His training has involved studying with accomplished artists, attending classes at the college level, and intense independent study. Says Retz, “My studying takes the form of painting everyday, continuing my study of masters’ paintings, reading books by established artists, learning about their ideas and techniques. I feel that painting every day is the best schooling.
Janis Sanders
Salt air, salt spray, sweet smell of summer grass, verdant marsh, an old house at the water's edge, wind in your hair, sun on your face. These elements draw me outdoors, to the grassy dunes of Truro, the calm marshes of the North Shore, to the rugged cliffs of Maine. Many of my paintings are done "en plein air", a method introduced in the mid-1800's by Boudin and other French artists, and pursued vigorously by the Impressionists, a name coined by an art critic in response to Claude Monet's work, Impression, Sunrise, 1872. Each of my works is done as spontaneously as possible, with only minimal blocking in of forms.
Judith Schuppien
Judith Schuppien attended public schools in Milbridge, a small coastal town in Washington County, Maine. She won a scholarship to the University of Chicago, where she earned a BFA and MFA. She paints mainly in oils, but has also worked in pastels. Her loose, expressive style, often bold and colorful, presents familiar subjects in a fresh and interesting way. In her travels, she keeps an eye out for the occasional odd juxtaposition, an unusual point of view, and always, an emotional connection.
Mark Shasha
Mark Shasha is an award-winning American artist. He is also an award-winning author and illustrator, an award-winning educator, an actor and a songwriter. His paintings, drawings and prints are found in public and private collections around the world and have appeared in museums and galleries for more than three decades. His children’s books appear regularly on bestseller lists and have been read by millions worldwide.
George Van Hook
Van Hook thinks of his paintings as primarily a visual response to the selected environment, be it landscape, figure or still life. “I want the color to be beautiful and the drawing firm and secure”, he says. The paintings are a marriage of external and internal forces – what emerges on the canvas should be a reflection of both the beauty of the world and the artist’s most inner response.
Jennifer Van Cor
The landscape has always tantalized my senses. The smell and feel of wet grass, the sound of leaves in the wind, the shape of a shadow through a broken limb. And with it all the ever changing color; a universe of color. Each stroke and dip of the brush pushes my senses onto the surface and if I am listening closely and truly, the life of a landscape fills the painting. As my landscapes progress, they become more about the flow of energy, the experience of a lifetime of color, shape and feeling.
Barbara Walker
Painting has given voice to the moments or places that capture something inside me. I am naturally prone to being in the moment. Whether in my studio, or the corner of a meadow working quickly, laying down color on a canvas, or scouting a country road to find that place and time when the light brings to life a field or house. Sometimes the sun streaming through a window stops me in my tracks while walking through a room. It’s in those moments that something stirs in me that just may spark the next painting.
Sean Ware
After several years of Florida's external summer, I returned to Maine last year and rediscovered the joy of season again. Even under the slow monotony of mud season is the promise of spring and Maine's landscape churning back to life. Trekking outdoors with my field easel, I find hints of warmth and color beginning to reappear after a long span of dreariness. In particular, I feel most drawn to the coast. While the grey forests have been locked in stasis, the surrounding Atlantic has continued its own ceaseless cycle of change, with waves and tides constantly on the move.
Peter Yesis
Peter Yesis’ paintings are rooted in realism but rendered in a softened style that leaves space for thought and reflection. His works do not flash with intensity, but rather, each canvas is a quiet invitation to sit down and enter the composition. You can return again and again to his work and find the comfort of belonging to it. Peter’s landscapes are a product of his love and respect for nature, but also an opportunity to participate in the beauty and natural energy of the Maine woods, waterways and terrain.
