2016 Residents

Night Painting, 2016

KrisAnne Baker

The residency totally met my expectations. I was completely inspired by the varying atmospheres, sometimes clear, sometimes foggy. The clarity of the water and my underwater viewings were stimulating, mesmerizing, and what I had hoped for.

krisannebaker.com

untitled, 2016

Michelle Hauser

On Monhegan, I began by developing a group of paintings derived from my daily and nightly experiences of exploring, hiking, and observing the ocean while sketching and drawing. At night I often found my way down to Lobster Cove to study the unsullied night sky illuminated by stars.

michelle-hauser.com

Tall Brass Oil Lamp, 2016

Barbara Sullivan

Monhegan is a special place. I loved being where many of my favorite painters had been before me, to experience the island at a different time but yet imbued with so much history and independence and to see the mechanical workings of Monhegan in the present. For example how re-cycling is handled and the power plant, how the library is run, all these things made an impact on me. I often heard painters speak of “the light” and I ended up making work about the light literally, before there was power, about the oil lamps, and then also about the refracted light of cameras and the magnified light of binoculars. I was drawn to make work, objects about “the light” — site specific to Monhegan as a place.

caldbeck.com

2015 Residents

Untitled, 2014, bisque fired porcelain, unfired stoneware, wax, glaze, halogen lights, kyanite, saggar

Coreena Affleck

I enjoy creating forms that have a resonance of nature, yet harbor some uncertainty about exactly where in nature they occur. I am passionate about clay as a material for the endless possibilities it yields. The other materials I use in conjunction are either found outside, typically from animals or trees, or something that has been processed by man, be it wood, plastic, or metal. I find myself being most inspired by simply being outside and mentally bringing back what I see to the studio. I am curious about the natural systems of repetition that occur in our lives and in our natural environment, and continue to actively investigate them.

coreenaaffleck.com

Wreck of the Venus, 2013, oil on canvas, 36″ x 24″

Nathaniel Meyer

The residency provided me with an opportunity to focus solely on my work- no distractions at all. Heading out painting every day allowed me to get into a rhythm that would be difficult to achieve with all the other distractions of daily life- living a hermetic existence for a while helped me live the work.

nathaniel-meyer.com

The Recluse, gouache on board, 2014

Justin Richel

The MARC fellowship is a gift which will continue to inspire me indefinitely, the impact of which I have not yet come to understand completely. Like all good transformational experiences, they reveal themselves slowly over time. The residency afforded me the time and space to rest, reflect and regroup in a bucolic environment amongst a supportive and creative community. It became very clear to me how special Monhegan is, as each person I encountered shared a deep love and connection to the island. A connection I now share with them.

justinrichel.com

2014 Residents

Cassandra Complex, linocut, 2014

Scott Minzy

Ever since I stole my fathers copy of Moby Dick, not to read it but to obsess over the illustrations, I have been fascinated by the legend of Rockwell Kent. A biography of Kent describes his prints in the following way:

“Many of the prints seem to depict humanity in a struggle to capture ultimate reality, to penetrate into the mystery of the dark night of the universe, and to discover the reasons for existence. Over the Ultimate is a tragic but, at the same time, heroic conception.”

scottminzy.com

Work in progress during 2014 residency

Victoria Statsenko

I harness the power of perception as both tool and subject. By selectively painting on digitally printed textiles, I am able to generate an immediate and immersive optical experience. Linear geometric form is the foundation to my image making, providing a structured surface for the eye to freely roam without an opportunity to settle.

victoriastatsenko.com

Monhegan #12, oil on canvas, 2014

Jan ter Weele

I have always painted a lot, 5 or 6 days a week, but my hours have been inconsistent. During my residency I followed a fairly strict schedule which I have now carried over into my daily practice, getting started early and going into the early afternoon. As for my painting, color has become increasingly important to me. I’m also simplifying more to make paintings that are primitive and powerful, a direction I intend to pursue.

janterweele.com

2013 Residents

Daniel Anselmi

Anselmi’s work combines the use of collage and paint to explore the relationship between imagery and abstraction. He uses paper and other materials “to elicit ‘brushstrokes’ on the canvas.” In 2013, his work was included in the I-95 Triennial at the University of Maine Museum of Art in Bangor, and the Betts Gallery in Belfast.

danielanselmi.com

 

Monhegan Hens, triptych

Melinda Campbell

The first teacher-artist in the Monhegan Artists’ Residency Program, Campbell is a K-6 Art Specialist in the Auburn School Department. Her work was featured in a solo exhibition at The Barn Gallery in Phippsburg, Me., in 2013 and in numerous group exhibitions over the past five years, including Saco Bay Artists in Biddeford and Northlight Gallery in Millinocket. For more information on her Monhegan experience, see her blog.

melindacampbell.net

installation for Prints: Breaking Boundaries (Portland Public Library), detail of roof, relief ink, woodblock printing, beeswax, milk paint, xerox copies, various paper types relief ink, woodblock printing, beeswax, milk paint, xerox copies, various paper types, 2012

Kristin Fitzpatrick

A recent graduate of the Maine College of Art, Fitzpatrick is printmaker who works in a variety of media. She has participated in various public art projects over the past 5 years and shown her work at the Landing Gallery in Rockland.

kristinmariafitzpatrick.com

 

2012 Residents

Kenny Cole

A 1981 graduate of Pratt Institute, Cole has shown his work at a number of venues throughout the state, among them, the University of Maine Museum of Art, Space Gallery, and the Belfast Free Library. His imagery often makes reference to social, religious, and political issues.

“In the spring of 2012 I spent 5 weeks as the Artist in Residence on Monhegan Island, Maine. Prior to this I had been involved with a group of artists, organizing various political art actions, from which, I had learned how to create silk-screen prints using water based acrylic inks squeezed through very simple newsprint stencils. So for my residency I decided to try and teach myself more about this medium and to create some prints in line with my own painting and drawing. I created 27 different editions of around 12 or so prints, per edition, washing out/destroying each stencil after printing. I also created stencils using drawing fluid and screen filler, which was a bit more of a process than newsprint stencils, but afforded a nice fluid contrast to cut paper.

“Monhegan Island is truly a magically romantic place, with cliffs, crashing waves, fish shacks and walls of stacked lobster traps. There is a long tradition of artists who have sought out the rugged beauty and solitude of this place to create art, including Edward Hopper, Rockwell Kent and George Bellows, just to name a few. My experiences and impressions were intensely mixed. Amazingly enough, everything these artists saw then; the light, landscape and community of lobster persons, are all still there, yet the ills of our modern world have not left Monhegan unscathed. Plastic is everywhere, not surprising, considering that the island’s fishing industry requires a material that can stand up to moisture, loading and hauling, to which lesser materials like wood and steel would invariably degrade by breaking, rotting and rusting. And, as is the same every place, that is by the sea, stuff washes up. So I found myself transfixed on the things that the boatloads of plein air painters, who descend upon Monhegan each spring, choose not to contemplate or capture, finding instead contrast and contradiction as my subject matter. Each print reflects something of my Monhegan experience during the spring of 2012 and here you will find everything I allowed my encounters and instincts to capture and reveal, from the minke whales and night heron to the guy with the ‘sword’ pierced earring and the ‘I Love Bacon’ bumper sticker. My hope is that I have created a compelling portrayal of a place that is in fact, still truly compelling.”

kennycole.com

 

Wreck, oil on canvas, 24×22 inches, 2012

Emily Leonard Trenholm

Trenholm earned a BFA from the University of New Hampshire and an MFA from Boston University where she studied with John Walker. She responds to the natural world in an abstract and painterly fashion. She plans to paint on location while on Monhegan and also hopes to make watercolors and reduction block prints.

Emily Trenholm was a featured artist in the 2015 University of Maine Museum of Art exhibition, Monhegan: A New Perspective that included work from her Monhegan Residency.

emilyleonardtrenholm.blogspot.com/

 

2011 Residents

Alina Gallo

Among recent MARC fellows, Alina Gallo has the done the most to share her Monhegan experiences over the Internet, maintaining a blog throughout her residency. Her website juxtaposes paintings and photographs made on the island in June of 2011, along with her written descriptions of the people she encountered, ranging from local residents, to members of the long-standing artist community and the active group of birders, who regularly populate the island during migration season. Shortly after returning to Portland where she lives, Gallo had a one-person show of her Monhegan paintings at The Heart Opening Studio. In addition to her Monhegan residency, Gallo received a MacDowell Fellowship in 2010.

alinagallo.com

 

Gail Hollenbeck

A resident of Bailey Island, Maine, Gail Hollenbeck had made several trips to Monhegan before she received a MARC fellowship. In her application, Hollenbeck noted: “My visits in the past to Monhegan, though short, have been exhilarating. During a Monhegan residency, I would expect to do a series of evocative, spatial rock drawings and small oil paintings, and be receptive to new ideas that come when working quietly in proximity to nature.” Like several other MARC fellows, she has also had other residencies in this country and abroad—at Yaddo, the Ballinglen fellowship in Ireland, and the Maryland Institute’s program at Rochefort-en-Terre in Brittany, France. She received her B.A. in painting from American University, an M.F.A. from Pratt Institute, and studied at the Skowhegan Summer School of Painting and Sculpture.

Writing about her work, the artist notes the influence of abstract expressionists Arshile Gorky and Franz Kline and draws attention to an “unsettling tension [that] exists between colliding forms—where evocative shapes emerge and dissolve…. From the vantage point of a fast moving boat, I have filled sketchbooks with images of ledge and islands soaring through the vast expanse of open sea.”

2010 Resident

 

Christopher Keister

Keister’s geometric abstractions have been included in both Maine biennial exhibitions, at the Portland Museum of Art in 2003 and 2007 and at the Center for Maine Contemporary Art in 2008; and the Portland Museum acquired two works for their permanent collection in 2010. Aside from his painting practice, Keister is currently studying book binding and dowsing; and he is assembling an occult reading room on Peaks Island in Casco Bay where he lives.

 

2009 Resident

 

Morning in Friendship, oil on linen, 24"x30"

Daniel Corey

I am a traditional painter rooted in the aesthetic values of the Ashcan School and the impressionists of the Cape Cod School of Art. Mostly inspired by light quality, color harmony and abstract shapes, my paintings are created from direct observation. I really enjoy the challenge of painting nontraditional views/subjects and finding the beauty in them, along with the views that make Maine, Maine.

What I hope to accomplish during my residency on Monhegan is most simply stated as growth. I believe the time and surroundings provided through this residency will allow me to really focus on what makes my paintings mine and what makes me, me. Being familiar with the rich art history of the island and the part some of my personal painting heroes have had in it, would make this residency very special to me. I find this a priceless opportunity to experience the scenes they painted and walk in their footsteps, while having the time to paint my own personal view of the island and hopefully leaving a few footprints of my own. Keeping track of this experience through a daily journal is another task I have set for myself if selected, and will make a full copy available to the Monhegan Residency Corporation to share as they wish.

danielcorey.blogspot.com

 

2008 Resident

 
 

Sarah Sorg

Sarah Sorg is a photographer currently living in Bangor, Maine. The images on this website have been shot with a digital camera, an 8×10, pinhole and 4×5 view camera. Prints are made with inkjet and silver gelatin processes. Sorg received a Arts Visibility Grant from the Maine Arts Commission. Recently, she exhibited in Darkness, Darkness: An Exhibit of Contemporary American Night Photography at the George Marshall Store Gallery in York, Maine, and at the Center for Maine Contemporary Art in Rockport, Maine.

sarah@sarahsorg.com

 

2007 Residents

Rain

Mercedes Gilbert

Mercedes Gilbert received a Monhegan residency fellowship shortly after she finished the certificate program in photography at the Maine Media Workshops in Rockport. Since then she has gone on to exhibit her work at the Center for Maine Contemporary Art, and at Dowling Walsh Gallery in Rockland, Maine. She has also worked with digital photographer John Paul Caponigro at his studio in nearby Cushing. More recently she has turned her efforts toward painting. When she showed her recent work in the MARC@20 exhibition, she wrote about the transition from one medium to another:

“I have always been a bit envious of the way painters see the world. Where I might see only a white house or a green tree, a painter may see a multitude of colors and subtleties in tone. Shortly after moving to San Francisco, I decided to explore this way of creating. As challenging as it can be at times, I’m thrilled by the tactile experience of mixing creamy pigments and putting them to canvas. I continue to photograph, but for now I find myself hopelessly drawn to painting as a way of interpreting the visual world.”

mercedesgilbertpaintings.com

 

Ryan Wight

Shortly after graduating from the University of Southern Maine with a B.F.A., Wight received a Monhegan Residency Fellowship. He contributed work to the MARC@20 exhibition in 2010, noting that in his recent work:

“I want to give attention to natural structures and show how they work together to construct a system of functions. I work to develop my artistic language of symbols and form through studies and conceptual thoughts dealing with organic matter. My marks are about connecting physically to a work through repetition and natural gesture motions. The buildup of paint and other materials is a tool I use to create a representation of living dimensional space. Concepts such as gravity, direction, and lineage are important attributes.”

He lives in Gorham, Maine.

2006 Residents

Coast

Cynthia Davis

Cynthia Davis, currently resides in Harpswell, Maine. She holds a MFA from the University of Massachusetts, Dartmouth in Fibers, and a BFA in Printmaking from the Portland School of Art now know as the Maine College of Art. Her advanced studies in art include attendance at University of Southern Maine, University of Colorado, Boulder, School of the Museum of Fine Arts, Boston, and Studio Art Centers International, Florence, Italy.

cynthiacdavis.com

 

Oyster, 2005

Nicole Duennebier

In the 16th century there was a group of painters called Carravagists who, inspired by Caravaggio’s technique, applied the painter’s deep shadow to a new level in their still-life paintings of luxury objects. Before long the obsession with darkness lead their paintings to appear to be nothing more then a void impregnated with pin-pricks of light. In these paintings “objects only exist to the extent that they can be perceived, but in order to be perceived they need light to dispel that darkness which is the original state of the world” (Norbert Schneider, Still Life, 1999).

The “original state of darkness” can be considered in relation to one human conception of nature, which is marked by confusion and anxiety. Dark woods and undersea regions best exemplify this idea. In these places, light is a foreign object brought along by the observer so they can be aware of the complex animal/plant operations at work in the darkness. In the dark we are disconnected from nature by our dull senses, which make the system of nature just beyond our perception.

“My work deals with mass growing out of darkness. These masses are made of organic and man-made materials fused together to form grotesque bodies. Delicate fabric and cakes of mold become one and the same, neither more beautiful then the other. These rotten bodies attract the attention of animals and insects, which are eventually incorporated into the form themselves.”

nicoleduennebier.com

2005 Residents

Slippery Surf, 2009

 David Higgins

[At Monhegan] I discovered a vibrant artist colony with many artists at work in studios and outdoor locations across the island. They were more than willing to discuss art in general, their own art, my art – all with candor and excitement. I was able to watch artists at work painting the island landscape in a multitude of styles, techniques and interpretations and soon realized these ideas were readily adaptable to digital imaging. It was very energizing. My interest in painting, something I had not pursued since my school days, was rekindled. I began to paint in earnest and now find that I approach a subject first by deciding whether to render it digitally or in paint.

Much of what I learned as a photographer is readily applicable to painting particularly in regard to composition. This is where I began my study of painting, and I think my photographer’s eye is the hallmark of my painterly style. I have spent a lot of time working with tone in the darkroom. This is why I find painting so refreshing as it has allowed me the freedom to really play with color and to mix and layer colors to create light, shadow and shape. I spend a great deal of time now studying color theories and putting them into practice. Everyday is full of choices.

d-higgins.com

 

Manana at Sunset, watercolor acrylic, 2010

Terry Hilt

Born in Bar Harbor, in 1953, Terry Havey Hilt is a native of Maine with many generations of ancestors on both sides immigrating and settling in Hancock County. She is a graduate of University of Maine at Orono and Boston University; and received her PhD from University of Maryland School of Social Work. She is a psychotherapist as well as artist and published poet.

“I am captivated by constant motion and force of the landscape—the physics of gravity, velocity, and electricity as these create continual movement within the sea, fields, sky. In the studio I paint the kinesthetic memories of these shifting elements in an abstracted “all at once” energized landscape.”

2004 Residents

Sasha White

Sasha White studied art at Bowdoin College in Maine and Cranbrook Academy of Art in Michigan, before serving as a curator at the Institute of Contemporary Art at the Maine College of Art. A print maker, who specializes in “low-tech” approaches to the medium, White has also taught printmaking in Venice, Italy. Her graphic work on Monhegan related to a drawing project where she explored “things that move through the air: birds, insects, seeds. Composition, material choice, and the quality of the mark respond to how and where I find these ‘movers.’” She exhibited her work in both the Carina House exhibition in 2006 and the MARC@20 exhibition, held to inaugurate the new residency studio space. For the latter show, White recollected that her island residency:

“. . . shifted how I work, drawing much more in the field, spending time waiting and watching and allowing my “subjects” to unfold themselves into my work. In the longer term, it has challenged me to redefine my sense of audience and community; asking me for whom I make art and what my responsibilities as an artist are. It has, at times, led me away from art into the practice of yoga and bodywork, the study of plants and birds, the growing of food and the making of medicine.”

 
Otter Point, oil on linen

Otter Point, oil on linen

Robert Pollien

Rob earned his M.F.A. from the University of Pennsylvania under the noted Maine landscape painter Neil Welliver and attended the Skowhegan School of Painting and Sculpture. A former Artist in Residence at Acadia National Park, Rob was awarded a Maine Arts Commission Individual Artist Fellowship in painting and has been a Carina House Resident on Monhegan Island. His work is included in Art of the Maine Islands by Arnold Skolnick and Carl Little. Pollien’s paintings are in numerous corporate, public and private collections. Rob is represented by the Dowling Walsh Gallery, Rockland, Maine.

pollien.com

2003 Residents

Wind, stainless steel

Susan Bennett

Susan Bennett is a University of Southern Maine graduate. Her work has been included in juried shows in New York, Santa Fe, Boston, and Rockport, Maine. In 2009 she exhibited her work at USM in Portland and with the New England Sculptors in Boston.

“Placed in frames, the landscape is viewed as an object, a substitute for the viewer’s perception of reality. Totemic and ritual symbols of non-human spirits, dreams, and myths have in time, been weeded out of our consciousness. We are fortunate to encounter remnants of these instinctive and intuitive experiences.

On an early evening a few days before my Monhegan residency ended, I walked to Lobster Cove. It was a beautiful evening with the sun shining through a warm moist wind. I found a seat on the rocks a short distance from the ocean swells just beyond me. I mixed up a batch of paint and water that looked and felt like mud. I painted on paper, placing the sheets of paper over the rocks to dry. While the paint was drying, the sun was touching the edge of the water, turning red, edging the clouds with purple. I washed my feet and hands with the leftover water from my jug and knew in that moment, I would hold this memory forever.”

susanbennettsculpture.com

 

Monhegan Blue (from Lighthouse Hill), oil on canvas, 2003

Michael Branca

“In five weeks as the ridiculously lucky Artist-in-Residence at the Carina House on Monhegan Island, Maine, I completed my first eighteen oil landscapes. I took on the challenge of working outside as a way of improving my skills as a painter. I thought I’d enjoy the process, but I did not expect to fall in love with it the way I did. I understand now the compulsive drive that leads a person to spend a lifetime painting the landscape. Whole days spent rooted in a beautiful spot, trying to keep up with nature. Chasing the light, racing the tides, fighting the fog. I can’t imagine ever getting it completely right, but I’m sure I’m not done trying.”

mikebranca.com

2002 Residents

Gull Rock

Kelli LK Haines

Kelli LK Haines works primarily with 4×5 format photography, using a 1952 Crown Graflex with slow-speed black and white film. Straight photography can best describe her style. Preferring to do the majority of her work in-camera results in strong negatives, allowing for more creativity in the darkroom. While the main focus of her work is architectural landscape, she is also known for her intensive portraiture. Also a talented painter, Haines has developed a unique style of painted photographs.

A lifelong student of photography, she also had as a mentor, noted photographer Todd Webb. She was awarded grants by the State of Maine to study at the Maine Photographic Workshops and has exhibited throughout New England and the Southeast. Haines was formerly a teacher of photography at CPAC of UMA in Lewiston, ME. In Maine, she is represented by the Lupine Gallery on Monhegan and the Galeyrie in Falmouth.

 

Pulsation, oil on canvas, 2001

Carol Sloane

I have come to realize that “path following” is a compelling and provocative process for me. The passage of time, the filtering of light and shadows, the meditations that percolate through my mind when I walk have all become parts of my personal documentation.

I walk often, in all kinds of weather and in all kinds of places. I have built an extended series of works, including three 25′, scrolls with oil sticks on paper, tracking my perambulations. I want my work to convey the joys and insights that I internalize when I walk, my paths and experiences to be anybody’s roads.

I paint in oil on canvas and I work in oil sticks on panel or on 140 lb watercolor paper. I work from photographs and from life.

carolsloanemaine.com

2001 Residents

Rock/Monument, Peas, oil on panel, 2001

Rock/Monument, Peas, oil on panel, 2001

John Knight

My current paintings are centered around common plants and their environments. They also describe a dialogue between the sky and the earth. As the plants send out flowers and shoots, growing higher, they become the go-between connecting the earth and sky, and the plants themselves intermingle with their surroundings. I have let these often small weeds become monumental in my paintings, running the whole vertical length of my canvases, uniting solid ground below with atmosphere above. I have encountered these plants in fields, beaches or rocky shores here in Southern Maine. On an aesthetic level, I notice the color and shape of radiating petals on a flower with a specific number and formation, but observing the whole plant closely and identifying it through books opens up other meanings relating to its use as food, medicine, or textile/building material. I welcome the diversity of tenacious weeds that grow without conscious planting or landscaping. Their surprises contrast with gridded plots of daffodils or tulips, and the vast, uniform orchards or crop fields that fill abundant but homogenous produce bins in supermarkets across the country.

In my studio, forms of clouds, stones, plants, rolls of hay, or bodies of both land and water are malleable and change to fit my compositions. However, the subjects and their environments that I create are always informed by my sense of the different places I have lived or spent time. A century plant I painted in New Mexico relates to a sow-thistle I see and paint in Maine. A tower of limestone blocks I painted in a quarry in Indiana relates to natural rock formations I saw and painted in New Mexico and to the shape of the rocky coast of Southern Maine. The name and identity of the forms change, but certain shapes and compositions repeat through many of my paintings. In the studio I work to generate the sense of scale I experienced standing with my easel planted in a large outdoor space with the ground sweeping up under my feet and clouds rushing overhead. I get back to experiences I have had walking out into certain outdoor spaces and being struck by a feeling of harmony in the forms surrounding me.

johnardenknight.com

 
Clam Shuckers, oil on canvas, 2009

Clam Shuckers, oil on canvas, 2009

Betsy McLellan

I am a full-time artist living and working in Coastal Maine. Originally from the Boston area, I received a BFA in Painting with a minor in Art History from Boston University. After moving to Maine in 2000, I had the great honor of being awarded a Monhegan Carina House Residency in the summer of 2001. I primarily work in oil and am drawn to Maine’s landscape and quaint harbors. Current projects include poster illustrations and children’s book illustrations. My inspirations include Lynne Drexler, Dahlov Ipcar, Fairfield Porter, Edward Hopper, Henri Matisse, Richard Deibenkorn, Willem de Kooning and Wayne Thiebaud.

betsymclellan.com

2000 Residents

Mary B. Harrington

marybharrington.com

 
Dampness, Twin Beaches, oil on linen

Dampness, Twin Beaches, oil on linen

Lynn Travis

A direct response to my environment is central to both my landscape and figure painting. Long walks, extended close observation, and daily life experiences give rise to my subject matter.

lynntravis.com

1999 Residents

Daisy Pond Promise, Baxter State Park

Daisy Pond Promise, Baxter State Park

Michael E. Vermette

A strong attachment to the art of an earlier Monhegan artist, James Fitzgerald (1899-1971) first drew Michael Vermette to the island.

“My residency on Monhegan became a time of deep spiritual connection to the painter in me. In the years leading up to the residency I became a close friend with Ann Hubert, the sole heir of the James Fitzgerald estate…The idea of the residency was to field test what Ann and I believed to be Fitzgerald’s methods of painting and work ethic . . . The residency was a divine life-changing appointment. I came to Monhegan Island as an artist-teacher, but left a painter, and that will stay with me all of my life.”

A 1980 graduate of the Portland School of Art (now the Maine College of Art), Vermette was the first art teacher at the Indian Island School on the Penobscot Reservation and he has taught workshops through MECA at the Katahdin Lake Wilderness Camps in Millinocket.

michaelevermette.com

 

Michael J. Smith

1998 Residents

Window Box, oil on canvas

Window Box, oil on canvas

David Little

Maine artist David Little was born in New York and studied at the Skowhegan School and also with William Kienbusch. He has exhibited widely in Maine and New York and now resides and paints in Portland, Maine. David’s work has appeared in a number of publications including Art of the Maine Coast and Paintings of New England.

 
martha_mickles.jpg

Martha Mickles

I believe that the act of making interesting photographs is one part mechanical, one part spatial, one part the elements of design, and one part how the photographer views the subject at that particular moment. I aspire to honesty in my work, add a bit of humor or irony, a dash of my mood, and some of who I am. Beyond this I believe it best to leave “interpretation” to my viewers . . .
marthamickles.com

1997 Residents

Brown Earth, Sky

Brown Earth, Sky

MaJo Keleshian

The Carina residency was a gift of time—five weeks to explore the island and to work. With box loads of art supplies and books, I stepped off the ferry and into a lovely studio where, with no distractions and no expectations, I began a series of small paintings on paper. The “Mnemonics” broke new ground for me and I’m ever grateful for my time on Monhegan.

umaine.edu/art/faculty/keleshian/

 
For the Two_6

For the Two_6

On the art faculty at the University of Maine, Augusta, Karen Adrienne is a printmaker and a member of an artists collaborative called the ArtDogs, based in Gardiner, Maine. She participated in the state-wide Maine Print Project in 2006 and has recently shown her work at Whitney Art Works in Portland. She has received several grants since her Monhegan residency including a Good Idea Grant from the Maine Arts Commission in 2007, and artist residencies in Spain (2001) and Germany (2002). In the Carina House exhibition catalogue, Adrienne described how her Monhegan residency came at a critical point in her career as she was preparing for a complex, multimedia installation piece for a Boston gallery:

“The residency gave me the much needed time and focus to record the dominant sound component for the work [Room of Forgiveness]. I circumnavigated the island and recorded the many complex sounds the water made as it hit the shore. This was the underlying current in the multi-layered sound track used for the installation. The recordings filled my mornings and evenings, while drawings filled the afternoons, What bliss!”

See her Facebook gallery
 

1996 Residents

Crooked Tree on Monhegan

Margaret Leonard

mfleonardsart.webs.com

 

Wild River Idyll, acrylic on board

Phil Poirier

I suppose I have always felt that if an artist has to talk about his work, he’s not doing his job. That said… 

In the past I have somewhat jokingly referred to my work as neo-luminism. Recently I have been revisting that term. I would like to make it stick.

Luminism in the 19th century had at its core the idea of the landscape imbued with light; the spiritual. It often made an attempt to place man within the landscape, sometimes in a self conscious and ham-fisted way (for example, with a couple tiny figures sitting in the corner of a a spectacular scene, smoking a pipe). Much of my work eschews spectacular scenery. It doesn’t make constant reference to man and his works. It is about finding the spiritual in the distillation of simple, unspectacular scenes. Put simply: what you see and feel here is what you get. And if what you get is a yearning for a deeper connection with nature and spirit, then you share with me the thing that keeps me painting.

philpoirier.weebly.com

1995 Residents

untitled, ink on paper, 2008

untitled, ink on paper, 2008

Joe Kievitt

Joe Kievitt was born and raised on the coast of Maine where drawing from the landscape was a significant part of his life. Living in San Francisco and New York, Joe discovered his affection for abstract art. He currently lives and works in Portland, Maine. Joe is represented by Miller Block Gallery in Boston and Richard Levy Gallery in Albuquerque and has exhibited works throughout the U.S. He has also completed numerous public art projects in Maine, Massachusetts and Rhode Island. When not making art, Joe works as a wood worker and carpenter. In the fall of 2010, Joe attended the Anderson Ranch Residency Program.

joekievitt.com

 
Joanna and Son, oil and pastel on canvas, 2004

Joanna and Son, oil and pastel on canvas, 2004

Martha Miller

I am an artist who lives in Portland and Woolwich, Maine: my apartment and studio are in Portland where I work during the week, and I go home to my house in the woods of Woolwich for the weekends. It’s a great balance!

In making a portrait, I attempt to reveal something of the psychological and emotional depth of the individual, but also something more archetypal — what it means to be human — to have a past, passions, and a spirit.

Using bits of the surrounding room to set a stage, the resulting work is influenced by many layers of stimuli including such factors as mood, conversation, images on the studio wall and music, as well as images from memories and dreams. I use all these scattered and changing sources much like a novelist to pull together a story on the page.

My self-portraits are born of this same process, and are part of an on-going spiritual and emotional diary.

marthamiller.com

1994 Residents

Monique Silverman

Monique Silverman completed her M.F.A. in photography and integrated media at the California Institute of Arts in 1998 and now lives in Vancouver, Canada, where she is an artist, educator, and counselor. Her photographic practice addresses identity in the context of place. Writing about her earlier experience on Monhegan, she notes:

“When I fantasize about creating the perfect situation in which to make art, I remember my time on Monhegan and yearn to reproduce it. The solitude, the time, and the quiet allowed me the opportunity to solidify my own creative process. My work was altered by my time on the island, as I was challenged to think about what it means to make pictures in the landscape.”

 
Monhegan, 1994

Monhegan, 1994

Nathaniel Udell

Nathaniel Udell began making photographs while studying Music History at the University of Vermont. Upon graduation he moved to Maine and enrolled in the Resident Program at the Maine Photographic Workshops, where he later worked as a teaching assistant and lab manager.

Today, Udell lives in Seattle where he continues to pursue photography, as well as drawing and print making. He currently works for Benham Studio Gallery in Seattle and intends to begin graduate studies in the Fall of 1998. His work has been exhibited at Maine Coast Artists in Rockport, and at locations in Vermont and Seattle. His work appears in the permanent collection of the Farnsworth Museum and in several private collections throughout the East Coast.

1993 Residents

Portsmouth Span, charcoal on paper, 2003

Eileen Gillespie

Eileen Gillespie’s work deals with structure and light found in architectural and natural surroundings. Her drawings and paintings focus on pattern, geometry, and composition nurturing a long fascination with the abstract qualities of natural and man-made forms and the material effects of light. A year studying in Rome with the European Honors Program at Rhode Island School of Design, where she earned her BFA, marked the genesis of a career-long interest in architecture and structure in nature as a subject for her work. She received her MFA in painting at the University of Pennsylvania. Gillespie’s awards include a visiting artist position at the American Academy in Rome, a residency at the Millay Colony for the Arts and a Fellowship at the Carina House on Monhegan Island, Maine. She is the recipient of a 2004 Artist Fellowship form the Massachusetts Cultural Counsel.

Ms. Gillespie has exhibited in numerous solo shows in Boston and Maine and many group shows throughout the northeast. Her work may be found in the collections of The Boston Athenaeum, Fidelity Investments, Wellington Management Company, Mount Sinai Hospital, and the Hertz Corporation among others.

Eileen Gillespie was born in New York City and has lived and worked as a professional artist in Maine, New York, Boston and Connecticut. She currently divides her time between Maine and the Connecticut Shoreline with her husband and young son.

 “The interplay between form and light, structure and surroundings that I originally found in architecture, now, more than two decades later, appears in the trees and the woods that surround my studio. Trees are my current subject. The texture and pattern in the bark, their place in the landscape and their physical presence all appeal to my sensibility. I’m drawn to the massive forms often in contrast with graceful lines and gestures that span these majestic structures. My drawings and paintings represent a continued interest in form, pattern and structure in landscape.”

eileengillespie.com

 

Monhegan Mowers, oil on panel, 2011

David Vickery

I’ve been working from my Cushing, Maine, studio since 1991. My work is about the merger of nature and culture – an attempt to make sense of our place in the world. I look at interior spaces and our imprint on the landscape with an eye for the imperfect, quirky, and sometimes elegant adaptations we’ve made in order to live here.

“While I usually just paint whatever interests me, the work that results inevitably ends up integrating the natural world with the man-made. I seem to have an inner agenda, which is always seeking a harmony between the two, as well as a need to reconcile the inner, psychological world with the outer world of everyday experience and optical fact.”

dvickery.com

1992 Residents

Blue Closure, beechwood and paint, 2003

Blue Closure, beechwood and paint, 2003

Gary Ambrose

In writing about his working process for the 2006 Carina House residency catalog, Ambrose underscored how essential the landscape of Maine is to his working method:

“My creative process begins with hiking and climbing in the western mountains of Maine and sailing to coastal islands. I seek to be in motion in the vocabulary of landscape . . . I look for a bonding, a feeling of import that is not cognitive and understood but intuitive and mysterious.”

A resident of Maine since the mid 1970s, when he founded the fine arts curriculum at Hebron Academy, Gary Ambrose has had a long career as an educator in the arts. He is currently professor of sculpture and three-dimensional design at the Maine College of Art.

 
Daffodils with Fruit, oil on canvas, 2008

Daffodils with Fruit, oil on canvas, 2008

Janet Conlon Manyan

Mast Cove Galleries

1991 Residents

Not Furled Yet

Not Furled Yet

Jim Dugan

Jim Dugan lives in Rockland, Maine, and works as a commercial photographer, graphic designer, teacher and Licensed Maine Guide.
jimdugan.com

 
Set for Seven, Normandy, oil on canvas

Set for Seven, Normandy, oil on canvas

Connie Hayes

I am a painter. I borrow views to paint in other people’s cottages, homes and treasured places when they are away. My Borrowed Views project began in 1990. My Monhegan residency in 1991 was an extended, private time to study one location in depth. That extraordinary opportunity propelled the idea of Borrowed Views into a sustained project that continues to this day. In 2004 it generated a book on my life borrowing views and my process as an artist.

I received a BFA in 1980 from the Maine College of Art and an MFA in 1982 from Tyler in Rome and Philadelphia. I attended the Skowhegan School of Painting and Sculpture in 1989 and in 2004 had a one person show at the Farnsworth Museum. An extended version of my education, exhibition history and upcoming events is listed on my web site along with many images of my paintings.

conniehayes.com

1990 Residents

Intractable Reverie, mixed media collage, 2012

Wesley Freese

Freese received his B.F.A. in 1989 from the University of Southern Maine. He currently lives in Seattle and writes about his work at www.wfreese.wordpress.com. For the exhibition catalogue, The Carina House Residency, he described how his Monhegan fellowship dramatically changed the course of his artistic practice:

“As for my painting, I used the [residency] to make a drastic break in my method and style. On Monhegan, I changed from being a figurative painter who drew from nature and/or iconographic images from popular culture, to a painter seeking more abstraction. This change had such a lasting effect that today I am still an abstract painter . . .  Much of the rejuvenation was due, no doubt, to the time off, but also to a certain truth about the harmony that exists there between the people, the land, and sea.”

wfreese.wordpress.com

 

Ledges, Monhegan, watercolor and ink on paper, 2014

Marguerite Payne Robichaux

As urban sprawl and commercial and industrial development claim more and more of our land, it is important for me to record and celebrate the beauty and dignity of our natural world. I live on the edge of wilderness, travel to remote destinations and seek out unspoiled places. These landscapes figure prominently in my work because they figure prominently in my life. I am drawn to the order and geometry of fields and pastures, the noble sweep of farmlands, the grandeur of mountain peaks and rugged coastline, the serenity of still water, and the power of rushing rivers and waterfalls. I am passionate about conveying a sense of awe and respect for our disappearing wilderness.

Living in a state with a long and venerable tradition of landscape painting, I have had to find my own voice. To go beyond the picturesque and purely representational and to paint without sentimentality, I have had to trust my visual intuition and create a language of my own. The dripping paint and unconcealed edges – a staple of nonrepresentational painting – are true to the integrity of the medium. Thin, transparent paint loosely brushed, wiped away and smeared, and remnants of original graphite drawings suggest that these images are artifice. I make paintings, not landscapes.

I paint to bear witness to the importance of preserving our natural environment. I create to leave a visual legacy. I believe my paintings make a difference.

www.puckergallery.com

1989 Residents

Libby Lyman

A graduate of Bennington College where she received a B.A. in sculpture and drawing, Libby Lyman was selected as the first Monhegan artist resident in 1989. In the 2006 exhibition catalogue about the artist residency program, Lyman described the critical role that the experience played in launching her artistic career:

"When I headed for Monhegan Island, I imagined a wonderful block of time to work on my art with reckless abandon, without concern or thought for those pesky duties of life. It was that, but it was also so much more.

I welcomed the solitude and Monhegan’s vast beauty. Hiking the island every day, watching the ducks and gulls grow up, seeing how close I could wander to the deer, snorkeling in the great tide pool on the other side, sitting staring at the ocean and allowing dreams to surface. The islanders were so friendly and supportive, yet so respectful of my time. Living in the unchanged home of one very creative soul was truly inspiring. It all gave me internal room and enabled the passions of my heart to bubble up. It shifted the direction of my life, and I thank the Carina residency for its part in my creative development."

 
Summer Sparkles

Summer Sparkles

Sarah Knock

Sarah Knock is represented by Greenhut Galleries in Portland where she has had numerous solo exhibits. Her work has also been exhibited at Colby College , the Portland Museum of Art, the Farnsworth Museum , the Penobscot Marine Museum , and the Center for Maine Contemporary Art. She is the recipient of an individual fellowship from the Maine Arts Commission and a Carina House Residency on Monhegan Island . Her work is in the collections of MBNA, L.L. Bean, TD Banknorth and others. Her work is also represented in the following books: Paintings of Maine , The Art of Monhegan Island , and The Art of Maine in Winter. Her work was featured in July 2004 in Down East magazine in an article entitled The Beguiling Waterscapes of Freeport ‘s Sarah Knock. She shows her work frequently at Greenhut Galleries in Portland.

sarahknock.com