Author Archive for Anthony Anderson

Artemis Gallery: Work by Christopher O’Connor bridges the digital divide to the natural world

“River Reflections No.1,” by Christopher O’Connor.

Artemis Gallery will present Christopher O’Connor’s “River Reflection” series as part of its fall show, which includes other gallery artists.

O’Connor is a native of Ireland, born in the colorful town of Dingle in County Kerry. His work and life are mirroring in their examination and curiosity of the world.

His work focuses primarily on the natural world and the elements which inhabit it. His work of late, being rendered from digital images as reference points, investigates the dimension of distortion by digitization. These dimensions being the invisible building blocks, or pixels which compile like drops of paint to represent the natural world in digital form. Our eyes are only capable of absorbing the 256 colors which our computer screens deliver, and our minds fill in the blanks, though we are not aware of it.

In paintings resembling those of the pointillist and impressionist artists, O’Connor captures moments which bridge the digital divide to the natural world.

The show opens Oct. 7 and runs through the month, with an opening reception from 4 to 6 p.m. Oct. 7.

Artemis Gallery is at 1 Old Firehouse Lane, Northeast Harbor. Call 207-276-3001 for more information.

Camden Falls Gallery presents ‘PAS DE DEUX’ featuring Aline Ordman and Tad Retz

“Acadia,” by Tad Retz.

Camden Falls Gallery presents the show “PAS DE DEUX,”  which can be enjoyed as painterly choreography between artists Aline Ordman and Tad Retz.

Pas de deux (French, noun) translates to “a dance for two people, typically a man and a woman.”

The show opened Sept. 17 and runs through Oct. 6.

Ordman and Retz both derive energy and inspiration from painting en plein air, where the visual complexities of the natural world offer up endless challenges.

“Susan’s Garden,” by Aline Ordman.

A master pastel and oil painter, Ordman stresses the analytical elements of shape, value and color saturation when she is teaching, asking her students to set aside pre conceptions of the objects or scene they are beholding and to concentrate on the negative and positive shapes and tonal planes that cause that object or scene to emerge. Ordman is an alchemist when it comes to transforming those abstract “bones” into a finished composition rich with layered pigment and movement.

Although she has held annual teaching workshops in France and Italy, she always is drawn back to a small village in Vermont called Peacham. For her it is the “Tuscany of New England.” Her work from that bucolic land of rolling hills and small farms speaks volumes of her passion for the pastoral and respect for those who work in concert with nature.

Whenever Ordman paints figures in a landscape she states, “I want to describe my vision — what hit me at the time I saw the scene. It’s all about the gesture, and body language.”

Retz is from upstate New York and has spend many hours analyzing the work of painters he admires, from master portrait artists like John Singer Sargent to the naturalist realism of Winslow Homer and George Bellows, whose genius evoked and appreciation of working class Americans and their daily struggles with the tumultuous sea and equally frenetic city life.

It is rare to find a young artist with as much self discipline as Retz. Self taught doesn’t even begin to describe the rigorous constraints, challenges and perimeters that he creates to force himself to work with fresh techniques and subject matter. Absorbing the old and new masters and learning from them enlivens his own originality and acts as a catalyst for experimentation.

“I don’t think of myself as trying to emulate anymore,” Retz says. “Sometimes it is a song or a  sculpture that ignites a creative, free and passionate emotion in me. Paintings inspire me because of the infinite routes that can be taken to get a successful image.”

Camden Falls Gallery is at 5 Public Landing in Camden. Hours are 10 a.m. to 6 p.m. daily. Call 207-470-7027, email, or go to for more information.

‘Tim Greenway: Refined Resurgence’ on view at Cove Street Arts

Work by Tim Greenway.

“Refined Resurgence” explores progress and beauty in the context of two photography series, South Portland’s petroleum tanks and the expanding cityscape of the Portland peninsula over the past two years. With these photographs, my hope is to provide a new creative way to view these familiar mundane environments that many consider eyesores. Perhaps to provoke the viewer to see beauty and art in their own lives and environment. — Tim Greenway

“Tim Greenway: Refined Resurgence,” curated by Bruce Brown, is on exhibit at Cove Street Arts from Oct. 14 through Dec. 11, 2021. An opening reception will be held from 5 to 7 p.m. Oct. 14.

Cove Street Arts is a multi-media space that celebrates Maine’s storied and out-sized place in American art history by promoting contemporary Maine art, contributing to the Maine arts economy and engaging in the vibrant and growing East Bayside community by offering workshops and art-centered educational opportunities. Learn more at

Cove Street Arts is at 71 Cove St., Portland. Call 207-808-8911 or email for more information.

Opening Weekend at Trio

Trio is a brand new shop in downtown Ellsworth featuring handcrafted enamel jewelry by Suzanne Anderson of Yikes Studio Enamels, upcycled apparel and home goods by Julia Ventresco of onewomanstudio, and a curated eclectic mixture of Maine themed gifts by Leslie Harlow of 207Mainer. Trio has partnered with the Grand theater for a community effort and 10% of all sales will go towards the Grand Capital Campaign for a new HVAC system and enhanced seating. Join us to celebrate our new space, the Grand,and Maine craft! Find us at 169 Main Street Ellsworth. On Facebook at

Dowling Walsh Gallery presents four new exhibits in October

“Magic,” by Tollef Runquist.

Dowling Walsh Gallery will host four exhibitions in October. The opening reception for all shows will be held from 4 to 7 p.m. Oct. 1 behind the gallery. Masks are required at all times inside the gallery.

“Sunflowers,” by Joyce Tenneson.

Joyce Tenneson: “Radiant Beings”

Oct. 1 to 30

Haunting, ethereal, mystical — all of these words describe the photographic style of Joyce Tenneson. Her photos command a complex and intense emotional response from the viewer, which has made Tenneson one of the leading photographers of her generation.

Vicki Goldberg, critic and author, writes of Tenneson: “Tenneson possesses a unique vision which makes her photographs immediately recognizable.” Her work has appeared on covers for magazines such as Time, Life, Newsweek, Premiere, Esquire and The New York Times Magazine.

Tenneson is also the author of 17 books, including the best-seller “Wise Women.” “Radiant Beings: The Magical Essence of Flowers” is the third in a trilogy of books on the life cycle of flowers.            

“In Chinese philosophy, a garden is a space for understanding truths that lie beyond ordinary perception,” Joyce Tenneson explains. “When the COVID pandemic hit, I brought the garden inside, surrounding myself in my studio with a cacophony of flowers and vines, keeping them for long periods to interact with, and to observe their life cycles. The photographs in this series are records of the interactions I had with my flower subjects, the Radiant Beings, in my indoor garden. In this new series I decided to take risks. I experimented with longer exposures on my camera, giving more space to the unknown, and to serendipity. Like my human subjects before, I wanted to allow these radiant beings to connect with me magically. As these images emerged in the last 18 months, I was surprised and inspired by what I discovered.”

“Gökotta,” by Erik Weisenburger.

Erik Weisenburger: “Gökotta”

Oct. 1 to 30

Gökotta is a Swedish concept, without direct translation, referring to the act of rising at dawn to go outside and listen to birds singing. This poetic image corresponds in title to one of the paintings in the show but more broadly encompasses the allure and whimsy of this painter’s work.

Portland-based artist Erik Weisenburger paints luminous landscapes, rich with detail. His meticulous brushwork and ability to convey glowing light is reminiscent of early Northern European paintings. Weisenburger’s compositions repeat natural patterns — blades of grass, ladders of tree branches, clumps of moss — and have a satisfying balance. The density of detail makes his paintings feel precious and treasured, pulling the viewer in to study each piece of the panel. Weisenburger’s work is often narrative or allegorical, with symbolic overtones referential of outsider folk art.

He studied at the Parsons School of Design in Paris and received his BFA in sculpture from the Art Institute of Chicago in 1992 and his MFA from the University of Wisconsin-Madison. He spent many years working in Chicago before moving to Maine in 2005.

Tollef Runquist: “Inner Alchemy”

Sept. 3 to Oct. 30

Tollef Runquist’s exhibition, “Inner Alchemy,” presents new works from his continued exploration of fantastical landscapes, the terrain of the psyche and the actuality of everyday life. They are paintings of inquiry and affirmation, loose forms of self-prompt and examination of maker and viewer. They combine imaginary objects, human figures and the archetypal to create enigmatic worlds. Recurrent imagery of daily objects — fruit, hands, plants — ground the paintings and create a unique, symbolic language. 

Runquist received his BA in studio art from Dickinson College in 2002. Since then, he has continued his education through painting and other mediums. He lives and works in Searsport.

Work by Wood Gaver.

Wood Gaylor (1883-1957)

Aug. 21 to Oct. 31

Dowling Walsh Gallery is pleased to present an exhibition of works by Wood Gaylor. This exhibition coincides with “Art’s Ball: Wood Gaylor & American Modernism, 1913-1936,” on view at the Ogunquit Museum of American Art through Oct. 31.

Gaylor was born in Stamford, Connecticut in 1883. During the 1920s, Gaylor spent summers at the Ogunquit Art Colony, where he met and worked alongside artists including Yasuo Kuniyoshi and Marguerite and William Zorach. 

Gaylor was experimental in his early etchings and carvings, and the influence of Gauguin, Matisse, Davies and Laurent is palpable. Well-trained and completely immersed in modernist artistic styles, however, Gaylor’s mature style is uniquely his own. Flat areas of blocked color, and crowded scenes recording events and moments he witnessed, are hallmarks of his work.

Works by Gaylor are in the public collections of many major art museums, including the Whitney Museum of Art (New York), the Smithsonian American Art Museum (Washington, D.C.), and the Portland Museum of Art (Maine).

Dowling Walsh Gallery is at 365 Main St. in Rockland. The gallery is open from 10 a.m. to 5 p.m. Tuesday through Saturday and by appointment on Sundays and Mondays. Visit, or call 207-596-0084 for more information.

Celebrate CMCA’s fall exhibitions

“Emily in the River,” by Cig Harvey.

The Center for Maine Contemporary Art (CMCA) in Rockland invites the public to celebrate its fall exhibitions with a reception for the artists from 4 to 6 p.m. Oct. 2.

On view throughout the galleries are solo exhibitions by Ryan Adams and Hiraki Sawa and the thematic group exhibitions “Spatial Relations” and “Into Action.” The event will include an informal gallery talk by all three “Spatial Relations” artists: Elizabeth Atterbury, Gordon Hall and Anna Hepler. The event is free and open to the public.

“This is Black Art,” by Ryan Adams.


Ryan Adams | “Lessons” :: Oct. 1 to Jan. 9

The focal point of Adams’ solo exhibition is a 33-foot-long mural titled “Switch the Code.” The title refers to the practice of code-switching, where individuals purposefully change their speech, behavior and/or appearance to be seen outside of stereotypical assumptions and accepted within a majority culture. The mural is accompanied by a series of recent paintings.

“Absent,” by Hiraki Sawa.

“Into Action” :: Oct. 1 to Jan. 9

“Into Action” features photographic works set in nature that document actions as they naturally occurred, actions as they were performed for the camera,  interactions created in post-production, or propose actions to be taken by viewers. The exhibition features works by Jennifer Calivas, Mark Dorf, Ray Ewing, Cig Harvey, Julie Poitros Santos and Shoshanna White.

“Negative Space Box,” by Gordon Hall,

“Spatial Relations” :: Oct. 1 to Jan. 9

The exhibition brings together a broad range of sculptures by Elizabeth Atterbury, Gordon Hall and Anna Hepler that were created to rest directly on the floor or lean on or hang from the walls. All three artists create works with strong contours and a visibly direct use of materials, including wood, ceramic, metal, concrete, cardboard and paper. In addition, each employs color as an embellishment, ranging from paint and pigment to colored pencil and stain.

Hiraki Sawa | “Absent” :: Oct. 1 to Jan. 9

Hiraki Sawa’s most recent single channel video, “Absent” (2018), presents scenes from an intimate and imaginative world, populated by surreal creatures that travel between grand and intimate landscapes. Sawa’s landscapes rest majestically within his circular projection, while his creatures (i.e., a walking tea kettle, a dancing cup, a flying spoon) emerge from the periphery, building a sense of anticipation for their arrival as the video progresses.

CMCA is located at 21 Winter St., Rockland. Summer hours are in effect through Oct. 31: 10 a.m. to 5 p.m. Monday through Saturday and noon to 5 p.m. Sunday. For more information, go to

Cynthia Winings Gallery presents Heather Lyon’s “The Weight of Water “

The Weight of Water
A Performance by Heather Lyon

Friday, October 1, 6:30PM

Heather Lyon’s work is a visual and movement-based inquiry into the miraculous. “The Weight of Water ” is a durational performance, an interaction between her body and 75 pounds of dark blue sand. The weight of the sand corresponds to the weight of the water content of Lyon’s body and is a manifestation of the unknowable, the void. Lyon invites us to become empathetic witnesses to her contemplative movement of and with the sand. The slippage of sand vibrates and expands into the void and from that emerges pattern and form. This work is in resonance with her recent paintings of whirlpools, a response to the pull of the sublime.

The Weight of Water will be performed on one evening, Friday October 1, 6:30 pm.

Reservations are necessary, we have limited available seating.
Masks will be required, thank you for your understanding.

Heather Lyon is a performance, video and installation artist born and based in Blue Hill, Maine. Combining her interest in the meanings of materials (ranging from rebar to sequins to milk to ash) and the question of the human body, she investigates relationships and the ways in which we negotiate longing, loss, desire, and vulnerability. She holds a BFA (2002) and MFA (2004) from The School of the Art Institute of Chicago. Her work has recently been exhibited and performed at the Center for Maine Contemporary Art, Rockland, Maine; SPACE, Portland, Maine; Cove Street Gallery, Portland, Maine; TEMPOart, Portland, Maine; The Danforth Gallery, University of Maine Augusta, Augusta, Maine; Cynthia Winings Gallery, Blue Hill, Maine; Zaratan, Lisbon, Portugal; “The Picnic Pavilion” a parallel project to the 58th Venice Biennale, Venice, Italy; The State Silk Museum, Tbilisi, Georgia and at Artisterium 10, Tbilisi, Georgia, for which she received an Emergency Artist Grant from the Foundation for Contemporary Arts, New York.

Images: Heather Lyon’s Whirlpool Series, Acrylic on cotton rag paper, 30 x 22 inches each, Framed and on view until October 16. 

Artist Spotlight: Pemaquid artists Julie Babb and Barbara Vanderbilt

Work by Barbara Vanderbilt.

Don’t let the Pemaquid Art Gallery’s season close on Oct. 11 without having viewed the great range of fine art on view there, for example the widely divergent work of well known local artists Julie Babb and Barbara Vanderbilt.

Babb’s delicate, highly skilled and detailed gouache portraits of birds have been long-time favorites and are feasts for the eye. Vanderbilt’s powerful yet softly colored pastel close-ups of geological and natural formations, boulders and trees have an emotional and meditative impact mesmerizing the viewer.  Both are masters of beautiful, soft color combinations and deft color blending.  And both, although so different in the scale of their subject matter, draw the viewer into special visual worlds.

Babb spent her early years in Mexico and received her first art instruction during college years there. Her early love of nature was formed there, surrounded by the flowering natural world year round.  She moved to Maine in 1962 and attended the university of Maine at Orono, then moved with her husband to Rochester, New York where she pursued five years of art education. She returned to Maine in 1992, where she continued to study drawing and painting, including home study of ornithology. She uses not only the gouache medium in her work but also scratchboard which allows for fine detail in white lines against a black background.

Work by Julie Babb.

Babb has received numerous awards. She has also been a longtime art instructor. Her designs have been featured in many publications. Her work can be seen online at

Vanderbilt was born in New York City, grew up in northern New Jersey, moved to Maine in 1971, and has a degree in art from the University of Maine in Augusta. She studied with local artists both in Maine and in Santa Fe, New Mexico.

For years, she was an artist in clay. With her husband, she opened the Gothic Tile company in 1989, which specialized in custom ceramic tiles for custom installations all over the country. She was a visiting artist to high school art programs, inspiring others to experience working in clay. However, with her love of nature, when she discovered pastels she found the medium very exciting and one that lent itself so readily to self expression. She tries to convey the interplay between strength and delicacy, the contrast between the peacefulness of the moment and the rough changes that nature brings in the way of seasonal variation, erosion and storm. More of her work is viewable online at

The work of these two artists reveal the variety of work available at the Pemaquid Art Gallery.

The other 2021 Pemaquid Gallery artists are Barbara Applegate, Debra Arter, Bruce Babb, Stephen Busch, John Butke, Dianne Dolan, Gwenolyn Evans, Peggy Farrell, Sarah Fisher, Claire Hancock, Kay Sawyer Hannah, Kathleen Horst, Hannah Ineson, Will Kefauver, Jan Kilburn, Barbara Klein, Patti Leavitt, Sally Loughridge, Judy Nixon, Brooke Pay (guest member), Alexandra Perry-Weiss, Paul Sherman, Cindy Spencer, Liliana Thelander, Kimberly Skillen Traina, Bob Vaughan, Candace Vlcek, Bev Walker, Carol Wiley (guest member) and Sherrie York.

Members’ work can be viewed at

OMAA welcomes new director of institutional advancement

Bryan Matluk

The Ogunquit Museum of American Art (OMAA) is pleased to announce that Bryan Matluk will join as its new director of institutional advancement, the first director in such a capacity.

“One can sense his energy and enthusiasm for the arts,” says executive director Amanda Lahikainen. “We are thrilled to have him on the team.”

With long term projects underway for capital improvements, new exhibitions and increased staff support, Matluk joins OMAA at an exciting point in its history. Matluk will oversee membership, marketing and all development activities at the museum.

Matluk previously served as director of development at The Ecology School, overseeing all of their fundraising programs and the recently completed a $14 million River Bend Farm project to construct Maine’s two greenest buildings. No stranger to the area, Matluk also worked as executive director of the York County Community College Foundation in Wells and was instrumental in raising funds for their newest building. Matluk, a graduate of the University of Maine and DeVos Institute of Arts Management at the John F. Kennedy Center in Washington, D.C., is also an accomplished ballet instructor who continues to teach privately.

“I first visited the museum while working on my honors thesis in college which dealt with the development of American modernism in the arts,” Matluk says. “A significant portion had to do with painter Edward Hopper, who used to paint in Ogunquit and who has been shown at the museum. I was immediately struck by both the view and the richness of the collection which showcases Maine so well. After speaking with executive director Amanda Lahikainen and members of the board, I was struck by their knowledge, vision and dedication to bringing great works of art to Southern Maine. I am excited to reconnect with my first love, the arts, and very much look forward to meeting the many supporters of the Museum.”

The Ogunquit Museum of American Art is open May 1 through Oct. 31. For more information, go to

‘Golden Days’ at Jean Kigel Studio & Gallery

Work by Jean Kigel.

As summer morphs into autumn, Jean Kigel Studio & Gallery features paintings of nature’s rich transformation from green to gold with the show “Golden Days.

Kigel’s watercolors dance with flaxen fields and bronze hills, and her Asian brushwork celebrates colorful fruits and mountains.

Kigel launched the gallery at 1396 Back Cove Road in Waldoboro in June, after the sale of her Brick House Gallery, and has hosted visitors nonstop ever since. The gallery is open daily, and this time of year, it’s a good idea to call 832-5152 before arriving.

Maine native Jean Kigel is a specialist in watercolor, Asian brush painting and gyotaku monoprintings. She paints subjects from eclectic sources with energy and passion, most notably the Muscongus Bay environment of her studio/home and its perennial gardens as well as images from her travels to China, Japan, and Latvia. The artist’s interpretations of florals and landscapes possess a remarkable subtlety of color and light. Her work can be viewed at