Archive for Art Talk

Lights Out Gallery showcases artist David Estey

Watch the recording of artist David Estey being interviewed in his studio by Lights Out Gallery.

They “beautifully capture the essence of what my work is about and what I have to say about artmaking,” Estey says.

Maine Craft Interview Project: Jordan Carey interviews Owen Kelly

Jordan Carey

The Maine Craft Interview Project brings emerging craft artists together with established Maine craft artists in an interview, led by the emerging artist. The project serves to support and engage emerging artists by providing a platform and structure to access firsthand craft career experiences one-on-one. The emerging artist designs interview questions and interviews an established artist of their choosing.

Jordan Carey is a Bermudian designer and artist currently based in Portland. He received his BFA in Textile and Fashion Design from Maine College of Art in 2019. He continues to work in the field as assistant designer for the Maine based fashion house Jill McGowan, through residencies, freelance work and launched the Loquat brand as a vehicle for sharing fluid cultural aesthetics and craft sensibilities.

He interviews Owen Kelly, Vice President of Product Creation at L.L. Bean.

Watch the interview at

CIG HARVEY: A Discussion on Beauty

Dowling Walsh Gallery presents Donna McNeil, founding executive director of the Ellis-Beauregard Foundation, in conversation with photographer Cig Harvey.

Dowling Walsh Gallery artist Cig Harvey seeks to find the magical in everyday life. Rich in implied narrative, Harvey’s work is deeply rooted in the natural environment and offers explorations of belonging and familial relationships.

The artist lives and works in Rockport.

Watch “A Discussion on Beauty” online at

Maine Farmland Trust Gallery presents the 2020 Fiore Residents Exhibit

Fiore Germinating Bean, Margot Anne Kelley, photographic image


This past summer, Maine Farmland Trust’s Fiore Art Center offered four virtual residencies. Instead of working at the beautiful Rolling Acres Farm at the Fiore Art Center in Jefferson, ME, the residents worked from their homes, farms, gardens and studios. From January 5-April 9, 2021, the Maine Farmland Trust Gallery website will host an online exhibit of the residents’ work.


Final Performance, Katie Addada Shlon, photograph

Performance artist Katie Addada Shlon, from Maryland, used natural sounds and instruments assembled from pottery shards and other discarded materials to depart from traditional forms and structures. Her goal is to reframe our experience of music, connecting ideas of regenerative agriculture and performance in nature.


Montgomery Co. 4, James R. Southard, photographic image

Photographer and videographer James R. (Rob) Southard, from Kentucky, shared images from his ongoing photography series, The Kentucky Farmer, which documents farmers of all kinds in his home state. His photographs record rural landscapes and studies of everyday agricultural life.

Non-fiction literary artist Margot Anne Kelley, from Maine, shared writings from her essay about seeds and seed-saving, with added exploration of some of the odd connections between seeds and viruses in Germ Lines. Her work ranges from habits of ancient hunter-gatherers and plantings in Roman herb gardens to writings from Henry David Thoreau.


Sophie Kelmenson, 2020, photograph

Literary artist Sophie Kelmenson, presents video excerpts from her dissertation Challenges To and Challenges from Scale in Alternative Food Systems, exploring the promise of using alternative food systems as a mechanism for sustainable economic development.

Virtual artist talks for the exhibit, open to the public, are Friday, February 19, 2021 at 5pm. The artists share their work through Zoom and describe their processes, challenges and achievements during their residencies. RSVP here:

Greenhut Galleries presents new exhibition by Tom Paiement

Tom Paiement

Greenhut Galleries presents a new exhibition by Tom Paiement, “Elegance + Chaos,” which runs Nov. 5 to 28 with an artist talk to be announced.

In his own words:

“In July of last year, I started a series of portraits in my studio in Bath. I used a stack of etching papers brought back from the University of Iowa print shop years ago when I was a grad student there. The paper is 30 inches by 22 inches. 29 friends and acquaintances sat for me in the studio, in the same straight backed, hard, wooden chair. With each individual, it was an intimate and deeply personal experience. Portraiture is always very challenging and engaging, the balance being to not be too literal yet maintain the ‘essence’ of the sitter along with the ‘freedom’ of the mark. I used pencil, oil pastel, collage, ink, and oil wash. In each of the drawings, a piece of the chair shows and is an integral, if minor, part of the series.

I stopped drawing the portraits in January when I moved my studio from Bath back to my home studio in Woolwich and started to concentrate on imagery for this show. Since the chair was the one constant in the work of the last 6 months, I decided to use it as a focal point. I thought I might still have a ‘sitter’ in the chair but more abstract and conceptual, a figure that spoke more universally and not so specifically to the viewer. The paintings are on wood painted with acrylic, ink, collage and range in size from 12 x 12 to 16 x 16. I began with two, small 12 x 12 loosely abstract paintings with just the empty chair. They stayed on my work wall in the studio while I started a few more paintings puzzling out where to go with this idea. Then the coronavirus overwhelmed everything, and the empty chairs in those two paintings became symbols for the mounting number of deaths, the social distancing and the isolation the pandemic imposed. Early in the virus, I began keeping daily track of the national numbers of those infected and dead, incorporating those mounting and relentless tolls into the work. I use different font sizes to accent the uneven distribution of the virus cases and run the numbers together so they stream without pause. The abstract chair became more precise and representational, sometimes graphic, calling attention to its emptiness and the blunt fact that no one is sitting there.

There is a stained glass window in my house from the St. Charles church in Brunswick that was demolished in 1972. The window was given to my family and then to me. I began to use its shape and colors in a few of the paintings, which adds an interesting spiritual connection to the series and opens up questions the coronavirus pushes us to ask. The stark contrast between drawing portraits and quarantine has been both unsettling and motivating. The series continues to evolve as we move in response to the pandemic and figure out how to draw a future for ourselves.” —Tom Paiement

From Brown Lethem’s “Jointings.”

Brown Lethem’s “Jointings” will be shown in the side gallery.

“This selected group of assembly pieces started in the ‘60s when I moved my family into a rundown Brooklyn rowhouse,” Lethem says. “Carpentry skills become a necessity and, soon, my livelihood for a number of years. As a result, the tools and methods of joining wood to hardware and paint in a playful manner became a natural and spontaneous way of drawing with the materials at hand and making toys with my three kids. Making toys was always a secret ambition. In the ’90s, with my children grown, I become more interested in assemblage as an art form, which punctuated the flatness and darker narratives of the paintings I was doing at the time. During the ‘70s, I taught home repair and children’s woodworking classes in a Brooklyn settlement house which occasioned some of the pieces. Others came about after my move to Maine in the ‘90s, up to the most recent ones in my Brunswick studio.”

Greenhut Galleries is at 146 Middle St., Portland. Hours are 10 a.m. to 5:30 p.m. Monday through Friday and 10 a.m. to 5 p.m. Saturday. Call 207-772-2693 or email for more information.

Artist Talk featuring Christine Lafuente and Carl Little

“Shoreline Rocks and Hedge,” by Christine Lafuente.

“Acadia Seas, Acadia Seeing,” a virtual artist talk by Christine Lafuente with Carl Little will be held at 7 p.m. Nov. 5, presented by Cynthia Winings Gallery.

Lafuente’s talk explores how a decade of painting seascapes on Mount Desert Island has inspired an evolution in her still life compositions.

In her paintings of harbors, rocky coasts and the islands of Acadia, light plays through varying atmospheres of fogs, mists and clear sunny days. Lafuente writes, “Looking into water changes how I see nature. It becomes abstracted and mysterious, as in the way form falls apart and coalesces again in a reflection on the water. As I begin to express this transformation in paint, I also seek to recreate this visual experience in my still-life compositions. Inside a glass water-filled vase is a microcosm of how the world reveals itself in paint.”

Lafuente grew up in Poughkeepsie, New York, and was influenced by the Hudson River School of Painting at a young age. Lafuente has received an Adolf and Esther Gottlieb Foundation Grant, been included in the Invitational Exhibition of Visual Arts at the American Academy of Arts and Letters, and most recently received a Medal for Achievement in Visual Arts from the Philadelphia Sketch Club.  Her work is part of many public and private collections. She has exhibited in New York, London, and extensively along the East Coast. Lafuente lives and works in Brooklyn, New York.

Carl Little is the author of more than 25 art books. Little writes for Art New England, Working Waterfront, Hyperallergic, Maine Boats, Homes & Harbors and Ornament. He has helped produce several Maine Masters films, including the award-winning “Imber’s Left Hand.” Born and raised in New York City, he directed the Ethel Blum Gallery at College of the Atlantic before becoming director of communications and marketing at the Maine Community Foundation in 2001.

RSVP by emailing to receive a Zoom link.

Thomas Connolly solo exhibition at Greenhut Gallery

“Dining Room Chair,” by Thomas Connolly.

Thomas Connolly is a realist painter known for his architectural paintings of Portland, New York City and beyond. His work is featured in a solo exhibit at Greenhut Gallery from Oct. 8 to 31.

The gallery will host an online artist talk at 7 p.m. Oct. 13, streaming live on Greenhut Gallery’s Facebook page.

Connolly participated in the Maine College of Art Baie Ste. Marie residency program in New Edinburgh, Nova Scotia. He was juried in to the 2011 Portland Museum of Art Biennial Exhibition, and the 2010 Center for Maine Contemporary Art Biennial Exhibition. He is the recipient of a Pollock-Krasner Foundation Grant and the Sheldon Bergh Award. Connolly’s work expresses a strong sense of mood through subtle use of color that adds a richness to the subjects he chooses to paint.

In the words of the artist:

These paintings are snapshots of scenes that I have come across over the past year or so. I usually have a camera on hand, photograph something if it appeals to me, and use this photo to get a start on a painting. Regardless of the imagery, I rely on colors to describe a feeling. Adjusting these colors is where I find a challenge and also joy in seeing different parts of the painting work with each other to create a unified effect.

The larger paintings are painted in a studio and require a bit of patience to describe all of the small details. These studio pieces are carefully crafted and methodical. Other pieces are painted on site, outside, and adjusted pretty quickly. Typically, they are painted at the end of the day, the light is changing, and I need to make decisions without a lot of thought. This adds an excitement and spontaneity. Of course, sometimes I would like a slower pace to adjust these pieces, but often the day is turning to dusk, and I have to wrap it up. Both the view that I am depicting and the painting go through many changes over the course of the hour that it takes to finish. With luck, I can get the two to agree with each other.

View the show online at

Greenhut Galleries is at 146 Middle St., Portland. Hours are 10 a.m. to 5:30 p.m. Monday through Friday and 10 a.m. to 5 p.m. Saturday. Call 207-772-2693 or email for more information.

Autumn exhibits and events at the Cynthia Winings Gallery

“Out. Beyond. This.,” by Lari Washburn, a September featured artist at Cynthia Winings Gallery.

As Season Eight is winding down, the group show “All Together Now” continues to inspire and delight visitors.

Cynthia Winings Gallery is open from 10 a.m. to 5 p.m. through Oct. 24. The website is also updated regularly with new work. You can also tour the gallery virtually at

New work has arrived throughout the summer, and it’s reassuring and uplifting to see what is being created during this turbulent and uncertain time.

The Cynthia Winings Gallery will present a Zoom artist talk with Christine Lafuente titled “ACADIAN SEAS, ACADIAN SEEING:

How 10 years of painting seascapes has inspired new ways of composing still life and cityscape.” The artist talk is at 2 p.m. Oct. 24.

Cynthia Winings Gallery is at 24 Parker Point Road, Blue Hill.

‘Sight Specific’ solo exhibit by Tina Ingraham

Tina Ingraham will show “Sight Specific” from Sept. 10 to Oct. 3 at Greenhut Galleries.

Ingraham will give an online artist talk at 7 p.m. Oct. 3, which will be streamed live on the gallery’s Facebook page.

Ingraham was born in Kenton, Ohio, in 1947. She received an MFA from Brooklyn College of CUNY in 1996 and a Bachelor of Science in Design at the University of Cincinnati, College of DAAP in 1970. Influenced by three years of living in Perugia, Italy, Ingraham’s study of Renaissance painting and fresco is evident in her warm palette, fascination with surface, and vivid perception of nature.

She is a recipient of many awards, including grants from the Guggenheim Foundation, Maine Commission for the Arts and the Pollock Krasner Foundation. She has taught in a variety of teaching environments including Bowdoin College, Stephens College, Brooklyn College, and painting workshops in Italy, Colorado and Maine.

View the exhibit online at

Greenhut Gallery is at 146 Middle St., Portland. Hours are 10 a.m. to 5:30 p.m. Monday through Friday and 10 a.m. to 5 p.m. Saturday. Call 207-772-2693 or email for more information.

Meet the artists of MFT’s Bicentennial show ‘200 Years of Farming’ at virtual artist talk

“Why Buy the Cow,” by James Southard.

To mark Maine’s Bicentennial year, this show focuses on some of the history, practices, triumphs, and challenges of farming in Maine over the last 200 years — from homesteading to dairy, potatoes, blueberries, the local food movement, and present-day changes and challenges.

This exhibit encompasses a wide range of media to depict just some of the rich history of farming in Maine. Maine Farmland Trust is proud to partner with the Penobscot Marine Museum to exhibit seven glass-plate photographic prints on loan from the Eastern Collection of oxen, draft horse teams, and scenes of the harvests of corn and potatoes. Also on display are six black and white photographs from PMM’s new collection by Kosti Ruohomaa, courtesy of Black Star Publishing Company, depicting crisp, clear images of hard working farmers in their daily lives.

Join a few of the artists featured in the show, along with Kevin Johnson, curator and collections manager from the Penobscot Marine Museum, and others to talk about some of the history of Maine farming and the inspiration of its people and landscape during a virtual artist talk from 5 to 6 p.m. Aug. 21.

Learn more about the artists and their work at View the full exhibit at

RSVP for Virtual Artist Talks at

Join visual arts resident James Southard, academic writing resident Sophie Kelmenson, and several guests for a chance to learn more about their work during a virtual open studio from 6 to 7 p.m. Aug. 25.

Join Margot Kelley, the literary arts resident for September, and several guests to learn more about her work during the September Virtual Open Studio from 6 to 7 p.m. Sept. 30.

Maine Farmland Trust is a statewide, member-powered nonprofit working to protect farmland, support farmers, and advance the future of farming.