Archive for Rockland

Portrait of a State: A gallery talk between S.B. Walker and Edward Earle

S.B. Walker

The Center for Maine Contemporary Art will host an in-person gallery talk by exhibiting artist S.B. Walker in conversation with Edward Earle in CMCA’s Bruce Brown Gallery at 5:30 p.m. July 23. Admission to the talk is free and refreshments will follow.

The discussion will explore Walker’s extensive work creating his comprehensive photographic survey of Maine, which is the subject of his solo exhibition Nor’East. Edward Earle, former Curator of Collections at the International Center of Photography notes in his exhibition catalogue essay, “In this exhibition, Walker offers a fresh approach to the lyric documentary tradition. He eschews a narrative structure or the study of one subject, his images create a collective interpretation of Maine’s social landscape.”

S.B. Walker (b. 1987) lives and works in Rockland and Portland. His works have been exhibited internationally and are in the public collections of the Museum of Fine Arts, Boston; Peabody Essex Museum; Smith College Museum of Art; The Museum of Fine Arts, Houston; Brown University; The Thoreau Institute; and Paul Sack Photographic Trust. His projects have been featured in The New York Times, The Guardian, Smithsonian Magazine, Lens Culture, Hyperallergic and Aperture, among others. His first monograph, Walden, was published in 2017.

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

Caldbeck Gallery features three new exhibits

“Low Sun at the Horizon,” by Melanie Essex.

Caldbeck Gallery will host three new exhibits featuring work by Lois Dodd, Elizabeth O’Reilly, Fred Kellogg and Melanie Essex.

“THE SUMMER OF 2020” features new work by Lois Dodd and Elizabeth O’Reilly. The e-catalog can be viewed at

“Island Shadows,” by Fred Kellogg.

Fred Kellogg’s “Space, Spirit and Mood” exhibit can be viewed at

Melanie Essex’s “Drawings and Paintings” can be viewed at

Shows run from July 17 to Aug. 14.

Caldbeck Gallery is at 12 Elm St., Rockland. Hours are noon to 4 p.m. Tuesday through Friday. For more information, email, go to, or call 207-594-5935.

Archipelago highlights work by Helene Farrar

Helene Farrar

For the past 20 years, Helene Farrar has made her living teaching and producing art, inspired by a childhood surrounded by it and the Farmington area where she grew up. She currently has her own building in Manchester, right on Route 202 beyond Augusta, which includes spaces designated for her studio, gallery and classroom. Bright white walls, houseplants and her dog make the space cheery and inviting. In her studio in the back of the building, she has a large table set with a griddle to keep the encaustic paints she works with liquid, a torch at the ready for setting the wax, and a window looking into the parking lot of Maine Cabins Masters across the street.

Her work is available at Archipelago, 386 Main St., Rockland. Store hours are 10 a.m. to 4 p.m. Wednesday through Saturday. Call 207-596-0701 or go to for more information.

Caldbeck Gallery presents ‘A Spring Into Summer Group Show’

“Big Yellow,” by Liz Awalt.

Caldbeck Gallery presents “A Spring Into Summer Group Show” on exhibit through July 14.

Featured artists include Liz Awalt, Sam Cady, David Dewey, Lois Dodd, Joseph Fiore, Janice Kasper, K. Min, Kayla Mohammadi, Dennis Pinette, David Raymond, Michael Reece and Barbara Sullivan

View the show online at

Caldbeck Gallery is at 12 Elm St., Rockland. June hours are noon to 4 p.m. Wednesday through Friday. July hours are noon to 4 p.m. Tuesday through Friday. For more information, email, go to, or call 207-594-5935.

‘Signs of Life’ solo show at Landing Gallery

Melissa Post van der Burg


“Signs of Life,” an exhibit of more than 40 new paintings by Maine artist Melissa Post van der Burg, will be featured at Landing gallery from July 2 to 30.

Post van der Burg is known for her colorful paintings of the Maine coast. She exhibits in Maine and Boston and recently sent a painting to Washington, D.C., to be hung in the Senate offices.

Landing Gallery is at 409 Main St. in Rockland. Summer hours are 11 a.m. to 5 p.m. Monday through Sunday. Closed on Tuesdays. For more information, call 207-239-1223, or email

CMCA’s ArtLab for All Ages to be held in-person on July 2


The Center for Maine Contemporary Art (CMCA) invites youth and adults of all ages to take part in an ArtLab for All Ages workshop on July 2.

Join Lead Educator Mia Bogyo to explore your dreams through imaginary landscapes. Drawing from Will o’ the Wisp, the whimsical, psychedelic installation organized by artists Joy Feasley and Paul Swenbeck, let light and color guide your process of bringing these illusions to existence. Participants are encouraged to explore the exhibition in advance of the workshop and get inspired by the immersive, collaborative exhibition.

The free workshop will take place in-person at CMCA’s ArtLab from 2 to 4 p.m. Artists of all ages and skill levels are welcome to attend. All materials will be provided.

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

Dowling Walsh Gallery hosts four exhibits in July

“Path to the Bowerbird’s Estate,” by Marilynn Gelfman Karp.

During the month of July, Dowling Walsh Gallery will host four exhibitions: 

“Tessa Greene O’Brien: Floating in the Water Looking up at the Sky,” “Marilynn Gelfman Karp: Sampling the Riff,” “Alan Magee: Grand Illusions” and “Kenneth Noland (1924-2010): Paper as Paint.”

“Floating in the Water Looking up at the Sky”
July 2 to 31

Tessa Greene O’Brien’s Eastport series evolved over the course of the past 18 months, with several visits back to the community. The paintings all depict places in or around Eastport, but the subject matter is more about the artist trying to paint the romance of falling in love with a new place, trying to remember what it looks like when away, and trying to record and savor every detail while there.

“Red Roof,” by Tessa Greene O’Brien.

“Something clicked within me when I first spent time in Eastport, Maine, a tiny in town filled with contrasts,” she says artist Tessa Greene O’Brien. “It is a borderland, with little red buoys marking the thin line between the United States and Canada, and a dramatic tide that highlights the push and pull between ocean and land. The line between nature and humans there is thin, and the border between the past and present feels this was as well.

The landscape was new to me, but it felt familiar, reminding me of the small coastal community that I grew up. I was attracted to the familiarity of a place that was unburdened by actual memories.

The Eastport paintings are about how it feels to lie on your back floating in the water, looking up at the sky, what sunny fields smell like, and the crisp satisfaction of high noon shadows on shingled houses. They are about grief, joy and the failures of memory to satisfy desire. I am using paint and textiles to try to describe the way that places layer over one another in memory, with edges blurred. The paintings are overgrown, spilling over, faded, swirling and scattered, with dappled light & color turning a place into a daydream.” — Tessa Greene O’Brien

“Sampling the Riff”
July 2 to 31

“Things made by human hands (manu-factured) meet naturally occurring components in my studio. I unify them in unexpected ways, often surprising myself at the resulting sculptures. The whole is not the sum of its parts. Ordinary bits become exotic, a new context changes the mundane into the arcane.

To confound things, sometimes a thing that appears to have been plucked from nature can be person-made (I have made bird nests that would fool a bird) and there are naturally occurring phenomena that appear to have been manufactured (consider the sand dollar or a pearl).

As differences between the natural and the manmade become less clear in my works … new frames of reference are invoked. Carefully examined unions and dimensions within may be glimpsed, rife with twinkling potential and unfamiliar gardens bloom.” — Marilynn Gelfman Karp                                                                                                              

“Grand Illusions”
July 2 to 31

“Helmet X,” by Alan Magee.

Alan Magee’s Helmet X, a large painting completed in early 2021, is symbolic of this historic chapter. A hauntingly beautiful elegy to our failed attempts across time to armor our selves against our baser instincts, it sears the mind’s eye. The soft polish of the exquisitely rendered crusader helmet pulls the thread of the ages to the present, its row of rivets suggestive of bullet holes or coffin nails; its beauty seductive. We are all soldiers in life.



Paper as Paint
July 2 to Aug. 28

“Diagonal Stripes,” by Kenneth Noland.

Dowling Walsh Gallery will present an exhibition of handmade paper by Kenneth Noland (1924 to 2010). Noland, known primarily for his large-scale Color Field paintings, began making art with paper pulp in the late1970s and continued to explore its possibilities well into the 1990s. While he worked with a variety of materials and explored various media throughout his career, Noland found the use of paper pulp as a primary ingredient to be extremely satisfying in the directness of its application and physicality. In contrast to painting on canvas, the precision of papermaking lay in the process — the physical building of colored paper pulp to create a final image, a vehicle to generate depth of surface and ultimately a means explore color relationships in new and unexpected ways.

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.

Landing Gallery opens Sarah Faragher solo exhibit

Landing Gallery, 409 Main St, Rockland, is pleased to announce the opening of “LOCAL COLOR: AN ALMANAC OF MAINE PAINTING”, a solo exhibit of 60 new paintings by Sarah Faragher, June 4 – June 29.

Sarah Faragher is a 1990 graduate of Colby College, Magna cum laude and Phi Beta Kappa.  Her work was included in ART OF ACADIA by David Little and Carl Little, published in 2016 by Down East Books.  Sarah was an Artist-in-residence at Acadia National Park and the Weir Farm National Historic Site in Wilton, Connecticut and has been invited to participate, numerous times, in Art Week on Great Spruce Head Island.

“My paintings are memoirs of my experiences with nature.  Through painting I participate in the landscape, recognize transcendent moments in nature, honor the integrity of natural forms, and describe where my heart lives.  I often feel as if the places I paint have commissioned me to tell their autobiographies, at the same time that I tell my own.”

“The solitude and perseverance I cultivate as a painter serve me well in times of plenty, and even more so in times of distress. Last year I stayed close to home and found solace in my work.  I painted in the back yard, and by a neighbor’s driveway, and at the little beach at the end of the street.  I also took day trips to paint mountain vistas and quiet lakes, and attended a reclusive inland residency.  As the months passed, the seasons took on an inevitable rightness, as they always do.  To note the changes as they happened, I decided to paint a certain nearby hillside and a field by the sea here in town, during each season.  Focusing on these places and their transforming colors helped me navigate the ongoing seclusion, and reminded me of one of my core tenets of painting: what I observe and experience in the landscape echoes what I feel in my heart which I know to be true and real.

As the wheel of the seasons continues to turn, I pay particular attention to the times of solstice and equinox. Their ancient sacredness lives still.  They remind us of continuity and community. They’re patient, and offer the long view. When they arrive, their particularities come to the fore: the new growth, flowerings, ripenesses and fruit, and then the falling away.  Lush trees in full summer and their spare leafless elegance in winter become more beautiful and poignant to me than ever, as I paint them.  The anxiety I carry about the state of the world is assuaged by the remembrance of the cycle of nature as an ever-renewing wellspring. In my paintings and in life, I find that renewal and hope because I search for them, and keep searching until they reveal themselves. They’re here, today.

The varied colors of the landscape speak throughout the year, but winter might be my best-loved season. Daylight is valuable; darkness is peaceful.  I was born in December near the solstice, and my middle name is Noël.  I’m at home in the clear cold air and quietude.  I made friends with the bleak a long time ago.  Under the whites of the snow, earth colors warm my palette with umber, ochre, and sienna.  In winter I take stock, recommit to long-term projects, and rest.  January offers a fresh start.  Patterns of snowfall veil the familiar, and I rejoice in the absence of brighter colors, even while I daydream of spring greens and verdant island summers.”

Please join us in the gallery.  Hours: Weds, Thurs, Fri, Sat & Sun 11-5, Closed Mon & Tue.  FMI 207 239-1223,

Vibrant glass jewelry inspired by Maine

Glass jewelry artist Alison Thibault is inspired by Vinalhaven.


Inspired by the colors of the sea, stone, forest and sky, Alison Thibault has combined sheets of glass to form stunning jewelry for more than 20 years. Using dichroic glass, Thibault has created hundreds of color combinations inspired by Vinalhaven.

Generally, dichroic glass has two very distinct colors: transmitted and reflected. Transmitted color is the color we see when we gaze through a clear piece of dichroic glass. Reflected color is the color we see in a clear or opaque piece of dichroic glass when light bounces off of the surface of the glass. It is in the rich combinations that her jewelry becomes vibrant and gorgeous.

Through her one-woman business WindHorse Arts in Vinalhaven, Thibault attracts customers from near and far and connects them to the Maine island. Thibault runs the retail shop while simultaneously working in her studio at the rear of the space. Living in a small, island community, the open shop invites customers and community members alike. Her new styles and colors are also available for purchase at Archipelago in Rockland.

Thibault came to making fused glass jewelry rather serendipitously. Over 20 years ago, an earring gifted from her mother went missing and Thibault was faced with a choice: buy a new pair or try and replicate the missing earring. Thibault chose the latter, setting off the chain of events which led to her taking on jewelry making full-time.

“Inspired to make a match for the remaining favorite earring, I learned to fuse glass at a moment when I was seeking a new way to live and work I wouldn’t want to retire from,” Thibault said. “When people started asking to buy the jewelry right off my body, I listened.”

Alison Thibault’s vibrant colored-glass jewelry hangs on the wall in her shop.

Learning how to make fused-glass jewelry at the turn of the millennia was challenging. Without the digital wealth of knowledge now available at our fingertips, Thibault largely learned through books and experimentation. Some of those experiments included learning how to keep the cut glass stacked neatly as it is placed in the kiln, what color and texture combinations work or do not, and a variety of kiln successes and mishaps. A systems person, Thibault started making earrings with either black or clear backgrounds.

Her earrings are three layers, and with three layers of assorted colors and qualities of glass — smooth, textured, dichromatic, etc. — the possibilities are endless. As her color combinations grow, so does her record-keeping. Each glass color receives a number, so that the final fused glass combination has a unique number of its own, allowing Thibault to recreate color and texture combinations by knowing which glass was the bottom, middle and top layers.

With endless combinations, Thibault experiments with new ones each year, while keeping a steady supply of earrings, pendants and bracelets in her core collection of colors. The core of her creation is not about the color, however, but the energetics and interaction of light through glass.

Thibault is a strong advocate for finding the path that feeds you, a path where you can wake up every day and delight in your work. She shares that there hasn’t been a single day is the past 20 years where she’s woken up and bemoaned going to work. That isn’t to say the work has been easy, especially through the pandemic, however, the fulfillment is worth the trials along the way.

Dowling Walsh Gallery exhibits work by Justin Richel, Susan Headley Van Campen, Robert Hamilton in June

“Going Up?” by Justin Richel.

During June, Dowling Walsh Gallery will host three solo exhibitions: Justin Richel, Susan Headley Van Campen and Robert Hamilton.

Each show runs June 4 to 26.

Justin Richel’s “Moonlighting” brings together two distinct bodies of work. Each series dealing with tones of isolation and absence. Richel presents us with a collection of paintings that are traditional in their method as well as works that skirt the line between painting and sculpture, resisting easy definition of being either. The exhibition title refers to the artist’s dual practice of painting and sculpture and is a nod to having a proverbial foot in two worlds; moonlighting as a laborer by day and artist by night.

In the “Nocturne” series, each composition is an appropriated frame from a Sunday comic strip. The characters and thought bubbles have been removed, leaving only the empty backgrounds of interior and exterior spaces. The color palette has been altered to variations of dark grays and blues. Strong contrasting colors of light emanate from open doorways and windows casting odd shadows. The absence of the figure leaves us with a pronounced feeling of lack or emptiness that is palpable in the vacant spaces.

Across the gallery, we are again faced with a reification of absence. This time of the moonlighting painter, who has abandoned their task of installing the exhibition, leaving one wall unfinished and tools laying unattended. An investigation of the scene reveals these tools are in fact sculptures. A closer look reveals that the sculptures are by definition paintings, composed of three simple ingredients: paint, canvas and wood supports. They are holistic in their construction; addressing the surface, the edge, the artifice inherent within the medium, and the space in which they exist. The sculptural paintings embody the absence of the figure, inviting the viewer to fill that absence with their own attention. In this revelation the viewer is now tasked with navigating these two worlds within the white cube of the gallery, perhaps questioning reality itself.

“Yellow Morning in June with Buttercups (Where the Deer Hide),” by Susan Headley Van Campen.

Susan Headley Van Campen’s show, “Where the Deer Hide,” takes the viewer into intimate vantage points outside and inside the artist’s home, her everyday surroundings that somehow change and shift daily. 

Her plein-air oil paintings are painted with the confident brushwork of a watercolorist, achieving bold impressions of Maine’s landscapes. Her small impressions capture big moments — rapidly changing weather, vast landscapes, dramatic shadows and heavy clouds.

The exhibit “Night at the Museum” will feature the paintings of Robert Hamilton (1917-2004).

“Velasquez,” by Robert Hamilton.

Hamilton retired to Port Clyde in 1981, after 34 years of teaching at Rhode Island School of Design. His paintings are imaginative amalgamations of his time as a fighter pilot during World War II, scenes of art museums, cartoon characters, circus performers,  portraits of friends and more.

His individual series play out scenes from completely different worlds, while sharing a familiarity through repetition. Hamilton conjured visions of what sustained him, fed his soul, a true shaman of magically real and deeply felt contemporary art. For years he hosted visitors in his studio and hand-built octagonal museum at his home in Port Clyde. His work is in the collections of the Portland Museum of Art, the Farnsworth Art Museum, and the RISD Museum.

Opening receptions will be held behind the building in the gallery parking lot from 3 to 6 p.m. June 5. Small groups will be allowed inside, masks required. 

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.