Dario Tazzioli


    Born in 1979 in Sassuolo, Italy. At the age of fifteen, Dario Tazzioli began learning traditional stone carving techniques from an old master stone carver of his home village.

    He began forging his own iron chisels to obtain a high quality of form in his stonework, and still handforges his tools today. From a young age, he began using natural pigments and minerals extracted from the local land to pigment his drawing paper.
After many years of practice, sanguine (red pastel), quill pen and metal tipped calligraphy pens have become his drawing instruments of choice.

    Presently he lives and works in Frassinoro, Italy where he works for private and public commissions for sculpture and architectural details. www.dariotazzioli.com

Olivia Kim


Olivia  Kim was born in the Philippines and immigrated to Rochester, New York as a child. From an early age, she studied dance, theatre, instrumental and vocal music, and visual arts. This allowed her to develop her understanding of the common creative link between disparate art forms. Olivia’s mixed cultural upbringing kept her from being fixed to any one social group, allowing her to more objectively investigate common links in the human experience. She has traveled throughout America, Asia, Europe, Central and South America to explore the cultures of the ancient to recent past. She incorporates a wide range of materials and techniques to compliment her historical education.
    At the New York State College of Ceramics, School of Art and Design at Alfred University of Alfred, New York, she studied techniques in printmaking, painting, wood carving and ceramic sculpture. She graduated cum laude with Divisional Honors in Ceramic Sculpture in 2001. From 2001-2004 she completed a 3-year Certificate program with fourth year specialization in realist drawing and sculpting the human figure at the Florence Academy of Art. At the FAA she was a drawing instructor to the sculpture students, and received Prize for Best Sculpture upon graduation.
    In 2005 she moved to the towns of Carrara and Pietrasanta, Italy to learn techniques in bronze casting and stone carving. For five years she produced public and private commissions in stone, bronze, and mural painting alongside teaching and exhibiting her work in Europe. In 2009 she briefly returned to the FAA to study oil painting. Her return to Rochester, NY in 2010 has led to the development of works that address the experience of living and moving in a human body. Empathy, direct practice, kinesiology and biomechanics are the foundation of her understanding of poses. Her work is executed in the medium appropriate to the particular expression being conveyed: cast glass, bronze, terra-cotta, paper, oils or drawing mediums.
    Presently she is producing a body of work based on everyday movement and dance forms. She has collaborated with Futurepointe Dance and Natalie Rogers-Cropper with Garth Fagan Dance Company. Her  work has recently been added to the permanent collection at the Burchfield Art Center in Buffalo, NY in March 2015. Olivia’s artwork is displayed publicly and privately in Europe, Australia, and the USA.


Emelene Russell


"I don’t know if we find our passion or if our passion finds us. But there I was just the same, with an acetylene torch in one hand and a mitt full of inspiration in the other. One spark, a little oxygen and my nascent career in metal sculpture had begun.

For years I burned the candle at both ends, welding my heart out on weekends while working full-time during the week as an art director: first, in public television and later in commercial advertising and design.

In the early years of my artistic pursuit, I also developed a technique for creating miniature sculptures in both gold and silver, using the lost wax method. I produced and sold many sculptures in gold, silver and welded steel to clients across the country. I was commissioned by an international manufacturing firm to produce fifty miniature sculptures to recognize its dealers for outstanding contributions to company growth and success.

Then I set my passion for metal sculpting aside for a time to pursue yet another passion with the opening of my own advertising agency in Denver, Colorado—Emelene Russell Advertising & Design. The agency has flourished over the years and affords me now the opportunity to once again create gold sculptures and to pick up my acetylene torch and breathe new life and form into welded steel sculpture. "



Donald Rainville


Don Rainville was born in Salem, Massachusetts and presently lives in midcoast, Maine where he maintains his studio. Foregoing acceptance to art school at the Massachusetts College of Art, he parlayed his interest in the natural world by attending the Essex Institute of Agriculture in Hawthorne, Massachusetts, studying Forestry and Ornamental Horticulture. Upon graduation, Don entered the world of high end antique and art restoration. For twenty years, he was able to hone colorist skills and the ability to experiment with diverse materials; the consistent nature of such refined work is in direct contrast to how he approaches painting.

Employing action techniques, his works have been likened to landscapes of "abstract realism." Don paints in house oils, using torn shapes of lightweight cardboard and plant clippings rather than brushes; by doing so, paint to a greater degree can dictate form. Don’s paintings begin with abstract intensity, leading to a concentrated focus on refinement—the last 10% of any painting takes 90% of the time to complete—and most of his paintings take several months to finish.

Primarily, his work focuses on “treescapes” and the never ending inspiration provided by Maine and New England forests—Don likens his paintings to orchestrations of visual music, much like jazz which is different from more formalized concepts of music.  His paintings are invented as they proceed, and as each portion of the composition comes forward on a moment by moment basis, the components are random and abstract, yet consciously orchestrated—the growth of a living forest works in much the same way.

Don works to create paintings where a viewer feels themselves present within the scene to a point where there is an actual unconscious desire or instinct to use all of one's senses, not just sight.


Allen Littlefield


Born on October 11, 1940 in Wilkes-Barre, Pennsylvania, the artist spent his childhood years in areas of the United States as divergent as New York City, Pennsylvania, Florida, and the state of Washington. Littlefield later returned to Wilkes-Barre where he graduated in 1967 from Wilkes College with a BA in Art Education.

After four years of teaching art on both the elementary and high school levels in the Kingston City School system of Kingston, NY, Littlefield moved to New Paltz. There he pursued graduate studies under ceramics instructors Kenneth Green and Robert Sedestrom at the State University of New York. He was employed as a graduate ceramics teaching assistant until 1973 when he received a Master of Fine Arts degree.

Allen hand builds each piece individually out of white stoneware clay. The work is then bisque-fired in an electric kiln. The final step in firing involves an ancient technique called pitfiring. This is done outdoors and involves wrapping or positioning each piece with various materials including cardboard and newspaper. After the pitfiring Allen washes each piece thoroughly and lets it dry before applying other colors or attaching them to backgrounds. Since the work is porous it is not recommended for outdoor use in climates where temperatures dip near or below freezing.

As a general statement about his sculpture, Allen Littlefield explains that current work is to be viewed as "future artifacts", objects that foreshadow what may be found in museums 3,000 years from now. The sculpture and fragments might reveal some of our alleged martyrs and saints or ritual and sacred objects.
All great civilizations are known by their gods and human achievements. Our current reliance on hard and soft technology, the "new gods", will in time crumble and be found also to have "feet of clay"        



Boubakary Konseimbo

Boubakary  Konseimbo was born in1978 in Ouagadougou, Burkina Faso, West Africa.
A self-taught artist, he started painting in 1996. His abstract style is mixed-media combining, natural pigments (which he grinds himself), clay, gum arabic, acrylics and oil pastels on canvas or wood panels.

Kate Fitzgerald


“I work in both oils and acrylics as they each bring their own set of technical properties and challenges to the canvas. There are advantages and disadvantages to both. My seascapes are more often done in oil, while my figurative paintings and portraits are mostly done in acrylic.

I enjoy the challenge of representing the human figure in a simply, stylized manner. The gracefulness of line and form stems from my infatuation with painters such as Modigliani and the early works of Picasso.

My love of music is a great inspiration for my work. Not only subjectively, as the depiction of performing musicians, but in the lyrical movement of line and light within the piece. However, I feel that composition is the utmost and foremost aspect of a good work of art. A well-balanced design exuding a sense of ease and serenity is that for which I strive.

Born in Greenwich, CT, I grew up in New York and summered in Casco Bay. Some of my fondest memories stem from those summers. A strong desire to live and paint near the ocean drew me to settle here after college. With marriage came a move to Virginia and after 12 years, I returned once again nourished by the beauty and wonder of coastal living. Maine is my home. I draw great inspiration from her gifts. I am continuously amazed by the rocky coast and its communities, the vast seascapes peppered with islands and sail, magnificently brilliant skies and her diverse inhabitants. I work from my home studio, painting in both oil and acrylic. Seascapes, landscapes, still life, portraits and figures — I find inspiration in them all. My work is in private collections throughout the country."

-Kate Fitzgerald

Mark Bell


Ceramics Artist

Pots by Mark Bell can be characterized as unassuming, quiet, and elegant. They also reflect the peace and beauty of the coastal Maine environment in which they are made, and the spirit of an artist dedicated to his craft. It was an opportunity to study ceramics as a high school student in southern Wisconsin that kindled Bell’s interest in making pots for a living, and his decision to attend a session at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee, fanned the flame. He then went on to earn a BFA at the University of Wisconsin and an MFA from Arizona State University. Other experiences strengthened his determination, not least of which was a technical assistantship at Haystack Mountain School of Crafts in Deer Isle, Maine, where he had the opportunity to work alongside established potters from across the country, such as Cynthia Bringle.

Bell and his wife, Martha, an environmental educator, loved the Penobscot Bay area of Maine, so they purchased a piece of property on a wooded hillside near the small village of Blue Hill. Building a kiln was the first step; next was the construction of an enclosure for the kiln and a tiny building to live in while both he and Martha continued to work multiple jobs to establish the property.

Bell chose to work with porcelain because of the way it feels and the way glazes look on it. “To me, glazing on a stoneware was like doing a watercolor on a brown paper bag. With porcelain, it was like a watercolor on a beautiful piece of rag paper. What was behind the glaze was as important to me as the glaze color.” The fragility of these eggshell-thin vases presents a glazing challenge, so Bell sprays all of his pots. “Most of my work has two or three glazes sprayed one over another. I start with a base glaze, then build up with contrasting colors. Quite often in my process the buildup becomes quite thick, but I keep the glaze thinner at the bottom so it does not run off the piece. During the firing, the glazes mix and flow in unusual and often interesting ways.”

“I feel like the people who like the spirit of my work will be with me until I am no longer making pots, however long that time may be. That spirit is one of the things that attracted me to Cynthia Bringles work. When one sees a pot that seems very special, one can somehow sense that potter has not only created a pot with a spirit, but has done so by sharing a part of themselves.”
—Phyllis Blair Clark
Ceramics Monthly, May 2001


Digby Veevers-Carter


Digby Veevers-Carter’s earliest memories are of the Seychelles located off the east coast of Africa, where his family operated a turtle and coconut farm. The Veevers-Carter family left the island in the early 70s to return to England for the children’s formal education.

In 1989, Veevers-Carter received a degree in History from York University and emigrated from England to New York City to pursue a career in sculpting. While living and working in New York, he immersed himself in the arts and studied sculpture, painting, and drawing.

Veevers-Carter began his sculpting career carving stone. He transitioned to modeling with wax where he found greater artistic freedom defining his own boundaries of form rather than having them imposed upon him by the size and shape of a stone. By casting and finishing his own pieces, Veevers-Carter has acquired a deep understanding of the craftsmanship require to invigorate the material, lend depth to the sculpture and illuminate his artistic expression. For Veevers-Carter, working in bronze is the perfect marriage of inspiration and craft.

Carter’s original body of work stems from his desire to capture the essence of unspoken emotion and pulls freely from the religious, literary, and artistic movements of the Greco-Roman, medieval and Renaissance periods. His most recent body of work explores movements and detail in nature. He is drawn into the magnificence locked in seemingly simple aspects of life; an insect’s exoskeleton, the stillness of an ancient tree or the smoothness of an animal’s skin.

Veevers-Carter has shown extensively in galleries and juried shows throughout the United States and designs and sculpts on commission. His bronze sculptures can be found in private collections both nationally and internationally.

Somerset Foundry was founded by Veevers-Carter in 1998 in Truro, Massachusetts. In 2002, he moved his studio to West Bath, Maine, where he lives with his wife and three children and sculpts and casts full time.

Nick Barboza


Designer — Craftsman
Bangor, Maine

Designer and craftsman of NWB Woodworks, a custom woodworking business specializing in free standing, solid wood furniture. I focus my work around original design coupled with time-honored techniques resulting in unique, one-of-a-kind furniture built to last generations. Each piece built in my shop marries visually pleasing lines with superior function. I firmly believe that neither of these two items can exist alone, but must harmonize in order to successfully create a piece of fine furniture.

Inspiration for my work stems from all parts of everyday life, including many natural and manmade forms. Many of my designs begin with an inspiration for a single detail on a piece. This detail then evolves through numerous hand sketches and is combined with other design elements into a full-scale drawing and finally into a completed piece. I am well versed in all aspects of the furniture making process from design, engineering, fabrication (stock preparation, joinery, shaping and glue-ups), finishing, delivery and client follow-up.

    Alumni and Fellows Exhibition; Darwin, sofa table of cherry, ash and tempered glass was chosen to be one of 21 pieces out of 95 entries to be shown fall September 2014-January 2015, in the Messler Gallery at the Center for Furniture Craftsmanship, Rockport, Maine.

Maine Wood 2014; Crescent Bench of cherry was accepted to one of 20 pieces from 88 entries shown from January 2014-April 2014 hosted by the Center for Furniture Craftsmanship, Rockport, Maine. The bench features bent lamination and a curved seating surface. From CFC website: “Maine Wood is a juried, biennial exhibition designed to showcase the breadth, creativity, and excellence of Maine’s furniture makers, turners, carvers, and sculptors. ‘This is our fourth biennial,’ says Peter Korn, Executive Director of Center for Furniture Craftsmanship, ‘and the submissions just keep getting better and better.’”

Designing Benches: Farnsworth Competition Finalists; No. 60 Bench of cherry and carbon fiber was chosen to be one of the 15 pieces shown from 73 entries solicited by the Farnsworth Museum of Art. The bench features a coopered style seat and sweeping style legs. There are carbon fiber structural supports that were entirely shop made. From CFC website: “Designing Benches showcases the top fifteen entries in a design competition co-sponsored by the Farnsworth Museum of Art, in Rockland, Maine and the Center for Furniture Craftsmanship, Rockport, Maine. The challenge was to design new gallery benches for the Farnsworth.”

Maine Wood 2012; DT Breakfast Table of cherry, cocobolo and glass was accepted to be one of 21 pieces shown chosen out of 113 entries from December 2011 — April 2012 hosted by the Center for Furniture Craftsmanship, Rockport, Maine.

Michael Banzhaf


  Michael Banzhaf's pieces are exquisitely handcrafted to reflect his feelings about the world and in his newest work, reinvent the natural environment. His designs most familiar to collectors demonstrate classic and symmetrical motifs undoubtedly rooted in his classical music training and fascination for Etruscan, Byzantine and Renaissance periods. Other designs are lyrical as they embrace forms inspired by nature. 
   The result is a stunning collection. The range of Banzhaf's creations has included a "Rain Forest" necklace, earrings which resemble lily pads and ginkgo leaves and in homage to his adopted St. John, necklaces titled "Salt Pond Bay", "East End Full Moon" and "Windswept".


"I have developed two distinct styles. The first is classic and symmetrical, using traditional design motifs and reminiscent of ancient jewelry. My more recent work draws upon my fascination with plant life. I find inspiration in natural forms for the stylized interpretations that appear in my pieces.
I sketch designs first and then at the workbench pursue an organic approach, allowing the designs to grow and evolve spontaneously. My work is based on the concepts of durability and quality for daily wear as well as formal occasions.
With the pressing issues of environmental concerns, my intent is that both the wearer and the viewer will be reminded of the beauty and fragility of our planet. I wish to raise consciousness and dignity to these issues, with tributes preserved in the permanence of noble metal and gemstones, two of earth's most enduring materials.
All pieces are 18k gold or 950 platinum. All diamonds are E-F color and VS-1 clarity or better. I select only the finest gemstones of superb cut."

Fernando Olivera


Fernando Olivera was born in the city of Oaxaca in 1962. He studied art at the Escuela de Bellas Artes at the Benito Juarez University in Oaxaca. He went on to study lithography with Japanese print-maker Shinzaburo Takeda at the Taller de Artes Rufino Tamayo.

In addition to five solo shows in Mexico, Olivera has participated in group shows in Mexico City, El Salvador, Montana, San Francisco, Palo Alto, Chicago and Philadelphia (including five group shows at Indigo). He illustrated the award-winning children's book, The Woman Who Outshone the Sun, based on a Mixtec folk tale, published by Children's Book Press. Olivera's work was included in the 1994 show "Myth & Magic: Oaxaca Past and Present" organized by the Palo Alto Cultural Center. His work was also included in The Tree is Older than You Are, a 1995 collection of Mexican poems and stories published by Simon and Schuster.
The Work - Olivera's vision is grounded in the traditional life of Oaxaca and the myths and legends of its people. But his work also reflects his social and political concerns. Much of his recent work is preoccupied with the ongoing Zapatista uprising in Chiapas.

Santiago Martinez

Santiago was born on August 10, 1963 in Oaxaca, Mexico, where he was raised and still lives today. He grew up with a strong indigenous influence from his Zapoec father, who is also a painter.

In 1988 Santiago moved to the USA and took a job as a dishwasher at a Texas restaurant. Speaking no English and short on art supplies he began painting on pizza boxes as his means of expression. At the age of 27 he sold his first painting, on a pizza box.

After a serious car accident left him bedridden for six months, he explored his passion for art, painting on any material available; scrap paper, tin, envelopes, etc. A gallery owner, impressed with his work, offered him his first show. It was was then that he realized that his calling was to paint.

Santiago returned to Oaxaca nine years later where he continues to paint and develop as an artist. His work has been exhibited in Mexico, the United States and Europe.

Santiago is humble and at times shy, he is grateful for the relationships he has built with the people of Oaxaca and always enjoys conversations with travelers visiting Mexico. He has a reputation of being a kind, sensitive artist who enjoys life and embraces daily economic challenges that face Indigenous artists in Mexico.

The simplistic beauty of nature moves Santiago, and his paintings express this love and surrounding environment. Trees and people morph together connecting them to each other while often expressing something higher unfolding within the ordinary.

Joan Meakin


Joan Meakin was born in Newington, Connecticut on April 20, 1951. Her interest in art developed as a young child, influenced heavily by both her mother and her sister. She graduated from the University of Connecticut, but was never enrolled in any art courses. She continued to pursue her love for creating outside of her education.

    In the 1970’s, her and her late husband bought a plot of land deep in the woods of the Moosehead Lake area in Maine. They built a house from scratch with no electricity, grew their own food, and raised two children in the time they spent there. In this experience of surviving solely on the resources around her, her connection to nature grew stronger.

    More recently, over the past 30 years, she has worked for numerous professional companies specializing in costume design and construction, including: The Hartford Stage Co., The Connecticut and The Connecticut Grand Opera Co, The Hartford Ballet, Pilobolis, and Jacob’s Pillow. She has toured with the Moscow, Bolshoi and Stanislavsky Ballet.“Working with dancers has influenced my awareness of the movement I find in the wood I use for my creations. Any alteration of the root or branch is minimal, as nature has already created their beauty.” (Joan Meakin).

    Combining both her deep love for nature and passion for dance, she creates sculptures using found wood and polymer clay. Using the polymer clay as filler only, she enhances the human forms already present. The clay needs a low heat to harden, thereby not harming the integrity of the wood. The sculptures also cause minimal damage to the environment in their making, because they are made from natural, found materials. Her sculptures have been on display in the Spencertown Academy Arts Center and the Berkshire Museum in Massachusettes, as well as being published in the book Woodland Style by Marlene Hurley Marshell.  

Ben McGinnis


Ben McGinnis has been an award winning illustrator, graphic designer and fine artist for over thirty years, Originally from Ohio, Ben attended Kent State University to study all forms of art and has primarily worked in advertising since then. His personal work however, ranges from small sculptures and wood carvings to paintings and drawings and lately, unique drawings of trees.

“There’s just something amazing about them, especially the older ones that have seen so much in their lifetimes... they just have to have souls
 and if so, I have to wonder what kinds 
of souls they might
 be. Some are shaped by man and others by elements of nature and a natural adaptation to their surroundings.
 Like human life, rot and decay, injury followed by healing and years of living and growth mold their bodies into positions that are a direct result of their experience. Regardless, they are wonderfully expressive and I find that to be an endless source of inspiration.”



Liz Gribin


Liz Gribin was born in London in 1934. She and her family moved to the United States just as World War II broke out. Arriving in Manhattan, she began her studies at the Museum of Modern Art and the Art Students League, obtaining her degree in fine arts from Boston University. Niece of the world famous Danish sculptor, Harald Salomon, she has exhibited her work nationally for many years. In New York City her prize-winning paintings have been shown at The National Academy of Design, the Parsons School, Pace University, The National Arts Club, the Lotos Club and the Broome Street Gallery. Outside of the city they have been shown at the Nassau County Museum of Art, The Heckscher Museum, Guild Hall Museum, Sarah Lawrence College, B.J. Spoke Gallery, and the Arlene Bujese Gallery. Gribin has had over a dozen solo exhibitions. She is the winner of innumerable awards, including the Bruce Stevenson Award from the National Arts Club, the Pall Corporation Award at the Heckscher Museum, the Knickerbocker Artist's Gold Medal and the top award from the Audubon Artists, two years running. Her work is part of the permanent collections of the Emily Lowe Gallery at Hofstra University and the Manhattan Bowery Corporation in addition to many outstanding private collections. She was chosen to be honored with the prestigious Eleanor Roosevelt Award for Advancing the Arts on Long Island.

Honored by the Hampton Library as a "living legend" during the bicentennial celebration of the U.S. Library Of Congress. Listed in "Who's Who in American Art" and "Who's Who of American Women". Artist spotlighted on the first "Originals", Public Broadcasting System's television show. The artist and her work have been profiled in The Southampton Press and Dan's papers, Portfolio, Northshore, Boulevard and Long Island magazines. Interviewed on Art Scene on Long Island, Meet Your Neighbors and Focus On Women, which is part of Harvard University, Schlesinger Library Archives. Now back in Massachusetts after half a century, she enjoys working and living in her spacious studio in Gorse.


Joan Wye



Joan Wye was born in the U.S. but lived in Berlin, Germany for most of her childhood until the age of thirteen. Her mother had sent her to live with Joan’s great aunt who ran a boarding house, and Joan’s grandfather who was the conductor of a symphony orchestra. In 1939 Joan’s mother came to rescue her from the horrors of Nazi Germany and take her back to the U.S. and then Argentina.  
After high school in Buenos Aires, Joan left to enroll in the Art Student League of NY where she had her formal training. She married another League student, had a daughter Carol, and the family moved to Provincetown, Massachusetts. Joan had started out a painter but in Provincetown she took up the medium of wood carving and to a lesser degree bronze casting.  
 After twenty years in Provincetown, she divorced and moved to Somerville, Massachusetts with the man who would become her second husband, the painter, Jackson Gregory. They both found space in a factory building that was to become a well known artists and artisans studio building: 20 Vernon Street in Somerville. Joan initially created some large papier mache brick sculptures and then invented a tile making process which led to an art tile business called Belfast Bay Tileworks. Her husband Jackson joined her and for the next 18 years Belfast Bay designed, produced and sold their art tiles in the metro Boston area, New York, Cape Cod, Maine and other locations round the country.  In addition to residential installations, she and her husband created public art tile murals for Boston area’s Red Line (MBTA), The Children’s Hospital, New England Home for Little Wanders, and Roberts School, as well as for the Niagara Transportation Authority in Buffalo, NY.

Wye also started making art works using tile mosaics as a medium. In 1985, Wye and Gregory bought property on Vinahaven Island, Maine and moved there permanently in 1990. They bought a much reduced version of the tile business with them to Vinalhaven which they continued until 2000, when they retired from the tile making to devote full time to their painting. With a spacious studio, Joan finally got back to her first love, painting. She was a prolific artist and made up for lost time by turning out about 300 paintings in the last ten years of her life.
Wye is associated with number of galleries in Provincetown, Boston and New York. Her paintings, sculptures, mosaic tile pieces are in collections across the U.S. She died at home on Vinahaven in August of 2006.

[nggallery id=98]

Jackson Gregory

Born in 1938, Jackson Gregory grew up in Provincetown, Massachusetts. His father was a printmaker and photographer and his mother a concert pianist and piano teacher, who were part of the sizable art community in that town. His parents and artists friends encouraged Jackson in his early efforts in art making. He is a graduate of the School of the Museum of Fine arts (SMFA) in Boston where he spent ten years as a student, graduate student, Traveling Scholar and teacher.
In 1967 after two years of teaching, Jackson left SMFA to concentrate on his own work, which by this time called for a more complete involvement of time and effort. This was the beginning of his use of geometric forms as the basis of his work. He added ceramic tile as a medium in 1977 and also created public art murals in Boston, Cambridge and Somerville, MA., and Buffalo, NY. Gregory lives and maintains a studio on Vinalhaven Island in Maine. He and his wife artist Joan Wye moved there in 1990. Joan died in 2006.  
Awards include: 47th Bartlett Traveling Scholar: Grant and Fellowship, Fine Arts Work Center, Provincetown; Boskop Foundation Grant, Council for the Arts and Humanities, Somerville Arts Council, MA.

Selected Exhibitions: Cornell University; Museum of Fine Arts, Boston; De Cordova Museum, Lincoln, MA; City Hall, Boston; Brockton Art Center; New Era Gallery; First National Bank of Chicago; Harbor Square Gallery, Rockland, Maine, and numerous private collections.


[nggallery id=99]

James Bonner


Born in 1959 in Little Rock, Arkansas, contemporary American realist painter James Michael Bonner received his formal training in art at the University of Arkansas at Little Rock primarily under the late Al Allen.
Citing the painters Andrew and Jamie Wyeth as major influences of his art, James taught himself how to paint with egg tempera and dry-brush watercolor eventually developing his own identifiable style.  In addition, Jamie Wyeth’s proclivity for mixing different mediums has influenced him with incorporating oils, acrylics, casein, and gouache into his work.   
    Having a desire to experience what other artists, including the Wyeth’s, have when in Maine, James began visiting there in the 1990’s and always enjoys painting and drawing the often-overlooked scenes that fade into the background of everyday life. Maine is beautiful and gritty all at the same time. It’s these opposing forces that oftentimes are explored through the hidden ambiguities of his work.
In 2003, while rock climbing, James suffered a traumatic injury that would change the direction of his life away from art for almost a decade. The aftermath of the accident left him without the ability to paint because of limited dexterity in his hand. Unhappy without the ability to express emotion through his art, he was determined to comeback. In 2012 he began the arduous therapy of re-training his motor skills to facilitate the delicate details of his art. Although it takes longer to draw and paint now, some of his recent pieces have proven to be some of his “strongest” pieces to date.
     James currently resides in Arkansas with his wife Hope and their two dogs Mocha and Maggie. He has artwork in corporate collections in the south and east coast, along with many private collections in Arkansas, New York, New Hampshire, Massachusetts, Washington DC, Florida, Delaware and Maine.  

“My intent as a painter is to create a narrative that pervades the painting. By starting out with the literal truth and then relying mostly on memory, I begin to think or dream away the extraneous detail of a particular scene or object until I’m down to the “bare bones” of what I’m emotionally connected to.  Simplicity, to me, is always better.
Being an artist, to me, is not just about possessing the ability to copy something exactly as it is in nature, although admirable, but using your creativity to impart your own vision. What comes naturally for me is a bit convoluted, in that my paintings are based in reality, but with a heavy dose of my own creativity and imagination added. Perfection bores me, at least technical perfection, and thinking everything you do might be a masterpiece is dangerous. I like seeing the hand of the artist in art, even areas that have been worked and reworked. Setting out to create a masterpiece can be stifling, I mean just do something you feel strongly about and amazing things are possible and just might happen. Inspiration for me comes from a passion within to record the scenes that often times are bypassed by a hectic society. These scenes fade into the background of everyday life, but many have a story to tell - be it good or bad. Inspiration triggered by knowing the "back story" of a scene or by someone's spirit. My art, like these scenes, would not stand out in a big show. It's not flashy or ephemeral. It's enduring.”


[nggallery id=96]

Lothar Nickel


Lothar Nickel was born in Dusseldorf, Germany in 1957 and was introduced to stone carving during a trip to the west coast of Scotland. He received his Diploma in Sculpture & Fine Arts from the Alanus College of Art in Bonn, Germany.

His sculptures come to life as a synthesis of his sensitive yet confident mastery of materials and his delight in playfully contrasting different sculptural elements. His creations touch the viewer by virtue of their subtle vitality and the inner life with which the artist imbues the inanimate substance.

The figurative element, when it appears, is not a starting point but the result of a process in which the artist seeks to devise sculptural movements and spatial gestures which echo the inner experience of his keen interest in life and his empathy for all creatures, be it animal or man. Lothar Nickel invents sculptural characters which develop a life of their own. In the sculpture "Himalama" for instance, he embodies a kind of fabulous animal which calls upon the viewer to contemplate the artist's work by inventing the creature's own life story.

[nggallery id=95]