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.


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


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.  

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.

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Peter DeCamp Haines


Peter DeCamp Haines grew up in Ohio and is a graduate of the School of the Museum of Fine Arts in Boston, Massachusetts. He is a founding member of the Boston Sculptors Gallery and a co-founder of the Vermont Gentlemen's Foundry. Haines is known for his Artifacts- pure forms- favoring geometry, the compound curve, negative space and clean silhouettes. The images range from tools to architecture to stylized animals and humans. In total, these objects comprise a "personal archaeology".

ARTIST STATEMENT - The Object is the Idea

I am a maker of objects, and the object itself is the main idea in my sculpture. For 30 years, I have been working on a project that consists of a collection of minimal, tool-like bronzes- now numbering in the hundreds. Metaphorically, I think of this work as "An Archaeology" of the subconscious. Artifacts have been a continuing thread in my work since I found my first one (an axe) in a dream around 1975. Simple, elegant, refined - they seem to me to be simultaneously archaic and modern. Metaphorically, I think of these objects, now numbering in the hundreds, as an 'archaeology' of the subconscious. They are made for the hand as well as for the eye. Simple shapes elaborate into complexity. Images (humans, animals, architecture, tools ) inevitably appear. I think that this is the projection of the warm subconscious onto the cool geometry of elemental forms.

On another level, the artifacts are studies of archetypal forms which can be elaborated into more complex images. An advantage of sculpture is that ideas such as wholeness, beauty, timelessness can be expressed without words. One of the elements of this wordless expression is negative space. A doughnut is defined by its hole. If one accepts space as part of the doughnut, where does the doughnut end? Thus the doorways, windows, silhouettes of my sculptures can suggest an area larger than the sculpture itself.

Since Marcel Duchamp in the 1930's, ideas about sculpture have proliferated in countless directions, from Andy Warhol to Nam June Paik. My own pursuit has been a continuing exploration of the formal attributes of sculpture: form, scale, negative space, composition.


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Clara Cohan


It was during my growing up time that I was taught the foundations of drawing and painting.  My mother, who is an artist, spent many afternoons teaching me about the anatomy of light, form, color theories, and oil painting.

1968 - 1974   There was the search for the Self.  And there was art class.  The perfect place to explore feelings and to begin to express what I felt about the world and my place in it. I was most influenced by the Surrealists; Tanguy, Dali, Magrette, and M.C. Escher.  Paintings during this time frame came directly from the inner landscapes and intellectual wandering of my mind. With my early training, I found I could easily paint what I saw with my mind's eye and create worlds that were very different from "reality".  In 1972, I had an opportunity to broaden my experiences with summer classes at the Chautauqua Art Institute, Chautauqua, NY.  This experience put me into a studio setting where I felt very much at home.

1974 -1976  After spending two-and-a-half years at college pursuing a teaching degree in art and psychology, I left the academic world.  This was a major turning point, deciding not to become a teacher, but to develop and gain experience in being a professional artist.  In 1976, I spent part of a summer in Germany, Austria, and Amsterdam, exploring the arts of this region.

1977 - 1985  The most defining time period for me. Knowing that I wanted to be a full-time artist, and knowing income would be fairly non-existent, I chose to develop a life-style to support my goals and financial challenges. A self-sufficient living situation is what I needed to create.  First, buy land and then build a small home.

I purchased five acres of wooded land in upstate New York and built a small cabin.   I lived here for eight years, growing my own food, fishing and foraging wild greens, heating and cooking on a wood stove, choosing to not to hook up to the electric company.   With a few hours dedicated to daily chores, the rest of my day was filled with drawing and painting.   I co-founded the Battenkill Art League which provided stimulation from a community of artists. A mix of commercial art work and art festivals provided enough income.

Also during this time frame, I would make many sojourns to the desert southwest,  Inspired by the color and forms of the landscape, and the spiritual aspect of the wide open spaces, I created my "Mandala Sandpainting" series.  This was another expressive form that showed me vividly that symbols are the language of the unconscious, the inner self, and speak in universal ways.

It was during the later part of the cabin years that I began visiting New York City.   I was drawn in by the intensity of what the city had to offer me personally and as an artist. Thus began one and two month long stays for the next 16 years in order to study at the Art Students League, drawing daily from the works of the Metropolitan Museum of Art, the Museum of Natural History, contacting galleries and spending hours drawing from the surrounding street scenes.

1986  Feeling the need to expand my marketing experiences, I moved from my cabin in the woods, to Albany, NY.  I opened a studio/gallery and exhibited in local galleries and cafes.

1986 - 2000
I developed a workshop utilizing the Mandala, bringing people into closer communication and relationship with their inner selves.  I held workshops in Albany and scheduled a many city-tour that eventually led me to Sedona, Arizona.  For the next 14 years, I would become involved in the arts community of Sedona, Cottonwood, Jerome and Scottsdale, AZ.

During the desert years, I created several distinct styles of paintings, including the airbrushed "Mythic Reality" series and the New York oil paintings of the "Humanity" series.   Also, I created Cosmic Turtle Creations, a home-based industry, sandblasting contemporary petroglyphs onto flagstone, which developed into a thriving nation-wide business.

In 1979, I had my first exhibit in NYC, showcasing 26 paintings from the "Humanity" series.

It was the ten-years of very hands-on building of our home that brought me to the realization of my abilities as a sculptor.  In the last year-and-a-half of my time in Arizona, I apprenticed with Daniel Newman, a stone sculptor.

2001 -2007  Having had a full experience of living in the southwest, Sharon and I decided it was time to experience living by the Atlantic Ocean.  In 2001, we sold our desert home and purchased a 1910 Cape in Cape Elizabeth, Maine.  For me, Portland, Maine, showed great promise as a new territory to enter into.  I found the galleries receptive to my stone and wood sculptures.  Seeing a need for more exposure for sculptors, I co-founded MAINE SCULPTORS, setting up shows throughout the state.  I also established the Changing Tides Gallery, an exhibit space for emerging artists.

2005 was a changing year for me.  Years of heavy physical labor of constructing my own homes and working years in stone, began effecting my neck, back and arms. Putting all taxing work aside, I was able to stop the deterioration and manage the pain.  Sorting out what I could and could not do, gave me a new start and direction.  Teaching part-time, sculpting only wood, and being employed as the visiting artist/sculptor in the local Middle School, (please see the "Courtyard Project"), allows me to continue on.

A new series of sculptures,"Contemplating Our Place in the Universe" became my major focus. Throughout my career, my deepest passion has been the symbolic language of the unconscious and the transforming effect it has on individuals and in the development of a culture. I have studied the archetypal, primal and symbolic imagery of ancient and modern earth-based cultures and religions. Through travel, I have directly experienced the symbolic nature of such cultures as the Rapa Nui of Easter Island, native South Pacific peoples, the earth-based cultures of Ireland, Mexico, and the Native American, particularly the Hopi Indians of Northern Arizona.

Visual symbols that repeatedly arise include, the nest and egg, lightening bolts, a single eye, patterns of stars, earth, moon, raven, elephant, whale, human and "cosmic" figures. From re-claimed wood, these and other symbols are carved to represent stories. The re-occurring theme is about connection; to our own self, with others, with the environment, and ultimately, with the infinite cosmos.

2008  - 2015 I took a position of security officer at the Portland Museum of Art. This has given me a great vantage point to view not only the paintings and sculptures of the museum, but to experience the purpose and workings of a museum. I am still creating sculptures for the "Contemplating Our Place in the Universe" series.


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Antje Roitzsch


For Antje Roitzsch, walking in the woods every morning is a great source of inspiration. By connecting with nature and seeing the daily changes through the seasons Antje notices small things: one day grasses against the snow, another day ice formations on the little brook, or another the dead trees shaped and carved from exposure to the elements.The flow of closely observed water creates wondrous forms and swirls. The budding of new plants implies much potential. The forces that unfold fern, leaves or blossoms in the Spring are what Antje tries to capture in her 3-dimensional work. Indeed, the growth, maturation and unfolding of vegetation mirror human growth, unfolding and developing. Any observer of personal development might resonate with these forms on a deep, perhaps even unconscious level. Even though the casual observer might not recognize the organically inspired nature of Antje's refined work yet might appreciate the harmonious flow of form.

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Being open to a slow process of form development grew out of Antje's Waldorf education in Germany where she studied form metamorphosis with Dr. Peter Wolf. The seven stages of plant development described by poet J.W. Goethe and later by Rudolf Steiner were used as the basis of studies in clay and wood. Following her Waldorf education she studied graphic arts for two years and then completed a 4-year goldsmith apprenticeship in Germany. In 1988 the Carl Duisberg Society awarded her a grant to study the goldsmith technique of Anticlastic Raising for a year with Michael Good of Michael Good Designs in Rockport ME, USA. Antje returned to Germany to work for six months with Professor Friedrich Becker on his innovative stainless steel jewelry and kinetic sculptures. In 1990, she returned to Maine and worked with Michael Good Designs for fifteen years, designing and producing the flowing 3-dimensional shapes of this hand-crafted jewelry.


Vincente Hernandez


Oaxaca, Mexico is known for its high-quality traditional pottery. It is from these traditions that artists have grown and evolved. Vicente Hernandez’s pottery is versatile in form and surface, ranging from traditional thrown forms to platters and custom-order dinnerware sets and lamps. Using earthenware clay to create each vessel, the artist decorates with a technique called “scraffito”. A clay slip is applied to the exterior of the pot and then the design is scratched through the slip to reveal the clay underneath the slip. The interiors have been lined with a rutile glossy glaze, making the pottery appropriate for everyday use.

Hand care of the pottery is recommended.

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Igor Galanin


As a successful artist, book illustrator and theatrical designer in the former Soviet Union, Igor Galanin enjoyed professional success and recognition-without freedom of expression. Yet he had an inner mechanism that understood what freedom was all about. Within his personal, painted kingdom, Galanin let freedom ring. If he wanted a chair to rest on water instead of a floor, he put it there. If he thought the fruit in a still life should go floating out of its bowl, away it went. Seeking liberty for himself and his family, Galanin emigrated to the United States in 1972.
On the surface, Galanin's paintings are purely a celebration of the sensual. In this carnival of earthy delights, women with delicate, aristocratic features and round, voluptuous bodies take center stage. Whether they are enjoying a park vista from the comfort of a bench, or flying threw the air on the trapeze, Galanin's big beautiful women remain serenely in control of their surroundings. Expressing a wholly unique artistic, vision these technically masterful painting contain lighthearted nods to mannerism, to Surrealism, and to the dainty theatrical caprices of Jean-Antoine Watteau. Galanin's jewel-box palette and dramatic use of dark backgrounds may bring to mind Russia's decorative black-lacquer art objects, as well as religious icons.

Perhaps because they are the direct descendants of this venerable artistic tradition, Galanin's cast- bronze sculptures possess a timeless simplicity and power. They have the same energy and charm as his paintings, and frequently treat the same subject matter. Each original or limited-edition sculpture is cast in bronze, then colored through the application of acid and heat. When placed outdoors, the sculptures will develop a rich patina.

Galanin's Rooster-a symbol of life's regenerative forces-stand a little more than a foot tall, yet has a striking presence and mastery. It's smooth, hand-burnished contours capture the softness of puffy features, while the rich, varied brows of the patina resemble burl wood. Colored in a silver pewter tones, Galanin's Swan is composed of S-curves that suggest both fluid grace and the element water. With chararistic insight and humor, Galanin has imagined his Hippopotamus as the creature that he would feel most at home:half submerged, and with a bird for a companion.

Galanin's cosmic circus would not be complete without its ringmaster. In his Self Portrait with a Rabbit, the artist appears with his personal guiding spirit and muse-the creature who best personifies playfulness, joy, and eagerness to experience life. Like the rabbit that led Alice down the borrow to Wonderland, Igor Galanin and his muse invite us to journey through layers of poetic meaning into unique, wonderful worlds-no passport required.


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Tacha Vosburgh


The figures of Tacha Vosburgh stand as sentinels to stories of people that have never happened, but are always happening. They are portraits of no one in particular, but of everyone. The artist is reaching for that strange, but somehow familiar place that we long to connect with, that place of grounding that we know about if we just take the time to remember. "There is a universality in these figures," Tacha explains. "People recognize something vaguely familiar about them. We have always used myth to explain ourselves.This series is like a myth. With each interpretation, it gets retold and re-crafted through time."

Each figure is individually made by hand from earthenware clay. The artist's friends pose as her models. Their expression is idealized to convey the inner strength they possess. Some forms are thrown on the potter's wheel and altered. Some forms are constructed from slabs and coils of clay. The pieces are dried very slowly before being bisque fired.

The bisque ware is airbrushed with solutions of copper and iron sulfates and placed in a saggar with seaweed, wood chips or other organic material. Fired for a second time in a gas kiln, the ware is literally painted with the flame of the fire and the fumes of the volatile salts and marked by the direct contact with the organic materials.

The desert dryness has inspired many artists throughout the centuries. Tacha constructs her human figures with concern for the places we inhabit mentally and spiritually. But on an environmental note, Tacha has been absorbed by our animal companions, and has been sculpting life-like lizards. "Living in the desert with my lizards have inspired me," notes Tacha. "I really enjoy sculpting their intricate yet vulnerable features. Her iguana, Isabella, earns her keep by acting as model and muse as she poses for Tacha's prolific lizard series. "There's no secret trick," Tacha admits, "Iguanas typically stay in one place without moving for a long time."

Currently, the lizards can be found on both decorative and functional pieces. They are featured alone or are capriciously perched on pots, bowls or plates.

"Living in Arizona, watching the delicate environment disappear is alarming. I am devoted to sculpting these vulnerable creatures in hopes that we might have a heightened awareness of their innocent primitive selves and what we are doing with our Earth."

For Tacha, life was exciting even before it included scales, claws, feathers and beaks. A gifted ceramic sculptor, with a Bachelor of Fine Arts degree from Maine College of Art, Tacha Vosburgh has had studios in Brazil and Key West, Florida. Her works have been shown and collected in over 150 galleries throughout the United States and Europe. She spends summers in New England where her works are shown in several galleries while for six months out of the year Tacha lives in Arizona, finding the imagery and aesthetics of the Superstition Mountains to be conducive to her creativity. Her art evokes the magic of both the natural and the supernatural world.

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Nina Scott Hansen



My parents where Norwegians living in Denmark when I was born ten years after the war.  I came to the U.S. when I was ten.

I attended schools in Colorado, Boston, Oslo, Vienna, and London and worked in advertising, before embarking on a full-time career in art.  In the 1980s, my boyfriend taught me to weld in Rockland, Maine, and I began making curious objects, trolls, birds and horses.  I have always lived and worked with horses.  I am now a slave to the materials, the welder, and the torch. I like the heat, the way it smells and the way it feels. My stuff is not intellectual. It's not asking for any deep thought.

For the past twenty years my work has sold in galleries in Maine, Norway, and more recently in Arizona.

I have a large garden behind my shop where many pieces still reside.


                             1994-06 Drawing Room Gallery, St. George, Maine

                             1994-95 Ames Fine Art Gallery, Belfast, Maine

                             1995-01 Smestad Gallery, Smestad, Norway

                             1996-01 Kjell Olsen Kunst Gallery, Oslo, Norway

                             1996-99 Between the Muse, Rockland, Maine

                             1997      Village Gallery, Scottsdale, Arizona

                             1998      Leighton Gallery, Blue Hill, Maine

                             1998-99 Contemporary Fine Art, Vail, Colorado

                             1998-02 Water Song Gallery, Scottsdale, Arizona

                             2000-07 CMCA, Rockport, Maine

                             2000-07 Filament Gallery, Portland, Maine

                             2003-07 Harbor Square Gallery, Rockland, Maine

                             2004-07 Lanning Gallery, Sedona, Arizona 

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Bryce Muir


Bryce Leigh Muir 1946-2005
Bryce Leigh Muir died on December 14, 2005. He drowned after falling through the ice while skating on the Cathance River.

Night Sea Journey series

Carved in the winter of 1989-90 at a time of personal transformation, these mythic marine images were never before shown publicly or offered for sale. Now the series is available in a limited edition of ten bronze castings.

The figures are tactile objects from six to fifteen inches in length-a solid handful of bronze. There are ten carvings in the complete sereies, representing seven stages in the "humid" phase of the hermetic process, and three stages in the "dry" phase.


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Roy Patterson


 Art is communication – communication about new things and about things known but forgotten. The writer tells a story and we remember. The poet carefully weaves his words to remind us. The visual artist connects us with images.

Sculpture is not the language of words. It is the language of shapes, forms, light, space and touch. These elements speak in silence about a world we all knew before we described it with words. Sculpture is not story, it is a presence of space.

Certain forms and images are innate to our beings and speak to us with significance. The human figure is my most significant form. It is the means I use to connect art with my experience of life.

Art has always been built with abstract language, like sentences are built with grammar. Abstraction is pure and powerful. The figure adds human warmth to the elements of design. I build, interpret, and reinvent the human figure with abstract language to create a primal presence in my sculpture.

The creation of Art is the antithesis of the destructive forces that cause so much suffering in the world. Artist, art collectors, and arts organizations share the responsibility to support and nourish creative energy. The channeling of creative energy is an act of peace.

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Nancy Linkin


Nancy Linkin's passion for metalsmithing began over 35 years ago. She was captivated by the age old process of forming the metal directly with hammers. "The hammer is simply an extension of my hand..." Her exploration of the traditional smithing techniques, raising holloware and forging, started with traditional vessels forms. Soon she began to push the envelope both technically and visually, leaving the rotation form and functional form behind. Asymmetrical table top sculptures and wallpieces were a natural progression for her nature based aesthetic. "Natural forms have always fascinated and excited me: plant forms, earth forms, human forms." Sculptural jewelry was the next step, taking the sculpture off the pedestal and putting it on the body. Nancy did a series of one of a kind sculptural bracelets over the course of two years in the mid-1980’s. The tremendous success of this direction encouraged her to repeat the designs, adding earrings, neckpieces, and pins to her line of bracelets. Over the last 20 years the line has grown with over 80 different designs, each made in a variety of sizes, available in both a Sterling & 18K combination and solid 18K gold. To create each piece, flat patterns are cut from sheets of gold and silver and hammered systematically over specialized tools. Once a piece has been hammered into its final form, it's filed and sanded, then buffed to a high polish. This fine finish accentuates the simple sculptural lines of her jewelry.

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Mario Messina


As a designer craftsman I see furniture making as an opportunity to explore the union of function and art. I want to create furniture that is a joy to live with, will last for many generations and grow in value. I draw my inspiration from nature as well as other woodworkers, architects and period styles. I see furniture as an expression of our relationship to the natural world in the context of our home environment.

My career in woodworking began in 1983 in Roseburg, Oregon, where I apprenticed in a small cabinet shop for three years. In 1987 I opened my own woodworking shop in Vermont. Over the years my work has progressed into studio furniture making, which has always been my dream. In addition to running a full time furniture studio in Windsor, Vermont.  I am also a woodworking instructor at Dartmouth College's Hopkins Center.

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James Pyne


Figurative, stylized, whimsical and sometimes comically odd, are the birds and beasts created by sculptor James Rivington Pyne.

A self-taught artist, his influences are many, as are the books scattered around and lining the walls of his Waldoboro studio: Ancient Egyptian Sculpture, Medieval Bestiaries and microscopic photography of strangely complex insects, are just some of the multiple references inspiring the artist’s attempts to capture in form a certain characteristic or moment in gesture and stance. Meanwhile, the view from a window of the studio frames a placid pond surrounded by tall grasses and the Maine woods, where wild birds, insects and fish feed on each other while also feeding the artist’s current imaginative foray.

What is especially poignant in encountering Pyne’s sculpture is the emotional interaction and relationship between the various figures and oneself. Certain quirks, distortions or exuberances, which are markedly human, connect us with feelings and moods so familiar: The solitary and the communal, the active and the passive, the ecstatic and the dejected; some aspect will surely touch in a direct or subtle way.

Born in Pennsylvania, educated in Massachusetts and Tennessee Pyne received his degree at the University of Pennsylvania. For 15 years he taught English in the Philadelphia public school system. A summer resident of Maine all his life, he moved to Maine permanently in 1982 to write, raise sheep and to sculpt. 

Except for one class in clay modeling and another in sketching, he is self-taught.  He began working with driftwood then moved to other media such as plaster, epoxies, casting stone and bronze. Many of his composite pieces consist of armatures made of steel and wood overlaid with layers of epoxy filler. Bits and pieces of wood splinters and chips resembling wings and feathers are incorporated in the epoxy; then the whole is painted with acrylics. Several sculptures are available in limited-edition bronzes.

Pyne is a member of the New England Sculptors Association and has taken part in solo and group shows in Maine, Vermont, Massachusetts and South Carolina.

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Leo Osborne


Leo Osborne graduated from the New England School of Art in 1969 and lived in Maine for 20 years before relocating to Guemes Island in Washington State in 1994. He exhibits his work nationally and internationally. The awards he has won for his wildlife sculptures and paintings over the last 20 years are too numerous to mention here. His work has been featured in more than 10 art or wildlife magazines, including National Geographic.


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Henry Van Wyck Spencer


Spencer started his career as a metalsmith in 1968. He found the production and sale of of mid-range precious metal adornement to be financially rewarding but personally stultifying. His good fortune allowed him to develop a personal and professional friendship with Louis Feron, a world master in the art of Chasing and Repousse who did custom work for Tiffany of New York and was the primary maker for Shlumberge, one of their designers.

The last twenty years of Henry Spencer’s career has been devoted to exploring the possibilities of Chasing and Repousse. With guidance from Louis Feron he has been able to and continues, to develop the unique effects and techniques of his art form and to discover from within a distinctive and highly personal avenue of expression.

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Gordon Bok


Gordon Bok grew up in a musical home around the boatyards of Camden, Maine and sailed on the lovely old schooners that hail from that port. He started playing guitar when he was nine. Later he sang of mythical sea folk, seals and selkies who came to him in dreams and legends. At a time when folk music was experiencing a great revival, he became a leader in preserving, collecting, creating and sharing a wide variety of rich and intensely beautiful songs of both land and sea. He has recorded over 20 albums in his musical career. He was deemed the “poet laureate” of seafarers by Time magazine.

Gordon is not only a musician; he also creates these seafaring scenes in relief-carving sculptures in wood. His familiarity with wood began a long time ago when he started carving in 1970, after he inherited his mother’s tools, most of which he still uses. Selected carvings are molded and made into bronze in small, limited editions. These can be displayed outdoors throughout the year.

The scenes of his relief carvings are also scenes from his songs. They are scenes of wind, water, fortitude, music and life around boats. They are scenes that leap from the mind of man who is rooted in tradition, music and the rhythms of the sea.


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