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DTSTART;TZID=UTC:20231013T170000
DTEND;TZID=UTC:20231013T200000
DTSTAMP:20260429T131331
CREATED:20230923T193816Z
LAST-MODIFIED:20230923T200648Z
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SUMMARY:Mulcahy/Walsh Double Feature Opening
DESCRIPTION:Mulcahy | Walsh: Double FeatureJoin us on Friday October 13th from 5-8pm as we dive into new works from sculptor Andrea Mulcahy and painter Patrick Walsh. \nAndrea Mulcahy: Artist Statement \nEnergy is a part of all that exists. I seek to capture the essence of an energetic state–the visible as well as the subtle\, invisible energy that surrounds us. A swirl of wind power can be observed if matter\, such as sand\, is pulled into the force. Even if the sand isn’t present\, the power of nature still moves energy in all directions. I’m drawn to the power and the form. I’m fascinated by the way the energy centers draw in information from our surroundings as well as radiate an energy of vibration. My sculptures capture a moment of an energetic state. They hold the dynamism of the moment while the lines extend outward\, continuing the movement out into space. I discovered that steel rods\, while durable\, could be bent and welded to reveal a graceful fluidity\, ultimately yielding the energetic forms I envision. As a result\, I create the forms that become an integral part of the energetic flow of the space. \n  \nPatrick Walsh: Artist Statement \nCurrently\, my work consists primarily of acrylic paint on canvas. I use color and gesture to encompass human emotion and socio-economic themes. My work is sporadic and aggressive\, using a vast range of techniques and mediums to help me convey these topics. Collecting ideas from history as well as current events\, my paintings can be seen as abstract cultural representations that tell a story reflecting the human condition. Aside from these concrete themes and ideas\, I rely heavily on the unexpected and subconscious mind as well as personal experiences to lead my hand through these conceptual eruptions of vivid color. The viewer can find dark imagery and subject matter that is illustrated with a vigor and intensity of pigment that an overarching feeling of hope is unavoidable.  \nFigures: \nI create these figures as a representation of the feelings and emotions we hide from the world and people around us. Jealousy\, Sadness\, Hatred\, Love\, Lust etc. What people tend to stray from showing for fear of judgment. I use aggressive mark making and line work to convey these feelings and emotions in order to bring them to the surface of the canvas to confront the viewer. Thus\, creating a connection between the viewer and subject. We can empathize with the figures.  \nRSVP
URL:https://cascobayartisans.com/event/mulcahy-walsh-double-feature-opening/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist,Painting
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230721T170000
DTEND;TZID=UTC:20230721T200000
DTSTAMP:20260429T131331
CREATED:20230705T183906Z
LAST-MODIFIED:20230705T183906Z
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SUMMARY:CBA Summer Soiree
DESCRIPTION:It’s a Celebration!\nJoin us for a joyous evening at the CBA Summer Soiree! Get ready to celebrate art and the summer season in style. This in-person event will take place on Fri Jul 21 2023 at 68 Commercial Street #building a\, Portland\, ME 04101. \nOur Summer Soiree promises a night filled with great art\, wine\, and people. Whether you’re looking to meet our artists\, find that perfect piece of art\, or simply have a fantastic time\, this event is perfect for you. \nMark your calendars for the CBA Summer Soiree and get ready to toast to the art and artists who make CBA ‘the most beautiful gallery in Maine’. \nWe can’t wait to see you there! \nRSVP
URL:https://cascobayartisans.com/event/cba-summer-soiree/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist,Painting
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230616
DTEND;VALUE=DATE:20230717
DTSTAMP:20260429T131331
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SUMMARY:Paul Brahms: New Paintings
DESCRIPTION:It wouldn’t be summer in Maine without stunning new paintings of the iconic Maine coast by master artist Paul Brahms. Brahms is a master painter with brush and pallet knife. With simple strokes\, he captures details and emotion. His sense of color is that of someone who has spent a lifetime looking and letting the colors reveal themselves with all of their depth and nuance. ⁠\n⁠\nIn his own words “My artwork is a way of expressing what I notice around me\, and what rises up within me. It’s a way to share my experience\, and bring joy and reassurance and surprise and other forms of life-sustaining concepts to others. I aspire to be like the bee who tells his co-workers where the flowers are or a filmmaker who illuminates the tension in a scene. I want my work to move\, to have atmosphere\, and to embody a searching\, questioning state of being\, but this requires meditation as much as agitation\, and I straddle this polarity often \,leaving a visual record of this struggle. Ultimately\, my painting is a meditation\, a yearning for intimate awareness.”⁠ \nOpening Reception Friday June 16th\, 5-8pm\nPaul Brahms ‘Spray’ Oil on Canvas 48″x36″ $8700 \nPaul Brahms ‘Before the Storm’ Oil on Canvas 27.5″x37.5″ $5200
URL:https://cascobayartisans.com/event/paul-brahms-new-paintings/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230520
DTEND;VALUE=DATE:20230613
DTSTAMP:20260429T131331
CREATED:20230518T213428Z
LAST-MODIFIED:20230518T213428Z
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SUMMARY:Russ Cox: Origins
DESCRIPTION:Explorations of gesture\, form\, and color from a bold abstractionist. \nCox’s oil paintings evoke the sensory feeling associated with place\, nature and experience. Works evolve from a process of applying layer upon layer with multiple glazes to create movement\, translucency and depth. These works are deeply meditative\, becoming more complex as they unfold. ⁠ ⁠ Artist’s Statement:⁠ ⁠ I endeavor to create paintings that evoke a sensory feeling associated with place\, nature and experience. Paintings evolve from a process of applying layer upon layer with multiple glazes to create movement\, translucency and depth. A painting becomes completed for me if it reaches a point of evoking an experiential feeling\, with multiple viewers connecting with their own individualized interpretation.⁠ \nFull Exhibition CatalogueRuss Cox ‘Day Off’ Oil on Canvas 40”x60” $6\,800 \nRuss Cox ‘Marseille’ Oil on Canvas 48”x72” $9\,500 \nRuss Cox ‘Party On The Wharf’ Oil on Canvas Scroll 48”x80” $6\,200 \nRuss Cox ‘Genèse’ Oil on Canvas 48”x72” $8\,500 \nRuss Cox ‘Sunspot’ Oil on Canvas 48”x60” $5\,400 \nRuss Cox ‘Dance’ Oil on Canvas 48”x60” $5\,200 \nRuss Cox ‘Uncovered Oil on Canvas 48”x36” $4\,200 \nRuss Cox ‘Clouds’ Oil on Canvas 40”x60” $5\,200 \nRuss Cox ‘Moment’ Oil on Canvas 48”x72” $6\,800 \nRuss Cox ‘Finale’ Oil on Canvas 48”x60” $5\,200
URL:https://cascobayartisans.com/event/russ-cox-origins/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
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ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230519T170000
DTEND;TZID=UTC:20230519T200000
DTSTAMP:20260429T131331
CREATED:20230516T140245Z
LAST-MODIFIED:20230518T213236Z
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SUMMARY:Russ Cox: Origins Opening Reception
DESCRIPTION:Explorations of gesture\, form\, and color from a bold abstractionist. \nCox’s oil paintings evoke the sensory feeling associated with place\, nature and experience. Works evolve from a process of applying layer upon layer with multiple glazes to create movement\, translucency and depth. These works are deeply meditative\, becoming more complex as they unfold. ⁠ ⁠ Artist’s Statement:⁠ ⁠ I endeavor to create paintings that evoke a sensory feeling associated with place\, nature and experience. Paintings evolve from a process of applying layer upon layer with multiple glazes to create movement\, translucency and depth. A painting becomes completed for me if it reaches a point of evoking an experiential feeling\, with multiple viewers connecting with their own individualized interpretation.⁠ \nFull Exhibition CatalogueRuss Cox ‘Day Off’ Oil on Canvas 40”x60” $6\,800 \nRuss Cox ‘Marseille’ Oil on Canvas 48”x72” $9\,500 \nRuss Cox ‘Party On The Wharf’ Oil on Canvas Scroll 48”x80” $6\,200 \nRuss Cox ‘Genèse’ Oil on Canvas 48”x72” $8\,500 \nRuss Cox ‘Sunspot’ Oil on Canvas 48”x60” $5\,400 \nRuss Cox ‘Dance’ Oil on Canvas 48”x60” $5\,200 \nRuss Cox ‘Uncovered Oil on Canvas 48”x36” $4\,200 \nRuss Cox ‘Clouds’ Oil on Canvas 40”x60” $5\,200 \nRuss Cox ‘Moment’ Oil on Canvas 48”x72” $6\,800 \nRuss Cox ‘Finale’ Oil on Canvas 48”x60” $5\,200
URL:https://cascobayartisans.com/event/russ-cox-origins-opening-reception/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist,Painting
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230330T170000
DTEND;TZID=UTC:20230330T200000
DTSTAMP:20260429T131331
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SUMMARY:Waste Water Opening Reception
DESCRIPTION:Mariah Reading: Waste Water\n\nWaste Water\nA collection of painted litter and marine debris scattered and retrieved throughout our Maine coastline.\nBy Mariah Reading\, Maine Island Trails Association\, and Casco Bay Artisans\nThrough the extensive efforts of coastal cleanups\, the Maine Island Trails Association has provided Mariah Reading with canvases ranging from a bike seat to a car door. All items were found within and around the Atlantic Ocean and repurposed into landscape paintings.\n\n\nArtist Statement:\n\nI have been contemplating my relationship with art and the vast amount of waste creating can produce. Classically trained as a landscape painter\, I pivoted to eco-art when the parallel between painting landscapes and feeding landfills became overwhelmingly apparent. The landscapes that so richly inspired me were being hurt by the waste I created in order to depict them. To rectify this unwanted connection\, I have developed a limited-waste practice that involves creating canvases from debris found during my travels through National Parks and protected landscape environments. The physical pieces of trash are painted only on one side and intentionally left untouched on the reverse so the original piece of debris remains evident. Once completed\, I photograph the painted object aligned with the physical landscape to both obscure and highlight the discarded object. My practice revolves around ways I can lessen my footprint upon Earth and leave it better than I found it. \n\n\n\nArtist Bio:\n\nMariah Reading is an eco-artist and strong advocate for the existence\, preservation\, and accessibility of the National Parks. She was born and raised in Bangor\, Maine where the surrounding landscape gave her a deep appreciation of nature’s beauty that was reinforced by her degree in Visual Arts at Bowdoin College. The 2016 National Park Centennial propelled her Recycled Landscapes\, designed to bring attention to the need of preserving and protecting the environment. Mariah has dedicated herself to the field of eco-art through her Artist in Residence at Acadia\, Denali\, Zion and Guadalupe Mountains National Parks\, working as an Arts In the Parks Volunteer at the Guadalupe Mountains National Park\, assisting in Yosemite Facelift efforts\, developing a K-12 STREAM curriculum with University of California Santa Barbara Oceanography students\, and creating conservation workshops with the Channel Islands National Park. She has exhibited work in San Antonio\, TX; Seattle\, WA; and Fort Collins\, CO; Kamuela\, HI; Poughkeepsie\, NY; Davis\, CA; Bar Harbor\, ME; and Rockland\, ME. From April through September Reading is an environmental interpreter for the Park Service. \n\n\nOpening Night RSVPMaine Island Trail Association (MITA) is proud to collaborate with renowned eco-artist Mariah Reading to present WASTE WATER\, an exhibition featuring marine debris that has been collected by MITA volunteers and transformed by the artist into exquisite and impactful works of art. A portion of the proceeds from all art sales will go towards supporting MITA’s programming.\nThe gallery show will run from Thursday\, March 30 to Sunday\, April 16 at Casco Bay Artisans (on The Maine Wharf\, 68 Commercial St\, Portland). \nThe Opening Reception will be held March 30 from 5-8pm at Casco Bay Artisans and New England Ocean Cluster\, which is just upstairs from the gallery at The Maine Wharf. This free-to-attend event will begin at the gallery at 5pm with light fare and beverages\, and then expand upstairs to New England Ocean Cluster for more fun and offerings from our partners following remarks from the artist. \nThanks to our partners at Bangs Island Mussels\, Casco Bay Artisans\, Love Point Oysters\, Maine Oyster Company\, New England Ocean Cluster\, and Rising Tide Brewing for their support in hosting the WASTE WATER Opening Reception!
URL:https://cascobayartisans.com/event/waste-water-opening-reception/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230330
DTEND;VALUE=DATE:20230417
DTSTAMP:20260429T131331
CREATED:20230308T174158Z
LAST-MODIFIED:20230308T174158Z
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SUMMARY:Mariah Reading: Waste Water
DESCRIPTION:Mariah Reading: Waste Water\n\nWaste Water\nA collection of painted litter and marine debris scattered and retrieved throughout our Maine coastline.\nBy Mariah Reading\, Maine Island Trails Association\, and Casco Bay Artisans\nThrough the extensive efforts of coastal cleanups\, the Maine Island Trails Association has provided Mariah Reading with canvases ranging from a bike seat to a car door. All items were found within and around the Atlantic Ocean and repurposed into landscape paintings.\n\n\nArtist Statement:\n\nI have been contemplating my relationship with art and the vast amount of waste creating can produce. Classically trained as a landscape painter\, I pivoted to eco-art when the parallel between painting landscapes and feeding landfills became overwhelmingly apparent. The landscapes that so richly inspired me were being hurt by the waste I created in order to depict them. To rectify this unwanted connection\, I have developed a limited-waste practice that involves creating canvases from debris found during my travels through National Parks and protected landscape environments. The physical pieces of trash are painted only on one side and intentionally left untouched on the reverse so the original piece of debris remains evident. Once completed\, I photograph the painted object aligned with the physical landscape to both obscure and highlight the discarded object. My practice revolves around ways I can lessen my footprint upon Earth and leave it better than I found it. \n\n\n\nArtist Bio:\n\nMariah Reading is an eco-artist and strong advocate for the existence\, preservation\, and accessibility of the National Parks. She was born and raised in Bangor\, Maine where the surrounding landscape gave her a deep appreciation of nature’s beauty that was reinforced by her degree in Visual Arts at Bowdoin College. The 2016 National Park Centennial propelled her Recycled Landscapes\, designed to bring attention to the need of preserving and protecting the environment. Mariah has dedicated herself to the field of eco-art through her Artist in Residence at Acadia\, Denali\, Zion and Guadalupe Mountains National Parks\, working as an Arts In the Parks Volunteer at the Guadalupe Mountains National Park\, assisting in Yosemite Facelift efforts\, developing a K-12 STREAM curriculum with University of California Santa Barbara Oceanography students\, and creating conservation workshops with the Channel Islands National Park. She has exhibited work in San Antonio\, TX; Seattle\, WA; and Fort Collins\, CO; Kamuela\, HI; Poughkeepsie\, NY; Davis\, CA; Bar Harbor\, ME; and Rockland\, ME. From April through September Reading is an environmental interpreter for the Park Service. \n\n\nOpening Night RSVPMaine Island Trail Association (MITA) is proud to collaborate with renowned eco-artist Mariah Reading to present WASTE WATER\, an exhibition featuring marine debris that has been collected by MITA volunteers and transformed by the artist into exquisite and impactful works of art. A portion of the proceeds from all art sales will go towards supporting MITA’s programming.\nThe gallery show will run from Thursday\, March 30 to Sunday\, April 16 at Casco Bay Artisans (on The Maine Wharf\, 68 Commercial St\, Portland). \nThe Opening Reception will be held March 30 from 5-8pm at Casco Bay Artisans and New England Ocean Cluster\, which is just upstairs from the gallery at The Maine Wharf. This free-to-attend event will begin at the gallery at 5pm with light fare and beverages\, and then expand upstairs to New England Ocean Cluster for more fun and offerings from our partners following remarks from the artist. \nThanks to our partners at Bangs Island Mussels\, Casco Bay Artisans\, Love Point Oysters\, Maine Oyster Company\, New England Ocean Cluster\, and Rising Tide Brewing for their support in hosting the WASTE WATER Opening Reception!
URL:https://cascobayartisans.com/event/mariah-reading-waste-water/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230318T120000
DTEND;TZID=UTC:20230318T150000
DTSTAMP:20260429T131331
CREATED:20230308T211031Z
LAST-MODIFIED:20230308T211031Z
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SUMMARY:Sea Cow Bon Voyage Party
DESCRIPTION:Bon Voyage Muriel the Sea CowIt’s been a wonderful winter with Muriel\, but we must now wish her ‘Bon Voyage!’ as she heads back to Dana-Faber and her position in Cow Parade New England. Join us at Casco Bay Artisans and artist Russ Cox as we send her off in style with a Yacht Rock themed party on Saturday March 18th from Noon – 3pm. We’ll boogie down and take a few selfies as we wish Muriel fair winds and flowing seas.  \nSee you on the wharf! \nABOUT COWPARADE NEW ENGLAND 2023 \nWhat is CowParade? A public art event for people of all ages and backgrounds\, featuring life-size cow sculptures\, which are painted and transformed by local artists\, displayed in pastures throughout cities for residents and tourists to visit\, and sold for the benefit of local nonprofit organizations. CowParade New England presented by Herb Chambers will bring 75 life-size cows\, designed by a range of artists\, to high trafficked landmarks throughout the region to celebrate 75 years of progress and impact made possible by the Jimmy Fund community. All proceeds directly benefit Dana-Farber Cancer Institute’s efforts to defy cancer. \nOur Time with Muriel
URL:https://cascobayartisans.com/event/sea-cow-bon-voyage-party/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist,Painting
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230305T120000
DTEND;TZID=UTC:20230305T140000
DTSTAMP:20260429T131331
CREATED:20230210T212735Z
LAST-MODIFIED:20230215T154253Z
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SUMMARY:Fine Print Artist Talk 2
DESCRIPTION:Fine PrintCasco Bay Artisans presents Fine Print\, an exhibition celebrating the multiple forms of printmaking by gallery artists. Fine Print intermingles the inconspicuous details and ethereal qualities that transform an object into art using etching\, woodcut\, stonecut\, linocut\, silkscreen\, reduction\, embossing\, and solar printing. An interactive display invites collectors to get to know the tools of the trade with their own hands. Making marks on surfaces is inherent for communication. These works exemplify this universal experience to reveal the complexity of the human condition. This exhibition welcomes artists Greg Shattenberg and Ivonne Portillo to the CBA gallery.  \nExhibition CatalogGene BarberaTo make one of his creations\, Richard “Gene” Barbera tries to piece shapes together like a puzzle to form the image. Keeping the visual to a minimum\, he learned keeping simple gets a better reaction. Let the viewer put the pieces together.  He draws most of his inspiration from recognizable images from the coastal images and especially the Portland\, ME area\, where he grew up\, and learned to practice art under visiting artist\, such as Jamie Wyeth at the Portland School of Art (before MECA). Before finishing his degree in graphic design at the University of Hartford\, he attended the University of Southern Maine where he was able to practice drawing and painting. Barbera moved to the New York City area after college\, and designed large scale branding identities for companies such as Topps Card\, Toys ‘R’ Us\, and The National Hockey League. When he is not painting\, or practicing art\, Barbera travels to Madrid\, Spain with his wife and two young children\, where he manages to find more inspiration in his travels. \nAvailable WorkGene Barbera ‘Ft. Williams’ Tri-Color Silkscreen Print \n40″x30″ Edition of 12\, Unframed $2100ea \nGene Barbera ‘Snowy Harbor’ Archival Silkscreen Edition of 50 30″x22″ Unframed $850 | Framed $1150 \nGene Barbera ‘Costal Cruise’ Edition of 5\, Archival Screen Print Navy Blue \n31.5″x31.5″ Framed $1600 \n30″x30″ Unframed $1300ea \nGene Barbera ‘Rocky Coast’ Edition of 5\, Archival Screen Print Navy Blue \n31.5″x31.5″ Framed SOLD \n30″x30″ Unframed $1300ea \nGene Barbera ‘Two Lights’ Edition of 5\, Archival Screen Print Metallic Gold \n23.5″x31.5″ Framed SOLD \n22″x30″ Unframed $900ea \nGene Barbera ‘Fishing at the Boatyard’ Edition of 5\, Archival Screen Print Brick Red \n31.5″x31.5″ Framed $1600 \n30″x30″ Unframed $1300ea \nGene Barbera ‘Wharf’ Silk Screen Print Edition of 20 40″x20″ $900ea⁠ \nGene Barbera ‘Baiter’ Silk Screen Print Edition of 12 22″x30″ $850ea⁠ \nGene Barbera ‘Storm Coming’ Edition of 16\, Archival Screen Print $1600 Unframed \nGene Barbera ‘The Map’ Silk Screen Print Edition of 25 20″x22″ $400⁠ \nGene Barbera ‘Fixing Nets’ Archival Silkscreen Edition of 50 16”x20” $400 Unframed|$700 Framed \nDavid ConnorMy name is David Connor and I have been making block prints for the last decade. I’m a woodworker at heart\, but I’ve always desired to make art in a way that did not generate the same kind of noise or dust that working with wood often does. \nThe inspiration for my various prints comes primarily from wanting to capture images of things that are dear to me. I love Portland and many of my prints pay homage to some of my favorite places. Other influences include the ocean\, animals and activities that bring joy to my life. Additionally\, I love playing with the element of conflict and trying to capture that feeling with my art. To practice the craft\, I initially challenged myself to complete the alphabet by carving various fruits and vegetables. After finishing\, though\, I sought to create work that was a little more engaging\, and at times\, a bit macabre. \nI hand-make all of my picture frames as we’ll. All of the wood was scavenged\, salvaged or reclaimed in one way or another. And while they are all roughly 10 x 10 inch frames\, they are made from a variety of different species and are finished in as many different ways. \nWhen I’m not creating art\, I teach carpentry at a small alternative high school on the West End. I’m also a husband and father to an 11 and 13-year-old. I’m a veteran of the Coast Guard\, an avid\, year-round surfer of 25 years\, a passionate gardener\, a keeper of chickens and a general aesthetician who loves to take the old and create something new and different with it. \nAvailable WorkDavid Connor ‘If Not for the Sea’ Linocut Print 18″x22″ $950 (Lighter Frame Than Pictured) \nDavid Connor ‘The Spar’ Linocut Print 15″x12″ $550 \nDavid Connor ‘The City I Love’ Linocut Tri Color Print $880 \nIvonne PortilloIvonne Portillo is a Colombian visual artist living in Barcelona. Her work celebrates the diversity of the peoples and landscapes of Latin America while emphasizing the vindication of the historical memory of indigenous peoples\, many of whom structure their worldview around reciprocal relationships between us and what surrounds us. She transforms the shapes of the earth and its textures into carved and engraved topographies that she then prints on paper or fabric\, using oil engraving paint and collage with metallized paper. She is inspired by land art to create abstractions of paths\, forests\, mountain ranges and bodies of water. The woodcut prints a trace representative of a diverse landscape\, much like the Latin American lands which shelter 60% of the planet’s biodiversity. These lands are a natural mosaic that shelter infinite forms of human and non-human life.  \nAvailable WorkIvonne Portillo ‘Riberas (Basins) ‘ Woodcut and Collage on Paper 20″x20″ $750 \nIvonne Portillo ‘Lirio de mayo‘ Digital Print and Woodcut on Paper 18.5″x22.5″ Framed $375 \nEllen RobertsEllen Roberts is a mixed media artist who lives and works in Farmington\, Maine. Roberts was born and raised in Rhode Island. From a very young age Ellen enjoyed making things with paper\, fabric\, string\, yarn and clay. She was inspired by the landscape and began to make drawings from her life and natural environment. \nBackground\nWhen Roberts was a teenager she wore a Milwaukee brace\, (a steel and plastic corset that was strapped to her body for four years of her life from her neck to her pelvis). Swimming and showering were the only times she could remove the brace.  Water brought fluidity to her life without the constraint of the brace and helped take the pressure of gravity off her spine. \nDuring this time Roberts became more serious about her art. She decided to study art in college and began at the Rhode Island School of Design studying in Ceramics.  Roberts had a fascination with color and found ceramic glazes were not a direct route for exploring color.  She switched her focus to textiles focusing on weaving where she loved the complexity and textures of the materials.  She studied at the University of Arts in Philadelphia\, PA where she to learned how to weave structures and work with dye techniques such as ikat (a resist dye technique).  After she received her MFA at Cranbrook Academy of Art. \nAs her life progressed she had a family and found working with fibers extremely labor intensive. For a while she made mixed media wall constructions out of fiber\, paper\, wood\, and paint. Then she began making artist books. She thought she would like to learn to make editions through the process of printmaking.  This was when her work started to take off. \nCurrent Work\nEarly in 2022\, I was recovering from an arm injury that resulted in my inability to work at the press. In the shortest days of winter\, this limitation of movement felt like another lockdown. In retaliation\, I started a daily practice of drawing and found myself focusing on the immediate details of my life –– the things that were accessible inside my home and directly outside my windows.  \nAs the ground started to thaw\, I ventured outside with a new capacity to incorporate nature’s chaos and structure. Back in the studio\, this emerged as hand-cut stencils\, arranged on an inked plexiglass plate\, and then wound under pressure. Through layering\, planning\, and unpredictability the work was always evolving.  \nI found myself exploring and discovering new expressions. This created freedom \nand yet required an uncontrollable tension. An iterative process with parts always in motion until they finally solidify into a complete form.  \nToday my work is primarily monotype prints forged from the evolution of techniques previously explored –– with hints from sculptural ceramics\, dyed fibers\, stitching\, and woven wall pieces. In the mixing of oil-based inks\, I select colors that weave together to create a complexity of structures\, spaces\, colors\, and textures.  \nAvailable WorkEllen Roberts ‘Wild Blueberry Rhizomes’ Monotype 26.5”x26.25” Framed $880 \nEllen Roberts ‘Mind’s Eye’ Monotype 26.25x”21.75” $660 \nEllen Roberts ‘Green Yellow’ Monotype Collage 26.25”x26.25 Framed $800 \nEllen Roberts ‘Illumination’ Monotype Collage 15.25”x15.25” Framed $600 \nEllen Roberts ‘Clearwater Thoughts’ Monotype on Tyvek 30”x40” $1700 \nEllen Roberts ‘Clearwater Swim’ Monotype on Tyvek 30”x40” $1700 \nEllen Roberts ‘It Began in Iceland’ Woven Laser Cut Monoprint 12″x12″ Set of 9 $4158 \n“Neotropical Nester Accordion Monotype” Print and Fiber 21×33 $1\,100 \nGail WaitkunGail Waitkun\, a TBI Thriver\, lives in Portland\, Maine.Gail brings together more than twenty years of teaching experience infused with her former athleticism\, and personal recovery experiences with brain injury. She is an Author\, Artist\, Educator\, Life Strategist and TBI Expert. Her articles have been featured in the California Business Journal. She has recently published her third book. \nAvailable WorkGail Waitkun ‘Reflections (Two Figures)’ Woodblock Print on Paper 21”x 29.5” Framed $2200 \nGail Waitkun ‘Reflections’ Artist Proof Woodblock Print on Paper 21”x 29.5” Framed $2200 \nJoyce Ellen WeinsteinThe works of Joyce Ellen Weinstein are concerned with the understanding of human relationships\, beginning with ourselves and extending outward to include family\, community\, ethnicity\, and nationality. Although at first glance the works of Joyce Ellen Weinstein appear disparate\, after closer examination one can find her inspiration in the personal and emotional\, as well as the interaction developed through self\, family\, and community – all of which are parts making up the whole of her unified body of work. Her works do not sentimentalize\, but speak of the human measure and human condition. The works of Joyce Ellen Weinstein ask the universal question: “who am I and where am I going?” \nAvailable WorkAging and Resilience: Women of a Certain Ageby Joyce Ellen Weinstein\nA lot has happened since my article “Aging and Mortality” was first published in 2020 in The Journal of the Print World. To quickly recap; the work\, 3.5” x 5” dry point on plexiglass etchings\, was inspired by an accident I had when I hurt my leg at the age of 79\, and had to walk assisted by a cane. Never having had any disability shocked me into an awareness and empathy of others with physical challenges. \nI really began to observe other older women who had mobility issues. Because I am a figurative artist and dedicated people watcher whose work is about life around me\, I was totally moved and inspired and used this experience to create a new body of work about this life’s challenges. I took many iPhone photos\, always keeping a respectful distance as I hobbled around the city and used my photos as reference. \nSince the publication of my original article\, some prints have been sold. I enjoyed an artist’s residency at Blue Mountain Center NY. I have two exhibitions planned\, relocated from NYC to Westbrook\, Maine\, have been invited to write this recap of my original article\, and have won a Maine Arts Commission grant to develop further this project. Receiving this grant was as much of a surprise to me as my leaving New York to run away from Covid. Never did I imagine leaving “the city.” But life has it’s surprises and now I can’t imagine living anywhere else but Maine … an amazingly artist -friendly place. \nIn ruminating over the experience and project\, I have decided to alter the focus of my Ladies of a Certain Age. Originally they were to be printed in a set of four prints per image\, each image gradually fading out into oblivion and/or becoming invisible as many old people are viewed\, most especially women. But now I see these women in a completely different light; as resilient\, enduring women who are tough and strong\, who persist regardless of life’s challenges. I have learned to be resilient like my plexiglass dry-point ladies. \nBecause my women of a certain age are not to be dismissed\, are not run of the mill\, my presentation should take an unorthodox\, a more experimental approach . Using the collection of antique handkerchiefs from my mother\, (who died at the age of 99 about 15 years ago) and from my childhood\, (when girls in elementary school in Brooklyn\, where I grew up\, had to bring a cloth handkerchief to school every day)\, I am dry mounting the images directly on hankies and embroidering a cross stitch around the image\, suggesting a decorative frame like design. This refers to a by gone era … an era that these ladies may represent. \nMy first thought was to show them by individually hanging the hankies on a clothesline using miniature clothespins. But as I pictured this\, I realized it was too cutesy and didn’t represent the dignity these women deserved. They need proper framing. Fortunately\, I have a wonderful creative framer\, and we are working together to create a presentation of the mounted hankies that are worthy of the ladies. \nOne of my favorite things to do is rummage through the old frames at Goodwill. I have discovered some amazing treasures that are perfect for framing the images that are not dry mounted on the hankies. I have found faux ornate silver\, real pewter and metal frames that have decorative elements that also suggest timelessness. These frames can be either wall mounted or used on tabletops. One of these frames actually has a lace inset instead of mat board for mounting the image. \nAs I work through this project I also begin to see that some of the images tell me they want to be enlarged. I have completed two dry point on plexiglass images\, one 10” x 8” and another 14”x 11” for example. I don’t think I am finished enlarging some and am not up to how to frame\nthem yet. Time will tell. \nI am so loving how and where this project is taking me. It feels strong\, enduring and forever evolving…just like my ladies. \nJoyce Ellen Weinstein ‘The Connoisseur’ Drypoint Etching on Handkerchief  15.5”x15.5” Framed $725  \nJoyce Ellen Weinstein ‘The Walker’ Drypoint Etching on Handkerchief  15.5”x15.5” Framed $725 \nJoyce Ellen Weinstein ‘Windblown’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725  \nJoyce Ellen Weinstein ‘People Watching’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725 \nJoyce Ellen Weinstein ‘The Conference’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725  \nJoyce Ellen Weinstein ‘The Alpine Hiker’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725 \nJoyce Ellen Weinstein ‘The Mail Run Ferry’ Etching & Aquatint 27″x17″$2100 \nGlossary of Terms \nSourced through Wikipedia \nScreen printing is a printing technique where a mesh is used to transfer ink (or dye) onto a substrate\, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink\, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed. One color is printed at a time\, so several screens can be used to produce a multi-coloured image or design. \nEtching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal.[1] In modern manufacturing\, other chemicals may be used on other types of material. As a method of printmaking\, it is\, along with engraving\, the most important technique for old master prints\, and remains in wide use today. In a number of modern variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology\, including circuit boards. \nAquatint is an intaglio printmaking technique\, a variant of etching that produces areas of tone rather than lines. For this reason it has mostly been used in conjunction with etching\, to give both lines and shaded tone.[1] It has also been used historically to print in color\, both by printing with multiple plates in different colors\, and by making monochrome prints that were then hand-coloured with watercolor. \nLinocut\, also known as lino print\, lino printing or linoleum art\, is a printmaking technique\, a variant of woodcut in which a sheet of linoleum (sometimes mounted on a wooden block) is used for a relief surface. A design is cut into the linoleum surface with a sharp knife\, V-shaped chisel or gouge\, with the raised (uncarved) areas representing a reversal (mirror image) of the parts to show printed. The linoleum sheet is inked with a roller (called a brayer)\, and then impressed onto paper or fabric. The actual printing can be done by hand or with a printing press. \nWoodblock printing or block printing is a technique for printing text\, images or patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and later paper. Each page or image is created by carving a wooden block to leave only some areas and lines at the original level; it is these that are inked and show in the print\, in a relief printing process. Carving the blocks is skilled and laborious work\, but a large number of impressions can then be printed. \nEmbossing and debossing are the processes of creating either raised or recessed relief images and designs in paper and other materials. An embossed pattern is raised against the background\, while a debossed pattern is sunken into the surface of the material but might protrude somewhat on the reverse side. \nOften used in combination with foil stamping\, embossing alters the surface of paper stock or other substrates by providing a three-dimensional or raised effect on selected areas. The procedure requires the use of two dies: one that is raised and one that is recessed. The dies fit into each other so that when the paper is pressed between them\, the raised die forces the stock into the recessed die and creates the embossed impression. A specific level of pressure is applied to the dies in order to squeeze the fibers of the paper\, which results in a permanently raised area in the paper. When the dies are produced\, a die maker engraves the desired image into several metal plates\, which are the embossing dies for use on an embossing press. A thorough understanding of the process will enable a more successful result. Generally\, embossing is the process most often employed to attract attention or convey a high quality textural contrast in relation to the surrounding area of the paper stock.
URL:https://cascobayartisans.com/event/fine-print-artist-talk-2/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2023/02/fineprintartisttalk2copy.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230226T120000
DTEND;TZID=UTC:20230226T140000
DTSTAMP:20260429T131331
CREATED:20230210T212419Z
LAST-MODIFIED:20230215T154213Z
UID:21946-1677412800-1677420000@cascobayartisans.com
SUMMARY:Fine Print Artist Talk 1
DESCRIPTION:Fine PrintCasco Bay Artisans presents Fine Print\, an exhibition celebrating the multiple forms of printmaking by gallery artists. Fine Print intermingles the inconspicuous details and ethereal qualities that transform an object into art using etching\, woodcut\, stonecut\, linocut\, silkscreen\, reduction\, embossing\, and solar printing. An interactive display invites collectors to get to know the tools of the trade with their own hands. Making marks on surfaces is inherent for communication. These works exemplify this universal experience to reveal the complexity of the human condition. This exhibition welcomes artists Greg Shattenberg and Ivonne Portillo to the CBA gallery.  \nExhibition CatalogJane BanquerJANE BANQUER studied at the DeCordova Museum\, the Boston Museum School and at Smith College with Leonard Baskin and Amy Namowitz Worthen.  She was a state juried member of the League of New Hampshire Craftsmen\, where she served to set fine art print and photography standards and to review the work of new artist applicants for exhibition and sales throughout the state.  She is represented by Addison Woolley Gallery in Portland\, Maine and formerly by Wenniger Graphics\, Newbury Street\, Boston\, among other regional galleries.  She has worked as a master printer\, illustrator\, graphic designer\, arts educator and program manager in the visual and performing arts.   \nAvailable WorkJane Banquer ‘Solstice Shadows Sunrise’ Multiple Reduction Print 20”x17” $950 \nJane Banquer ‘Solstice Shadows Sunset’ Multiple Reduction Print 20”x17” $950 \nJane Banquer ‘Downeast Cove’ Multiple Reduction Linocut 34″x26″ Framed $1600⁠ \nJane Banquer ‘Downeast Spruce’ Multiple Reduction Linocut 34″x26″ Framed $1600 \nJane Banquer ‘Headland View North’ Multiple Reduction Linocut 26×34″ Framed $1600⁠ \nJane Banquer ‘Headland View South’ Multiple Reduction Linocut 34″x26″ $1600 \nJane Banquer ‘Islands Early’ Color Reduction Woodcut 14″x11″ Framed $620 \nJane Banquer ‘Islands Late’ Color Reduction Woodcut 14″x11″ Framed $620 \nJane Banquer ‘Tulip Riot’ Solar Plate Etching 17″x15″ Framed $275 \nJane Banquer ‘Upward Mobility’ Woodcut 25″x21′ $440 \nGreg Shattenberg“Greg Shattenberg employs a variety of media to create artworks that explore the use of language as an element of image making. He is an accomplished printmaker who\, over the years\, has experimented with a wide variety of printing methods from woodcut\, etching and lithography\, to photographic processes such as collotype and color copy transfer… \nAs a young artist studying painting and drawing\, Shattenberg experienced frustration when he was unable to successfully achieve the original ideas for his works and he felt constrained or limited by the conventional processes of image making. In response to this dissatisfaction and his perceived failure in resolving imagery\, Shattenberg introduced writing into his drawings. He recalls\, “It was unsettling to look at the piece and realize the writing was more interesting than the drawing.” \nIn the process he has subsequently developed\, Shattenberg introduces text improvisationally after completing an image\, building upon and adding to the context of the artwork. Through the careful selection of language\, form\, and typeface\, he explores the use of printed words and phrases as aesthetic elements as much as for their emotional or narrative contributions to his imagery. The artist readily admits that combining language with imagery presents a different set of constraints. Language is inherently cerebral and its presence in Shattenberg’s images creates a tension with the visual sensuality of his drawings and prints.  Shattenberg concedes “images with language are an impossible fit. They do not naturally go together and do not function singularly.” He is also cautious of the risk in printing text on top of artworks since the wrong solution can ruin a carefully worked image. For Shattenberg\, however\, the practice of layering text on top of imagery is a dynamic and revitalizing process\, in which opportunities far outweigh the risks.” – Exhibition Text from Bates Museum \nGreg Shattenberg ‘A Notion’ Monoprint Drawing Framed 21”x25” $1900 \nGreg Shattenberg ‘On the Horizon’ Monoprint Drawing Framed 21”x25” $1900 \nGreg Shattenberg “The First Unknown’ Monoprint Drawing Framed 26”x21” $2450 \nGreg Shattenberg ‘Two Fates’ Lithograph Framed 29”x21” $1100 \nSigns of AttractionGreg Shattenberg ‘After Dark’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Cake’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Decide’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Now’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Obvious’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Perfect’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Simple’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Whisper’ Letterpress Print Framed 15”x16” $550 \nJane Banquer ‘Rocky Littoral’ Multiple Reduction Linocut 34″x26″ Framed $1600⁠ \nJane Banquer ‘Sandy Littoral’ Multiple Reduction Linocut 34″x26″ Framed $1600⁠ \nGail WaitkunGail Waitkun\, a TBI Thriver\, lives in Portland\, Maine.Gail brings together more than twenty years of teaching experience infused with her former athleticism\, and personal recovery experiences with brain injury. She is an Author\, Artist\, Educator\, Life Strategist and TBI Expert. Her articles have been featured in the California Business Journal. She has recently published her third book. \nAvailable WorkGail Waitkun ‘Reflections (Two Figures)’ Woodblock Print on Paper 21”x 29.5” Framed $2200 \nGail Waitkun ‘Reflections’ Artist Proof Woodblock Print on Paper 21”x 29.5” Framed $2200 \nJoyce Ellen WeinsteinThe works of Joyce Ellen Weinstein are concerned with the understanding of human relationships\, beginning with ourselves and extending outward to include family\, community\, ethnicity\, and nationality. Although at first glance the works of Joyce Ellen Weinstein appear disparate\, after closer examination one can find her inspiration in the personal and emotional\, as well as the interaction developed through self\, family\, and community – all of which are parts making up the whole of her unified body of work. Her works do not sentimentalize\, but speak of the human measure and human condition. The works of Joyce Ellen Weinstein ask the universal question: “who am I and where am I going?” \nAvailable WorkAging and Resilience: Women of a Certain Ageby Joyce Ellen Weinstein\nA lot has happened since my article “Aging and Mortality” was first published in 2020 in The Journal of the Print World. To quickly recap; the work\, 3.5” x 5” dry point on plexiglass etchings\, was inspired by an accident I had when I hurt my leg at the age of 79\, and had to walk assisted by a cane. Never having had any disability shocked me into an awareness and empathy of others with physical challenges. \nI really began to observe other older women who had mobility issues. Because I am a figurative artist and dedicated people watcher whose work is about life around me\, I was totally moved and inspired and used this experience to create a new body of work about this life’s challenges. I took many iPhone photos\, always keeping a respectful distance as I hobbled around the city and used my photos as reference. \nSince the publication of my original article\, some prints have been sold. I enjoyed an artist’s residency at Blue Mountain Center NY. I have two exhibitions planned\, relocated from NYC to Westbrook\, Maine\, have been invited to write this recap of my original article\, and have won a Maine Arts Commission grant to develop further this project. Receiving this grant was as much of a surprise to me as my leaving New York to run away from Covid. Never did I imagine leaving “the city.” But life has it’s surprises and now I can’t imagine living anywhere else but Maine … an amazingly artist -friendly place. \nIn ruminating over the experience and project\, I have decided to alter the focus of my Ladies of a Certain Age. Originally they were to be printed in a set of four prints per image\, each image gradually fading out into oblivion and/or becoming invisible as many old people are viewed\, most especially women. But now I see these women in a completely different light; as resilient\, enduring women who are tough and strong\, who persist regardless of life’s challenges. I have learned to be resilient like my plexiglass dry-point ladies. \nBecause my women of a certain age are not to be dismissed\, are not run of the mill\, my presentation should take an unorthodox\, a more experimental approach . Using the collection of antique handkerchiefs from my mother\, (who died at the age of 99 about 15 years ago) and from my childhood\, (when girls in elementary school in Brooklyn\, where I grew up\, had to bring a cloth handkerchief to school every day)\, I am dry mounting the images directly on hankies and embroidering a cross stitch around the image\, suggesting a decorative frame like design. This refers to a by gone era … an era that these ladies may represent. \nMy first thought was to show them by individually hanging the hankies on a clothesline using miniature clothespins. But as I pictured this\, I realized it was too cutesy and didn’t represent the dignity these women deserved. They need proper framing. Fortunately\, I have a wonderful creative framer\, and we are working together to create a presentation of the mounted hankies that are worthy of the ladies. \nOne of my favorite things to do is rummage through the old frames at Goodwill. I have discovered some amazing treasures that are perfect for framing the images that are not dry mounted on the hankies. I have found faux ornate silver\, real pewter and metal frames that have decorative elements that also suggest timelessness. These frames can be either wall mounted or used on tabletops. One of these frames actually has a lace inset instead of mat board for mounting the image. \nAs I work through this project I also begin to see that some of the images tell me they want to be enlarged. I have completed two dry point on plexiglass images\, one 10” x 8” and another 14”x 11” for example. I don’t think I am finished enlarging some and am not up to how to frame\nthem yet. Time will tell. \nI am so loving how and where this project is taking me. It feels strong\, enduring and forever evolving…just like my ladies. \nJoyce Ellen Weinstein ‘The Connoisseur’ Drypoint Etching on Handkerchief  15.5”x15.5” Framed $725  \nJoyce Ellen Weinstein ‘The Walker’ Drypoint Etching on Handkerchief  15.5”x15.5” Framed $725 \nJoyce Ellen Weinstein ‘Windblown’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725  \nJoyce Ellen Weinstein ‘People Watching’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725 \nJoyce Ellen Weinstein ‘The Conference’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725  \nJoyce Ellen Weinstein ‘The Alpine Hiker’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725 \nJoyce Ellen Weinstein ‘The Mail Run Ferry’ Etching & Aquatint 27″x17″$2100 \nGlossary of Terms \nSourced through Wikipedia \nScreen printing is a printing technique where a mesh is used to transfer ink (or dye) onto a substrate\, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink\, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed. One color is printed at a time\, so several screens can be used to produce a multi-coloured image or design. \nEtching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal.[1] In modern manufacturing\, other chemicals may be used on other types of material. As a method of printmaking\, it is\, along with engraving\, the most important technique for old master prints\, and remains in wide use today. In a number of modern variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology\, including circuit boards. \nAquatint is an intaglio printmaking technique\, a variant of etching that produces areas of tone rather than lines. For this reason it has mostly been used in conjunction with etching\, to give both lines and shaded tone.[1] It has also been used historically to print in color\, both by printing with multiple plates in different colors\, and by making monochrome prints that were then hand-coloured with watercolor. \nLinocut\, also known as lino print\, lino printing or linoleum art\, is a printmaking technique\, a variant of woodcut in which a sheet of linoleum (sometimes mounted on a wooden block) is used for a relief surface. A design is cut into the linoleum surface with a sharp knife\, V-shaped chisel or gouge\, with the raised (uncarved) areas representing a reversal (mirror image) of the parts to show printed. The linoleum sheet is inked with a roller (called a brayer)\, and then impressed onto paper or fabric. The actual printing can be done by hand or with a printing press. \nWoodblock printing or block printing is a technique for printing text\, images or patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and later paper. Each page or image is created by carving a wooden block to leave only some areas and lines at the original level; it is these that are inked and show in the print\, in a relief printing process. Carving the blocks is skilled and laborious work\, but a large number of impressions can then be printed. \nEmbossing and debossing are the processes of creating either raised or recessed relief images and designs in paper and other materials. An embossed pattern is raised against the background\, while a debossed pattern is sunken into the surface of the material but might protrude somewhat on the reverse side. \nOften used in combination with foil stamping\, embossing alters the surface of paper stock or other substrates by providing a three-dimensional or raised effect on selected areas. The procedure requires the use of two dies: one that is raised and one that is recessed. The dies fit into each other so that when the paper is pressed between them\, the raised die forces the stock into the recessed die and creates the embossed impression. A specific level of pressure is applied to the dies in order to squeeze the fibers of the paper\, which results in a permanently raised area in the paper. When the dies are produced\, a die maker engraves the desired image into several metal plates\, which are the embossing dies for use on an embossing press. A thorough understanding of the process will enable a more successful result. Generally\, embossing is the process most often employed to attract attention or convey a high quality textural contrast in relation to the surrounding area of the paper stock.
URL:https://cascobayartisans.com/event/fine-print-artist-talk-1/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2023/02/fineprintartisttalk1-copy.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230208
DTEND;VALUE=DATE:20230328
DTSTAMP:20260429T131331
CREATED:20230208T210242Z
LAST-MODIFIED:20230215T154138Z
UID:21923-1675814400-1679961599@cascobayartisans.com
SUMMARY:Fine Print Exhibition
DESCRIPTION:Fine PrintCasco Bay Artisans presents Fine Print\, an exhibition celebrating the multiple forms of printmaking by gallery artists. Fine Print intermingles the inconspicuous details and ethereal qualities that transform an object into art using etching\, woodcut\, stonecut\, linocut\, silkscreen\, reduction\, embossing\, and solar printing. An interactive display invites collectors to get to know the tools of the trade with their own hands. Making marks on surfaces is inherent for communication. These works exemplify this universal experience to reveal the complexity of the human condition. This exhibition welcomes artists Greg Shattenberg and Ivonne Portillo to the CBA gallery.  \nExhibition CatalogGreg Shattenberg“Greg Shattenberg employs a variety of media to create artworks that explore the use of language as an element of image making. He is an accomplished printmaker who\, over the years\, has experimented with a wide variety of printing methods from woodcut\, etching and lithography\, to photographic processes such as collotype and color copy transfer… \nAs a young artist studying painting and drawing\, Shattenberg experienced frustration when he was unable to successfully achieve the original ideas for his works and he felt constrained or limited by the conventional processes of image making. In response to this dissatisfaction and his perceived failure in resolving imagery\, Shattenberg introduced writing into his drawings. He recalls\, “It was unsettling to look at the piece and realize the writing was more interesting than the drawing.” \nIn the process he has subsequently developed\, Shattenberg introduces text improvisationally after completing an image\, building upon and adding to the context of the artwork. Through the careful selection of language\, form\, and typeface\, he explores the use of printed words and phrases as aesthetic elements as much as for their emotional or narrative contributions to his imagery. The artist readily admits that combining language with imagery presents a different set of constraints. Language is inherently cerebral and its presence in Shattenberg’s images creates a tension with the visual sensuality of his drawings and prints.  Shattenberg concedes “images with language are an impossible fit. They do not naturally go together and do not function singularly.” He is also cautious of the risk in printing text on top of artworks since the wrong solution can ruin a carefully worked image. For Shattenberg\, however\, the practice of layering text on top of imagery is a dynamic and revitalizing process\, in which opportunities far outweigh the risks.” – Exhibition Text from Bates Museum \nGreg Shattenberg ‘A Notion’ Monoprint Drawing Framed 21”x25” $1900 \nGreg Shattenberg ‘On the Horizon’ Monoprint Drawing Framed 21”x25” $1900 \nGreg Shattenberg “The First Unknown’ Monoprint Drawing Framed 26”x21” $2450 \nGreg Shattenberg ‘Two Fates’ Lithograph Framed 29”x21” $1100 \nSigns of AttractionGreg Shattenberg ‘After Dark’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Cake’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Decide’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Now’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Obvious’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Perfect’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Simple’ Letterpress Print Framed 15”x16” $550 \nGreg Shattenberg ‘Whisper’ Letterpress Print Framed 15”x16” $550 \nIvonne PortilloIvonne Portillo is a Colombian visual artist living in Barcelona. Her work celebrates the diversity of the peoples and landscapes of Latin America while emphasizing the vindication of the historical memory of indigenous peoples\, many of whom structure their worldview around reciprocal relationships between us and what surrounds us. She transforms the shapes of the earth and its textures into carved and engraved topographies that she then prints on paper or fabric\, using oil engraving paint and collage with metallized paper. She is inspired by land art to create abstractions of paths\, forests\, mountain ranges and bodies of water. The woodcut prints a trace representative of a diverse landscape\, much like the Latin American lands which shelter 60% of the planet’s biodiversity. These lands are a natural mosaic that shelter infinite forms of human and non-human life.  \nAvailable WorkIvonne Portillo ‘Riberas (Basins) ‘ Woodcut and Collage on Paper 20″x20″ $750 \nIvonne Portillo ‘Lirio de mayo‘ Digital Print and Woodcut on Paper 18.5″x22.5″ Framed $375 \nJane BanquerJANE BANQUER studied at the DeCordova Museum\, the Boston Museum School and at Smith College with Leonard Baskin and Amy Namowitz Worthen.  She was a state juried member of the League of New Hampshire Craftsmen\, where she served to set fine art print and photography standards and to review the work of new artist applicants for exhibition and sales throughout the state.  She is represented by Addison Woolley Gallery in Portland\, Maine and formerly by Wenniger Graphics\, Newbury Street\, Boston\, among other regional galleries.  She has worked as a master printer\, illustrator\, graphic designer\, arts educator and program manager in the visual and performing arts.   \nAvailable WorkJane Banquer ‘Solstice Shadows Sunrise’ Multiple Reduction Print 20”x17” $950 \nJane Banquer ‘Solstice Shadows Sunset’ Multiple Reduction Print 20”x17” $950 \nJane Banquer ‘Rocky Littoral’ Multiple Reduction Linocut 34″x26″ Framed $1600⁠ \nJane Banquer ‘Sandy Littoral’ Multiple Reduction Linocut 34″x26″ Framed $1600⁠ \nJane Banquer ‘Downeast Cove’ Multiple Reduction Linocut 34″x26″ Framed $1600⁠ \nJane Banquer ‘Downeast Spruce’ Multiple Reduction Linocut 34″x26″ Framed $1600 \nJane Banquer ‘Headland View North’ Multiple Reduction Linocut 26×34″ Framed $1600⁠ \nJane Banquer ‘Headland View South’ Multiple Reduction Linocut 34″x26″ $1600 \nJane Banquer ‘Islands Early’ Color Reduction Woodcut 14″x11″ Framed $620 \nJane Banquer ‘Islands Late’ Color Reduction Woodcut 14″x11″ Framed $620 \nJane Banquer ‘Tulip Riot’ Solar Plate Etching 17″x15″ Framed $275 \nJane Banquer ‘Upward Mobility’ Woodcut 25″x21′ $440 \nGene BarberaTo make one of his creations\, Richard “Gene” Barbera tries to piece shapes together like a puzzle to form the image. Keeping the visual to a minimum\, he learned keeping simple gets a better reaction. Let the viewer put the pieces together.  He draws most of his inspiration from recognizable images from the coastal images and especially the Portland\, ME area\, where he grew up\, and learned to practice art under visiting artist\, such as Jamie Wyeth at the Portland School of Art (before MECA). Before finishing his degree in graphic design at the University of Hartford\, he attended the University of Southern Maine where he was able to practice drawing and painting. Barbera moved to the New York City area after college\, and designed large scale branding identities for companies such as Topps Card\, Toys ‘R’ Us\, and The National Hockey League. When he is not painting\, or practicing art\, Barbera travels to Madrid\, Spain with his wife and two young children\, where he manages to find more inspiration in his travels. \nAvailable WorkGene Barbera ‘Ft. Williams’ Tri-Color Silkscreen Print \n40″x30″ Edition of 12\, Unframed $2100ea \nGene Barbera ‘Snowy Harbor’ Archival Silkscreen Edition of 50 30″x22″ Unframed $850 | Framed $1150 \nGene Barbera ‘Costal Cruise’ Edition of 5\, Archival Screen Print Navy Blue \n31.5″x31.5″ Framed $1600 \n30″x30″ Unframed $1300ea \nGene Barbera ‘Rocky Coast’ Edition of 5\, Archival Screen Print Navy Blue \n31.5″x31.5″ Framed SOLD \n30″x30″ Unframed $1300ea \nGene Barbera ‘Two Lights’ Edition of 5\, Archival Screen Print Metallic Gold \n23.5″x31.5″ Framed SOLD \n22″x30″ Unframed $900ea \nGene Barbera ‘Fishing at the Boatyard’ Edition of 5\, Archival Screen Print Brick Red \n31.5″x31.5″ Framed $1600 \n30″x30″ Unframed $1300ea \nGene Barbera ‘Wharf’ Silk Screen Print Edition of 20 40″x20″ $900ea⁠ \nGene Barbera ‘Baiter’ Silk Screen Print Edition of 12 22″x30″ $850ea⁠ \nGene Barbera ‘The Map’ Silk Screen Print Edition of 25 20″x22″ $400⁠ \nGene Barbera ‘Fixing Nets’ Archival Silkscreen Edition of 50 16”x20” $400 Unframed|$700 Framed \nGene Barbera ‘Storm Coming’ Edition of 16\, Archival Screen Print $1600 Unframed \nDavid ConnorMy name is David Connor and I have been making block prints for the last year and a half. I’m a woodworker at heart\, but I’ve always desired to make art in a way that did not generate the same kind of noise or dust that working with wood often does. \nThe inspiration for my various prints comes primarily from wanting to capture images of things that are dear to me. I love Portland and many of my prints pay homage to some of my favorite places. Other influences include the ocean\, animals and activities that bring joy to my life. Additionally\, I love playing with the element of conflict and trying to capture that feeling with my art. To practice the craft\, I initially challenged myself to complete the alphabet by carving various fruits and vegetables. After finishing\, though\, I sought to create work that was a little more engaging\, and at times\, a bit macabre. \nI hand-make all of my picture frames as we’ll. All of the wood was scavenged\, salvaged or reclaimed in one way or another. And while they are all roughly 10 x 10 inch frames\, they are made from a variety of different species and are finished in as many different ways. \nWhen I’m not creating art\, I teach carpentry at a small alternative high school on the West End. I’m also a husband and father to an 11 and 13-year-old. I’m a veteran of the Coast Guard\, an avid\, year-round surfer of 25 years\, a passionate gardener\, a keeper of chickens and a general aesthetician who loves to take the old and create something new and different with it. \nAvailable WorkDavid Connor ‘If Not for the Sea’ Linocut Print 18″x22″ $950 (Lighter Frame Than Pictured) \nDavid Connor ‘The Spar’ Linocut Print 15″x12″ $550 \nDavid Connor ‘The City I Love’ Linocut Tri Color Print $880 \nEllen RobertsEllen Roberts is a mixed media artist who lives and works in Farmington\, Maine. Roberts was born and raised in Rhode Island. From a very young age Ellen enjoyed making things with paper\, fabric\, string\, yarn and clay. She was inspired by the landscape and began to make drawings from her life and natural environment. \nBackground\nWhen Roberts was a teenager she wore a Milwaukee brace\, (a steel and plastic corset that was strapped to her body for four years of her life from her neck to her pelvis). Swimming and showering were the only times she could remove the brace.  Water brought fluidity to her life without the constraint of the brace and helped take the pressure of gravity off her spine. \nDuring this time Roberts became more serious about her art. She decided to study art in college and began at the Rhode Island School of Design studying in Ceramics.  Roberts had a fascination with color and found ceramic glazes were not a direct route for exploring color.  She switched her focus to textiles focusing on weaving where she loved the complexity and textures of the materials.  She studied at the University of Arts in Philadelphia\, PA where she to learned how to weave structures and work with dye techniques such as ikat (a resist dye technique).  After she received her MFA at Cranbrook Academy of Art. \nAs her life progressed she had a family and found working with fibers extremely labor intensive. For a while she made mixed media wall constructions out of fiber\, paper\, wood\, and paint. Then she began making artist books. She thought she would like to learn to make editions through the process of printmaking.  This was when her work started to take off. \nCurrent Work\nEarly in 2022\, I was recovering from an arm injury that resulted in my inability to work at the press. In the shortest days of winter\, this limitation of movement felt like another lockdown. In retaliation\, I started a daily practice of drawing and found myself focusing on the immediate details of my life –– the things that were accessible inside my home and directly outside my windows.  \nAs the ground started to thaw\, I ventured outside with a new capacity to incorporate nature’s chaos and structure. Back in the studio\, this emerged as hand-cut stencils\, arranged on an inked plexiglass plate\, and then wound under pressure. Through layering\, planning\, and unpredictability the work was always evolving.  \nI found myself exploring and discovering new expressions. This created freedom \nand yet required an uncontrollable tension. An iterative process with parts always in motion until they finally solidify into a complete form.  \nToday my work is primarily monotype prints forged from the evolution of techniques previously explored –– with hints from sculptural ceramics\, dyed fibers\, stitching\, and woven wall pieces. In the mixing of oil-based inks\, I select colors that weave together to create a complexity of structures\, spaces\, colors\, and textures.  \nFor this two-person exhibition\, Karen Adrienne invited me to jointly show and we would often work together at Circling the Square Fine Art Press. For me\, this experience of sharing a space influenced my work indirectly through observation and directly through dialogue. It is this intersection of two people together that alters the formula\, injecting unexpected ideas and grafting new directions into my work.  \nAvailable WorkEllen Roberts ‘Wild Blueberry Rhizomes’ Monotype 26.5”x26.25” Framed $880 \nEllen Roberts ‘Mind’s Eye’ Monotype 26.25x”21.75” $660 \nEllen Roberts ‘Green Yellow’ Monotype Collage 26.25”x26.25 Framed $800 \nEllen Roberts ‘Illumination’ Monotype Collage 15.25”x15.25” Framed $600 \nEllen Roberts ‘Clearwater Thoughts’ Monotype on Tyvek 30”x40” $1700 \nEllen Roberts ‘Clearwater Swim’ Monotype on Tyvek 30”x40” $1700 \nEllen Roberts ‘It Began in Iceland’ Woven Laser Cut Monoprint 12″x12″ Set of 9 $4158 \n“Neotropical Nester Accordion Monotype” Print and Fiber 21×33 $1\,100 \nGail WaitkunGail Waitkun\, a TBI Thriver\, lives in Portland\, Maine.Gail brings together more than twenty years of teaching experience infused with her former athleticism\, and personal recovery experiences with brain injury. She is an Author\, Artist\, Educator\, Life Strategist and TBI Expert. Her articles have been featured in the California Business Journal. She has recently published her third book. \nAvailable WorkGail Waitkun ‘Reflections (Two Figures)’ Woodblock Print on Paper 21”x 29.5” Framed $2200 \nGail Waitkun ‘Reflections’ Artist Proof Woodblock Print on Paper 21”x 29.5” Framed $2200 \nJoyce Ellen WeinsteinThe works of Joyce Ellen Weinstein are concerned with the understanding of human relationships\, beginning with ourselves and extending outward to include family\, community\, ethnicity\, and nationality. Although at first glance the works of Joyce Ellen Weinstein appear disparate\, after closer examination one can find her inspiration in the personal and emotional\, as well as the interaction developed through self\, family\, and community – all of which are parts making up the whole of her unified body of work. Her works do not sentimentalize\, but speak of the human measure and human condition. The works of Joyce Ellen Weinstein ask the universal question: “who am I and where am I going?” \nAvailable WorkAging and Resilience: Women of a Certain Ageby Joyce Ellen Weinstein\nA lot has happened since my article “Aging and Mortality” was first published in 2020 in The Journal of the Print World. To quickly recap; the work\, 3.5” x 5” dry point on plexiglass etchings\, was inspired by an accident I had when I hurt my leg at the age of 79\, and had to walk assisted by a cane. Never having had any disability shocked me into an awareness and empathy of others with physical challenges. \nI really began to observe other older women who had mobility issues. Because I am a figurative artist and dedicated people watcher whose work is about life around me\, I was totally moved and inspired and used this experience to create a new body of work about this life’s challenges. I took many iPhone photos\, always keeping a respectful distance as I hobbled around the city and used my photos as reference. \nSince the publication of my original article\, some prints have been sold. I enjoyed an artist’s residency at Blue Mountain Center NY. I have two exhibitions planned\, relocated from NYC to Westbrook\, Maine\, have been invited to write this recap of my original article\, and have won a Maine Arts Commission grant to develop further this project. Receiving this grant was as much of a surprise to me as my leaving New York to run away from Covid. Never did I imagine leaving “the city.” But life has it’s surprises and now I can’t imagine living anywhere else but Maine … an amazingly artist -friendly place. \nIn ruminating over the experience and project\, I have decided to alter the focus of my Ladies of a Certain Age. Originally they were to be printed in a set of four prints per image\, each image gradually fading out into oblivion and/or becoming invisible as many old people are viewed\, most especially women. But now I see these women in a completely different light; as resilient\, enduring women who are tough and strong\, who persist regardless of life’s challenges. I have learned to be resilient like my plexiglass dry-point ladies. \nBecause my women of a certain age are not to be dismissed\, are not run of the mill\, my presentation should take an unorthodox\, a more experimental approach . Using the collection of antique handkerchiefs from my mother\, (who died at the age of 99 about 15 years ago) and from my childhood\, (when girls in elementary school in Brooklyn\, where I grew up\, had to bring a cloth handkerchief to school every day)\, I am dry mounting the images directly on hankies and embroidering a cross stitch around the image\, suggesting a decorative frame like design. This refers to a by gone era … an era that these ladies may represent. \nMy first thought was to show them by individually hanging the hankies on a clothesline using miniature clothespins. But as I pictured this\, I realized it was too cutesy and didn’t represent the dignity these women deserved. They need proper framing. Fortunately\, I have a wonderful creative framer\, and we are working together to create a presentation of the mounted hankies that are worthy of the ladies. \nOne of my favorite things to do is rummage through the old frames at Goodwill. I have discovered some amazing treasures that are perfect for framing the images that are not dry mounted on the hankies. I have found faux ornate silver\, real pewter and metal frames that have decorative elements that also suggest timelessness. These frames can be either wall mounted or used on tabletops. One of these frames actually has a lace inset instead of mat board for mounting the image. \nAs I work through this project I also begin to see that some of the images tell me they want to be enlarged. I have completed two dry point on plexiglass images\, one 10” x 8” and another 14”x 11” for example. I don’t think I am finished enlarging some and am not up to how to frame\nthem yet. Time will tell. \nI am so loving how and where this project is taking me. It feels strong\, enduring and forever evolving…just like my ladies. \nJoyce Ellen Weinstein ‘The Connoisseur’ Drypoint Etching on Handkerchief  15.5”x15.5” Framed $725  \nJoyce Ellen Weinstein ‘The Walker’ Drypoint Etching on Handkerchief  15.5”x15.5” Framed $725 \nJoyce Ellen Weinstein ‘Windblown’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725  \nJoyce Ellen Weinstein ‘People Watching’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725 \nJoyce Ellen Weinstein ‘The Conference’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725  \nJoyce Ellen Weinstein ‘The Alpine Hiker’ Drypoint Etching on Handkerchief 15.5”x15.5” Framed $725 \nJoyce Ellen Weinstein ‘The Mail Run Ferry’ Etching & Aquatint 27″x17″$2100 \nGlossary of Terms \nSourced through Wikipedia \nScreen printing is a printing technique where a mesh is used to transfer ink (or dye) onto a substrate\, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink\, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed. One color is printed at a time\, so several screens can be used to produce a multi-coloured image or design. \nEtching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal.[1] In modern manufacturing\, other chemicals may be used on other types of material. As a method of printmaking\, it is\, along with engraving\, the most important technique for old master prints\, and remains in wide use today. In a number of modern variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology\, including circuit boards. \nAquatint is an intaglio printmaking technique\, a variant of etching that produces areas of tone rather than lines. For this reason it has mostly been used in conjunction with etching\, to give both lines and shaded tone.[1] It has also been used historically to print in color\, both by printing with multiple plates in different colors\, and by making monochrome prints that were then hand-coloured with watercolor. \nLinocut\, also known as lino print\, lino printing or linoleum art\, is a printmaking technique\, a variant of woodcut in which a sheet of linoleum (sometimes mounted on a wooden block) is used for a relief surface. A design is cut into the linoleum surface with a sharp knife\, V-shaped chisel or gouge\, with the raised (uncarved) areas representing a reversal (mirror image) of the parts to show printed. The linoleum sheet is inked with a roller (called a brayer)\, and then impressed onto paper or fabric. The actual printing can be done by hand or with a printing press. \nWoodblock printing or block printing is a technique for printing text\, images or patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and later paper. Each page or image is created by carving a wooden block to leave only some areas and lines at the original level; it is these that are inked and show in the print\, in a relief printing process. Carving the blocks is skilled and laborious work\, but a large number of impressions can then be printed. \nEmbossing and debossing are the processes of creating either raised or recessed relief images and designs in paper and other materials. An embossed pattern is raised against the background\, while a debossed pattern is sunken into the surface of the material but might protrude somewhat on the reverse side. \nOften used in combination with foil stamping\, embossing alters the surface of paper stock or other substrates by providing a three-dimensional or raised effect on selected areas. The procedure requires the use of two dies: one that is raised and one that is recessed. The dies fit into each other so that when the paper is pressed between them\, the raised die forces the stock into the recessed die and creates the embossed impression. A specific level of pressure is applied to the dies in order to squeeze the fibers of the paper\, which results in a permanently raised area in the paper. When the dies are produced\, a die maker engraves the desired image into several metal plates\, which are the embossing dies for use on an embossing press. A thorough understanding of the process will enable a more successful result. Generally\, embossing is the process most often employed to attract attention or convey a high quality textural contrast in relation to the surrounding area of the paper stock.
URL:https://cascobayartisans.com/event/fine-print-exhibition/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2023/02/Roberts_Ellen_GreenOrangew.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221121
DTEND;VALUE=DATE:20230328
DTSTAMP:20260429T131331
CREATED:20221117T204928Z
LAST-MODIFIED:20230208T210532Z
UID:21831-1668988800-1679961599@cascobayartisans.com
SUMMARY:Sea Cow for Dana-Farber Painted Live in Gallery
DESCRIPTION:Art that Moooves YouJoin us this winter as Russ Cox paints an ocean themed cow to benefit the 75th Anniversary of the Jimmy Fund and the Dana-Farber Cancer Institute. Cox will bring his distinct abstract painting style to this ‘sea cow’ honoring Maine’s deep connection to the ocean and marine industries. Follow along here and online as this bovine beauty comes to life. Casco Bay Artisans is excited to host this project in our gallery window all winter long.  \nABOUT COWPARADE NEW ENGLAND 2023 \nWhat is CowParade? A public art event for people of all ages and backgrounds\, featuring life-size cow sculptures\, which are painted and transformed by local artists\, displayed in pastures throughout cities for residents and tourists to visit\, and sold for the benefit of local nonprofit organizations. CowParade New England presented by Herb Chambers will bring 75 life-size cows\, designed by a range of artists\, to high trafficked landmarks throughout the region to celebrate 75 years of progress and impact made possible by the Jimmy Fund community. All proceeds directly benefit Dana-Farber Cancer Institute’s efforts to defy cancer. \nFollow Along with Us
URL:https://cascobayartisans.com/event/sea-cow-for-dana-farber-painted-live-in-gallery/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2023/01/IMG_20230121_154512110.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220927
DTEND;VALUE=DATE:20220928
DTSTAMP:20260429T131331
CREATED:20220927T203012Z
LAST-MODIFIED:20220928T160431Z
UID:21747-1664236800-1664323199@cascobayartisans.com
SUMMARY:Bright Colors & Bold Gestures
DESCRIPTION:Bright Colors & Bold GesturesImmersive Abstraction and Sumptuous Encaustic\nFeaturing new oil abstractions and Autumnal encaustics by gallery artists Erika Manning and Anastasia Gatto and welcoming new artists Ivonne Portillo and Patrick Walsh. \nAnastasia GattoBorn in Pennsylvania\, Anastasia grew up in southern New Jersey and now lives in Waterford\, Maine. Her interest in art began in early childhood\, and she became a full time artist in 1997. A daily painter\, she works in oil\, encaustic\, and pastel. Anastasia primarily paints the landscape and is best known for her color choices and her impressionistic style. She has also been recognized nationally and internationally for her portraiture and animal pastels. Her goal is to capture the essence of the beauty she sees around her and to share it with others. A member of the Pastel Society of New Hampshire and the Plein Air Painters of Maine\, she is also a signature member of the Pastel Society of Maine. \nAnastasia Gatto ‘Misty’ Encaustic on Panel 41”x31” $6101 \nAnastasia Gatto ‘End of Summer’  Encaustic on Panel 49”x25” $6106 \nAnastasia Gatto ‘Foggy Marsh’ Encaustic on Panel  25”x13” $2700 \nAnastasia Gatto ‘Shore Break’ Encaustic on Panel  25”x13” $2700 \nAnastasia Gatto ‘Rocky Walk’ Encaustic on Panel 30”x40” $6106 \nAnastasia Gatto ‘Coastal Islands’ Encaustic on Panel 37″x37″ $6800 \nAnastasia Gatto ‘Coastal Breeze’ Encaustic on Panel 49”x25” $6106 \nAnastasia Gatto ‘On the Edge’ Encaustic on Panel 49”x 37” $8\,500 \nErika ManningIn her work\, multi – media visual artist Erika Manning explores the concepts of balance\, of empty space versus overcrowding\, of mapping and charting\, of light and reflection\, as well as individual and collective history. The images loosely relate to the natural world and are inspired by meditation\, the dream state\, fog\, ocean\, stars\, masts\, topographical maps\, trees and rock. While Erika strives for a finished image\, the beauty for her is in the process of creating which she sees as a spiritual practice. She enjoys using a rich\, saturated color pallet to celebrate the unlimited capacity of the spirit. Erika resides in mid-coast Maine. She is represented by galleries in Maine and NH\, and has work in many private collections through out the US. Pre-pandemic Erika taught courses on unleashing one’s creativity and healing through the visual arts\, as well as on the traditional studio arts. She has participated in several Artist in Residences on the East Coast\, and recently took part in the Yellow Chair Salon a three month virtual Artist Residency and Master Class with Michael David and Company in NYC. She received a BFA in printmaking and sculpture from the Art Institute of Boston in 1993. \nErika Manning ‘Stretched into Balance’ Oil on Canvas 30”x30” $3200 \nErika Manning ‘Liminal Blue’ Oil on Canvas 30”x30” $3200 \nErika Manning ‘Solstice Yellow’ Oil on Canvas 30”x30” $3200 \nErika Manning ‘Solstice Blue’ Oil on Canvas 30”x30” $3200 \nErika Manning ‘Nonsensical Daydreams’ Oil on Canvas 30”x30” $3200 \nErika Manning ‘Echo’ Oil on Canvas 24”x24” $2200 \nErika Manning ‘Flamingo’ Oil on Canvas 24”x24” $2200 \nErika Manning ‘Bridge Interlude III’ Oil on Canvas 48”x30” $5520 \nIvonne PortilloIvonne Portillo is a Colombian visual artist living in Barcelona. Her work celebrates the diversity of the peoples and landscapes of Latin America while emphasizing the vindication of the historical memory of indigenous peoples\, many of whom structure their worldview around reciprocal relationships between us and what surrounds us. She transforms the shapes of the earth and its textures into carved and engraved topographies that she then prints on paper or fabric\, using oil engraving paint and collage with metallized paper. She is inspired by land art to create abstractions of paths\, forests\, mountain ranges and bodies of water. The woodcut prints a trace representative of a diverse landscape\, much like the Latin American lands which shelter 60% of the planet’s biodiversity. These lands are a natural mosaic that shelter infinite forms of human and non-human life. \nIvonne Portillo ‘Kumanday’ Woodcut and Collage on Paper 20″x20″ $750 \nIvonne Portillo ‘Riberas (Basins) ‘ Woodcut and Collage on Paper 20″x20″ $750 \nIvonne Portillo ‘Lirio de mayo‘ Digital Print and Woodcut on Paper 18.5″x22.5″ Framed $375 \nIvonne Portillo ‘Hanburyi’ Digital Print and Woodcut on Paper 18.5″x22.5″ Framed $375 \nPatrick WalshCurrently\, my work consists primarily of acrylic paint on canvas. I use color and gesture to encompass human emotion and socio-economic themes. My work is sporadic and aggressive\, using a vast range techniques and mediums to help me convey these topics. Collecting ideas from history as well as current events\, my paintings can be seen as abstract cultural representations that tell a story reflecting the human condition. Aside from these concrete themes and ideas\, I rely heavily on the unexpected and subconscious mind as well as personal experiences to lead my hand through these conceptual eruptions of vivid color. The viewer can find dark imagery and subject matter that is illustrated with a vigor and intensity of pigment that an overarching feeling of hope is unavoidable.  \nPatrick Walsh ‘Heads & Tails II’ Acrylic on Canvas 36″x48″ $5800 \nPatrick Walsh ‘Heads & Tails’ Acrylic on Canvas 36″x48″ $5800 \nPatrick Walsh ‘I Love Your Shoes’ Acrylic\, Pen\, Marker & Oil on Canvas 36″x48″ $5800 \nPatrick Walsh ‘Nice Purse’ Acrylic\, Pen\, Marker & Oil on Canvas 36″x48″ $5800
URL:https://cascobayartisans.com/event/bright-colors-bold-gestures/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Painting
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2022/09/3_Liminal-Blue_30_x30__2022.jpeg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
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BEGIN:VEVENT
DTSTART;TZID=UTC:20220715T170000
DTEND;TZID=UTC:20220715T200000
DTSTAMP:20260429T131331
CREATED:20220712T173508Z
LAST-MODIFIED:20220712T173508Z
UID:21590-1657904400-1657915200@cascobayartisans.com
SUMMARY:Opening Reception: 'Vacationland' Featuring the Works of Paul Brahms and Rebecca Hayes
DESCRIPTION:Vacationland\nFeaturing the works of Paul Brahms and Rebecca Hayes \nJoin Casco Bay Artisans as we celebrate the iconography and essence of what makes Maine ‘Vacationland’. \nPaul Brahms is a master painter with brush and pallet knife. With simple strokes\, he captures details and emotion. His sense of color is that of someone who has spent a lifetime looking and letting the colors reveal themselves with all of their depth and nuance. ⁠In his own words “My artwork is a way of expressing what I notice around me\, and what rises up within me. It’s a way to share my experience\, and bring joy and reassurance and surprise and other forms of life-sustaining concepts to others. I aspire to be like the bee who tells his co-workers where the flowers are or a filmmaker who illuminates the tension in a scene. I want my work to move\, to have atmosphere\, and to embody a searching\, questioning state of being\, but this requires meditation as much as agitation\, and I straddle this polarity often \,leaving a visual record of this struggle. Ultimately\, my painting is a meditation\, a yearning for intimate awareness.”⁠ \nRebecca Hayes is an emerging artist who’s work is already highly sought after. Her attention to detail and ability to capture reflections show the prowess of a master painter in the making. In her own words: “Ranging from scenes that reference the coast of Maine to the interiors of my childhood house\, the subject matter of my work always seems to come back to my home in the Portland area of Maine. While I strive to create images with an authentically local perspective on this vacation destination\, I don’t consider the actual scene depicted to be paramount when explaining the purpose of my work. Each subject I paint serves as a visual medium to explore various aspects of my personal painting style\, which combines techniques from traditional realism with expressive\, painterly sensibilities. This mixture of styles has been triggered by an overarching fascination with abstract nature of light and the way it inhabits a space. Through the use of photography as a reference\, which I originally utilized to give myself the time to meticulously render detail\, I have become intrigued by the patterns that emerge from light when it is forced to sit still\, like in shadows and reflections. I also closely study the way light can dramatically affect the entire palette of an image\, such as morning versus evening light\, and natural versus man made. The environment of my life in Maine\, both outside and in\, provides countless scenes for me to examine the way light influences pattern and color\, while maintaining a dedication to representational art.” \nPaul Brahms ‘Pounding Surf’ Oil on Canvas 49”x37” $7\,500 \nRebecca Hayes ‘Bayside’ Oil on Canvas 36″x24″ $8625
URL:https://cascobayartisans.com/event/opening-reception-vacationland-featuring-the-works-of-paul-brahms-and-rebecca-hayes/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist,Painting
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2022/07/bhramshayesinvite.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220709T110000
DTEND;TZID=UTC:20220709T150000
DTSTAMP:20260429T131331
CREATED:20220705T155425Z
LAST-MODIFIED:20220705T155538Z
UID:21582-1657364400-1657378800@cascobayartisans.com
SUMMARY:Paul Brahms Paints Live in the Gallery
DESCRIPTION:
URL:https://cascobayartisans.com/event/paul-brahms-paints-live-in-the-gallery-2/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist,Painting
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2022/07/brahmslivepainting.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220708T160000
DTEND;TZID=UTC:20220708T200000
DTSTAMP:20260429T131331
CREATED:20220705T155312Z
LAST-MODIFIED:20220705T155606Z
UID:21579-1657296000-1657310400@cascobayartisans.com
SUMMARY:Paul Brahms Paints Live in the Gallery
DESCRIPTION:
URL:https://cascobayartisans.com/event/paul-brahms-paints-live-in-the-gallery/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Meet the Artist,Painting
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2022/07/brahmslivepainting.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220618
DTEND;VALUE=DATE:20220712
DTSTAMP:20260429T131331
CREATED:20220611T182657Z
LAST-MODIFIED:20220611T182657Z
UID:21506-1655510400-1657583999@cascobayartisans.com
SUMMARY:Russ Cox: New Ways of Living with Art
DESCRIPTION:For Immediate Release \nCelebrating 10 Years\, Casco Bay Artisans presents  \nRuss Cox: New Ways of Living with Art.  \nA Master Abstractionist Muses on the Objects and Scenes of Everyday Life.  \nJune 13th\, 2022\, Portland\, Maine – Casco Bay Artisans is celebrating its 10th Anniversary this summer. Gallery owner Jennifer Swarts wanted to mark the occasion with a passion project that has been in the works for years. Large scale abstract artist Russ Cox was the perfect collaborator.  \nThe centerpieces of this exhibition are a series of unstretched ‘scroll’ works on canvas. Cox’s mastery of gesture\, scale and theme collide with contemporary presentation that is both beautiful and practical. The large scale of Cox’s abastrations immerse viewers in a visual field where their world becomes the painting. As ‘scroll’ works\, these pieces can be easily moved across the world or just from room to room.  \nFrom scrolls\, the collaboration moved to textiles. Swarts has always envisioned Cox’s work translating into objects of comfort. For the next project\, she paired Cox’s painting with a bench by master woodworker Terry Kelly. Now the works could be an immersive place of solace. Next the direction moved to shoes. Art and footwear have long been companions of each other. It was time for Cox’s pieces to join this subculture. Once again\, Swarts tapped into the network of creators in Maine. This time pairing with Rancourt & Co to hand stitch limited editions of three paintings as high and low top sneakers\, each to be signed by the artist. Pre-orders will be arranged through the gallery.  \nThe finishing touches on Cox’s show are indelibly works inspired by Maine. From the stunning oceanscapes to the seaweed itself\, Vacationland seeps into the very fibers of the canvas with rich blues\, the texture of bubbles\, and scenes the viewer wants to get lost in.  \nFor More Information \nContact Jen Swarts\, Gallery Owner Jen@CascBayArtisans.com 207-400-6159 \nOr Jess Lauren\, Gallery Manager CBArtMarketing@gmail.com 609-306-0793 \n### \nRuss Cox ‘Summer Meadow’ Oil on Canvas Scroll 60”x 74” $4900 \nRuss Cox ‘Untitled (River)’ Oil on Canvas 48”x60” $6826 \nTerry Kelly 'Lilliana's Bench' White Ash 42"x 23" x 32" $2800 with Cushion $3200 \nRuss Cox 'Grafitti' Oil on Canvas 60″x48″ $6825 \nShoes Available for Pre Order 6/18/22 \nRuss Cox ‘Under the Surf’ Oil on Canvas 72”x 48” $7500
URL:https://cascobayartisans.com/event/russ-cox-new-ways-of-living-with-art/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2022/06/russ2022invite.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220617T170000
DTEND;TZID=UTC:20220617T200000
DTSTAMP:20260429T131332
CREATED:20220611T173839Z
LAST-MODIFIED:20220611T175823Z
UID:21496-1655485200-1655496000@cascobayartisans.com
SUMMARY:Russ Cox: New Ways of Living with Art Opening Reception
DESCRIPTION:For Immediate Release \nCelebrating 10 Years\, Casco Bay Artisans presents  \nRuss Cox: New Ways of Living with Art.  \nA Master Abstractionist Muses on the Objects and Scenes of Everyday Life.  \nJune 13th\, 2022\, Portland\, Maine – Casco Bay Artisans is celebrating its 10th Anniversary this summer. Gallery owner Jennifer Swarts wanted to mark the occasion with a passion project that has been in the works for years. Large scale abstract artist Russ Cox was the perfect collaborator.  \nThe centerpieces of this exhibition are a series of unstretched ‘scroll’ works on canvas. Cox’s mastery of gesture\, scale and theme collide with contemporary presentation that is both beautiful and practical. The large scale of Cox’s abastrations immerse viewers in a visual field where their world becomes the painting. As ‘scroll’ works\, these pieces can be easily moved across the world or just from room to room.  \nFrom scrolls\, the collaboration moved to textiles. Swarts has always envisioned Cox’s work translating into objects of comfort. For the next project\, she paired Cox’s painting with a bench by master woodworker Terry Kelly. Now the works could be an immersive place of solace. Next the direction moved to shoes. Art and footwear have long been companions of each other. It was time for Cox’s pieces to join this subculture. Once again\, Swarts tapped into the network of creators in Maine. This time pairing with Rancourt & Co to hand stitch limited editions of three paintings as high and low top sneakers\, each to be signed by the artist. Pre-orders will be arranged through the gallery.  \nThe finishing touches on Cox’s show are indelibly works inspired by Maine. From the stunning oceanscapes to the seaweed itself\, Vacationland seeps into the very fibers of the canvas with rich blues\, the texture of bubbles\, and scenes the viewer wants to get lost in.  \nFor More Information \nContact Jen Swarts\, Gallery Owner Jen@CascBayArtisans.com 207-400-6159 \nOr Jess Lauren\, Gallery Manager CBArtMarketing@gmail.com 609-306-0793 \n### \nRuss Cox ‘Summer Meadow’ Oil on Canvas Scroll 60”x 74” $4900 \nRuss Cox ‘Untitled (River)’ Oil on Canvas 48”x60” $6826 \nTerry Kelly 'Lilliana's Bench' White Ash 42"x 23" x 32" $2800 with Cushion $3200 \nRuss Cox 'Grafitti' Oil on Canvas 60″x48″ $6825 \nShoes Available for Pre Order 6/18/22 \nRuss Cox ‘Under the Surf’ Oil on Canvas 72”x 48” $7500
URL:https://cascobayartisans.com/event/russ-cox-new-ways-of-living-with-art-opening-reception/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2022/06/russ2022invitewith-hours.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220508
DTEND;VALUE=DATE:20220601
DTSTAMP:20260429T131332
CREATED:20220508T191809Z
LAST-MODIFIED:20220508T191809Z
UID:21194-1651968000-1654041599@cascobayartisans.com
SUMMARY:Pastel as Process: Mastery of Color
DESCRIPTION:Pastel as Process: Mastery of ColorPastel as an artistic medium traces its history to the 15th century. In the 18th century\, pastel became a popular medium for portraiture and landscape subjects. Its foothold in America was solidified in 1883 with the founding of the Society of Painters in Pastel by William Merritt Chase\, Robert Blum\, and others. Possibly the most famous pastel works are those of Edgar Degas depicting ballerinas in the studio and on stage.  \nPastel itself is powdered pigment and a binder in stick form. The binder is usually a low hue and saturation which creates a richness to the color\, the closest to dry pigment possible. The working techniques of pastels vary from hard to soft and brand to brand. The dryer the pastel\, the richer the color with more complications for keeping that pigment adhered to the surface. With this challenge\, artists who work with pastel need to develop an expert understanding of how to work with color and layering in an effort to depict the dynamism of the world around them. Some\, take this mastery and translate it into other artistic mediums.  \nIn this show\, we are featuring our pastel artists who also work in oil and encaustic. We are juxtaposing their pastel work with these other forms to highlight how one technique informs another. The catalog features all available pastel works from our gallery artists.  \nFull Exhibition CatalogueChristina Davis (Pastel/Oil Painting)Making Art is an illuminating process no matter what your medium is. I’m a painter of landscapes and use oil\, pastel and acrylic independently in my paintings. If my reaction is strong to a given scene\, I explore a sense of expansion and enjoy using a big canvas. I use my arm to bring in larger shapes with a wide brush. Once exhausted from that\, I may do a pastel that focuses on another area of the composition or another view. Most of the time a pastel is a start to a larger pastel\, or oil painting but not always. I like to flip things around to keep the painting process fresh and exciting to me. \nThe paintings displayed here at Casco Bay Artisans started with a pastel of the view from a hotel overlooking Rockland. The warm sunrise was amazing juxtaposed by the coolness of the snow and water. Then came the large oil painting of the same area\, but of a different view. I decided to paint at that scale to feel what the street\, buildings and sky would look like when allowing the viewer to see the scene as though they were entering it themselves. I loved the way it became both a skyscape and landscape pushing in on each other. I am glad I started with a pastel because I could explore color and mark making to encourage a larger idea. \nIn my studio I have a bay for oil and a bay for pastel and I feel a physical pull to the bay I will use that day. I never know which one I will be doing until I am standing in front of my supplies. I have to keep well stocked up in both.  \nChristina Davis ‘4th Floor’ Pastel on Paper 21”x 17” $1760 \nChristina Davis ‘Downtown’ Oil on Panel 36”x 36” $3780 \nSuzanne deLesseps (Pastel/Gouache/Oil Painting)I am a landscape painter. I paint both on location (en plein air) and in the studio. My pastel and oil paintings influence each other as I switch between the two mediums. \nI love pastels for their immediacy\, vibrancy and richness of color. They allow me the freedom to be spontaneous in my color choices and mark making. My marks are varied – from bold and dense to delicate and lacy. I rarely blend the pastel\, preferring to see the texture created by many strokes in different directions built upon each other. This creates a depth and luminosity that I find unique to pastel. The clean\, saturated color and layers of the pastel add a  \ncertain spark and life to the painting. There is an intimacy with pastel that happens because of such close contact with the painting surface. \nI love oils for their juiciness and tactile quality. Like pastel\, different brush strokes add texture and visual interest throughout the painting. Each stroke is determined by the type of brush\, the amount of paint on the brush and the pressure used in applying the paint to the canvas. Being able to mix an infinite range of hues is an integral part of bringing light and depth to a painting.  \nThough the techniques are different\, I use the same beginning process for both mediums. I start with a very thin under-painting\, roughly indicating the large shapes and values. For pastel\, I brush alcohol over a thin layer of pastel to create a colored wash. Likewise with oil\, I thin the paint with mineral spirits to block in the main elements of the painting. I prefer a warm tone that will often show through subsequent layers of paint or pastel giving a feeling of light and depth. With pastel I apply many layers of pigment\, starting out with bigger and bolder strokes and finally using a very light touch for the last delicate marks and highlights. Working in oil I use the same layering process\, saving small details and sparks of light for the end. The rich\, saturated colors of the pastel sticks remind me to keep my oil colors clean and bright.  \nBy changing mediums from time to time I find I have a renewed interest in each that allows me to keep evolving as an artist. It’s really the journey that intrigues and drives me. \nSuzanne deLesseps ‘Tide’s Up’ Pastel on Paper 32”x 26” $1980 \nSuzanne deLesseps ‘Pemaquid Rocks I’ Oil on Panel 14”x 14” $690 \nAnastasia Gatto (Pastel/Encaustic)My first attraction to pastel was the luscious velvety texture. It is pure pigment with no medium needed to break it down. Pastel is direct and tactile so there is immediate gratification with this medium. \nI was drawn to an ethereal style\, and found that effect through JMW Turner and sought to translate his method somewhat into my pastels and encaustics. I also admire Monet\, Manet\, Degas\, Sargent\, Velasquez\, George Inness\, and Renoir to name a few which led me to a path of Impressionism or for the techniques that impressed me. \nThe process of pastel is very different in many ways from encaustic. Texture for pastel can be achieved in a variety of ways such as adding pumice gels to add grit\, rougher sanded paper\, or fixative to name a few. The encaustic texture is the building up with paint and medium. (Pure pigment with beeswax and resin) After applied it must be burned in (fused) with either a heat gun or blowtorch. \nThe common bond that pastel has with encaustic is the layering. Pastel is grazing color on top of color which adds depth or a fixative can be used\, whereas encaustic shows multiple layers with each fusing. \nMy transitioning into encaustic has changed to where seascapes and marshes are my desire\, as well as continuing to paint the landscape. My primary subject for pastel was landscape\, portraits\, animals\, and still life. \nPresently I am painting solely in encaustic\, but still love and will never say goodbye to pastel. \nAnastasia Gatto ‘Evening Dazzle II’ Pastel on Paper 20”x20” $2420 \nAnastasia Gatto ‘Rocky Walk’ Encaustic on Panel 41”x 37” $6106
URL:https://cascobayartisans.com/event/pastel-as-process-mastery-of-color/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210622
DTEND;VALUE=DATE:20210907
DTSTAMP:20260429T131332
CREATED:20210622T194352Z
LAST-MODIFIED:20210622T194407Z
UID:20595-1624320000-1630972799@cascobayartisans.com
SUMMARY:Summer in the City\, Summer by the Sea
DESCRIPTION:As the cool days of spring bow to the warm breezes of summer\, Casco Bay Artists celebrates the landscape of the state that has been inspiring artists for generations. Summer in the City\, Summer by the Sea brings together work by Maine and New England artists honoring the state slogan: The Way Life Should Be. \nFull Exhibition Catalogue
URL:https://cascobayartisans.com/event/summer-in-the-city-summer-by-the-sea/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Food Art,Painting,Textile Wall Art
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2021/06/summercatalogue.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210509
DTEND;VALUE=DATE:20210610
DTSTAMP:20260429T131332
CREATED:20210512T170912Z
LAST-MODIFIED:20210522T163910Z
UID:20480-1620518400-1623283199@cascobayartisans.com
SUMMARY:Figuratively Speaking
DESCRIPTION:Figuratively SpeakingLee Johnson ‘Helios VIII’ Oil on Mat Board 6” x 8” $550 \nBeth Dacey ‘Three Singers’ Oil on Canvas 36″x36″ $5280⁠ \n\nCelebrating the human form and daily life\, this show brings together paintings\, mixed media\, silk screen looking at how our bodies exist with the world around us.\nFeatured Artists: Beth Dacey & Lee Johnshon \nAnd including works by Paul Brahms\, Dana Trattner\, David Connor\, Jeff Roland\, Rabee Kiwan\, & Yong-Man Kwon. ⁠\n⁠ \n\n\n For inquiries into the works or any other information\, please contact: \nJennifer Swarts\, Gallery Owner: jen@cascobayartisans.com \nJess Lauren\, Gallery Manager: CBArtMarketin@gmail.com \n\nFull Exhibition Catalogue
URL:https://cascobayartisans.com/event/figuratively-speaking/
LOCATION:ME
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2021/04/IMG_1851-1-scaled.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210326
DTEND;VALUE=DATE:20210426
DTSTAMP:20260429T131332
CREATED:20210326T181624Z
LAST-MODIFIED:20210327T145249Z
UID:20349-1616716800-1619395199@cascobayartisans.com
SUMMARY:Fine Print: Featuring Ellen Roberts\, Gene Barbera\, David Connor\, & Joyce Ellen Weinstein
DESCRIPTION:Fine Print\n\nEllen Roberts ‘Lake\, Stone\, Shore’ Etching\, Hand Painted Monoprint 12″X12″ $660 \n\n\nA Celebration of Printmaking\, Linocuts\, Silkscreens\, Etchings\, & Woodblocks\nFeaturing: Ellen Roberts\, Gene Barbera\, David Connor\, & Joyce Ellen Weinstein\nFor inquiries into the works or any other information\, please contact: \n\n\n\nJennifer Swarts \nGallery Owner \njen@cascobayartisans.com\n        Jess Lauren Lipton \nGallery Manager \n CBArtMarketing@gmail.com \n\n\n\n\nLink to Full Catalogue
URL:https://cascobayartisans.com/event/fine-print/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2019/01/Lake-Stone-Shore_3833-scaled.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200918
DTEND;VALUE=DATE:20201201
DTSTAMP:20260429T131332
CREATED:20200918T192252Z
LAST-MODIFIED:20200918T193103Z
UID:19962-1600387200-1606780799@cascobayartisans.com
SUMMARY:Farm to Canvas\, Endless Harvest: Celebrating the Work of Diane Dahlke
DESCRIPTION:
URL:https://cascobayartisans.com/event/19962/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Food Art
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2020/09/0912201102a-scaled.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200917T110000
DTEND;TZID=UTC:20201101T180000
DTSTAMP:20260429T131332
CREATED:20200910T161606Z
LAST-MODIFIED:20200910T161606Z
UID:19943-1600340400-1604253600@cascobayartisans.com
SUMMARY:Perception of Form: Jean Wiecha Drawings & Paintings
DESCRIPTION:Perception of Form:\nJean Wiecha Drawings & Paintings
URL:https://cascobayartisans.com/event/perception-of-form-jean-wiecha-drawings-paintings/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2020/09/Wiecha.WoundUp.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200902T080000
DTEND;TZID=UTC:20201012T160000
DTSTAMP:20260429T131332
CREATED:20200902T174819Z
LAST-MODIFIED:20200902T175708Z
UID:19902-1599033600-1602518400@cascobayartisans.com
SUMMARY:Robin Swennes: For the Love of the Blues
DESCRIPTION:Robin Swennes: For the Love of the Blues\nRobin Swennes ‘Blue Bloods’ Acrylic on Panel 16”x16” $660 \nFeature Catalogue
URL:https://cascobayartisans.com/event/robin-swennes-for-the-love-of-the-blues/
LOCATION:ME
CATEGORIES:Featured,Food Art,Painting
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2019/10/1002191536a.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20191010T170000
DTEND;TZID=UTC:20191010T200000
DTSTAMP:20260429T131332
CREATED:20191008T180314Z
LAST-MODIFIED:20191008T180314Z
UID:19127-1570726800-1570737600@cascobayartisans.com
SUMMARY:Opening Reception: Celebrating the Women of Casco Bay Artisans
DESCRIPTION:
URL:https://cascobayartisans.com/event/opening-reception-celebrating-the-women-of-casco-bay-artisans/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Food Art,Meet the Artist,Painting,Textile Wall Art
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2019/09/cbawomenshow.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191010
DTEND;VALUE=DATE:20191118
DTSTAMP:20260429T131332
CREATED:20191008T180510Z
LAST-MODIFIED:20191008T180801Z
UID:19129-1570665600-1574035199@cascobayartisans.com
SUMMARY:Celebrating the Women of Casco Bay Artisans Exhibition
DESCRIPTION:
URL:https://cascobayartisans.com/event/celebrating-the-women-of-casco-bay-artisans-exhibition/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Food Art,Painting,Textile Wall Art
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2019/09/cbawomenshow.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190813
DTEND;VALUE=DATE:20191001
DTSTAMP:20260429T131332
CREATED:20190813T180659Z
LAST-MODIFIED:20190813T200836Z
UID:18973-1565654400-1569887999@cascobayartisans.com
SUMMARY:Kim Radochia: Shimms Exhibition
DESCRIPTION:
URL:https://cascobayartisans.com/event/18973/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
CATEGORIES:Featured,Painting,Textile Wall Art
ATTACH;FMTTYPE=image/jpeg:https://cascobayartisans.com/wp-content/uploads/2019/07/Radochia_slots2_300dpi.jpg
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190405T173000
DTEND;TZID=UTC:20190405T200000
DTSTAMP:20260429T131332
CREATED:20190328T133407Z
LAST-MODIFIED:20190328T133407Z
UID:18778-1554485400-1554494400@cascobayartisans.com
SUMMARY:Fourth Annual Regional High School Art Show
DESCRIPTION:Casco Bay Artisans 4th Annual Regional High School Art Show opens Friday\, April 5th through Wednesday\, April 10th. Curated and produced by two Portland High School Interns\, Leo Fuller and Lucy Kilbreth\, this show features work from 22+ students from over 10 schools.\nPortland High School\nThornton Academy\nDeering High School\nWestbrook High School\nBaxter Academy\nBrunswick High School\nCasco Bay High School\nPortland Arts and Technology High School\nNorth Yarmouth Academy\nScarborough High School\nGreely High School\nBiddeford High School
URL:https://cascobayartisans.com/event/fourth-annual-regional-high-school-art-show/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
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BEGIN:VEVENT
DTSTART;TZID=UTC:20190207T170000
DTEND;TZID=UTC:20190207T200000
DTSTAMP:20260429T131332
CREATED:20190122T143357Z
LAST-MODIFIED:20190122T143357Z
UID:18728-1549558800-1549569600@cascobayartisans.com
SUMMARY:Artist Reception for Modern Intimacy: Contemporary Dating and Pop Art
DESCRIPTION:Join Casco Bay Artisans as we kick off our 2019 season with a series of Pop Art paintings and interactive games examining how text culture has influenced dating and relationships. Using the color pallet of Good & Plenty candy\, artist Jess Lauren brings us into a world of words painted on large panels\, immersing the viewer in unwavering Huhs\, Hahs\, Umms\, Okie Dokies\, and Whatevers. These expertly hand painted canvases offer a peek into the modern world where communication is being continually mediated by screens\, removing the nuances of facial expressions and vocal inflection and highlights the occasional absurdity of miscommunications. Jess Lauren’s style is influenced by iconic artists and social commentators Ed Ruscha\, Barbara Kruger\, Andy Warhol\, and Betsy Tompkins. In addition to pop paintings\, this tongue in cheek show includes a selfie booth for participants to create their own miscommunications and a reimagining of a classic game: Modern Intimacy twister. Join us just in time for Valentine’s season.
URL:https://cascobayartisans.com/event/artist-reception-for-modern-intimacy-contemporary-dating-and-pop-art/
LOCATION:Casco Bay Artisans\, 68 Commercial St\, Portland\, ME\, 04101\, United States
ORGANIZER;CN="Casco Bay Artisans":MAILTO:jen@cascobayartisans.com
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