I am primarily a landscape painter. The interior and exterior landscapes that surround me are my favorite jumping off points. I push and pull color around these forms trying to find combinations that feel right. I am not restrained by local color or the rigid rules of perspective. The application of paint, the resonance of colors against each other, the muscularity of shapes and the temperature of light and dark are my guides.
I split my time between Dallas, Texas, and Cousins Island, Maine. I paint smaller paintings, often outside, in Maine and turn those into larger paintings from my studio in Dallas.
Elizabeth Hoy’s interest lies in the intersection of the natural and built environments—tropical plants thriving in a greenhouse in February, the artificial color of a plastic chair against the darkness of the woods, ocean flooded pit mines, or three quarters sky dominating one quarter city. Drawing and painting plein air are her means of exploration and engagement with a place. By returning to the same locations, she captures subtle shifts in the environment over time—how the natural world enmeshes itself into the built environment and how human experience is inscribed upon a place.
Hoy splits her time between New York and New England. She has received fellowships from Maine Farmland Trust’s Fiore Art Center, the Alfred and Trafford Klots International Program for Artists, Le CouveNt, AIM program at the Bronx Museum, and the Royal College of Art in London. Her work has been exhibited internationally and in the northeast; including the A.I.R. Gallery and The Painting Center in NY, the Delaware Center for Contemporary Art, and the Center for Maine Contemporary Art. Hoy studied at Wesleyan University, the University of Pennsylvania, and with painter Jon Imber and is the Director of the Beard and Weil Galleries at Wheaton College in Massachusetts.
Sonya Sklaroff finds beauty in the everyday: a lone figure walking down a New York street on a rainy night; a barber concentrating on his work; a country house on a lake. Her paintings focus on the poetry of daily life that is often overlooked. A late afternoon on a street of brick buildings and parked cars reveals the interplay between somber shadows and vibrant light, the contrast of warm and cool colors, or the juxtaposition of intricate architectural detail and vast expanse of sky. Using thick brushstrokes, vivid color, and dynamic compositions, Sklaroff captures the beauty of the mundane. She received her BFA in painting from the Rhode Island School of Design and participated in RISD’s prestigious European Honors Program. She earned her MFA in painting from Parsons School of Design. She has completed numerous artist-in-residency programs including Virginia Center for the Creative Arts, Ragdale Foundation, Vermont Studio Center, Santa Fe Art Institute, and the Lower Manhattan Cultural Council’s World Views Project, where Sklaroff was awarded a 9-month studio space on the 91st floor of Tower One of the World Trade Center.
Jill divides her time among residences in Stonington, Maine, Somerville, Massachusetts, and New York City. The work she creates in Maine is inspired by direct observation of the landscape and includes seascapes, architecture, and gardens. The artist, working on location, is especially interested in the effects of natural light, color, and pattern. Her use of vivid color in the Maine paintings results in surfaces that are richly and intensely painted with images that seem to vibrate. The artist considers the quality of light to be an important element in her work. "The light in Maine is crystal slear, with a sharp-edged clarity and a gem-like quality. I often work in the morning or late afternoon when these qualities are especially strong." As a result, her paintings capture specifics of time and light. Because she's been a regular resident of the Deer Isle area since 1965, much of her work can be seen as a document of places and time in the area.
“I was lucky enough to spend my early days on North Haven,” says Eric, “where my worldview consisted of roaming the woods, fields, shorelines and exploring the edges where land, water, and sky meet. I was drawn to shapes, spaces, patterns, and the rhythms of nature. I was and still am fascinated by the incredible variety of life forms and forces on this Planet.”
Eric is a graduate of Rhode Island School of Design and has taught at Haystack Mountain School of Crafts and Pilchuck Glass School. He has exhibited at the Farnsworth Art Museum, Portland Museum of Art, Center for Maine Contemporary Art, Waterfall Arts Center, University of Maine Museum of Art, and a number of galleries nationally.
"The natural landscape of sky, earth and water is a cathedral for life and spirit. Wilderness is both a physical place and a place of mind and spirit. Often my work can be considered as an abstract impression of the landscape. Certainly I think of my paintings as an interpretative response to the landscape."
My recent paintings are inspired by my wanderings around the mid coast area of Maine. I feel deeply connected to this part of the world. Walking in the woods, on the conservation lands near my home, and along the Damariscotta River, I see paintings everywhere. The large-scale size of the paintings help to create an environment for the viewer to enter. My ideas begin in the natural world but once a work is underway the paint itself on the flat surface takes on a life of its own and the color, line and surface texture evolve as I work.
Russ has explored many parts of Maine, and he celebrates Maine’s landscape in his paintings. He always paints from life, working outdoors in all seasons and often backpacking into remote locations. He especially enjoys painting in protected lands, such as the Kennebec Highlands, the Morse Mountain Conservation Area, Camden Hills State Park, and the islands of Penobscot Bay.
Jack loves these buildings for their imperfections and idiosyncrasies; and it is both impossible and unimportant to know exactly when or where these places exist, because they are creations of the artist.We love our homes because of the intimate details we come to know about them: the way light and shadows settle in our memories.
Randall’s perspective on light and color was influenced by frequent trips to the Smithsonian, the Hirshhorn and outdoor coastal adventures as she grew up in Washington D.C. and northern California. Eventually, Randall found Maine where she renovated an 1800s farmhouse. It was in that historic setting that Deborah fell in love with the Maine coast, and has made it her passionate practice ever since.