03/22/25

Radio Maine — Video Podcast

Guest: Andrew Faulkner
Host: Dr. Lisa Belisle
Sponsor: Portland Art Gallery, Portland, Maine

Introduction

[Music]

Dr. Lisa Belisle:
Hello, I’m Dr. Lisa Belisle, and you’re listening to—or watching—Radio Maine, our video podcast where we explore creativity and the human spirit.

We’re sponsored by the Portland Art Gallery in Portland, Maine, and today we’re speaking with one of our Portland Art Gallery artists—our friend Andrew Faulkner.

It’s great to be having this conversation with you from the other coast today. Thank you for joining us.

Andrew Faulkner:
It’s so fun to be here. It’s great that we can do this, and it’s nice for us—as artists who work in our little studios—to get some of our thoughts and ideas out into the world. I really appreciate you doing this show.

Evolution as an Artist

Dr. Lisa Belisle:
It’s always fun for me to talk with you, Andrew, because you’re continually evolving as an artist and as a human. The work you’ve done over time really reflects that evolution.

Talk to me about what you’re doing now.

Andrew Faulkner:
That’s a really important part of where I am now. When I think back to the work I was showing years ago at Portland Art Gallery, it was much more representational. Now I’m heading into a more abstracted space.

I’ve committed to the landscape—it will always be there—but abstraction opens up a wide range of exploration. When you think of Rothko’s color field paintings, for example, to me those are landscapes, just abstract ones.

I’m really exploring that fine line between abstraction and representation. That’s how I’m evolving.

What Is an Abstract Landscape?

Dr. Lisa Belisle:
When people think of landscapes, they often imagine trees, fields, water. When you talk about abstraction that’s still a landscape, what does that look like?

Andrew Faulkner:
I think about artists who explore color—like Josef Albers—who created depth through color rather than shape.

The horizon line is a big giveaway. If you have that, the rest is up for grabs. It’s recognizable as a landscape, and then you can push everything else.

That exploration has been endlessly interesting to me. I’m drawn to both the landscape and the mystery of abstraction. I love that people can interpret the work in their own way.

Honestly, I’m getting excited just talking about it. It never gets boring.

Dr. Lisa Belisle:
You’re rhyming, it’s 9 a.m. in California—you’re like Dr. Seuss over there.

Playfulness, Joy, and Whimsy

Dr. Lisa Belisle:
There’s often a perception that art must be very serious. But when artists enjoy the process, there’s also playfulness. Is that true for you?

Andrew Faulkner:
Very much so. There’s a sense of whimsy in my work. People often describe it as joyful, especially during open studios, which is a huge compliment.

I appreciate all genres of art, including very serious work, but I’m drawn to whimsical use of color and shape. That just comes out naturally in my work.

Permission and Growth

Dr. Lisa Belisle:
Do you feel like you’re giving yourself permission now in a way you didn’t earlier in your career?

Andrew Faulkner:
I do. Portland Art Gallery has played a role in that. There’s never been pressure to make a certain kind of work—just encouragement to send what I’m doing now, my best work.

Over the last few years, I’ve felt a very hands-off trust: “You do you.” That freedom has been rewarded. People connect more with the work I’m making now than with earlier work where I felt I should be painting a certain way.

Over the past ten years, I’ve evolved from making work I thought people would like—academically correct work—to exploring my own road. The more I do that, the more rewarding it’s been.

The “Shoulds” of Being an Artist

Dr. Lisa Belisle:
That idea of “should” is powerful. Trends, sales, commercial success—those pressures exist.

Andrew Faulkner:
The life of an artist is fraught with insecurity—it’s baked in. Age has been one of my few advantages. With time comes wisdom and less fear of taking chances.

As an artist, you’re showing people a piece of your inside. That vulnerability never fully goes away, but experience builds confidence.

Vulnerability and Public Judgment

Dr. Lisa Belisle:
That vulnerability is something non-artists may not fully appreciate.

Andrew Faulkner:
Absolutely. At open studios, you hear everything—from joy to confusion to dislike. Early on, that was brutal.

Over time, I’ve learned not to overthink reactions. People come to art from different places. When someone buys a piece, they’re also saying something about themselves—it’s a commitment.

You develop thicker skin, but you’re still human.

Exploration and Risk

Andrew Faulkner:
About a year ago, I did a series called Electric Light—very bright, almost neon. I thought people would hate it. But it was well received.

That led me to combine that work with my more earthy, Tuscan-inspired paintings, creating a hybrid series I showed at Portland Art Gallery. Taking risks and seeing them rewarded has been incredibly encouraging.

Materials and Process

Dr. Lisa Belisle:
Have you changed how you work materially?

Andrew Faulkner:
I’ve been adding cold wax to my oil paints. It adds contrast—thick and thin, shiny and dull. You can’t really see it online; you have to see it in person.

I love that the paintings have two reads: from afar, color and composition; up close, texture and nuance.

East Coast vs. West Coast Collectors

Dr. Lisa Belisle:
Do buyers differ between coasts?

Andrew Faulkner:
Not really. Kevin has always said, “Send us your best work.” I stopped trying to predict what would work where. People aren’t that different, wherever they are.

Being a Remote Artist in a Gallery Community

Dr. Lisa Belisle:
What’s it like being part of Portland Art Gallery from afar?

Andrew Faulkner:
I feel very much part of the family. When I’m there, I’m welcomed warmly. Other artists show up to openings—it feels genuine.

It’s similar to remote work: connection doesn’t disappear just because you’re not physically present all the time.

A Pivotal Moment

Dr. Lisa Belisle:
What catalyzed your shift from graphic design to painting?

Andrew Faulkner:
A weeklong intensive workshop in Hawaii with Nicholas Wilton. It was expensive and required time off, but my wife Amy encouraged me.

That workshop reset everything—composition, color, texture. Other artists there saw something in me I hadn’t fully seen myself.

Over about a year, I transitioned from one day a week painting to full-time. Looking back, I can’t imagine not doing this.

Looking Ahead

Dr. Lisa Belisle:
What are you excited about this coming year?

Andrew Faulkner:
I’m continuing to explore abstract landscapes. I have a show coming up called Pastoral Light—a modern take on pastoral landscapes, focusing on light and color fields.

I also have a show at Portland Art Gallery in August. I’m sure I’ll come up with something crazy and kooky for that.

Dr. Lisa Belisle:
We’ll be expecting it.

Closing

Dr. Lisa Belisle:
Andrew, it’s been a pleasure reconnecting. I encourage people to see your work in person—especially to experience the texture and depth.

Andrew Faulkner:
Thank you, Lisa. I really appreciate your thoughtful questions.

Dr. Lisa Belisle:
I’m Dr. Lisa Belisle, and you’ve been listening to or watching Radio Maine, where we celebrate creativity and the human spirit—today with Portland Art Gallery artist Andrew Faulkner.

[Music]