I began working in encaustic in 2009 and developed my encaustic process during a 3-year intensive studio practice and study of the medium. Recent innovations in encaustic materials have allowed me to experiment to paint larger, thinner and on canvas while still maintaining the primary properties of translucency and opulance that make encaustic such a rich medium for my sea themes.
“Weathered aging brick, peeling paint, and lichen on rocks are intriguing to me. I am fascinated with texture, patina, old script, and ephemera that speak of the passage of time.” “My creative process is an extension of my contemplative nature.”
Vennema and her family spend their summers on Swan’s Island, a small island off Mt. Desert Island. Here, Vennema paints the waters, woods, rocks and trees of Swan’s and surrounding islands “en plain air” using acrylic paints. Back in her home studio in Portland, Vennema pushes herself to experiment with the hot wax medium known as Encaustic.
David's focus is on clay and bronze. “When I’m working with clay, it’s pure,” he says. “I work directly from my mind to my hands. It allows me to be much more expressive.” “There are so many stories to be told here.” Piece by piece, sculpture by sculpture, David is working to tell them all. (modified from a story by Katy Kelleher in Maine Home+Design magazine)
Nina works in a carriage-house studio at her sheep farm in Hollis, Maine. Nina’s work has appeared in the Boston Globe, The New York Times, National Geographic Traveler, and more. Nina gives workshops in photography at her farm in Maine where she shares her experience with photography and horses with those who aspire to see the world in a new and exciting way.