From a bay’s sea, sky, sand and rocks

“Rock 234: Yellow Flag” (painting), by Tom Gaines (1935-2023), in the show “Tom Gaines: The Last Paintings,’’ at Corey Daniels Gallery, Wells, Maine. Mr. Gaines was based in New Jersey but also painted at his summer home, in Belfast, Maine.

He wrote:

“Since 2005, three major changes have taken place, which have brought me to where I am now… a series of more than 2,000 rock paintings. 

“The first change came when I created, quite by accident, a different surface. I had attempted with mineral spirits to wipe out a color that I had allowed to dry for a few days. Some of the color remained, revealing layers of old and new color. This revelation of layers suggested erosion. I was so taken with the result that I purposely worked this way with subsequent paintings. 

“The next change came while I was working on a series of interiors and decided to eliminate most of the subject matter. The result was a simpler, more geometric and more abstract composition. I worked this way for more than a year. Simplifying and layering. 

“I made a third change while working in my studio in Belfast, Maine. I realized that I needed to prioritize my ideas regarding the relationship between subject matter and form. I found the simpler subject matter/composition from the sky, sea, sand, and rocks of Penobscot Bay.’’

#Corey Daniels Gallery #Tom Gaines

Penobscot Bay from Belfast

Blaisdell Residence, Belfast, from a circa 1920 postcard. It’s a Greek Revival mansion from the city's 19th Century shipbuilding boom. Known as The Williamson House (www.TheWilliamsonHouse.com) survives today as a Museum in The Streets landmark.

Float it with you

“Moat” (oil on stretched canvas), by Boston-based artist Eben Haines, in his show “In The Houses of Empire: Everything’s Fine,’’ at the Cory Daniels Gallery, Wells, Maine, Aug. 13-Sept. 17.

The gallery says:

“Haines’s works investigate the life of objects, emphasizing the constructed nature of history. Many works explore altered conventions of portraiture, through figures and objects pictured against cinematic backdrops or in otherworldly scenes. His paintings and installations employ various techniques and materials to suggest the passage of time and volatility, set within displaced domestic structures, critiquing the unbalanced systems we take for granted and overlook. Comets race across the skies of bucolic landscapes, Roman portrait busts stand in for the corrupting force of unchecked power. Candles appear to signal that time is running out, floating before cloaked figures whose identities remain circumspect. Recent works consider themes such as climate change and systemic housing insecurity before and during the pandemic, exploring the illusionistic systems meriting human rights like shelter, food, and healthcare to the privileged few.’’

Inspiration from travel

“Waterlilies” (encaustic, color pigments), by Jeanne M. Griffin, who is based in Wells, Maine.

Part of her artist statement:

“Travel plays a large role in my life and, over the years, I have visited close to 100 countries. I am particularly drawn to countries of the Third World and love seeking out and visiting with local artists. I have always been fascinated with their weavings and paintings and the textures and patterns they create using various tools and materials….”

“My travels expose me to many ideas and thoughts which percolate in my head and eventually find their way into my work. {For example} I have incorporated printing with Indonesian tjaps (more commonly used in batik printing) combined with encaustic medium and color pigments to produce each one-of-a-kind painting. This is one way of keeping my wonderful memories of these beautiful countries and interesting people alive.’’

Wells has long been a popular summer resort, as you can see in this 1908 postcard. Founded in 1643, it is the third-oldest town in Maine.

Tidal salt marsh at the Rachel Carson (1907-1964) National Wildlife Refuge, in Wells, named after the prolific writer, marine biologist and conservationist best know for the books Silent Spring and The Sea Around Us. She spent summers on the Maine Coast.

‘Not a distraction’

“Untitled,’’ by Boyan Moskov, a native of Bulgaria who now lives in New Hampshirel in the 13-artist show “Ceramics — New Work,’’ at Corey Daniels Gallery, Wells, Maine, July 9-Aug. 6.

He says: “When I create work, I don’t want it to interfere with its surroundings. My objects are simple and elegant with clean lines. At the same time, they stand bold and strong. A beautiful accent, not a distraction.’’

Ogunquit River in Wells

— Photo by MoVaughn123

Safely anonymous nudity

'‘Finsta Self’' (oil on paper), by Eben Haines. at the Corey Daniels Gallery, Wells, Maine

It's safer there

“Cloud Storage” (site specific orb installation), by Sarah Bouchard, at Corey Daniels Gallery, Wells, Maine

Wells, the third-oldest town in Maine, is well known for its beaches and since the late 19th Century has been a favored summer place for people from Greater Boston and beyond. Like much of the Maine Coast, it has long attracted artists. This postcard is from 1908.

This is the cheapest room we can rent you tonight

San Mateo 3 (archival pigment print), by Billie Mandle, in her show "San Mateo'' at Corey Daniels Gallery, Wells, Maine, Oct. 1- 31.

The artist explores spaces that "have been stripped of their coded signage and purpose, taking on an elusive, ethereal feed.''