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Painting came to me by way of weaving. As a tapestry weaver from 1982-1997, I feel I learned to ‘paint with wool’ and in 1998 I switched to painting full-time. I am primarily a landscape painter, working in oils but also enjoy figurative work and still life. Living in rural New Hampshire, I’m surrounded and influenced by the rugged and ever changing landscape around me. I travel frequently to different parts of New England and enjoy hiking, biking, boating, skiing, snowshoeing and any other activities that get me outside. My love of nature and the outdoors, and the constant variety in color, texture and atmosphere that is prevalent here in New England, are a constant source of inspiration for my work. Paintings often begin with a plein air study, which later becomes a large painting in the studio. Photographs serve to reawaken a memory of a particular moment in time and may inspire a new piece. Paintings can develop from a very small ‘moment’ taken from a larger scene or simply from the colors, atmosphere and/or a feeling evoked that just strikes a chord in my mind.
Though representational in style, my aim is to paint the emotion of a place rather than focusing on specific local information. I remind myself constantly of the expression, ‘less is more’; what is left out of the painting is as important as what is put in. It is the absence, ‘the space between the lines,’ that jogs the senses and invites emotional involvement between the viewer and the painting.
Over the years I’ve tried to push the boundaries a bit more between realism and abstraction. Most recently paintings seem to ‘come out of my head’ rather than from specific locals. I paint more and more with a pallet knife rather than brush to further promote simplification of forms, build up the surface with paint and texture, and provide interesting and unexpected edges, blurred lines and scumbling.
Statement by Katrina Costedio
A.D. Tinkham sees creation and order in a storm where most people would see destruction. He feels alive on the water where his life has been threatened by extreme weather. He has been changed by it, and now as the subject of his work, it changes us. There are few things in this world as universal to human beings as weather. It impacts us emotionally because it reflects the turmoil and the beauty, the violence and the possibility for peace within each of us. By using weather phenomena as an avenue for the exploration of his own humanity, A.D. Tinkham allows us each to explore our own. The work captures the moment of clarity before the rain falls, the high energy before the unleashing of the storm. Tinkham’s paintings are not merely landscapes, in a sense they are self-portraits. They reveal that part of the artist that identifies with the calm and the fury inherent in a storm, and the transmission of that sharing through the work allows viewers to recognize themselves in it. Tinkham’s work is subtle by design. He uses values that are so close that the eye needs time to adjust to the image. This element of time and patience built into the work forces the simultaneity of analysis and synthesis. The power and subtlety of the paintings operate on more than one level, and as we, the viewers, relinquish ourselves to the work, it begins to reveal itself. In this way, a viewer builds a relationship with Tinkham’s paintings, and like in a relationship, the more time spent with them the more you come to know and to love. In my experience, the longevity of Tinkham’s paintings is unparalleled. Although minimal to near abstraction, Tinkham’s landscapes convey a depth of movement and light and a sense of place that is undeniable. Tinkham has been painting for many years. He has been getting to know nature for as many years. He has combined intimate knowledge of nature (how clouds move, and the nuances of light through a fog, etc.) with fine technique, to create paintings that do what fine art is supposed to do: surpass superficial beauty in a way that is moving and accessible, intelligent and simple.
A.D. won the Pomerantz Painting Prize in 1967, graduated from the Swain School of Design in 1969, and earned his MFA from Brooklyn College in 1971. He was a founding member of the First Street Gallery in New York, and has had several group and one-man shows in New York, New England, and South Florida.
I look for city and nature views that appeal to me. I change and simplify the composition until I feel that I can express it as a woodcut or linocut. In city views, I like the contrast of round water towers next to straight buildings. I am interested in creating a mood or the feeling of certain weather with the colors I use. I add a third or fourth block if I feel it is necessary, but many times I use two blocks. When I begin I often do not know what the final print will look like; I find it challenging to solve problems as I go along. In the proofing stage I draw and paint on a proof until I find the colors I want to use. I often return to the same themes in new prints.
Woodcuts and linocuts enable me to work in a simplified, bold way. Once cut, the blocks are almost impossible to change. I like working like this way because it forces me to focus on what I most want to express.
Born in Alexandria, VA and currently living in New York, Emily Trueblood studied at Beloit College, Academia Artium in Spain, University of Wisconsin, Pratt Graphics Center, Arts Students League, and New School.
She is a member of the Society of American Graphic Artists (SAGA) where she serves as a council member, Audubon Artists, National Arts Club, Salmagundi Club, Albany Print Club, and National Association of Women Artists.
Emily Trueblood has won many awards and has had several one-person exhibitions in New York. Her prints have been included in numerous exhibitions in the United States, Europe, Asia, and South America.
I have been focusing on painting trees and their cast off limbs, i.e. sticks, for many years.
Trees are completely individual. They are adapters and survivors, each one unique, and I think that is something most people don’t think about.
We are taught to look at trees based on a stereotype, the image of a perfectly pruned tree is the one most people have in their heads, balanced and symmetrical. But in nature those rarely exist. Trees grow to survive, they adapt to their given environment, growing into strange shapes, producing oddly shaped limbs, becoming contortionists to get to sunlight, bowing to the will of other larger trees. They grow in context to each other and their neighbors, adapting as best they can to the situation they find themselves in.
While my artwork has always been based on a traditional observation process, the final appearance of the objects in my paintings is grounded in contemporary ideas and concerns and by my own quirky interpretation of the objects’ personality. These objects allow me to explore my interests in surrealism, (especially the Chicago artists collective The Hairy Who), and abstraction along with pursuing the pure physical pleasure of painting.
Artist Katie DeGroot attended New York University and Illinois State University before living and working in New York City for nearly twenty years. She now resides on her great grandparents farm next to the Hudson River in Fort Edward, NY.
Katie DeGroot is currently the Director of Skidmore Colleges’ Summer Studio Art Program.
Ray Heus is a New England printmaker with over 30 years experience. Heus' work reveals his love for sailing and the water in his woodblocks of New England, Canadian coastal areas and the Carribbean.
Ray Heus was born in Oak Ridge, Tennessee and grew up in the Virgin Islands and in western Massachusetts. A graduate of Cornell University, he also studied at the University of Freiburg im Breisgau, Germany, and with Washington, D.C. artists Jo Harrop and Nancy Hirsch.
Heus’ work reveals the influence and his great admiration for 19th and 20th century Japanese master printmakers, especially Hiroshi and Toshi Yoshida, Kawase Hasui, and Takahashi Shotei. Influences from western artists include Whistler, Homer, and Arthur Wesley Dow. His primary medium is moku hanga, the traditional Japanese way of making color woodblock prints.
Over the years he has had numerous one-man shows and has exhibited at the Virginia Museum of Fine Arts in Richmond, the Adirondacks National Exhibition of American Watercolors, and the 2011 International Moku Hanga Exhibition in Kyoto, Japan. Ray Heus' work is included in several public collections including the Cape Cod Museum of Art.
He lives on Cape Cod where he makes his prints, builds wooden boats, and sails.
am an artist and designer living in Florence, Massachusetts. Towns along the Connecticut River in western Massachusetts have always been my home.
I make prints and books and exhibit them throughout the U.S. I am a member of Zea Mays Printmaking studio which is dedicated to safe and sustainable printmaking practices. I am represented in their Flat File project. My books have been recognized with Best of Show and Juror's Choice awards and can be found in private collections as well as the collections of Yale University, the University of Washington, and the University of Utah.