Updated: Jun 12
The Harlow is excited to present Art2020, their 25th Annual Juried Show. This year’s show has moved online and can be visited virtually through June 21, 2020 (see below). 31 works of art by 30 artists were selected by juror Erin Hutton to be included.
Scroll down on this page for a list of participating artists and to view the artworks.
Click here to view a list of this year's prize winners.
(The Harlow is currently closed due to the COVID-19 pandemic. The gallery, craft shop, and office are closed to the public. Staff can be reached via email at firstname.lastname@example.org. Please continue to check our website and our facebook page often for updates as the situation evolves.)
The Harlow is thrilled to have Erin Hutton as the juror for this year’s show. She is an art advisor, curator, and founder of Erin Hutton Projects. Read more about her here.
List of participating artists: Adrienne Beacham, Edward Buonvecchio, Kimberly Convery, Tracey Cockrell, Matt Demers, David Estey, Ingrid Ellison, Julia Einstein, Ronald Frontin, John P. Gardiner, Kate Harris, Ian A. Hanks, Rabee Kiwan, Ryan Kohler, Olga Merrill, Larinda Meade, Dean McCrillis, Jennifer Lee Morrow, Anne Post Poole, Jessica Rhoades, Sheila Orifice Rogers, Michael R Stevenson, Sandra Stanton, Sally Stanton, Judith Schuppien, Brian Smith, Eric Stark, Pamela LB Shockey, Ian Trask, and Diane L. Woodworth.
Interested in purchasing artwork? Please contact email@example.com.
Adrienne Beacham | "Phenomena"
Hand Painted Drypoint Intaglio Print | 25 x 25 x 1" Framed | $350
"I am fascinated by organic growth systems and cycles of formation and destruction. My abstract work is influenced by natural shapes, patterns, and macrocosms/microcosms. I think about the forces sustaining perpetual creation in our universe daily. I am curious about the translation of energies and ideas into physical form. What I enjoy most about making art is getting to directly experience this incredible, energetic process of “becoming” as each piece materializes in ways I didn’t expect. I have a compulsive desire to witness this again and again, as it connects me to the broader, mysterious undercurrents of myself and our world. “Phenomena” belongs to a series of drypoint intaglio prints whose imagery originated from blind contour sketches I did of my fingerprints and hand creases. I enlarged and cropped these drawings and loosely translated them onto plexiglass plates with a dremel. Interesting landscapes were produced as I printed, rotated, and overlapped the images. The resulting matrices formed a complex, networked skeleton for me fill out with colored inks and gouache."
Edward Buonvecchio | "View From Mariposa"
Oil | 12 x 9" | $550
Kimberly Convery | "August" Gouache on Paper | 8x8" | $250
Tracey Cockrell | Awarded an Honorable Mention
"Seaweed Remembers the Sounds of the Oceans: Seaweed SoundGarden #1"
Sound Sculpture, kelp, conductive thread, earth magnets, ebony, microcontrollers, rechargeable batteries, audio of Maine coast and Bay of Fundy | 12 x 13 x 5" | $850
Click here to listen to accompanying audio for this piece
"This is one in a series of wall-mounted sound sculptures that are viewer activated and emit site specific sounds. In building these sculptures I use plant material (kelp) to create audio speakers. Conductive thread is sewn as a pattern of concentric circles into the kelp and connected to a micro-controller. A small earth magnet is mounted on the back side of the kelp, seated on the coil of conductive thread. When a viewer presses the colorful button, an audio signal is sent from the micro-controller via the conductive thread. In response, the magnet vibrates, causing a sympathetic vibration of the membrane of the kelp, sounding prerecorded audio that has been stored on the micro-controller. The kelp then acts as an audio speaker. The prerecorded audio comes from field recordings gathered during exploratory hikes of the coastal regions of Downeast Maine and the Bay of Fundy. I began this project as a StudioWorks resident at the Tides Institute & Museum of Art, in a bewildering and awe-inspiring landscape."
Matt Demers | "Boy Howdy" Mixed Media | 24x24" | $600
David Estey | "Fishers" | Awarded Best in Show
Acrylic and Graphite on Panel | 41.5 x 54.5” | $4,800
"Over the past 70 years I have made well over ten thousand drawings and paintings in many different styles, from realism to abstract expressionism. At this point my painting is almost totally improvisational. I start out with nothing in mind other than to shape the elements and principles of design into a new and exciting result. Sometimes it is strictly nonrepresentational. More often it becomes oddly narrative, which I may or may not understand. That’s okay with me. In the end I want to be as surprised and intrigued as anyone else by what I see.
In these particular works, “Fishers” seems to be about the notion that birds, fish and men are all fishers searching the depths for something of value to sustain them. “Unrequited” is about a relationship between parent and child in which each may feel their love is not accepted or returned by the other. "
David Estey | "Unrequited"
Acrylic on Panel | 28 x 36” | $2,800
Ingrid Ellison | "Summer Plans" | Awarded an Honorable Mention
Oil on Panel | 24x24” | $1800 "March is a bleak month for Maine in any year. The landscape remains dun grey which often matches the wet skies of late winter. We yearn for the light of spring and the renewal of color on our hillsides. Yet this March that bleakness was amplified with gloomy reports regarding the world’s health. The news was complicated, scary and unprecedented. Aside from washing my hands and staying home there was not much I could do. So I painted. I painted a bit like no one was watching. This body of work reflects a compressed time line spent in isolation in my studio. I left behind the self imposed rules of painting and engaged in new conversations. I turned to a brighter palette, using colors as unfamiliar to me as the news reports I was hearing. I invented shapes that made no sense. I found joy in these discoveries."
Julia Einstein | "Flower Power 1"
Oil on Canvas | 36 x 36" | $850
"My inspiration comes from 19th century artist and poet Celia Thaxter when she wrote, “When asked how I grow flowers I say, it’s about love, not butterfly lust but true love.” It's in the garden where I fall in love with a flower, in the way the stem bends, and how the shape stands among the flower beds. My studio is filled with flowers side by side to a palette of hi-key saturated paint. I look for lines of long, leggy stems to convey the elegant gesture in nature. Tiny flowers are transformed by scale. Their power is expressed in painted schemes of reds & fushia, yellows & turquoise, violets and poison greens, and chartreuse and robin’s egg blue. "
Ronald Frontin | "Alone" | Awarded an Honorable Mention
Oil on Paper | 20 x 30" | $12,000
John P. Gardiner | "Hey Dad! Wait Up! (Afterhumans I and II)"
Walnut and Faux Fur | 60 x 24 x 60" | $12,000
Katie Harris | "My God, What Have I Done?"
Oil on Canvas | 40 x 42" | $1,100 Katie Harris is an interdisciplinary artist from Pittsburgh, PA and has been making art her whole life. Recently focusing on her trials and tribulations, she incorporates her relationship with spirituality onto her canvas’ as well. Wanting to make a big statement, she paints on a large surface. This piece, “My God, What have I Done?” expresses symbolism and harsh contrast that give it an prophetic feeling.
Ian A. Hanks | "Camden, Maine"
Watercolor | 18 x 22" framed | $800
"This painting is based on a 35mm slide that was part of my late mother’s collection. My mother, Consuelo Eames Hanks, was a prolific watercolor artist who, along with my father, was a lifelong sailing enthusiast. Years ago, they owned a Friendship sloop and often moored the sloop in Camden Maine. One fall day, while in Camden, my mother took some photos of the schooner “Roseway” while it was dockside. When I came across these photos, I was taken in by the view of Camden’s waterfront looking towards Mount Battie, including the historic Library near the water’s edge, and of course the historic Schooner “Roseway” in the foreground. I decided to paint this painting as a tribute to my mother and her joy of the Maine coast and her joy of being on the water."
Rabee Kiwan | "Child"
Oil on Canvas Board | 24 x 18" | $1800 "I had my son Jude dress up in a Middle Eastern ensemble. When I painted him, however, I made his skin darker. I guess I am trying to say in this painting that other children in the world are also beautiful humans and deserve to live as much as any other child in the West. Unfortunately, children in the Middle East die right and left and are often considered 'civilian casualties of war.'"
Ryan Kohler | "Snaggletooth" | Awarded Juror's Choice Prize
Mixed Media on Canvas | 30 x 30" | $1200
Snaggletooth is a celebration of paint; a painting for painters, and is highly textured with rich mounds of intense oil colors. It's not a subject approached by many, but it is full of life, light, interesting shape, and rhythm. Frenetic brush and knife marks are found throughout the canvas, creating an abstracted intensification of reality, describing the somewhat solemn and contemplative moment shared between two Earth creatures, separated only by millions of years.
Olga Merrill | "Fore Street Glow"
Photography | 22 x 26" | $750
Larinda Meade | "Cobscook Shore" | Awarded Third Place
Aquatint, Dry Point Etching | 6 x 12” | $325
Larinda Meade focuses on the New England landscape with a focus on the textures and shapes of the Maine landscape. She uses her surroundings as a means to make meaning of her experiences by interpreting the light and sound found in crevices, branches, reflective water or atmospheric mist. She enters the natural world through walking and observation and seek to give shape and sense to the experience of being out in the natural world. Her process is one of sketching and taking snapshots as she walks and recording what appeals to her. From there, she uses intaglio and aquatint etching to imbue the images with scratchy grit and raw luminescence. She is always intrigued by the essential mutability of ocean, sky, fields and woods.
Dean McCrillis | "Sleep II"
Oil on Canvas | 36 x 24" | $2800
Jennifer Lee Morrow | "Making My Mark" | Awarded Second Place
Mixed Media | 56 x 26 x 6" | $1,500 "My current pieces are "bricolage" created from a diverse range of available materials. The narratives portrayed center on societal relationships illustrated through the physical relationship of materials through juxtaposition and layering. I explore gender dynamics, mothering, family history and secrets, and my personal growth through a narrative of symbols and patterns individual to me, but open to universal interpretation. Making My Mark began with a painting done my daughter many years ago during a transitional time of our lives. It was her imagined bird's eye view of the apartment we had moved into after the breakup of my marriage. This time also marked her transition from child to teen and the attendant interests and expectations. Layered over and surrounding this appropriated painting are found and altered papers, found wood, film stock, a doily, a shuttle, jewelry, plumbing parts, fur, a small wood carving, and a tassel, all connected with nails, thread, wire, staples, and waxed linen. In this piece, I strove to express the joy and chaos of new independence."
Anne Post Poole | "Waiting for the Mill Girls"
Photography | 11 x 14" | $300
There is a story here. It is the story of the people that worked since the early 1800s behind these brick mill walls. These walls ring with the sound of voices, footsteps, laughter, the groan of machinery. The stark chamber of the paint-peeled hallway and well-worn steps are a reminder of the daily drudge while also catching the many-layered textures and rich tones of a place of industry and utility. The door is the passageway the mill girls encountered moving between the different facets and threads of their life…and now this place is only left with an echo and a bolt.
Jessica Rhoades | "In the Kelp Forest"
Relief Print | 6 x 8 | $280
Sheila Orifice Rogers | "Where The Ledges Meet The Sea - Six Footed Platter"
Porcelaneous White Stoneware Clay, Hand Built, Under Glaze Painting, Soda Ash, Wood Ash, Shino Glaze, Cone 10, Carbon Trap Reduction Firing Atmosphere
2.5" x 11.5" x 11.25" | $500
"I am Inspired by the amazing life that I observe in the natural world. Time in nature allows me to step away from the chaos of human society, there are always new things to discover. “Learn from all teachers” is one of my guiding principals in life. What I see and experience transforms into gesture, imagery, and texture, which evolve to become integral elements of my pieces. Some of the themes I explore in my studio practice are coexistence - between humanity and nature, the fragility of life, and the dichotomy of human nature. I created "Where the Ledges Meet the Sea - Six Footed Platter", while working from the granite ledges of Haystack Mountain School of Crafts on the edge of Deer Isle, Maine, looking out upon Jericho Bay and the Atlantic Ocean. It is number four in a series composed of platter forms and wall sculptures, these pieces are created in the plein-air technique, in which I bring my tools and materials out into the landscape. Although working this way is logistically and physically challenging, it allows me to be fully present with all of my senses and emotions while I work. Pieces in this series focus on coexistence, more specifically, on the edges, where humanity and wild nature meet. "
Michael R. Stevenson | "Inlay & Marquetry"
Improvisational Art Quilt | 29 x 29" | $250 "Quilting runs in my DNA. In fact, my modest collection of vintage quilts includes the work of my maternal great-grandmother and my paternal grandmother, as well as my favorite great aunt. As a newlywed, my mother made a “double-wedding ring” quilt (a challenging pattern, no doubt) that she still uses some 60 years later. In my world, men didn’t sew. A male tailor might appear on TV, but farm families like mine didn’t have need for tailors and their aspirations for their sons rarely included perfecting the use of a needle and thread! Regardless, I grew up knowing the years of warmth and comfort a well-crafted quilt can provide and consequently developed a deep appreciation for the artistry and skill that goes into their creation. When I discovered I would soon become a “great uncle” for the first time, rather than make a baby quilt from scratch, I decided to replace the well-worn binding on a small quilt my grandmother made 40 years earlier with the hope that doing so would keep it in service for at least another generation. Repairing this little heirloom for the new baby reminded me once again of the care and skill Grandma put into everything she did. Although my handiwork will never match hers, I hope my art quilts bring a measure of pleasure, if not comfort, to the people whose lives they touch."
Sandra Stanton | "Balm" | Awarded an Honorable Mention
Oil on Canvas | 24 x 30" | $6,500
Sally Stanton | "Boss"
Mixed Media | 24 x 30" | $2,000
"This body of work is a stark departure from the non-representational paintings I produced for years. Working intuitively in a process of additive and subtractive mark-making, I begin with a visceral exploration of color and texture using acrylics, watercolor pencils, graphite and collage. Archetypes and universal symbols emerge. Babies, pregnant women, houses, hands. Figures young and old reach for, hold, or repel connection. As I excavate, clarify, and revise, emotion is amplified through color. These visual narratives come from subliminal stimuli: memories, dreams, and the human stories that filter through—and in these times, shout, from the unquiet world."
Judith Schuppien | "Hermit Beach" Oil | 16 x 20" | $950
"Recently, my work seems to have become more quiet and meditative, perhaps reflecting the unhappy business of clearing out my home of 30 years, preparing to move closer to town, because it’s time to make the transition. This painting, “Hermit Beach,” is based on a place on Hermit Island in Phippsburg, where I often walk with my husband, in winter, when the campground owners kindly allow the public to walk their trails. The mood is somewhat sad, but not bleak. I think there’s a sense of possibility in the distance, in the transition.
Brian Smith | "Figgot Tree!"
Mixed media sculpture (laserjet images, wire mesh, foam, epoxy, resin, pigment, concrete, sourced branch, dirt, overturned Home Depot bucket) | 2' x 2' x 6' | $2,000
How do we connect to nature in the face of the climate catastrophe? What does it mean to feel a “connection”? Through the language of nature-inspired sculpture, Smith highlights and visualizes the urgency for seeing oneself within the category of “natural” in times of uncertainty. Using the language of queer theory and queer ecology, Smith situates his art within a tradition that seeks to identify approaches to connect with the non-human world, in an effort to build empathy towards it and create a desire to protect the ecosphere in the age of the Anthropocene. Navigating the perils of ecoanxiety, and aestheticization of politics in art, Smith illustrates a path to productive contemplation through responsible art-making. Using the examples of other artists, theorists, writers, and ecologists in the context of environmental issues, Smith draws linkages between the oppression of queer people and the exploitation of the natural environment by the same power structure. The climate catastrophe is a theme visually present in these works, but subtly not at the forefront. Smith views the climate catastrophe as a catalyst for considering his own connection to nature, thus inspiring the queer ecological approach taken in his art-making and writing. He stands that there’s no way to make art about nature in the Anthropocene without considering climate change. Smith aims to create a future of hybridization, acclimatization, and a way of decentralizing humans from the stance of world power; all with a sprinkle of optimistic futility characteristic of generations inheriting the climate catastrophe.
Eric Stark | "Urchin Basket"
Painted Paper | 4 x 7 x 7" | NFS
"The Urchin Basket evolved out of my exploration of plaiting paper; the specific weaving process seen here. The paper is hand painted, hand cut, and then woven and formed. The act of folding the paper inspires me to explore new folds and news ways of making. With this work, the points or ‘beaks’ are the result of that exploration. These ‘beaks’ are also the inspiration for the title of the work. This idea of making as a means to discovery is made manifest with the gold ‘surprise’ found on the basket’s interior, allowing the viewer to experience a moment of discovery themselves. By adding points to the interior of the basket, this ‘surprise’ limits the basket’s functionality, challenges what it means to be a ‘basket’, and raises the idea of discovery over that of use."
Pamela LB Shockey | "Rocky Shore at Mackworth Island"
Oil on Cradled Wood | 24 x 12" | NFS
Ian Trask | "Hoop" | Awarded an Honorable Mention
Miscellaneous materials, thread | 42 x 42 x 4” | $1,100
Diane L. Woodworth | "The Seeker"
Photograph | 16 x 20" | $250
"Photography has taken me on countless adventures. Through this medium, I am able to be creative and experiment. I’ve learned patience and perseverance, to wait for the light or the best opportunity. At the same time, photography has taught me to not hesitate when the right moment comes. The photograph, “The Seeker,” is a case in point. I journeyed to Yellowstone National Park on a winter photography expedition. On the last full day exploring the park, we traveled near the Firehole River in hopes of seeing swans, bison, and elk. Sightings of wolves and even a bobcat had been reported as the excitement of seeing – maybe even photographing such amazing wildlife grew. All was quite throughout the open vista. It started to snow lightly and was getting colder. It would have been easy to pack up and move on. Then I spotted it, a solitary coyote, wandering, exploring, seeking. Without hesitation, I grabbed my camera with long lens and reveled in the privilege of watching and photographing this beautiful animal. We shared a moment in time I will never forget. Looking through the lens gives me a chance to see the world from diverse perspectives. Because of this, photography continues to enhance my life. By showing images, like “The Seeker,” I hope to share this incredible experience."