Richard Boyd Art Gallery

Artists’ Statements

Amy Bickford 

Amy Bickford ~ "Manhattanhange" ~ Acrylic Based Gouache 18" x 14"

Amy Bickford ~ “Manhattanhenge” ~ Acrylic Based Gouache 18″ x 14″

Since graduating from the Maine College of Art (MECA) in 1983, I’ve held a variety of jobs while continuing to create works of art for individual clients, corporations, and small businesses, including painting murals for the Children’s Museum of Art in Portland, ME and recreating the artworks on the ceiling of St. John’s Cathedral in Bangor, Maine.

I create paintings in my studio using drawings and photographs as references to help me see beyond the physical attributes of the scene and capture my interpretation of the beauty of that place in time. I prefer painting with gouache, but use a variety of mediums, selecting the medium that best helps me interpret the scene. Through the years, I’ve been fortunate to use my talent and love of painting to bring happiness to others.










Richard (Rick) Boyd

Richard Boyd - High Fire Porcelain. Cobalt Crystalline Glaze Series. Cone 9 Oxidation.

Richard Boyd – High Fire Porcelain. Cobalt Crystalline Glaze Series. Cone 9 Oxidation.

In the 1960’s I took a pottery course to fill an elective requirement while attending college. After 40+ years as a potter I am still amazed with the process of transforming balls of clay into works of art. It’s about centering the human body and making a connection with the clay. My energy and the feel of the clay define the shape of the piece. I’m a potter not a sculptor. My work is wheel-thrown and collected for it’s classic lines and unique glazes.

I work with a variety of clay bodies, high fire porcelain to low fire earthenware, each with its own characteristic’s. I do the throwing and trimming and my companion Pam does some of the glazing. This is “a great collaboration as I am somewhat colorblind and she is by her own admission wheel challenged.”

Surface decoration is achieved by using various techniques such as etching. Pam and I believe the work should speak for itself and when used decoration should compliment never dominate. Surface color is achieved thru various firing techniques and by using stains and glazes made in the studio on Peaks Island. We play at alchemy creating new glaze formulas and modifying existing formulas. We use a combination of glossy, mat and semi-mat glazes which we build up in layers using hand-glazing techniques, and a spray gun to achieve the desired effect.

Pottery is a marriage of art and science. Pam and I are glad to share our knowledge of the pottery making process and eager to try new techniques and advances in ceramics. Pam and I have learned that success sometimes comes from failure and circumstances beyond our control. After all in the end it is the firing process that retains final control of the piece.



Pat Chandler

Pat Chandler ~ 'Winter Clearing I' ~ Mixed Media on Panel 20" x 24"

Pat Chandler ~ ‘Winter Clearing I’ ~ Mixed Media on Panel 20″ x 24″

A Maine native, I received my BFA in illustration from Rhode Island School of design and worked as an illustrator briefly in Boston and Minneapolis. While living in St. Paul, I studied etching at the Minneapolis College of Art and Design and resolutely turned back to fine art. I later received an MFA in painting and printmaking from Rochester Institute of Technology, Rochester, NY.

My career as a fine and commercial artist and instructor spans more than five decades. I have lived in several cities but always come back to Maine, where I plan to remain. No matter where I was living, Maine’s natural landscape was at the core of my visual imagination, especially the wilder central and northern regions.

Throughout my career as a fine artist, I have always retained an interest in various forms of realism persisting in contemporary 20th and 21st century art. In all of my paintings there is a continuum that began in realism and overtime evolved into more expressionistic, abstracted works. In my paintings realism sometimes asserts itself as a meditative study of sorts.

My creative process and production inevitably refer to my geographic roots. The environment was essential to my development as a young child. Maine’s more remote regions inspired many of my paintings to the same degree that its landscapes informed my early life.”




Randy Eckard

Randy Eckard ~ "Stories Told" ~ Watercolor on Paper 21" x 15"

Randy Eckard ~ “Stories Told” ~ Watercolor on Paper 21″ x 15″

“My approach to watercolor painting is nontraditional, in that I try to avoid the limitations and trappings of traditional watercolor techniques. Although traditional washes are an integral part of the painting process, I rely more on the layering of color with glazing and drybrush work (color applied with a brush squeezed almost dry of moisture). Moving between wet and dry on the same piece of paper achieves a variety of complimentary thick and thin surfaces, which allows for the luminous quality of watercolor with added depth of color and texture.

Light plays an essential role in my paintings. It is as if the subtle or dramatic interplay of light and shadow become the subject more than the objects themselves. Light reveals the character, color, and texture of objects, whether man-made or natural. The alteration of lighted and shadowed planes produces powerful repeated patterns and can be an important element of design.

Subject matter has always been of paramount importance to me, especially with its tendency to come unexpectedly. Quiet, patient observation will almost always reveal the life of a subject, although frequently, the focus of my initial impression will change through the course of a painting. The paintings’ titles offer clues to the experiences behind an inspiration.”





Wyn Foland

Wyn Foland ~ "Starboard" ~ Acrylic 4" x 4"

Wyn Foland ~ “Starboard” ~ Acrylic 4″ x 4″

For more than 30 years I have spent time on Peaks Island, ME painting local scenes and being immersed in the island atmosphere. This is time I truly treasure and look forward to each year. I spend my days on Peaks painting in watercolors, acrylics, doing pen and ink sketches, working on my travel journel and taking photographs so I may continue to create in my art studio in Georgia during the year.

My present body of work is paintings in miniature. A miniature painting image is 4″ x 6″ or less employing all the principles of larger scale work. I have been painting “little gems” for the past 15 years and compete in national and international shows. Landscapes, flowers and the interaction of people always seem to be my focal point whether it is a miniature or large 30″ x 40″ canvase.

Through the years I have organized school art festivals, juried art shows, started a Co-Op gallery, owned an art gallery in South Carolina, been represented in galleries on the east coast, been a paint representative for Atelier Interactive Paints, member of many art associations, and started a local art group to exhibit in different venues, thus I have been involved in the arts all of my life. I studied art in H.S., College, Museun School, and continue to study with nationally known artists each year and also study abroad with my favorite teachers.

I am a signature member of the South Carolina Watermedia Society and the Georgia Watercolor Society. As a child I wanted to be an artist and continue to fulfill that dream. I love to paint!




Julianne Garvey

Julianne Garvey ~ "Ocean Fog" ~ Watercolor on Paper

Julianne Garvey ~ “Ocean Fog” ~ Watercolor on Paper

A multi-talented artist working in a variety of mediums Julie moved to Maine in 1980. She studied art at The University of Georgia, her first two years, later graduating from The College of William and Mary in Virginia.

Julie says, “Since then, Family life and work have taken the majority of my time, but have never dampened my enthusiasm for expressing myself through many different mediums, with my first love being watercolors.

From an early age I have always enjoyed whatever art was being taught at whatever grade level I was in at the time. My high school Art Teacher was encouraging and didn’t teach a formula of how to do something so much as how to look at something before engaging with it. It seems a natural thing for kids to use their imagination, experiment, and be creative and as artists we were encouraged more than others to keep at it, to do more. That’s probably when we lost the fear of criticism, when we experimented to see what would come to life next.

I’m not sure if any artist knows why we create art, beyond the simple fact that we do. Of course living in Maine, being surrounded by the constant beauty that abounds here, is my never-ending inspiration. I do know that I love creating art and just wouldn’t feel complete if I were not to do so.”



Jane Herbert

Jane Herbert ~ 'Clammers' ~ Acrylic on Canvas 18" x 36"

Jane Herbert ~ ‘Clammers’ ~ Acrylic on Canvas 18″ x 36″

The building of industry and shopping malls on farmland and wild places dominated my experience of the Garden State where I was born. The sense of loss and disconnection I felt while I lived there were eased in the sanctuary of solitude. Creativity became my close and life-long friend.

The alternative beat of the sixties appealed to me and I went along for the ride with my art supplies to chronicle the adventures. I managed a year of art school in the seventies (Montserrat School of Visual Art) but yielded to the siren call of driving and painting across Europe in a VW Bus. Over 30 years of changes have been shared with my spouse. This man and our children and friends are some of the biggest surprises of my life. I am humbled by their acceptance and love.

My painting style is born out of my experiences. The bold color of the sixties have mellowed and blended with the background, along with the sometimes humorous, sometimes dark pen and inks left along the road. The sketchbooks, the commercial art jobs I was fortunate to have, and especially the doodling and dreaming of challenging times, are part of the palette of my life. The basis for my painting is spiritual. Through painting I connect my personal reality with a larger consciousness. I see archetypes in my subjects and honor those classic themes with a traditional style.

“Art is a self-nurturing practice that opens me to the spiritual love and beauty of life that generates harmony. The paintings are founded on personal experiences and, like echoes, they often touch a familiar chord.” Jane Herbert.




Jean Noon

Jean Noon ~ "Horse and Rider" ~ Bronze 12.5" x 7" x 3"

Jean Noon ~ “Horse and Rider” ~ Bronze 12.5″ x 7″ x 3″

Being a sculptor/photographer and a farmer establishes a deep connection for me between my observations, existence, labor, nature, and the timeless continuum of positive creative human energy.

As a sculptor I build structures to contain and communicate ideas. Animal forms and physical gestures inspire most work. The guiet action of winding and weaving of the wire around and around becomes both meditative and structural. Materials assert themselves and a piece often takes on it’s own gestured direction.









Bob Santandrea

Bob Santandrea ~ "Fall Pond" ~ Pastel on Paper 13" x 16"

Bob Santandrea ~ “Fall Pond” ~ Pastel on Paper 13″ x 16″

A research scientist and attorney by training, I have been drawing, painting, and sculpting on and off for about the last 28 years. I have lived in a variety of places, most recently moving to Corning, NY in 2007 from Santa Fe, NM. The different experiences, tastes, and cultures have influenced my work over the years. My “education” has included participating in workshops, working informally with experienced artists/teachers, informal life drawing and plein air groups, classes offered by community art centers and self-teaching. I have enjoyed pursuing art simply as a means of self-expression and for the joy it gives me. It’s a welcome change from my day job!

For many years, the human figure and portraiture were my primary interests. During that time, I worked mostly in charcoal. After moving to Corning, NY, I had the opportunity to paint with Thomas S. Buechner for a few years, and became more interested in landscapes and still life, as well as the use of color. In addition, I have taken workshops with master pastel artists such as Richard McKinley, Robert Carsten, and Margaret Dyer to learn new approaches and techniques.

I re-discovered pastels about four years ago and fell in love with them. I’m drawn to the bright colors and the spontaneity that the medium allows. I now primarily work in pastels and use the different effects provided by the softness and brilliant colors of different types of pastels, different surfaces, and combining pastels with other media.

Within the last year, I have experimented by adding an underpainting of watercolor or oil to my pastel paintings, and have found that this has provided my work with a degree of luminosity and allowed me to take a more impressionistic approach to my subject. My landscapes are representative of my emotional connection to the landscape. Since the spring, I have also spent more time painting on location outdoors. It’s a challenge to try to capture a scene as conditions Change. Through my earlier interest in figure drawing, I learned the art of gesture drawing: working quickly to identify and capture the essence or mood of the subject and the attitude and stance of the model. My landscapes are also “gestures” in the sense that I am trying to capture the sense or mood ( the light and colors, peace, silence, mystery) of a particular place.




Felicity Sidwell

Felicity Sidwell ~ "Totman Cove #8" ~ Oil on Canvas 9" x 12"

Felicity Sidwell ~ “Totman Cove #8″ ~ Oil on Canvas 9″ x 12”

I am fascinated by changing light and our perception of moods of sea, sky and the land around us. Color is reflected light, light and color nuances are constantly changing with the time of day, weather and changing seasons. The muted colors of a humid day, the energy of the brightness of sky over water on a clear, windy day giving sharp contrasts to the rocky shoreline, the peaceful golden light of fall grasses in the salt marsh, and the shapes and colors of the frozen bay in winter. Light is different every day. My goal is to convey through Plein Air and studio work, the relationship of light and color to what we perceive and feel about a scene.





Austin Stilphen

Austin Stilphen ~ 'From Sawyer Mountain' ~ Oil on Canvas 16" x 20"

Austin Stilphen ~ ‘From Sawyer Mountain’ ~ Oil on Canvas 16″ x 20″

“My process is all about observing and recording natural beauty by hiking and exploring New England’s vast mountain ranges. Usually I make sketches outdoors using whatever writing utensil I have at hand. If I see an effect I take note of it. If I see a species of lichen on a tree I draw it exactly how it appears to me. My favorite tree to study is white elm with it’s beautiful hanging foliage.

The inspiration for my works on paper and canvas come mostly from paintings done by the second generation of the Hudson River School painters; a few notable painters to mention are John F. Kensett, Sandford R. Gifford, and Martin J. Heade.

I paint these pictures in hopes that people will understand and appreciate what it is that we have on this planet; at any sudden moment it could all vanish; just as the sun sets under the mountainous horizon; the last of the crimson clouds dissipate into the hot twilight leaving us for the promise of a new day. Nature is precious and we shall make it our responsibility to preserve and protect what little we have left of it.”






William Steele

William Steele ~ "Moondance" ~ Oil on Canvas 12" x 16"

William Steele ~ “Moondance” ~ Oil on Canvas 12″ x 16″

William Steele is a multi-talented actor, director, and retired professor of theater from the University of Southern Maine where he taught theater for many years while directing plays and maintaining a national acting career in corporate training, commercials and film.

Since his freshman year in college, when he bought his first painting, he has been an avid collector of art. Steele’s art is influenced by his youth hauling lobster gear in Casco Bay. Images of the working waterfront and his memories of those years serve as an inspiration for many of his paintings. He has held governmental appointments to the Maine Arts Commission, the New England Foundation for the Arts and the Governor’s Advisory Committee on Public Broadcasting.




Wilson W. Stewart

Wilson Stewart ~ 'Driving by Cornish, ME' ~ Acrylic on Canvas 20" x 16"

Wilson Stewart ~ ‘Driving by Cornish, ME’ ~ Acrylic on Canvas 20″ x 16″

I am a self-taught artist living in the Lakes Region of New Hampshire, where I have been working as a Licensed Land Surveyor for more than 30 years. My maternal grandmother was quite a sketch artist when she was younger and I guess that rubbed off on me. When I was much younger, and she used to take me on trips, she would give me her old unused sketch books and field paints and watched as I drew. With much patience, and only a little quidance she allowed me to draw and paint what I saw, as I saw it.

Fast forward to the eighties…while in forestry school at the University of Maine at Orono, my academic schedule allowed for one pure elective course. I chose basic drawing. I remember thinking at the time that I had wished I had gone to school for a fine arts degree instead.

Fast forward to the nineties…I taught myself how to paint with watercolors and painted quite allot. Life, as it usually does, got a hold of my free time while raising two wonderful sons. No regrets! I count that time among the best moments of my life and banked all those experiences in journals, for future artworks.

Fast forward to the 21st century…I am painting again. It’s just my wife and I now. I have developed a real love for sketching. I enjoy the challenges of painting plein air and having only 15 minutes to a half hour to memorialize what I see on paper. I still paint what I see, as I see it. During the summer months, with Portland, ME and Peaks Island, ME as my inspiration, if  I’m not sitting on a beach, I am sketching…actually I am usually doing both.

More recently, I have been drawn to painting with acrylics and to monotype printmaking. Both are water base mediums and they have felt like a natural transition for me. I have fallen in love with mixing my colors directly on the canvas or plate, as well as the textures of the finished product. It is very much a mirror to the emotion of life.


Ever since getting my hands on a blow pipe, I’ve been intrigued with the  challenge of making vessels with unique patterns. With my current body of work, I’ve been exploring different patterns and textures that I can achieve with flat cones, murrini (a cane structure of fused pieces of colored glass) and heavy Japanese silver and gold foils. I’m fascinated with the idea of constructing vessels that I make “hot” in the studio and then later deconstruct using various cold-working techniques.

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