When I first shared my paintings with a close friend, she said something like, “It’s like ah,” as her hands were waving all around as if to say, “It’s busy, Angie,” as we laughed. “Yeah,” I said, “Isn’t it great?” we laughed some more. I had finally arrived and permitted myself to become what was in my heart. Each piece of art I create teaches me something; I like to think of it as an exploration. The inspiration for my work is simple: nature and all she encompasses. My curiosities are vast; I approach painting playfully with a good sense of humor, which I need when things go down the tubes.  

In David Riley Peterson’s imaginary sculptures the concept of the ceramic vessel is merged with the concept of the working vessels of coastal Maine’s waterfront. Each boat is hand-built using slab construction and some techniques that parallel traditional wooden boat building. Every work is an homage to the hardworking boats and folks who have served Maine’s coastal community. The whimsical nature of these sculptures may not keep them afloat, but the artist hopes that they sail on in your mind.

Trip was drawn to advertising long before he illustrated and eventually painted. After graduating from the University of North Carolina at Chapel Hill, he first worked as an Art Director with ad agencies Leo Burnett, Chicago, and with Saatchi & Saatchi, New York. Working with and hiring his favorite illustrators through the help of being an Art Director gave him an intoxicating look into their side of the creative world. He has illustrated several children's books and helped develop characters for animated features and commercials.

Recently, mixed media and collage have become a significant element of my work. Bits of colored paper, maps, album covers, posters, and found materials are collaged to the surface of my paintings, adding an extra physical presence to my work and enriching the viewing experience. Collaging has become an essential process for me, forcing me to think abstractly and slowing me down more than the painting process would, yielding more exciting and thoughtful decisions. I sometimes describe it as like putting together a jigsaw puzzle, but I get to make my pieces, and they don’t have to fit precisely. Charmingly incorrect is the result that I typically shoot for, rather than literal and precise. There comes a point where too much detail and obvious overstatement become detrimental to the power of a painting—to me, letting edges blur and being ambiguous with brushwork leads to more exciting results. While painting, I constantly think about this and try to walk away from them when they are in an evocative and unpredictable state. 

I am an established artist living and working in Kennebunk, Maine. My goal is to represent the essence of Maine coastal waters in encaustic painting by capturing scenes from the coastline of Southern Maine and translating them into vibrant representations of movement and color. Through layering and sculpting of the medium, I create depth and intrigue. I hope to spark memories and longings for Maine’s rugged shores in the hearts and eyes of the viewers.