The landscape has always had a very prominent part in Brogan Ganley’s life. After moving to London in the mid 90’s she had to learn to navigate and use the landscape in very different ways. No longer was it easy to look out the window and find a connection to nature, one had to search and locate more purposely from within. Meditation became extremely important, as did the memory of landscape and connecting this to her creative process. Now living in New York City this practice remains and the landscape is used as a source of restoration and creativity but also for health and healing throughout the year. Her work is created with threads of landscapes from both memory and from meditations. Currently, she is exploring works that involve meditation in process and construction.
Colleen Lineberry has been inspired by nature and wilderness for as long as she can remember. As a child, her family traveled each summer, camping in their green umbrella tent and car named Willie. Throughout the years she experienced the freedom of living outdoors, connected to the Earth for weeks at a time in Grand Teton, Glacier, Yellowstone, Zion or paddling the San Juan River and backpacking in the Sierra Nevadas. The patterns and colors in glowing sandstone layers, tree bark, bubbling hot springs, and morning mist have always created a sense of freedom, renewal, and solace all at once. For her, they are breathing spaces in a complex world. The wildness outside seems to connect to a wildness inside, and as she paints, one gesture informs the next, and her imagination soars. Though she usually begins with nature as inspiration, the final abstraction is often a combination of the spirit and feeling of the outer natural landscape, combined with her own inner landscape. The paintings result from both wild places. She uses oil paint mixed with cold wax, applied with a squeegee and brayer, as well as oil stick, graphite.
Carolyn Wenning is a painter and mixed media artist based in Pittsburgh, PA. Her work occupies a space between abstraction and figuration. Initially inspired by the landscape, the images quickly depart to a more poetic realm directed by gesture, mark and color. Layering and removing materials such as charcoal, tar, raw pigment, graphite and paper allow for a nuanced texture and a connection to natural processes. Wenning exhibits nationally and internationally; most recently at Jask Gallery and The Mine Factory in Pittsburgh, and at The Obras Residency in Estremoz, Portugal. Her work has been included in exhibitions at The Pittsburgh Center for the Arts, The Andy Warhol Museum and The Mattress Factory and is held in private and corporate collections. She is represented by The Bonfoey Gallery in Cleveland, OH and Boxheart Gallery in Pittsburgh, PA. Her academic training includes an MFA in painting and print media from Indiana University of Pennsylvania and a BFA from Carnegie Mellon University.
Amy Ragus is a student of Henry David Thoreau and came to Truro with an interest in exploring Thoreau's Cape Cod writing while in direct contact with the outer Cape shoreline, particularly the writing about the shore as a jumping off point to the wild unknown of he ocean. The shore being a transition point between the land and the ocean. Much of Amy’s work reflects the meditation and spirituality associated with the sounds and power of the ocean, and where the ocean meets the land.
Elspeth Hay: “I study the why in life. My writing examines why we live the way we do, and what significance small, daily decisions bring. I write about food, motherhood, home, and our environment, and how these themes shape our personal and collective quests for truth and sustainability.”
Caitlin Plante came to Edgewood to have uninterrupted time to continue writing and working on her novel in progress.
“What I find most interesting is the gap between the stories and memories in our heads and reality. The space between these is full of tension, loss, and grief, but also a kind of hope and epiphany. Often these gaps expose themselves when we return to the places of our childhood, the places of our fondest memories and perhaps the most tragic ones as well. My novel is an examination of this gap. My protagonist, Dinah returns to Cape Cod to take her dying aunt off the drowning island, but instead, she confronts this gap that is rife with the hidden veins of mistrust, sadness, control, and submission as she attempts to discover what really happened when her father went missing 10 years ago.”
A native of Cape Cod, Massachusetts, Heather Blume’s graduated with a BFA summa cum laude in Painting from the University of North Florida and an MFA cum laude in Sculpture from the New York Academy of Art. Her figurative paintings and sculptures reflect a connection to and regard for the human story and the natural world. These artworks contain aspects of metaphor, symbol, and or archetype. Lately, she has been focusing on painting women; their stories through portraiture and contextual narrative.
”This project is about the interplay of the human with the natural, the immense forces that shape and dwarf our lives, and the lessons that await us within the context of tidal flows: receding, returning—waiting and patience, what lies beneath the surface, and unwritten rules for survival and hope. Awed by the fragility and beauty of our unique ecosystem, I try to create poetry and art that mirror, articulate and transform what I behold. I hope to heighten the reader/viewer’s awareness of this environment while encouraging its care and preservation. At the same time, my intention is to share my lived experiences in such a way as to allow the viewer the chance to experience something resonant, touching and cathartic. Having been a teacher for over 25 years, a Peace Corps Volunteer in Africa, a MA Cultural Council Writer-in-Residence for 5 years, and a curious, open-minded adventurer who loves art, history, music, nature, mythology, literature and meeting people from all walks of life, I’ve been blessed with a plethora of experiences during my 76 years. My work traces the cycles of life and death, loss and change—shadows within radiance. Redemption and transcendance. From my poem, “Stigmata,” (Umbra, 2004) So everything changes— drowns in raven waters while form’s condensed radiance, moves back and forth, back and forth.”
An American born artist living in the Pacific Northwest, Dianna Woolley was educated primarily in realism through private tutoring and workshops. Her work of the past two decades, predominately influenced by 20th century abstract expressionist and post painterly abstractions, has purposefully morphed into abstract painting. Traveling often to the East Coast of the US, Woolley has pursued singular artistic exploration on the Island of Nantucket — 2016 and 2017 in residency at the NISDA (Nantucket Island School of Design and Art). Dedicated weeks outside her studio serve to strengthen a long practice of personal reflection and innovation, while enabling her to encounter new mediums, studies, techniques and other talented artists in search of camaraderie and insight into their personal art making.
Karla Greenleaf-MacEwan - My life as an artist began with dance, which liberated me from viewing the world in purely rational, political terms, and gave me a means to process my emotional turmoil. I choreographed my own works in New York City, worked with small ensembles, and taught children jazz and creative movement. I worked as a recreational specialist with families who were living in shelters, and with nursing home residents. I also became a licensed massage therapist. The source of much of my creative work has grown out of my connection to the human body, to our physical existence in time and space, and to our visceral responses to the environment and one another. Although I was always an avid journal writer, it was not until I became a dancer and a mother that I realized my writing as an art. It allowed me to integrate my critical mind with my physical expressivity, and to tell stories with specific descriptive detail. My first novel, Nineteen, is loosely autobiographical, and tells the story of how a young woman’s development as an artist empowers and ultimately helps her to recover her sense of self. As a middle aged woman, I find the process of writing to be a dynamic relationship between the realization of self and my evolving understanding of humanity.
Catherine Headrick: “My work explores an obsession with capturing patterns and details found in nature. I owe my interest in the natural world to my parents - my father a landscape architect and my mother an avid gardener. Growing up, I often was called to assist with weeding their tremendous gardens at our home in Massachusetts. Our yard contained an abundance of trees, shrubs, vegetables, and flowers. As such, I grew up observing unique natural forms and textures, often from close up: the spiky edges of pine cones, the intricate veins running through a head of cabbage, or the lacy lichen patterns growing up tree trunks. As an artist, I am interested in rendering these growing textures from a close up perspective so as to appreciate the details. Through painting and printmaking, I explore the experience of growing, flourishing, and reproducing. I craft compositions in a horror vacui style, with limited negative spaces and an obsessive tendency toward capturing details. My work feels tactile, intimate, living, and abundant, falling somewhere in between realism and abstraction. I render objects with precise and realistic detail, but present them in extreme closeness or in imagined spaces. As such, they become ambiguous forms and may not be immediately recognizable from the point of the viewer. In creating my work I alternate between working methodically and intuitively - combining tight realistic mark-making in some areas and allowing other areas to become looser and more expressive. I emphasize high contrasts and tonal shifts, and maintain a limited color palette, often opting to work in black and white. My goal is to create a visceral and intimate experience presenting the natural world and the organic matter found in it.