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Fungi and Flora, at the Gafney Library

Some of the area’s art offerings require a 20-40 minute drive. The Gafney Library has gained the reputation for the offering some of the best of who Strafford County has for art. And, since I showed there last month…

MaryAnne O'Mara and Peggy Brewster at the Gafney

MaryAnne O’Mara and Peggy Brewster at the Gafney

Gabe shoots "Flora and Fungi"

Gabe shoots “Flora and Fungi”



Anne Vaughan, Sole City and turning 60

"Rose Window", (c) Anne Vaughan, oil on canvas.

“Rose Window”, (c) Anne Vaughan, oil on canvas.

I turned 60 today. I am not where I planned to be but in many ways, though where I am didn’t exist when I made those plans.

I never planned to be the Show Coordinator for an art association. And, this is a fun gig.

I also never planned to have other people’s work at my house prior to a show. Damn. I always want to buy it!!

Anne Vaughan entrusted two of her pieces with me for our next show-here’s “Rose Window”.  Anne’s work has the energy that beats most modern painters. This grandmother, a retired lawyer, and ex-museum docent, has a powerful, confident mark. Influenced by Delaunay, and the second wave of European Impressionists, she is highly adept at florals, landscapes and abstracts. Her most recent work delves into the socio-political with portraits of abused women, war victims, racially-triggered violence, etc.

I met Anne at the Red Saturday (BAA) event last year. She worked on a piece, and  set it down to dry. A child subsequently stepped on it, and for her, a “no big deal”.  She also sold a piece out of the parking lot later.

She will have this and another piece at Sole City this month. This group show will consist of work of mine, Anne Vaughan, Ruth Ann Bleau, Bill Moore, Beth Wittenberg, Christy Bruna, Erika Carty, Jim Munro and others. I will be hanging this show and pulling my own tomorrow afternoon.


Art at the Rochester Public Library, Rochester, NH for the rest of January, 2015

This whole corridor of southeastern Maine and New Hampshire, including the Berwicks, York and Kittery in Maine, and Dover, Somersworth, Rollinsford, and Rochester in New Hampshire have literally come alive since I moved back to the area in 2005. I have become very involved in two of the art associations, and the I am Show Coordinator for one, as well as on the curatorial board of the Rochester Museum of Fine Art.

The area has not kept up with gallery creation, and the economy still doesn’t support that kind of a venture without a “safety net”, but there are many great supportive venues like the libraries in the area.

I have shown five times at the Rochester Library in the new wing, where Peggy Trout arranges monthly shows with local artists and art groups. The old wing, or the Carnegie wing, displays some of the permanent collection of the Rochester Museum of Fine Art on the main floor. The Carnegie Gallery on the 2nd floor, is where the rotating and borrowed exhibits are hung.

Beth Wittenberg is on display on the main floor. Beth is a very active member of the Berwick Art Association and also a member of Blackbird Studio and Gallery, so we have shared lots of walls together. Beth and I also share a very special connection with art-making, where it seems neither of us have to rely on a muse, inspiration or even a good cup of coffee to need to make art.

works at the Rochester Public Library,(c)Beth Wittenberg

works at the Rochester Public Library,(c)Beth Wittenberg

What I love about Beth’s work is there is always more than meets the eye. In these pieces from 2013 and 2014,  she works very splattered and loose watercolor abstracts into pen-ink fantasy characters, that have color. As an abstract painter, I get lost in looking at the paint below the ink, and then float back to the finished work, appreciating it on multiple levels.

Upstairs, in the Carnegie Gallery are a collection of Dawn Boyer’s oils. Until I brush on my critiquing skills, I will respond as I have to Beth’s-as it relates to my work. Though she is responding to florals, I am looking beyond that again at paint and color. The brush work is solid and experienced. There isn’t hesitation. Nor, is there any immaturity in the palette-it is also self-assured.

Carnegie Gallery, (c) Dawn Boyer

Carnegie Gallery, Rochester Museum of Fine Art, (c) Dawn Boyer

Both of these shows will be up through the end of the month.

And, I will probably need to expand the corridor as I described it because I have been invited to show at the Gafney Library in Sanbornville, New Hampshire next month. Another 20 miles north of here.



Eventually, it all makes sense…

It’s been an interesting exploration of materials and sensibilities, but I think I am starting to hit the destination of this part of my artistic ramblings.

I’ll make some comments per piece:

Link (originally called Mettle), 2013. @Daryl-Ann Dartt Hurst. MM on canvas, 12" x 12"

“Link” (originally called “Mettle”), 2013. (c)Daryl-Ann Dartt Hurst. MM on canvas, 12″ x 12″

This is not 100% finished, but it made some very impressive leaps right out of my control today. I am finding that palette knife application is helping with some of the grit and spontaneity I want to show. Though I love working with the plaster, this is also more stable, and I will get enough of the desired surface. I expect to add more paint, copper foil and wire to this. This is one of the 14 pieces that will be part of the Seacoast Moderns collaboration piece that will be displayed during the “Mettle” show at the Kittery Art Association,September 19-October 13.

"Replanting", 2013. (c) Daryl-Ann Dartt Hurst,  MM on canvas panel, 9" x 12"

“Replanting”, 2013. (c) Daryl-Ann Dartt Hurst, MM on canvas panel, 9″ x 12″

I love that I don’t automatically discard “failures”. The photography on here originally buckled, but this has been sitting under other art for a few months, and nicely flattened out. I added a lot of paint today-and there will be more to come. This is part of the “Razing the Garden” series.

The next two pieces are part of the “Rural Contracts” series, but are referencing a very different part of rural peoples’ realities. Much more to be done on these!

"Reservations 1", 2013 (c) Daryl-Ann Dartt Hurst, MM on particle board, 18" x 14".

“Reservations 1″, 2013 (c) Daryl-Ann Dartt Hurst, MM on particle board, 18″ x 14”.

“Reservations 2”, 2013 (c)Daryl-Ann Dartt Hurst


Dancing Lilacs

"Dancing Lilacs", 2013. 10" x 10", framed and matted. Photo collage.

“Dancing Lilacs”, 2013. 10″ x 10″, framed and matted. Photo collage.

“Art in Bloom” at KAA

Since the show closes tomorrow, I will keep this brief and simple!

This was an open “themed” show, though an adherence to the theme, on a strict level, is not “enforced”. We also had area floral designers who matched their designs to chosen pieces.

Here are my contributions.

"Little Blue Truck", 2013, photo collage. 10"x 10", matted and framed.

“Little Blue Truck”, 2013, photo collage. 10″x 10″, matted and framed (on left).

"Unravel 2", 2013. Photo collage, 10" x 10", framed and matted.

“Unravel 2″, 2013. Photo collage, 10″ x 10”, framed and matted.

Two small pieces, both 10" x 10" photo collages were also part of the show. They are "Floral Fire" and "Dancing Lilacs", both from this year

Two small pieces, both 10″ x 10″ photo collages were also part of the show. They are “Floral Fire” and “Dancing Lilacs”, both from this year




The Slow Cool Waltz to Spring

It is such a gorgeous day-and it reminds me of the day that I was inspired to start cutting these photographs, almost a month ago.

There are parts of all of seasons in this piece, with the burst of color from fall as the bottom layer, the snow-encrusted oaks as the next (and main layer), and the rose “pieces” as the next two (alluding to the coming spring and summer). I was looking at the natural “lace” created as I cut into the oak. Since I used it twice, and inverted it, I was also able to get a greater play with the negative space

This piece is all photo collage with marker. Framed and matted, 16"x20"

“A Slow Cool Waltz to Spring” is all photo collage with marker. Framed and matted, 16″x20″.


This piece is presently on display at the Rochester Public Library, in Rochester, New Hanpshire.