Contemporary Petroglyphs

Here is a curated collection of my recent ceramic creations, each paired with its intricate petroglyph, all hailing from the serene shores of Phippsburg, Maine. As I have carefully cataloged these tiles, a deep and newfound appreciation has blossomed within me—one that celebrates the myriad forms and finishes they take on, the rich impressions left by the boulders, and the boundless possibilities they offer. Each piece tells a story, a testament to the quiet beauty and infinite potential that lies in the delicate dance between clay, carving, and time.

   

This Maine Craft Weekend, I had the joy of sharing a project that’s close to my heart, thanks to the support of the Maine Craft Association. I showcased ceramic tiles crafted from molds of the petroglyphs in Maine. It was satisfying to be able to look at the tiles next to the carvings, as I imagine it will be for you as well.

And my personal favorite of course….

More to come and figuring out places to set up shop and sell the tiles.

Thanks to the Maine Craft Association, this weekend became more than just a showcase—it was a true community celebration. I’m deeply grateful for everyone who joined me in honoring these petroglyphs and discovering new ways to celebrate our creative heritage. Here’s to more projects that bring history to life and art to the people!

In Rockaway there is a second rock I have yet to discuss in the blog streams. It is sponsored by RISE Rockaway. It was commissioned to honor a neighborhood resident Barbara Hillary, an arctic explorer who was the first Black woman to reach the North Pole.  Later she also explored the South Pole.

The rock depicts Barbara Hillary and some of her arctic companions, creating a 360 impression of the poles. Her story is an inspiring one as she is a person who achieved a lot during her life, not only in terms of her explorations but she was also a nurse, publisher, and twice cancer survivor. She was a completely unstoppable woman and her likeness is preserved on this rock forever, along with her inspiring polar bear photography.

As artists, there are some pieces we create that feel deeply personal, almost too intimate to share with the world. These works may hold emotions, memories, or thoughts we’d rather keep to ourselves. Yet, sharing these vulnerable pieces can be incredibly rewarding.

When we share the art we want to hold back, it invites connection. Viewers may resonate with the piece in ways we never anticipated, seeing their own stories or emotions reflected in the work. This creates a shared experience, turning something deeply personal into something universal.

Moreover, sharing what feels private often sparks growth. It challenges us to step outside our comfort zones, encouraging us to trust others with our inner world. This openness can lead to fresh insights, new collaborations, and feedback that enriches both the art and the artist.

Therefore I’m sharing these carvings I often keep to myself. Deep in the forrest in Maine I’ve done a series of circle carvings, an expression that is deeply personal to me and is something I’ve been carving alongside more digestible designs for years.

A carving I finished in Phippsburg features NASA’s Ingenuity Mars Helicopter. The piece has sparked debate within the art and environmental communities, as a lot of my pieces have. There is a debate to be had about whether nature is to be left alone, although the work that I do works to memorialize the surrounding areas of the rocks on which I carve. Although, this specific artwork depicts Ingenuity exploring Mars, which raises similar questions about human disruption of natural landscapes—even beyond Earth.

Critics argue that the helicopter’s presence symbolizes humanity’s growing tendency to interfere with untouched environments, even on distant planets. Supporters, however, see the art as a celebration of human innovation and exploration. The clash of viewpoints has made the piece a focal point for discussions on technology’s impact on nature, highlighting how even artistic representations of space exploration can evoke broader concerns about environmental ethics.

In a recent email correspondence this question of nature’s sacredness was brought to my attention, which made me reflect as such:

The issue of art being sacred has been important since the call to adventure in my teens. Some art that remains important to me are austere early Renaissance paintings of hermits in the wilderness, like Giotto’s St. Francis’ sermon to the birds.  Like those hermits, my practice finds me alone for long stretches in the wilderness searching for something awesome to reflect in the work.

Making archetypal permanent work comes with responsibility to make something sacred.  What is the function of sacred objects?  If we inhabit Elliott’s Wasteland, where nothing makes sense and we share no common ideology or understanding, how does one create a shared sacred experience? Sacred work has two jobs: provide us with something with which we identify to give context to our experience, and reminding us that life is awesome. Awe comes when we set aside the need to make sense of our experience and be present in the moment.

In realism, my approach is to reflect images with which a contemporary viewer might identify, and which may serve to identify our moment to some future viewer in an un-coded language.   With the non-objective work, the circles, my goal is to highlight that life is beyond understanding, and that is where awe happens. Drawing attention to the feeling of being alive invites a viewer to be in the moment and experience the awe of both nature and culture.

In Rockaway, I recently completed a Penguin Petroglyph, drawing inspiration from the evocative photography of Terry Laws. Collaborating with photographers who share my values—those who capture nature in its truest, most unfiltered form—is profoundly rewarding. These shared moments of creativity become a tribute to remembrance, honoring the enduring beauty and resilience of the natural world.

New Project in Hallowell, Maine: Carving a Petroglyph Treasure Hunt!

This October, I kicked off an exciting commission in Hallowell, Maine, designing a series of petroglyphs to be discovered throughout the town’s green spaces—each one a hidden gem in a unique “treasure hunt” style. The first carvings, featuring three Chimney Swifts (image courtesy of Andrew Aldrich), have already taken their place at Vaughn Field.

Thanks to the support of Hallowell’s Arts & Cultural Committee and the unstoppable Deb Fahy, I’ve connected with an inspiring community here, and I couldn’t be more grateful.

Hallowell boasts an incredible mural by “mural master” Chris Cart, capturing the town’s rich history in vivid detail. His work is fascinating, and sharing the art scene alongside him makes Hallowell feel like a truly unique community. Chris lived next to one of the Phippsburg Petroglyphs and serves on the Arts & Culture Committee—just another layer to this town’s deep artistic roots!

The journey continues in April with more carving and an Earth Day printmaking workshop. Can’t wait to bring more of these works to life!

Coming directly from a mold taken from this carving in Phippsburg throughout 2024 I’ve been experimenting with ceramic reliefs.

To enhance the visual appeal, I experimented with various glazing and pigmentation techniques. Using earthy tones reminiscent of the bird’s habitat, and sometimes tones that completely contrast nature, I applied layers of glaze, allowing some areas to reveal the raw clay beneath. This created a beautiful contrast and added depth to each tile.

ID: 1220

ID: 1229

ID: 1231

ID: 1234

ID: 1309

ID: 1312

ID: 1325

If these tiles spark your interest feel free to reach out: contactpetroglyphist@gmail.com. Tiles start at $275.