About Mary
Baltimore County
In the last year, I have been painting around Monkton near the small horse farm where my husband and I and other assorted animals live . My paintings are smaller and brighter than they used to be. I have also been making small reduction block prints, printed by hand instead of with the big press I used to use. At Manor Mill, the neighborhood community art center and gallery, I have had the pleasure of teaching other people how to make these block prints; the results have been astonishing!
Jump to a project:
Soft Ground Color Etchings
Soft ground color etchings with aquatint, lithograph & colors added with chine collé
-
Springeesesoft ground with chine collé, 11" x 12", 2016
-
Jungle Boylithograph & soft ground etching with chine collé, 11" x 14", 2016
-
Running Horses IIetching with soft ground & chine collé, 8" x 12", 2016
-
Mattapoisettsoft ground etching with aquatint & chine collé, 10 1/2" x 16", 2016
-
Coatuesoft ground etching with chine collé, 12" x 18", 2016
-
River Weddingsoftground etching with chine collé, 12" x 18", 2016
-
Moving Bearetching with aquatint & chine collé, 5" x 7", 2016
-
Three Deercolograph and soft ground & intaglio etching, 19" x 8 1:4", 2017
-
Barn Ballsoft ground etching with chine collé, 11 5/8" x 12", 2017
-
Damsoft ground etching with aquatint & chine collé, 12" x 18", 2014
Along the coast in southwestern Nova Scotia
In the late summer, I paint along the southwest coast of Nova Scotia. The air can be cool and vaporous when rain or fog are on the way, while at other times, above and below you see the bluest of blues.
-
Ocean Barrieroil on linen, 10" x 12", 2014
-
Estuary Fogoil on linen, 14" x 18", 2013--15
-
Coffinoil on linen, 10" x 12", 2015
-
Horse Head, Beach Meadowsoil on linen, 14" x 18", 2015
-
Little Port l'HébertOil on linen, 9" x 12", 2016
-
Gull RockOil on linen panel, 10" x 12", 2018
-
Blue IslandOil on linen panel, 10" x 12", 2018
-
House on the RocksOil on linen panel, 10" x12", 2018
-
Jones HarborOil on linen, 8" x 10", 2018
-
Outcrop Rock, Johnstons BeachOil on linen panel, 10" x 12", 2019
Summer Pond Series, 2017
Reflections with exceptional geese on a nearby pond
Harford County Paintings 2017
Small & very small landscapes with buildings, fields, sunflowers, ponds
-
Harmony ChurchOil on linen panel, 10" x 12", 2017
-
Road Around AlfalfaOil on linen, 9" x 17", 2017
-
Ruff's Choice BarnOil on canvas, 4" x 6", 2017
-
Ruff's Pond.jpgOil on canvas, 4" x 6", 2017
-
Woolsey Barn.jpgOil on linen panel, 9" x 12", 2017
-
Allée d'Or, Foxfire Farm.jpgBest.jpgAllée d'Or, Foxfire Farm, oil on linen, 9" x 17", 2016
-
Broom's BloomOil on canvas, 5" x 7", 2017
-
Fire Pond, Marylea FarmOil on linen, 8" x 10", 2017
-
Goldenrod, Ober FarmOil on linen, 12" x 12", 2017
-
Solar Shed, Broom's BloomOil on linen, 5" x 5", 2017
Glimpses of Maryland
I wanted to paint these landscapes in a different way, not so much with a brush, but with scraps of card board, rags and palette knives. I liked being able to wipe thick colors over the surface and scrape or scratch it to suggest details like trunks and foliage and sticking-up blades of grass.
-
Summer II.jpgOil on linen panel, 10" x 12", 2018
-
Summer.jpgOil on linen, 10" x 12", 2018
-
Summer Dusk.jpgOil on linen panel, 10" x 12", 2018
-
Blue Hill.jpgOil on linen, 12" x 12", 2018
-
Summer TreelineOil on linen, 12" x 12", 2018
-
Gallop FieldOil on linen, 16" x 16", 2019
-
Summer TreelineOil on linen, 12" x 12", 2018
-
ZelkoviasOil on linen, 16" x 20", 2018
Nova Scotia Coastline 2018
In many of the Nova Scotia paintings I did this summer, I continued to work with a piece of cardbord to make the most of the rougher texture on the linen panels. I enjoyed the way the fabric's tooth broke up the painted surface, and I ended up letting this effect be as interesting as any representational detail that was needed to suggest an image. My paintings on regular stretched canvas look quite different.
Collagraphs 2018
These images are made on a cardboard plate with wallpaper and other textured papers, sand, glue, and china silk, and then sealed with matte medium or shellac--the less shellac, the more porous and the darker the area, as it holds more ink. The plates can be reworked, either by removing unwanted areas or adding new pieces of material. The plate itself can be incised or scratched; parts can be made smoother by adding layers of matte medium. I like the clumsiness of collagraphs, the torn edges, their sculptural quality, and their unpredictability. They are difficult to ink up as the surfaces are so uneven and it takes awhile to get a feel for how they will print.
-
Starlit FenceCollagraph, 13" x 19", 2018
-
Nightime GrazeCollagraph, 2 plates, with Sand, 17" x 23", 2018
-
Winter ApparitionCollagraph with Sand, 17" x 18", 2018
-
Red Bud, February--Nova ScotiaRed Bud, February-Nova Scotia, 18 1/2" x 23", 2018
-
Red Bud, October--EssexCollagraph, 18 1/2", 2018
-
Red Bud, August--SouthamptonCollagraph, 18 1/2" x 23", 2018
-
Red Bud, April--MonktonCollagraph, 18 1/2" x 23", 2018
-
Red Bud, July--BrittanyCollagraph, 18 1/2" x 23", 2018
-
Black & Blue Birds.jpgCollagraph, 11" x 14", 2017
-
Black & Blue BirdsCollagraph, 11" x 14", 2017