Maine’s most collectible artists from Art Collector Maine at the Gallery at the Grand.
Art Works Opening Reception featuring Eric Hopkins and Jane Dahmen
- Saturday, June 10th
- Saturday, June 10th
- 5 - 7 p.m.
- Gallery at the Grand - 1 Chase Hill Road, Kennebunk
- Get Tickets
With the eyes of an artist, the words of a poet, and the mind of a scientist, Eric Hopkins has engaged numerous people through his art and with his thoughts about life on this Big Blue Planet. He captures the dynamic forces and rhythms of nature in watercolors, oils, blown glass, mixed media, and photography. His vision focuses on the Big Picture of the natural world, geological and geographical forms, and the exchange of energy between Earth, Water, and Sky. From this intimate study of nature, Eric has developed a keen awareness of light, form, color, and pattern, which is reflected in all of his work.
“I was lucky enough to spend my early days on North Haven,” says Eric, “where my worldview consisted of roaming the woods, fields, shorelines and exploring the edges where land, water, and sky meet. I was drawn to shapes, spaces, patterns, and the rhythms of nature. I was and still am fascinated by the incredible variety of life forms and forces on this Planet.”
Eric is a graduate of Rhode Island School of Design and has taught at Haystack Mountain School of Crafts and Pilchuck Glass School. He has exhibited at the Farnsworth Art Museum, Portland Museum of Art, Center for Maine Contemporary Art, Waterfall Arts Center, University of Maine Museum of Art, and a number of galleries nationally.
Eric’s paintings and glass are held in many private and public collections, including the Farnsworth Art Museum, Portland Museum of Art, Bates College Museum of Art, University of Southern Maine, Corning Museum of Glass, Wustum Museum of Fine Arts, and the U.S. Department of State Art in Embassies: Bahamas, Mali, Pakistan, Philippines, and the West Indies. He is also represented in the corporate collections of Central Maine Power, L.L. Bean, Johnson Wax, Sanyo Securities, TD Bank, and Idexx Laboratories.5
My most recent landscape paintings are the result of my wanderings around the mid coast area of Maine for the past eight years. Walking in the woods on the mainland, on islands, and along the Damariscotta River near my home, I see paintings everywhere. The complexity of the woods is challenging.
The large scale format of many of my landscapes helps to create a space into which the viewer can enter. My ideas begin in the natural world, but once a work is underway, the paint itself on the flat surface takes on a life of its own. Two-dimentional aspects interest me and the views I choose have patterns that bring attention to the surface of the painting. I am creating a spacial environment, not necessarily of a particular place but of my reverence of a particular place. In fact, I am as interested in painting what’s out there as what’s in here, and in communicating my deep attraction to this mid coast Maine landscape where I live.
The still life paintings are inspired by my home surroundings. As in the landscapes, two-dimensional aspects interest me as much as the subject. I often favor a top down view in setting up my still lifes because it flattens the depth of the paintings and allows for an arrangement of items spread out across the picture plane. Space extends in every direction, and the eye moves from object to object, as opposed to a one or two-point perspective where the eye is drawn to a vanishing point somewhere within the scene.