Art of Dining: Burke Residence featuring Chef Josh Berry of Union at the Press Hotel

Intimate dinners in exquisite private homes prepared by acclaimed chefs, featuring multiple courses and wines paired with each. Proceeds support Full Plates, Full Potential, Maine’s effort to eliminate child hunger in our state.

Talent

Josh Berry

Named by the Maine Restaurant Association as their 2017 “Chef of the Year”, Maine-native Josh Berry brings his love of his home state into every dish he creates. His ties to the community show in his cooking and use of local produce, seafood and more.  A local and critic favorite since opening, Chef Berry has brought a new style of creativity and innovation to the Portland food scene at UNION. He believes that being supplied by the best local farms allows you to enjoy ingredients at their peak of flavor. He partners with farms and producers across New England to ensure that when you dine at UNION you are truly getting a taste of the region’s finest ingredients.
 
Chef Berry’s extensive experience includes acclaimed restaurants across the country, most recently as Executive Chef at Forbes 4-star, Stowe Mountain Lodge in Stowe, VT.  He’s also led the culinary operations at The BALSAMS Grand Resort in NH, Internationally, Josh spent a year working at Hotel Austoria in Luzern, Switzerland, and further honed his culinary talents in Italy, before returning to Maine.

Julie Houck

As a contemporary landscape painter working in oils and encaustics, I aspire to convey not only the scene but also the moment and mood. The moment is fleeting but the painting allows us to live in that moment a bit longer, to linger, to reflect, to contemplate, to enjoy.

I am inspired by the interplay of light on the landscape, which is ever elusive and always changing. Painting softly allows me the opportunity to recreate that one particular special moment when the land, light and atmosphere seamlessly fuse.

Reflecting a serendipitous moment in time can be, however, a deceivingly slow and deliberate process. Both of the media I prefer, oils and encaustic, involve applying layers upon layers of paint. And even though encaustic, painting with hot pigment-colored wax, is known as an especially process-intensive medium, every layer spontaneously changes the piece, so it evolves over time with a life of its own. I find this element of working intriguing.

Simultaneously, my work in oils is highly influenced by my early classical training– particularly the study of light on form. Each landscape is painted in transparent layers with sometimes up to 40 layers of paint in order to recreate the subtle play of light on the landscape as well as to control the incremental changes in tonality.

As an artist, I approach each painting believing that it is not enough to paint the literal view. My goal is to also capture the essence of the landscape and hopefully connect you viscerally to that place and time.