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On View All the Great Trees




October 2019 - July 2020



All the Great Trees is Creative Portland's fifth juried exhibition. The show recognizes the wonders of nature and is a tribute to all the great trees in our lives, through both literal and abstract interpretations. Nineteen emerging and professional artists from the Greater Portland Region are exhibited. Due to Covid-19, the exhibition is only available online at this time. All artwork is for sale.
Please contact or call 207-370-4794 for inquiries. 



C.E. Morse, Sumac and Snow, photograph, 34" x 23"



C E Morse was born in Camden, Maine. He received his BFA in Photography from Rhode Island School of Design where he studied with Aaron Siskind. He further honed his craft through studies at Maine Photo Workshops and Maine College of Art. He lives in Cumberland Center, Maine, but has exhibited and won awards internationally, and he travels the globe in search of wild art. 
“While one thinks of large trees as being great, the sumac with its smaller stature can cover great expanses. In the summer, its tropical-like canopy provides shade; in the fall, its leaves turn brilliant yellows & reds, and in the winter, its spires stab the sky and provide a truly striking image, especially when shrouded with snow.” 
Clara Cohan, Twists & Turns, digital print on aluminum, 30" x 40"


Clara Cohan says that as a child, she had the energy of a wildcat, the mind of an inventor, the determination of a gentle mountain stream on its way to the ocean, and a heart as vast as the universe. She has used these traits, to the fullest of her abilities, to explore and participate in the world and finds that magic happens when she explores the everyday with the camera lens.
“The internal twists and turns of this Red Cedar Juniper is a testimony to its strength and fluidity in the face of decades of elemental forceful ocean winds.” 

Raj Saha, Treehouse, Marker on Board, 39" x 31"


Raj Saha is a scientist and educator by profession. He studies Earth systems and human systems and builds mathematical models to understand how they work. He sees art, and drawing in particular, a different but parallel path towards exploring those same complexities and connections that exist in the world around us and including us.
“The great trees fill all the spaces we inhabit, above and below us.”

Jeffery Stevenson, Spruce Boneyard, Monhegan Island, giclée pigment print, 37" x 26"


Photography, the language of light, for more than fifty years continues to be Jeffrey Stevensen’s vocation and passion. Holding a BS photojournalism degree from Syracuse University, his assignment work has taken him throughout the United States and abroad. He specializes in location photography of people, architecture, technology, and the natural world.
“The spruce tree is ubiquitous throughout Maine, and this copse embodies the delicate cycle of life and death shaped by the wind from the ocean.” 
Ramune Bulmer, Eerie, acrylic on canvas, 40" x 30"




Ramune Bulmer is heavily influenced by her Lithuanian roots, Maine, nature, and the supernatural. She believes nature is magic and holds everything we need, and when she paints she is able to uncover the connection between the divine and the physical. Bulmer uses painting to explore all possibilities and to heal both herself and others, as well as to slow down, to remind herself she is part of nature and one with everything. 
“Birch trees have a unique quality of looking young yet carrying ancient wisdom. They hold an important role in folklore, mainly because of their combination of usefulness and eeriness. The birch tree offers us a range of uses, from the practical in baskets, binding material, and paper, to the ethereal in magic for protection. Most importantly, it is used for healing - for pains, infections, eczema, and even lack of vitamin C. How is birch not the GREAT TREE?”

Kat Miller, Girls In The Willow, archival inkjet print, 33" x 27"


Kat Miller is a photographer from Portland, ME, working with a 4x5 camera and color film. She explores the disruption of innocence that occurs when young girls enter a ritualistic realm and the spiritual gain that coincides with entering womanhood. Miller received her Bachelor of Fine Arts from the Maine College of Art in the spring of 2019 and has shown locally as well as internationally.
“This body of work stems from an obsession with girlhood, a dark and sometimes unnerving attachment with remaining youthful and innocent while knowing I am no longer the girl I use to be. These photographs, including ‘Girls in the Willow,’ are documents of the divine spaces I have discovered while becoming a woman.” 
Dave Wade, Garden of Delights, archival pigment print, 32" x 26"


Dave Wade is an award winning photographer who, before moving to Maine in 1997, spent over 12 years living in Asia photographing for various business and travel magazines. 
“My goal as an artist is to free the psyche and re-invent the dream. I want my photographs to inspire and communicate a fresh sense of wonder.”

Martha Mickles, Menora Tree, silver gelatin photograph, 31" x 27" 




With a BA (English) from Colby College and an MFA (Photography) from the University of Southern Maine, Martha has had a long and varied career in photojournalism and freelance work for various clients. Now retired, she spends the majority of her time on personal projects and retains one professional client, Opera Maine, because of her passion for the medium.
“The Menora Tree withstood the ravages of the October 2019 gale and stands whole and proud in Deering Oaks, Portland, Maine; she is truly the mother of “All The Great Trees.”
Arthur Fink, Auschwitz #3652, archival inkjet pigment print,  32" x 24"


Arthur Fink is a Peaks Island-based artist who has run commercial photography businesses in Portland, Maine, and Wilton, New Hampshire. He has taught photography classes at the Sharon (NH) Arts Center, and at the University of Southern Maine extension program, and has work in the permanent collection of the Portland Museum of Art. 
“These trees grew up in the killing fields of Auschwitz, and keep the legacy of that place alive. That is their greatness. They stand alongside some of the concrete fence posts, once strung with electric wire, that kept prisoners inside until death.” 

Mary Anne Cary, Through the Trees III, oil on canvas, 31" x 31"



A former graphic artist, Mary Anne Cary now concentrates on the fine art of painting. Her history as an artist has gone through many phases and experimentation with many mediums, with a recent focus on oils. She particularly enjoys painting landscapes and is constantly inspired by the coast of Maine, but she finds it fascinating to work abstractly as well. 

“I love the play of light and shadows I observe in nature, with the changing reflections, forms and shapes made by trees. I love to combine geometric and organic with layers of color as well as using paint to convey movement and drama.”

Judith Long, Les Feuilles d’Automne, monotype with chine collé and Mylar overlay, 33" x 27"


A member of the Brunswick community since 1968, Judith Long began studying art after retirement from management positions in several non-profit and private sector businesses. In 2003 she enrolled in a drawing course at Maine College of Art, realizing a lifelong goal to learn to draw. She subsequently explored a variety of mediums, finally focusing primarily on the creation of fine art prints.
“Leaves collected in the park near my son’s home in Cumbaya, Ecuador, and the profile of a grand tree in my side yard in Maine are the ingredients for this homage to the magic moment when autumn winds strip brilliant color from our great deciduous trees, leaving skeleton trunks and branches to receive the first sticking snow of winter.”

Judith Allen-Efstathiou, Daicey Pond Pines / Rockland Birch Trees / Prouts Neck Pines, paper lithograph on mulberry paper, 17" x 45" each 

$950 each / $2380 set

After graduating from Boston Museum School and Tufts, Judith Allen-Efstathiou was awarded a traveling fellowship by the Museum of Fine Arts, Boston, for one year of international travel that led her to a three-decade stay in Athens, Greece, until she returned to Maine and started her six-months-in-Portland-six-months-in-Athens life. Her artwork is informed by the negotiation between these two vastly different worlds. She exhibits her work in both Europe and the United State and recently she was awarded three commissions using vintage copper from the Maine State House dome that were removed in reroofing. The three prints in All The Great Trees are designs for three of the six panels that she will acid cut into the vintage copper for one of the commissions.
“These three prints celebrate the natural beauty of the Maine woods, bringing images of some of the great trees into interior spaces as reminders of the importance of being stewards of our forests.”

Maggie Nelson, All the trees / Of the field, monotypes, 34" x 26"

$400 each / $700 set

Maggie Nelson is a printmaker based in Portland, Maine. For her, making prints is like writing a love letter to the land and community she’s bound up in. It’s just one more way to bow her head in reverence to the magic she finds in co-creating home and in belonging to a place. 
“A row of white pines stand along the edge of a summer camp’s field by the road, holding the games and grass and shouts and years in a great container, fingers outstretched, embracing. O trees, what do you know?”

Charlotte Duncan, Touching Trees I, digital photograph, 24" x 36" 


Charlotte Duncan is a Maine native with a Bachelor of Fine Art in Photography from Maryland Institute College of Art. After college, Duncan moved back to Maine, and is exploring a career in emergency medicine and fire science. Working in a field where she faces the fragile line between life and death, Duncan strives to connect her photographic work to the idea of impermanence through found and created shadows.
“Life and death have become my only connection to the natural world. I look to touch trees, but find myself unable.”

Kailyn Cook, Northern Loop, oil on canvas, 41" x 31"  


Born and raised in Maine, Kaylin Cook is an emerging artist who views and experiences the natural landscape of her home state with a sense of empathy, curiosity, and familiarity. Her work reflects her interest in realism and a fascination with the unseen details and "hidden gems" of the Maine landscape she grew up within. 
“Bradbury Mountain is small yet impressive with six connected hiking trails and a scenic view at the summit. ‘Northern Loop’ was inspired not only by the trails of Bradbury but also the dense trees found on this little mountain: Pine, Hemlock, Beech and Sugar Maple, among many others.”
Jan Pieter v. Voorst v. Beest, Rainforest, archival pigment print, 30" x 36"


A Pownal, Maine, resident for over 30 years, Jan Pieter van Voorst van Beest studied photography at the Portland School of Art and at the Maine Photographic Workshops. Significant portions of his work can be classified as street/documentary and portrait photography. His work has been exhibited nationally and internationally. 
“Inquiry into the natural forms around us provides a welcome relief from the hustle and bustle of street photography. Photographing nature provides me with the energy to then return to documentary and street subjects.”


Dara Jarrendt, Cathedral Woods, charcoal, 24" x 30" 


Dara Jarrendt is a multi-disciplinary visual artist working in 2D media and sculptural forms. Her works investigate both the connections and emotional resonances of human interaction as well as formal experimentation in geometric patterns and optical illusion. Through these disparate paths, Dara is able to create a breadth of form and mood in a variety of artistic traditions. 
“Cathedral Woods shows the mood at dusk, deep in the forest, as the path disappears.”

Jim Flahaven, Swamp Magnolia, acryclic on canvas, 26" x 37" 


Jim Flahaven of South Portland grew up in South Dakota, Kansas, and Texas. He received his BFA in Painting and Drawing from the University of North Texas and his MFA in Painting and Drawing from Ohio State University. He teaches drawing and painting at the University of Southern Maine, Maine College of Art, and Southern Maine Community College. His current work is inspired by Elizabeth Murray, Terence LaNoue, and mid-century abstractionism. 
“My favorite way to break up the space of a canvas rectangle is to bisect it horizontally and vertically. Then a whole lot of paint smooshing and messing-around occurs. The result is an image, but of what exactly is something of a mystery: a human, a crucifix, a city intersection, or in this case a tree dropping leaves into a marsh. Hmmm. Or maybe it is just paint. Beautiful paint.” 

Michele McDonald, Memory of Trees, inkjet archival photograph, 32" x 24"


Michele McDonald is a visual artist who works with photography, collage, and assemblage. A photojournalist for over 25 years, she now works as the photo editor of the Portland Press Herald. She has exhibited work in Newton and Waltham, MA, Washington D.C., and Portland, ME. Michele has also served as a juror for Pictures of the Year International (POYi) and for the Pulitzer Prizes in Feature and News Photography.
“Since 2015 I’ve been thinking about the memory of trees – imagining their potential absence from the world because of climate change, and wondering if trees remain and we don’t, what will their memory be of us? ‘Blue,’ as Rebecca Solnit writes in A Field Guide to Getting Lost, ‘is the color of longing for the distances you never arrive in, for the blue world.’ My blue trees in the distance are signs for me. Great trees, every one.”