Paul Bowen, who grew up in a seaside town in Wales, lived and worked near the waterfront in Provincetown on Cape Cod for 30 years. He has always been interested in material with a history—wood he has scavenged that was once part of ships, houses, salt works, barrels, cable drums, or crates. He has also worked with ships' flags, tar, canvas, rope and other marine detritus. His drawings and prints derive their imagery from his environment and he has created his own inks from squid, Xerox toner and walnuts.
His small-scale sculptures, constructed from wood fragments, use limited means such as stacking, piling, and simple carpentry and often appear to float across or torque away from the surface of the wall. He also builds large-scale sculptures, primarily commissioned for private homes and museums, with massive timbers, like those culled from old beer vats and other salvaged sources.
Since moving to Vermont with his wife, many of his drawings merge images of covered bridges with wharfs, reflecting his new environment as well as that of the Cape. His new sculptures combine sea-worn wood he has gathered from Provincetown's beaches with wood from the Wilder Dam in New Hampshire (sometimes chewed by beavers or stained with iron that has leached from surrounding rocks).
Bowen has been a recipient of fellowships from the Esther and Adolph Gottlieb Foundation, the Pollock-Krasner Foundation, and the Artist's Resource Trust.
Stacy Caldwell lives and paints in Lancaster County, Pennsylvania, where she inherited a love of the fields, hills, rivers, and streams from generations of Mennonite farmers. The journey into painting began while working at a local university where she spent evenings studying painting, drawing, and art history.
In 2018 a three-week residency in an historic dune shack on the Outer Cape of Massachusetts became an especially transformative experience. In 2020, five months of pandemic isolation correlating with the mentorship of E.M. Saniga had an important impact in her development as an artist.
In 2021, inspired by the journal drawings of François Dupuis, Stacy committed to her own daily practice using charcoal in a Moleskine journal and drawing from surprise encounters, memories, and the fleeting images of daily life.
Stephen W. Evans is an artist simultaneously preoccupied with the absurd and the existential. Evans’ paintings are amalgamations of sources gathered from art history, literature, cinema, and invented imagery, all favoring the atmospheric, as well as a benign sense of danger. His work is at once pastoral and psychological, like a scene from The Twilight Zone, culminating in self-reflection, and effectively serving as a form of exorcism. Evans was born and raised in the Philadelphia area of Pennsylvania, where he received a BFA in painting and drawing from the University of the Arts in 2010, and in 2017, he received an MFA in painting and drawing from the University of Iowa in Iowa City, Iowa. Evans currently resides in Birmingham, Alabama with his wife, Lauren Frances Evans, and their two daughters, Agnes and Edie, and is a preparator and art handler for the Birmingham Museum of Art.