Wilderness Painting and Drawing at Medawisla Lodge and Cabins

Wilderness Painting and Drawing at Medawisla Lodge and Cabins

In this Monson Arts workshop with Alan Bray, we will endeavor to burrow beneath "scenery" and discover the structures and forms that comprise the phenomena that we see or think we see in nature. Participants will be encouraged to gather information from the surroundings via collecting, sketches, notes, photos or by whatever means they prefer and then work with this evidence as raw material to build on. This workshop is open to any drawing or water base paint mediums, but you should be able to carry it on your back. There are no studios per se but there are tables and chairs and space to work.

One very exciting option that will be available is "the canoe as studio". Alan has spent many hundreds of hours with a neatly packed studio in a canoe or kayak free from the pestering bugs. This is of course weather dependent but if you are prepared for a little rain it can usually be done successfully. So, prepare for a wilderness experience in a very beautiful part of the North Woods.

One should have drawing supplies, some means of working in color, drawing and notepads and suitable paper for your medium. Some basic materials will be available as well.

Instructor: Alan Bray was born in Waterville, Maine, but he grew up in Monson, a small slate-quarrying town set in the northern reaches of the Appalachians. It was here, hiking and camping with liked-minded childhood friends, that he began to exercise his natural inquisitiveness as a tool for building woods-craft. Later, when Bray decided to study art formally, he enrolled in the Art Institute of Boston, where he first felt the appeal of image-making as a way of understanding the world. Three years of studio work revealed the need for a more traditional approach to the discipline of painting, one informed by the broader range of a liberal education, a revelation that prompted Bray to enroll at the University of Southern Maine, from which he graduated in 1971. While this education was in many ways a success - particularly in the way it engendered literacies in fields outside the fine arts - it was nevertheless incomplete: well-prepared now for the next leg of the journey, Bray traveled to Florence to study at Villa Schifanoia Graduate School of Fine Arts.