Kathleen Galligan
"Like a moth drawn to light..."
Over the last decade I have transitioned away from pastels to oils. I don't know if this is a permanent or temporary shift. My professional career as a painter has been an exploration of light as perceived in the physical world. In my transition between pastels and oils, and between real or imagined landscapes, "my voice," which is an expression of light, remains constant. How I express this changes because I find each painting is a journey that propels me forward through the process of experimentation and investigation.
The subjects of my paintings lie mostly within the boundaries of traditional landscape, but those borders sometimes blur and at other times burst into abstractions.
Imagined unseen layers and threads, on either a micro or macro level of our gorgeous world serve as the inspiration. Making a successful painting out of such imagined spaces presents me with a new set of challenges which continue the forward motion of exploring uncharted waters. I love it!"
~Kathleen Galligan
Over the last decade I have transitioned away from pastels to oils. I don't know if this is a permanent or temporary shift. My professional career as a painter has been an exploration of light as perceived in the physical world. In my transition between pastels and oils, and between real or imagined landscapes, "my voice," which is an expression of light, remains constant. How I express this changes because I find each painting is a journey that propels me forward through the process of experimentation and investigation.
The subjects of my paintings lie mostly within the boundaries of traditional landscape, but those borders sometimes blur and at other times burst into abstractions.
Imagined unseen layers and threads, on either a micro or macro level of our gorgeous world serve as the inspiration. Making a successful painting out of such imagined spaces presents me with a new set of challenges which continue the forward motion of exploring uncharted waters. I love it!"
~Kathleen Galligan
Unique Bronze sculptures by Peter Dransfield. Stone sculpture by Mark Herrington.
"The Climbing Rock Near Dusk" oil on birch panel 13" x 15" $1,700
"Towards Monhegan Island" oil on birch panel 15" x 16" $1,800
"Watching From the Shore" oil on linen covered panel 12" x 16" $1,700
"Cliff Side, Before the Storm" oil on linen-covered panel 10" x 12" $1,200 sold
"Road Work Ahead" oil on linen covered panel 10" x 12" $1,200 sold
"Maine's Northern Lights" II oil on linen-covered panel 14" x 14" $1,600 (5/10/24) sold
"Maine's Northern Lights" I oil on linen-covered panel 14" x 14" $1,600 (5/10/24) sold
"Dancing with Waves" oil on birch panel 9" x 16" $1,400
A review of Kathleen's show Immersions by Maine art critic and historian Carl Little appears in the July/August 2018 issue of Art New England
Kathleen has been painting since the early 1980s and has exhibited her work in California, Philadelphia, New York, Maine and France. Originally trained and educated in the field of Illustration at Philadelphia College of Art (now University of the Arts), Kathleen chose to focus on painting, primarily working in the tactile and sensual medium of soft pastels. More recently she has increased her work in oils, using both landscape and abstracts as her subject.
Her work in pastels has garnered praise and media attention, the most recent of which was her inclusion in a French book, titled 40 Maitres du Pastel/les grandes maitres du pastel 2016.
She had been awarded a month long residency at the prestigious artists’ colony, YADDO in Saratoga Springs, NY, and two weeks at Acadia National Park, Bar Harbor, ME. The December issue of "Pastel Journal" features an eight-page article on Kathleen's work.
Her work in pastels has garnered praise and media attention, the most recent of which was her inclusion in a French book, titled 40 Maitres du Pastel/les grandes maitres du pastel 2016.
She had been awarded a month long residency at the prestigious artists’ colony, YADDO in Saratoga Springs, NY, and two weeks at Acadia National Park, Bar Harbor, ME. The December issue of "Pastel Journal" features an eight-page article on Kathleen's work.