B.F.A. 1990, California College of the Arts, Individualized Major in Painting, Printmaking and Photography
M.F.A. 1993, Savannah College of Art and Design, Painting.
Maine Artist of the Year, 2014 TOSCA, Theatre, Opera, Shakespeare, and Art in the twin cities Magazine.
Artist’s Grant and Residency, Vermont Studio Center, May, 2008, 2001 & June 2000.
Competitive Grant-In-Aid, for research, Georgetown University Graduate School of Arts and Sciences, Spring, 2001.
Juried Artist Registry, Maine Arts Commission, State of Maine, 1999-present.
Juried Selection Award, 21st Annual Open Juried Competition, Artworks Gallery, Hartford, CT. Juried by Janice LaMotta, director of Paessagio Gallery.
Merit Award, PAPERWORKS 97, a national exhibition juried by Nancy Hall Duncan, Curator of the Bruce Museum in Greenwich, CT.
First Place Award, 37th Members Juried Anniversary Show, Canton Artist’s Guild. Juried by Judith McElhone.
First Prize Award, 20th Annual juried competition, Artworks Gallery, Hartford, CT. Juried by Daphne Anderson Deeds: Senior Curator, Yale.
Outstanding Graduate Student, awarded in recognition of demonstrated excellence by Savannah College of Art and Design, May 1993.
Study Abroad Scholarship, awarded for graduate study in contemporary issues in Cologne, Germany, by Savannah College of Art and Design. 1992.
Malcolm Curtis Propes Fellowship, awarded for graduate study by the Board of Trustees of SCAD in recognition of an outstanding portfolio. 1991.
Art In Embassies Program, U.S. State Department, U.S. Ambassador to Lithuania, Anne Hall chose, "Marsh at Gooserocks" for her offices. 2016-present, catalog.
Flat Files, Pierogi 2000, Brooklyn, New York Spring 2008-present
Viewing Program, The Drawing Center, New York, New York, 2005-present
Corporate Program Lending Artist, DeCordova Museum, Lincoln, MA 2007-present
The Phoenix, Boston, "The Existential Artist", by Mariah Bergeron, June 11, 2014.
Maine Home & Design, "The Canvas", by Britta Konau, September, 2013.
Maine Home & Design, "Double Feature", by Britta Konau, April, 2013.
Sea Coast Hippo, Arts: “Capturing Maine’s Landscape on Canvas”, feature by Emelia Attridge, August 30, 2012.
Experience Magazine, “Landscapes Beyond Lighthouses”, feature by Catherine Shane, 2012-2013.
Maine Sunday Telegram, “Contrasting Styles Happily Converge At Elizabeth Moss”, review by Daniel Kany, February 19, 2012.
Maine Sunday Telegram, “Harlow Exhibit Explores: What Is Drawing?” review by Bob Keys, June 5, 2011.
Maine Sunday Telegram, "Galleries' Gifts to Mainers", review by Daniel Kany, December 13, 2012.
Portland Press Herald, “Biennial Anything But Run Of The Mill”, review by Daniel Kany, June 6, 2010.
Studio Visit, Volume 8, Juried Selection of International Artists, Open Studios Press, Spring, 2010.
The Bangor Daily News, "Two Shows at CMCA Aim to Engage Viewers", review by Jessica Bloch, May, 5th, 2009.
The Portland Phoenix, "Easy on The Eyes", review by Ken Greenleaf, pg.13. Feburary 27th, 2009.
Nor'easter News, "The Funnies", by Katie Dunbar, pg. 11. February 4, 2009.
Portland Museum of Art 2005 Biennial Exhibition Catalog, pg.53.
The Southern Maine Review, Volume I, Spring 2005, A Journal of Scholarship and Creative Expression, pgs. 305-313.
Tattoo Highway: a journal of prose, poetry & art published online, http://www.tattoohighway.org, TH8, Spring, 2004 & TH9, Fall, 2004.
Words & Images, 2004 edition of University of Southern Maine’s national literary and artistic creativity publication.
Maine Sunday Telegram, “Drawn to Drawings by a sparkling Show”, review by Philip Isaacson, January 19, 2003.
Seven Days Weekly, “Layered Look”, review by Marc Awodey, Aug. 22, 2001.
Impact Weekly, “Dramatic Contrast”, review by Jud Yalkut, July 5-11, 2001.
Dayton Daily News, “Sinclair Boasts Works of 4 Artists”, Grace Cheng, June 24, 2001.
Seven Days Weekly, “Holy Trinity”, review by Marc Awodey, April 7, 1999.
Words & Images, 1999 edition of Maine’s compendium of literary and visual creativity produced by University of Southern Maine.
The News-Times, “Weekend”, review in Friday, June 13, 1997. Pg. C1., Ridgefield, CT.
Worcester Phoenix, “One World”, review by Leon Nigrosh, August 9,1996, pg. 13. Worcester, MA.
Keene Sentinel, “Showing a Faculty For Art”, review by Alice Fuld, April 4, 1996, pg. 4. Keene, NH.
Deepening Concerns & New Impulses, color catalog for juried group exhibition at America Haus, Cologne, Germany. December 1992. Forward essays in German and English by Robert Stefanotti, Dr. Judith Van Baron, Dr. Lesa Mason, and Friedhelm Mennekes.
College of Southern Maryland
Colby Museum of Art
California College of Arts and Crafts, Myer Library
Savannah College of Art & Design
University of Maine at Augusta, one year appointment, Painting, 2005-2006
Georgetown University, Painting, 1999-2002
Colby College, Foundations in Art, Photography, 1998-1999
University of New England, Painting, Drawing, 2-D Design, 2002-2011
University of Southern Maine, Drawing, 2-D Design, 2003-2010
University of Maine, Augusta, Painting, Drawing, 2003-2004
Eastern Connecticut State University, Drawing, Art Appreciation, 1997-1998
University of Connecticut, Storrs, Ct, Drawing, 1997
Keene State College, 2-D Design, Drawing, Painting, 1995-1997
As a child I spent countless hours at the beach digging deep holes in the sand desperate to reach China by nightfall. Groups of unsupervised kids played Tag and Capture the Flag in the street. Polliwogs in mayonnaise jars were kept hostage at my bedside until they sprouted legs. Under impossibly tall oak trees, mysterious moss and lichen-covered mounds blanketed the backyard and made nice tables to serve mud pie. These places from childhood inform my palette and the surface of my paintings.
I am fortunate to live in a part of the country that is so picturesque, and I am constantly aware of the natural beauty of Maine when I step out my door every morning. The Maine coast and the tidal marshes nearby inspire the landscapes in this gallery. I hope to evoke the feeling of being present in the landscape by concentrating on communicating the quality of light and color, the feel of the breeze and vastness of space. I often work from memory and intuition to convey atmospheric perspective and timelessness in nature.
I have no preconceived notions of the final product and often begin an image with one idea and by the end a new subject or theme emerges. A painting can be a record of a certain period that grows out of the process of searching and questioning, obscuring, and revealing. With subsequent layers exposed, then covered, the passage of time becomes evident in the work. Ultimately, forms are manipulated and distorted at the expense of visual order. An effort is made at finding the truth by developing the places in a painting that are authentic.