Maine: The coast of Main provided me my first introduction to a raw and exposed landscape caused by the wind, sea, and glacial activity. The rock formations along the coast are like nothing we have in Pennsylvania, and I was initially drawn to their linear color rhythms and dramatic light and shadow patterns. Taking the cue from artistic giants such as Wnslow Homer and Rockwell Kent, I simplify these shapes and forms so that the full impact of the relationship among the land, sea, and sky is not overburdened by much else.

Utah: It’s been only recently that I’ve created images from snowy Park City, Utah. Visually, everything is different in this part of the country than what I am accustomed to. The abundant snow and winter colors create a limited palette that I enjoy working with; whites made from purples, blues and cool greens are surrounded by the warm neutrals of bare trees and limited greenery. Park City’s high elevations create a constant threat of snow and, for me, that atmospheric instability is akin to an ever-evolving theatrical show. While in Park City, I make an effort to look skyward to catch the next performance.

Donna Neithammer Cusano

Maine: I have only ever painted during the summer in Main so I cannot claim to have braved anything other than it’s most inviting weather conditions. I do, however, have bragging rights to some precarious positions atop the coastal crags and within the dramatic tides.

Utah: My limited threshold for the cold forced me to create these paintings in my hotel room. Over the years, there have been many occasions where I have had to work from photos because of logistical concerns. However, because of my experience as plein air painter and the knowledge I now have of nature and light, I have become quite proficient in improving upon a photograph’s limitations.