Quarries are resilient, overgrown environments that impart a feeling of secret or intimate sanctuaries, and are reminiscent of monuments in scale and permanence. Maine shorelines share many of these characteristics and provide their own monument to geologic history. I am drawn to the edges of these structures, edges between solid and fluid, volume and surface, stillness and movement, and to the complex relationships between them.
Quarry Reflections 20, Sunset Gold, oil, 30x30”, 2021
Quarry Reflections 18, Sunset, oil, 40x30”, 2021
Quarry Reflections 21, Sunlight on Birch, oil, 30x30”, 2021
Quarry Reflections 13, Into the Sunset, oil, 10x8”, 2020
Quarry Reflections 19, Sunset with Birch, oil, 40x30”, 2021
Quarry Reflections 7, Light from the East, oil, 30x24”, 2020
Quarry Reflections 26, Morning, oil, 30x30, 2021
Quarry Reflections 13, Sunset through Trees, oil, 30x24”, 2020
Quarry Reflections 29, Morning Calm, oil, 16x16”, 2021
Quarry Reflections 22, Blue Pool in Autumn, oil, 16x16”, 2021
Quarry Reflections 37, Spring Afternoon, oil, 30x40”, 2021
Quarry Reflections 17, Dark Pool, oil, 16x16”, 2020
Quarry Reflections 2, Afternoon Birches, oil, 20x16”, 2020
Quarry Reflections 27, Looking Up, oil, 16x16”, 2021
Quarry Reflections 28, Syncopation, oil, 16x16”, 2021
Quarry Reflections 1, Unsettled Sky, oil, 24x18”, 2020
The wild movement and circular structure of invasive Wild Grape, and the way it seemed to dance on the edge between beauty and chaos, caught my attention while I was a fellow at the Virginia Center for the Creative Arts in Amherst, Virginia. As the series continued the vines took on added significance, relating to complexity that permeates other aspects of our lives.
Entangled 1, oil on canvas, 40x30”, 2017
Entangled Spring, oil on linen, 54x42”, 2019
Entangled Red, oil on linen, 32x32”, 2018 (photo credit Jay York)
Entangled 5, oil on canvas, 60x48”, 2019
Entangled 6, oil on canvas, 60x48”, 2018
Veiled Thicket, mixed media on panel, 36x36”, 2018 (photo credit Jay York)
Twilight Across the Pool, oil on linen, 24x30”, 2016
Last Days of Summer, Great Cranberry Island, oil on canvas, 24x30”, 2015
Late Afternoon toward Acadia, oil on canvas, 24x24”, 2016
Dawn, Great Spruce Island, oil on canvas, 24x30”, 2015
Lagoon at Loon Point, oil on linen, 18x24”, 2016
The Beach at Long Point, High Tide, oil on linen, 11x14”, 2016
Sparrow Island Morning, oil on canvas, 20x20”, 2008
Morning Paddle 2, Great Spruce Head Island, oil on canvas, 24x30”, 2015
Back Shore, Great Cranberry Island, oil on canvas, 54x60”, 2018
Back Shore Improvisation, oil on canvas, 40x36”, 2017
The Icelandic landscape that I observed during a residency at Hafnarborg in Hafnarfjordur was dark, powerful, and monumental. Everywhere, I saw movement passing through massive, richly surfaced landforms. These qualities impressed and remain with me, as they guide the direction of my work.
Oxnarfoss, gouache on yupo, 11x14 in, 2018
Seljalandfoss, gouache on yupo, 11x14 in, 2018
Skogafoss Movement, gouache on yupo, 14x11 in, 2018
Skogafoss Mist, gouache on yupo, 11x14 in, 2018
South Coast Reflection, charcoal, 11x14, 2018
Land Marks focuses on the land as seen from above. Our developed environment reflects our ideas, priorities, activities, and patterns of living, and, nowhere is that more apparent than from the air. In painting, I document the structure of a specific place, and record my awareness of how we have designed our spaces and shifted the quality of the land away from its original natural state.
Hudson River Passage, oil on linen, 24x18”, 2011
Turnpike, oil on linen, 30x30”, 2011
Hackensack Intersections, oil on linen, 30x30”, 2014
Boston Take-Off Sequence, oil on linen, 24x56”, 2013
Boston Take Off-Study #1, charcoal, 25x18.5”, 2016
Boston Take Off-Study #2, charcoal and conte, 25x18.5”, 2016
Winter Power #8, Illusion, oil on canvas, 46x58”, 2004
Winter Power #11, Twilight, oil on canvas, 48x48”, 2004
Winter Power #10 Penobscot River Dam, oil on canvas, 16x16”, 2004
Light and Steam #19, oil on canvas, 12x12”, 2006
Driving in the Rain #5, oil on paper, 11x14”, 2003
Driving in the Rain #11, oil on paper, 11x14”, 2003
Six triptychs, titled Penobscot Intersections, were completed between 2008 and 2011, commissioned for the Penobscot Judicial Center in Bangor under the Maine Percent for Art Act administered by the Maine Arts Commission. They were installed over six courtroom doors and represent the Penobscot River's interaction with its surrounding rural and urban communities.
Jerome has taken part in fourteen Percent for Art Projects in Maine.
Greenbush Launch (detail), oil on linen, 34x178”, 2011
Greenbush Riverbend, oil on linen, 34x178”, 2009
Kenduskeag Connections, oil on linen, 34x178”, 2009
Greenbush Launch (installation), oil on linen, 34x178”, 2011
Surrounded, Union Street, Augusta, oil on canvas, 30x138”, 2007
Blueberry Hill Farm Research Station, Jonesboro, ME, oil on linen, 36x36”, 2005
