DANNY GUGGER

Danny Gugger moved to Portland two years ago to, as he says, “regroup, focus on my own projects creatively, spend time reconnecting with nature, and start a business.” He seems to have hit the mark, establishing Mann & Kone, a branding and editorial design studio that works with clients across the country, while carving out plenty of time for surfing and motorcycle rides. Not to mention setting up a sweet apartment and a light-filled studio, both downtown. Here’s a peek inside those spaces, and thoughts from Danny on pursuing a creative career in Maine.

"Wear whatever the hell makes you feel good.

Don’t pigeonhole yourself into one aesthetic. Wear clothes that you feel personally connected to."

Quick edit

Style icon
Virgil Abloh

Favorite musician
Pet Shop Boys

Book you could read over and over again
Zen and the Art of Motorcycle Maintenance

Indulgence of choice
Rock n’ Roll Dogs!!!!!

Favorite spot in Maine for surfing
Haha, nice try

THE MAINERS: Your apartment is beautiful, so let’s get right into it. What’s going on with the gorgeous surfboard in your living room?

DANNY: It was a collaboration between Nick at NetoShapes, Maine Surfers Union, and myself. I gave them some guidance based on a few abstract paintings that I liked and they created a similar vibe using resin. The artwork on the underside roughly resembles a stormy winter surf break from whitewater at the bottom, wave break in the middle, and clouds up top. Nick threw what appears to be a whale’s tale in there as well. I’ve never seen a resin job that looks like that before and I’m really stoked on it. It was fun to just give some guidance and let them run with it rather than trying to control the outcome.

THE MAINERS: Kind of like surfing.

DANNY: Yeah, there’s a fluidity and grace that just feels good about it. It’s very instinctual. You’re stationary for a bit, always scanning the horizon to read the waves, then it happens all at once. You pop up then it’s nothing but focusing down the line and snap judgements about your best options based on the crashing wave.

THE MAINERS: Where does your love of surfing come from?

DANNY: Surfing is really just a way to clear my head. I like the individuality of surfing. I typically go out by myself and it’s a time to reorganize my thoughts. 

THE MAINERS: Ok, back to your home, how would you describe your aesthetic?

DANNY: Comfortably classy, bright, lots of vegetation.

THE MAINERS: Do you have a favorite piece, or a special find, in your home?

DANNY: The giant mirror above the fireplace that a former tenant left behind. And a brass tiger I got during a month I spent in Kathmandu. They’re all over the place in Thamel, but I love that one especially. There’s also a brass yak on the bookshelf, same story. They’re both a reminder of the filthy, beautiful, difficult mess that Nepal is.

THE MAINERS: What about your personal style? How would sum it up?

DANNY: Practical. Easy. Personal.

THE MAINERS: What’s your philosophy when it comes to clothes?

DANNY: Wear whatever the hell makes you feel good. Don’t pigeonhole yourself into one aesthetic. Wear clothes that you feel personally connected to. Be flexible. I don’t really wear a lot of colors currently, but who knows, six months from now I might feel differently about that.

THE MAINERS: Has Maine influenced your sense of fashion and style?

DANNY: Maine as a whole makes me feel good about the level of practicality in the clothes I wear. Portland makes me feel good if I ever want to get weird with what I’m wearing. It doesn’t allow the level of weird you have in New York or London, but it’s more playful than what I’ve experienced in the rest of New England.

I still don’t own any L.L. Bean or buffalo plaid though.

THE MAINERS: Did your upbringing influence your eye and style?

DANNY: I was raised very conservatively and didn’t have the opportunity to express my individuality until later on in college. I was discouraged from becoming an artist when I was in high school.

My dad is a mechanic, so I’ve always viewed things with a bit more utilitarian perspective, I suppose. He’s also very inventive and creative in a more scientific way.

My mom is a very traditional fine artist and taught me the art fundamentals when I was young. I was always more interested in experimentation than I was in following the rules, though. 

"The most interesting brands embrace a robust personality that manifests itself in a surprising way each time you encounter it." 

THE MAINERS: Do you have rules when you approach a new branding project? Or maybe philosophy would be a better choice of word.

DANNY: Find the truest representation of a person or business and expose that as the brand. A brand is the all-encompassing personality of a business. The most interesting brands embrace a robust personality that manifests itself in a surprising way each time you encounter it. You’re surprised, but feel like, oh yeah, of course that brand would do that. It’s new, but natural.

THE MAINERS: Your portfolio is fun to look at – full of magazines and food. Intentional, or just good client luck?

DANNY: Thanks! It’s mostly intentional. They’re two of my favorite things. I actually have a very hard time reading books, so magazines are a more visual way to digest information for me. I like the intersection of compelling visuals with culturally impactful writing. I also spend the majority of my time looking at computer screens so I really value having a printed piece to feel and look at.

THE MAINERS: And what about the food piece? 

DANNY: Portland restaurants have ruined me. There’s so much good food here for such a small town. I have a hard time going anywhere else in the country now that I’m expecting this level of cuisine every day.

Restaurants and breweries are pretty much dream projects to brand. They allow you to create something that people will enjoy on a very basic level. Restaurants are held in high esteem culturally here in Portland as well. So the chefs and restaurant owners are the real rock stars in this city.

THE MAINERS: What’s your background or training in design?

DANNY: I don’t have a degree in design or art, but I’ve managed to stick close to the right kind of people to learn and have taken advantage of mentorship programs and one-off classes and workshops. I spend time looking at a lot of things. Going deep into different rabbit holes.

THE MAINERS: Do you have any advice for someone starting a creative business in Maine?

DANNY: Focus on the quality of your work. Don’t get too stuck in your physical place. Think beyond Maine. Maine is an awesome place to live and work, but what it needs is people creating the best work possible and holding themselves to a global standard.

There’s so much to learn from Maine and so much to enjoy, but at the end of the day, it’s up to us to put our own stamp on it and be part of shaping Maine into what it will become.

THE MAINERS: Tell us about your studio space. What do you need to get work done?

DANNY: Quiet. No clutter. I have a very hard time focusing, reading, drawing, anything when other people are around, even if they’re not making much noise. I also need mental separation. I tried working from home for a few months and went nuts. Even though my studio is only a few blocks from home, it’s enough to put me in a new headspace. I like to keep small things that inspire me nearby. I hoard printed materials and shiny things, but they’re neatly organized. I need enough room to spread out so I don’t feel pressured.

THE MAINERS: What centers you?

DANNY: Taking a walk. Balance board. The Jewel Box.

THE MAINERS: What brings you up?

DANNY: Being alone. Looking at inspiring art or design work. Close friends. Electronic/synth music.

THE MAINERS: What about Maine inspires you?

DANNY: I’m definitely inspired by all the people who end up here who are making really great art or just doing their own craft in relative isolation. The idea of the craftsman runs deep here. People focus on perfecting their individual pursuits and that makes the whole Maine culture stronger. It’s less about the attention and the fame here.

THE MAINERS: Last question. I guess we’re all on the same page about white sneakers. How many pairs of shoes do you rock on a regular basis?

DANNY: Three pairs of white sneakers, one pair of running shoes, one pair of messy weather boots, a pair of brown whole cut oxfords, and Danner hiking boots.

See more of Danny's work on the Mann + Kone website

STREET STYLE

TIMOTHY GOLDKIN

Favorite place to shop:

Salvation Army on Warren Ave

New or used:

Always used

Two words to describe your style:

Classy derelict 

Favorite article of clothing:

Bandanas that he makes himself

MIEKALA CANGELOSI

Recent purchase:

My wool coat [pictured]

Favorite local shop:

Moody Lords

New or used:

Used

Describe your aesthetic:

Minimalist with twist of funk 

JANICE DUNWOODY

Styling has an element of magic about it. How is it that an object can suddenly pop by moving one prop to the left, adding a bit of green, and shifting the composition ever so slightly? To those who love to style, whether as a career or as an enthusiast, there is nothing more satisfying. To others, it’s magic.

Janice Dunwoody is a master at making anything beautiful, from clothing to food to interior spaces. She’s the friend who can make a snack plate into a work of art. As a professional photo stylist, her intense and particular style infuses her daily life and her work. We discussed her beginnings as a stylist, her ever-changing home, and her dramatic introduction to Maine.

"Many people think I’m a designer or photographer, but I’m not.

I’m a photo stylist—building the image one layer at a time."

Quick edit

Job title:

Photo stylist

Style icon:

Lauren Hutton

Most recent purchase:

Domi’s classic pajamas, white

Favorite location in Maine:

Jewell Island, sugar-baby pebble beach

Morning drink:

Coffee, black, small cup, medium roast

When styling, at all times remain:

Organized. Calm. Present.

Favorite decade for interior style:

Current, it’s a mix of it all.

THE MAINERS: Photo styling is a career that might be mysterious to some—can you describe what you do?

JANICE: Photo styling encompasses many forms of styling. I'd like to think my style brings warmth and consistency to each project. My job is to elevate the image by working closely with the photographer and the client to enhance the product or space, or even the lifestyle.

In the end, it's always about the subject we're shooting and not at all about me. I style within the dimension of the photo crop. One inch beyond the frame is inconsequential to the process. Many people think I’m a designer or photographer, but I’m not. I’m a photo stylist—building the image one layer at a time.

THE MAINERS: To me, your career is one of those, “How did she get that amazing job?” kind of jobs. How did you start your career? Was there a specific event that set your course?

JANICE: A pink Dolce & Gabbana dress gets credit for starting my career. It just happened to match the decor of an event I was attending. The producer of the event asked me if I did it on purpose, and I said yes. Which was true, but I had only done it for the laughs. A week later, I was being paid to style a fireplace mantle for an editorial magazine. Work hasn’t slowed since. Timing is everything in life.

THE MAINERS: What three words describe the style/vibe of your home?

JANICE: Purposeful. Untucked. Fresh.

THE MAINERS: Does the style of your home stay constant, or do you change it frequently?

JANICE: It changes often, almost with the seasons. Especially the art. I swap out art all the time, even going as far to re-frame. It makes a difference, albeit a subtle one. Just like the right shoes with an outfit.

THE MAINERS: What’s a favorite find you have in your home?

JANICE: I can say my most recent favorite find is a large sepia-tone classroom map of the early railway systems in New England.

THE MAINERS: Did you have an interest in fashion and interiors as a child, or did it come later in life?

JANICE: My first styling project was Kitty, our cat. I styled her with mother’s costume jewelry, fastening a diamond bracket around her neck and sitting her on the window sill and then admiring her beauty. I was five.

THE MAINERS: What about fashion? Do you have a clear memory of a piece of clothing you loved?

JANICE: I remember a red dress with white rick-rack. I wouldn’t take it off except when it had to be washed. I was indulged in that way, or maybe it was just a battle my mom chose not to fight. But I saw these little victories as milestones in developing my style.

"Honestly, I think [the ability to style] is innate.

Stylists know what will work and what won’t. It’s hard to give a satisfying answer when someone asks, “How did you do that” or “How did you know that pillow would work on that chair?”

THE MAINERS: When you approach a job, what creative process do you go through?

JANICE: During any type of pre-production meeting or call, I sit with a pad of paper and pen and sketch out a visual in my mind of product placement, the element it’s sitting on, the props next to it, the possible background it will have. As with all prop styling, the combinations are endless: color palette, camera angle, surfaces, organics to be used.

THE MAINERS: Do you believe someone can learn to style, or is it an innate ability?

JANICE: Honestly, I think it’s innate. Stylists know what will work and what won’t. It’s hard to give a satisfying answer when someone asks, “How did you do that” or “How did you know that pillow would work on that chair?”

When I was a child, I remember my mother saying, “There’s no accounting for good taste, you either have it or you don’t.” From that moment on, I really wanted to be the one who had it. Good design lasts and style is fleeting; it’s magic when they come together even for a second in a photograph.

THE MAINERS: Do you have any formal training in art or design?

JANICE: It’s funny. I started out in Interior Design at the University of Florida, but the program’s structure was super mechanical. So that first year I switched majors and ended up with two degrees, a BA in Communications and a BS in Computer Science. Ultimately, I circled back through job choices and career moves to my natural love for interior spaces and design.

THE MAINERS: How does Maine influence your sense of fashion and style?

JANICE: Maine is a fantastic petri dish for style. That doesn’t sound very glamorous. But I think Maine is straight forward in its acceptance of styles because of the diversity of Mainers in general. Most jobs here are tangible and dictate the garb: makers, farmers, landscapers, fishermen, etc. The trails and cobblestones aren’t forgiving for heels. It takes some sleuthing to find the non-slippery, attractive mud-shoe that will keep your feet warm October through March and look good while doing it.

THE MAINERS: Where did you grow up?

JANICE: Florida. But it’s a joke in my family to say “L.A.” Meaning lower Alabama. I’m from a part of Florida that’s more “southern” than the palms and pink flamingos that everyone thinks of when they hear Florida.

THE MAINERS: What brought you to Maine?

JANICE: My ex-husband and his family ties. When we moved here, we flew in from Coronado, California and had everything shipped, even our station wagon. I had never been to Maine before. 

THE MAINERS: That’s an abrupt transition, especially for a Southern.

JANICE: I felt like I landed in a different country. Being raised in Florida and educated in Southern California, I had no idea what to expect. I actually thought there were no restaurants and that people generally stayed inside during the winter. I remember one night in November asking someone if we were having an eclipse, it was so dark.

I was very naïve. But I quickly witnessed the beauty of winter and athleticism of Mainers, and how hearty and bright you become outside in the winter. 

"The trails and cobblestones aren’t forgiving for heels [in Maine]. It takes some sleuthing to find the non-slippery, attractive mud-shoe that will keep your feet warm October through March and look good while doing it."

THE MAINERS: Can you tell us a bit about your jewelry collection? The coins are beautiful and unusual.

JANICE: My father was an avid collector of coins. He had a serious collection. As a present to me, he beveled gold pesos and made dangle earrings with a matching necklace. They were small, shiny and beautiful and my first real jewelry. By this time, word was out about his collection and we were robbed. A real home invasion with broken locks and a busted closet where he had made a fake wall to hide those treasures. They even ransacked our jewelry boxes and found my peso set.

Most of it was stolen that night, but dad was a step ahead and had buried some coins in a hole in the front yard. After my father passed away what remained was divided among my siblings, and I landed with a few ancient roman coins, which I wear all the time.

THE MAINERS: Do you have a favorite place to shop?

JANICE: In Maine or otherwise, I always try local first, especially if there is a budget for props. The larger places are convenient and anonymous, but the makers and the talented curators make the experience enjoyable, and create an end product that’s special. It shows through the image. 

I rely on so many places in Maine. They make my work look good. My local home go-to’s are Venn & Maker, Flea For All, Architectural Salvage and Blanche & Mimi. Clothing favs are Judith, Cory & Co, South Street Linen and Le Bouton. 

THE MAINERS: What calms you?

JANICE: Walking my ex’s Nova Scotia Duck Tolling Retriever, Tucker. Hah, I could have just said Tucker, but it’s fun to put all those words together. And oh yes, preparing food.

THE MAINERS: What gives you energy?

JANICE: A good night’s sleep.

THE MAINERS: What about Maine most inspires you?

JANICE: The water and seeing the coastline from the water.

SARAH & JOSH PIKE

After almost two decades away, Sarah and Josh Pike moved back to Maine with their two young sons and dove straight into the deep end: purchasing and reviving an 83-acre working farm, while building out a campground for visitors. Tops’l is enchanting; a magical conduit into a peaceful, simpler time, complete with homemade muffins and French press service in the morning. 

Of course, creating enchantment requires an enormous amount of work. But you wouldn’t know that speaking to the Pikes. Their energy is infectious and their ideas are boundless. If you want to camp in gorgeous woods, roast marshmallows by the water, and learn to cure prosciutto—read on.

"...from a design and aesthetic standpoint, I wanted it to be very Maine.

A balance of rustic and creature comforts. And I love vintage stuff."

Quick edit

Grew up in:

Montville (Sarah)

Farmington (Josh)

Start-ups owned:

3

Favorite spot on the farm:

The hike down to the yurt. It is so peaceful.

Best breakfast in Waldoboro:

Morse's Sauerkraut

Currently working on:

Our wild crafted cocktail program for next summer

The best month to come stay at the Tops'l:

July. The farm is in full bloom!

THE MAINERS: Can you give us a quick description of Tops’l?

JOSH: Tops’l is an 83-acre farm in Waldoboro. We have a yurt on the water, an event barn, and the campground, which has five safari tents and five A-frames.

SARAH: Our goal is to bring it back to a working farm, as well as share it with visitors. But what I hope we become known for is the educational component and the experience of being at Tops’l.

THE MAINERS: What do you mean by education?

SARAH: So, for instance, this past summer we bought a 250 pound pig from a local farm. We had a friend, a chef, come up from North Carolina for the weekend. And he butchered it and had us get involved in the process. We started making prosciutto, and now we have two legs of prosciutto curing.

That was something I wanted to learn, so we made it happen. There were guests on the property that weekend, and they had the chance to be a part of that learning, and be part of a big pig roast. It's that educational piece that will expand next year at Tops’l. 

THE MAINERS: Do you already have specific ideas for next summer?

JOSH: Oh yeah.

SARAH: Early in the spring it'll be gardening, farming, beekeeping, some foraging, cooking classes, that sort of theme. Then an outdoor skills weekend. Later in the summer we have family summer camp—good old-fashioned potato sack races, outdoor movies, astronomy, that sort of thing. Meat camp will be in August, working with chefs, butchers, farmers, making charcuterie. All of these weekends have Maine experts that come in to teach, and chef-cooked meals in the barn. Really fun themed weekends.

JOSH: Those weekends are a great time for individuals and small groups, but we also host big group events. Weddings, business off-sites, yoga retreats. We’re hosting a lot of those next summer too.

SARAH: Some people come with the clothes on their backs and eat out for every meal, and that's great. Other people come with packed coolers and they're really giving it their all, cooking and camping. That’s great too. 

THE MAINERS: When I first saw photos of Tops’l, I thought, I want to go there immediately. It’s so cozy. What was your design inspiration when you built out the campground?

SARAH: I didn't want it to be too fussy, but at the same time, from a design and aesthetic standpoint, I wanted it to be very Maine. A balance of rustic and creature comforts. And I love vintage stuff.

THE MAINERS: I heard that you’re a formidable antique shopper and finder.

SARAH: Oh, my lord. I really do enjoy that. One of the things that I've loved about this process is there's really no end to the nooks and crannies we can fill.

THE MAINERS: Do you have any secret spots in Maine for vintage finds?

SARAH: The darker and dustier the corners, the better. When things are already curated in a space, part of the hunt is already over. Honestly, I usually start at Goodwill and Salvation Army and flea markets. The end of the summer is a great time to go to flea markets, when vendors are looking to sell. As much as I love the items, I also love the deal.

THE MAINERS: Do you have a favorite find?

SARAH: One day I found an antique biscuit basket, which was so perfect for Tops’l. It's wood and tarnished metal, and it’s insulated so I use it as an ice bucket. On that same day, I found vintage cocktail glasses that have these '70s silver inserts. I have an issue with vintage cocktail-ware. Estate sales always have so much glassware. If we ever need martinis for 200 people, we're all set. 

"I have an issue with vintage cocktail-ware.

Estate sales always have so much glassware. If we ever need martinis for 200 people, we're all set."

THE MAINERS: You both grew up in Maine, but lived away for decades. Did you feel like you were coming home?

JOSH: Immediately. Even when we had bought the farm, but we were still going back and forth [to Newburyport, where they lived previously], driving over the bridge in New Hampshire was always a very relieving and comforting moment. We've settled in so much faster than any other place we've ever lived.

SARAH: Yes, and it’s been really fun to discover a new part of Maine. Waldoboro is new to us. I grew up in Montville, which is halfway between Augusta and Belfast. My parents moved up there in the ‘80s and started an organic farm. Everything south of Rockland is brand new to me.

THE MAINERS: What brought you back to farming?

SARAH: We had a crazy lifestyle, work-wise, in Newburyport for the last decade. We would go up to visit my mom on her farm and sit at her picnic table and hear about her work for the week—moving brush, changing fencing. And Josh would get a twinkle in his eye about having a farm in Maine. For a while, I focused on what we could do in Newburyport that would satisfy that desire to be creative and productive.

JOSH: I had a very nice lawn in Newburyport. Pristine.

SARAH: And then he started making hard cider. Two years ago, we went up to my brother’s farm near Machias and we had a big apple picking and pressing weekend. When we drove away, we just had this feeling, that it was awesome to be working on something we loved with family and friends.

JOSH: During that drive home, we saw the online listing for what became Tops’l. I called them on Monday. We looked at it on Wednesday. And we started putting paperwork together shortly after that.

SARAH: At that point the vision wasn’t clear, and it was kind of scary. We had no plans to leave Newburyport. But this farm just kind of took over. I was ready to pull back from my food company [Buen Sabor] and hired a CEO last year. We also found the Waldorf school in Freeport for our sons. And it all kind of came together. 

THE MAINERS: How do your sons feel about Tops’l?

JOSH: Great question. I think it’s 50/50.

SARAH: They love it when there are other kids and guests. But otherwise it can feel a little isolating. We're busy up there. I mean, we're not sitting there entertaining them all the time. They're uncomfortably forced to entertain themselves. Basically, it's the 1980s again, which is fine by us.

JOSH: Here are some tools. Bring them back. See you at five.

THE MAINERS: That doesn’t always happen much for kids anymore.

JOSH: No, it doesn't. And they needed help getting comfortable with that. It didn’t come naturally. When I was a kid, that's what we did. Go out the door right after breakfast. Sometimes come home for lunch, sometimes not.

SARAH: If they stick around, they’re going to get jobs. If they make themselves scarce, then they can kind of do what they want. Last summer, we would say, this is a big job and you're nine and six, you can do this. They felt accomplished. I want to give them those opportunities.

"We have big dreams.

We want to bring it back to a working farm. We want to sustain our family's food. Raise animals and do gardens and all that..."

THE MAINERS: What’s your vision for Tops’l down the road?

SARAH: We have big dreams. We want to bring it back to a working farm. We want to sustain our family's food. Raise animals and do gardens and all that, but we won’t create production for outside needs. I want to keep it small, and be able to run the hospitality side so visitors can experience the farm.

JOSH: This is a life plan for us. It's had a lot of revisions and evaluations. We're building something that will be our future. I don't think it will be my full-time job for a while, I still have my career, but eventually, yes. We can do this when we're 80 years old.

Visit the Tops'l Farm website for more information and accommodations. 

SUZETTE MCAVOY

Suzette McAvoy was the curator of the Farnsworth Museum in the mid-1990s when the museum moved onto Maine Street in Rockland. As the current Executive Director and Chief Curator of the Center for Maine Contemporary Art (CMCA), she recently steered the design, construction and opening of the Center’s stunning new space in downtown Rockland.

One could argue (and we would) that Suzette has been a driving force behind the transformation of Rockland, Maine from a quiet town to a thriving nexus of the arts in the midcoast over the last twenty years.

Suzette brings an impeccable eye, eloquence, and unflappable determination to her role at the CMCA. Speaking with her gave us a fascinating look inside the professional art world in Maine.

"There is something uniquely special about Maine.

Certainly, I can't imagine living away from the coast. There's a sense of expansion here that I don't feel in other places."

Quick edit

Job title:

Executive Director and Chief Curator, Center for Maine Contemporary Art

Originally from:

Upstate New York

Home for the past 28 years:

Belfast, Maine

Favorite restaurant:

Francine’s (Camden)

Best midcoast shopping:

412 (Rockland)

Josephine's (Camden)

Recently read:

At Home in the World by Joyce Maynard

THE MAINERS: You curate an incredible collection at the CMCA, but I’m also interested in your personal art collection. Whose work do you see each day in your home?

SUZETTE: I have work from many artists who are friends, or artists I've done exhibitions with. Artists like Lois Dodd, Kenneth Noland, Carl Schrag, Alex Katz, Harold Garde, and many others.

There’s one Lois Dodd painting I have that's a favorite. It's a seemingly very simple view of a shadow on a snowy side yard. There's an evergreen tree in the center and some bare branches sticking out of the snow. But it's a really complex painting in terms of the light being conveyed. I'm a big fan of Lois Dodd's work. It's work that's seemingly simple and straightforward, but deceptively complex and rewarding visually.

THE MAINERS: Do you have a favorite recent purchase?

SUZETTE: The most recent piece of art that I've personally purchased is "Flowers 2," 2016, by Alex Katz, a gorgeous print of Maine wildflowers that he produced as a benefit for CMCA.

THE MAINERS: You aren’t originally from Maine, but you’ve been here for almost three decades. Do you feel completely at home?   

SUZETTE: I can't imagine living anywhere else, I really can't. There is something uniquely special about Maine. Certainly, I can't imagine living away from the coast. There's a sense of expansion here that I don't feel in other places.

THE MAINERS: A certain piece at the CMCA made me that same way—expansive. A painting composed of bright blue stripes. [in the above photo]

SUZETTE: That's the work of John Walker. I just love his paintings of Maine. They're really lush, physical paintings, full of an emotional, visceral response to the Maine landscape. Those blue and white stripes come from sunlight on the water and the reflection of sky on the water. The brilliant blue of a summer day in Maine.

"My fifth-grade art teacher really sparked my passion for art. She was a world traveler and would bring examples of art and artifacts collected on her travels into the classroom to share with us."

THE MAINERS: When you're not looking at art, what would we find you doing?

SUZETTE: I'm an avid reader. My family will tell you that if I don't have something to read, I get a little squirrely. I subscribe to the New Yorker so that I'm never without something to read.

Recently I read two really terrific art memoirs. One was called The Dream Colony. It's about a curator named Walter Hopps. He was a legendary curator in the 60s and 70s. Then I read Eye of the Sixties, which is about a curator named Richard Bellamy. Both of them were really terrific. I also just finished a book called At Home in the World by Joyce Maynard about her relationship with J.D. Salinger as a very young writer. It was very compelling.

THE MAINERS: So even your reading is about art!

SUZETTE: It's true. That's truly what I do. Look at art, read about art, think about art.

THE MAINERS: Did anything in your childhood inspire your interest in art?

SUZETTE: My fifth-grade art teacher really sparked my passion for art. She was a world traveler and would bring examples of art and artifacts collected on her travels into the classroom to share with us. I vividly remember her dressing one of my classmates in an authentic Peruvian costume to serve as model for us to draw from. The shawl was held together by a silver spoon that also served as a pin. I've never forgotten it.

THE MAINERS: Art seems to expand to your personal style too—you have a great fashion sense. Do you have any style icons?

SUZETTE: Oh gosh, thank you for saying so. I really admire Bobbi Brown for what she has achieved with her business, and yet how grounded and real she remains in a highly competitive and stressful field.

"So many artists tell me that Maine is where the work gets done.

They come to Maine for the sense of independence and isolation that's really needed for the work in the studio."

THE MAINERS: Maine has a long, rich history of artists who spend time here. Why do you think that is?

SUZETTE: So many artists tell me that Maine is where the work gets done. They come to Maine for the sense of independence and isolation that's really needed for the work in the studio. Maine is both a place of inspiration and a place of work. Even though many artists need to exhibit and sell their art elsewhere, Maine is where the art gets made.

THE MAINERS: Do you find working in Maine limiting in any way?  

SUZETTE: I've never felt Maine to be a limitation working in the art field because there's such an incredible range of artists who either live here year-round or seasonally. They're always so eager to support the art community in Maine. People at all stages of their career are here who you can reach out to.

I always say, it's never six degrees of separation in Maine. It's never more than two, it seems. Everyone knows everyone. There's this wonderful network you can tap in to. People seem more accessible here than they do in other places, and there's such talent here.

THE MAINERS: What's the best part of your job?

SUZETTE: Studio visits are absolutely the best part of my job. I wish I had time for more of them. I do try to fit them in as much as possible. Artists tell me that they really value a curator coming to their studio. From their point of view, it's one of the best interactions they can have as an artist. It's certainly something I enjoy doing.

To go into a studio with an artist and see the tools of their work, to see work in progress, for them to share the intimate conversation they're having with their work, to get close to that moment of creation, it's really wonderful. Sometimes I'm really interested in work that they didn't intend to show me, whether it's work in progress or a direction they're heading. There can be a sense of discovery for both of us.

THE MAINERS: How do you choose which studios to visit?

SUZETTE: I often see work online or get introduced to it through images shared on Instagram or social media. But, of course, that can't give you a full idea of what the work is like. During a studio visit I can see the work firsthand, see a body of work. It really gives me a fuller picture of who they are and what they're working on as an artist.

THE MAINERS: It must be exciting to see spaces where art is created.

SUZETTE: It's always interesting for me to see artists' working spaces. They vary so dramatically, from tiny spaces that are filled to the brim, to very spare, beautifully curated spaces. There's a huge gamut. Artists make work in all kinds of environments.

THE MAINERS: And lastly, if you had to pick one thing about Maine that inspires you, what would it be?

SUZETTE: I'm always surprised how people in Maine are willing to drive great distances to support one another. People will routinely drive from Portland or Blue Hill to Rockland for an opening. That's not something I've seen in other artists' communities in other states. I think it's really a testament to how much community matters in Maine.

 

KATE CHRISTENSEN

When you read a book by Kate Christensen, you will be well-fed. Her writing tumbles with braises, ripe fruit, crumbling cheese, and lettuces slick with oil. Walking into her home is no different—Kate is someone who feeds you.

Kate has written seven novels and two memoirs. The Great Man, her fourth novel, won the Pen Faulkner award in 2008. We talked to Kate about hard work, the joy of chopping an onion, and everything in between. Pull up a chair and tuck in. 

"We bought our house without knowing a soul in Portland.

 Just on a buoyant feeling of faith. That this is the right place. And the more we live here, the more we feel it."

Quick edit

Profession:

Writer

Cooked last night:

Homemade pasta

Years in Maine:

6

Best places to write in Portland:

Arabica

Crema

Yordprom

Favorite room in the house:

Bathtub (we think that counts) 

THE MAINERS: Just to set the scene, we’re in your kitchen and you’re chopping apples to make applesauce. Can you tell us a little bit about the kitchen? It’s beautiful.

KATE CHRISTENSEN: Our kitchen is steeped in the history of Maine. The wood of the cabinets and wainscoting comes from an old mill in Biddeford. The floor and countertops, which we bought in Cape Elizabeth, are made from weathered boards taken from the exterior of an 18th century barn. The bar top copper originally lined a 1905 wooden bathtub we bought in Waterville.

The stove and fridge, both Vikings, came from a barn in Poland Springs; they were sold cheap, second-hand, pulled out of upscale summer houses when their owners remodeled and upgraded. The stained-glass window was fabricated at a glass place on Forest Avenue called Phoenix Studio. The ceiling tiles are from the 1880s—Brendan [Kate’s husband] found them on Craigslist. The backsplash tiles came from farthest away: Mexico. But we bought them at Old Port Tile on Middle Street.

THE MAINERS: It feels like a well-loved, friendly space.

KATE: This is command central. I designed the kitchen to be the most easy, fun place to cook. The spices are all out in the open. It just feels like I can play. And I work right there [large table open to kitchen] so I’m back and forth all day.

THE MAINERS: How are cooking and writing linked for you?

KATE: There’s a real connection between cooking and writing. Not just for me. I think for a lot of writers, and maybe artists in general, cooking gives you a sense of getting out of your work and back into the world. I sit at my keyboard all day, sort of hunched over. Cooking is a sensual return to life. 

THE MAINERS: What does that look like each day? 

KATE: Chopping an onion signals that my work day is over. It feels celebratory to start cooking each evening.

THE MAINERS: Could I ask what you made for dinner last night?

KATE: Last night I ate a huge plate of pasta. My mother gave us a pasta machine. It was a wedding present. We got married last year, but we eloped so we only got three wedding presents [laughs]. This machine changed our life.

THE MAINERS: And the sauce?

KATE: Usually Brendan makes the pasta sauce—both his parents grew up in Italy and he’s a fantastic cook. But last night was one of my inventions, from our fall CSA share from Cultivating Community—a light tomato sauce with chopped kale and delicata squash, and sujuk sausages from Rosemont.

THE MAINERS: Besides your own kitchen, where do you like to eat in Maine?

KATE: My current favorite place to eat is the dining room of my friend Mary Pols, who is one of the best cooks I know. Her table seems to effortlessly gather interesting people and conversations. And her Brunswick farmhouse is full of beautiful objects and colors and textures.

THE MAINERS: Your home has such a calm vibe. Do you have a favorite room?

KATE: My bathtub nook. Is that a room? My bedroom, then.

THE MAINERS: I love that you have a bathtub in your bedroom.

KATE: I found the bathtub in the basement when we bought the house. There was no space in the bathroom, and there was a corner that was just sitting there in the bedroom. I was like, wait! I know what to do!

THE MAINERS: As we walked around the house earlier, you pointed out many small, beautiful objects—your writing charms. Do you have a favorite?

KATE: This changes all the time. Right now, it’s the rock my friend Genevieve Morgan gave me. She was my editor for “How to Cook a Moose” and is now one of my closest friends. It was her birthday present to me last August: a smooth dark gray water-polished rock that feels good in my palms when I need to stop typing and touch something tangible. 

"I used to dress for the streets of New York. 

Now I dress according to what feels good. That’s not to say that I no longer care about style, but if a piece of clothing isn’t pleasurable to wear, I find that I just don’t wear it, no matter how objectively cool or flattering it may be."

THE MAINERS: You are so well-knit into the community here. Does Maine feel like home?

KATE: Yes, from the beginning. I came here and I thought, ok, this is home. I had never found that anywhere before. I spent most of my childhood in Arizona. I was a New Yorker for twenty years. I went to college in Oregon and graduate school in Iowa. I lived in France for a year. Never did I have a feeling of belonging in any of those places.

But it was so instant with Maine. We bought our house without knowing a soul in Portland. Just on a buoyant feeling of faith. That this is the right place. And the more we live here, the more we feel it.

THE MAINERS: Now that you’ve been here for a while, does anything specific contribute to that feeling?

KATE: The people. It’s the people in Maine. People here work really hard. There’s a sense of relief in that – that working really hard is a thing in itself.

 It’s not about how famous you are or how much money you make or who you know. It’s this ethic of getting shit done, of doing your stuff. And that’s how I want to live, and how I do live. It’s nice to have a place that reflects my identity in that way.

THE MAINERS: Has your personal style changed in Maine?

KATE: I dress for comfort now. I used to dress for the streets of New York. Now I dress according to what feels good. That’s not to say that I no longer care about style, but if a piece of clothing isn’t pleasurable to wear, I find that I just don’t wear it, no matter how objectively cool or flattering it may be. 

THE MAINERS: Do you have any projects in the works right now?

KATE: I just finished a novel, The Last Cruise. But I feel like I could go through it and change words forever, you know? But I’ve got to let it go. The page proofs are due tomorrow, so I have to FedEx them today.

THE MAINERS: What was the experience of writing that book?

KATE: This novel was really, really hard to write. While I was writing, I looked back at The Great Man, and I thought about how hard that book was to write. I made myself remember how I got through the difficulty by sheer discipline. I had to remember, oh yeah, not all books tumble out. Not all books are fun to write. The Great Man was not fun to write. I felt like I was pulling it out of myself through pure will.

THE MAINERS: That’s so interesting. I love The Great Man and I feel like the book has a light energy.

KATE: The Great Man does feel light. But I was in a state of utter heartbreak and trauma when I was writing it. And these old women and their voices and their experiences and their way of looking at the world and their wisdom and the fact that they still wanted things at that age – all of those things buoyed me. I felt the book got me through that time. 

Often when I’m writing a book, it saves me. Memoirs are different, but when I’m writing a novel, there’s usually something I need – to give myself, or to explore, or to do as a writer. It doesn’t need to be personal, it can be artistic.

THE MAINERS: A parallel world to escape to, perhaps.

KATE: A parallel world, but also me, giving myself this bubble to climb up into that’s attached to my head. That’s always how I look at a book that I’m working on. Sort of this filmy bubble that I climb up into and spend the day in and then climb back down. And chop an onion. [laughs] You know?

THE MAINERS: And what happens when you finish a project?

KATE: When the book is done, I cut the umbilicus that ties it to my head, and it just floats off. And these [previously published books] have all just floated off and aren’t part of me anymore. They’re part of the world. Even though it’s not perfect, and even though you could continue to work on it, it’s time for it to go. Suddenly I’m not writing a book. I’ve now written a book. Off it goes, no more I can do. It feels almost like a physical detachment.

THE MAINERS: A novelist once told me that every writer he knows marks up copies of their own books.

KATE: Oh god, I do that. I’m glad I’m not the only one. When I have to give a reading, I go through a section and end up cutting. I think, god, I’m so verbose! Why didn’t I cut that originally? Why is this so long! 

"I feel like I matter as a writer here [in Maine],

even though I’m a woman, despite being a woman. I matter just as much as the male writers I know. And they feel the same way. I feel respect from them."

THE MAINERS: How does living in Maine affect you as a writer?

KATE: I feel like I matter as a writer here, even though I’m a woman, despite being a woman. I matter just as much as the male writers I know. And they feel the same way. I feel respect from them. Which—oh my god. You know? I think it’s part of why I’m so happy here. I don’t have to constantly prove myself.

Somehow in the fabric of life in Maine there is a kind of egalitarianism where women work just as hard as men, and are expected to, as a matter of course. It’s not glamorous here, although people can be glamorous in Maine. But the primary role of women here is not decorative. I profoundly feel that, even in Portland, even in 2017.

THE MAINERS: What about Maine inspires you? Is it what you just described, or something else?

KATE: I think it is something different. I’m not exactly sure how to articulate it….

I have a sense of the essentials being the thing here. We’re close to the bone of reality. Maine is a pared down life. It’s elemental here.

There is real darkness, writ large. There is true poverty. In the streets of Portland there is more and more financial inequality. But I feel connected to it, not distanced from it. We’re all implicated in it. We’re here together. I think that has to make me a better person and artist. To be knit into a fabric of reality. 

Kate’s Applesauce

Use the most flavorful apples you can find. Various kinds work best for a complexity of flavor--I used assorted heritage apples from the old orchard at Brendan’s family farmhouse, which is about an hour from here.

Core (leave the peels on) and finely chop 6-8 apples, as small as you can, a fine dice. Put them into a sturdy saucepan. Add about half a cup of water, plus a glug of maple syrup and a teaspoon of cinnamon. Stir well. Bring to a boil then down to a simmer. Cover. Let it cook, stirring occasionally, for about 20 minutes, adding more water if necessary, until the apples are soft. Mash the applesauce with a fork or slotted spoon. Let cool slightly. Eat.

DONNA MCNEIL

Donna McNeil is a fabulous woman with vibrant energy, a throaty laugh, and the kind of flexible self-confidence that allows her to approach life with clarity and head-on enthusiasm.

For the past 27 years, Donna has applied her extraordinary talents to the arts in Maine. First as the director of several galleries, then as the Executive Director of the Maine Arts Commission. Currently she is the Executive Director of the Ellis Beauregard Foundation. Her career in arts administration is grounded in her training and work as a visual artist.

Stepping into Donna’s home offers lessons in beauty, simplicity, and the power of personal choices. Take a peek inside. 

"I think everyone should live with beauty."

Quick edit

Three words to describe yourself:

Fearless, curious and playful

Favorite gallery:

Corey Daniels Gallery

Favorite decade for design/fashion:

1920s

Biggest fashion regret:

All perms. And the 1980s, except for Norma Kamali.

Secret to her extraordinary hair:

"There's no secret. It's completely natural." (Dammit)

Lives in:

Portland, Maine

Born in:

Germany

Recently traveled to:

Marfa, Texas

THE MAINERS: You have great style and a strong aesthetic. Is that influenced by your training as an artist?

DONNA MCNEIL: I think artists are really tuned in to their world in a very unique way because they're sourcing it all the time for inspiration. And you just understand how things talk to each other, how one object should be placed near another object or across the room. And you understand sight lines, like viewing something from every angle and how it has to be pleasing and harmonious from every approach. 

These are tenets that you can overlay onto your life philosophy, too. It's not just the visual arts. Harmony, things working from every angle—these are great philosophical tenets no matter what you're talking about.

THE MAINERS: Your home certainly fits the tenet of harmony.

DONNA: Sometimes people will say to me, "Your house is highly curated." But I don't look at it that way. I mean, maybe? But it's just considered in a certain way. I don't want to look at stuff that's ugly.

THE MAINERS: I think that design, and beauty, can often be associated with expense, and the whole thing becomes intimidating. 

DONNA: You can make beautiful things that are inexpensive. I think everybody should live with beauty. And it really frustrates me that we aren't teaching people that, that we aren’t training a kind of national aesthetic. We're not lifting it up because we produce so much crap. 

THE MAINERS: What do you think should influence our national aesthetic?

DONNA: I think it's important to go to museums and galleries and antique shops. Places that train your eye and help you to understand the history of design, the history of objects, and the history of making. Just soak it in and let that build.

THE MAINERS: Where else do you look for interior design inspiration, or creative inspiration in general? 

DONNA: I hound antique and junk shops. I look at magazines. I imagine.

THE MAINERS: Who are your style icons?

DONNA: Georgia O’Keefe and Tilda Swinton.

THE MAINERS: From what I can gather, you are always impeccably dressed. What’s your ideal outfit?

DONNA: Comfortable and architectural.

THE MAINERS: Do you have a favorite fashion designer?

DONNA: Rei Kawakubo [founder of Comme des Garcons]. 

THE MAINERS: As an artist and curator, do you always trust your creative instincts?

DONNA: Absolutely. You just know. And you let the knowing happen, you don't second guess your knowing.

THE MAINERS: Does that same knowing apply to your personal life?

DONNA: Absolutely. Although I think it can be scary to manage money and health and your life alone, when you don’t have anyone to bounce things off of.

And there’s always the question of how much do you indulge yourself, and how much is practical? How much is impractical? Sometimes the impracticalities of life are the very best things you ever do. When do you allow that to happen? And when do you deny yourself?

I’m not so much a proponent of denying yourself anything.  But ultimately, I’m a very practical person. So I thrive in hedonism based on prudence.

"I trust myself, I trust my capabilities. I am really fearless, I'm very strong. And it's not weighty either. I'm just standing on my own two feet."

THE MAINERS: Being in the same space as you, I get the sense that you trust yourself completely.

DONNA: I do. I trust myself, I trust my capabilities. I am really fearless, I'm very strong. And it's not weighty either. I'm just standing on my own two feet.

THE MAINERS: This may be too personal. But part of your strength seems to stem from your independence. You live alone and you’ve never been married. Did you deliberately sidestep marriage, or do you have interest in it?

DONNA: I have interest in marriage. I think marriage can be wonderful. I look at people who have genuine love—a caring, shared responsibility for each other. Tenderness, kindness. I think it's lovely. What I don't like are dependencies and abusive relationships. Even though on the smallest level, like, "Oh, what a jerk." You know? I think I'm super idealistic about it, which is probably why I never got there.

THE MAINERS: What would get you there?

DONNA: I think I'd want to wake up and have somebody really happy to see me there. And express that, just for a moment. Then you can go and do all the myriad things you have to do, but just slight acknowledgements when you encounter each other, that this is it, you're the special one.

THE MAINERS: That’s a lovely way to look at marriage.

DONNA: If I found the right person I would get married now, at 70.

THE MAINERS: You would need to find your ideal.

DONNA: It would have to be extraordinary.

"I ground through nature.

I ground through yoga. Nature truly gives me solace and it heals me. If I'm ever in a bad place, I go outside. It's really my best friend."

THE MAINERS: Where did you grow up?

DONNA: I was born in Wurtzburg, Germany. My father was stationed there right after World War II. My mother was a nurse in the military, my father was a pilot, and they met through flying the wounded out during the war.

We moved around the whole United States and also spent three years in England. I didn’t have a home town.

THE MAINERS: That’s a very distinct way to grow up.

DONNA: I think that the palette was rich and nothing became ordinary. Nothing became wallpaper. With familiarity, you can start taking things for granted.

THE MAINERS: How do you prevent things from becoming ordinary here?

DONNA: Well, in my house I move the furniture and the paintings around all the time. This used to be the living room, for example. Now it's the dining room. And in my garden, I move the plants around.

THE MAINERS: I was going to ask if you had any daily routines, but I’m guessing I know the answer.

DONNA: I used to say to myself that I never did anything twice in the same order. I just really feel freer if I don't have routine, which is odd because some people hold on to routine as a way to feel grounded. But I just don't want to bore myself.

THE MAINERS: How do you stay grounded?

DONNA: I ground through nature. I ground through yoga. Nature truly gives me solace and it heals me. If I'm ever in a bad place, I go outside. It's really my best friend. 

"...[Maine's] beauty, its unpretentiousness.

I like how it brings you back to the things that matter in life."

THE MAINERS: What about Maine inspires you?

DONNA: Its beauty, its unpretentiousness. I like how it brings you back to the things that matter in life.

If you can engage in a creative work and live your life, that's a huge success, even though it isn't measured by any of our typical standards. The money and the house and the car. 

THE MAINERS: Do you feel that Maine is a good place to work creatively?

DONNA: I do. I think Maine is a place where lots of people put together a life with lots of jobs. There is less of a corporate mentality here. There’s some flexibility and some self-determination. You live here because you want to live here. And you figure the rest out.

THE MAINERS: And finally, are there any young Maine artists you’re keeping an eye on?

DONNA: I’m always watching Anna Hepler.