Apple Magic was presented in two distinct incarnations in 2024 and 2025 across the orchards and studios of the Langlais Art Preserve in Cushing, Maine.

Bernard Langlais was born in Old Town, ME in 1921. He had a brief explosion of downtown New York art world success, showing abstract “wood paintings” at Martha Jackson and Leo Castelli Galleries, before decamping to Midcoast Maine to live in an environment of his own making. He died in 1977 but his homestead, which includes scattered outdoor sculptures, walking trails, and his relatively untouched studio, is preserved and open to visitors. There is an increasing focus on hosting living contemporary artists.

Fruition was a two person exhibition with Allison Cekala at the Center for Maine Contemporary Art. Cekala is also a musical collaborator; we have performed together as Tea Tree Tweens, and a collection of recorded music is forthcoming. My contributions consisted of some work from “Apple Magic” recontextualized into a gallery setting as well as new work from the “Water and Mountains” series. The show was concurrent with the one at the Waste Treatment Plant, linking two disparate (though geographically quite close) parts of the city of Rockland.

This body of work was presented in the mezzanine of the Rockland Water Pollution Control Department (aka Waste Treatment Plant), just down the road from the CMCA——where the two person show Fruition was running concurrently. It largely consisted of paintings of toilets. The show’s title refers to the Zen concept of “nothing special”: a traveler returns from a famous landscape and reports that he has simply seen “water and mountains.” A wastewater treatment plant is a vital site of contemporary alchemy, and the municipal employees there purify our excreta into its constituent parts. To celebrate the exhibition’s opening (which had no regular viewing hours for the general public beyond the reception), the plant’s chief chemist led a special tour of the facility, briefly opening up the ordinarily private domain to public view.

Warm Worm World was a 2022 solo show at BUOY Gallery in Kittery, ME, the town where Bill Luce died; it was part of a long-term psychospiritual project to posthumously heal the paternal relationship.

Spfa (whispered) was a 2019 solo show at New Systems Exhibitions in Portland, ME.

Circle of Protection was a Covid-era installation/performance that took advantage of the need for social distancing and isolation by creating a series of small chambers that young docents would lead participants through one at a time, with instructions on how to engage with the art inside. It was installed in the gymnasium of the Lincoln Street Center, where Louise Nevelson attended elementary school, and later in the SISTERED project space in Portland.

“Double You Double You Double You” was a 2017 two-person exhibition with Baxter Koziol (1995–2025) at BUOY Gallery in Kittery, ME. It was mostly about fathers (and their absence).

Luce Spirits is a business that makes botanically-oriented beverages. Its tasting room in downtown Rockland is a community space which holds all kinds of events—lectures, dance parties, first dates, and karaoke nights. I’m responsible for product formulas and label design, event programming and poster design, administrative functioning, hosting karaoke, and generally cultivating the space.

The Master Clam Meditation Hall is a space that hosts regular group sitting in the Zen tradition; inquire for schedule and address.

Writings are as varied as a book chapter on absinthe in The Kings County Distillery Guide to Urban Moonshining, a master’s thesis on the social and psychological benefits of mystical experience, and an interview with d.i.y. publishing legend V. Vale in the Ad Hoc zine (a short-lived attempt to physicalize a group of late-aughts music blogs). Most recently, an essay on Harry Nilsson’s mystical intrusions into my life through “dad humor” appeared in the Holy Fools issue of the American Museum of Paramusicology Journal.