Mary Moquin
Archive of sold Mary Moquin paintings
My paintings explore the places where I feel a deep connection and find renewal.
My work has always been about finding that still and quiet space where I can
center myself and regenerate my spirit. At times, life can be so complicated
and full of distractions. It is that balance of complexity and stillness that I seek
to find in my work.
I have had a connection with the landscape since I was a small child. I was raised
on the remnants of a once-active 50-acre farm. Because my siblings were much older,
and there were no other children nearby to play with, I was left with hours to entertain
myself. So I explored miles of old work paths that led through forests to secluded
“special” places that I would investigate. There were many abandoned outbuildings
and barns that had been converted into playhouses and forts. I was always in search
of these special quiet places. I would create clearings in the middle of the forest or
a hayfield and play contentedly for hours.
For the last 35 years, I have spent my summers in a remote cottage situated eight miles
out in Barnstable Harbor on a narrow peninsula known as Sandy Neck. This special
secluded place continues to connect me to the landscape and nourish my spirit
in the same way as the places of my childhood. I often paint the structures that
surround my cottage. They have served as metaphors for stillness and being.
Another favorite motif has been the complexity and vastness of the forest, where I
also seek that quiet space within. In recent years, I have also turned my attention to
still-life compositions, as they combine the complexity of the forests with the structure
of the houses. Everyday items become focused moments of meditation.
Mary Moquin,
November 2022
My work has always been about finding that still and quiet space where I can
center myself and regenerate my spirit. At times, life can be so complicated
and full of distractions. It is that balance of complexity and stillness that I seek
to find in my work.
I have had a connection with the landscape since I was a small child. I was raised
on the remnants of a once-active 50-acre farm. Because my siblings were much older,
and there were no other children nearby to play with, I was left with hours to entertain
myself. So I explored miles of old work paths that led through forests to secluded
“special” places that I would investigate. There were many abandoned outbuildings
and barns that had been converted into playhouses and forts. I was always in search
of these special quiet places. I would create clearings in the middle of the forest or
a hayfield and play contentedly for hours.
For the last 35 years, I have spent my summers in a remote cottage situated eight miles
out in Barnstable Harbor on a narrow peninsula known as Sandy Neck. This special
secluded place continues to connect me to the landscape and nourish my spirit
in the same way as the places of my childhood. I often paint the structures that
surround my cottage. They have served as metaphors for stillness and being.
Another favorite motif has been the complexity and vastness of the forest, where I
also seek that quiet space within. In recent years, I have also turned my attention to
still-life compositions, as they combine the complexity of the forests with the structure
of the houses. Everyday items become focused moments of meditation.
Mary Moquin,
November 2022