Why I cannot vote for Janet Mills for Governor of Maine

A previous Attorney General of the State of Maine, created an opinion, called the, “Schneider Opinion,” against the Penobscot Nation that would withdraw their sustenance rights for fishing in the waters of the Penobscot River. The Penobscot Nation filed a lawsuit against then Attorney General Schneider and others who were claiming their fishing rights in the river no longer existed. Janet Mills, as a subsequent Attorney General, has defended this lawsuit in the First Circuit Court.

I cannot understand how that the State of Maine can be forthright and challenged the sovereignty of Maine’s Native People. Although this issue is multifaceted and cannot be explained by me, in its entirety, I can only conclude that this action is against a group of people and for this reason it is racist. The basic objective is to deny a culture the right to continue a practice of consuming salmon and further diminish their already frail existence.

It is further egregious that Janet Mills is also fighting against the EPA to raise the legal toxin levels in the river.

Democrats are happy to vote for Mills as they downplay these racists acts which she has perpetrated on their behalf.

I find this situation unconscionable and cannot vote for anyone who is perpetrating racism.

Obituary – Mary (McNamara) Freeman

Mary Freeman

Mary Mable (McNamara) Freeman

Mary (McNamara) Freeman died on July 3, 2018. Born in Franklin, New Hampshire in 1935, she was the daughter of the late William and Josephine McNamara. Mary grew up in Rockport, Massachusetts. She attended Rockport High School and nursing school in Beverly, MA. She married Haven Freeman in 1953 and moved to York, Maine. The couple had two children, Kevin and Karen. She worked as a nurse at The Harbor Home and Mark Wentworth Home, among others, before retiring.


York Public Library Talk

York Public Library – Kevin S. Freeman Paintings

I like being in my studio, mostly. I like being alone for hours to move paint around on a rectangle. When I look around, at the world in general, I know that I am very privileged. The daily news continuously reminds us of the horrors others endure without end. Humanity has a very dark side. Other than being informed, I have been spared. How could this be?

So, I paint with my heart as much as I can. I paint with my soul. I often wish these were the only two brushes I had. But they are not enough. They cannot express, as a duo, the depth of expression I reach for. Hence I complicate things with intellect, gesture, contrast and ego. Occasionally, I have small breakthroughs but understand I am mostly a singularity. Nonetheless, I am encouraged by the possibility of invention, making something from nothing, in a process that allows me great freedom of spirit.

This show has given me the opportunity to share with others the results of my attempts of expression. Of what it means to be alive, with two hands and a few tubes of paint. It all seems so petty in a way. The world, my small world, is such a miracle laden marvel in spite of the darkness. Nature is far beyond my comprehension. Shifting, shimmering light creates splendid forms as bird calls and breezes drift my spirit into awe.

The following video was recorded by my son, Nathaniel Noton-Freeman at the York Public Library on May 16, 2017. This was at the opening of Kevin Freeman Paintings. You can find the text of the talk below.

Kevin Freeman Paintings will be on view for the rest of June 2017. Find hours here: York Public Library.

Thanks to everyone for coming tonight!

I would especially like to thank Janice Plourde for inviting me to have this show and for her help in putting it all together.

And thank you Anastasia Martens for helping install the work. Your keen eye is much appreciated.

And thank you to my wife Sandra, for helping to get all this work together and helping with the installation and encouraging me in life and my dreams.

And thanks to the art committee and the York Public Library staff for being so helpful and friendly.

I created this slideshow to include drawings and photos and some additional paintings which are a very integral to my process.

I don’t spend much time talking about art. Mostly, I just paint and draw and grab my camera when going out for a walk.

But as my art school friends will attest, back in the day we had plenty to talk about. Art, artists, art history, critics, critiques, instructors motives, fellow students…it all consumed us. One of my favorite quotes, discovered back then and still is was from the art historian Kenneth Clarke, “Modern art is a vast and expensive joke.”

My roommates and I loved how this contradicted the serious assumptions of art which was espoused by our instructors.

Even before the ties of academia had been cut I had no problem dispelling the theories and dogmas that were imposed upon me.

Through it all, I have felt that art is a celebration of the individual, first. Each artist creates according to their own inspiration and necessities.

For me, the most significant aspect of being a painter is that I have an opportunity to express my uniqueness. We don’t come into this world with a manual listing our uniquenesses. As humans, we carry many similarities, physically and behaviorally. As children we mostly try to hide our differences and are terrified at not being like everyone else.

Successfully expressing my being on a two dimensional surface with color can be complicated and on the other hand it can be so simple. And what does success mean anyways? Ego, insecurity and self doubt all coalesce with confidence and audacity, and a desire to portray myself in my truest form.  And through this practice I have arrived exactly here, at the York Public Library.

This is the first time my paintings have been seen in such a public venue for which I am excited and very grateful.

The loftiest idea I have is that I might create something that others recognize as valid to them, and with all humbleness, that my efforts may benefit their lives in a good way. But I am at the mercy of the powers of the universe and my imagination.

The process of painting becomes melded with my spirituality. It occasionally becomes entirely vital to my life and from it, I am left with a deeper understanding of what it means to be alive. Whether pretty or ugly, and whether others desire it or discard it I am making an honest attempt at being me.

The process of painting, for me, means cultivating an open mind, clearing thoughts away and being at one with a pallet full of paint. This process is a practice like mediation. I strive for mindfulness and the grace of irony while completely intrigued at the process and potential.

I often begin a painting by embracing the unknown. I am so compelled by making a new discovery that I will risk everything. The bigger the risk the bigger the gain. But what am I trying to gain? As I stumble along through life I so stumble along in paint. Dreaming of the ultimate combination of form and color. Reaching out with each loaded brush full of paint as if finally, this mark will do the trick.

Confidence and insecurity alternate frequently as I search deeper into my being. I try to find a way in. Into myself and into the painting. I grasp at any hint, relinquishing thoughts, scolding myself for being rational, scraping off something that would otherwise be just right and finally imagining the painting an extension of my existence and painting out everything that is not real to me.

My spiritual appetite has always been significant. I became a lay student of theosophy and developed a strong attraction to Buddhism. Naively, at first I tried to shake away my ego. I imagined living in a remote cell as a hermit or in a monastery, somewhere in Tibet. There I would surely cut to the chase and become enlightened. Well, that hasn’t happened.

I read books of timeless wisdom such as the EChing and the Tao Te Ching.

In Chapter 2, line 6 of the Tao Te Ching, Lao Tzu says, “Therefore the sage keeps to the deed that consists of taking no action and practices the teaching that uses no words.”

NO ACTION how can this be, what does it mean. How can you be alive and take no actions??

I love Loa Tzu… he is such a prankster, yet he gives us insights to the way. He tells us if we search for enlightenment we will never find it. But if we don’t search, it is ours.

I aspired to adopt this philosophy into life and painting. The Tao is packed with ironies.

Here is another great one…

Again by Loa Tzu…

Rid yourself of desires in order to observe their secrets;

But always allow yourself to have desires in order to observe their manifestations.

I interpreted all this to mean that if I could be in harmony with myself, I would be also with the universe. I would have no causal effect but exist in divine ubiquity. Nothing positive, nothing negative, perhaps perfection or enlightenment. I practiced this in the studio and still do.

I am inspired by nature. Actually, awe inspired. Have you ever tried looking at the world as a flat plane? Have you ever gone into the woods and forgot that you are looking at objects? At trees, rocks, foliage, branches, moss? And just look at the light…let your mind go.

Everything will flatten out into a two dimensional plane. Forget about the objects, just let go. Everything becomes colors. It is awesome. And when you use this method of perception in painting everything becomes color relationships. Everything is dependent on everything else.

You need to remember to switch your brain back when you begin walking as this two dimensional vision will provide no depth perception.

This way of looking at things is amazing. Everyplace is a great masterpiece just waiting to be painted. Large and ambitious paintings. Nature and observation is so inspiring and it was pretty much the foundation for painting until Jackson Pollack famously said, “I am nature.”

Until he said this people mostly painted external stimuli. Pollack came along and said, I am changing all that. And he did. In the 20th century painting changed forever.

I love this. A huge door opened for the self and its relevance. At the same time a new technique was born for applying paint. Just throw it.

Some of my paintings are inspired by looking inside, others looking outside. I truly love the landscape. Others by emotional impulses such as tragedy. One of the paintings in this show, called “Friends Forever,” was a meditation on gratitude for the many friends I have. It just kind of created itself, as I watched.

I am so grateful for the many friendships I still have from art school. My friends and I shared an experience and can relate to each other in a very unique way. And through this group, which has grown to include many others I am continuously inspired and encouraged.

Creativity led by the imagination is available to us all. We each have different approaches and different results and I believe that is what makes art, at any level, so compelling.

Again, thank you all for coming and for the wonderful support. If anyone has questions I will try to answer.




Kevin S. Freeman Paintings – at York Public Library


Kevin S. Freeman paintings at the York Public Library

About a month ago I was contacted by Janice Plourde from the York Public Library and asked if I would like to have a show. After a day of thinking about it and not being able to think of any reason not to, I agreed. As I began to put together a body of work I began to really like the idea. A library is not a gallery or museum but the York Public Library is many things. Not only does the library loan books but it has many rooms to serve the town including Selectmen, Planning Board and numerous committees. They have visiting authors, historians, movie night and exhibits of artists among other things. It is a very busy place.

So my selection process of paintings began. I decided to focus on the last several years as there seemed to be a continuity. A lot of my creative time includes drawings and watercolors which I excluded because I didn’t have time to make worthy presentations. I scrambled to make as many frames as possible. I am not a frame maker. This became very apparent but did I really need to prove it to myself? Yup, and unless I was going to drop off about 50 paintings to a frame shop this was my destiny.

I made mostly floater type frames from white pine. As the install date got closer I used some lattice which I painted to frame the three larger (60″ x 48″) paintings. I am a skeptic of framing paintings but cannot resist in some situations. At one level, I like the painting to hold its own, be self sufficient and proud as a singularity. At other times there is nothing as magical as a frame. Somehow they just contain contents like nothing else.

The install date came upon me like the sun bursting out through clouds. I began driving carloads of paintings to the library and leaning them against the walls on a Saturday. I counted around 80, assuming I had enough, happy there were plenty more, just in case. On Monday morning, my wife Sandra and I met art committee chair Janice Plourde and committee member Anastasia Martens to begin putting up the paintings.

There are some prime spaces near the front doors and foyer. They were very suitable for the largest paintings I had with the exception of a large open wall toward the back. For this space I intended a (9′ x4′) triptych. As Sandra busied herself cataloging the paintings Janice, Anastasia and I began putting up the paintings. Their enthusiasm was energizing. We put up and took down and moved paintings around for about 3 hours. At the end, everything felt just right. I was so grateful to have so much help. Thank you Sandra, Janice and Anastasia!

Kevin S. Freeman Paintings

Kevin S. Freeman paintings at the York Public Library

Pricing the paintings was not necessary. The library has no requirements to sell nor do they receive a commission. Ultimately, however, I really would like my paintings to find homes -other than my own. We began the arduous process of putting a price on a painting. This part of the process seems so surreal. My process is spiritual and giving. Selling a painting is similar to the religious aspect of spirituality.  I do not like religion in general because of it’s necessity of money. Things become murky. I am not sure about my true intentions. Some of my paintings ring a clear chord, directly to my soul. How can you put a price on this? This is not simple to justify and I am still conflicted. None the less, we put prices on many of the paintings.

The show is up for the months of May and June. There will be an opening on Tuesday, May 16, 5-6:30. All 52 paintings are labeled. Although titles are few, each painting has a number.  Please leave a comment below, I would love to hear from you!




Don Stone

As my high school years came to a close it wasn’t obvious what I would do for the rest of my life. I was able to draw and really enjoyed it. I graduated a half year early from York High School and moved from my parents home to an apartment in Ogunquit, Maine. I worked part time at the Old Village Inn for Fred and Alf and spent the winter painting and getting a feel for what it was like to live without the influence of my parents.

Sometime in the spring I ventured down Shore Road in Ogunquit with my mother to numerous galleries. She suggested I go to art school. This trip was meant to present me with what the life of an artist would be like.

The most significant stop was at the gallery of Don Stone. Don was a painter of landscape and still lives. He was very proficient and I was taken by his skills and personality. After a short discussion he found I was in consideration of attending Portland School of Art (MECA) and that I was a local who was connected to the community.

Monhegan Island oil painting White Head

This was painted before I attended Maine College of Art in 1980. I was the guest of Don Stone at his home on Monhegan Island, off the Maine coast.

He asked if it would be possible for me to take him to places that he could paint and could I get permission to go into some old barns or persons properties of who I might know. I jumped at the chance. Throughout the summer of 1978 Don set up his watercolors next to me in barns, under apple trees and on the Marginal Way. I had never tried to paint outside and could barely stumble along. However, as I watched over Don’s shoulder I was mesmerized.

After I left Don’s studio, that day, with my mother, I visited another studio. I remember walking into a kitchen/gallery and there was an older gentleman sitting at a table, his wife at the stove. He was eating spaghetti with only a scant amount of sauce. He scolded me when I told him I might like to become a painter. He asked how would I like to be like him when I was old? Never enough to eat, always cold. I kept my thoughts to myself. Although I truly felt sorry for him I knew I would never be like him.

Don was so supportive of my work. Always offering suggestions in a gentle and kind way but mostly leading by example. His depictions of waves and surf were daunting. He liked to take me up into his studio and show me setups he was working on. One was of a mannequin in a yellow oil slicker. He said he was painting a cover for a magazine and the subject was fisherman.

His egg tempera paintings were finely detailed and composed by a method he called “big shapes.” He gave me some audio tapes on his methods of painting and I listened intently. As our connection deepened he invited me to a workshop he hosted annually on Monhegan Island, off the coast of Maine. The dates conflicted with my first days of art school. I would miss the first week. I remember awkwardly calling the registrar Eudolia Gross and asking if it would be ok if I did not attend the first week of school, I was so excited!

Eudolia agreed that I could go and I was Don’s guest for two weeks on Mohegan Island. We left Ogunquit and drove together up route one in his Subaru. It was packed with all sorts of painting supplies. We stopped in Thomaston for coffee…he seemed to know everyone. It was a bright September post summer day. I recall getting on the mail boat from Tenents Harbor in short sleeves, bearing against the wind on the front deck as we headed into the broad ocean and cold Atlantic sea spray.

Mailboat to Monhegan Island

Mailboat to Monhegan Island (2007)

Upon landing there was an old truck and a happy Islander waiting for Don. We threw our stuff onto a makeshift platform on the back of the truck and watched it rumble up the gravel hill to someplace unknown to me. Don was greeted by many people and I was enthralled to be in such a mystical place.

Don told me of his friends, the fisherman and how he painted them and how we were invited to a party where it was likely we would see Jamie Wyeth. We walked up the hill and if my memory serves me his home was about in the center of the island. Gray shingles, large. He told me a painter named Shoemaker had lived there previously. We got settled in and soon went down to the general store. Don ordered a cup of coffee and practically poured a cup of sugar into it. We sat at a table with many others. He joked about not liking his coffee sweet, that’s why he would never stir it.

Kevin Freeman watercolor, Monhegan Island, Maine

This is a watercolor painted in 1979 near the Stanley family bait shack. Over the years a mouse brazenly nibbled into the left side.

Don picked up some other food items and a case of Budweiser beer. He carried the beer up the hill and back to his home on his shoulder, I carried the smaller bags. At the house we sat back, relaxed and talked while sipping on cold beer. I was 18. We would be joined by Don’s wife Linda in a few days and then the workshop would begin. The next morning Don took me out to explore the south side of the island. We set up our easels and painted. And then we went back to the fishing village and painted more.

Monhegan was amazing. I loved everything about it. That afternoon Don told me we needed more beer. More beer? I had drank only one or two, how could this be, I couldn’t imagine! Don explained to me he really enjoyed beer and that his indulgence was at the expense of no one. This explanation seemed practical to someone with little experience in this regard.

Kevin Freeman at Monhegan Island

Standing with Don’s wife, Linda, while checking out the painting prospects.

Kevin Freeman on Monhegan Island, drawing

Making sure the world is plumb 🙂

The workshop guests began arriving and Don greeted many of them down at the dock as they got off the mailboat. They all stayed at the Monhegan Inn. Daily, as a group, we all headed off, following Don to his favorite locations. The group of men and women were mostly retired or soon to be. They were very friendly and everyone shared the awe of being on Mohegan. We would paint until one or two in the afternoon and then re- assemble on the porch of the Mohegan Inn for a critique around five-ish. There were cocktails and lots of suggestions but mostly people were bidding on the watercolor paintings Don had done during the day.

The island adventure was epic for me. Don was so kind and generous and so full of knowledge about the island and he was such an able painter. So many people admired him including me.

Don sold all his watercolors during the workshop. Mine were in a portfolio which I gathered up and sailed back to the main land with Linda’s mom. She drove me to Ogunquit and took me out to lunch at Barnacle Billy’s. Within a day or two I began art school.

At Portland School of Art we started by painting the contents of an open box turned facing us. We arranged objects within the box and were allowed to make our impressions with a pallet knife only. It was so different than the glamour that Don had offered. He would suggest always mixing a little sienna under the eves, people like it better, he would say with a smile. I was so grateful to Don for taking me to Monhegan.

Don Stone

Me standing beside Don Stone in his Monhegan Island, Maine studio, August 6, 2007

Throughout art school I would drop in on Don. He had an old Martin guitar that he would pull from the attic for me to play. He was a banjo player. I would strum a few chords with him in his living room as Linda busied herself making us snacks. My path was diverging from his. When he asked what I was doing it was hard for me to explain. One day as we sat there discussing the philosophy of art and life he suggested I never do what he did. He told me he sold out and that his paintings would never go beyond a certain place.

At the time I was reading Van Gogh’s letters to Theo and was learning the difficulties some had pursuing a creative life. But Don had 3 homes, beautiful paintings, and a large group of admirers. Still, his words resonated with me. And they have stuck with me.

Don brought me into his world and opened the door for me. He shared with me the superficial and the real. I left Don’s world as my other influences coaxed me to larger aspirations. His kind mentoring was an inspiration and left an indelible impression on me.

Don passed away on March 12, 2015. He was 85 years old. Rest in Peace, Don and thank you.