David’s new show “Reengaged” marks his return to fulltime painting after after two years (one as president) working with the 50-year-old nonprofit, Union of Maine Visual Artists. During that commitment, which ended in October 2024, there was simply no time to paint. But he’s back with a few new pieces, and newly completed re-worked paintings.

As is the case with all of David’s work, really, his paintings are provocative, colorful, and, in most cases (for me, anyway) – mesmerizing. Let’s dig into just four, OK, six, of the ​​20 paintings in this show running through Aug. 31.

First up is “Untitled. ” I see this one as a half day, half evening fishing village scene. The red railing of the pier appears to be energized where it meets the water in the day scene. The dark scene on the right is most intriguing: is it the same pier cloaked in darkness with a portal above it? Or, perhaps what I initially percieved as the continuation of the pier in the water is the hull of a ghost ship and the sail a portal… This one is a bit of a puzzlement to me … and a joy to spend time contemplating.

“Two Little Girls.” This brightly colored painting attracted me initially because of its title and having two daughters. And, of course, the full moon. But, I wonder if it really is two girls; perhaps it is the older, taller girl still holding, cherishing the younger girl she once was. The faint brush strokes coming from the moon represent her (the moon’s) magical energy, the light of which reveals what cannot always be seen, but always is.

“Clotilda.” Built in Mobile, Alabama she was sailed to West Africa in 1860 illegally to buy slaves, which was banned in the US in 1808. Clotilda returned to Mobile Bay with 110 enslaved Africans – men, women and children. To cover up the deed, the ship was burned. In 2019, however, the remains of the ship were finally discovered.

David’s painting is appropriately darkly colored in black, grays and dull whites. The shape of a ship is clearly seen, albeit abstractly, with the stick-like figures of the people below. The composition of the ship conveys, to me, the tortuous nature of this voyage for these human beings and what they must have experienced between Africa and Alabama.

Said David, “I love black and white. There are pieces (of and within the ship) that spell out the name too. I don't know who would want it on a wall, but it's a statement I'm making. I like the graphic look of it.”

“Country Over Party, revisited.” This third statement painting The features three subjects: an American eagle with it’s beak tethered shut with two, what I interpret as Mount Rushmore-like heads, each with one eye, next to the eagle. A crack divides the two “heads.” I bring in Mount Rushmore because it is a symbol of, and here I use a quote from the National Park Service, “Over the decades, Mount Rushmore has grown in fame as a symbol of America - A symbol of freedom and hope for people from all cultures and backgrounds.” How far from this symbol we have come.

The “Peppermint” shapes really do look like candy. Candy those of us of “a certain age” remember grandparents having on hand. This piece also stands out because the paintings on exhibit around it are in the bold colors we are used to experiencing. The painting is easy on the eyes – and mind, actually! I could totally see it in a child’s nursery as an interactive piece used to stimulate a child’s (and parent’s) imagination. There are textures and colors within the shapes that capture a viewer’s attention, drawing one further into the piece. Initially I wasn’t sure how I felt about it, but, in the end, it’s gentle stimulation was quite pleasant. And that’s a lot for me – lover of the darkness that I am! Ha!

This show is obviously a must see. Remember what Steppenwolf told us long ago, “Fantasy will set you free...”

Get yourself over to Studio 53 at 53 Townsend Ave. in Boothbay Harbor. The gallery is open daily 11 a.m. – 5 p.m. and if you’re lucky, David just might be there. For more about the artist visit https://davidestey.com/