The Last Days of William Potter is a visual story of Peace and Understanding and hope for the two.
I started exploring and photographing my own backyard after Christmas 2014. That was over six years after buying the property on the banks of the Androscoggin River in Topsham, Maine. The sunsets during the winter are amazing but deceptively covered by the trees in front of our home. You have to be on the banks to truly appreciate the undisturbed beauty of the view of a long narrow strip of land in the middle of the river, named Cow Island.
One afternoon, while meditating atop a granite boulder on the shore, I had a vision of a wounded soldier. A soldier that had lost a limb. Later that week, while researching in the library I found the following passage in the History of Brunswick, Topsham, and Harpswell by George Augustus Wheeler and Henry Warren Wheeler, first published in 1878;
"Four days subsequently the Indians fired upon a canoe, containing four persons, as it was coming up through the narrows below Cow Island. The boat contained Mr. and Mrs. Moffitt. William Potter, and William Thorn, a soldier in Topsham, under Captain William Burns. Moffitt and Potter were killed. Thorn had his arm shot off. Mrs. Moffift succeeded, with some assistance from Thorn, in paddling the canoe to the Brunswick side of the river, and thus enabled them both to escape. 2 Thorn asked for aid from the General Court, and on May 31. 1748. twelve pounds were allowed him."
This event occurred on May 2, 1747. William Potter was the settler who owned the land I now inhabit almost 260 years later.
After photographing my backyard for several months, it occurred to me that William Potter, and the Native Americans before him, must have also marveled at the same magnificent light shows I was now the proud owner of. Here is my presentation of what they saw.
Each image seen here is available in four distinct presentations.
1. Open Print Edition as an 8" x 12" printed on fine art archival paper.
2. Open Canvas Edition in 8" x 12" printed on canvas, stretched, ready to hang or frame.
3. Signed, Limited Edition in 13" x 19" archivally printed on fine art paper, matted and framed by the artist. Frames are hand-built wood frames and are individually selected based on the image or the frame selected for the image sequence it is a part of. The image is mounted using acid free archival mat and backing. The glazing is museum-approved Tru-Vue Museum Glass that provides 99% UV protection and virtually eliminates glare. Each piece is printed and signed in accordance with the editon criteria.
4. Signed, One-of-a-Kind 18" x 24" archivally printed on canvas, stretched, and framed by the artist. Frames are hand-built wood frames and are individually selected based on the image or the frame selected for the image sequence it is a part of. ***When this presentation is selected, the image in all presentations will be retired.
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Materials, including inks, paper and framing, are archival. I take great pride in my work and want you to enjoy it for years to come. Prints purchased via my storefront are printed using archival ink on high-quality archival paper for true color and image quality. I start with a high-resolution digital image (20MB+) and choose ink and paper made to show the image how it was meant to be viewed.
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