MARC CASTELLI / Merroir
October 25 – November 24
COLLECTOR’S PREVIEW: Saturday, October 26 / 11am – 2pm, with Marc Castelli in the gallery
During Downrigging our Exhibition Hours at our Cross Street gallery will be extended and will include the following events:
**Friday Night Reception, November 1 / 5-7:30pm**
Hot dogs & beer in the parking lot – with Stu on the grill!
Saturday, November 2 / 10am – 5 pm
Sunday, November 3 / 11am – 3pm
ARTIST TALK: Once again there will be two scheduled on Saturday, November 2, 10-11 am and 1-2 pm.
LECTURE: Marc is also on the Downrigging schedule for the following event:
BookPlate Book Talk: Marc Castelli and Treasure Island, Saturday, November 2 / 5:00 PM
Sultana’s Holt Education Center, 200 S. Cross St., A partner event with The BookPlate
Marc’s annual show has become synonymous with Sultana’s Downrigging Weekend. Now in its 24th year, the Sultana Education Foundation’s Downrigging Weekend is one of the largest annual tall ship gatherings in North America. Visit downrigging.org
During Downrigging our Exhibition Hours will be extended.
Please email or call Carla Massoni if you wish to schedule a private
appointment: info@massoniart.com / 410-708-4512
Smoke from a Forest Fire/Grays Inn Ck. – SOLD
watercolor
30”x22”
In the summer of 2022, Canada and the United States experienced a series of huge forest and grass fires. The smoke and smell of those fires reached as far as the deep south in this country. I remember tasting the smoke on my lips when stepping out of the house at 4:00 in the morning to go trotlining for crabs.
Code Orange air quality conditions would make for the occasional cough and itchy eyes while on the Chester River. The clouds when passing in front of the sun had orange haloes. The air had enough haze from the smoke to cut the usual glare and make the early morning sun look like a white paper disc. The waters of Grays Inn Creek, just off the Chester River, are one of my favorite places to be in the early mornings of summer. It can be so calm that every now and then it is like crabbing while afloat in the reflected sky. The shoreline with its ranks of pine trees make for a great set of repeated shapes. Then add the portions of marsh grasses with a dead tree and an occasional bald eagle or osprey in its branches. This all makes for great foregrounds to the sunrise and backgrounds to the watermen as they pass by our boat as we all run our own trot lines. That morning breezes rippled the waters while carrying brilliant reflected white pieces of the sun.
Palisade
watercolor
30”x22”
It was 2007 when I had last been eel potting. It can be far, the muddiest job on the waters of the bay. Culling oysters is muddy, but the mud is usually concentrated in just a localized area around the men culling and the cull board. When eeling, the pots are attached with snoods to a trot line that is set on the sand or mud bottom of a creek, cove, or river. The line is brought up on a winder, then the muddy pots are emptied of eels into a live box that has a steady flow of water in and out of it. The pot still has the remaining bait of razor clams and shells pot which are shaken out overboard. It is rebaited and its tail secured with a slip knot and ready to be stacked in the empty portions of the boat.
My job is to take and carry four pots at a time that are to be stood up in rows and when necessary stacked on their sides, up two to three rows high. This goes on until the complete set of three to four trotlines of pots numbering around four hundred pots have been fished, emptied of eels and old bait and stacked. There are few if any breaks in the process. I have found the textures of the repeated rows of pots can make for interesting compositions. There are many people who are creeped out by eels. I have to admit to a certain fascination for them. Patrik Svensson’s, The Book of Eels, is such a beautifully written book that I wanted to get back out and see the eels again. Inspired by the book, I borrowed an eel pot, cut some branches from a neighbor’s willow tree, and arranged them into a composition. After photographing them from various angles, I then painted a watercolor of it, titled Willow Eels. Because of their leaflike shapes young eels are called willows. I know a waterman who eels with a friend of mine with whom I have oystered over the years. They said I was more than welcome to go along. During the first day of what would eventually be a total 24 trips I explored the boat and watched the process very closely. I explored the boat looking for vantage points from which to shoot while looking for things of interest. But, I have never been able to just ride along and just watch the watermen work. One particularly rough morning of high winds and side on waves I was asked to stack pots in order to help out my friend the bait man whose knees and back were acting up making it difficult to walk while carrying pots on the rolling deck. With their guidance and patience, I learned enough of the job and its variations to actually get good enough to be counted on to do the job without being asked. There is such a wonderful moment for me when a spot on a workboat becomes mine. I enjoyed the opportunity to work alongside them in some pretty hairy conditions in the 3:30 o’dark hours of the mornings. The S/W winds were not gentle this past summer. The stacks of lined up pots still fascinate me with all the variations in the shifting light. I have to admit that I now have several things which are part and parcel of my subject of watermen at work that I have grown to dislike. Foremost among them are the moire patterning of any type of net, the multicolored rhythm of fish scales, camouflaged oil skins, hats and sweatshirts, flannel shirts, grasses, and now eel pots. And yet they are in damn near everything that appeals to me about the work of watermen. This image took at least six hours to draw the correct perspectives of the eel pot mesh. Then came the tedious work of having to paint in between them as the mesh are lighter than the rest of the interiors. The fabric of the tails with their interesting near facial-like shapes made for a softer contrast to the geometries of the pot. It is a good image and one with which I am most pleased. But it is not one I will soon take on again.
First Lick of the Plate – SOLD
watercolor
30”x22”
I have oystered with this pair of watermen for many years. I know they are good, honest, generous, hardworking, knowledgeable and patient watermen. I have painted watercolors of each of them many times but this is the first time I have had them together with such light on them. How could I not take their photos and paint them? It was remarkable seeing them facing the very early morning sun just as it broke the horizon and skated across the water to slam into them on a very cold winter morning.
We were power dredging for oysters down bay, out of Neavitt Creek. The light did some amazing things that day which had me hooting and hollering much to their amusement and slight confusion until I pointed out what was happening around all of us. For a few moments the angle of the just risen sun turned the normal coke bottle blue green winter waters to a deep emerald, green. Needless to say, I took a lot of photos of the water during that short-lived moment. They just shook their heads and went back to the work. I get a laugh when I go back through the photos and see them with their bemused grins. I believe that if given enough time to see the changes that happen around them while they work they might be just as caught up in the beauty and grace of the moment as I am. Most watermen will sometimes tell me of such things that they see. Some have even taken to using their cell phones to capture sunrises, fish in nets, oysters on the cull board, crabs from one run of the trotline and share them with me. What first caught my eye was the bright slivers of their faces as they squinted into the unfiltered glare from the sun while they waited for the first grab of the dredge to come aboard.
Conjuring
watercolor
30”x22”
Every work boat is set up differently from every other boat. I find this fascinating, as the task is exactly the same from boat to boat. Each set up reflects the ideas and thoughts of the waterman who works it and who has worked that way for many years. Changes come slowly in the tried-and-true methods of harvesting sea food. The hundreds of years of fishing, oystering, and crabbing methods on the Bay are just as slow to change.
Change usually comes when someone has invented a more cost-effective method and one that reduces the physicality of the labor. As an artist, these differences represent many different opportunities and vantage points from which to observe and photograph. All while working with and alongside a waterman. These images reflect the individual waterman’s tastes and experiences as to how he wants to arrange his work. I found such a place while trotlining for crabs with Tilghman Islander Jeff Harrison. I could do several things from that spot on his boat. I would move bushel baskets as they filled, fetch tools, find empty baskets with “ears”, lids with all the wires, and other bits and pieces. At the time he needed an operation on his back. Helping out meant that he did not have to get up and walk around the engine box to do those things. Most watermen are between fifty-five years old and eighty or so years old. Many watermen face such physical difficulties. The harvesting of sea food is not body friendly. What I do on some boats may sound like small potatoes but doing those small bits and pieces through the day may shorten his day by an hour or so. Most watermen appreciate having someone to do these things. I appreciate the opportunity to learn and anticipate those moments and to be of help. Those that work by themselves are thankful for someone to talk and listen to. Those subtleties are the things that most people do not get to see, let alone imagine. Having the trust of watermen is not only a privilege but it is a trust not to be violated. That very dark morning of the painting I had turned away to get something. It was when I turned back that I had a moment. I saw Jeff’s face and upper torso lit from below by the floodlight he had directed into the cull bin from which he was pulling crabs. Crabs are like Velcro. They’ll hold on to each other like that children’s game, Monkeys in a Barrell. When I saw him doing this it appeared to me as if he was creating them from out of the brilliant light. I was no longer looking at him culling crabs. It was as if he had become some sort of conjurer pulling crabs out of the darkness. It was the pools of light, his face, his glasses, the shades of light retreating back into early morning darkness and the shadows of the crabs that fascinated me. I ended up taking several hundred photos trying to capture the many variations of him culling crabs throughout the rest of the day. Shooting digitally has made such numbers affordable. The added benefits are being able to copy and crop, slightly adjust, and delete. This is one of the survivors and I feel lucky enough to have successfully carried it off.
October Oysters – SOLD
watercolor
30”x22”
This is Jeff Baker, a longtime friend and a very hard-working waterman. I have painted pictures of him for over 20 or so years. Most of those have been of him oystering. I take photos, of many things while I try to cull for him. Even if I did nothing but cull it would still be impossible for me to clear the cull board while he hand tongs the oysters. He is a machine.
Eventually he puts the tongs down and culls while I help to work from overflowing cull board. He used to tong from the washboards, but his back and knees have worn out and now he works from inside the boat. As I have said before, harvesting seafood is not an easy way to make a living. And yet, all most to a man every waterman will tell you that not only is it all he knows but it is all he would rather be doing. They are their own bosses and own their place of work. They are an insular group. They can be somewhat wary of outsiders and having gained their confidence to tell the whole story is why they trust me. It has been over 30 years since I made my first trip out with a working waterman. Anyway… I believe that I have been able to clear the cull board for Jeff just a few times before he comes around to cull it off. I have my own Tidal Fishery License. This enables me to bring; unlimited types of fin fish, a limited number of crab pots, a certain length of trotline and my 10 to 12 bushels of oysters to any boat that has only one license already on the boat. If there is one waterman working his oyster boat I can bring my limit to the boat that day. Culling is a time-consuming process of eyeballing, measuring, chipping off spat larger than an inch, breaking up clusters of oysters and keeping oysters as large as three inches and larger. After a while you get a pretty good sense for what is a legal three-inch oyster, a keeper, without having to double check. It is the measuring that takes the most time. No waterman has yet gotten a ticket for any oysters I have culled. In the early days and weeks of the season (from October first to the end of March) one can easily see the three inch and larger oysters that grew out during the Spring, Summer and early Fall months. The law requires that all the smalls need to go back overboard along with the cultch which are stones, spat on shell, shell and dead oysters which are called boxes or gapers. Thats the same law requiring all cultch to go back overboard to the bar from which it came. In Jeff’s hand is a tool called by several names. It can be a cull hammer, or an oyster hammer, or an oyster wrench. The tool has a three-inch measure to use when determining whether the oyster is barely legal or not. It also has a blade for chipping oyster-spat smaller than three inches from the keepers. This is an effort to try and return the little oysters to the water for them to filter while they grow out. I have found that the yellows and orange panels of the newer oil skins make for a brighter palette. This can relieve the more somber tones that are typically what one sees on an oyster boat.
Emergence – SOLD
watercolor
22”x30″
I have been painting from this amazing day for over 8 years. It started out in “dungeon thick” fog which would then come and go and then finally burn off. The reason for so many boats from so many places on this oyster bar was that the state had just opened it for harvesting. The bar was part of a state rotational schedule that would open bars for harvesting and then close them for sustainability and replenishment. This bar was on the Chester River and had been closed for quite a while. I have been told that many years ago there were so many workboats oystering on the waters of the Bay that in some places you could nearly walk from one side of a river to the other.
At times these boats would be working the bar so close to each other that one would have to push a boat away in order to lift the hand tongs to board the lick. The previously closed oyster bar would be open for a week or so, until the harvest report indicates a possible threat of the oystermen would have seen by then the dwindling catches coupled with the lesser cost effectiveness of travelling that far to work longer. Then the bar would be closed again. During the closure the bars would see seed on shell and shell plantings in order to enhance natural recruitment or spat sets. The bars would be closed for approximately three years. This was funded by both the state and by the county oyster committees, using counties MDOT oyster money and oyster industry surcharges. Most of the Chester River oyster bars are now sanctuaries. They have seen little if any such active management in years. In fact, there are 5 sanctuaries in the river that are now classified as “under-performing”. It is usually River Keepers, Coastal Conservation Association, Shore Rivers and the Chesapeake Bay Foundation that raise false alarms about such active management. Much to the disappointment of the watermen and some in the MD/DNR. In this watercolor one can see several workboats of hand tongers emerging from the soft light of a retreating fog bank. The water is so flat calm, the light on the workboats is just beginning to get bright, and the expanse of a horizonless background make for a rather calm and quiet image.
Putting Out, Knapps Narrows – SOLD
watercolor
30”x22”
I usually do not let architecture dominate my watercolors. In this case the Tilghman Island draw bridge keeper’s house is a unique building. On Tilghman there are just a few places used for putting out catches, one is in Dogwood Harbor and the others are on Knapps Narrows. In this instance the watermen are putting out their oysters at Whitman Wharf on the Narrows.
Whitman Wharf is the name of a growing and very successful seafood business operated by Mr. Nick Hargrove. He has reimagined a small environmental center that fell on fiscal difficulties into the largest processor of invasive blue catfish. He also is growing out oyster seed and planting seed on shell for a variety of user groups. He has purchased two run boats for planting both seed on shell and shell. If ever there was a successful business plan for curbing the increasing numbers of blue cats in the Bay and its watershed it is his plan. Unfortunately for him the FDA is always in his face and business with their constant stream of inspections. And yet his business is an undeniable success. To seriously curb the threat of invasive fish in Maryland there needs to be at least two such processors, one on the lower Eastern Shore and the other on the Western Shore. To make that happen one needs to find private investors that have the same odd faith in the inexhaustible resource of blue cats. There are no harvest limits on catching these voracious and increasing catfish. The only drawback is the market availability. There is a need to develop out-of-state markets for those fillets. Back to the oysters, which are part and parcel of Tilghman Island history. Its watermen have been leaving the docks to harvest oysters and deliver them to the island for well over one hundred years.
A Muddy Day
watercolor
30”x22”
Once the day of oystering is over the mud has a chance to dry on the cull boards, the oyster hammer and everything else. The clean-up is something for the ride back to the docks. The hammer in this picture is mine. I bought it when my family and I visited Deal Island’s little country store over 30 years ago never realizing I would ever find a use for it.
It has outlasted several other hammers but is relatively light for chipping spat from legal size oysters or for breaking up clumps of oysters. I like the shock absorbing function of the handle. You can see the 3-inch measure that helps to determine the legal size of oysters. At the end of top cross piece, you will see where it has been hammered out to make a blade for chipping spat or breaking up clumps of oysters. Sometimes, I think that chipping spat off of larger oysters without killing the spat is like cutting diamonds. It takes a certain knack and awareness to do so without killing the spat. 6 to 8 hours of culling oysters can take a toll on hands, backs and knees. Then there is the baptism of splashing mud and the squirts from grape size water blisters that can populate an oyster bar. I was intrigued by the intricate tracery of the shadow from the heads of a pair of oyster tongs falling across the hammer and the wooden shelf. It is a severely muted palette full of glare. I find those factors are indicative of the day. Spending the day during the entire arc of the sun on a workboat allows you a chance to be there and see many things that perhaps few would notice.
Let Me Watch Your Fish for You
watercolor
30”x22”
Pound nets are a major attraction for birds that feed on fish. I fished pound nets with a father and son team for over 10 years. Now I get out with yet another team of father and sons who fish the Chester River and one or two other sites out on the bay. If you ever have the chance, you should, without bothering the men, watch a pound net being fished. You will get to see what lives, crawls and swims in the waters of the Bay. Good luck with that. Most watermen don’t really like spectators.
In my case I cull fish, move crates and get close enough to take pictures that I print and share with the men and their families. I do so to try and return the favor of them allowing me on their boats while they work. Every now and then when we come up to a pound net, there are flocks of birds perched on the poles. There are Osprey, Blue Herons, Green Herons and Least Bitterns. Most of the time there are cormorants perched on each pole, swimming in the crib, maiming and eating the fish. They have become so numerous that they are actually eating their way into the watermen’s livelihood. In states that have fish farms, catfish ponds and pay ponds the owners are able to shoot limited numbers of cormorants to scare off the others from cutting into their profit margin. Many things have been tried including stretching nets over the ponds, or noisy propane gas cannons, and plastic owls perched on poles to dissuade the birds from decimating the fish. Maryland has no regulatory process for its commercial net fishermen to protect their catches. Some would argue that the watermen have enabled such predators and have only themselves to blame. It is not widely known that nothing can grow under the trees where cormorants nest, as their waste is toxic. Most nesting sites are along waterways, naturally. The increased numbers of cormorants represent a water quality threat on the shoreline and around aquaculture oyster cages that ebb tides have left exposed to the air. Such exposure allows birds such as gulls and cormorants to perch and do what birds do, defecate. I have numerous photos of such instances. I hope that if you read these essays you can see how inextricably interwoven our presence is in this world. Most of all I would like for you the reader to realize how “solutions” are not as simple as many would have you believe. I stray… In this painting is an osprey perched atop one of the pound net poles defining the leader that leads fish to the hearts from which the only “escape” is through the funnel into the crib. I have heard on occasion some folks express a certain dismay at how unsporting a pound net is by using fish behavior to trap them. I tell them in no uncertain terms that this has nothing to do with sport, it is about feeding people. If you spend a lot of time with watermen, one gets rather calloused about the nature of the business. Life eats life. A sense of humor, no matter how dark it gets, becomes part of the day’s conversation. Hence the title.
2022 Crab Season Is Officially Over
watercolor
30”x22”
One very early morning (they are always very early) I saw in the dock light this old bushel basket, and a piece of the basket’s bottom. Many times, I am an unconscious taker of photos. I take quick off-the-cuff shots for no reason other than a reaction to the sight. There are two concepts among the many in Zen Buddhism. They are called “mind like mirror and a non-abiding mind”.
Both deal with freeing up the mind from issues that get in the way of being in the moment. The non-abiding mind is a mental state that flows freely while observing what comes up but doesn’t get stuck obsessing about any one of them. A state that many strive for while meditating. Painting is a form of meditation for me. Letting go of whatever bubbles up is something important to me especially while painting or taking photos. While painting I want to be cognizant of what is happening to not only the water and the paint, but also how much water and paint are in the brush. Mind-like-mirror is about the same exercise but differs in that one’s mind should reflect exactly what is in front of it for only as long as the item is there. Such an ability allows one to be more responsive to external stimuli and to also be aware of things happening in and around you while out in the world or painting in the studio. It is later when I get home with such a photo and really look at it while drawing it out that the roof of the brain takes over and gives me a reason for taking photo. In this picture I found that the dock light reflected back on to the basket side which had tinted the shadow. Such sights will later engage the roof of the brain with its baggage of a hard crab season, fatigue with pursuing crabs when their numbers are low, or that the price was low. These are a few of the after-the-fact explanations for having taken the photo. A lot of my titles come from those times. Read into it what you want.
Season’s End – SOLD
watercolor
22″X30”
This is another painting dealing with the sights that indicate the end of a crab season. Every now and then one will see the header or filler floating in the waters where crabbing takes place. The watermen from each creek and river have their own names for such things. A header is an up-bay term, a filler is a below-the-bridge term. Down bay is from Eastern Bay south. Either term usually mean a basket with the bottom kicked or cut out of it to be placed upside down on a bushel basket that is nearly full. This keeps the crabs in an almost full basket while adding more crabs.
Given enough time, the crabs will also settle down, taking up less space, causing the crabber to add more to the bushel. A buyer will not accept a bushel if the crabs do not “ice cream cone” up higher than the rim causing the lid to bulge upward. Putting the lid on such an over full bushel can be quite tricky and demands absolute concentration and speed. At times it can be quite comical to watch. It also helps if the basket has its “ears”, and the lid has all of its wires. The header floating in the water of this painting is well-used. I found the symbolism poignant almost at the same moment I took the photo. It was only later I saw the distorted reflections of the header and the light inside the water in which it floated.
Fierce Tides and Currents
watercolor
22”x30”
I have been fortunate to work alongside two different families of watermen as they fished the Chester River. Both have told me that there are times when keeping pound nets on that river is a hard thing. I have seen the watermen sometimes spend half an hour to hand dip from the crib several hundred pounds of sea nettles.
Sea nettles can burn one’s face, hands and arms. They can also burn the faces and the eyes of skin fish, like catfish, who don’t have protective scales like perch have for instance. When culling several hundred pounds of flapping, jumping, and writhing fish you really don’t want sea nettles flying around your face. It is less of a hazard if you try and remove most of them before boarding the fish for culling. Tiresome work at best. I have seen the men after fishing their nets leave the nets bunted up in order for the sea nettles to dry out in the sun and wind to eventually flake off. Doing so takes the net offline so to speak, it is no longer making anyone any money. A single pound net operation can cost from twelve to fifteen hundred dollars and hundreds of hours in labor. This family has around thirteen such sites. The Chester River has a very fast current, which adds to the difficulties of keeping such nets upright. A solution is to brace and support the poles with several anchor lines as pictured in this painting. Such currents can make it difficult to fish nets of any type. The combination of a strong ebb tide with the current can make the work even more trying. Bunting the crib on a pound net is a young man’s work. There isn’t any way to make it easier. Doing so when the net is full of fish, sea nettles, or autumn leaves is even more difficult. If I’m correct this pound net site is just inside Melton Point. Having arrived there in the early morning and seeing the light on the tree lined bank punctuating the edge of an unseen field was what initially caught my eye. It was only afterwards that I saw the rhythm of the poles and their anchor lines lit up by the sun.
Stephanie III/ Dogwood Harbor – SOLD
Tilghman Island
30”x22”
Dogwood Harbor on Tilghman Island during oyster season (October 1st to March 31st) can be a very busy place. This is so in the o’dark hours of the morning when the boats and crews are leaving to hand tong or power dredge for oysters in the waters near the island. The regulations dictate that you cannot have any gear overboard until sunrise. Using local knowledge to mark out one’s starting place in the dark with buoys is how you find a site and stay on it until the designated hour for sunrise. Sometimes the skies are so dark with clouds in the morning that sunrise has to be determined by the clock. The competition for productive spots on the bar can be fierce. It is later in the day when the boats return with their oysters to put out, that Dogwood Harbor gets busy again. The local boats and those from other docks jockey for position at the bulkhead in order to put out their catch. No one gets too irritated or cuts in the line and everyone takes their time and waits.
This makes sense especially when the harbor is where if you aren’t a local and you may have to raft up alongside others. Most of the slips there are occupied by local watermen. I have noticed over the years that watermen have very long memories about those who act out, break the laws and are just plain ignorant. I have been told that, “you can cure ignorant, but you just can’t cure stupid”. I had been power dredging this day with an islander, Jeff Harrison, and we were milling about in the harbor waiting for our turn at the bulkhead when he pointed out “Buck” Lynch’s boat, the Stephanie III and told me he is one of the Black Captains from Kent Island. I knew of him because Tyrone Meredith, a headboat captain, had told me that they were cousins. Not one to miss such a good chance to make a connection I yelled across to him that Tyrone said,” Hey”, and that I should talk to him about oystering with him. He smiled and told me to give him a call later that week. While we waited our turn I took several photos of “Buck” and his crew, Bobby Washington as they moved their boat up the line and out of the way. I have always enjoyed the light of early mornings and more so that of late autumn afternoons. This was a most challenging piece. I needed the base line of correct detail of the place. This is ensuring that anyone who has been there or worked from there will know where it was. I am satisfied when they tell me that I got it right. Most would ask if the next time I paint their boat if I wouldn’t mind just cleaning it up a bit. The older houses in the background and the boats around the bulkhead in the background needed to be right. The house on the right was the most difficult as it had so many details with some emerging from behind the foliage and shadows making for layers of involved textures. The Stephanie III is a beautiful deadrise Chesapeake Bay workboat. I did get to go oystering several times with them later in the season. All of us are over seventy years old. Just think about it for a minute. The combined years of our ages is over 200 years. One day while we were working on the Tred Avon I heard Buck say, “The work ain’t hard. The boss is easy”.
Tower of Crabel
watercolor
30”x22″
Please excuse the attempt at a pun. I really enjoy the days with the Manning family as they work their pound nets and catfish pots. It is a crew comprised of a father and his two grown sons who now have their own young families. I have been able to get out with them for many years now. The sons always smile and seem to share a lot of private jokes as they work the nets together. The father has me buffaloed most of the time.
While I am welcome to go along it seems that he is still not too sure of me. One very early morning I got left at the dock in Rock Hall by another waterman who agreed to take me to go crabbing with him. I mean it was early. 3:30 in the am early. He texted me a little bit later and profusely apologized telling me he had more on his mind that he could handle, and he just plain forgot that I was going too. It was still early, and I did not want to go home with my tail tucked between my legs, so I drove to another dock where I knew there were boats and watermen who knew me and were just getting ready to throw off. I thought I could snag a ride. I got down there in time to see the Mannings loading up their boats. I told him my story, he laughed and asked if I had pissed off the waterman. I said no and was wondering if I could catch a ride with them. He almost said yes but after a split second he said not that day. But I could go with them the next day. I said great and asked what time to be there. He told me 3 am. I looked at him and said,” You must really dislike me”. He laughed and said to me as he stepped aboard his boat, “See you tomorrow”. This painting is from that day. Pound nets catch not only fish but crabs too. Those who fish such nets are allowed two bushels of crabs per license on the boat. It is being considered by the state that harvested crabs are no longer to be kept in the ubiquitous wood bushel basket. Despite these rumors to the contrary crabbers have yet to see such a regulation change. I have been told it is in the works. Plastic bushel crates with tops. I just hate the idea. There is something about the geometries of worn out, stained by time, wood bushel baskets that just plain appeal to me. Anyway…This stack of bushel baskets with a cauldron for culling crabs on top resulted from one of those off-the-cuff photos that get taken among the several hundred on such a day. Great light, textures and muted colors all speak to the day and its potential. Oh, and by the way, I did get a ride that day with another waterman who was trotlining for crabs.
His Clothes. A Map – NOT FOR SALE
watercolor
30”x22”
Culling for oysters is a gritty, muddy job with some unpleasantness. Among the constant chipping, sorting, pushing cultch (shell, small oysters and rocks) overboard, there is the getting squirted in the eyes and face by a water blister creature that grows on oysters. One’s face can get spattered mud from breaking up a cluster of oysters or striking a mud filled dead oyster. The piece of shell in the eye isn’t much fun neither. Then there is the bitter cold some days that has you bearing the weight of multiple layers of winter clothes and knee boots.
I once counted 6 or 7 layers I wore in one day. Culling oysters for a skipper who places his drags off the bow of the boat has the benefit of keeping the boat’s bow to the wind as it shears back and forth across the oyster bar in the tides and currents. That means he is working in the lee of the cabin with his back and face sheltered from the wind. The work is long and pretty much in one place for most of the day. It is the hand tonger who while working from the washboards has to fight the wind, the tide, the current, the boat and the need to stay on the oysters. I have seen hand tongers warmed by the work in their shirt sleeves while the crew is still in sweatshirts. But of all the harvests I help out with, it is oystering which I love the most. The testing of myself in some pretty outrageous conditions and the acknowledgement of a good day’s work from the crew is satisfying. The snowfall in the early hours of this day wasn’t supposed to have happened until later. It was almost brutal and exhausting. We all survived and managed to harvest our limits and return to the Bellevue docks on the Tred Avon across from Oxford. Great oysters to be had there that season. I oystered a lot with them. The once bright orange oil skin coat is so coated by mud that it looks like a map of an archipelago. The photo of the barely visible mud-spattered face emerging from all of the hoods, stocking hat and baseball hat, spoke to me of the entire day.
Leaving Grace Creek
watercolor
22”x30”
Lewis Carter is 75 years old. I had actually done a painting of him oystering on the Chester River nearly 35 years ago. At that time, I had no idea who he was. Or that I would ever be getting out with him to go oystering and or that I would be culling for him. And yet, there I was going oystering with him out of P.T. Hambleton’s, in Bozman, Maryland. P.T.’s sits on Grace Creek.
One of the best places to watch sunrises during the oyster season. When the sun breaks the horizon it rushes across the waters and up the creek. Up to that moment the sky has been turning all manner of unpaintable colors which are reflected in the waters as the boats leave for a day’s work. Captain Carter, I feel has become used to my being on the boat, taking his picture, and now trusts me to cull his oysters with him. I rarely invade the cabin on any workboat on the way out to work. The morning hours are for getting one’s head straight, thinking about where to go and if everything is on the boat that needs to be on the boat. There is a loosely regarded superstition about it being bad luck if you have to go back to get something. Most watermen will make do and try not forgetting whatever it was the next day. Anyway, in this instance I had been invited to come and get warm from the little stove with its burners going. I just couldn’t resist the early morning light streaming in through the front of the cabin, illuminating his face and punctuating his gaze. The interior of the cabin with all of its wiring, technologies and wood became all of a scene. I’m very lucky to have such days in such company. Initially he was rather reticent about taking me on board let alone talking to me. I think he was watching to see if I could walk the walk. Through the day he would eventually tell me stories about growing up on Kent Island, days of working the water, his boats and answering my questions. He later told me how good it is to have someone to talk to on the boat. I look forward to going out with him this coming oyster season.
The Pearl – NOT FOR SALE
watercolor
30”x22”
One of the many things about getting out on the water with the watermen is that the days are never the same in spite of the activity being the same. The light is never the same, nor are the winds and clouds, or is the abundance of the resource that is being harvested. Such a wide variety makes for a target rich environment in which to take pictures.
I was just out eel potting the other day and made a mental note that despite watching and participating in much the same activity each day, I should always try to find new places and angles from which to take photos. Also, no matter how many times I have been the boat, I need to react to new photo opportunities that may last just split seconds. I do this in and around my duties on the boat. Sometimes I have missed the shot and sometimes I never get to see the same shot ever again. Nothing stays the same. Things happen faster than my shutter finger. It’s like sword fighting. Knowing what’s coming and being slowed by the anticipation do not always jive. The drive down to Bellevue, Maryland the morning of this painting, was slowed by as intense a fog as I have ever seen. I always try to get to the dock before the skipper and crew. Following the water is a very competitive business. I don’t want anyone to lose any opportunities, especially turf ones from my being late. Being early gives me a chance to photograph the boats as they wait for their owners and crews. I arrived early enough to get a lot of great images of boats in the fog barely illuminated by the dock lights. The ride out after throwing off was slow and dependent upon the GPS. The photos of the skipper being lit up by the search light on the bow in the fog as he threw over the drag weights turned out nicely. Luck has so much to do with good photos. Also, the presence of mind to get over the uniqueness of the situation and take a couple of shots helps. We knew that where we were was a legal spot that was also close to an oyster sanctuary but felt we were legal. Which we were. It is very easy for scofflaws to take advantage of breaking the laws and regulations on such foggy days. There are loads of such stories. The penalties no longer reflect the once culturally prevalent attitude of watermen as Robin Hood tweaking the Sheriff of Nottingham’s nose. The penalties are now so draconian that losing one’s license for several years is a reality. It was that morning I saw portions of the water next to the boat became softly visible as the white paper sun barely emerged from the fog bank. Truly a magical moment for me. The hand tonger in stark contrast to the fog and water just made the moment even more special. Just how special did not become apparent until I got home, downloaded my pictures and started to go through them. I stopped in my tracks when this image came up. I knew then and there it was going to be painting. It became one of those paintings that happened in my life when everything that could go right did so. It was as if I was watching someone else paint it right in front of me. And that is why it is not for sale. I have decided to keep this one. I very rarely ever do such a thing. But I feel so strongly about it that it will be this year’s print in my Following the Water Series. I had two working titles for it. One was Oyster Soup; the other, The Pearl.
Going to Blow Today – SOLD
watercolor
22”x30”
Sunrises can be quiet, or can be like the finger of God, or one from Jurassic times, but not one is ever the same. The skies during the winter provide a wide range of such sunrises. This morning on Broad Creek there was a bank of clouds below the horizon that had turned a deep red. There were few if any clouds overhead, so the water reflected the bluish-purple sky.
Because I needed deep rich colors for this painting I took paints directly from the tube mixed them with a little water to make them move more smoothly across the paper. There is a humbling quality to the smallness of the human presence when out on the waters of the Bay. A neighbor remarked on how much such a painting resembled the work of Mark Rothko, one of their favorite artists. I remember when Phyllis and I went to see the huge Rothko exhibition at the National Gallery, many years ago. It was spaced in a darkly lit series of galleries so that the deep rectangular windows of color could glow from within. Some would say that it is from the school of color field abstraction. Perhaps it reflects our being so small while out in the huge color field abstractions of the outdoors.
Portcullis
watercolor
22”x30”
Several years ago, I had an opportunity to go out oystering on the Chester River. The MD/DNR had opened an oyster reserve bar, and I wanted to see what would come up in the gear and see just how many boats would travel in order to harvest oysters from a bar that had been closed for a few years. Most of the men I knew who oystering were using patent tongs or dredges. Neither gear type is allowed on river oyster bars.
I made a few calls to see if I could find a ride on one of the boats putting out of Long Cove. I managed to get a ride with a skipper who also hand tonged and a culler who knew who I was and what I had been doing. Sadly, they have both crossed the bar since then. I have gifted paintings of both men to their families. We left the cove in one of the deepest fogs I have ever seen on the Chester River. The dock lights made the fog look like orange smoke from forest fires. Some watermen do not have GPS on their boats and had to follow others out to the bar. I know just how easy it is to get lost out on the water when it is foggy. But that is a story for another painting. Workboats must have at least two types of loud noise makers on their boats to alert others to their presence. They usually are a bell and a whistle or an air-horn. This day we made our way slowly across the river to the oyster bar, found a place on the bar where we could drop our drags from the stern and waited for the sunrise. It is illegal to start most harvests before sun-up. At certain times of the season, crabbing can start an hour before sunrise. There are certain specific fishing gear types that have different times. I just learned that if you start oystering before sunrise or are harvesting after sunset it is called poaching and harvesting out of season. You can lose your license if you get caught doing either one. Anyway…That day you could hear the engines and voices all around us in the fog. Now and then a boat would come out of the fog trying to find a place. It would get right crowded. If you were in an airplane overhead you could probably define the shape of the oyster bar from where the boats were. A bright orange sun came up right out of the fog making dark silhouettes of boats against the reddish orange fog. You must remember this was several years ago. And yet I can remember it as if it were yesterday. I must have shot several hundred photos that day. When I paint from the color slides or digital folders I find it quite easy to relive those days. It is possible that I may have painted at least 10 or so watercolors from that day. I have to admit that there are just not many days like that. This image is from that day. Not every day is ever the same. The wonderful unexpressed anticipation of what we’ll see when we harvest is compelling. While the heads of the tongs are difficult to draw out and then paint, I liked using them to frame the boats astern of us. They reminded me of the portcullis in an ancient castle gate.
A Consortium of Anchors
watercolor
13”x30”
I love the English language and several others too. Both Lexicology and Etymology among my favorite pursuits. I have a few books in my house and among them are a couple about cursing, ancient words, and words no longer in current use. An Exaltation of Larks is one such book I go to when I’d like to know what a plurality of something is called.
Such wonderful phrases like, a murmuration of starlings, or a smack of jellyfish are good examples. In the case of this painting it was the phrase, a consortium of octopi. The anchors on this oyster boat hanging from the collar prompted me to take several photos and do a couple of pen and ink drawings of them. They reminded me the arms and legs of several octopi. Hence the title, a consortium of anchors. On some boats, especially the larger ones, it would seem that one can never have enough anchors. Not one boat is exactly the same as another. There are as many solutions to issues as there are problems. As an artist I enjoy the many faceted aspects of this subject. Some paintings reflect this fascination with detail while others reflect much bigger thoughts and reactions.
Back in the Day/Fishing Lady
watercolor
9.5”x30”
This was a headboat owned by Terrence Roy of Kent Island. His father, George Roy bought the boat in Crisfield. Darrell and his brother Terrence learned their trade from their father as mates on his boat. The Fishing Lady fell on hard times, and she ended up in a landfill. She is one of eight headboat portraits I have painted for this exhibition.
My years of painting watermen has brought me many opportunities. It seems like a lifetime ago I was commissioned by Vince Leggett, founder and CEO of the Blacks of the Chesapeake Foundation, to paint a portrait of Captains Tyrone and his father Eldridge Meredith. It was Vince who coined the phrase The Black Captains of the Chesapeake. That opened up the door to a group of watermen with whom I had no previous contact. It has since developed into some long-lasting friendships. These would later enable me to open some doors for a documentary producer. Because of my small part in the Emmy Award winning documentary, Water’s Edge, Black Watermen of the Chesapeake (produced and directed by Alexis Aggrey for MPT), I had been invited to attend a meeting with Sen. Cardin, along with a couple of the Black Captains of Kent Island and a few of the scholars from that same film. During the course of the conversation Sen. Cardin asked how many black watermen are still working out of Kent Island. Tyrone answered, maybe 10 or 12. I was surprised at how few remain, given how rich the culture and how deep the history of the African Americans on the island is. He went on to explain that when it came time to divide up the territories involved in the headboat and charter fisheries; the Bay side went to the white captains and the Eastern Shore side went to the Black Captains. Tyrone has since told me that when he was growing up it was always the white watermen and black watermen living next door to each other, that worked on each other’s boats and sold to each other’s seafood businesses. All of this with little or no rancor between them. He tells me that racism was back in the days before him. The water is color blind. Anyway…This low number of watermen alerted me to the fact that I could and should do something to record in my own way some of the living history that is passing right in front of me. Headboats are called this because the owner/captain is usually paid by the head, and sometimes by a group, like from a church. At the moment if all goes as planned a small group of sponsors will designate a fund to be used to purchase all eight and donate them to the Chesapeake Bay Maritime Museum. To my knowledge no one has thought to record these men, their boats and their history in such a way. I have started to do portraits of the owner/captains also. I find them friendly, competitive and are men who also oyster, crab and work in other fisheries. They know of me and my work and so far I have been welcome to go out with them on the water. Early on I used to be insulted by the notion that my work was documentary in nature. I still believe that the fishery is alive and thriving albeit on a smaller scale. My work has taken on that character solely because of the years I have devoted to this industry. As of this moment I have completed 1,663 watercolors of the Eastern Shore’s watermen, and 503 watercolors of the log canoes. These numbers do not include the thousands of completed pen and ink drawings of the same subjects. This new subject of the black watermen is important to me especially as it is a group in which I have only recently been welcomed. It is a portion of the nearly 35 years of the larger context, the men who follow the water.
There’s No Missing the Shirley B. III
watercolor
8.75”x30”
The Shirley B. III is a bright yellow and large headboat operating out of Kent Narrows. She is owned and captained by Montro Wright. I have taken many photos of her from the bulkhead as she leaves the Kent Narrows. I will nearly always take photos of every workboat I see when I am out on the water. This is the first time I have painted a portrait of his boat.
What a changeup it is to paint such a colorful boat. The headboats are very different from each other. This is in spite of them having the same function of taking out groups of people who want a day of fishing on the water. I will know more of this boat as I get to know Montro better. I am currently working on a portrait of him standing next to his boat. He is in his 80s and I feel the need to paint him and to be out on his boat before I do the others. It is very competitive to be a head boat owner/captain. You have to always be on the hustle. Keeping the old and faithful clients is important because you can’t buy any better advertisement than word of mouth. This is especially so when it comes from those who have fished with you for generations and keep coming back as long as they can. But you also have to try and get the younger and newer customers in order to stay in business. Most people who enjoy their Chesapeake Bay seafood do not know that the average age of a full-time waterman is between the mid-fifties and the eighties. It is demanding work, fraught with many difficulties beyond one’s control. These hardships can make those who follow the water creatively reactive to whatever Mother Nature throws their way. I have been told by a long-time waterman that,” We have been doing so much with so little that we can do damn near anything with nothing”. I do not know of many young people who want to work as hard as a waterman has to, in order to make a living and feed his family. I do not know many young people who know how to actually work that hard either. Those that do will go further in this world than those who set in front of computers or on their cell phones all day. One of the many reasons I enjoy the days of hard work while on a workboat is that I am honestly bone tired when I go to bed at night. Not just mentally fatigued. Captain Montro Wright has been a waterman all of his life.
Captain Price II
watercolor
11”x30”
I have yet to meet Captain Lord Price. I know very little of him but want to remedy that soon. I have been led to understand he and Buck Lynch apprenticed under Eldridge Meredith. I hope that my portrait of his dark blue deadrise headboat is pleasing and respectful.
As I have said before, I am not aware of anyone taking the time to paint portraits of these headboats. I’m hoping that having done so will keep them in the histories of the head boats. I shot a photo from which I worked out the painting from the Island Queen II. We were among several headboats looking for fish just outside of the Miles River on Tilghman Point. Always on the move, until, the captain sees signs of fish, he stops and drops an anchor and yells out,” put your lines in the water”. He stays as long as he hears the customers yelling about the fish they are catching. When I am out on a headboat I ask everyone if it is alright that I take their picture throughout the day. I have had some of the most fun while being on a headboat as I have ever had out on the water. People manage to leave most of their troubles and the troubles of the world on shore and just want to relax, share stories, and laugh. I also let them know I’ll be sending the good shots to the skipper to put on his website and that they can download them for free. Most find this latest penchant for boat owners to fly flags for a certain ex-president from their workboats, yachts and power boats to defeat the purpose of being put on the water. I agree.
Stephanie III
watercolor
11”x30”
I have had the greatest of luck to oyster with Captain James “Buck” Lynch and his crew Bobby Washington. When the boat isn’t being used as a headboat with a canopy to keep the customers out of the sun, she will be converted to a workboat for oystering. I believe that Buck and Tyrone Meredith are cousins.
Stephanie III is also a beautiful O’Neill Jones deadrise workboat. Nicely proportioned trunk cabin with an equally proportioned wheelhouse, all incorporated on a beautiful long hull with some flair up forward in the bow. Days are long for headboats. 8 hours usually. The boats usually leave by seven in the morning and don’t head in, with hopefully happy customers, until around 2:30. Sometimes the fish aren’t where they were the day before and one has to travel to find them. Each captain has a long-time proven go-to-spot when such scarcity is involved. Knowledge of such spots usually came down from their fathers. Having happy customers is always important when dealing directly with people. I know of no captain who wants to see the end of a day when his customers did not get to catch fish of any amount. The remaining 6 head boat captains are very successful at keeping their customers happy at the end of the day. At one time there were approximately forty-five head and six-pack charter boats working out of Kent Island. Now there are only 6 or so of them left.
Do You Know Me?
watercolor
14.25”x30”
I started out on what is now a 35-year long journey of being out on the water alongside the watermen. I’d like to stay at this as long as I am welcome and able. While familiarity may breed contempt it is that very same long-term familiarity that has widened my perspectives to what will make more personal paintings. In this instance it is a narrow focus on the hands and strong horizontal of the wet and reflective shafts with the dark vertical compositional element of the oil skins that finishes out the nearly abstract composition. Given the specificity of the view you may well ask for whom it is that I paint.
When Phyllis and married 42 years ago, she told me then that it would be fine with her if I was to quit driving heavy equipment in a sand mine and pursue my art on a full-time basis. I know that over the centuries there have been few artists that have been so very lucky. I do not know of many artists today that have that opportunity. I don’t mix easily with other artists, I’m too busy to search them out to converse. What would we talk about? Matisse was once heard to say,” To be an artist, one must first cut out one’s tongue”. Phyllis then told me not to worry about sales. She told me to paint, draw, photograph, who, what, when, where, and why I wanted. Her confidence in me, my vision and pursuits has never flagged. She then said simply that people will find me. And they have. Especially so in the last 35 years of working with Carla Massoni. Both Phyllis and Carla are wonderful souls who have encouraged, enabled, protected me from bad players, myself, and have weighed in on good and bad opportunities. I am a very lucky man. For me to paint such a watercolor as this one reflects the encouragement I have received and the trust to remain true to my vision. It is the opportunity to take between 300 and often times over 1,000 digital photos that allows me to delete, crop to make different images from one of many, and to delete the split-second different ones that do not speak to me even in hindsight. That gives me the opportunity to make something different and paint something out from under the roof of my brain. I do not worry about who will purchase or understand. It’s important enough for them to resonate to something in the pictures. Whether they know of it or not. Why do we say things like,” I like it but don’t know why?”. Occasionally I hear that some folks would like for me to paint more images of just water. While I have taken several hundred photos of just that and every now and then I take the time to paint one, it is such a comment that just pushes those possibilities to the back burner for a while. My plate is full, it is always full. There is so much that inspires me, intrigues me, and causes me to pause in absolute awe of what I see and enables me to do what I get to do. How do I keep up with it all? Good question.
That’s One for the Pot
watercolor
11.5”x30”
I try to stay in touch with a lot of watermen throughout the year. Mostly out of curiosity about their work and to see how well they are making out. Sometimes one will reach out to tell me they are doing something different for a while. It is usually to try and make money between the crab, fish or oyster season. Turtle potting for snapping turtles is such a pursuit. It does require an investment in different types of nets, bait and a good understanding of where to find them.
Mark Elburn, a waterman that I have known for much of my 35 years on these waters owns a goodly amount of turtle pots. At the time he owned a boat big enough to go most anywhere in the Bay, a good decent skiff to get into tight spaces, and a good knowledge of where he had caught them before and where they might just be again. Many years ago, I had the good fortune to go turtle potting all the way up to the Jersey Pine Barrens with another waterman, Jimmy Kline. We went out to the marshes of Delaware and up to the Bush River. At the time it was the Chinese who were driving the market, paying good money for females. They wanted to raise them in their own ponds. For some reason the American snapping turtle did not do well with their water quality and other environmental issues. So, the project failed, causing the local market to collapse. Many states at the time did not require a state license to trap turtles like Maryland. Such a harvest in those states wasn’t on the radar. Maryland watermen would travel as far as Connecticut to trap turtles or way down to Virginia. It is a mixture of the locals in those states who realized that there was good money to be made from trapping turtles and also from the fees for out-of-state licenses. That put a damper on going out of state to trap turtles. Snapping turtles can still bring a fairly decent price. They are really the only marketable turtle left to watermen. The Maryland Terrapin, Painted, and Box turtles are now just as sacred as the rockfish. There are even pictures of governors kissing them. Nothing like a loud ill-informed public outcry to adversely impact a fishery. Over legislation usually comes from such outcries based on purely emotional misinformation. Our state legislature seem to prefer letting these “good citizens” do their research for them. Legislation takes time to amend for vagaries, while regulations can be a more timely responsive tool for management. Not only does a waterman have to deal with the weather, market variables, unpredictable presence of harvestable resources and the need to find good hands that want to do the work. They also have to deal with intrusive “well-meaning” misinformed foundations and associations that seem to have nothing on their plates other than pushing the waterman off the water and out of business. Very few legislators, the public and “experts” realize just how much of any fishery is actually managed by the market. Why buy Maryland seafood when you can get all the crabs, fish and oysters from out-of-state fisheries? Maryland has done very little to protect the marketability of its fisheries in Maryland. Something to think about when you go to a Maryland restaurant and order a seafood dinner. The snapping turtle in this watercolor will be cleaned in Millington and have the seven kinds of meat removed for the two prevalent recipes for Snapper Soup. Life eats life.
Dish Cam
watercolor
16”x30”
The title is colloquial term denoting very, very calm water. Such conditions can be described as dish cam, plate cam, flat cam. Cam is a derivation from the word calm. Such colloquialisms reflect the relatively long-term isolation of the Eastern Shore.
Cam would seem to be a remnant of the 17th and 18th centuries English pronunciation of the short a sound as indicated by H. L. Mencken in his volume, The American Language. Another good resource would be; An Echo of the Past: Watermen’s Dialects on the Delmarva Peninsula, by David Ostrowski (Wake Forest University “18). But be ready for a smattering of very technical vocabulary. Days like the one in the painting are nice for their lack of wind to push the boat around and easier for the hand tonger to do his work without having to fight both the tide and the wind. The sun and its glare make for a day of squinting. It is hard to make out the end of the water and the beginning of the sky. You have to look for, “the distant boats that walk on the horizon”, like the words from an old Pink Floyd song.
Oystering/Winter – SOLD
watercolor
30”x8.25”
For quite a while I kept the sizes of my paintings relatively uniform in size. Using either full sheets or half sheets of watercolor paper. After years of doing so and occasionally using other sizes I recently stopped sacrificing composition to framing coats and those sizes. I started using the computer to make for compositions that better reflect my sense of placement and emphasis. When I remove the paper from the board on which it has been stretched I cut off the excess and set it aside to be used for testing colors or for when I start searching for images that would fit such a shape.
In this case I happened upon an image that just for a lark I decided to copy and crop to make a very long and thin vertical of an oysterman seen through his set of hand tongs. The Chinese and Japanese have for centuries used such a format for hanging scrolls. In Japanese they can be called either a kakemono or a kakejiku. It is my nearly lifelong fascination with things Japanese that leads me to such things. One of the many themes in such paintings are the seasons. Hence the title, Oystering/Winter. I have been looking for the three others to finish off the set of four seasons. Hope to find them in time for next year’s exhibition.
Snapping Turtle Blues
watercolor
16”x30”
In the early months of Spring this year I had an opportunity to go turtle potting or “turkeling” with good friends of mine with whom I have done a lot of other types of harvesting. I keep using the word harvesting because that is what commercial fishing is. It is the feeding of people. I have been “splashing for white perch, gill netting for rockfish, turtle potting, oystering and crabbing with them over the years. They are good people. I don’t go out on the water with those I do not trust.
Early hours, extremes of weather, some dangerous times, and long days do not deter me. I am fascinated by the determination to work of these men and how it interacts with the environment in which they pursue a living. I am always testing my own endurance and am willing to do most anything to make their days easier, shorter and maybe more profitable. It is an almost indescribable sense of deep satisfaction I get from spending such days with them. Not to mention the bonus of the pictures I take of the things I get to see. In this picture a young waterman is handling a snapping turtle who is not pleased with being caught or handled. He will end up in a fifty-gallon drum with others of his ilk. Snapping turtles do not like each other and are quite willing to express such dislike by biting and clawing each other. They are the apex predator in the water margins where they live. They have been known to swim underwater while plucking ducklings as they swim in a line following their mother. Some folks who live on ponds hire a waterman to clean out their ponds of the snapping turtles. Some who know just a little about the waters upon which they live think turtle-potters are raping their creeks and shorelines. There is a story about an elderly gentleman setting out on his lawn enjoying the morning paper while looking out at the creek where he lives. His next-door neighbor, a mother and her two children are swimming in the creek. They see these friends of mine coming up the creek in their bateau to fish the turtle pots they had set the day before. The lady starts to berate the men with all manner of ill-informed opinions in a very loud voice. Her neighbor, pipes up calling her some impolite names and then tells her that these men are trapping and catching the very snapping turtles that are probably in the water right where she and her children are swimming at that moment. The guys tell me that they did not know that people could jump nearly straight up and out of the water as those three did that day. We have turtle potted along waterfront neighborhoods of very nice McMansions, older developments of small houses, marshes where the homeless have set up tents and shelters, trailer parks, in places where bulkheads leak suspicious fluids. Also, along areas where the noise of the highways was loud enough to drown out the outboard as we passed underneath the bridges, and along industrial waterfronts. Truly not an environment from which I have painted before and about which I still have some reservations. Such places like Back Creek, Bear Creek, the Patapsco, Curtiss Creek and Bay and the Magothy and even around Gibson Island. We had been making cross-bay trips in the very early morning from Rock Hall. Sometimes the hour or so long afternoon trip back to Rock Hall would be in really nasty conditions too. I guess some of what I am trying to portray and say is that these men own their own places of business and want to be successful in their chosen line of work. I admire them for their persistence and want nothing but the best for them.
I Can Hear Them Singing
watercolor
14”x30”
When a hand tonger listens to the feel of the oysters through the length of the shafts he has an almost a beatific look of being elsewhere. And yet he is in the moment. I have witnessed it so many times over the years and it still amazes me. This is Lewis Carter, 75 years of age and is still handtonging for oysters. I asked him once if he ever considered not oystering and his answer was, “I just can’t sit at home and do nothing”.
He grew up on Kent Island and has told me many stories of growing up on the island. It took me several phone calls before he relented and told me to meet him at P.T. Hambleton’s in the morning of the next day. You’d a thought I had won the lottery when I realized I was going to be out on the oyster bar with him. He is quiet, retiring and private to anyone he doesn’t know. It took some time for the both of us to size each other up. I have always respected the reserved candor with which a waterman will phrase his first words to me when on his boat. Lewis told me initially that his brother culls for him. Having seen him many times out on the oyster bars, I knew that wasn’t always the case. He then told me he would cull his own oysters. I took it upon myself to cull off a portion of the board so he could see that I knew what I was doing, and he could rest assured he wouldn’t be getting ticketed from any oysters I’d culled. He knew that after several trips with him that I could stay ahead of him most of the time or he just took pity on me and took it easy. Either way he would work until he had what he needed, and we would head in. Lewis is easily recognized from any distance by both the sizes and good looks of his old school workboats and the extreme length of the shafts and the large size of the heads on his tongs. I look forward to another season with trips on his boat.
Miss Violet
watercolor
12.75”x30”
The Miss Violet is a headboat owned and operated by Capt. Darrell Row. He works out of Kent Narrows as do the other Black Captains. I know very little about him other than he is very competitive when collecting customers. He and his brother Terrence, who once owned the headboat Fishing Lady, are the sons of George Roy. They learned the trade as mates on their father’s boat.
The Miss Violet was built in Deltaville, Virginia. I am ever so respectful when working my way into an acquaintance. He did let me take a dockside photograph of him next to his boat one morning. It is almost what I need for my project of painting a portrait. I plan on asking him again for the opportunity to perhaps go out with him one day to take photos. I have a set of earlier photos of him and his boat shot from another head boat while out on the water to pass along to him. I was and am still rather proud of this boat portrait I did of the Miss Violet. This is in spite of her now sporting a deep crimson hull. Things change. All the time.
Nina Kaye
watercolor
11.5”x30”
The Nina Kaye is one of the headboats no longer with us. Warren Butler started the family business. Recent seasons were quite hard on her and her owner/operator, Captain Jimmy Butler. I always felt she was reflective of the traditional Chesapeake Bay deadrise workboat builders. She is seen here heading down Bay from Kent Narrows from where she stayed.
. I know very little of her and of her captain. Am really hoping that Vera Meredith will write a history of these men, the early history of the business, and their boats. She is a veritable encyclopedia of such information and stories. Vera and Tyrone grew up on the Island Queens I and II, worked on them and crewed for their father Eldridge. Many of the captains have credited Captain Eldridge with having held the headboat businesses together through hard times. I hope to meet with Captain Butler sometime and get his permission to take a picture from which to paint his portrait.
Off Da’ Hook
watercolor
9.5”x30”
The boat name reflects a younger man and younger attitudes about the headboat business. The boat is owned and operated by Captain Lamont Wright, the son of Montro Wright, captain of the Shirley B. III. I am intrigued by the families who still follow the very same waters as their forefathers, uncles, grandfathers, brothers, cousins, nephews did before them. I know of several such families and have been fortunate enough to have gone out with them over the years.
I have also been lucky to get out with the sons who are striking out on their own. What was once commonplace on this shore is becoming more rare. Sons with their own boats working on the same waters with their fathers on their own boats are pointed out to me when I am out with the old hands. While I met Captain Lamont, I had yet to go out with him on his headboat for the day. I hope to do so soon. Obviously I am still making my way into this group of captains. So far so good.
That’s a Kinnamon on the Left and a Brady on the Right
watercolor
7.75”x30”
I am able to recognize in some instances boats built by certain builders. In this case the deadrise workboat boat on the left is a Kinnamon built by Johnny Kinnamon and his son J.C. from Tilghman Island. The workboat on the right is a Wayne Brady from Rock Hall. Brady did not build anywhere near as many boats as the Kinnamons. They count their numbers in the 300 or so, while I know of maybe three or four Brady built boats. I have worked on and alongside the men who own these boats for nearly 30 years.
The Wayne Brady on the right was once named, “Osprey” and is now known as “Strictly Business”. The Kinnamon on the left was once named Sarah’s Diamond. This in spite of Johnny reminding the young waterman that it is bad luck to name your boat after your wife. Wives come and go, and the boat just might do the same thing. When a boat sinks, a waterman will tell you that,” she (the boat) left him”. Naming a boat after one’s mother, daughter, or sister isn’t the same. When the name was painted on the two sides of the bow it read, Sarah’s Diamond on one side and Sarah’s Dimond on the other. The watermen used to pronounce it with a comical faux French accent. Well, the superstition held true, and the marriage fell on hard times. The boat is now named “Lil’ Puss”. I have been on both boats in some very nautical weather and can attest to each boat being able built.
The Balance
watercolor
10.5”x30”
This image relates to an earlier comment about my having been around the oystering scene for so long. It now speaks to me in a different way than some would choose to photo and paint. Instead of a composition that incorporates a whole person and gear type of composition, I chose to reduce the elements to simpler forms while keeping true to the details. Not only does the position of the oilskin clad torso occupy near center, but it also balances the strong horizontals of the hand tongs.
The information of the exhaust stack, tong racks, the center and off-center orange gloves, with the poles seem to deemphasize the centralizing devices of the torso and shafts. This is a moment when the waterman is actually balancing the oyster laden hand tongs while he starts to empty the heads of oysters or “boards” them. This exhibition seems to have a permeating shade of olive green. Not too sure what that says about the things I have chosen to paint. After moving to Chestertown in 1995 I had only an old trench coat to wear on the small Boston Whaler from which we were using to take pictures of oystermen at work. It was after being on the receiving end of some very energetic one finger salutes that I realized I needed something that didn’t say undercover Maryland Department of Natural Resource Police. So, when I first started going out on the workboats I bought a yellow pair of oilskins. After purchasing them I started to notice uninvited bits and pieces of the color yellow reflected and how it was tinting my photos. It was a color that seemed to be throwing off the photos. I then noticed none of the watermen in other boats wearing such foul weather gear. I realized that not only was I standing out to them but also making myself more visible to the men I was with on the boat. It’s hard to take pictures of watermen but even harder when you are wearing gear that says,” I’m here”. So, I now own a set of green oilskin bibs and coat. Though of late I have seen a lot more oranges, panels of yellow and orange and even some blue colors on the gear.
The Fog Rolled Back To Reveal…
watercolor
11.5”x30”
Many years ago, the wife of a waterman told me of a day long ago when she was out on the Chester River during the oyster season how the fog had rolled in while they were out on the bar. This was before the hydraulic winders that almost every workboat now-a-days has. So, there was no noise from the boat engines idling in order to power the hydraulics. It was so nearly quiet that you could hear the men working but not see them in the fog.
She told me that every now and then you could see the tops of the cabins, the shafts as they were raised to board the tongs, and sometimes the heads and shoulders of the men rising above the fog on the water. I have yet to actually see that. Hearing that story has inspired me to be excited when the forecast includes fog. This from a day of fog on the Chester River that I have mentioned in some of the other essays. The pictures from that day continue to provide so many more opportunities to paint that which I do not often see. I have become slightly more adept at using paint and water as I learn more about the medium of watercolor. I am more able to go back to such days and paint from them. This was also a very foggy day with advancing and retreating banks of fog that would obscure and reveal the other boats which we knew were there.
Island Queen II
watercolor
15”x22”
Featured in this watercolor is the headboat Island Queen II, owned and operated by the Meredith family and operated out of Kent Island. In 1955 Tyrone’s father Eldridge started the head boat business with a boat named Renee, then came the Rita J M, then the Renee II, and then the first Island Queen, which was built in Gloucester MA.
Eventually he went to Deltaville, VA to purchase the current Island Queen II. During all this time he passed on his deep knowledge coupled with a great work ethic, a deep respect for the Bay and its tributaries to his children and grandchildren. While there was never an official position as leader of the head boat association, the other captains would defer to him. It was his strong character and efforts that developed the headboat portion of the commercial fishery of Maryland. I met him through the offices of Vince Leggett who commissioned me to paint a portrait of Eldridge and Tyrone standing in front of the little building that once housed the Meredith Seafood Company and Restaurant on Kent Island. The family bought and sold crabs, fish, clams, and oysters. Eldridge’s wife, Margaret ran the restaurant and did the cooking too. Many people still rave about the food that she served. There would be fish sandwiches, crab cakes, oysters, clams, and on Fridays she would have pigs’ feet and chitlins on the menu. The restaurant closed in 2017. In 2018 Eldridge had been awarded the title of Admiral of the Chesapeake in recognition of his many years as a commercial fisherman and for his work teaching about the ecology of the bay and the importance of resource stewardship. I was deeply honored to help celebrate Eldridge’s ninety-third birthday. It was also the ceremony for which he was honored with the certificate of honor presented by then Lieutenant governor Boyd Rutherford. Unexpectedly I was welcome to say a few words about the portraits and about what I do. Eldridge passed away in 2019 not long after that day. I asked a special favor of the family when I attended his funeral. I told them of the tradition in some cultures to put pictures of things from the deceased’s life in the coffin to take with them to the afterlife. They asked what I had in mind, and I told them it was just two pictures of the Island Queen II. They smiled and told me to go right down to the bier and place them in the coffin. Immediately after the ceremony Tyrone told me that I was expected to call him about going out with him on the Island Queen II. I eventually did and have been out with him and his crew, and family members for several years now. Tyrone’s sister, Vera, listed me on the crew roster. Tyrone and I have very similar feelings concerning the misapprehensions on which the non-commercial seafood public bases its opinions and policies. We also see eye to eye on many social issues. He is a close friend with whom I can be totally honest as he is with me. There is very little awkwardness if any between the two of us. One summer weekend on the Chester River, I was doing chase boat duty for the log canoe on which I then crewed. That involves the tow out to the racecourse, the delivery of drinks, food and removal or delivery of crew, and sometimes the capsize recovery. During that race I saw the Island Queen II sporting a very large crowd of fishing customers lining the rails. They were at anchor and fishing while the fleet of log canoes sailed by and around them. I asked the chase boat driver to take me close enough to yell up to Tyrone and the mate T-Bone. They yelled back, waved and the next thing I knew everyone on board was waving and yelling. It is that brightly lit day from which this painting is derived.
Baltimore Waterfront
watercolor
22”x15”
Going up Bay to fish turtle pots has taken me to some very different places on the Bay. Places I might have heard about but had never seen. Some very industrial, with huge docks, buildings, bulkheads, smokestacks, other shorelines of crowded with mansions with all too chemically perfectly green yards on the water, some very low key and older neighborhoods with trailers or small cottages, places for the most part that would now never pass current zoning ordinances.
We would pass underneath four lane highways and pass isolated marshes bordered by warehouses and apartments. In one instance we entered a tunnel barely wide enough for the skiff to pass through and low enough making us duck down. Tons of spiders! Obviously these places are very different from my usual Eastern Shore haunts where I am more comfortable. But… At sunrise we passed by this particular portion of the Baltimore waterfront as the sun was trying to get through the gauze of a very early morning. Trying to make the best of where I was I noticed silhouetted whisps of smoke from the tall smokestacks, and the reflections of the light on the water. I started to take pictures. I had to open up my mind, clean the dust from the mirror and stop abiding at the notion that all is not as relatively pristine as the Eastern Shore. Many years ago, after having lived on Lake Michigan for a while I had to take a job as a linoleum mechanic in Detroit. While I did not like it, I did try to open up my eyes and see just what was there for me to draw, and photograph. I found the people in whose houses I was working far more interesting than my surroundings. I saw a park on the bend in the Rouge River behind the apartments I was renting at the time. I took a walk, with my camera and soon discovered the “park” was actually on a landfill with garbage just barely visible under the grasses and weeds. I went back to the apartment and started to draw things from photographs taken while living back on the Michigan’s western shore. After 9 months or so we moved back to White Lake and the shore of Lake Michigan. Perhaps my eye has matured to be able to find beauty in such shorelines as I saw in the Baltimore area.
Coast Guard Station
watercolor
15”x22”
On Arundel Cove just off of Curtiss Bay is Curtiss Creek where you will find a United States Coast Guard Yard. This is where many of the larger vessels like cutters are taken to be refitted. It is also on a very little creek that is usually good for turtle potting. In the early morning as we passed by I took a lot of pictures of the early sun just starting to light up the ships at the bulkhead, in dry dock and of some that were all wrapped up in shrink wrap.
I found the play of light most interesting and took a lot of photos. On the way back down the creek we tried to set some pots and were encouraged to leave. While there were not any signs of No Trespassing we did seem to irritate a rent-a-guard who yelled at us and told us to leave. Rather than make an issue about the lack of no trespassing signs we just bugged out. The afternoon light was perfect for taking pictures of all manner of vessels along the bulkhead that were in various stages of retrofitting. Fascinating place. It would be most interesting to have a chance to visit there and to take pictures from which to paint and draw. I find such facilities and ships rich with subjects to photograph, from which to draw and paint. Years ago, I was invited to go on a Leaders to Sea program out of the San Diego navy base. We got a guided tour of the F-18 Hornet and Super Hornet refit facility, a tour of the Sea Stallion refit facility, a tour of the submarine training school, and a tour of the virtual reality facilities. The next day we left port on the U.S.S. Lake Champlain (CG-57) a guided missile cruiser for a live fire exercise at the offshore range. The icing on the cake was a Sea Stallion helicopter ride back from the ship to the navy base. I gifted a painting to the ship for the wardroom and one to the commander of the Pacific Fleet at the time. One of the paintings from this trip is now in the U.S. Navy’s art collection at the museum in Washington D.C. Many, many more pictures to paint from and stories to tell about that great trip. I have painted from this trip and have plans to go back and take a look for some more images. I need a clone.
Paper Shells
watercolor
15”x22”
After blue crabs have finished the shedding process they are not only larger but are “poor as snakes” as a waterman once described upper Bay crabs to me. It means that they are not quite filled out to be called hard, they are also pale in color. In Virginia they call them white crabs because they haven’t really darkened up and their bellies are very white. I have heard them also called call paper shells and green crabs.
It used to be illegal to sell such crabs, they are also called buckrams. You can squeeze them just behind their points and feel how relatively empty they are at this point. Many of the watermen I know do not harvest them even when they are larger than the 6-inch tip to tip size. They just aren’t the desirable number one crab, that is 6 inches tip to tip, hard and has both biters. There are some watermen who will harvest them anyway and are willing to take a lower pay for them. Along with others I have been hard pressed to reason why they are harvesting them when given a week to harden up they’ll get much more money for their crabs. This watercolor is of an exceptional early dawn with a still setting moon. There was something in the air that morning that turned the moon nearly orange. The intervening clouds also took on the hues and the water reflected all of it. People will say I may have photoshopped it. Let them. I do not use such a program other than to lighten or darken an image and to level and crop when necessary. We started crabbing in this amazing light as the moon set and worked on until late morning after the first bite had finished. There were a lot of paper shells that day too.
Seeking Shade
watercolor
22”x 15”
As the day on the water stretches out it also cleanses the mirror of dust and lets me take what I have been calling off-the-cuff photos. Many such images become grist for my pen and ink drawings of which there are 71 volumes as of this moment. I love to draw, especially in pen and ink. In high school I studied the engravings of Gustav Dore in his illustrations for the Cervantes classic Don Quixote. I guess you might call the realization from such a study an epiphany.
It was then I discovered that all of the images were created out of lines. One illustration in particular still stays with me. Don Quixote is asleep in his library, while the shelves are alive with characters from the many books. Some of the pen and inks I finish intrigue me enough to become watercolors. Winslow Homer once said if you can render well enough in black and white, the colors will suggest themselves. That was my excuse for shying away from using color for many years. I graduated from college with a very healthy fear/respect of color. My goal then was to render the deep woods during the overhead mid-day sun in pen and ink so convincingly that the colors would suggest themselves. I came close and even closer in my more recent drawings. It wasn’t until I married Phyllis my wife of now 42 years, that the piece missing in me fell into place and I started to paint again. This subject in the watercolor appealed to me on so many levels. The muted palette, the strong afternoon light, the bushel basket waiting to be filled and the serpent-like dock line moving up into the shade of the basket. The dock line is in high relief and detail because the weave of strands reminded me of snakeskin.
Kinnamon’s On The Narrows
watercolor
22”x15”
John Kinnamon Sr. has been building boats on Knapps Narrows and at his “shed” next door to his house just off the island for nearly 50 or so years. He and his son J.C. acquired a building to rent on the narrows back in the 1997. It was then that J.C. started on his own to build workboats. It is a much larger facility enabling them to build larger deadrise workboats up to 47 feet in length. They have never had any drawings, blueprints or scantlings from which to work.
Though I remember that recently a young waterman came to them from down Virginia way and asked them to build a skiff. He produced a set of lines he wanted them to use. They questioned him about the sheer line, and he pretty much told them that was what he wanted. So, accordingly they cut out the pieces for the top sides. They had told him the sheer line wouldn’t look right and when they cut the top sides he had to admit it didn’t look right. The young waterman saw the error of his ways and let the Kinnamons build him a good-looking, workable bateau for working pound nets. They frame their boats with lumber yard wood and then cover that with plywood sides and then fiberglass them over. Johnny has always described their boats as cheap. I have told him that they are not cheap, just inexpensive. It is this affordability that has enabled generations of young watermen to start in the business and for older men to continue following the water. I asked them once if they had a standard set of drawings from which they work. J.C. pointed out three measurements written in pencil covered in seasons of saw dust and dirt up on a wall. They describe the necessary angles for the stem, the stern and for the angle on which to bend the chine. That is all they use for reference. I am pretty sure that they haven’t looked at it for many years. Not one boat is exactly the same as the one that came before it. Subtle changes but no customer has been disappointed for long. I have to leave my house in Chestertown at 2:45 to be on Tilghman when I go out trotlining for crabs with Johnny. Knapps Narrows and the drawbridge at that time of morning are quite busy with workboats coming and going through and the drawbridge tender is busy raising and lowering the span. Walking the dock in the dark next to the building where the boats are built has given me many interesting nighttime photos from which to draw and paint. This painting is a view looking over the top of a recently built bateau that is swelling up in the water in front of J.C.’s building. There is a lot that is not readily visible in this picture until you get close enough to see the grasses and their reflections. There are the lights from the building reflected in the waters, the dock at your feet and the bateau setting in the water. Recently I have become very interested at trying my hand at doing more paintings of the dark mornings with very localized lights.
Three High
watercolor
22”x15”
This was from a great day of trotlining with a long-time good friend Wayne Wilson for crabs on the Chester River. It is always a good sign when you are able to stack full and nearly full bushel baskets of crabs three high. There are many reasons that draw me to the shapes, colors and geometries of wooden bushel baskets.
There are the rhythms of repeated shapes, the spans of the pieces that lead your eye across the tops of the basket. Then the seemingly arbitrary spots of Cerulean Blue that that are the swimmer fins sticking out from between the slats to catch your eye. Then you look at the directional spaces between those slats that can pull your eye down to the deck. They all make for me an interesting composition. There are many other bits and pieces like the many shades of Cadmium Orange, Burnt Sienna, Raw Sienna, Ultramarine Blue and flashes of Antwerp Blue on the basket wire ears and loops. It is the variety of brushstrokes to pull it all together that are also a part of what can attract me to such a subject. When I start to lay on the early shades of color onto the drawing of the pieces of wood comprising a bushel basket it is done with a lot of water and huge brush. Painting with my elbow. The evolution is then into smaller brushes and more controlled glazing that will hold it all together. Painting with my fingers. That Wayne made a good day’s wages from this work that makes such a day more meaningful to me also. I have always tried to refuse any money offered to me for working on the boats. In nearly thirty-five years that has only happened two or three times. They won’t let me pay for fuel either. My “pay” is the time on the water, the conversation, the friendship, the shared work and knowledge. The bonus is the chance to relive those days, while I’m looking through the digital files for something from which to paint.
Island of Light – SOLD
watercolor
15”x22”
Very early mornings are the norm for all commercial fishermen, regardless of the season. Waiting on the bulkhead in the summer months one can see most everyone leaving the docks between 3:00 and 4:30 to go trotline for crabs or fish out of Long Cove. I am fascinated by the play of the boat lights reflected on and in the almost dark water as it heads out. You can throw in for good measure the workspace and figures illuminated by the LED lights that are now in wide use on workboats. And there you have it, an island of light.
The cursive like abstractions of the lights distorted by the wake are very hard to photograph. I will probably shoot several shots to be able to get one or two that have the necessary clarity from which to work. Especially when you realize the boat is moving away from you. The human eye is an amazing organ that enables one to see into darkness and discern shapes such as the shoreline trees silhouetted against a night sky. A camera has to make compromises the eye and brain do not. There is so little chance to emphasize the sky, a horizon or the nearby shoreline in such near total darkness, but if you look closely enough you will find them in this painting.
Oar Locks, Waiting
watercolor
22”x15″
I have been very lucky over the years to be able to roam all around the Kinnamon boat shops. In Johnny’s shop on the road to Tilghman just before the drawbridge there are years of tools, pieces of old duck decoys, stacks of goose decoys, a few duck decoys in the process of being carved, root heads. You would see collections of boat bits and pieces, lead lines, blocks and tackles, and a set of hand-tong heads hanging on the walls. I have drawn in pen and ink many of these “still life’s”.
Some have even made it into watercolors. It is at home that I draw in the afternoons for my private pleasure. Every now and then while combing through photos I come across one that would make a decent pen and ink. Only if I can keep from over drawing it. It’s a mindset somewhat like painting. Nothing says inattention like over painting or over drawing. I shoot not just for painting but also to draw. In this case I saw for probably the umpteenth time this set of oarlocks suspended from an ice pick stuck into a wall stud. The years of accumulated dust in the late afternoon light streaming from the western windows caught my eye this time. I like the simplicity of composition, its shapes, the curiosity of the placement and the potential for wandering. I showed this to a friend of mine who told me about going out in a rowboat with their dog. The skiff had such a pair of oarlocks. Their dog saw one and figured that it was a perfect place for him to rest his head. Go figure.
Rainy Day For Oystering – SOLD
watercolor
22”x15”
This is “Crash” Beck. We had been out oystering that day with his two sons. I have painted from this day several times. In one image I included the rain-soaked drooping cigarette he had tried to keep lit and finally gave up on, only to light another one. Then there is in his face the determination to make a day’s work out of it. Only this day there was no cigarette, just rain.
. I found much to paint in the liquid light on his oilskins and the drops of rain running down his face. Some people ask me how and why I can keep drawing and painting from the same well of subjects for so many years. I remember something that Andrew Wyeth once said about the puzzling nature of why many artists keep trying to paint the ultimate “says-it-all” masterpiece. He felt as I do that many subjects deserve to be revisited many times. I tell people that when someone remarks that the subject of watermen seems to be all I paint and wonder if I might be getting stale. Not too sure how that can ever happen when what I/ we see out on the water is never the same. How can being inspired from such a diverse range of conditions and light ever get stale? “Crash” and “Bruno”, another shared friend have always had the ability to make fun of each other and light of the day’s hardships. I know that “Crash” would find it amusing that I find something biblical about his face at times like this on a rainy day.
Squall Light
watercolor
15”x22″
Phyllis and I would occasionally visit our son, Ken, when he lived on Tangier Island, down Bay. He moved there close after graduating from St. Mary’s with a degree in art and one in history. Through the good offices of friends, the position of artist in residence was created for him, and the opportunity to be in on the ground floor of planning the island’s museum.
For quite a while it was a wonderfully good fit, towards the end of his sixth year it became apparent that there were no jobs that would enable him to save any money and get ahead. He was one of the creators and initial staff members of the island’s museum. At the end, he was using his art degree to paint bottoms of workboats for money. He was also turning his museum pay back into the museum to keep it afloat. It’s a tough place. We would go down to spend a weekend and get the chance to get to know a few of the islanders who had adopted Ken into their community. I was never known by my name. I was always “Keein’s ” Dad. On several weekends I would drive down to Crisfield and take the mailboat over to the island to stay with him and get out either crab potting for hard crabs or peelers, scrapping for crabs in the summer and then later in the year go oystering out on Tangier Sound in the winter months. It is a very rough body of water in the winter months. That tiny little island way out in the Bay has little or no protection from major weather events like hurricanes and tropical depressions. When I got back from my day out on the water I would try to get in a walk around the island to take in even more of the sights and take pictures with late afternoon light. It is a place where Ken once was heard to say,” If you aren’t comfortable with who you are when you are alone then maybe you shouldn’t come to Tangier”. The people are involved in their day-to-day work of raising families, staying alive and making a living. Some tourists once thought the island was a historical reenactment and would trespass onto lawns to look into kitchen windows to watch families at their meals. Things don’t change very quickly on the island. Earl Swift wrote Chesapeake Requiem. A Year with the Watermen of Vanishing Tangier Island. It is a book about the island that might give you some decent insights. He also turned a collection of his articles into another book titled, “The Tangierman’ s Lament”. Tangier is an amazing place to stay, from which to work, to walk about and take photos. This painting is from a late afternoon walk around the island. On its western side there is a boat yard. It is barely protected from the Bay’s and its weather by a berm composed of many things, like concrete slabs, cinder blocks, dirt and covered with Phragmites grasses. That day there was a squall coming across the Bay and the wide-open, sea-level view gave me a great vantage point from which to watch its approach. I found the scene compelling with its muted squall light that carried a hint of the coming drama in its clouds. The softly glowing white workboats resting on 50-gallon drums made for an interesting contrast. I have painted and drawn a lot from my short trips to the island and look forward to going back into those photos a lot more. I hate to say it, but I have not been back since our son left the island.
His First Day
watercolor
22”x15”
This is one of the younger watermen from Tilghman Island. I had been working with the Tilghman Island Waterman’s Museum for a while, providing artwork for exhibits, giving a “my year on the water” slide lecture when invited and doing research for images in my collection. There came a rather stark realization to the islanders who were still on the museum board. While most of the elderly watermen were still alive to tell stories and donate their tools, time, crafts and opportunities, they would not be around forever. What does a small community-based museum do when those who created it maintain and love it, eventually cross the bar?
Part of the next step would be to get out on the water in the company of the younger watermen. Those men who were busy making a living with little or no time for the museum. It would involve a start to record them at work, try to get interviews that would get updated over the years and eventually hope that they would feel that they are invested in the future of the museum. Using names, phone numbers and connections provided by Johnny Kinnamon and recommendations from Jeff Harrison had made it possible for me to start out with this young man. He is Josh Stacey. He had been working with his stepfather who had been steadily teaching him about crabbing and hand tonging for oysters. Unbeknownst to me, this day that I went out with him was his first day of solo handtonging. We “crow” hopped around a bit until we lit on some oysters. We did not really land on enough to make a day’s work. Which is always the bottom line when out on the water. Eventually he decided to go out to where the others were and try his luck. We made our way to where several boats were engaged in handtonging. One of the watermen knew Josh. This waterman had already caught his daily limit and yelled out that he was just leaving, and we were welcome to his spot on the bar. From that point on Josh did well, and we were both busy once again. I managed to take a few pictures of him listening to the oysters down underneath the boat. In return for his taking me on I gave him a lot of 8 x 10 prints from photos I took that day, a book about watermen of which I had two copies. And I got the invitation to come back anytime. I eventually did and also made a trip out with his stepfather too. That’s a story for another painting. I passed on to the museum the digital files from the better photos to use for their project. I’m waiting for the time to make it out with another of the younger watermen. Jeff Harrison recently told me that there are probably 4 or 5 candidates for the project. Finding young people who are willing to work hard is getting to be quite difficult.
Crabbing with Kawase Hasui – SOLD
watercolor
22”x15”
There are several Japanese woodcuts print masters’ whose work with which I am enamored. There are the classics, Hokusai, Hiroshige, Kuniyoshi and Yoshitoshi are but a few of the geniuses from that genre. Kawase Hasui was active in the early 1900s up into the mid1950s. I find his work intriguing for its craftsmanship, his composition and how confidently daring he was with his moonlight images.
I am out in the very early hours of the day, and it is the fall of the moonlight on the water and parts of the boat that often catch my eye. Maybe if I’m really lucky it even falls into the boat revealing bits and pieces of the workspace. Sometimes the moon is full and is a soft orange or beige in color but still bright enough to reflect on parts of the boat. I have remarked in an earlier essay about my growing fascination with the very early light of the morning or the brilliant LED illuminated pools of light in which the men work. After leaving the harbor they rarely ever use such lighting until they are ready to work. So, the boat is in the starlight and or moonlight. Even if the lights are on in the back of the boat their reflections on the inside of the cabin windows can make it difficult to see ahead. Running lights aside the boat can be quite dark. One’s eyes get used to it and you can then see how to make your way in and around the boat. In this painting there is the moon up above the roof of the cabin and you can barely make out the gear, some baskets and such in the open backed cabin of this very small workboat. Such darkness is hard to make in watercolors. I remember once asking Greg Mort how it was that he made the deep rich non reflective blacks he used for the backgrounds in his still life watercolors. One could easily think you could just reach into such darkness despite it being a painted surface. Hard to do in watercolors. He informed me that he used mixes made from several blacks and blues. I have cooked up some of those mixes and they work quite well. However, I have to keep reminding myself that even when it is pitch black out on the water there is still light in the sky and that the shadows are a perfect place for those mixes of blacks and blues. There is an incredible collection of prints by Kawase Hasui in the Virginia Museum of Fine Art in Richmond.
Tools of the Trade
watercolor
22”x15”
Trotlining for crabs with a dipper in the summer can be just a bit more relaxing than the near constant motion of crab potting. Well before the starts season there is the making and dipping of pots. Then in April there is the loading them onto trucks and making several trips down to the docks to stack waiting to be put on the boats. There are usually 900 pots to the license on the boat, some boats have several licenses which can put a lot of harvest pressure on one area. But that is an essay better left for another time.
Next comes taking the pots out to be baited and set on trotlines. A good friend of mine seems to be the first one to set his pots and thus marks out his early turf. When hauling or fishing the pots you are always in motion. After you have hauled the pot a deck hand is unhooking it from the trotline from which it is connected. He then empties it of the old bait, then empties the pot of any crabs, and then it is rebaited. The pot is then handed off to the mate who takes it and places it on the rack in the stern of the boat to be stored until the whole line has been fished. If the line was productive it is then reset on the place from which it came. Other crabbers are watching you while you haul and fish. If they see you doing well they will sometimes reset their pots alongside yours. If you have been counting then you will know that the number of people on a crab pot boat is up to three. The days wages or week’s wages are divided up into thirds. Traditionally one third for the boat, one third for the crew and one third for the skipper. Not too many use such a scale anymore. Using trotlines for crab pots is different but is still equally busy from the more traditional drop potting, where each pot has its own cork. Some of the older stakeholders who have enjoyed the bay for many seasons while yachting, motorboating, recreational and charter fishing can remember when the water would at times look like fields of bullet corks marking crab pots all set in rows. An assembled pot with rebar and zincs can cost a waterman around 40 dollars or so. More people on the water means losing more pots to more people fouling the wheels of their power boats, more people in their sail boats snagging pot warps on their rudders and keels, and some people just plain vandalizing commercial gear by cutting the warps. Charter boat captains would have line cutters installed on their rudder skegs. Doing this is actually illegal. It is called molesting commercial fishing gear. Such losses would have been lessened if only these offenders had slowed down, kept their eyes open and stayed off of the lines of corks. So back to crab potting. Now the crab potters hang around 25 or so pots on a trotline with a hawk (flag) on one end of the trot line and a cork or used beach bottle on the other end, instead of a bullet cork per pot. In the rivers and creeks where crab pots are illegal, the commercial crabbers use trot lines with bait on snoods. It can make for a slower pace to their day’s labor. The baited line is laid out early in the dark of the morning, stretched tight and allowed to set for a short while. This lets the skipper, and if he has a mate on board, get ready to run the line and harvest. While running the line there is time to cull the crabs from the previous run, talk, catch up, tell jokes, listen to the radio and try to remember who sang what song that was currently being played. Many trot liners work by themselves and will cull he crabs as they run back to the head of the line. If they have a mate he will cull into several baskets the legal keepers that are a variety of quality and sizes. The skipper turns the boat to either run the line both ways or run it one way while going with the wind. Most crabbers like to run with their lines on the sunny side. Shadows spook crabs off the bait. The weirdness to all of this is that for as long as men have been crabbing they are still outwitted by a creature that has a brain the size of well use pencil eraser. A Tangierman once told me just what a crabber can say he definitely knows about crabs. “They come. They go. They bite”. In this watercolor, you can see a cull stick with different notches in it to be used as a measure. There is just one glove, a heavy duty right-handed one. When a crab gets you with his claws it can go through even heavy gloves such as the one in the picture. Sometimes it seems as if the smaller sooks’ claws are sharper and that they are nastier than the males. Some men prefer to use a set of tongs when handling the merchandise. I usually just use a right-hand glove to handle the crab while using my left hand to measure the merchandise and also try to remind the crab who is the boss. In the depths of the summer, it is necessary to have a fly swatter or fly flap as they are called on Tangier Island. The slower pace of running the trotline allows the flies to congregate and some are bloodsuckers. These are the tools of the trade when I was crabbing with Wayne Wilson. The day isn’t over when we go back and put out the crabs to be delivered to the buyer. After discarding the used remnants of bait, the task ahead is to rebait the line, usually with razor clams in plastic mesh net bags, and sometimes with chicken necks. Crabs can be very picky eaters, which is strange when one understands the weird and dead stuff they eat. The crabber would do this in the evening before the next day. He would coil the line with the bait bags hanging from their snoods in a certain way into a large plastic trash can to keep them from tangling when setting the line. That baited line would go into a cooler overnight and be loaded on the truck in the morning and then down to the bulkhead to be loaded on to the boat. In the morning there were usually several watermen standing around leaning on one or another’s pickup trucks talking, joking, discussing what they had heard so and so had caught and where the day before. I would be taking pictures of such moments as that has been so much a part of the scene. It was great fun to hear them ragging on each other, and about others who weren’t present, while passing news on to each other. Over the years they have gotten used to me and my camera. I have gifted many of them photos of them crabbing out on the river. Then we would leave and think about where to go. When out on the water after the line was laid out the skipper would run the line, and then raise the dipper. I would grab the dipper’s line, bring it in over the cull box, undo the clip that keeps the bag closed, shake out the crabs and whatever else had gone into the dipper. I would reseal the clip and send it back out for the skipper. Who would then lower it back into the water, placing the dipper’s lower edge just under the trotline. Having to keep the boat running along the line and not running over it has its own set of trials. It is a process of constantly making small tiller and throttle adjustments while keeping the boat in line with the trotline while fighting the tides, winds, and currents can be frustrating at time. This is especially so when there seem to be few crabs to catch. When asked what the ups are about the job, a trotliner will tell you it is the ups that are the worst part. They are baiting up, waking up, and taking up. At the end of the day when the waterman calls it quits he has to take up his line using a hydraulic winder. In the old days it was a job done by hand. Every day is different. It could be weather, tides and slack water, and winds. It could be when the crabs stop feeding after the first or morning bite, or when the afternoon bite starts or ends. All could be slightly different and sometimes so different that it would be like night and day. It is rare for one to go back to a place where a lot crabs have been caught for more than a couple of days to. Everybody watches each other and even at the buyers they will watch to see who caught, and how many, and hopefully find out where they were caught. Most would share that information, some wouldn’t. Some would be sure to be out the next morning before you leave the dock. You might very well find them where you had crabbed the day before. And that is a short description of crab potting and trotlining for crabs. Whew!
The Oyster Deacon
watercolor
15”x22”
This is Tyrone Meredith. Not only is he the captain of the headboat Island Queen II he is also a full-time waterman that crabs and oysters. For several years I have been lucky enough to go oystering with him on a smaller workboat. He handtongs for the oysters and I take photos while culling and trying to keep up with him. Despite the usually cold weather of oyster season, it’s not very often that the weather is mild enough for an oysterman to discard his hat.
I just realized when going through this portfolio that the only paintings I have of Tyrone are of him oystering and he is usually wearing a hat. Though, recently I did manage to get some shots of him at the helm of his family’s head boat from which to try a portrait. I am always amazed at the ability of watermen to keep focused while doing something that could be so repetitively boring. His eyes are focused on the oysters he just brought up from below as they fall to the cull board. So many questions; Do we move? Are there enough for us to stay? Are there enough keepers for us to stay? Are they tangled up in spat and dead shell that will need clearing? Is the effort of being on hard bottom rewarding for the more laborious work of busting through the crust to get to the oysters? Are there too many boxes and gapers? Are we on hatchery oysters or wild oysters? Do we really want to work on muddy bottom? That is a lot to think about while trying to listen to the oysters. I titled this The Oyster Deacon because on this day it was the collars of Tyrone’s shirts that resembled the collars of a church man.