Stephen Florimbi is a consummate and persistent student of painting. He was trained in traditional methods of oil painting and drawing at the University of New Hampshire by professors, Craig Hood and Grant Drumheller. Their encouragement supported the development of his own expressive style and sparked his enduring exploration of the painting process.
Born in Philadelphia, he moved to Madrid Spain at the age of six where he was introduced to the works of masters in the Prado Museum. “Feeling the emotion conveyed in Goya’s, The Third of May in Madrid made me keenly aware of the power of painting—from then on, I was hooked.”
In college, Stephen studied drawing, painting, sculpture and woodworking, along with his main course of study resource economics. In the summers he worked as a carpenter building timber-frame houses as well as doing field and lab work for the university forestry department. After graduating cum laude in 1989, he designed and built a small wooden boat in his back yard as a “sculptural challenge”. This was the seed that launched his wooden boatbuilding career, and ultimately culminated in his position as the general manager of the world renowned wooden boatbuilding yard, Rockport Marine (rockportmarine.com). The boats he has built and restored, sail the globe.
Stephen’s growth as a painter paralleled his work as a builder. His paintings have been exhibited in Midcoast Maine, Connecticut, New York City, and Singapore. His work graces the cover of a rock album, as well as the back cover of Wilton Magazine. He has also been featured in Yankee Magazine for the renovation of his 1840s home where his paintings feature prominently. He was also recently awarded honorable mention at the Ogunquit, Perkins Cove Plein Air Festival.
Stephen finds further connection through athletic endeavors such as, soccer, tennis, cycling, jumping rope, trail running, and hiking with his wife and dog. He recently picked up rock and roll drumming.
Statement
In my paintings I explore patterns in nature, patterns of harmony and discord both anatomical and behavioral. I notice the layers, the hierarchies, the paradoxes that coexist. These inform my relationship to my own species and to my natural and cultural environments.
Throughout my practice I’ve explored various means to express these observations. I have turned inward and created work from my mind’s eye, telling emotional narratives through expressive mark making. I have also explored more formal investigations of color, shape, and line, to create layered abstractions that evoke emotion and challenge one’s perception of depth and volume.
My current work is primarily created from direct observation, an interpretation of my immediate world. I take my easel outside during all seasons—into the woods, into boat shops, to my mechanic’s parking lot, to a friend’s house, along the coast of Maine, to the top of a mountain. I’m keen to notice what draws my attention.
I’m compelled to create in this direct way because it connects me to nature, to my community. It reminds me that I am in and of this world and it is beautiful.
Stephen Florimbi
