Next Event

15 AUG


Join us August 15th for the next PK!

Where: Camden Amphitheatre on Atlantic Ave
When: Program begins after sunset (arrival at 7 pm is suggested) and is $5 per ticket. 

The organizers of PechaKucha Night Midcoast Maine are pleased to announce the next PechaKucha event will take place on Friday, August 15th in a lovely outdoor setting, the Camden Amphitheatre located on Atlantic Avenue in Camden. These events celebrate the creativity of our community through visual storytelling in a unique presentation style where eight individuals their work, their ideas, and their creative process with a 20-second-per-image, 20-image slideshow. 

The program will begin after sunset and guests are welcome to arrive at 7 p.m. for a bring-your-own picnic style food and drink. Guests are also encouraged to bring their own picnic blankets or chairs. 

Tickets are $5 at the entrance. In case of inclement weather, the event will take place at Bayview Cinema on Bayview Street in Camden.

PechaKucha Night Midcoast Maine’s organizing partners include Midcoast MagnetFarnsworth Art MuseumMaine Boats, Homes & Harbors,Waterfall ArtsCenter for Maine Contemporary Art and Strand Theatre - Rockland, Maine and various creative community members.

Now an international phenomenon, PechaKucha Night was devised in Tokyo in February 2003 as an event for young designers to meet, network, and show their work in public. It has turned into a massive celebration, with events happening in hundreds of cities around the world, inspiring creatives worldwide. Drawing its name from the Japanese term for the sound of "chit chat", it rests on a presentation format that is based on a simple idea: 20 images x 20 seconds. It’s a format that makes presentations concise, and keeps things moving at a rapid pace.


Village Capitalism

@ VOL 20 ON JAN 31, 2014

Seth Silverton was educated in Brooklyn, where he studied political science and film. A lifelong summer resident of the midcoast, Seth permanently moved his family here in 2002. He is the Director of The Wood Chop School which is an organization centered around his self-coined term, village capitalism, that encourges the purchase of locally grown, organic foods and distributing it to people in need. 


A Lifetime of Experiences; An Artist in the Making

@ VOL 20 ON JAN 31, 2014

Lindsay Pinchbeck is the director and founder of Sweet Tree Arts in Hope and has been teaching in the arts for 15 years. Previously she taught photography at the Riley School and the Maine Media Workshops. She is also a printmaker and photographer, and believes the arts should be accessible to all and is an integral piece of learning and personal growth.


Digital Kaleidoscopic Images

@ VOL 20 ON JAN 31, 2014

Jim Dugan is a commercial photographer based in Rockland who photographs a variety of subjects, from food and real estate to sailing and kayaking. In 1991, he received an artist’s residency on Monhegan Island. He has also worked as a kayak guide and he teaches photography every summer aboard the schooner Mary Day. His latest work is digital kaleidoscopic images of Maine scenes.


Elegant Adaptations In Oil

@ VOL 20 ON JAN 31, 2014

David Vickery is a resident of Cushing, where he has been working for the past 23 years, finding inspiration in local scenes and creating oil paintings with an eye for the imperfect, quirky, and sometimes elegant adaptations we’ve made in order to live here.  His process is to carry a camera wherever he goes and photograph any scene that moves him, then contemplate and carefully re-compose the photo in the studio and paint it.


The Way of Karate: Managing the Conflict Within

@ VOL 20 ON JAN 31, 2014

David Troup has been practicing Matsubayashi-Ryu Karatedo since 1987, which he currently teaches at the Pen Bay YMCA. He is the Communications Officer at the Farnsworth Art Museum and is on the staff of the Everyman Repertory Theatre. He talks about Karatedo in more deepth, providing its history and the deeper meaning behind the practice. 


Documenting Language Loss & Reacquisition

@ VOL 20 ON JAN 31, 2014

Daniel Quintanilla is a documentary filmmaker and editor, who has produced numerous NGO documentaries, with themes ranging from traditional medicine in Uganda to orphanages in Bolivia. After moving to the US from Mexico, Daniel began his career in Boston working with a renowned Brazilian editor on the film Captive Beauty, about a beauty pageant in an all-women’s high security prison in Colombia. He then moved north to work at the Maine Media Workshops and was commissioned to edit the film Language of America, a story about language loss and reacquisition amongst Native American tribes in New England. Most recently, he edited the award winning film Raw Faith.


You Have Elephants Where?!

@ VOL 20 ON JAN 31, 2014

Andrew Stewart studied zoology at the University of St. Andrews and worked in the safari industry in Botswana before moving to Maine. He is now the director of Hope Elephants which is a rehabilitation center for two retired elephants focusing on their joint issues. Hope Elephants is also developing education programs using elephant biology and conservation outreach and collaborations to help wild and captive elephant populations.


Apprenticing: A Path Towards Personal Growth & Fulfillment

@ VOL 21 ON APR 11, 2014

Lance Lee has long been an advocate for apprenticing in traditional wooden boatbuilding and is founder of the Apprenticeshops in Maine and Russia and co-founder of Atlantic Challenge International. He believes making, doing, experiencing and apprenticing to a craft leads people towards caring lives governed by practiced rather than professed integrity. Having flunked retirement, Lance is initiating another boatbuilding program in Nobleboro, Maine.



Systemic Painting

If you've ever wanted to see the inside of an artist's mind, this is a great way to do it.
Bob Richardson shares his unique mode of painting using a grid-system, and in "Systemic Painting" from PKN Midcoast, Maine Vol. 19 explains how his art style has changed over the years. He uses a variety of mediums, including canvas, silk screen, and watercolor paper. After retirement, Bob revisited his systemic painting method and experimented with new compositions and brush widths to create effective pieces of art. 

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