K. Grant Fine Art

09/07/2025

06/10/2025

“The Unconformity series began as an investigation into perception and place, a reflection of the landscape of the woodlands of Massachusetts. In geology, an unconformity refers to a break in time, a boundary between rocks caused by erosion or a pause in sediment accumulation. Investigating the environmental changes accumulating in the landscape over the course of a year, each sculpture is an unconformity, a break in time, capturing a moment, holding it still, and documenting the changing color, light, and forms of a single place.

These sculptures are built from the ground up, echoing the process of memory or landscape formation. Like geological strata, each layer both influences and is influenced by those adjacent to it, above and below, side by side. Bound by gravity only, they are built in movable sections that can be dismantled and reconstructed. Each reassembly tells a new story, revealing how intention and environment reshape our understanding, making the familiar strange and the static dynamic.”
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Lydia Jenkins Musco’s ‘Third Unconformity’ basking in the garden. Integrally pigmented hand cast concrete 💛 🫂 🌱 DM for pricing.

06/05/2025

Grace Hager ceramic campfires ❤️‍🔥 “Sunset Seeking is a series of painted and ceramic works that locate the natural world as a realm of possibility: as a source of transformative encounters that generate feeling and awe, positioning the magical within the observable. Like the light that creates the many colors seen during a sunset, a simultaneous experience of oscillating color as light and light as color is psychedelic. A psychedelic use of prismatic light and spectral, ‘rainbow’ coloring in combination with landscape subjects becomes a visual strategy to give form to feelings of awe to reinforce a feeling that life is good and worth living.”

Installation Documentation at the Institute of Contemporary Art @ MECA&D by Art Archival / Joel Tsui

🔥 Slides 1-2 ‘Flare,’ 2024 Terra sugars in mid-fire ceramic, 12x12x12”
🔥 Slides 3-4 ‘Gold Glow,’ 2025 terra sigillata, glaze, oil paint, and gold luster on mid-fire ceramic, 12x12x12”
(Currently on view at K. Grant Fine Art)

🔥Slide 5 ‘Dusk’ 2023
🔥Slide 6 ‘Glimmer’ 2023
🔥Slide 7 ‘Blush’ 2023

DM for pricing and availability.

06/04/2025

“The rotten trunk of a tree, still standing, its hollows filled with a stash for winter, also hosting unseen miles of mycelium: the necessary invisible background structure, from which, under the right conditions, coveted edible mushrooms appear, fleetingly. There is a porthole window through the tree, also, framing the sloping woods beyond. The dog, also a creature of habit, likes to take the same path whenever possible. The walk is usually at the same time of morning, so the light shifts slightly day to day. Occasionally, curious offerings can be found at the bases of certain trees. I look carefully, and notes are taken by a various means. The paintings unfold in the studio with minimal planning through a dredging of the memory of those notes, guided daily sketchbook drawing, occasionally from observation, but primarily through memory. The work is concerned with decay, accumulation, and the daily ritual of bearing witness to the transformation of the world over time. Memory acts as a filter and a channeling device to visually describe experience.”

David Kearns’ paintings chart a journey through familiar terrain, layered with memory, imagination, and time. These works seem to unfold where past and present blur, and the path forward is always just slightly obscured.

Kearns has shown work widely in Vermont, regularly at Studio e gallery in Seattle, and has been featured in regional triennial surveys at the Queens Museum and the Brattleboro Museum. Kearns’ most recent, ‘Signals,’ is on view through June 21st at K. Grant Fine Art in Vergennes, VT.

Kearns has self-published a number of sketchbook zines, and his drawings have been featured in the arts journal Paper Monument, and in publications by n+1 and Verso books. His writing appeared the first issue of Paper Monument (2007), as well as its book on art school, Draw It With Your Eyes Closed (2012). His ongoing collaborative home recording project Three Mystic Dwarves was included in a 2009 group show of visual artists exploring sound at Frederich Petzl gallery.

currently lives and works in Western MA.

05/27/2025

05/20/2025

Commission for clients in South Hero came together beautifully 👏🏻 Viscaya Wagner, ‘Elemental Study II,’ Douglas fir, aluminum, and Vermont Serpentine, (all tension set) atop Saint Henry black granite plinth 🖤🪨🪵 ✨ Big thanks to for your hard work and precision!! ⚖️

05/14/2025

Grace Hager, ‘Fairy Ring (Nightshade),’ 2024 Terra sigillata and glaze on mid-fire ceramic, approx. 10 x 10 x 6”
makes is an interdisciplinary painter and ceramic sculptor. Her work locates the natural world as a realm of possibility: a source of transformative encounters that generate awe, revealing the magical within the observable world.

She received her Master of Fine Arts in 2023 and Bachelor of Fine Arts in Painting with a Minor in Art History in 2015 both from Maine College of Art & Design. Grace has exhibited throughout the United States, including at the Institute of Contemporary Art, Portland, ME, Wassaic Project, MEPAINTSME, CT State Gateway Community College, Pamplemousse Gallery, The Parsonage, George Marshall Store Gallery, and Abigail Ogilvy Gallery, among others.

Grace has been an artist-in-residence at Vermont Studio Center, the Wassaic Project, Directangle Press, and Running With Scissors. She is currently the 2024/2025 Ceramic Alumni Resident at Maine College of Art & Design and part of the 2025 Canopy Cohort under the mentorship of Rose Nestler. She is the recipient of a Fellowship in Painting at Vermont Studio Center, a project grant from the Puffin Foundation, and a grant from the Belvedere Fund.

She currently lives and works in Southern Maine.

on view through June 21! 🌱

05/13/2025

Steve Budington, ‘Stop, I’m Trying to Communicate With You (Signal Flag and Forest),’ 2022 oil and fluorescent acrylic on canvas over wood panels, partial frame. 24x26”

“My paintings often include 2 stacked canvases, shaped framing elements, and different approaches to building the surface and image in each work. I resist ‘unified’ images even as I look for connections and relational tensions among the elements.

The landscape as idea and reality drives all my work and research. My direct encounters and memory hang together with cultural and scientific representations. I paint from life, from memory, and utilize culturally based forms such as lidar and elevation mapping, weather data, and signal flags. I start with landscapes that I know. A landscape is often more than one thing at once, and it’s more than its visual appearance. I often feel like a realist painter forced to search for other methods of working.” -Steve Budington

on view through 6/21 🌱