Emily Leonard Trenholm is a telemark and alpine skier, mountain biker, and stand-up paddleboard surfer, so it makes sense that she would come into her own as an artist working in the outdoors.
During the month of January 2021, Trenholm’s bold, new abstracted landscapes were featured at Bromfield Gallery in Boston, a show she won in a competition for artists who have not previously had a solo exhibition in a commercial gallery.
Entitled Painting in the Woods, the show consisted of ink, graphite, gouache, and acrylic works on paper that were painted in the woods around Trenholm’s home in Brunswick. With titles such as Fall Pools, Spring Flood, and Ripple, they strike a creative balance between observation and gesture, description and abstraction, emotional response to nature, and deft application of materials.
I have known Emily Leonard Trenholm since she was a girl growing up in Yarmouth. As a teen, she was a downhill racer, softball, and soccer player. I have been following her progress as an artist at a distance since she graduated from the University of New Hampshire in 2005. Her maturation as an artist has followed a well-traveled path by which painters find themselves.
Trenholm earned her MFA at Boston University in 2011. There, she studied with John Walker, one of America’s and Maine’s finest painters. Walker’s muddy salt flat abstractions inform Trenholm’s more colorful abstract forest landscapes.
Since graduate school, Trenholm has developed her own style, in part. by spending time at residencies on Monhegan and Great Spruce Head Island, becoming a mother, and teaching drawing at Southern Maine Community College in Brunswick since 2013. In 2019, she studied at Haystack Mountain School of Crafts with painter Meghan Brady, whose influence can be seen in the mixed media and collaged nature of her new paintings and in the high keyed palette.
“Emily,” Brady remembers, “came to the workshop at Haystack with a quiet intensity that seems to go along with working from observation in nature, which is an inherently chaotic and overwhelming experience (kind of like raising a family) and turned that intensity towards the prompts in the workshop. I remember the drawings being open and experimental and full of life—in keeping with the feeling of the work in the Bromfield show.”
The forces that formed Trenholm’s mature new work are those of motherhood and the social turbulence of the times.
“Becoming a mother had a huge effect on me,” she says. “I have two boys, 21 months apart in age. I continued making work after my first was born, but once I had two, I stopped painting regularly and my creative practice became them.”
The provocation for getting serious about her art again was the mayhem we have all had to deal with over the past year.
“I hit a breaking point this spring while I was personally confronting the pandemic, racial injustice, and the global climate crisis,” Trenholm says. “I started spending days in the woods working from this surging stream behind our house. I had to deal with the emotions I had through painting. The stream offered a steady noise and visual chaos which seemed in line with how I was feeling and the work just came out.”
“For me, the pandemic has highlighted that my work and my family are not separate things,” Trenholm adds. “I agree with Joan Brown’s perspective in that all of the experiences I can gather, whether challenging, joyful, strenuous, loving, etc., will benefit my work. I feel like I’ve always had this notion, but it became more clear to me this past year.”
Art is a way of responding to the phenomenal world and, in troubled times, a way of coping. That’s what I see in Emily Leonard Trenholm’s new work, an artist coping with chaos and doing a splendid job of it. The integration of art and life is the goal of all serious artists. It is the sign of a mature artist.
“Making and witnessing art is part of our human experience and triggers some emotional feeling in every person,” she says. “The more exposure we have to the stories and art of all people, the more we can learn to care for each other.”
[Edgar Allen Beem has been writing about art in Maine since 1978. A version of this story appeared in the Portland Phoenix on 10 February 2021.]
Image at top: Emily Leonard Trenholm, Spring Flood, ink, graphite, gouache, and acrylic on paper, 2020.