"What we have here is some sort of harmonious planetary convergence - it's really incredible; a first,” says Bowersock. "When one artist makes a major move in their work, well into their established career, that's news. But three of our artists, all appearing in the same show, that's some sort of major shift and in this case a very exciting one."

More importantly each has matured into this phase, not jolted off into some unfamiliar territory that requires years of reworking, he adds. "What we're seeing here is a trio of outstanding artists bringing more of themselves into their work than ever before."

The works of Harkins and Sauter and Briggs all from the Portsmouth, NH, Seacoast area will focus on the figure. "And each of them is drawing from a new, personal experience that's moved them to this place."

Harkins' work is a distinct mix of classic and impressionistic. "She's often said she's not the 'traditional traditionalist,' but more a 19th century version. It's a good way to describe it, there's definitely a touch of the masters from two centuries in her hand."
Harkins made her mark in the art field over the last three decades with landscapes, portraits, nudes and florals. The difference here is she's focused on the portrait-figure, in settings and plans to continue in that vain for some time. The work shows a strong emphasis on the dialogue between figure and place.

In addition Harkins has allowed the figure's setting to inform her palette, moving her to use colors rarely seen in her work. They're a natural outcome of her newly adopted practice of meeting the subject on their turf. "This is certainly going to invigorate her usual collectors, and undoubtedly bring her more," says Bowersock.

Sauter has shifted to figures as well. For the past three-plus decades she's been best known for her moody, impressionistic landscape. This will be Sauter's first figurative body of work ever exhibited.

In a recent conversation Sauter told Bowersock that she simply wanted to explore more life in her work. Landscapes didn't fit the bill. "I want to look at how we fit into a continuum of time," she said. "So it's looking at the conversation of humanity, the universal conversation like 'grandmother-ness' or taking care of things. Clothes change, but activities really don't."

"Activities maybe not, but Gail has," says Bowersock. "Her interest has shifted, and we'll all benefit from that. This new work is magical, haunting."

Last "but hardly least" is Briggs, a sculpture known her figurative work. But even here we see a change," he says.

Briggs' work has always been of fanciful, stylized beings - with or without wings. What's different is the level of detail. "There is greater attention to anatomy. This shift has made her figures appear even more delicate, more graceful, qualities that have always marked her work," says Bowersock.

"Lindley has started working with more live models. It's definitely adding to her work. As she puts it, "I've collected a lot more reality data, and it's truly informing the work," says Bowersock. "And if there is anything that ties this show together, it's that these three mature artists have let life inform their work."