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Patch works out of a studio in Portlands State Theatre building. M AY 2 0 1 6 6 1 ArtworkspicturedcourtesyoftheArtist ed Patch to engage in a Mayo Street Community Arts Residency where hed work in an after-school program with children from East Bayside and oth- er parts of Maine. Id never collaborated before Patch says and couldnt figure out how that would work. But it did. He really dug in and took time to work with the kids teaching them his style and the way he was painting the papier-mch and exploring with them ideas about birds and natural history McGough says. My mom pitched in too Patch says. It was nice because everyone had his or her own bird story. The kids learned about the birds as we went along. More secretly I was learning from them and the way they looked at the birds. In hindsight McGough says we should have put it off for a year and applied for grants but we didnt. With herculean effort this great thing happened. It brought the space to life. P atchs birds on exhibit at MSA from June through September 2015 were offered for sale from 250 to 1200 per sculpture. Among the interested collec- tors was the Portland Museum of Art. Mayo Streets Larry Hayden a board member was thrilled with PMAs purchase of 37 Migration birds. My first response whenIsawtheinstallationwasthatitshould go into a public collection like Alison Hil- dreths sculptural piece at the Portland Pub- lic Libraryit just animates the space. McGough adds While I loved the birds at MSA I am pleased they migrated. Migration is now in the PMAs perma- nent collection. It will remain as part of the fourth-floor Modern Menagerie exhib- it further animated with work by Dahlov Ipcar and Bernard Langlais for five years. Sculpted papier-mchd and collaged the birds wear Patchs signature style in their windless motion swooping with seren- dipity. Their distinctive colors and markings were created with discarded pieces from his studio of woodblock prints gravestone rub- bings and hand-painted papers. Patchs earliest roots started with draw- ings under the guidance of his grandfa- ther James Guy a WPA art- ist and social surrealist. His grandmother Clara Skinner created woodblock prints and illustrations for the New Yorker and later turned to Op Art showing at MoMA in the acclaimed 1965 exhibit The Responsive Eye. Going to Guys shows in New York as a child was an electric inspiration for Patch now 41. While still in middle school he began his studies at Portland School of Art. He went on to complete his BFA in 1997 I have 150-plus birds on my list and there are only 37 in the flock at PMA. Id do another installation