Here's a look at the article in Voyager Magazine.
Today we’d like to introduce you to Megan Aline.
Hi Megan , please kick things off for us with an introduction to yourself and your story. I grew up immersed in the woods and waters of Maine, and those early experiences of light glancing off water, of trees whispering in the breeze, of solitude in nature, these are the core of my work.
I’ve always felt that painting is a kind of inward journey as much as an outward act — that when I stand before a blank surface I’m not just recreating what I see, but revealing something of my “inner landscape,” that map of emotions, ideas, memories, and sensations collected throughout a life.
My style has evolved into something I feel is unique: I paint realistic landscapes that capture the movement of light, water, and trees — elements that echo my childhood in Maine. At the same time, I often integrate feminine silhouettes reminiscent of 19th-century cameos but rather than keeping them solid black or opaque, I fill them with serene, wooded scenes, scenes that convey a quiet, other-worldly beauty.
In combining these forms, the silhouette and the landscape, I seek to draw out a dialogue between form and content. The silhouette gives shape and human reference, a hint of the figure, of identity; the inner scene evokes something deeper, perhaps timeless, perhaps universal, rooted in nature and memory. The glow of light, the motion of water, the leaning of trees: these are recurring motifs, because they tie me back to those early Maine walks, to the sense of being in nature and being of nature.
In 2003, my husband (who is also a hyper-realist painter) and I opened a fine-art gallery; for years I spent time in the administrative role, but ultimately decided to focus on developing my own style of painting. Today, over 20 years later, my life is a balancing act between being an artist, gallery owner and mother.
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
We were just 23 when we opened our gallery—without any financial history to qualify for a lease—but we swung for the fences anyway. We sold everything we owned, pooled together what we’d earned from a few early painting sales, and approached a landlord with equal parts hope and determination. He wisely agreed to a month-to-month lease, and, thankfully, we made it work.
Twenty years later, that leap has grown into something far beyond what we imagined. Today, we run an artist-in-residency program, a scholarship fund, collaborate with three local art institutions, and engage in numerous community-driven art projects. Looking back, there were plenty of hurdles, but we’ve always had a shared “let’s figure it out” mindset.
I’d love to say we have finally “figured it out,” but the truth is, every day we’re still chipping away—trying to make both our business and our artwork a little better than the day before. In hindsight, the struggle was essential; it shaped the meaning and heart of what we built.
The gallery—recently named by TripAdvisor as among the top 10% of things to do worldwide—has become something truly special. It’s more than a gallery; it’s part community space, part creative sanctuary, part place to recharge. As an artist, I’m constantly inspired by the conversations, connections, and magic that have unfolded within its walls over the years.
As you know, we’re big fans of you and your work. For our readers who might not be as familiar what can you tell them about what you do?
My painting process is really unique — I work with vinyl masking to create silhouettes and then paint within them. This series features feminine silhouettes reminiscent of 19th-century cameos, but instead of black silhouettes, the profiles are filled with serene, wooded scenes that convey otherworldly beauty.
Do you have any advice for those looking to network or find a mentor?
The evolution of this painting series is always unfolding. As I explore our connection to nature my work is also changing and growing. I use to find inspiration in painters and now I find myself inspired by naturalists like David Attenborourgh and Wim Hof. I think it’s important to search for inspiration and to surround yourself with people doing the same. Part of our gallery’s ethos is that we want to create community and nurture creativity through inspiration.
