And consider our own ‘Fantastical narratives’?

“Piri the Dreamer and Flying Coyote in the Garden (at Night)” (flashe on canvas), by Josias Figueirido, in his show “Horizons of Rest,’’ at the Zillman Art Museum at the University of Maine in Bangor, through May 2.

The museum says:

He depicts “whimsical environments with colorful, stylized trees and flora that serve as backdrops for his eccentric, cartoon-like subjects: Piri the Dreamer and his companion Flying Coyote, as well as other hybrid creatures. The exhibition brings together an assortment of recently completed large-scale paintings along with a series of small canvases. Through the artist’s quirky settings and characters, we are invited to contemplate our own fantastical narratives and meaning. Figueirido’s work with animation and digital technology offers an additional experiential opportunity for visitors. Using augmented reality viewed through a cell phone, the artist’s vibrant and playful subjects come alive to inhabit the physical space. Depending on how the viewer navigates the gallery, hybrid beasts can be seen flying about, while fictional botanicals appear in three dimensions.’’

‘Biological narratives’

Untitled work (woodcut and lithograph collage) by Maine-based artist Amanda Lilleston in her show “Deep Field,’’ at The Zillman Art Museum, Bangor, Maine, through Dec. 30.

The museum says:

“Amanda Lilleston explores biological narratives through woodcut printing and collage in her exhibition deep field. The prints highlight the concept of transformation, depicted in burgeoning colors of flora. Lilleston began this body of work about ten years ago – the idea stemming from, ‘a broader, general interconnectedness of systems: biological, physiological, and ecological.’  

“The themes that permeate her artwork reflect Lilleston’s educational and life experience – as well as motherhood. The artist explains that she has become ‘acutely aware of my body being part of a larger environment.’ Lilleston thoughtfully examines these natural subjects to allow for adaptation and change within the imagery.”

Turn of the 20th Century postcard. Bangor was for years one of the world’s lumber capitals because of its proximity to the Great North Woods and that Bangor was the last deep water port on the Penobscot River. It also had good freight and passenger rail service.

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Jolly pandemic camping tent?

“The Force of Friendship ‘‘ (watercolor on paper), by Marcie Jan Bronstein, in her show “Being There,’’ at the University of Maine’s Zillman Art Museum, in Bangor.

The museum says that Ms. Bronstein uses :a wide variety of marks in her works, from shapes reminiscent of architecture to webs, stretched ovals and pill-like capsules. These varied forms, combined with the blooms of watercolor, make artworks begging for interpretation and ripe for reflection.’’

Statue of the mythical Paul Bunyan in Bangor, where the lumber industry was economic king for many years, starting in the 19th Century but no more. Since Bangor lies on the Penobscot River, logs from Maine’s immense North Woods could be floated downstream to the city and processed at its water-powered sawmills, and then shipped to the Atlantic Ocean, 30 miles farther downstream, and from there to any port in the world. Many of the lumber barons’ elaborate Greek Revival and Victorian mansions suggest the wealth made in this business.