When Midcoast artist Meghan Brady applied for an Ellis-Beauregard studio residency last year, she admits she was a little ambivalent. She has a great little studio at her Camden home, and the residencies are at Rockland’s Lincoln Street Center.

“But then I got it and was like, this is totally amazing! I didn’t know that I wanted or needed this until I got it,” she said.

The public has a chance to see some of the work that’s come out of the experience in the Perimeter Gallery of Belfast’s downtown Chase’s Daily. There will be an opening reception Thursday, Jan. 18, from 6 to 8 p.m.

A week before the opening, the “New Misfits” paintings on paper and Tyvek were on the floor and covering one wall of Lincoln Street Center’s first-floor space that hosts Coastal Maine Art Workshops during the summer. Brady’s one-third smaller residency studio is a floor above and, despite its ample height, a couple of feet shorter than Perimeter’s walls. Lincoln Street’s owner offered her use of the bigger room to work on the show’s pieces.

“Their space is the only space I can think of where I could really show this work,” Brady said of Freddy Lafage and Meg Chase’s combination art gallery, restaurant and indoor farmer’s market.

“The big wall is 16-by-14, but it’s back in the produce area and you can only use 40 feet of it. And then there’s that brick wall in the eating area and that’s 20-by-14,” Brady said.

Brady, who is married to fellow painter Gideon Bok, has shown several times at Perimeter, as well as at ICON Gallery in Brunswick; in biennials at the Center for Maine Contemporary Art and Portland Art Museum; and elsewhere. Her work is usually oil on canvas, painted on an easel. But these “New Misfits” are unabashedly big and painted on the floor with eye-poppingly bright colors, thanks to a special paint developed by a mural maker.

“This is a really cool kind of paint! All it is, is dispersed pigment, so you can adjust the quantity of pigment in the binder and make the paint really vibrant and strong. It reads like gouache, really, with the binder I have,” she said.

Working in her home studio with stretched canvas, Brady employs the time-honored practice of turning her paintings, “to kind of unlock a painting when it gets stuck.” At Lincoln Street, it’s she who gets turned around.

“To walk around it physically, I feel like it’s always in flux in a way that keeps me on my toes. Also the paint, because it dries flat, is different from when you’re doing it on the walls,” she said.

Brady, who earned her master's of fine arts in painting at Boston University, said she thinks of herself as an abstract painter, “but these figurative elements have been cropping up.” Her art education, she said, put a lot of emphasis on “thinking either I’m a figurative painter or an abstract painter, and I don’t believe in that.”

Brady is one of four artists who have been in residence since last summer — technically Sept. 1 through Feb. 28, but they were able to “move in” in August.

“I think the Ellis-Beauregard Foundation is awesome for doing this! Their idea was to put different artists right in one corner of the building, so we’re all clustered here. The idea is, we’re from different disciplines and that we would overlap somehow,” said Brady.

The logistics of schedules and other realities, such as unreliable heat during the unusual cold snap earlier this month, have cut down on the mingling, but Brady said her fellow residents are great.

“Aside from Bethany [Engstrom], who’s the assistant curator at CMCA, I don’t know that I would have met Michael Gorman, who’s a playwright; and Vaishu [Ilankamban, woodworker], who’s actually working over at the makers' space in Thomaston most of the time, because of the tools there,” she said.

Former residents of the building also have contributed to Brady’s experience. She said she really didn’t know what she would be doing in the biggest studio she’s ever had, but she couldn’t not respond to the dimensions of the room and the plentiful light. And there was something else exerting influence.

“I have two children, and that’s really part of my aesthetics right now, and I can’t help but think about all the kids that’ve come through here and feeling that kind of energy,” she said.

Brady said she doesn’t think of herself as a Pollyanna, but “in light of everything that’s happened politically in the world,” the only choice she feels she has is to be optimistic.

“I’m trying to bring that sort of hopefulness into the work that I’m, in some ways, getting from the energy in the building, as well as from my own children,” she said.

She and Bok and their children will all have work in the “Circle Time” show opening Friday, Jan. 26, at Portland’s Able Baker Contemporary gallery. The group show includes artists from all over New England, collaborating with their children. Brady said she worked with her daughter, Ada, and is printing some of her drawings as textiles.

“Gideon’s showing a drawing he did of Ada drawing in the studio, and Ada is going to show her drawing next to him; they drew each other,” Brady said.

Brady’s drawings are taped to the old slate blackboards and a window in her residency studio. Paintings on paper lie on sheets of Tyvek synthetic housewrap. Bottles of paint, glue and other tools line the cloakroom wall of the former classroom.

“What I do is kick off my boots and drag drawings around,” Brady said. She also carries around a pair of scissors. “One of the things about working not on canvas and stretched canvas is that I can change the shape, so it’s kind of a malleable situation,” she said.

That malleability has given the artist a way to disrupt her practice, she said. The constant re-invention means she can go back in and completely transform the piece with some scissors and glue. She said she thinks of the results more as sculptures than collages.

“In some ways I can see this transforming the way that I do oil paintings,” she said. “Maybe the paintings start on the floor going forward; maybe I figure out a way to cut and sew the pieces, almost like I’m gluing this.”

Other “maybes” have presented themselves during the months of the residency, which Brady decided to treat as a chance to make temporary, ephemeral work and “not get bogged down by the idea that it’s not archival, it’s not oil painting.” Maybe these “New Misfits” don’t have a life beyond the residency and Perimeter show; maybe they get rolled up and stashed away somewhere; maybe they get recycled.

“But this residency and this body of work could … affect the work going forward,” she said. “I’m not making it my business right now to be concerned with how exactly that happens.”

Exactly how the large works would make their way from the Lincoln Street walls to Perimeter’s was still being worked out this day. Brady described a method she used to hang them in the studio herself involving a super-tall ladder, a broom, rolled-up paper and “lots of tape!” After the “Misfits” opening, she said, she might move into doing some woodcuts. She and friend Ariela Kuh, of Lincolnville’s ANK Ceramics, have an upcoming collaborative show at Rockland’s Steel House South.

“It’s not going to be your typical sculpture and painting show,” Brady promised.

As far as creating work for the Perimeter show on short notice — a planned group show didn’t come together — the artist said she feels it’s important to put that pressure on oneself and just see what happens.

“In that sort of compressed state before a show, I think some really exciting stuff can happen. It’s not always successful, but it might feed the project going forward,” she said.

Fans of Brady’s oils can rest assured she is not abandoning the medium she calls her anchor. “It’s all the same, in a way. What the materials are don’t really matter — it’s like playing different instruments,” she said. “The point for me is always just to be part of the conversation.”

While shaking up her artistic process, the Ellis-Beauregard residency also has grounded Brady in a way that has taken her a bit by surprise. While her husband grew up on the Midcoast, part of the musical Bok clan, she’s been here for 10 years and has felt a little bit like an outsider because she’s not a local and doesn’t make representational paintings.

“But there’s something about being kind of held by this whole thing, by the foundation and by their support — it’s a real confidence boost. This residency makes me feel more at home here, in a way.”

She credits Lincoln Street Center’s “good history and connection to this community” with part of that process.

“I think we’re really lucky to be in Maine, as artists, I really think that. To have some space and time here is really special. I feel fortunate for how supportive the community is,” she said. “I think what the foundation is doing is great … it’s a really good thing for Rockland. And a foundation that supports artists directly, that’s pretty rare.”

Brady’s “New Misfits” will be on display at Perimeter/Chase’s Daily through March 18. For more information about the Ellis-Beauregard Foundation, dedicated to individual artists and honoring the legacy of founding husband-and-wife artists John David Ellis and Joan Beauregard (late of Rockland), visit ellis-beauregardfoundation.com.