high jumper fosbury flop kessie lewis

Fosbury Flop — Sweet Success in Bronze

high jumper fosbury flop kessie lewis

In the foreground, The High Jumper, by Larry Kessie; in the background, You Can Fly by Clay Lewis. The athlete is jumping with technique called Fosbury Flop.

Nobody embraces or welcomes bad experiences.

But here’s an odd thing about bad experiences: sometimes they produce sweet fruit.

high jumper bronze statue fosbury flop larry kessie

The High Jumper, bronze statue by Larry Kessie, captures the competitor just as he begins to leave the ground.

That’s what Clay Lewis and Larry Kessie, both of Richland, WA, discovered, years after they were in fifth grade together, and one of them was wrongfully accused of misappropriating a pencil. Through efforts to punish the alleged miscreant, their teacher unfortunately exacerbated a deplorable situation into a traumatic one, the results of which stayed with both men well into their adulthood.

Seeking Closure and Finding Friendship

“Even though Clay and I attended Kennewick High School together, we had not linked up until a few years ago, through the common denominator of my wife who had worked with him and urged me to have a discussion on how that event had affected me,” Kessie remembers.  “When we did link up, I found that it had negative impacts on Clay’s life as well.”

The result of this meeting was unexpected and . . . sweet. Not only did both men move toward closure of a negative experience, they opened up a novel, exciting chapter in their lives. As their newly revived friendship grew, they embarked, together, on an unforeseen direction: bronze sculpture and something called The Fosbury Flop.

The Fosbury Flop

Neither man had sculpted before. Kessie worked 35 years as an architect. Lewis’s career took him into coaching track and field, where he achieved a reputation as a guru of high jumping, most notably in the technique known as the Fosbury Flop.

you can fly fosbury flop clay lewis bronze statue

You Can Fly, bronze statue by Clay Lewis. It captures the high jumper just as he is clearing the bar. The backwards leap is the Fosbury Flop.

This backwards leaping technique, named after Dick Fosbury, who jumped 7’4.25″ to win the Gold Medal at the 1968 Olympics, captured the attention of then 16-year-old Clay Lewis. He taught himself this new unique style of high jumping, and was soon recognized as one of the first Fosbury floppers in Washington State. As years went by, Lewis —  inducted in 2009 into the Washington State Hall of Fame for coaches — found himself speaking at a number of Northwest track clinics, giving specifics on how to do the Fosbury flop. As a visual aid, he was limited to using Barbie dolls to demonstrate the technique, and for varying reasons, was frustrated with the limitations Barbie invoked. He was looking for a better visual aid that wasn’t quite so . . . distracting.

A Life-Changing Idea

That’s when Kessie had an idea, and the two men started on their journey into the world of bronze sculpture.

“I bought two human armatures, some clay, and a lot of anatomy books, and we got started on creating the coaching aid Clay needed,” Kessie remembers.

larry kessie sculptor high jumper fosbury flop bronze

Larry Kessie, architect and sculptor of The High Jumper

“We both had no idea where this was going, or how they were going to turn out. We each selected independent positions of the jumper so that Clay would have two independent aids.”

Kessie’s sculpture, The High Jumper, focuses on the jumper just before he leaps; Lewis’s work, You Can Fly, catches him mid-air, clearing the bar. But we’re getting ahead of ourselves, because that’s when the sculptures were done. Getting there took a lot of time, effort, researching, and determination.

“Our learning curve was very steep,” Kessie says.

“Correct form and musculature were very important to both of us. We continually reviewed the anatomy through pictures and anatomy books for artists and sculptures. We also used YouTube extensively.”

But . . .

“We found that the clay sculptures were developing in a manner not anticipated.”

Unsure of the direction things were going, Lewis invited a local international artist friend to give the two friends feedback on the project.

“The artist’s summary blew us away in that he compared our statues to some of the best he has seen professionally,” Kessie recalls. “He was amazed that it was our first sculptures, and there were two of them at that level.”

From Visual Aid to Bronze Sculpture

That was the encouragement they needed, and Kessie and Lewis advanced from clay prototypes to deciding to have their work cast into bronze at Valley Bronze in Joseph, OR. That move opened up a whole new dimension to their project, and the resulting art pieces encouraged them to broaden their horizons beyond a visual teaching aid —  because one thing they discovered upon receiving the finished sculptures is that large bronze works, with stands and tables upon which to place them, are cumbersome to transport from coaching clinic to clinic. It’s not impossible, just difficult, and there are better alternatives:

clay lewis coach hall fame sculptor fosbury flop

Clay Lewis, 2009 inductee into the Washington State Hall of Fame for coaches. He is the sculptor of the bronze, You Can Fly.

“I photographed both sculptures and have shown them to my track athletes,” Lewis says. “What I have found is, coaches and athletes are getting inspired by just seeing a photo as well as the fact that we created something that represents what they love.

“To quote one coach, ‘They are jaw dropping.’

“They do take apart and transport okay, but we don’t want them to flop, drop and break. So for the most part I will use the photos of the works.”

And the works themselves? They are now limited edition art pieces, with a 25 run for each. Each man is planning a second sculpture, as they continue walking on the new adventure path of marketing the first ones. They hope to inspire not only athletes, but anyone with a dream and desire.

The Sweet Fruit of Fine Art

“This experience, this sculpting journey has been what ‘art’ is supposed to be, at least in my mind,” Kessie says. “Art is integral with the culture of life.”

Lewis agrees.

“The sculptures represent a life changing time in one’s life who has had the experience of jumping. It is an emotional but gratifying time in our lives.

“To jump over a person’s own head is not a normal thing to do.

“We’re hoping that the sculptures will spark not only an interest in track and field, but in art and sculpture.

“It’s fun, rewarding, and therapeutic.”

Not to mention, sweet.

Wenaha GalleryLarry Kessie and Clay Lewis are the featured Art Event artists from May 11 to June 7, with both of their sculptures on display, and for sale, at the gallery.

Contact Wenaha Gallery, located at 219 East Main Street, Dayton, WA, by phone at 509.382.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 5 p.m. from Monday through Friday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

 

 

 

bee zinnia qr code artwork blocks lorna barth

QR Code Art — Lorna Barth’s Paintings Tell a Story

deer yorick skull qr code watercolor lorna barth

Dayton watercolor painter Lorna Barth embedded the QR Code for the framed print, At Last, Deer Yorick, in the lower left-hand corner of the print. Viewers scanning the code with their phone or tablet access the story behind the artwork.

We’re all hearing a lot about QR codes these days.

For the uninitiated, QR codes are matrix barcodes that smart phone or tablet cameras “read” when we point and scan. The square blocks of contrasting dark and white shapes contain long strings of information data — such as an Internet link leading to a web page — and eliminate the need to accurately type in all the letters, numbers, and symbols of the actual link.

“QR codes have been used for decades,” says Dayton, WA, watercolor artist Lorna Barth, who has developed a unique way to integrate them into her paintings.

quilt show tent boldman house original watercolor lorna barth

After the Quilt Show, original watercolor painting by Lorna Barth. On her original watercolor paintings, Barth affixes the QR code to the painting’s video to the artwork’s back.

“These little codes have become instant transport for almost everything from your grocery receipt to the information on any product.

“But they are SO BORING!

“And they take you to BORING PLACES. Or to places that sell you things, or boring information that nobody ever wants to read.”

So one day, while she was painting, she had an epiphany:

“What if they went to Art? or Poetry? or Both? It would give people just a little minute or two of respite to look at art, listen to gentle music, and chill without a sales pitch or ‘Subscribe,’ or anything. Random phone art.”

Innovating with Old and New

And from that moment, her lifelong art journey took a new direction. She combined old with new: paper and watercolor paint — items that have existed unobtrusively for centuries and millennia — with contemporary tech. Now, in many of her works she incorporates a QR code. With original paintings, she places the QR code on the back. With prints, she integrates it onto the substrate and into the image. Other times, she paints it as a separate painting to accompany the artwork.

Where it leads varies as well, but the destination, Barth is happy to say, isn’t boring.

“For many of my works, I make YouTube videos of the painting being done, or lead into the work to give the viewer an extended view of this piece of art,” Barth explains.

“These are not instructional videos, but time with the artist and the artwork in the creation of it.”

bee zinnia qr code artwork blocks lorna barth

Sometimes, Barth paints the QR code as a separate painting of its own. It then accompanies the work it describes. This is the code for the Bee and Zinnia nested art blocks series.

The codes themselves, she says, are independent artwork of their own, leading to other worlds and stories.

“The QR codes that accompany my paintings attest to the originality and authenticity of my work.

“They are short performance videos to go along with and tell the story behind the art the viewer is engaging with visually. They add a new level of engagement to the experience.”

Enjoying Art at the Bus Stop

This means, she adds, that her paintings impact in a multitude of places, not just the wall where they are hanging. Digitally, viewers access her art on the bus, at soccer practice, in a waiting room, over lunch with friends.

rock mountain blues landscape watercolor painting lorna barth

Rock Mountain Blues, original watercolor painting by Dayton artist Lorna Barth.

“The technology as part of the art has taken the art and put it in the hands (quite literally) of multiple viewers at the same time.”

As with all technology, there are glitches. Barth recalls the time she painted in plein air, on a golf cart at the Touchet Valley Golf Course in Dayton. After finishing the painting on site, she discovered that her tablet video camera had mysteriously stopped right after she started, and the only digital record she had was of her getting the paper wet prior to the first brush stroke. Other times, though the camera is rolling, Barth gets so involved in the creation of the piece that she forgets she is being recorded.

“My memory will be full, and the painting will be completed without any documentation.”

But the glitches are part of the journey. Every technical hiccup is an opportunity to learn, adjust, and finesse. And the ultimate result is worth it, because the fusion with technology adds dimension to the artwork, thereby enhancing the experience of both artist and viewer.

Multi-media and Multi-layer

“One of the most fulfilling aspects of multimedia artwork is the ability to experience the art on many levels.

“Yes, they are paintings, but there was so much more that went along with the creation of them. There was the place, the method, the action of painting, music, and then the travel of the artwork to multiple venues.”

This blend of old and new — watercolor and QR codes leading to video — is the perfect combination, Barth says.

“It makes artistic expression take on multiple layers of experience and transportability that has never before been available until the digital age.”

Wenaha GalleryLorna Barth is the featured Art Event at Wenaha Gallery from May 4 through May 31, 2021.

Contact the gallery, located at 219 East Main Street, Dayton, WA, by phone at 509.382.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 5 p.m. from Monday through Friday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

 

 

Lisa Kostelak

Art by

Lisa Kostelak

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“I have been making baskets for 35 years,” says Lisa Kostelak of Colville, WA.

“I made my first basket in a craft store in a mall in Florida, when I was in just the right place at the right time.

“Though I had been interested in learning for a long time, it was hard to know where to start in the old, pre-Internet days.”

Today’s technology worship aside, one of the best ways to learn a craft that employs our hands, hearts, and brain is from an actual person who learned how to do it from another actual person. And it is for this reason that Kostelak, who taught herself painstakingly through books and a tremendous amount of trial and error, passes on what she knows through teaching small, personal classes. Basket Making 101, contrary to what we’ve been told all these years, is not an easy A.

Lisa Kostelak

white basket trio birch bark woven lisa kostelak

Basket Making — Lisa Kostelak Perfects an Ancient Art

baskets rattan organic cedar rushes woven lisa kostelak

Surrounded by grasses and trees, a series of hand-woven baskets by Colville, WA, artist Lisa Kostelak, celebrates the natural world.

Once upon a time, and not that long ago, there was no plastic. For thousands of years of human history, if people wanted to carry something around, from babies to drinking water, they wove a basket. It took, and takes, skill, patience, and an eye for artistry to create a useful basket.

“I have been making baskets for 35 years,” says Lisa Kostelak of Colville, WA.

“I made my first basket in a craft store in a mall in Florida, when I was in just the right place at the right time.

“Though I had been interested in learning for a long time, it was hard to know where to start in the old, pre-Internet days.”

dandelion birch bark rattan woven basket artisan lisa kostelak

It’s about two-inches high. This little basket is woven from dandelion stems, birch bark, and rattan. By Colville, WA, artisan Lisa Kostelak

Today’s technology worship aside, one of the best ways to learn a craft that employs our hands, hearts, and brain is from an actual person who learned how to do it from another actual person. And it is for this reason that Kostelak, who taught herself painstakingly through books and a tremendous amount of trial and error, passes on what she knows through teaching small, personal classes. Basket Making 101, contrary to what we’ve been told all these years, is not an easy A.

Basket Making 101 Is Not an Easy Class

“I learned to weave using rattan, which is a readily available material from Southeast Asia. It is lovely to work with, and I still use it to make many baskets.

“Over the years I have expanded, using material that I forage locally, including cedar bark, tules or rushes, birch bark, bear grass, red osier, even dandelion stems. I am always on the lookout for stuff to weave with.”

white basket trio birch bark woven lisa kostelak

They’re graceful, elegant, yet connected to the earth. The bark-based handles of this trio of baskets adds the perfect finishing touch. By Colville basket weaver Lisa Kostelak.

So it’s not just a matter of unpacking a cardboard box of materials and following a sheet of directions. For Kostelak, basket making involves a solid knowledge of plants and their environment, as well what to harvest, when and how, and what to do with it afterwards to prepare it for weaving. (Show of hands here: who in the room has even heard of “red osier” or “tules,” much less knows how to identify and gather them?)

“I forage anywhere — my backyard, where I’ve planted willow, juncus, red osier, to weave with. I also use my fruit tree pruning, among other garden plants.

“My tules, or rushes, I get from a friend’s pond. We have a nice visit, then cut rushes and load them into my van.”

Sustainable Thinking

For cedar, she gets permission from a private landowner to select a tree that is damaged and will need to be taken down. Once it is cut, she strips off the outer bark, then peels the inner bark or cambium layer, which she coils up and cures for a year before soaking and cutting it into strips for weaving. On hikes through the Colville National Forest, she looks for bear grass, birch bark from dead trees, scouring rush, and whatever else catches her eye.

white basket woven handle lisa kostelak artisan

The basket itself has something to say about its final shape and form. By Lisa Kostelak, artisan weaver from Colville, WA.

“I always ask before harvesting live material,” Kostelak says, because an essential part of making baskets — by real, regular people throughout history — has been working with the environment, not against it. In today’s arena of industrial, profit-driven, multi-billion, even -trillion, dollar corporations, this respect for, and awareness of, sustainability is becoming as lost as the knowledge of making baskets.

“I love working in 3D, with shapes, textures, and colors, making something that is functional and beautiful,” Kostelak says. Her studio, she adds, was formerly known as the family room. With the kids grown and flown, she has commandeered the entire space, with foraged materials stashed everywhere.

“I love spending time there, with the music turned up as loud as it goes, just getting into the rhythm of the weave.”

Baskets Are Timeless Technology

Kostelak sells her work through area shops and regional craft shows, and her wares have found homes from Seattle to San Francisco, from New York to Florida, from Nova Scotia to New Zealand. There is no end to creative inspiration, she says, because the materials themselves are dynamic, redolent of life, tactile, and almost demanding to be touched, handled, interlinked and intertwined.

“I get new ideas while I work. Sometimes I get an idea from the colors or textures of material stored together. Sometimes I dream a basket, and write it down when I wake up.”

The skill, and the baskets, transcend time, and there is a rush (no pun intended) to creating something that artisans have been making for far, far longer than industry has churned out plastic bags and petro-chemical products. There’s a human touch that endures from one age to the next.

This is good to remember the next time we overhear someone scoffing that a class is as easy as Basket Making 101. We can be free to retort,

“Have you ever actually woven a basket? It’s not as easy as you think.”

Wenaha GalleryLisa Kostelak is the featured Art Event at Wenaha Gallery from April 20 through May 17, 2021.

Contact the gallery, located at 219 East Main Street, Dayton, WA, by phone at 509.382.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 5 p.m. from Monday through Friday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

 

Lisa Hill

Art by

Lisa Hill

“In my classes and in my own painting, it’s very important to understand color relationships and learn mixing skills,” says Lisa Hill, a watercolor painter from Richland who has been teaching private classes for 10 years.

“I always use a limited palette of about five paint colors per painting, and my beginning students have only five tubes of paint to manage and master.

“The color mixing possibilities are endless. We often complete an entire painting with the ideal color primaries: Phthalo Blue, Quinacridone Pink, and Hansa Yellow Medium.

“You can mix thousands of colors with these three paints.”

Color theory, she adds, spans the disciplines of both art and science, as does the medium of watercolor itself. Successfully working with water on paper involves a tremendous amount of observation, experimentation, and questioning.

“Understanding how water behaves puts the artist in charge (mostly) of what happens to the paint on the paper.”

Lisa Hill

Opuntia Fruit colorful Southwest watercolor Lisa Hill

Maverick Thinker and Doer — Watercolors by Lisa Hill

morning glory floral flower maverick watercolor painting lisa hill

It takes a maverick to paint what she wants, how she wants to, without listening to voices seeking to control her thoughts and actions. Morning Glories, original watercolor painting by Lisa Hill.

Movies, ads, pop music– they theoretically encourage people to be mavericks, to do things their way. As My Way, the song popularized by Frank Sinatra, croons,

“What is a man, what has he got? If not himself, then he has naught.”

But in real life — not the make-believe one of movies, ads, pop music — doing it your way isn’t cool or easy, and those who persist fight against a relentless wave of mass media impelled social conformity that seeks to keep them down, submissive, obedient, boring.

“Do it our way,” is the message. “And call it your way.”

rocks colorful maverick watercolor painting texture lisa hill

Rocks aren’t just gray. But it takes a wise, creative, maverick eye to see this. Rock Solid, original watercolor painting by Lisa Hill.

Watercolor painter Lisa Hill isn’t interested in this message. As a representational painter of flowers and foliage, she is fully aware of the industrial and urban art world’s decree that representational work is passe, demoded, archaic. What she hears from the “modern” art movement — which, ironically, began in the late 19th century — is that “true artists” focus on abstract.

She dissents.

Representational and Realistic

“I have always been attracted to realistic representational art,” the Richland, WA, artist says.

“While I respect and can appreciate the skill and knowledge involved in creating purely abstract or vaguely realistic art, it does not move me.

“And I take exception to negative attitudes and comments about the realistic style I love. It is often described with discouraging and depressing adjectives: belabored, overworked, too technical, muddy, fussy, tight, tedious, photographic, controlled, imitative, copied, conservative, unimaginative, stifled, calculated, rigid, stiff, not ‘fresh.'” Why not words like meticulous, detail-minded, skillful, precise, accurate, competent, imaginative, energizing, dexterous, proficient, adept, observant, and beautiful?

Several years ago, she adds, she found this statement by French painter Pierre-Auguste Renoir (1841-1919):

“Why shouldn’t art be pretty? There are enough unpleasant things in the world.”

Delicate flower floral garden watercolor painting Lisa Hill

Renoir is right: what could possibly be wrong with painting beautiful things? Delicate, original watercolor painting by Lisa Hill of Richland, WA.

This way of looking at things, she feels, is a timeless one — neither contemporary nor nostalgic, trendy nor outmoded — an attitude that allows freedom of expression for artists to use their creativity in conjunction with their skills and interests, not to mention their maverick personalities.

“I have a lot of plant knowledge and thoroughly enjoy gardening,” Hill says, explaining that, before she turned to art, she spent years working in ornamental horticulture and landscape design.

“It’s natural for me that the subject I most love to paint are flowers and foliage. I don’t think that I am making a statement by painting these things — I just love them.”

Science & Art: A Maverick Combo

Another thing she loves — really, really loves — is the watercolor technique. It is a blend of maverick magic and science, skill with the willingness to play with chance. The medium requires the artist to observe, question, experiment, analyze, examine, speculate, study — in short, do everything you would expect both a scientist and an artist to do.

Opuntia Fruit colorful Southwest watercolor Lisa Hill

Definitely not ordinary but unusual — which is pretty much the definition of maverick. Opuntia Fruit, original watercolor painting by Lisa Hill.

“Understanding how water behaves puts the artist in charge (mostly) of what happens to the paint on the paper.

“Why do backruns develop? How do I get the paint to spread out and dissipate? Why does this passage look streaked and blotchy when I wanted a smooth wash?

“The answers are almost always related to the water: how much is on the brush, the paper, and in the puddle of paint.”

Getting those answers, and thereby achieving success with watercolor techniques, requires a high level of scientific knowledge of the behavior of water.

Sing It, Frank; Paint It, Lisa

If she sounds like a teacher, that’s because she is. Ten years ago, Hill and her husband tore the roof off their garage and built a second-level, spacious studio complete with bathroom, kitchenette, storage, windows, and enough room for four students. She holds regular classes for beginning, intermediate, and advanced (“I very specifically do NOT mix beginners with experienced painters if I can help it”) — once a week per class, three hours at a time, over four weeks. Many students return, progressing from beginner to experienced, and this keeps her on her toes.

“I have to come up with new, interesting, challenging projects all the time.”

Not that she’s complaining, because, you see, painting itself is new, interesting, and challenging. In the world of representational art, there is no limit to the creativity, exploration, inspiration, and driving force to learn and see and capture light and color, emotion and movement.

It takes a maverick to understand and do this.

Or, back to Frank and his crooning,

“I faced it all and I stood tall and did it my way.”

Or better yet, in Hill’s own words,

“I paint what I want when I’m ready.”

Wenaha GalleryLisa Hill is the featured Art Event at Wenaha Gallery from April 6 through May 3, 2021.

Contact the gallery, located at 219 East Main Street, Dayton, WA, by phone at 509.382.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 5 p.m. from Monday through Friday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

 

Lois Hemphill

Art by

Lois Hemphill

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Human beings were given hands and hearts, eyes and brains for a reason. We were born to create, innovate, try and fail, and try again until we achieve what we’re aiming for.

Dayton, WA, artist Lois Hemphill fully understands this process, because it’s what she does all the time. With a focus on making folded greeting cards using combined mediums and different techniques, Hemphill uses not only paper, ink, and stamps, but also punch needle and thread to create one of a kind, intricate images on stitched cards.

“Some people call it string art, others call it pricking, pin, or thread art, because you create points or holes in the paper first,” Hemphill explains. “You can use a hatpin or something like that; I actually have a utensil that I bought that punches the holes.”

angel girl string thread art card kneeling lois hemphill

Creative Threads — String Art Cards by Lois Hemphill

string thread greeting card art butterfly lois hemphill

Created in string, a butterfly is an inviting and joyful image by Dayton artist Lois Hemphill

Human beings were given hands and hearts, eyes and brains for a reason. We were born to create, innovate, try and fail, and try again until we achieve what we’re aiming for.

angel girl string thread art card kneeling lois hemphill

Using different weights and colors of thread, Hemphill creates a sense of light shining. Angel, string art card by Lois Hemphill.

Dayton, WA, artist Lois Hemphill fully understands this process, because it’s what she does all the time. With a focus on making folded greeting cards using combined mediums and different techniques, Hemphill uses not only paper, ink, and stamps, but also punch needle and thread to create one of a kind, intricate images on stitched cards.

“Some people call it string art, others call it pricking, pin, or thread art, because you create points or holes in the paper first,” Hemphill explains. “You can use a hatpin or something like that; I actually have a utensil that I bought that punches the holes.”

Drawing with String

Using a computer software drawing program, Hemphill designs an image for a card. She then punches precisely placed holes in card stock, after which she strings thread, in varying colors and thicknesses, between the points to fill in the design. The result is a textured two-dimensional surface, with a finished image composed of a series of straight lines, geometrically composed. It takes time, a steady hand, and a willingness to start all over, if necessary, if the thread and the points get off.

“I like to say that there is no mistake, only an opportunity for embellishment,” Hemphill says, explaining that she and the various people she gets together with through the years from the craft group she started in 2007, decided to accept that human error occurs, and it’s part of the creative process.

“When we started looking at it that way, we found that the process of correcting the mistake often resulted in something better than we originally planned.

“We also found that we weren’t so afraid about making mistakes.”

Pushing Past Fear

Fear suffocates creativity, and learning how to push past it is a huge benefit to not only artistry, but living in general. Hemphill recalls an occasion, shortly after she was given a bridal shower, when her then fiance, now husband, used creative thought to conquer fear. It was a life lesson that has inspired her through the years:

stained glass thread string art greeting card lois hemphill

The colorful design of stained glass shines through Lois Hemphill’s string art card, Stained Glass Cross.

“We were washing the cookware and dishes that I had received at the shower, and I was very quiet. He asked me what was wrong and I said, ‘Nothing.’

“He knew me well enough to know something was bugging me, so eventually I said, ‘I’m afraid I won’t be able to cook good enough for you,’ (because he was always talking about what good foods his mother would fix). And then I started to cry!”

The next day the couple went to the store where David, her fiance, invited her to choose the cookbook of her choice and he would pay for it.

“I chose the 1962 edition of good Housekeeping, which I still have today. Years later, all three of our children wanted me to find the exact same edition for each of them — which I did.”

What she also did was learn to cook, to the point that her prowess is now so advanced that she is repeatedly asked to publish a cookbook of her own. But it took pushing past the fear. It’s what makes a good cook, a confident person, and an artist who is willing to try out new techniques and master them.

A String of Projects

strawberry jam string thread greeting card art lois hemphill

Culinary art requires creativity and fearlessness. Strawberry Jam string art card by Lois Hemphill of Dayton, WA

Hemphill works out of her house’s large recreational room, which contains all her crafting supplies. Through the years, she has taught people how to make both stamped and string art cards. She usually works on several projects at a time, and in addition to selling her cards in local venues, she has donated them to the Dayton hospital gift shop. Her next project, in addition to putting together that cookbook, is building a website to showcase her card artwork online.

“My mind is always thinking of things to do, and I don’t have enough hours in the day to do everything,” Hemphill says.

“Fortunately, I only need 6-7 hours of sleep, which helps some.

“My sister has told me more than once that I will still be creating and trying out new craft ideas and recipes up to just before I die.

“It keeps me young at heart!”

Wenaha GalleryLois Hemphill is the featured Art Event at Wenaha Gallery from March 23 through April 19, 2021.

Contact the gallery, located at 219 East Main Street, Dayton, WA, by phone at 509.382.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 5 p.m. from Monday through Friday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

 

 

 

Steph Bucci

Art by

Steph Bucci

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“I’ve always enjoyed ‘making stuff,’” says watercolor painter Steph Bucci of West Richland.

“Somewhere along the line in adulthood, I became curious about watercolor, and through the years I said to my husband, Bud, ‘When we retire, I want to learn watercolor.’ I don’t know why I relegated the idea to a retirement pastime, or what kept me from pursuing it earlier.”

A self-motivated student who learns best by reading and imitating, Bucci decided not to wait for retirement but to delve into the world of art NOW – acrylics, colored pencils, markers, watercolor, mixed media. She asked questions, found books, watched how-to videos, and painted painted painted. And as the years went by, she learned more and more and got better and better.

“I have painted a wide variety of subjects, often just to see if I can do it successfully.

“When I first started painting, I spent a lot of time on flowers; then I added animals. Essentially, I chose subjects that either challenged my skills (actually, everything challenged my skills!) or just seemed beautiful to me.”

Steph Bucci

Life Is Made for Living — Cat Paintings by Steph Bucci

cat life romance love kiss hug feline steph bucci art watercolor

Life is about relationships with one another. Cat Kisses, original watercolor painting by Steph Bucci.

Some people say life begins after high school. Others insist it really begins after retirement. But life, which goes on whether we choose to jump into it with joy or not, progresses forward when we move, learn, breathe, experience, get out, experiment, turn off the TV, take chances and just plain, well, live. When we wait, and wait, and wait, we don’t get to the things that we really want to do.

And that’s a waste of human creativity.

Artist Steph Bucci discovered this years ago when she found herself repeating the same sentence to her husband, Bud:

“When we retire . . . I want to learn watercolor.

cat dance life joy balance watercolor steph Bucci

Life is a dance that teaches us to balance. Cat Dance, original watercolor painting by West Richland, WA, artist Steph Bucci.

“I don’t know why I relegated the idea to a retirement pastime, or what kept me from pursuing it earlier.”

Why Wait? And Wait, and Wait?

But life, which was moving forward, invited her to join on the journey. With retirement far off in the horizon, she found herself with a home decor project to complete now.

“We felt some existing artwork no longer worked as well in its space.

“When costs for a replacement piece seemed high, Bud — always my great encourager and steady ally — said, ‘I think you can do it!'”

She did some research, bought paint, experimented on 4×6 practice canvases. She made mistakes, learned from those mistakes, and kept at it. Little realizing how different working on mini-canvases is from the 42 x 60 piece she was aiming to create, she refused to give up. Eventually, she finished the project, successfully.

“The painting still hangs in the living room, and my long-term desire to try watercolor was launched.”

A self-motivated student who learns best by reading and imitating, Bucci has worked in watercolor, batik watercolor, mixed media, colored pencils, markers, and acrylics. Describing herself as a minimalist, the West Richland, WA, artist paints out of a studio consisting of a small desk in her guest room, a couple shelves in the closet, and a petite, highly portable pochade box she made from two wooden cigar boxes, which hold her limited paint palette of eight colors, plus a tube of white gouache.

Small Space, Big Living

In this small space she works on big things, including illustrations for two children’s books about a rescued Golden Retriever named Gus. The first book in the series won three awards, including the Royal Dragonfly and Moonbeam, recognizing exemplary work in both editorial content and illustration.

Pinks cat mouse flowers friends feline watercolor art steph bucci

In many of her cat paintings, Steph Bucci incorporates a small mouse with and around the cat. Pinks, original watercolor painting by Steph Bucci.

Bucci approaches each project, each new technique, with an energy that carries her through, up, and over the learning curve. For a year, she focused on stylized cat paintings, experimenting with subject matter and composition, and incorporating, in many of the images, a small mouse.

“My dad’s pet nickname for me as a child (I’m petite) was ‘Mouse,’ or ‘Miss Mouse.” Early on in my painting experience I decided to include a mouse in my cat images as a pointer to that dear memory.

“The Mouse doesn’t make an appearance in 100% of the paintings, and her shape and style vary, but she’s getting more consistent. She embeds a touch of ‘Father’s Love’ in my images in a way I experienced it as a child.”

cat mouse life abstract friends together collage steph bucci watercolor feline art

Cat and mouse in the game of life — Cat Mouse Abstract, original watercolor painting by Steph Bucci.

Indeed, in all her work, the image of a Father’s love is always in the background. It is what inspires her to create, with everything she creates, beautiful things that are to be used and enjoyed.

A Father’s Love, and Creativity

“I believe appreciation of beauty and creativity is placed in all human beings by our Creator . . . and that it pleases Him when we use the abilities He’s given to express His creation in a meaningful way.

“I also think it pleases Him, as it does me, when I try to develop skills of expression. He enjoys my practice and my outcomes, and He’s really the source of all the creativity and skill.”

And no doubt He is also pleased that Bucci has chosen to live her life, as opposed to just waiting things out, as she discovers more about the world she lives in when she continues to explore it.

“Painting has brought me into contact with a wonderful new world of friends, people who have enriched my life, amazed me with their giftings, and encouraged me to branch out,” she reflects.

“I am so glad my husband encouraged me to take the plunge into the art world.”

Wenaha GallerySteph Bucci is the featured Art Event at Wenaha Gallery from March 9 through April 5, 2021.

Contact the gallery, located at 219 East Main Street, Dayton, WA, by phone at 509.382.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 5 p.m. from Monday through Friday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.