Rock and Stone — The Sculpture of Sandra Matthews-Sarve

perfect pair birds stone carving sandra sarve

A Perfect Pair, stone carving by Sandra Matthews-Sarve of Walla Walla.

We see them every day.

Most of the time we walk by them, ignore them, overlook their existence. There are so many of them; they are so common, so ordinary, so completely lacking in what we consider value, that we accord them little attention or respect.

They’re rocks.

carved rock by road mother child sarve carving

Rock by the Road, mother and child, by Sandra Matthews-Sarve.

“We live on a rock. This planet is a rock,” says Sandra Matthews-Sarve, a stone carver from Walla Walla. “But most people take rocks for granted. They ignore rocks.”

Not so Matthews-Sarve. Finding new life for unexpected or undervalued items has always been an interest for the artist, who has made wall decorations out of old frying pans and kitchen decor from discarded blocks of wood.  She turned her attention to rocks four years ago when she became curious about engraved stones. She made a few, found she liked working with stone, and eventually transitioned from engraving to sculpting.

The Value of Rock

“Years ago, part of the reason I gravitated initially toward discarded items was because they were cheap materials,” Matthews-Sarve explains.

“It was a time when I was single and very poor, but loved to make things.

“But I also realized my attraction to discarded items was making something considered useless into something useful — and maybe even beautiful again.

“I enjoyed looking beyond the expected uses of objects and finding their other uses. Rocks are just another item most people consider useless and ignore or toss aside.”

petal soapstone carved rock pot sarve

Petal Soapstone Pot by Sandra Matthews-Sarve of Walla Walla.

In the world of rocks, there are rocks, and there are rocks. Because humans like to classify, rocks, like other items, find themselves being described as valuable and worthless, essential and unnecessary. Matthews-Sarve sees worth beyond the labels, and works with rocks across the spectrum.

Of course many of us, when we hear of stone carving, immediately think of marble, alabaster, soapstone — the cream of the rock world. They are, indeed, a delight with which to work, Matthews-Sarve affirms. She likes their hidden unpredictability. Cracks and fissures, small pieces of gravel and other material hidden in the stone come into play as she is carving, chiseling or angle grinding.

And while she may enter into a project with a particular result in mind, the stone itself joins in the decision process with its natural shape and buried blemishes.

“One must always be ready to change direction and sculpting plans when working with stone,” Matthews-Sarve says.

She Does Not Limit Herself

Normal carving stones like marble, alabaster, and soapstone, however, can be hard to find, she adds, so as an artist, she does not limit herself.

“It isn’t laying around on the ground. It has to be mined. So it can get expensive to buy it.

“But your average everyday rock is just waiting by the side of the road, or in a river, on a hillside, most anywhere.”

dancer carved stone garden ornament sarve

Dancer, carved stone garden ornament by Sandra Matthews-Sarve

Like its more valuable cousins, ordinary rock also contains hidden unpredictabilities, cracks and fissures, surprises that the sculptor discovers through trial, error, practice, and work. Matthews-Sarve and her husband, Kevin, enjoy exploring the regional roads of the nearby hills, discovering  and picking up rocks along the way. Generally, she creates garden ornaments from these finds.

“Most of the ordinary rocks are basalt — we have a lot of that around here. But some of them seem a little softer and muddier than basalt, and I’m not sure what they are. So I just call them Blue Mountain Roadside Rocks.”

Matthews-Sarve’s studio is outside, alternating between her garage and driveway. Angle grinding, chisel and hammering are driveway projects. Work done with a dremel, file, riffler, and rasp locates itself in the garage or under a canopy. In bad weather, she brings small pieces, like refrigerator magnets, into the kitchen. Projects range from large garden sculptures to tiny little plant pots, and each spends time in her hands and under her eye. The challenge, and reward, lie in finding and shaping beauty, teasing it from the raw, often stubbornly difficult, materials, whether those materials are deemed “valuable” or not.

Intrinsic Value

It’s not a difficult metaphorical jump from rocks to other things, and from other things to people. Matthews-Sarve is especially conscious of this, having worked with and around a disability much of her life. She knows from experience that value judgments are just that, and true understanding takes a willingness to look beyond the surface to the depth beneath. And that’s why she’s willing to look.

“I enjoy making art out of beautiful stone, but I also enjoy making art out of common roadside rocks.

“Most things can be useful or beautiful.

“Sometimes we just need to look beyond the expected uses, and beyond the normal ideas of beauty.”

Wenaha GallerySandra Matthews-Sarve is the featured Art Event at Wenaha Gallery from January 26 through February 22, 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.

 

jigsaw puzzle pieces leisure fun

Jigsaw Puzzles and Life — Putting Together the Pieces

jigsaw puzzle pieces leisure fun

Somehow, all the disparate pieces of a jigsaw puzzle fit together to create a whole image — kind of like life.

How you approach putting together a jigsaw puzzle says a lot about you.

Of course, how we approach any project says a lot about us, but for now, we’re talking about dumping a box of disparate pieces onto the table, organizing them into some semblance of order, and reassembling them so that they look like the picture on the box.

jigsaw puzzles animals landscapes quilts

Animals, places, quilts and faces. The image of jigsaw puzzle we choose to put together depends upon our likes and preferences.

Some people, when it comes to the “organizing them into some semblance of order” part, get very precise. They seek out the edge pieces, hone in on the corners, and create piles of the rest according to color and form. Others dive right in and match piece with piece. If shapes are still stuck together from the manufacturing process, some people insist that they be separated and mixed back into the box. It’s only fair, they reason.

Others say, “If we’ve got 1000 pieces to put together, why not take advantage of any advantage we’ve got?”

No Rules

I know one man who, when he assembles a puzzle, refuses to look at the box, other than a first glance to see what the eventual goal is. His girlfriend prefers to refer to the image. Neither approach is “right” or “wrong,” just different, a celebration of individuality that encourages us to

  1. Be polite about other people’s way of doing things,
  2. Remain open to trying things a different way,
  3. Recognize that there is more than one way to achieve a goal, and
  4. Accept that rules are not unalterably sacrosanct.

Imagine that — life lessons from a jigsaw puzzle.

But there’s more — one of the most intriguing things I’ve found about jigsaw puzzles is that, though they seem to be nothing more than a jumbled series of random shapes that have little to do with one another, those pieces all fit together, eventually, to make that picture on the box. When we start, it’s easy to despair that we will ever finish, especially when the image has little contrast or distinctive shapes and colors. (There’s another preference: some people gravitate toward homogeneous images, like a pile of Snickerdoodle cookies or a night sky. Others recoil from such visual uniformity.)

Lessons of Life from a Jigsaw Puzzle

300 piece jigsaw puzzles simple art

Only 300 pieces? Don’t underestimate the complexity of a puzzle with fewer pieces. The dog puzzle on the right is delightfully challenging.

But we start, and the more we work on the puzzle, the more familiar we become with the parts. Eventually, something clicks in our brain, saying, “That vibrant blue — it’s connected with that odd vase in the corner somehow.”

And oh, what a feeling of satisfaction when the pieces neatly slide together! In the bigger sphere of life, this happens when a seemingly random fact fits into other information we hold, with a resulting Aha moment: “THAT’S what the writer meant!” But we generally don’t experience this unless we’re reading and re-reading, analyzing and questioning, playing with the facts and the pieces.

childrens jigsaw puzzles big pieces

Little children can be surprisingly good at putting together puzzles, even if — maybe especially when — they don’t follow the rules we adults feel compelled to impose.

Another intriguing element: jigsaw puzzles are companionable projects, providing we remember Points 1-4 above. It’s remarkably comforting to know that, while we’re putting together the trio of horses in the bottom right, another person is tackling the cloudy sky above. We realize, if only for this pleasurable moment, that it’s not all up to us, with nothing getting done unless we’re doing it. While we’re washing the dishes, someone else is sweeping the floor. It is a form of teamwork that is natural and normal, resulting in a finished project about which we feel good.

Quiet Concentration

Not to be discounted is the element of concentration jigsaw puzzles demand of our minds. Unlike watching TV, putting together a puzzle is not a passive endeavor, requiring nothing more than staring at a screen. Each piece has its place, and it won’t find it without a human hand putting it there. And while it may seem trivial to focus so much attention on interlocking all the red and white pieces into a panoply of roses, there’s nothing trivial about letting our minds ruminate in a gentle, quiet, and peaceful state.

The moment comes for the last piece. And then . . . what? Do we immediately dismantle the project and tumble it back in the box? Do we take a picture of it and send it to friends? Or how about carefully transporting it downtown to get it framed, an unusual piece of art in which we have had some part to play? Again, it depends upon the individual, and the circumstances.

That’s the beauty of jigsaw puzzles. In order to fully enjoy them, you really can’t confine them to a box. They’re like people that way.

Wenaha GalleryThe Art of Jigsaw Puzzles is the featured Art Event at Wenaha Gallery from January 12 through February 9, 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.

 

maple burl clock wood pendulum time leonard mcreary

Time to Create: Clocks by Leonard McCreary

maple burl clock wood pendulum time leonard mcreary

Maple Burl Clock with Pendulum, an elegant way to keep time, by Leonard McCreary

Time.

With the advent of a New Year, it is always a . . . timely subject. Like the air we breathe, time is not something that can be conglomerated, hoarded, or created out of nothing. No matter who we are, or who we think we are, we are given a limited supply.

And then there are trees. When it comes to time, they tend to enjoy a greater chunk of it than humans do. Sequoia, yew, Bristlecone pine — these have lived in the low to mid thousands of years. But even trees reach the end of their time, and when they do, Leonard McCreary has a means of keeping them going:

He makes clocks out of them.

clocks wood maple walnut time leonard mccreary

An array of clocks in maple and walnut, by Leonard McCreary

The Salem, OR, artist has been working around wood for most of his 88 years, having worked as a logger and road builder with artistry on the side. He started making clocks 40 years ago.

Clocking Time in the Workshop

“The father of a ‘kid’ I worked with in the woods gave me a 4′ x 7′ piece of redwood burl. I made a table out of it. After that, I discovered making clocks.

“Most of the wood I use is either cedar, maple, or black walnut, and I cut most of it myself when I was clearing land.”

The wood itself is integral to determining the shape of the finished clock. A cross section cut from the felled tree, each clock reflects the unique shaping that time and weather, environment and circumstances played upon the stem and main wooden axis of the tree. One looks like a bursting star in walnut; another, burled maple, features a swinging pendulum in the midst of a hole in the wood. Still another looked so much like the state of Washington that it wound up being so.

maple burl wooden clock time leonard mccreary

Shaped like a heart, a maple burl clock shows a richness of texture and color, reflecting the life of the tree. By Leonard McCreary

Working out of a shop at his home, McCreary says that the sanding process is time intensive, and when he has brought the shaped piece to a state of perfection, he coats the wood with resin to add a shine.

Each Tree Is Unique

In addition to clocks, McCreary continues to make tables, and later added birdhouses to his repertoire. For years, he sold his work at the Saturday market in Salem, as well as a clock store in Sisters, OR. He wouldn’t describe his clock-making as a labor of love, because it’s not so much work as creative joy. Each piece is as unique as the tree from which it comes, and what it eventually results into being is the result of a “conversation” between McCreary and the wood. Trees, like people, are most interesting when they are most individual.

It is time well spent, McCreary feels. Now retired from logging and road building, he enjoys focused time on creating clocks, and appreciates that there is no hurry about the process. Time is something well worth savoring, appreciating, and using for good purposes.

How we spend it, makes a difference.

Wenaha GalleryLeonard McCreary is the featured Art Event at Wenaha Gallery from December 29, 2020, through January 25, 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.

 

Frankie Laufer

Art by

Frankie Laufer

“I am very drawn to the landscape between Walla Walla and Dayton as my family has history in this area,” Laufer says.

“I think nature more fully supports us in our birthplace.”

Now living in College Place, Laufer has renovated two rooms in his home into studio spaces: one room for painting and one for storage.

“In my past studios, I often had very little space, so it’s nice to be able to spread out and have room for paints and easels.”

Describing himself as a “late bloomer,” Laufer didn’t begin his art journey until he was 40, when he felt internally that he wanted to paint. He went to a paint store, opened a tube of paint, smelled it, and put some on his finger. At that moment, he said, he knew this was something he wanted to do. For 30 years, he painted at the 110-year-old house of his mentor, artist Benjamin Blake, who made his studio available for Laufer’s use.

Through daily talking, creating, questioning, and interacting, Laufer learned and progressed, developing a style of bold color and brush work.

Frankie Laufer

Collista Krebs

Art by

Collista Krebs

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If something is important to us — really REALLY important — we somehow find time for it. Given that we are human and not omniscient, omnipresent, and omnipotent, this commitment means that something else has to go by the wayside, but the exchange, we feel, is worth it.

For Collista Krebs, the choice came during nursing school, when one of her classmates announced that she was leaving the program. The colleague had just taken a ceramics class and decided to pursue pottery instead of nursing.

“Right then and there I made up my mind: ‘I am going to do that too, only I am going to become a nurse first,’ and so I did,” the Colbert, WA, pottery artist says.

“After getting a BSN, I enrolled in a community clay class, and depending on my job, children, injuries and travels, I have always carved out time for clay.”

That time has not always been a wild foray into creativity, along the lines of what we would see glorified in a movie. In real life, Krebs has worked as a ghost potter and “clay slave,” both experiences important to honing her skill through hard work and repetition.

Collista Krebs

Painting, Thinking, Meditating — Frankie Laufer Abstracts

Riptide, original oil painting by College Place, WA, artist, Frankie Laufer.

When we are not vigilant, we find ourselves hobbled by pronouncements that seem to mean something, but in reality, don’t.

Take, for example, the widely accepted assertion that if we don’t start an activity — playing the piano or speaking a second language, say — by the age of five, or seven, or three, then we won’t succeed. Too many people give up before they start because they’re convinced they missed their chance.

silent way abstract painting oil art frankie laufer

In a Silent Way, original abstract oil by Frankie Laufer

Fortunately, many others choose to believe in themselves as opposed to “expert” asseveration, and, as a result, find themselves happily doing things they were assured they could not do. Frankie Laufer is one of these people.

A self-described late-bloomer, the College Place, WA, artist began painting at the age of 40, and 30 years later, he’s still intensely at it. With hundreds of finished works behind him, he looks forward to a future of hundreds more to go.

One Day He Decided to Paint

It all began on a day, he said, when “I just felt internally that I wanted to paint, so I went to the art store and opened up a tube of paint. I smelled it, and put some on my finger, and at that moment I guess I knew . . . ”

Born and raised in Walla Walla, Laufer moved to California in the late 70s, and while there, met and learned under Benjamin Blake, a painter in his own right. On a regular basis for 30 years, Laufer painted at Blake’s studio in a 110-year-old house, a situation he described as perfect for talking about his work as well as creating it.

lost highway colorful abstract painting oil frankie laufer

Lost Highway, original oil abstract by Frankie Laufer of College Place, WA

“Ben never talked about right or wrong. He only addressed the painting in terms of what was working and what wasn’t.

“This is how the painter hones their skills: painting, absorbing, and listening.”

These elements — painting, talking, meditating, listening, thinking — form the basis of Laufer’s training, and they have served, and continue to serve him, well, he says.

“I didn’t have any formal training at all, and really developed my style through painting,” he explains.

“Art school can help teach formal technique but cannot teach passions or creative process. That is an internal process, not external.”

A Place for Creation and Creativity

Laufer moved back to the area last year, saying that he feels “nature more fully supports us in our birthplace.” When looking for a house, he kept an eye out for one that had two dedicated rooms: one for the actual painting process, and a second for storing the work.

“In my past studios, I often had very little space. It’s nice to be able to spread out and have room for paints and easels.” Nice, but not necessary he adds, recalling the time he painted in a garage.

Untitled abstract original oil painting Frankie Laufer

Untitled, original abstract oil by Frankie Laufer

“Space is nice, but one should be able to paint anywhere.”

As much as he enjoys painting, and spends a significant amount of time behind the easel, Laufer describes his favorite moment of each day as that which he devotes to meditation. The time spent in intense thought spills over to when he paints. Thinking, he says, inspires creativity.

“When I settle down to quieter fields of activity, this allows the mind to experience the Self — which gives rise to more creativity, silence, and energy.”

Success Requires Time

He does not try to make a statement with his work, he adds, nor does he make conscious external decisions about what will be his next work. While he may have a vague idea or intent, he finds that when he starts the process, the paint usually dictates the direction. And that, he points out, is what matters: the actual process of creativity:

“Success in painting is having the time to paint.

“If you have time to produce your work, you already have it made.

“Don’t spend much time worrying about making it, selling work, being famous, or any of that.

“Spend time painting, only focusing on that: what follows is not important.

“A painter paints. That is their role.”

Wenaha GalleryFrankie Laufer is the featured Art Event at Wenaha Gallery from December 12, 2020, through January 11, 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.

 

 

 

 

kneeling woman green ceramic pottery figurative statue collista krebs

What’s Important? Then Do It — Pottery by Collista Krebs

cowboy bull important pottery ceramics western collista krebs

The texture, the feeling, the form of the pottery work is as important as its visual presence. Cowboy and Bull, original pottery sculpture by Collista Krebs.

If something is important to us — really REALLY important — we somehow find time for it. Given that we are human and not omniscient, omnipresent, and omnipotent, this commitment means that something else has to go by the wayside, but the exchange, we feel, is worth it.

For Collista Krebs, the choice came during nursing school, when one of her classmates announced that she was leaving the program. The colleague had just taken a ceramics class and decided to pursue pottery instead of nursing.

kneeling woman green ceramic pottery figurative statue collista krebs

In a state of gentle repose, a seated woman is graceful and relaxed. Original pottery sculpture by Collista Krebs.

“Right then and there I made up my mind: ‘I am going to do that too, only I am going to become a nurse first,’ and so I did,” the Colbert, WA, pottery artist says.

“After getting a BSN, I enrolled in a community clay class, and depending on my job, children, injuries and travels, I have always carved out time for clay.”

Time and Practice Are Important

That time has not always been a wild foray into creativity, along the lines of what we would see glorified in a movie. In real life, Krebs has worked as a ghost potter and “clay slave,” both experiences important to honing her skill through hard work and repetition.

“A ghost potter is someone who throws someone else’s shapes and signs the work as coming from that gallery,” Krebs explains.

A clay slave, she adds, loads and fires kilns, makes glazes, and does “other unglamorous jobs that only a true clay junky would find exciting.”

cows daisies flowers important time collista krebs pottery ceramics

An important part to the day is sitting and thinking, as do these ceramic cows with daisies, by Colbert potter Collista Krebs

Years of this work developed her skill with both handling clay and designing, and she now runs her own business, Jupiter’s Clayworks. She specializes in high-fire stoneware that is reduction fired, a technique that her husband dubs high stakes gambling for potters.

“I will take three months’ worth of work and put it into the kiln and cross my fingers. I’m hoping that the bottom of the kiln reaches the correct temperature before the top of the kiln overfires and destroys the glaze.”

When you fire clay up to temperatures of 2,400 Fahrenheit, she adds, things stick to the shelves or get bumps or pockmarks — “all sorts of things.

“I have come to love these blemishes. They are texture, stories, experience gained by fire.”

Unique and Individual Are Important

Each piece is unique, as is the creator. And this is important, as it should be, Krebs believes, because art, like its creator, reflects the individual — his or her outlook on life, experiences, likes and dislikes, interpretation of the world surrounding. To elucidate, Krebs described an experience that “rocked her world,” one that now permeates her work as a potter:

ceramic pottery bats wall hanging collista krebs artist

A series of ceramic bats by Colbert artist Collista Krebs hangs on the wall

While at Boston University Hospital, Krebs interviewed a young, suicidal blind woman and asked her to describe something that she was proud of. The woman responded that she was proud of her ability to dress well, going into great detail about her fashion talent.

“I was thankful that she could not see my face, because my first thought was, ‘Man, someone is really messing with this woman because she looks terrible!’

“But with further exploration, she revealed how she had been totally blind since birth, and how she dressed for sound and texture. How she ‘looked’ to people with vision had absolutely no influence on her decisions.”

Different textures rubbing together made distinctive sounds — bells on her purse and crumpled up chip bags sewn into her pockets warned of pick pockets.

“Ever since that encounter, I have asked myself, Would a blind person like my work? Does it feel good and balanced? Is there texture? Could one conjure up a tale after holding it in their hand?

“Personally, I think that even sighted people should ask themselves these questions.”

New and Innovative Are Important

She is always trying new things, Krebs says — both in how she thinks, and what she does. Success is determined by an assortment of factors, most of which, ironically, can’t be seen.

“If my work feels good and rings true when flicked with my finger, I consider it a success.”

That’s important. Important enough to take time to do.

Wenaha GalleryCollista Krebs is the featured Art Event at Wenaha Gallery from December 1 through December 31, 2020.

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.

 

 

Lori Pittenger

Art by

Lori Pittenger

“I love pouring myself into something to express myself and ‘feel,’ always listening to music and painting for hours at a time,” Pittenger says. “I lose myself in it.”

Inspired by landscapes, by concentratedly looking and seeing the colors and light in nature, Pittenger works two to three days straight to take a painting from first brush stroke to last. The process of being present in the painting process, she explains, begins with the first few strokes of paint on the canvas.

“After I have loaded my palette, I take a deep breath and know that I am beginning a journey in which I will lose all sense of time and what is going on around me.

“I have committed in my mind to devote an uninterrupted time to focus on what I am creating, really seeing the scene evolving as if I am in the scene: mixing the paint, feeling the brush in my hand, the sound it makes as it strokes the canvas, even the smell of the paint.”

Lori PIttenger

doll clothes sewing fabric christmas kathy snow

Fabric Stash — The Sewing Genius of Kathy Snow

doll clothes sewing fabric christmas kathy snow

Little clothes take big skill to make. Doll outfits by Kathy Snow of Dayton, WA

We’ve all probably met one, often without knowing. Chances are, you may be one yourself, even if it’s hard to admit. But your studio gives you away.

Fabricophiles.

People who sew, quilt, craft, and work with fabric often find that their love of textiles runs delightfully amok. Their “stash,” the supply of fabric for future projects, is as fascinating as the projects themselves, because it’s filled with so much possibility.

quilting holiday table runners fabric

Quilted holiday table runners featuring Thanksgiving and Christmas fabric, by Kathy Snow

For Kathy Snow, a sewing artist extraordinaire who, 57 years ago, regularly spent her $5 allowance on enough material to make a blouse or summer dress, fabric is fabulous. The possibilities to be created from her stash, while not endless, are pretty expansive.

The Fabricophile Stash

“I started collecting fabric boards from Joann’s so I could wrap my fabric on them,” the Dayton, WA, sewist says, describing how she and her husband recently re-did the shelves in her sewing room to hold her collection of cloth.

“I have 168 bolts of fabric. Most of them have at least four yards and some have eight yards.

“Plus I have several containers full of fabric for the holidays.

“Then let’s talk about several flats of fabric that are anywhere from one to two yards each.

“Oh, and I have a chest of drawers full of fancy fabrics for costumes or doll clothes.

“And I also have 16 large totes full of various fabrics.”

She has . . . a lot of fabric.

potholders kitchen gifts sewing fabric quilted kathy snow

Mug Rugs and Microwave Cozies are a fun way to use the small pieces from the fabric stash.

Snow, who sews just about every day, creates everything from doll clothes to full-sized quilts, from children’s dresses to mug rugs and microwave cozies, from child-sized aprons to adult kitchen fashion. While she’s game to take on just about any project and simply enjoys her time in the sewing room, Snow confesses an especial liking for Christmas, both the fabric associated with it and the holiday itself.

Christmas Colors

“I love all the pretty red and gold and green, and, well, just about everything about Christmas.

“One thing that makes the holiday so special is getting together with family, and this year I’m hoping for real snow this year for Christmas. The first year we moved here (from California) we had lots of snow, which was a bit of a surprise.” As an added bonus to the holidays, Snow also creates decor for the outside of her house, something she started doing upon moving to the area.

fabric towel kitchen aprons sewing kathy snow

Snow loves making fabric towel aprons, because each one is distinctly different, from the fabric to the trimmings to the towel itself.

“I like creating different decorations for the various holidays, and it makes me happy to display them. And I think it makes others happy to see them.”

Having sewn for so long, Snow has seen trends come and go, more-so with clothing patterns than with the fabric itself. But because of that stash, with some fabric dating back to when her adult granddaughter was a baby, Snow enjoys access to a broad selection of styles and designs. Sometimes, the fabric dictates the project; other times, the project cries out for a particular fabric. Either way, Snow has the means to meet the need.

Visiting Fabric Stores

And of course, because she is a true and genuine fabricophile, Snow is always on the lookout for something new, something different, something unusual, something distinctive from what she already has. She regularly visits fabric stores, both small and big, and speaks with pleasure of her visit to Hamilton, MO, home of the Missouri Star Quilt Company.

“They own the main street. There are nine different shops and a work area for retreats. It was overwhelming to visit each shop.”

Overwhelming, but memorable. As is each and every treasure from her stash, just waiting to be formed and fashioned into a work of creativity, something to bring pleasure to another. The only limitations, really, are time.

“I sure hope I can sew up all this fabric, so my daughter won’t have to deal with it. I need another 20 years, I think!”

And that’s if she doesn’t add any more to the stash . . .

Wenaha GalleryKathy Snow is the featured Art Event at Wenaha Gallery from November 17 through December 20, 2020.

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.

 

Time to Paint, Timelessly — Impressionism by Lori Pittenger

flowers floral bush fruition season time pittenger impressionism painting landscape

Fruit, flowers, and paintings bloom at their right time. Fruition, original oil painting by Lori Pittenger of Ellensburg, WA

 

Do you remember when you last thoroughly, completely, and absolutely lost track of time?

When was it that you were so absorbed in the task at hand, so utterly involved in what you were doing, so deeply immersed in the moment, that you looked up and were surprised to find that hours flew by in what you thought were minutes?

flowers floral landscape lilace purple season time pittenger impressionism

Every Good and Perfect Gift, original oil painting by Lori Pittenger

For Lori Pittenger, that would be . . . yesterday. Or even this afternoon. The Ellensburg, WA, painter is so untrammeled by time that when she sits at her easel, paintbrush or palette knife in hand, she enters a state of such intensity that she is physically tired, and yet energized, when she is done.

“I love pouring myself into something to express myself and ‘feel,’ always listening to music and painting for hours at a time,” Pittenger says. “I lose myself in it.”

Taking Time to See

Inspired by landscapes, by concentratedly looking and seeing the colors and light in nature, Pittenger works two to three days straight to take a painting from first brush stroke to last. The process of being present in the painting process, she explains, begins with the first few strokes of paint on the canvas.

“After I have loaded my palette, I take a deep breath and know that I am beginning a journey in which I will lose all sense of time and what is going on around me.

“I have committed in my mind to devote an uninterrupted time to focus on what I am creating, really seeing the scene evolving as if I am in the scene: mixing the paint, feeling the brush in my hand, the sound it makes as it strokes the canvas, even the smell of the paint.”

golden beets vegetables produce pittenger impressionism painting

Golden Beets, impressionism original oil painting by Lori Pittenger

The View Stays the Same, and Changes, with Time

She works in a spacious room in her family’s ranch house where large windows overlook the pastures of Kittitas Valley and its surrounding mountains. There is a sense of peace and well being, integrated with an inherent excitement derived from a view that stays the same, yet changes with weather and seasons. She looks up to look out. When she tires at the easel, she steps away from the painting and returns with fresh eyes. Throughout the process, she photographs the work in progress, especially as it nears completion.

“I view the photo, and it almost always every time reveals something that I hadn’t seen before.

“Sometimes it’s a little something to blend out or fix, but often it’s something surprising or magical that happened unintentionally — like a little glow glimmer or shape that makes me smile with wonder.

“Being fully present while painting opens not only my eyes, but also my mind, to really seeing.”

sunrise landscape water morning dawn time peaceful impressionsim pittenger

Lavish Sunrise, original oil painting landscape with water by Lori Pittenger of Ellensburg, WA.

When Pittenger isn’t intently reviewing her own work, she curates the paintings of others. An artist member of Fine Art America, the world’s largest online art marketplace, Pittenger manages the Impressionism group, which receives hundreds of submissions every week submitted by its more than 500 members. It is her job to winnow those numbers down while giving all members an opportunity to be featured, and arrange the varied artwork into a pleasing gallery wall for visitors and potential buyers to peruse. She also advises members on everything from how to crop images to watching out for copyright infringement. In her “spare” time, she hosts contests on the site.

A Time of Concentration

It makes for a long, concentrated day. But every hour of it, every minute, packs intensity and movement, as does the art that Pittenger creates.

“My paintings always have a deeper meaning that flows out as I am composing and painting,” she says.

“The title and thoughts about life that I get from each artwork fall into place as I finish each piece, and I love writing about them.”

Her day begins and ends with art, she observes. It makes for an excellent sunrise, and sunset.

“Art touches the soul, creates a mood and expresses often what words cannot.”

Wenaha GalleryLori Pittenger is the featured Art Event at Wenaha Gallery from November 3 through December 31, 2020.

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 6 p.m. from Monday through Friday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.