sculpture woman seated skirt pink shelia coe

The Dentist Artist — Sculpture by Shelia Coe

sculpture woman seated skirt pink shelia coe

Sculpted woman with fabric skirt by former dentist, now artist, Shelia Coe

Childhood Christmas gifts create lasting memories. Often, they even shape our future. And so it was for ceramic artist Shelia Coe . . . sort of. It just took a little longer than her mother, whose biggest desire was that her daughter grow up to be an artist, envisioned.

“My mother was a frustrated artist,” Coe remembers. “With six children, she didn’t have much time to pursue art, but she tried to channel me into becoming an artist. To that end, she bought me art supplies for every holiday, and dragged me along on her trips to paint barns and still lifes.”

cow sculpture by dentist artist shelia coe walla walla

Cow sculpture by dentist artist Shelia Coe of Walla Walla

Like so many things we plan for and try to direct, however, the future turned out differently, and instead of using her hands to wield a paintbrush or palette knife, Coe picked up the tools of dentistry, practicing the profession for more than 34 years.

“My mother was disappointed when I was accepted into dental school,” Coe says. “She said something like, ‘If you have to do something in the health field, couldn’t you at least be a medical illustrator?’

“I’ve gotta laugh at how it’s all turned out, and if she’s looking down, she’s probably happy to be getting her wish for me.”

Looking for a Creative Outlet

The latter part of those 34 years in dentistry, Coe spent in Walla Walla at a private practice, finishing out the final six of her career at Yellowhawk Clinic in Pendleton for the Confederated Tribes of the Umatilla. Upon retirement, she found her hands and mind seeking a creative outlet, and when the women in her spinning class at the YMCA suggested taking a sculpture class by Walla Walla artist Penny Michel, Coe decided to give it a try.

fish sculpture shelia coe dentist artist walla walla

Fish sculpture by Shelia Coe of Walla Walla. Coe worked as a dentist for 34 years before turning fulltime to art

“After the first class, I was hooked.

“For a week I could hardly sleep, thinking of all the things I wanted to try to make.”

Fortunately, her sleep patterns have returned to normal, with the added bonus of Coe continuing to explore a variety of subject matter, from people to animals to design work. The possibilities are endless, because Nature herself never runs out of providing ideas.

“I love nature, and as a child was always drawing horses and animals of all kinds along with plants — for awhile I wanted to be a botanist.

“So all kinds of things in nature inspire me, and oftentimes it can be a drawing or a photo, or the animal itself.

“I have made llamas, deer, horses, cows, fish, and sheep on a hill. I recently finished a horse that is 20 inches tall and 15 inches wide — the largest piece I have ever made.”

An Unusual Studio

Coe’s studio is split between Michel’s studio for classes and firing, and Coe’s home utility room and kitchen. And while the kitchen and laundry rooms are not generally associated with the wild, exuberant, abounding world of nature, they are good places to capture it. Kitchen implements, basic tools, and simple elements of nature — like pine cones, for texturizing — create mesmerizing effects when wielded in the right hands, and what hands are more accustomed to fine, precision work than that of a dentist?

horse sculpture shelia coe wenaha gallery

Horse sculpture by Shelia Coe, guest artist at Wenaha Gallery

“Sculpture, like dentistry, demands the use of the hands — but with loads more creative freedom (of course),” Coe observes.

Creative freedom or not, clay has its own rules, and part of learning to work with it is respecting its properties, taking the scientific approach to art, so to speak. Observation, theorization, deduction, experimentation, and the willingness to learn from failure all come into play, and Coe willingly gives time to each.

“My favorite part of creating sculpture is figuring out the structural and engineering aspect of each piece,” Coe explains. “It is not always easy to get the clay to do what you want it to.

“Glazing is also a challenge because they never look the same once they are fired. In fact, even the same glaze will look different depending upon its thickness and its position in the kiln. Glazes are very finicky.”

World Traveler

A member of ArtWalla, Coe takes advantage of classes, both in the area and out, to finesse and further her skills. An avid traveler, she also maintains a collection of her own, picking up pieces by local artists from areas such as Palau, Yap, Tibet and Tunisia as well as more mainstream destinations.

In the end, everything works together when it comes to art, life, and dreams. It may have taken awhile to get to the art part, but all the time Coe spent as a dentist shaped her hands to a fine and acute sensitivity, and sensibility.

Her mother would be pleased.

Wenaha Gallery

Shelia Coe is the Featured Pacific Northwest Artist at Wenaha Gallery from Monday, June 19 through Saturday, July 15, 2017. 

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

 

 

Beauteous watercolor flowers dream colors barbara janusz

Dream Job, Dream Home, Dream Life — The Paintings of Barbara Janusz

Beauteous watercolor flowers dream colors barbara janusz

Beauteous, original watercolor by Barbara Janusz capturing the dream scape of flowers

She bicycled from Portland, OR to Portland, ME.

Rode and camped in a horse-drawn wagon, traveling from farm to farm in Ireland.

Hiked the high Sierras.

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Abundance, original watercolor by Barbara Janusz, celebrating the dream scape of landscape

Traveled in and through Morocco, the United Kingdom, Greece, Italy, Spain, Poland, Mexico, Canada and the United States.

And stood in the midst of an opening art reception in her honor, in Paris, France, without knowing a word of the language.

Like Dorothy of the Wizard of Oz, Barbara Janusz has journeyed to magical places and experienced memorable adventures. And like Dorothy, the lifetime professional painter asserts that there’s no place like home.

“I have traveled extensively during my lifetime, but there’s no doubt my heart just soars with creativity when I’m home in the Pacific Northwest,” the watercolor artist says. “It’s alive and full of life.”

denali watercolor dream alaska barbara janusz landscape

Denali, original watercolor by Barbara Janusz, escaping to the dream real world of Alaska

Janusz’s Studio by the Lake in Hope, ID, overlooking Lake Pend Oreille, has a few advantages over Aunty Em’s farm in Kansas, and Janusz draws daily inspiration from a rock cliff sculpture, an onsite pond and waterfall, and forested, flower-bedecked grounds.

“I paint on the studio grounds feeling blessed each and every day,” Janusz says. “I can say I really do live the ‘Artist Dream.'”

Not only through her paintings — which emerge from a vision to communicate the poignant beauty of nature — does Janusz share that dream. Upon moving to Idaho from California in 1991, Janusz began teaching watercolor workshops on her two-acre parcel, setting up large tents next to the waterfall. She also hosts catered events for collectors — in her personal Garden of Eden or at the homes of collectors — showcasing her latest works.

“My new paintings are revealed at the exhibition, giving the collectors first choice to own one before they are exhibited to the public,” Janusz explains.

fly fishing clark fork watercolor dream painting Barbara Janusz

The Clark Fork, original watercolor, part of the fly fishing series by Barbara Janusz

Janusz has exhibited her work in solo and group exhibitions throughout the U.S., as well as at an invitational exhibit with four other artists at the Centre Internationale d’Art Contemporain in Paris where, thankfully, a personal interpreter stood at her side during the opening reception. Numerous awards include the Gold Medallion Award at the Rocky Mountain National Exhibition; the Ruth Elliot Award from Women Painters of the West; and Best of Show at the Westwood Center of the Arts, Westwood, CA. She has been affiliated with the Art Works Gallery of Sandpoint since 1995.

To Janusz, however, painting is much more than acquiring an impressive resume of exhibitions and collections hosting her work. Each painting is a visual orchestra, one incorporating chords of color and symphony of form, inviting the viewer to experience emotion and movement.

“A completed painting is a form of universal consciousness where all human experiences are somehow touched because of our own connections with nature,” Janusz says.

“When viewing the painting, there is a feeling of being a part of the cosmic order.”

The complexity of nature is mirrored in Janusz’s chosen medium, watercolor, which she describes as “rich in colors and enduring.

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Tundra Swan, original watercolor painting by Barbara Janusz, dream swan in the beginning of flight

“The challenge of watercolor is to create a painting by using layers of color, a wide range of values and contrast, while keeping in mind the white of the paper.

“The benefits of watercolor are its beautiful luminous effects.”

When creating a body of work, Janusz selects a theme and explores it thoroughly before moving on to another, nature-related subject. She has plumbed the depths of Waterfalls, Lily Ponds, Fly Fishing, and Flowers; her series on Water Paintings, entitled Water: The Spirit of Life, included imaginary locales as well as real ones, reflecting her philosophy of painting from memory, from reference photos, and from her imagination.

What is most important in capturing the full impact of nature, Janusz believes, is being fully present with an open heart and mind, open to all possibilities.

“One stroke leads to the next: the act of painting comes out of the now.

“This openness is not by effort, but by letting go.”

It is through this letting go, this recognition that one does not know or understand all there is to know and understand, that the artist — and the viewer — come to a greater awareness of truth.

“I believe we are on this planet to learn lessons.

“One of the lessons I am learning is, it is not what I do: it’s knowing I am.

“The painting is not me; it is the love that is expressing through the painting.”

Wenaha Gallery

Barbara Janusz is the Featured Pacific Northwest Artist at Wenaha Gallery from Monday, June 5 through Saturday, July 1, 2017. 

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

mountain river pass abstract scrapyard photograph LuAnn Ostergaard

Scrapyard Beauty — The Fine Art Photography of LuAnn Ostergaard

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Beauty from the scrapyard: Evening Shimmer III, fine at photography by LuAnn Ostergaard

Etiquette matters. And when you’re visiting a scrapyard, the rules of behavior are even stricter, because they have to be.

“Stay far away from the large pieces of heavy equipment being operated, employing big swinging arms with grasping tools or huge magnets that lift metal from place to place,” advises LuAnn Ostergaard, a fine art photographer who creates abstract art using digital images taken from . . . scrapyards.

mountain river pass abstract scrapyard photograph LuAnn Ostergaard

Mountain River Pass, photographic beauty from the scrapyard by LuAnn Ostergaard

“The equipment may back over you, so watch their movements,” she adds. One must also be aware of protruding points; razor sharp edges; slippery, oily areas; and huge piles of metal that may cascade down on visitors at any time.

While not a particularly friendly place, scrapyards are special locales unknown by many, the Kennewick artist explains. She first discovered them as a child, accompanying her father on his quest to glean car parts; she now visits with her son, Joseph Rastovich, a Kennewick public sculptor who buys metal there for his huge-scale projects, as well as watches out for his mom while she loses herself “in the moment and into the flow of capturing images.”

Ostergaard, who has identified herself as an artist since the first grade, comes from a long line of artists: her mother; her grandmother the singer and seamstress; her great-grandfather the concert pianist and sketcher. She married an artist, illustrator and animator Michael Rastovich, and with their son, Joseph, the three — dubbed the Talented Trio by friends — make their living creating in a home studio blurring any distinction between the two words.

“Our entire house is a studio, office, work space! We live, eat, and breathe our work.”

scrapyard photograph abstract landscape LuAnn Ostergaard

Evening Shadows, scrapyard photographic image by LuAnn Ostergaard

Upon first viewing Ostergaard’s art, many people regard her photographic images as paintings, and indeed, one of the most difficult aspects of her artwork is explaining what it actually is. They are photographs, with an attention to shape, texture, color and contrast, captured from the harsh places of the world and transformed into images enticing and enchanting.

“On the computer, I bring up the saturation and contrast, and that usually reveals gorgeous color combinations and textures that I would never think of creating on my own,” Ostergaard says.

“It’s magical, and I feel a bit of an alchemist as I transform an image of scrapyard castoffs to a thing of beauty that resonates with harmony and balance.”

Ostergaard sells her work to both private and corporate collectors, with pieces throughout the U.S. and in Sweden, Germany, UK, and Australia. One of her images is at 3 Lincoln Center, New York, NY, the building in which singer and actress Liza Minnelli lives. Others are at the Grand Hyatt Lodge, Denver, CO; Hilton Hotel, Charleston, SC; and Atlantis Hotel, Bahamas; and closer to home at the Trios Hospital in Kennewick. She sells her work at galleries, furniture stores, and jewelers throughout the Pacific Northwest.

abstract photograph landscape scrapyard art LuAnn Ostergaard

Beautiful Dream, abstract scrapyard-inspired photographic artwork by LuAnn Ostergaard

Clients exude enthusiasm, with one purchaser commenting,

“Your camera skills are so evident — that, combined with your painting gift, puts your work in a special field: painterly photographs transposed to imaginative paintings bordering on modernity from your unique application and expression.”

What she is looking for, Ostergaard says, is an essence of genuineness, revealing the most simple bit of beauty in something that, at first glance, may appear decrepit and ugly — junk, say, in a scrapyard. It is in these harsh and forgotten places that beauty resides, hidden within and around substances that are imperfect, impermanent, and incomplete, many in a state of deterioration or decomposition from entropy, the gradual decline into disorder that is a part of life on earth.

abstract photograph multnomah falls landscape LuAnn Ostergaard scrapyard

Multnomah Falls II, fine art photography from scrapyard images by LuAnn Ostergaard

Ostergaard describes this concept of entropy in conjunction with Wabi Sabi, the Japanese aesthetic philosophy that prizes the essential beauty of imperfect and impermanent things, and to which she ascribes inspiration.

“This is represented in my art by rough textures as well as marks that time and use leave behind,” Ostergaard says.

“Think of the story that can be told by the face of a very old person — the beauty of their perseverance and of the experiences they have gone through.

“This is what I want to relay through my photography: the beauty of time and experience.”

It is what keeps her going back to the dusty, noisy, aromatic, dangerous world of the scrapyard, a place with a sweet, oily smell emanating from the mixture of every imaginable chemical thrown together, including, she suspects, possible radiation from the loads of materials received from the Hanford Nuclear Reservation for more than 70 years. It is a harsh, acrid, inhospitable, gritty, forgotten place, but it is Ostergaard’s wild, wonderful, wilderness world, one to which she invites the viewer.

“I want the viewer to see the subtle beauty all around them, and that beauty can be found even in things that are far from beautiful at first glance.”

Wenaha Gallery

LuAnn Ostergaard is the Featured Pacific Northwest Artist at Wenaha Gallery from Monday, May 22 through Saturday, June 16, 2017. Ostergaard will be at the gallery Saturday, May 27 for a special two-person art show with Portland painter David Schatz, and both artists will be on hand to meet and greet visitors from 10:30 a.m. to 2 p.m. Free refreshments are provided.

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

 

Pink Roses out of office cubicle painting David Schatz Portland

Escaping the Office Cubicle — The Paintings of David Schatz

Pink Roses out of office cubicle painting David Schatz Portland

Out of the office cubicle with Pink Roses, Oil on Panel by Portland artist David Schatz, guest artist at Wenaha Gallery

Office cubicles are not known for being spacious, liberating, beautiful places.

Grey, carpeted, windowless, and with walls too low for privacy, the ubiquitous modern “office” is a venue that artist David Schatz left far behind on weekends and holidays, when he explored landscapes, floral gardens, and wildlife refuges in search of meaningful images to paint.

morning waldo lake original painting david schatz out of the office cubicle

Definitely outside of the office cubicle, Morning on Waldo Lake, original oil on canvas by David Schatz

“I try to capture the beauty of what I see outside and bring it inside,” the Portland, OR, artist explains.

“I have no agenda except for trying to find and express the beauty in this world.”

Schatz, who has been drawing and painting since high school when an aunt gave him a set of oil pastels, was told during university studies that he should find something else to do as he would never become a painter. In a characteristic combination of practicality with stubbornness, Schatz turned to circuit board design for the electronics industry as his day job, and pursued painting when he was, literally, free.

Fine Art & The Day Job

Ironically, the day job — which appears to have nothing to do with the finer nuances of fine art — benefited from Schatz’s artistic bent, requiring the sense of spatial relationship demanded by drawing and painting.

“My painting skills helped me to visualize how a circuit board would have to be arranged to fit the space available,” Schatz says.

“I got my first job in electronics because I could draw.”

One of the most challenging aspects of Schatz’s dual sets of skills — aside from the cubicle — had to do with Schatz’s coworkers because, outside of concerns to do with the job, there was nothing to talk about:

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Patience, original acrylic by David Schatz, capturing the world outside of the office cubicle

“I was surrounded by engineering geeks who had no idea of why anyone would want to paint when he could be playing computer games,” Schatz recalls.

“For my part, I had no idea why anyone would want to play computer games when he could paint.”

Schatz speaks of this situation in the past, having “escaped the cube,” as he puts it, through retirement, and is presently pursuing the full time career in art that he was earlier assured he could not have. Carrying a camera with him everywhere (“So does everyone,” he notes wryly, “with their cell phones”), Schatz captures reference photos nearby — taking advantage of Portland’s many public gardens to find floral images — as well as across the country in Florida, where he haunts wildlife refuges.

Easygoing Birds

“The birds in the refuges know that they are safe, and ignore the photographers,” Schatz says. “The camera that I use has a wonderful zoom lens, and the birds do seem to be posing for us.

“There are often 5-10 photographers lined up shooting the same bird.”

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The Stalker, original acrylic painting by David Schatz

But a reference photo is just that — a photo — until the artist shapes and forms it into a painting, incorporating light, shadow, atmospheric perspective, color, and that elusive sense of feeling and emotion resulting only after much careful attention from the artist’s hand and soul. The highly realistic nature of Schatz’s work commands that he work closely on a small area at a time, addressing with his brush a petal or rock until it’s precisely the way he wants it to be.

It is because of his method that Schatz prefers working with reference photos over painting in plein air.

“My passion is for nature and I will paint anything that I can photograph,” he says.

“But I am a slow painter, and anything that I choose to paint will be long gone before I get started painting!”

Schatz has sold his work throughout the Pacific Northwest, and his art has been spotlighted at watercolor society exhibits in both Texas and Louisiana. One of his works was featured on the front cover of the British edition of Best of Flower Painting, and his floral images have been published by Wild Wings, a licensing agency specializing in wildlife, Americana, and nostalgia images.

It’s all part of focusing on the natural world — flora and fauna — and bringing it, as Schatz determines, into the inside where it can be seen, appreciated, longed for, and loved. Fine art belongs everywhere including — and maybe especially — the office cubicle.

Wenaha Gallery

David Schatz is the Featured Pacific Northwest Artist at Wenaha Gallery from Monday, May 8 through Saturday, June 3, 2017. Schatz will be at the gallery Saturday, May 27 for a special two-person art show with Kennewick artist LuAnn Ostergaard, and both artists will be on hand to meet and greet visitors from 10:30 a.m. to 2 p.m. Free refreshments are provided.

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

 

Eclectic and Diverse — The Paintings of Todd Telander

russel creek fields walla walla oil painting todd telander

Russell Creek Fields, original oil painting by Todd Telander, guest artist at Wenaha Gallery

Flexible. Adaptable. Supple.

While these sound like requirements for a CrossFit athlete, they aptly describe the attitude of an artist, specifically, Todd Telander of Walla Walla.

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Red Vineyard by the River by Todd Telander

The painter and illustrator — who specializes in everything from commercial illustration to teaching art students from 10 to 80 years old — toggles back and forth between tasks with irrepressible fluidity, one moment brushing  oil-painted cows onto a loose, almost abstract background, the next finessing exquisite detail on a falcon for a birder’s field guide.

Telander, who completed a graduate-level program in scientific illustration at the University of California in Santa Cruz, has been combining two seemingly disparate disciplines — science and art — for the last 25 years. Working as a freelance artist on a national and international level, Telander has undertaken commissioned works for Greenpeace, the Maui Ocean Center of Hawaii, the Denver Zoo in Colorado, the University of Chicago Press, and the Golden Gate National Parks Association in California, among many, many others.

Travel research for commissions has taken Telander as far as New Zealand to study a Northern Gannet colony, as well as closer to home: the Puget Sound Islands to study Herring Gulls; the Rocky Mountains for elk; the Platte River of Nebraska for Sandhill Cranes. A longtime birder, Telander found that the research needed to accurately render images to the exacting standards of commercial clients translated well to other subject matter, and part of completing a commission may include fashioning 3-D clay sculptures of the subject to see how light will fall on an object from different angles.

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Pinot Gris by Todd Telander

It requires precision, attention to detail, and a scientific mind.

But other times, as Telander approaches his fine artwork of representational yet impressionistic landscapes, malleability and elasticity elbow their way to the forefront, resulting in paintings that are spacious, airy, soft, and textural, with sweeping brushstrokes and an eye for light, movement, and emotion.

“If my art makes a statement, it is up to the viewer to decide,” Telander says. “But for me I promote peace, contemplation, beauty, and solidity, and I suppose I like to share my vision of these things with others.”

Telander finds inspiration from the natural world, and since moving to the valley 13 years ago with his wife, Kirsten, Telander has explored an area that he says felt immediately like home, because it reminded him of his hometown of Chico in Northern California: he loves the open space, the agriculture, nearby mountains, and college town atmosphere.

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Behind the Tree by Todd Telander

“There is an astounding amount of visual interest here,” he says.

Locally, Telander has worked with various wineries in creating labels for their runs, and images of his paintings grace bottles from Goose Ridge, Woodward Canyon, Figgins, Dowsett Family, and Seven Hills. He has also, through commercial commissions as well as the unavoidable interaction with them in a rural setting, developed a fondness for cows. An especially arresting piece is Cows in the Snow, featuring a lone figure separated off from the herd, staring boldly into the face of the viewer.

Cows in the Snow Todd Telander oil painting walla walla landscape

Cows in the Snow by Todd Telander, original painting, sold

A typical day may find Telander out in, literally, the field, sketchbook in hand, then back to the home studio — “A wonderful space with skylights, a cement floor, an antique curved-glass bookcase, and French doors leading out to our garden” — where he guides that session’s 6 or 7 students through the intricacies of classical, representational painting of still life, landscape, and portraiture. Then it’s off to Colville Street in Walla Walla for some time at the Telander Gallery, which he and Kirsten opened in 2013.

Telander licenses his work through McGaw Graphics of New York, and his original work resides across the continent.

“I appreciate each and every collector,” he says. “One of my more meaningful sales was a painting of Sandhill Cranes to Estelle Leopold, the daughter of the famed writer and conservationist Aldo Leopold,” considered by many to be the father of wildlife ecology, and instrumental in the founding of the U.S. wilderness system.

Awards for Telander include first place and Best of Show at the Wallowa Valley Festival of Arts (Joseph, OR); and the Pendleton Center for the Arts; as well as a an Artist in Residency at Rocky Mountain National Park and a scholarship to study under master painter Ray Vinella at the Taos Institute of Arts.

But while awards and acclaims are gratifying, Telander muses, they are in the end only temporary.

It is the work that matters: inspiration, light, atmospheric effect, the reaction of viewers and clients. These have staying power.

“I work to continue providing provocative, inspiring work at every step.”

Wenaha Gallery

Todd Telander is the Featured Pacific Northwest Artist at Wenaha Gallery from Monday, April 10 through Saturday, May 6, 2017.

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

 

Conversation fish james christensen wenaha gallery

Seriously Fantastic — The Art of James Christensen

Waiting Tide Everyman James Christensen Wenaha Gallery

Waiting for the Tide by James Christensen

He was whimsical. He was serious.

He painted religious themes. But his trademark image was a floating or flying fish, often on a leash.

He knew his Shakespeare. And he celebrated his Everyman, too — the podgy, humpback character who represented the imperfections in all of us.

lawyer adequately attired print james christensen wenaha gallery

A Lawyer More Than Adequately Attired by James Christensen

James Christensen, the renowned fantasy artist inspired by the world’s myths, fables, and tales of imagination, left his mark on the art world, and the world in general, during his long and illustrious career of painting “the land a little to the left of reality.” His passing this January from cancer left collectors and lovers of his work saddened and bereft, as expressed by Todd Fulbright of Redmond, WA, who with his wife Jackie owns nearly 20 of Christensen’s art prints and porcelain figures:

“He will be missed by his family — a great father and husband and grandfather. For my own selfish reasons as an admirer of his work, I always looked forward to his next project.

“What a great imagination, and what fun characters he created!”

Among his many fans, Christensen’s creative genius is undisputed, but for those who had the privilege of meeting the artist in person, the experience has added even more dimension, personality, and warmth to their treasured collections.

“James was brilliant in his humor and intellect as it was ever present in his art,” says Dayton resident Lorrie Bensel, who used to gaze at Christensen’s window display at Wenaha Gallery in Dayton, and dream about some day buying one of the artist’s prints. Little did she foresee that, not only would she own  a number of those prints, but would also meet Christensen in person, during a time when the artist visited the gallery and Bensel worked there.

Pink Ribbon woman in dress james christensen wenaha gallery

Pink Ribbon by James Christensen

“He made you feel like an old friend even upon a first meeting.”

Lael Loyd, present manager of the gallery, agrees, remembering her first meeting with Christensen in 2005, which was also her very first major artist show.

“I was so nervous!” Loyd recalls. “I stayed late to clean the floors the night before the show while Ed and Pat Harri, the owners of the gallery, went to pick up Christensen and his wife Carole at the Walla Walla Airport.” Loyd’s mind raced with Christensen images, embedded through weeks of preparing for the show, and she dreaded — but still hoped for — the possibility that Christensen would pop by that night.

“Sure enough, he did!

“He walked in and immediately put me at ease. The next day, when he came in for the show, it was like we were old friends.”

Shakespeare world is a stage james christensen wenaha gallery

All the World’s a Stage by James Christensen

A talented but regular guy, as Loyd phrases it, Christensen explained to her that he had worked out a system with his wife, Carole, to “rescue” him from being buttonholed in the corner by enthusiastic fans, an occurrence which was not unusual because he didn’t know how to extricate himself without hurting feelings. When he tugged on his ear, Carole was to come over and move things along.

“At one show, James told me, a person was going into great detail telling about a dream he had, and how the artist should create a painting from this dream. After a few minutes, James tugged on his ear. No Carole.

“He tugged harder. Still no Carole.

“Finally, with both hands, he tugged frantically to catch her attention. He wasn’t sure that she hadn’t seen him the first time, but this gave me insight into his sense of humor, their relationship, and his reliance on her to help all go smoothly.”

Conversation fish james christensen wenaha gallery

Conversation Around Fish by James Christensen

Christensen, who began his career as a junior high school art teacher — slipping in freelance illustration and selling at sidewalk art fairs while raising a young family — lived to enjoy international acclaim. From winning all the professional art honors the World Science Fiction and Fantasy Convention can bestow to appearing on an episode of ABC’s Extreme Makeover: Home Edition (in which he created a picture featuring a member of the family), Christensen never lost sight of the ordinary, regular person, and never doubted he was within their ranks.

“Believing is seeing,” was his philosophy, as he sought to teach people to use their imaginations to overcome the problems and stresses of living life. If Everyman could find a way, so could they.

“He will be sorely missed by many, as he touched many lives with his art and soul,” Bensel says.

Loyd agrees. “He helped me see life through a different pair of eyes.

“He will be missed, but more than that, he will be remembered and live on.”

Wenaha Gallery

Wenaha Gallery is holding a special Tribute to James Christensen Saturday, April 1, from 1 to 4 p.m., and invites all Christensen fans, long-time and brand new, to visit and view Christensen’s art. During the Tribute, as well as for Christensen’s month-long Art Event (March 27 – April 22), the Gallery will display every single Christensen artwork, porcelain, book, DVD, and puzzle in its collection, with many being discounted on April 1, only.

Also on April 1 is a special art show for Pamela Claflin of Kennewick, WA. Claflin’s richly colored oil paintings capture the unique landscape of the Pacific Northwest. The artist will be on hand to meet and greet, and free refreshments are provided.

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit the gallery today!

 

 

Painting In the Zone — Nature and Wildlife by Pamela Claflin

Lone Poplar oil painting Pamela Claflin nature meadow tree clouds

Lone Poplar, original oil painting of nature and meadow, by Pamela Claflin

Pamela Claflin loves to paint with friends, even though once she gets the brushes out, she stops talking to them.

Upon entering “the zone,” Claflin focuses on the task at hand and the scene in front of her, to the point that she — very very literally — notices nothing else.

Along the Stream Pamela Claflin nature stream wenaha gallery

Along the Snake River, original oil painting of nature and stream by Pamela Claflin

“One time, while painting in the Ochocos, I set up my metal easel and tripod on a bed of rocks in the middle of the creek,” Claflin remembers. “I painted for a couple of hours, and when I showed up for lunch my friends asked me, ‘What did the three cowboys say to you when you were  painting?’

“I said, ‘WHAT three cowboys?’

“They said, ‘The three fellas who waded out into the creek and stood a few feet behind you to watch you paint.’

“I was flabbergasted. I didn’t even know they were there.”

That’s being “in the zone,” and it’s also the principal reason why Claflin never goes painting by herself. Claflin, an oil painter of wildlife and the outdoors who incorporates plein air (outdoor painting), studio work, and reference photography, considers her weekly outdoor sessions with friends a form of ongoing schooling, added to a yearly weeklong workshop she takes from nationally known artists.

Dusk on the Saddlebacks original oil painting Pamela Claflin nature trees meadows hills

Dusk on the Saddlebacks, original oil painting of nature and trees by Pamela Claflin

She began her art journey under the tutelage of Del Gish, an impressionist who studied under Russian Master Painter Sergei Bongart, and she took seriously Gish’s admonition to paint from one’s heart.

“I believe that to this day,” Claflin says, adding that, during the time she owned the Mockingbird Gallery in Bend, OR, from 1989 to 2007, she sought out other artists who ascribed to this maxim as well.

Now, the Kennewick artist — who sold the gallery for the sole reason of embarking upon full-time painting — enters her work in museum and gallery shows throughout the nation, one of the most recent being the American Impressionist Society Show in Kirkland, WA, where she received Second Place for the Members’ Outdoor Paint Event.

Known among her friends as the “wildlife spotter,” Claflin believes that maintaining an observant eye is the key to finding subject matter to paint, and while she may be oblivious to her surroundings when she’s in the zone, when she’s on a hike, seeking reference material for future paintings, she’s 100 percent attuned to her surroundings.

Wild stallion horse original oil painting by Pamela Claflin

One Long, Last Look at His Father’s Herd, original oil painting of nature and young stallion horse, by Pamela Claflin

“Nature has its colors . . . wildlife has its colors. When I am out in nature and see a color that doesn’t blend, my head perks up and I look to see what it is.

“A stump that is too dark turns out to be a black bear drinking at a creek.

“A blonde ‘rock’ turns out to be a lone pronghorn.

“A dead tree branch turns out to be antlers of a very old elk who ends up eating the last apple in my backpack.”

Once, while traveling to Taos, NM, Claflin spotted a herd of wild horses, noticing a young stallion being pushed from the herd by an older stallion of the same color, which Claflin deduced to be the young one’s father. After being repeatedly driven away, the young horse stopped, squared up his body as if to take a deep breath, and stared at the herd.

“I photographed him at the moment and did a painting of him entitled, ‘One Long, Last Look at His Father’s Herd,'” Claflin says.

“I believe that if one is to paint life images of nature, one must spend time outside observing and painting.”

Because the outdoors is unpredictable, Claflin believes in being prepared as well, making sure that her car is within easy reach of the chosen painting site. That way, when marble-sized hail falls, or the wind incessantly blows down the easel and declares itself the winner, or yellow jackets take offense at a perceived intruder, it’s easy to pack up and move.

On studio days, it’s warm, dry, and insect-free.

Claflin’s work is in collections throughout the U.S., Canada, and England, and she herself maintains a collection of other artists’ work as well. One these pieces, her first sculpture purchase made in 1987, is by Klamath artist Jim Jackson, and is entitled “Seeking a Vision.” It is, she asserts, aptly named.

“It is a clay, robed figure with his head tilted towards the sky with his eyes, closed,” Claflin explains.

“I have kept that sculpture in my paint room ever since, and it constantly serves as an inspiration for me.”

Wenaha GalleryPamela Claflin is the featured Pacific Northwest Art Event artist from Monday, March 13, through Saturday, April 8. There is a special Art Show honoring Claflin Saturday, April 1, 2017, with the artist being on hand to meet and greet from 1 to 4 p.m. Also occurring at the same time is a Tribute Art Show of work by the late James Christensen.

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit the gallery today!

 

 

 

 

Blues, encaustic painting by Walla Walla painter Lauri Borer, guest artist at Wenaha Gallery

Kindled by Encaustic — The Paintings of Lauri Borer

Blues, encaustic painting by Walla Walla painter Lauri Borer, guest artist at Wenaha Gallery

Blues, encaustic painting by Walla Walla painter Lauri Borer, guest artist at Wenaha Gallery

While Lauri Borer did not learn all she really needed to know in kindergarten, she did pick up a lot from the world of Walt Disney. The Walla Walla artist, before she moved to the Land of Many Waters in 2005, lived in Florida and worked with merchandising and human resources at the Walt Disney Company.

Who'll Stop the Rain Encaustic landscape painting by Walla Walla artist Lauri Borer

Who’ll Stop the Rain Encaustic landscape painting by Walla Walla artist Lauri Borer

“It’s worth remembering the characteristics that made me successful in my positions there,” the painter — who specializes in hot wax (encaustic) creation — describes how she applies past experiences to present endeavors. “Show up every day and do the work. Be flexible and open-minded. Don’t give up when something doesn’t work.

“Call it a lesson, not failure.”

Borer, who has been creating art since she was 7 and holds a fine arts degree from the University of South Florida in Tampa, focuses on the landscapes of wherever she finds herself, capturing that world in both representational and abstract formats.

Currently, that capture employs “the seductive mediums of encaustic painting and oil and cold wax,” Borer says, explaining encaustic as an ancient art form dating back to at least ancient Greece.

“The derivation of the word is from the Greek word enkaustikos which means to burn in. Heat is necessary to call the work encaustic as opposed to painting with cold wax.”

Mixing molten beeswax with damar resin – a hardening agent which increases the melting point of the wax — Borer paints on wood substrates that do not flex and thereby cause the cooled wax of the finished work to crack. Her preferred surface shape is square, a non-traditional dimension that adds a sense of stability, solidity, and balance.

Nailed It, Encaustic landscape painting by Walla Walla painter Lauri Borer

Nailed It, Encaustic landscape painting by Walla Walla painter Lauri Borer

“The versatility of the medium is unlimited,” Borer says.

“Paintings can be finished to a smooth polished surface; transparent layers reveal colors and dimension as wax cures and hardens over time.

“Textures can be created, marks made with ink or graphite, ephemera added . . . on and on.”

Frequently, she finds a work takes on a life of its own, starting initially with her plan for its existence, but resulting in something pleasingly, uniquely different.

“One of the paintings that I had in the last show in Joseph (Wallowa Valley Valley Festival of Arts) began its life as a very realistic landscape — it looked exactly like the photo from which I drew my inspiration.

Lauri Borer's encaustic artwork in the permanent collection of The Encaustic Art Institute, Santa Fe, NM

Lauri Borer’s encaustic artwork in the permanent collection of The Encaustic Art Institute, Santa Fe, NM

“But the photo was perfect — it didn’t need to be copied.

“So I scraped and moved the paint around until it was almost broken, a de-constructed and abstract interpretation of a Hell’s Canyon sunset.”

In addition to creating her artwork, Borer draws upon her organizational skills to showcase area and regional art, encouraged by the first person she met in Walla Walla, former area artist Bonnie Griffith, to volunteer at the Carnegie Art Center, then active as a community gallery.

“I became part of the gallery committee responsible for hanging the shows each month, and became close friends with Bonnie and the other committee members, M’Lisse Moerk and Dianna Woolley.

“I found my tribe.”

To Sleep, Encaustic painting by Walla Walla artist Lauri Borer

To Sleep, Encaustic painting by Walla Walla artist Lauri Borer

Later, Borer jumped into ArtSquared, Art Walla’s annual fundraiser benefiting arts education, becoming active on the committee from the event’s inception in 2013, and from there, joined a series of local artists producing a regular winter group show at CAVU Cellars.

“Half a dozen artists of various mediums share our work in a lively, colorful, and diverse, yet cohesive show.”

Presently showing at Wenaha Gallery, Borer is preparing for a summer exhibition at Initial Point Gallery in Meridian, Idaho. With artworks found in personal and corporate collections throughout the U.S., Borer has participated in juried shows in the Pacific Northwest; Santa Fe, NM; California, and Montana. One of her pieces is in the permanent collection of the Encaustic Art Institute in Santa Fe.

She’s busy, active, moving, creating, snapping reference photos with an enthusiasm and diligence that even has her husband alert to a potential painting.

“He’s become an expert at quickly pulling over or spotting vistas he knows I’ll want to capture.

“I see ideas for paintings everywhere, even abstract paintings.”

In the spring, summer, and early fall the couple goes fly-fishing (with camera) on the Wallowa River. Summer finds them (with camera) on their small boat on the Snake River, fishing for bass and scavenging for flotsam for Borer’s art. All year round is studio time, and studio time is creation time.

“I paint landscapes because I love nature,” Borer says.

“From wide vistas to macro views, towering mountains and crashing seas, stormy lines of hurricane clouds and endless blues of a summer sky — it’s all inspiration.”

Wenaha GalleryLauri Borer is the featured Pacific Northwest Art Event artist from Monday, February 13, through Saturday, March 11.

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit the gallery today!

 

 

Ceramic leaf dishes by Jane Holly Estrada

Falling Leaves and Radiochemistry — The Ceramic Art of Jane Holly Estrada

Ceramic leaf dishes by Jane Holly Estrada leaves

A series of ceramic leaf dishes by Jane Holly Estrada sits atop a granite Lazy Susan by Terry Hoon

In her day job, Jane Holly Estrada is a radiochemist, dealing with a concept — radiation — that many people rightly or wrongly associate with loooooooooong periods of time.

But when the white lab jacket is hung up at Pacific Northwest National Laboratory for the day, Estrada focuses strongly on the ephemeral, the temporal —  fleeting moments of transitory time in which she captures a moment in nature and transforms it into a state of permanence.

Gold bordered blue ceramic leaf (leaves) dish by Jane Holly Estrada

Gold highlights and a dotted border on an individual leaf dish by Jane Holly Estrada

Working in the field of ceramics, the Richland, WA, artist creates jewelry and shaped dishes inspired by the leaves of trees, but not just any leaves. Estrada’s window of time is a short one in autumn, after the leaves have fallen off the tree naturally but while they are still crisp enough to leave a literal impression upon clay.

“Each dish I make is created by pressing a real leaf into the clay and shaping it into a unique small dish, which is then painted with watercolor style underglazes,” Estrada explains.

“The dish is then glazed all over, fired, and painted with real gold and white gold accents.

“The final product is a mirror image of the now long-gone leaf, but embellished with swirls of color, texture, and metallic gilding.”

Set in a few clear sentences, the process seems straightforward and direct, but as with any area dealing with chemical and physical alteration — whether the matter has to do with art, science or a fusion of the two — things just aren’t that simple. Stuff happens.

ceramic and gold bead necklaces in blue and green by Jane Holly Estrada

Ceramic and gold bead necklaces in rich variants of blue and green, by Jane Holly Estrada

The biggest challenge of working with clay, Estrada says, is that no matter how careful the artist is during the process, there’s always a chance for the unexpected to occur. Work can crack if it dries too quickly, or even if it is gently bumped at the wrong time.

“Each trip through the kiln is a chance for cracking, warping, and even exploding,” Estrada adds. “Glazes can run, crawl, craze and drip — all things that can either ruin your work or make it amazing.

“Most of my pieces go through the kiln three to four times, each time a gamble.”

The upshot of it all is that even the most scientific of approaches can’t guarantee the outcome, but like life itself, that’s part of the challenge.

“The benefit is that if your work survives its creation process, it becomes a durable and lasting piece of art in a way that a more ephemeral piece of paper or canvas cannot compare,” Estrada observes.

A collection of painted rocks and mandala stones by jane holly estrada

A collection of painted rocks and Mandala Stones by Jane Holly Estrada

“Clay allows the artist to create a functional object that is equally an object of beauty.”

Estrada’s leaf-based clay dishes and jewelry imbue familiar colors of  forest, sky, and water– azure, turquoise, teal, beryl, emerald, verdigris, moss, jade — with gold and silver sparkle, resulting in an alchemy of Mother Nature with human skill and ingenuity. The finished pieces are delicate yet strong, possessing a tactility that encourages viewers to pick up, touch, hold, turn, brush, and feel.

Because each piece is fashioned from one single, unique leaf, Estrada’s artworks are literally one of a kind at the same time that they work well together as a set or a collection — in the same manner that leaves gather while retaining their individual attributes, as well as that of their creator.

“I am not a production potter, and I (like most artists) am not  looking to compete with the factories and big box stores,” Estrada says.

“My goal is to create small pieces of beautiful art that people can have in their daily lives. My jewelry is meant to be worn and the dishes to be used.”

Close up detail of glaze and gold luster of a ceramic leaf (leaves) dish by Jane Holly Estrada

Close up detail of glaze and gold luster of a ceramic leaf dish by Jane Holly Estrada

In addition to her ceramic leaf works, Estrada also paints mandala stones — smooth surfaced rocks embellished by a series of dots and color in a circular pattern. Estrada teaches the technique at Confluent, a non-profit organization in Richland that provides space and resources for community members to explore art, technology, and culture through community-based workshops and classes. She also participates in the center’s various art shows, and in the recent “Dreamers” exhibition won Best Overall piece in a public vote for her wood-substrate painting executed in the spirit of vintage post cards.

Incorporating art and science, temporal aspects and immutable, nature and fabrication, Estrada’s works are inspired by her love of water with its shifting shape, color, and ability to reflect light. And while she does not aim to make a statement, she believes that the final product is the statement itself, standing out for the time and detail that go into it.

“I’ve always loved science and trying to understand how the natural world works,” Estrada says.

“I believe that this shows through in my art.”

Wenaha GalleryJane Holly Estrada is the featured Pacific Northwest Art Event artist from Monday, January 30, through Saturday, February 25.

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit the gallery today!

Librarian in the Studio — The Print & Printmaking Art of Anne Haley

Walla Walla Lettertype print by Anne Haley, guest artist at Wenaha Gallery

Walla Walla Lettertype print by Anne Haley, guest artist at Wenaha Gallery

It took 50 years, but  Anne Haley was finally able to take ninth grade shop class.

Of course, she was no longer in ninth grade, but that’s not such a bad thing: one time through on that is enough for most people. Instead, Haley plunged into college life, re-entering as an art student after a 32-year career in public librarianship, including 20 years as the Director of the Walla Walla Public Library.

Evening Sky, monoprint by Walla Walla artist Anne Haley, showing at Wenaha Gallery

Evening Sky, monoprint by Walla Walla artist Anne Haley

“I worked my fool ass off trying to keep up with twenty-year-olds,” the Walla Walla artist recalls. “It was the most difficult, but the most rewarding educational experience: I took classes in painting, photography, drawing, art history, sculpture, time arts, and printmaking.” Beginning at Walla Walla Community College and Walla Walla University, Haley finished out her studies at the Pacific Northwest College of Art in Portland, where she earned her Bachelor of Fine Arts (BFA) degree and solidified a focus on the medium that grabbed her passion: printmaking, specifically etching, letterpress, and lithography.

“I have always been involved and inspired by things tactile,” Haley explains, describing a shadow art career that started in first grade with finger paintings (“My mother saved those paintings”), moving on to jewelry and knitting in high school, stitchery at the first run in college, quilt making, and then the full art media foray of her second college adventure. During her library career, Haley called upon creative instincts to set up arrangements in display cases every month for 20 years, in addition to festooning annual reports and designing holiday banners, bookmarks, and informational flyers.

Harvest Ready etched print by Walla Walla artist Anne Haley, guest at Wenaha Gallery

Harvest Ready, etched print by Walla Walla artist Anne Haley

And then of course there’s her house, which she describes as “a giant art project.”

Within that giant art project is a whole-house studio that includes computers and digital printers in the second floor study, an etching/litho press in an old basement storeroom, and a treasure chest of letterpress type — many from the old press building of the Wenatchee World newspaper, founded in 1905 by Haley’s grandfather — jumbled in boxes and organized as Haley has time.

These relics from the bygone era of letterpress printing — which began with Gutenberg’s press in 1440 and was outmoded in the 1980s with the advent of digitalization — “have gone the way of the buggy whip,” Haley says.

“I have begged, borrowed, and bought letterpress type of various fonts and sizes — it doesn’t matter to me if I have a complete alphabet; I am interested in the shapes.”

Walla VIII letterpress print by Walla Walla artist Anne Haley

Walla VIII, letterpress print by Walla Walla artist Anne Haley

Haley incorporated these shapes in a series of works entitled Old Presses and New, celebrating both the modern and antiquated printing presses. Letterpress shapes also find their way onto 6 x 6 mini-works (Art Squared) and Havana Live, this latter featuring multi-media artworks based on three trips Haley has made to Cuba.

In addition to letterpress, Haley creates etched prints (fashioned from metal plates on which the design has been incised by acid), lithography (printed from a flat surface treated to repel the ink except where it is desired to be printed), digital prints, and monotype (a single, unique print created when metal or glass plates are coated with ink, and the paper then pressed upon the surface). Often, she layers more than one printmaking medium in a multi-media fusion.

Other than monoprints, which as their name suggests are limited to a run of one, Haley creates editions of 5-10 prints, all as perfectly alike as she can make them. Afterwards, the plate from which the prints were made is struck so that no prints can be made thereafter.

A Quiet Conversation etched print by walla walla artist Anne Haley

A Quiet Conversation, etched print by Walla Walla artist Anne Haley

Collections of Haley’s work are at the Penrose Library of Whitman College in Walla Walla; the Clapp Library of Occidental College, Los Angeles; and Brown & Haley, the candy-maker and distributor, in Tacoma. She has held numerous solo, two-person, and group exhibitions throughout the Pacific Northwest and in Cuba, and was accepted into the Artlink National Print Exhibit at the Auer Center for Arts & Culture in Fort Wayne, IN. At the BFA annual show in the Pacific Northwest College of Art, her 6-inch by 2-inch piece was awarded juror’s pick, where it was hung between two gigantic paintings of 8-feet by 5-feet “that could be seen a block away.”

Small or large, Haley’s prints reflect the sense of the place where she lives, an agricultural town that maintains a visceral connection to the land that is not found in urban settings. They also reflect the human connection, a history of life that far transcends the technology of printing.

“I am committed to creating my work with love,” Haley says, “and hope that the viewer can sense this depth of feeling in the work that I make.”

Wenaha GalleryAnne Haley is the featured Pacific Northwest Art Event artist from Monday, January 16, through Saturday, February 11.

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 Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit the gallery today!