Fractured Terrain, original oil painting, by Wenaha Gallery artist Gordy Edberg

The Unexpectedly Unconventional Square — Showcasing the Landscape Art of Gordy Edberg

Fractured Terrain, original oil painting, by Wenaha Gallery artist Gordy Edberg

Fractured Terrain, original oil painting, by Wenaha Gallery artist Gordy Edberg

In the mid twentieth century, the term “square” was derogatively used to connote a boring traditionalist, one reluctant to take chances or break out of the box in his or her thinking.

For 21st century artist Gordy Edberg, however, square is the new unusual, and the landscapes which he paints in this format are not constrained by what he calls the typical, conventional horizontal format that people have come to expect.

Endless Fields, original oil painting by Wenaha Gallery artist Gordy Edberg

Endless Fields, original oil painting by Wenaha Gallery artist Gordy Edberg

“The square format, with its harmony of shape, is a useful and non-natural approach,” the Whidbey Island artist says.

“By using the square structure, the landscape subject is contained more, and it removes the expected topographical connotations.

“Thus there are segments . . . fragments . . . sections of the landscape and their abstract qualities which are allowed to come forward.”

Edberg, who has been painting since high school 60 years ago, approaches his artwork from the perspective of an architect, a profession he made his central career for 41 years. The combination of the two disciplines results in Edberg’s signature style, one “grounded in realism with a leaning toward impressionism.”

With a principal focus upon the landscape, Edberg says that, although he does not purposely make political statements with his art, he is fascinated by the existing environment, and how it is changed by man’s impact upon it. There are buildings, roads, pathways, patterns, and how they integrate with their surroundings creates and shapes the finished piece. The very nature of lines themselves — an element strongly used in architectural drawing — invites the artist, and his viewers, to explore the realm of abstract within the world of reality.

Basin Hills and Fields, original oil painting by Wenaha Gallery artist Gordy Edberg

Basin Hills and Fields, original oil painting by Wenaha Gallery artist Gordy Edberg

“I look for change occurring, things disappearing, other characteristics of the environment that suggest potential for abstraction expressions,” Edberg explains. And herein that square format intensifies the fluidity of form and shape, emphasizing the transcendental in the midst of physical reality, bringing out the best of each.

“The goal is for the formal subject matter to be seen as a composition, an arrangement of shapes and colors and with aesthetic qualities while still suggesting place,” Edberg says.

While Edberg has painted landscapes from throughout the Pacific Northwest and the west coast, as well as forays into Hawaii, Mexico, Ireland, England, France, Italy, and Greece, it is his Southeastern Washington landscapes that showcase, boldly, the integration of line and form, abstract and reality, outline and shape. Large, illusorily monochromatic fields and agricultural spreads are intersected by roads, power lines, waterways and the patterns of the fields themselves, a balance of both natural and man-made factors.

Power Grid, original oil painting by Wenaha Gallery artist Gordy Edberg

Power Grid, original oil painting by Wenaha Gallery artist Gordy Edberg

Shots of unexpected color, calligraphy, textured paint, and marks and incisions upon the substrate surface enhance the mood and setting of the work, creating a place that is real and identifiable, yet not remotely as a camera would capture it.

“Landscape images and also urbanscape and marinescape images painted in the studio are many times imagined in response to the mood and feel of actual places that I’ve sketched or painted en plein air,” Edberg says. In the spirit of fluidity and freedom, he refers to plein air paintings or onsite sketches for his studio pieces, and does not rely upon the camera.

The goal is to catch the mood, the place, the feeling, because within each landscape, Edberg feels, there is a story, and it is his pleasurable goal to tell that story.

Wheat Road, original oil painting by Wenaha Gallery artist Gordy Edberg

Wheat Road, original oil painting by Wenaha Gallery artist Gordy Edberg

In addition to creating his oil-painted landscapes, Edberg also works in pastels, as well as designs and builds wood furniture. To do as much as he does requires space, and Edberg’s studio in the upper floor of his home is set up with four painting stations, including a wall easel which can accommodate up to six-foot sized paintings. The garage houses his woodworking equipment and tools, and, in addition to furniture making and packaging and shipping of paintings, another important activity takes place there: the cars can still be parked within.

That’s the architect, sharing space creatively with the artist.

A signature member with the Northwest Pastel Society, Edberg has earned awards from both that organization and the Puget Sound Group of Northwest Artists, and he has received Best of Show at the Washington State Convention Center Art Exhibition. His work is housed in both private and corporate collections throughout the U.S., and he maintains paintings in galleries on both the East and West coasts.

The architect may be retired, but the artist is very busy these days.

Wenaha GalleryGordy Edberg is the featured artist at Wenaha Gallery’s Art Event from Monday, May 4 through Saturday, June 13, at Wenaha Gallery, 219 East Main Street, Dayton, WA.

Contact the gallery by phone at 800.755.2124 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 at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

Handcarved Eagle Flute by Wenaha Guest Artist Roger McGee.

The Sensual Flutist — Roger McGee Hand-Carves an Ancient Instrument

Handcarved Eagle Flute by Wenaha Guest Artist Roger McGee.

Handcarved Eagle Flute by Wenaha Guest Artist Roger McGee.

The hauntingly beautiful music of Native American musicians Carlos Nakai and Mary Youngblood is nothing short of sublime. And while neither Grammy Award winner is a resident of Oregon or Washington state, some of the flutes that they have played originated in the studio of Roger McGee, a master flute maker from Joseph, OR.

Egret bronze sculpture by Wenaha Gallery guest artist Roger McGee

Egret bronze sculpture by Wenaha Gallery guest artist Roger McGee

“What a fine and gentle artist this man is,” Youngblood described McGee. “(The flute is) almost Georgia O’Keefish . . . very sensual and so carefully carved.”

McGee, who has created more than 1,000 custom, hand-made flutes, is a professional sculptor of 35 years standing, making his initial mark as an artist of western and wildlife bronzework. As a Vietnam War veteran, he considers it a high honor to have created four monuments placed in the Pacific Northwest, including the Jonathan Wainwright statue at the Veterans Medical Center in Walla Walla, Peo Peo Mox Mox near the Marc Hotel in the same town, and the VFW Globe in Salem, OR.

The path to creating Native American-style flutes, he explains, was a winding one. Like most artists, McGee listens to a variety of music for inspiration while working in his studio.

Detail from hand carved Horsehead Flute by Wenaha Gallery guest artist Roger McGee

Detail from hand carved Horsehead Flute by Wenaha Gallery guest artist Roger McGee

“I was particularly captivated by the haunting sounds of the Native American flute and wanted to learn as much as possible about this small instrument with the powerful voice.

“I was inspired to make a Native flute, and the awesome sound of the flute that I made captured my soul. It has changed my life and given me a new way to express myself with my art.”

Now, in addition to his bronzework, McGee has added the intricate detail of hand making, one at a time, highly individualized Native American flutes, an instrument with a history dating back reportedly 60,000 years (they are said to be the third oldest known musical instrument in the world). McGee creates all artwork, painting, woodwork and sculpture on his flutes free hand, burning the holes in with a hot metal rod.

Not Forgotten Bison bronze sculpture by Wenaha Gallery guest artist Roger McGee

Not Forgotten Bison bronze sculpture by Wenaha Gallery guest artist Roger McGee

“I guess you could say that I follow where the artistic spirits guide me,” McGee says, adding that he not only makes the flutes, but plays them — with two CDs to his credit — as well as teaches others how to do so.

“Over the phone, I taught a Navaho Indian (Fred ‘Yellowknife’ Keams) how to make and play flutes . . . I also taught a Buddhist Monk (Park Jin Hong) from South Korea how to play the flute using Skype and the Internet!” McGee sells his flutes throughout the world, with other noted names who play McGee’s instruments including Grammy Award nominee Peter Phippen and recording artists Robert Mirabal and John Two-Hawks.

Inlaid shells, buffalo teeth, carved totems, feathers, beads, and paint are all part of the customized creations, with themes ranging from rattlesnakes and scorpions to horses and bears. In 2013, McGee won the Best Cultural Heritage Award at the Wallowa Valley Festival of the Arts for his Stone Crushed Inlayed American Flute, and in past years, his work has captured Directors Choice awards.

Detail from White Canoe hand carved flute by Wenaha Gallery guest artist Roger McGee

Detail from White Canoe hand carved flute by Wenaha Gallery guest artist Roger McGee

As beautiful as the flutes are to look upon, however, their ultimate test takes place in the playing, and McGee’s numerous clients have much to say about the creator, and what he creates.

“The beauty and soulful sincerity of this amazing instrument is only surpassed by the incredible artist who created it,” one musician writes on McGee’s website.

“The tone is amazing,” another fan said, describing how her husband, not knowing that she was playing her newly-purchased instrument, marveled at how much she had improved. “The flute made the sound jump a quantum leap — I sure wasn’t doing anything else much differently. The flute’s voice is just awesome.”

In his spare time, which he somehow finds despite a fulltime art schedule side-by-side with that of his wife, cut paper artist Cheri McGee, Roger has lately taken on refurbishing a totem pole, which when repaired, will return to the Creating Memories Camp for Disabled Children in Joseph. At the moment, the pole is in pieces as McGee fixes broken parts, fills cracks, sands, paints, and reassembles.

It’s all part of following that artistic muse, one that entered his life when he was the youngest of nine children growing up in the deep South, always using his hands to make things.

“It was easier to make myself a toy than it was to wait to get a store-bought one,” McGee remembers. “I have been very blessed!”

Wenaha GalleryRoger and Cheri McGee are the featured artists at Wenaha Gallery’s Art Event from Monday, May 18 through Saturday, June 27, at Wenaha Gallery, 219 East Main Street, Dayton, WA. There is a reception for both artists on Saturday, May 23 from 10:30 a.m. (immediately after the town Memorial Day parade) until 2:30 p.m. Roger will play the flute during the reception. Free refreshments are provided.

Contact the gallery by phone at 800.755.2124 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 at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

Palus Museum historical site in Dayton WA showcasing the Palouse Indians Lewis and Clark and the pioneering homesteaders

Honoring an Ingenious People – The Palus Museum Celebrates the Heritage of the Palouse Indians

 

Palus Museum historical site in Dayton WA showcasing the Palouse Indians Lewis and Clark and the pioneering homesteaders

A large painting of Palouse Falls, surrounded by displays of artifacts, greets visitors as the enter the Palus Museum

We live in an area rich with history, steeped with the life stories of brave, hardworking people.

Frequently, those of us who reside in the West now associate those brave, hardworking people with the pioneers, many of whom did not make it here without losing someone along the way. But history goes back further than that, and before there were pioneers, there were brave, hardworking people who eventually lost a way of life: the Cayuse, the Nez Perce, the Umatilla, and the Palouse.

Palus Museum historical site in Dayton WA showcasing the Palouse Indians Lewis and Clark and the pioneering homesteaders

A thoughtful coyote and bronzework take viewers to a different place and time at the Palus Museum.

It is for this reason — that life changes, and we do not want to obscure or forget the past, and we wish to bring honor to those who live in the present — that a group of local people in Dayton joined together to create the Blue Mountain Heritage Society in 1999, with a focal interest to engage the public in the rich and diverse regional history of Columbia County and its environs. And one of principal people in this rich history are the Palouse Indians.

A small tribe in Southeastern Washington and Northern Idaho that was culturally related to the Nez Perce, the Palouse (or Palus) “were a very smart people and a very strong people,” according to Rose Engelbrite, one of the founding members of the society and the manager of the Palus Museum in Dayton.

“The things they had to make and do just in order to survive were very involved, from making shoes and arrowheads to gathering food.”

A hand woven basket, a baby carrier, and a trunk dating from 1812 are a link to the past at the Palus Museum.

A hand woven basket, a baby carrier, and a trunk dating from 1812 are a link to the past at the Palus Museum.

The museum, which possesses an unpretentious exterior that belies the treasures within, is home to numerous and diverse artifacts, from beadwork to handspun rope, bone hairpieces, clothing, hand crafted tools, a medicine bag, and — the foundation upon which the collection was started — arrowheads gleaned from the area by local resident Wayne Casseday.

“Collecting artifacts was a hobby of his, and he wanted other people to see them,” Engelbrite explains. “He asked us if we would be interested to set up a place where these could be shown and not be stored away out of sight.”

Palus Museum historical site in Dayton WA showcasing the Palouse Indians Lewis and Clark and the pioneering homesteaders

From the outside, Palus Museum gives no clue to the historical treasures within.

The arrowheads are all colors and sizes, painstakingly and skillfully crafted for their specific purpose, testament to the artistry and personality of their makers. One of Engelbrites favorite artifacts, however, looks like a long, slim rock, about the size of a small foot, and slightly curved, just like a foot. This is no accident, she says, but further evidence of the Palouse Indians’ astute resourcefulness.

“It’s a last,” she explains, “which is an object that shoemakers build their shoes around. Back then (the 1800s, and earlier) many shoes did not have a right shoe and a left shoe, but it was the same shape for both feet.

Barbed Wire at the Palus Museum

Who would guess that there could be so many varieties of barbed wire?

“The Palouse Indians used this last which has a light curve at the top, so they were able to make one shoe, a right one, and then flip over the last and make a left one.

“As I say, they were an ingenious people.”

The Palouse were noted horse breeders and traders — the Appaloosa, with its distinctive spotted coat, drawing its name from that of the tribe. Numbering around 1,600 during the expedition of Lewis and Clark, the Palouse tribe migrated between Palouse Falls in the winter, where the fishing was plenty, to the Dayton area in the summer, where they collected berries.

But as we know, with the advent of explorers, trappers, and pioneers from the east, this way of life drastically changed, and two cultures clashed until the Palouse, dwindling in size, no longer roamed the land they once lived. The museum itself addresses the issue, with exhibits featuring relics from both the Lewis and Clark Expedition and the pioneering homesteaders.

Set next to a woven cooking basket made from cedar root and cedar root skin is a small, handmade trunk, consisting of rawhide and fur over wood and lined with newspaper dated 1812. An annex to the museum houses the homestead room, with butter churns, washboards, a cast iron wood stove and an impressive display of the many styles of barbed wire used for fencing.

Most of the historical items are local, donated by families of the area, interested in the historical society’s mission and eager to contribute so that the past, though it is in the past, will have its place in the present.

“This is the history of the area in which we live,” Engelbrite says, “and it is a part of all our heritage.”

Wenaha GalleryThe Palus Museum, at 426 E. Main, is located two blocks from Wenaha Gallery in Dayton, WA, and is well worth a visit to view. Admission to the museum is free, with donations gratefully accepted. The museum is open Fridays and Saturday from 1 to 4 p.m. For more information, contact Rose at 509.337.8875, or contact the historical society through its Facebook Page.

Contact the gallery by phone at 800.755.2124 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 at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

Grammar Despair, The Misfit Christian, and Live Happily on Less books by Carolyn Henderson at Wenaha Gallery and at Amazon.com

It’s Not Your Title: It’s Your Voice That Matters — The Writing of Carolyn Henderson

Grammar Despair, The Misfit Christian, and Live Happily on Less books by Carolyn Henderson at Wenaha Gallery and at Amazon.com

Books by Carolyn Henderson at Wenaha Gallery, Dayton, WA, and at Amazon.com.

Most of the years of my professional life, I’ve been a non-person. In a society that defines itself by a specific job title, mine — stay-at-home mom — was singularly unimpressive.

Generally, the level of respect accorded to stay-at-home moms matches the annual salary. Added to the challenge of making one income stretch beyond what many people accomplish with two is the misconception that those who stay at home are able to do so only because the primary breadwinner brings home lots of dough indeed.

Live Happily on Less book of finances by Carolyn Henderson

One thing most stay-at-home moms are experts at is doing a lot with a little. Live Happily on Less By Carolyn Henderson.

Believe me, this is rarely so. Stay-at-home moms are craftsman of finance, finessing modest take-home pay into adequate clothing, good basic food imaginatively cooked (generally at home), all bills paid, and entertainment creatively supplied. We know how to accomplish a lot with a little, and the level of organization, planning, deliberation, and prudence demanded to successfully run a household of disparate characters is overwhelmingly underappreciated by the “work world.”

Officially experts at nothing, because we don’t have specific paper diplomas and the letters behind our name,  we are masters at scheduling, relational dynamics, small-scale finance, group psychology, teaching multiplication tables, identifying library books worth reading (and ensuring that they are returned before fines are incurred), culinary art, nutrition, basic first aid, and childcare. Many times, we start or maintain a family-run business.

In short, if employers were looking for a good, intelligent, capable asset, who understands money and how to deal with never having enough of it, they would be smart to consider stay-at-home moms, the kind who have very few officially sanctioned job appellations on their resume.

Grammar Despair writing book available at Wenaha Gallery and amazon.com and by Carolyn Henderson

Writing is a pleasurable activity that does not require an expertise in grammar (or an English degree). Grammar Despair by Carolyn Henderson.

Unfortunately, the business world, unlike stay-at-home moms, has a tendency to be a bit uncreative in its outlook, but that’s okay — we don’t define ourselves by corporate standards. Instead, we go out and do what needs to be done, and when my career as a stay-at-home mom drew to a close (because the charges under my care were growing up and away), I turned seriously to writing — something I laid aside while I was homeschooling four progeny — and put into blog and book form the things I learned over many years of running a home.

My husband and I have no mortgage — never have had one — but built our house as we could pay for it, living in a renovated barn (two adults, four young, noisy, messy kids) during the construction process, making extra payments on the land until it was paid off, functioning for five years without a proper kitchen, and not worrying — ever — about things matching. Today, we live in a place we could never have afforded because I — a stay-at-home mom — knew how to take that single, ridiculously modest income of the sole breadwinner and transform it into something bigger.

The Misfit Christian book at Wenaha Gallery and Amazon.com by Carolyn Henderson

The first step to becoming a misfit, in any group, is to start asking questions. The Misfit Christian by Carolyn Henderson

Thus was the book, Live Happily on Less, born. It really is possible, but it takes living with a different attitude than that propounded by a society which promotes incessant spending as a means to economic health. While this theory may resonate with corporate CEOs, economists and politicians, most stay-at-home moms know that the electricity will eventually be shut off when the bills aren’t paid..

Another book, Grammar Despair, is the fruit of, not my verifiable university degree in English complete with diploma and letters after my name, but practical commonsense and teaching from my own mother, a longtime stay-at-home mom whose passion for words and language eventually blessed shoppers in the Walla Walla, WA, area during the 1980s and 90s, when the Safeway Bakery Lady reigned at the Rose Street store. (Isn’t that cool? That was one sentence, appropriately punctuated.)

Grammar Despair is written for ordinary people, who probably dislike grammar, but want to write intelligently. You don’t need a degree to do that.

And the third book, The Misfit Christian, grew out of frustration and exasperation at being treated — as a “lay” member of the church community — like the same kind of nobody that stay-at-home moms are thought to be. Knowing that I was fully capable of reading, and understanding, the Bible, I began to do so, eventually sharing what I was learning — for the benefit of others who questioned the status quo as well — in my blogs This Woman Writes and Commonsense Christianity. The book is a compendium of these essays.

It doesn’t matter what your job title is — it matters that you don’t accept other people’s interpretation of who you are. And as ordinary people — which is what all people are but not everyone realizes — we don’t have to settle for being eclipsed, ignored, overlooked, rejected, or underrated.

We have a voice. We have things to say that are worth hearing. So let’s speak up.

Wenaha GalleryCarolyn Henderson is the featured artist at Wenaha Gallery’s Art Event through May 16, 2015, at Wenaha Gallery, 219 East Main Street, Dayton, WA. Her three books are available at Wenaha Gallery, as well as through Amazon.com.

Contact the gallery by phone at 800.755.2124 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 at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

Dawn's Jade Glow by Paul Henderson, guest artist at Wenaha Gallery.

Expressions in Espresso — The Coffee Art, and More, of Paul Henderson

Dawn's Jade Glow by Paul Henderson, guest artist at Wenaha Gallery.

Dawn’s Jade Glow by Paul Henderson, guest artist at Wenaha Gallery.

Very few of us, after watching a movie, embark upon a yearlong project of intense and highly disciplined creativity, but fine artist Paul Henderson of Yakima, WA, finds insight in uncommon places.

“My artistic interests are wide and varied,” the painter says. “I love the Northwest wilderness and wildlife, but I also enjoy world history, cultures, and geography; therefore I call myself the ‘Northwest Artist with an International Touch.'”

Coffee is the medium of choice in Paul Henderson's Coffee Capital, Seattle painting.

Coffee is the medium of choice in Paul Henderson’s Coffee Capital, Seattle painting.

Inspired by the film “Julie and Julia,” in which blogger Julie Powell challenges herself to cook, within one year, all 524 recipes in famed chef Julia Child’s first book, Henderson embarked upon his “Modern and Experimental Series,” with the intent of creating two paintings per week for 52 weeks.

The spirit of the project never stopped, and while Henderson fell just short of 104 paintings (he completed 90), he continued the challenge, and in the five years since then has been finessing the sheer art of experimentation:

“I decided to not limit myself to detail but to do any style or subject from abstract to detail, to fantasy, to loose style, and to just experiment,” Henderson says.

“This has literally set my creative juices on fire, and I will continue even more creative techniques and mixed media. I love to try different methods; it keeps me fresh and invigorated.”

Color Storm by Paul Henderson, guest artist at Wenaha Gallery.

Color Storm by Paul Henderson, guest artist at Wenaha Gallery.

Some of those methods involve fiberglass taping mesh, highly textured papers, netting, plastic, or styrofoam from packing boxes which Henderson attaches to the canvas, conveying a 3-D effect to a two-dimensional substrate. Another innovation revolves around something most of us have in our kitchen cupboards — coffee — to give new perspective upon the medium of watercolor.

“In 1986, after my then five-year-old daughter accidentally splashed coffee over one of my sketches, voila! Espresso art was born,” Henderson remembers. “At that time, I became known as the ‘original fine art coffee painter,’ and my story appeared in newspapers and TV all around the Northwest.”

Planetory by Paul Henderson, guest artist at Wenaha Gallery.

Planetory by Paul Henderson, guest artist at Wenaha Gallery.

Henderson’s coffee paintings — which use both regular and decaf, and whatever brand of coffee he happens to be drinking at that time — remain consistently popular, capturing Americana themes including both wildlife and western. He has shown at grand openings of many Nordstrom coffee bars as well as at Starbucks, and he offers both originals and prints through his studio and at local coffee bars.

Henderson’s philosophy of art, in short, can be expressed in one simple sentence:

Don’t limit yourself.

“I’ve drawn since I could walk,” Henderson says, “and I’ve been painting for 42 years.”

With a skill repertoire that ranges from highly detailed, almost photo-representational wildlife to dreamily hued abstract, Henderson is not circumscribed by any subject matter, and not only does he create Native American art as well as planetary fantasy, he also incorporates the two. In the same manner, his floral and landscape representational works dance in a background of abstract. It is all part of the spirit of exploration and adventure, an insistence upon not being boxed in, nor expecting his viewer to be so.

Forest Glow by Paul Henderson, Wenaha Gallery guest artist.

Forest Glow by Paul Henderson, Wenaha Gallery guest artist.

“I am free to create anything, to experiment and have fun along with the learning,” Henderson explains. “Art really comes from within the artist and expresses it in the physical.”

Henderson has exhibited in shows and galleries throughout the west, including Reno, Nevada, Hawaii, and California, and at one point was contacted by a gallery in Hawaii asking if he would paint a falcon to be presented at a private showing for the king of Saudi Arabia.

Autumn Glow by Paul Henderson, Wenaha Gallery guest artist.

Autumn Glow by Paul Henderson, Wenaha Gallery guest artist.

He has studied under Don Crook, affectionately known as the “Rockwell of Western Art,” and attended workshops by pastel and portraiture artist Daniel Green. His learning, his creating, his innovation and research — including classes on animal anatomy and taxidermy to give him a better understanding of his subject matter — have revolved around a schedule that involves full-time employment in a different arena than art. After hours, it’s time to create.

“My studio is in my home — I use one bedroom, half of the family room, and store in the garage — I also blitz on large projects in the garage where I take the cars out and go at it.”

There is a reason that the movie, “Julie and Julia,” resonated so much with Henderson — he really does approach life with an international flair.

Wenaha GalleryPaul Henderson is the featured artist at Wenaha Gallery’s Art Event from Saturday, April 4 through Saturday May 2, at Wenaha Gallery, 219 East Main Street, Dayton, WA. There is an artist’s reception April 4, from 1-4 p.m. Free refreshments will be served, and Paul plans to create one of his coffee paintings during the reception.

Contact the gallery by phone at 800.755.2124 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 at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

Crazy about Art — The Eclectic Paintings of the Blue Mountain Artist Guild

An eclectic show of various media, subject matter, and art styles by the Blue Mountain Artist Guild, at Wenaha Gallery

An eclectic show of various media, subject matter, and art styles by the Blue Mountain Artist Guild, at Wenaha Gallery

There are so many misconceptions about artists, the most pronounced being that they are solitary creatures, reluctant to appear in daylight, preferring instead to lurk like hermits in their attic-loft studios.

Chickens, original watercolor by Sylvia Beuhler of the Blue Mountain Artist Guild, Dayton, WA, showing at the Wenaha Gallery.

Chickens, original watercolor by Sylvia Beuhler of the Blue Mountain Artist Guild, Dayton, WA, showing at the Wenaha Gallery.

Outside of mass media interpretation, however, artists are people like any other, and many of them enjoy assembling to socialize and encourage. One such group is The Blue Mountain Artist Guild of Dayton, WA, consisting of some dozen painters, who gather monthly to provide new artwork for the community — which they hang at the Delaney Building near the library and the Dayton General Hospital lobby.

“Our meetings are generally informal, sometimes a program is presented, and we always discuss the inspiration for our latest work and any special technique or process used in its creation,” according to Meredith Dedman, current president of the group, who, with  longtime area resident Vivian McCauley, co-created the BMAG in 2008.

Number 500, original watercolor by Meredith Dedman of the Blue Mountain Artist Guild, at Wenaha Gallery.

Number 500, original watercolor by Meredith Dedman of the Blue Mountain Artist Guild, at Wenaha Gallery.

“We had both belonged to art associations in Arizona and Florida, and we missed the camaraderie and inspiration when a group of artists get together,” Dedman explains.

That camaraderie these days revolves around the challenge of painting to a monthly theme, which the group decides upon and schedules up to a year in advance. This year’s challenges range from Something Red — to be shown in February — to Collage in April, Caricatures in October, and Toys in December. Summer’s challenge, in July and August, requires each artist to paint from the same reference.

Evening Meal, original acrylic painting by Brenda North of the Blue Mountain Artist Guild, at the Wenaha Gallery.

Evening Meal, original acrylic painting by Brenda North of the Blue Mountain Artist Guild, at the Wenaha Gallery.

“I was excited when I joined the Guild to find that they had a ‘theme’ for each month’s display of paintings,” member Brenda North says. “It was good to have fresh ideas and feedback from other artists.”

Co-member Sylvia Beuhler, who holds a Bachelor of Fine Arts and taught art in public school, initially was not as enthusiastic about the concept.

“At first, I didn’t like the theme idea,” she says, “but after about a year, I really started to enjoy playing with the theme to see what I could come up with.”

The Conversation, original watercolor painting by Michele McIntire-Smith of the Blue Mountain Artist Guild, at the Wenaha Gallery.

The Conversation, original watercolor painting by Michele McIntire-Smith of the Blue Mountain Artist Guild, at the Wenaha Gallery.

Beuhler and North join Dedman, along with Kris Takemura and Michele McIntyre-Smith, to present a guild showing of their work at Wenaha Gallery, Dayton, WA, through March 7. A reception is scheduled Saturday, February 21, from 1 – 4 p.m., with all five artists in attendance, reflecting a subject matter ranging from seascapes to chickens, in acrylic and watercolor media, the latter the preferred medium of the exhibitors.

“Watercolors can produce beautiful and sometimes unforeseen results because of the difficulty of control,” Takemura, a retired early childhood and elementary teacher, observes.

Ballerina, original watercolor by Blue Mountain Artist Guild member Kris Takemura, for the Wenaha Gallery

Ballerina, original watercolor by Blue Mountain Artist Guild member Kris Takemura, for the Wenaha Gallery

Dedman thrives on the medium, having studied under well known watercolorists such as Sue Archer, Ann Pember, Tom Jones, Pat Weaver, Diane Maxey, and Karlyn Holman. In the spirit of learning and sharing, Dedman offers watercolor classes of her own, and several guild members take advantage of the opportunity..

As is the situation with many artists, guild members paint where they can, some in designated studios, others in spaces that become studios by virtue of being made to function as one. North turned a spare bedroom into a space to create; Takemura expropriated a table in her Rec room; McIntire-Smith chose a room in her home where she looks out at, and is inspired by, the deer-filled, bird habitat adjacent to the Touchet River.

“There is never a shortage of beauty in nature where we live,” North says. “And it’s good to have fresh ideas and feedback from other artists.”

McIntire-Smith agrees, echoing the sentiments of others in the group:

“I am grateful to the other members,” she says, “for their insights and encouragement.”

So, the next time you see the crazy artist, in the movies, mumbling and muttering to himself, and plucking at his ear, remember that they’re not all that way.

Wenaha GalleryThe Blue Mountain Artist Guild is the Art Event: Pacific Northwest Feature at Wenaha Gallery from February 9, 2015 through March 7, 2015 at Wenaha Gallery’s historic Dayton, WA location, 219 East Main Street. There is a reception with the artists present on Saturday, February 21, from 1 to 4 p.m. Free refreshments provided.

Contact the gallery by phone at 800.755.2124 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 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 at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

At the Beach original watercolor by Wenaha Gallery guest artist Vivian McCauley

Prolific, Determined, and 95 — Vivian McCauley, Painter of Just about Everything

At the Beach original watercolor by Wenaha Gallery guest artist Vivian McCauley

At the Beach, original watercolor by Vivian McCauley, guest artist at the Wenaha Gallery

It sounds like a riddle that Gollum would propound to Bilbo Baggins in The Hobbit:

How does someone paint like Picasso, without painting like Picasso?

The answer, in the Shire of Dayton, WA, where fine artist Vivian Eslick McCauley has lived and painted for nearly 90 years, is this:

Barn with Wheat original oil painting by Wenaha Gallery guest artist Vivian McCauley

Barn with Wheat original oil painting by Wenaha Gallery guest artist Vivian McCauley

Both Picasso and McCauley are versatile in their art, never limiting themselves to a particular style or subject matter.And as a bonus, both artists painted into their 90s, with McCauley, at 95, still actively at work:

“My paintings are smaller now that I have moved from Dayton, to an apartment in Arizona,” McCauley says, “but I still do them and display them at my entry way or next to my door.

“Down here they have beautiful sunsets, and I’ve been painting them, along with some florals and a few Western pictures. Through the years I’ve done animals, flowers, landscapes, just whatever interests me at the time, and I’ve worked in all media. Right now, I’m focusing on pastels.”

Life slows down at 95, McCauley concedes, but that doesn’t mean it stops, and since her move to the desert two years ago, McCauley has painted both indoors and out in plein air, as well as taught a beginning watercolor class, something she would like to do again.

“I’ve taught classes in the community for years,” McCauley, who received her teaching degree in 1967 from the Laguna Beach School of Art in California, says. Although she started out in the elementary school classroom, she quickly broadened out to the adults in the area, offering classes to small groups of beginning and intermediate artists.  “Walla Walla, Tri-Cities, Dayton — I think just about every adult artist in Dayton can verify that they took lessons from me.

“Sometimes I would travel to the Tri-Cities and just stay, teaching classes throughout the week — drawing, portrait, oil, pastels — I taught all of them.”

Daffodil Pitcher by Wenaha Gallery guest artist Vivian McCauley

Daffodil Pitcher by Wenaha Gallery guest artist, Vivian McCauley

For McCauley, who farmed and raised her family in the Dayton area, art worked itself around daily life, but it always had a way of making itself known: through the years, McCauley painted public art for the Columbia County Fairgrounds; volunteered with the local art club to run the art department at the fair; and spearheaded the Columbia County Mural Society, which in the mid-90s commissioned muralist Robert Thomas to sketch out the mural outlines, that McCauley, and the dozen-plus members of the society, then painted in.

Abstract Mixed Media by Wenaha Gallery guest artist Vivian McCauley

Abstract Mixed Media by Wenaha Gallery guest artist Vivian McCauley

In 2008, McCauley joined forces with Dayton resident and artist Meredith Dedman to create the Blue Mountain Artist Guild, bringing rebirth to the area’s flagging art club, and within a short time, she arranged for local art to be in the public eye: Guild members create regular displays at the Delaney Building, next to the public library; the Liberty Theater; and most recently, the hospital.

“Vivian is very dogged when she sets her mind to it,” Dedman says. “She talked to the CEO and the board members and kept at it, and now we have a space in the entryway and the hallway. People love it.”

Regarding McCauley’s art, Dedman says, “Art is such a passion with Vivian, and she has such a good eye. She’s always been interested in taking a new class and learning something new.”

Through the years, McCauley has studied under noted artists such as Merlin Enabnit, Robert Wood, Frank Webb, Morten Solberg, and Barbara Nechis, defining and refining a style that is predominantly representational, with a nod now and then to the abstract. An interest that started with her first award, in first grade, and the assurance that she has a “God-given talent for art,” has led this prolific painter to show, sell, and teach her art wherever she finds herself. Intriguingly, she has done all of this without ever having enjoyed a proper art studio.

“I wish I could have had a studio,” McCauley says with a sigh. “I painted in the garage, sometimes on the patio, and sometimes on the kitchen table, depending on the weather. This means that when it was cold outside, I painted inside!”

Now, she paints in a small apartment, still with no proper studio, but also still with the dogged, indefatigable attitude that Dedman observed.

“I’m 95,” McCauley says.”But I just try to ignore that 95 and do what I can.”

Wenaha GalleryVivian McCauley is the Art Event: Pacific Northwest Artist at Wenaha Gallery from January 12, 2015 through February 7, 2015 at Wenaha Gallery’s historic Dayton, WA location, 219 East Main Street.

Contact the gallery by phone at 800.755.2124 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 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 at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

 

 

 

Bend in the River, original oil painting by Wenaha Gallery Artist Jim McNamara.

Mountain Man Painter — The Landscapes of Jim McNamara

Bend in the River, original oil painting by Wenaha Gallery Artist Jim McNamara.

Bend in the River, original oil painting by Wenaha Gallery Artist Jim McNamara.

Jim McNamara is a man who moves mountains, because that is what landscape painters do.

“Cameras can do a better job at exact duplication,” the Walla Walla fine artist says, “but one of the great advantages of being a painter is the freedom to move elements around to suit the needs of the composition. So if a tree isn’t where I want it to be, I move it.”

McNamara, whose day job until retirement 15 years ago was in public education as a school psychologist, has been drawing and painting all his life, thanks to a bunch of determined women:

Dirt Road, Big Sky by Wenaha Gallery Artist Jim McNamara

Dirt Road, Big Sky by Wenaha Gallery Artist Jim McNamara

“The nuns at St. Bridget Elementary in Omaha saw a spark in me and coaxed my parents into sending me to summer school at Joslyn Art Museum when I was barely old enough to ride the bus,”  McNamara remembers. Art classes continued in high school and college — interspersed with courses in English literature, counseling, and school psychology — and specialized workshops followed throughout adulthood, as McNamara studied under some of today’s outstanding outdoor painters: Jim Lamb, Ned Mueller, Ken Roth, Matt Smith,  John Budacin, and Ralph Oberg.

The result of all the study, eclectic interests, and hard work has been McNamara’s unique style, blending brushstrokes with realism, plein air with studio work, a painterly attitude with attention to detail:

“My colors and shapes are broadly realistic but I prefer to employ a ‘painterly’ style,” McNamara explains. “I think painting is more interesting and involving if it leaves something to the viewer’s imagination.

“I like to see brushstrokes in a finished painting: it adds a textural dimension, and makes the work more fun to look at close up.”

McNamara, who prefers oil but forays into watercolor on occasion, is a consummate landscapist, focusing on broad, sweeping images of the Pacific Northwest and West, which he captures both on scene — en plein air  — and in his studio, inside an old house, built in 1900, with the high ceilings and quantity of windows that prompt other artists to sigh with envy.

“Where I paint is what I imagine was once the master bedroom,” McNamara says. “There are paintings on the walls, as well as art books, paints and brushes set up. I have an iMac with four or five thousand images to keep my mind occupied in the winter, when it’s hard to get outside.”

Trailhead View by Wenaha Gallery artist Jim McNamara

Trailhead View by Wenaha Gallery artist Jim McNamara

With such an ideal set-up, one would think that McNamara would stay in the studio all the time, content with the absence of rain and wind, but the Great Outdoors seductively calls,  and McNamara has painted en plein air from the Rockies to the coast, covering most of the western states in his travels with his wife. His favorite painting experiences involve backpacking to some remote location, setting up his easel, and painting directly from nature.

“Painting outdoors produces the most accurate color and the most spontaneous result,” McNamara says. “But because outdoor conditions are not always ideal in the Northwest, especially in winter, I do rely on reference photographs, which are always taken by me.” Hence, the iMac, with its 5,000 images.

While in the earlier years of his full-time painting McNamara entered juried shows and competitions throughout the  region — the Wallowa Valley Festival of the Arts and the former Walla Walla Carnegie Art center, the latter where he won People’s Choice Award and sold the painting the same day — the artist now concentrates his time on as much painting as he can get in. Most of his sales generate from his home studio, The Fort Walla Walla Winery on Main Street, or Wenaha Gallery in Dayton, with one of the most pleasurably memorable sales being to a collector in France, in Walla Walla for a wine tasting — from one area known for its wines, to another.

“I think representational art always makes a statement because it regards its subject as important and significant,” McNamara reflects upon what he does. “Just the act of intensely looking at a subject for the sometimes lengthy time required to render it gives it significance.

“I believe the natural world deserves being looked at intensely and wordlessly.”

Wenaha GalleryJim McNamara is the Art Event: Pacific Northwest Artist at Wenaha Gallery from December 16, 2014 through January 10, 2015 at Wenaha Gallery’s historic Dayton, WA location, 219 East Main Street.

Contact the gallery by phone at 800.755.2124 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 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 at 219 East Main, Dayton; phone 509.382.2124; e-mail art@wenaha.com.

This article was written by Carolyn Henderson.

Spalted Maple Bowl by Wenaha Gallery guest artist Craig Hardin

Don’t Burn That Wood! Turn It into Art — the Wood Sculpture of Craig Hardin

Spalted Maple Bowl by Wenaha Gallery guest artist Craig Hardin

Spalted Maple Bowl by Wenaha Gallery guest artist Craig Hardin

 

As winter sets in and the days — and nights — get colder, a warm, merry fire in the hearth cheers the hearts of most. But for woodworker Craig Hardin, who turns wood on a lathe to create bowls, platters, lidded boxes, wine stoppers, bottle openers, and Christmas ornaments — fine hardwood has better uses, and a longer life ahead of it, after it has been through his capable hands.

“It is rewarding to turn a piece of hardwood into a bowl that someone will appreciate for years instead of burning it in their stove,” the Vancouver, WA woodworker says.

“There are many different types of hardwood to work with, and they each have unique characteristics.”

Birdseye Maple Wine Stop by Wenaha Gallery guest artist Craig Hardin

Birdseye Maple Wine Stop by Wenaha Gallery guest artist Craig Hardin

Whether a block of wood finds new life holding jewelry or keeping air out of the wine depends upon the wood itself, which in its own way speaks to Hardin — along with friends, family, and a growing list of clients — to determine what the final piece of functional art will be. For now, Hardin’s day job is at an electric utility company, and in his off time, he focuses on wood, with a significant amount of energy being devoted to finding it first, before ever he turns his attention to repurposing it:

“I cut and dry most of the hardwood myself that I turn. Friends and neighbors donate hardwood trees that they are removing from their property, and occasionally we come across a development where they are removing the trees. After asking permission, we are allowed to acquire some very nice hardwood for our use.”

An unusual, but rewarding source of exotic wood from other countries is the humble shipping pallet, and when Hardin finds a hardwood treasure in his forays to the Port of Portland, he jumps on it, not, perhaps, literally, but with decided enthusiasm.

“It’s so rewarding to recycle the hardwood in these pallets into amazing pieces of artwork,” Hardin says.

Small Birdhouse by Wenaha Gallery guest artist Craig Hardin

Small Birdhouse by Wenaha Gallery guest artist Craig Hardin

Black walnut, cherry, locust, maple — these are trees that are familiar to many, and the wood from them possesses a beauty that enhances any art item into which they are turned. Also in Hardin’s arsenal are ebony; madrone, or bearberry, which is native to western coastal North America from British Columbia to California; and camphor, described by the website Eat the Weeds as “cinnamon’s smelly cousin.” Native to Japan, China, and North Vietnam, this “exotic pest plant,” increasingly being planted on this side of the Pacific, is a favorite with woodworkers for its red and yellow striping.

Spalted maple, out of which Hardin has fashioned decorative bowls, features dark contrasting lines and streaks resulting from, of all things, fungus, and the challenge is allowing the wood to decay for as long as possible — to increase the complexity of design — but not so long that the material is weakened.

Zebra wood, which describes its appearance as opposed to its source, features strong dark stripes on a light background. Recently, Hardin donated a zebra wood wine stopper and pewter-headed bottle opener to a private nonprofit fund raiser for a Haitian children’s relief fund.

“Much of my work is shared with family, friends, and nonprofit organizations,” he says.

While at the moment, Hardin considers woodturning a pleasant hobby, in the future, after retirement, he plans to devote more time, and space, to re-creating new items out of the forest’s bounty.

“Currently, my studio is our third car garage bay at our house,” Hardin says, “but down the road we’ll have a dedicated space for a wood shop.”

The whole adventure began three years ago with a used lathe from Craig’s list that Hardin’s wife gave him for Christmas, but, “after the motor failed from my using it so much, we decided to purchase a new lathe.”

The new lathe has been receiving happy and generous use, and the consistent and varied supply of raw material on hand enables Hardin to continue experimenting, creating, and fashioning whatever the wood demands to be.

“Wood turning is unique,” Hardin says. “Each individual piece presents its own challenge, and reward.”

Wenaha GalleryCraig Hardin is the Art Event: Pacific Northwest Artist at Wenaha Gallery from November 28 through December 27, 2014. He joins College Place, WA, watercolor artist Hiroko Cannon at an artist’s reception Friday, November 28, 2014, at Wenaha Gallery during Dayton’s annual Christmas Kick-off.

Meet Hardin at the evening reception, from 4-7 p.m., and enjoy good company, fine art, and free refreshments at Wenaha Gallery’s historic downtown location, 219 East Main.

Contact the gallery by phone at 800.755.2124 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,  located in historic downtown Dayton, Washington,  is your destination location for Greenwich Workshop Fine Art Prints, professional 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 at 219 East Main, Dayton; phone 509.382.2124; e-mail art@wenaha.com.

This article was written by Carolyn Henderson.

Hiroko Cannon drawing of Great Blue Heron in Brown Grass at Wenaha Gallery

Life Outside the City Really Is for the Birds — the Wildlife Art of Hiroko Cannon

Hiroko Cannon drawing of Great Blue Heron in Brown Grass at Wenaha Gallery

Great Blue Heron in Brown Grass by Hiroko Cannon at Wenaha Gallery

The world of birds is thoughtful, peaceful, meditative, a far cry — or chirp — from the hustle and noise of Osaka and Tokyo, Japan, two metropolises known for their economic and commercial activity.

Fine artist Hiroko Cannon, who now calls Pendleton, OR home, was for many years a commercial and graphic designer in Japan’s two largest cities, creating illustrations for department stores during the day, and studying under her dream teacher, noted fashion and figurative illustrator Setsu Nagasawa, at night — that is, when she wasn’t still completing drawings for work:

“It was very hectic — projects came in the morning for the next morning’s newspaper,” Cannon remembers. “I would finish the drawings in the afternoon and wait for the first proof prints to come out for me to check. After the second and final checks I was free, to catch a taxi to go home in the middle of the night.”

And the next day, it started all over again.

Swainson's Hawk by Hiroko Cannon at the Wenaha Gallery

Swainson’s Hawk by Hiroko Cannon at the Wenaha Gallery

The quantity of work required, at the speed it demanded, was an art school all its own, and this in conjunction with studying human figure drawing and watercolor painting at the prestigious Setsu Nagasawa Seminar pushed Cannon to finesse her skills, and accuracy, in drawing.

“How to quickly catch the human movement on paper was one of Nagasawa’s curriculum, which I enjoyed a lot,” Cannon remembers.

In 1985 Cannon immigrated to the United States, and while she continued to produce illustrations and write articles on a freelance basis for women’s magazines in Japan, life changed from hectic to busy, simply because Pendleton, at its most frenetic, is not Tokyo. In the midst of raising two children, Cannon took a break from art, exchanging painting  for chauffeuring:

“Both children were heavily involved in music and required lots of shuttling to and from practice sessions, performances, and other activities,” she explained. But life goes on and children grow up, and when Cannon’s youngest child hit high school and began driving, Cannon knew that it was time to pick up painting again.

It was sheer happenstance that Cannon turned her skill, background, passion, and expertise to birds, sparked by a donation request from Lynn Tompkins of Blue Mountain Wildlife Rescue, who asked if Cannon would create a painting for the organization’s annual auction. Always a bird lover, as well as a strong supporter of the area’s non-profit organizations, Cannon agreed.

Redtailed Hawk by Hiroko Cannon at the Wenaha Gallery

Redtailed Hawk by Hiroko Cannon at the Wenaha Gallery

The public’s enthusiastic reaction to that first painting took its creator by surprise. Quickly sold for a good price, the painting sparked comments from others at the auction, who wanted to know where they could purchase more of her work. Cannon painted more originals which she reproduced as fine art prints, selling them briskly at the Pendleton Center for the Arts. Twice, Cannon walked away with the coveted People’s Choice Award at the center’s Open Regional Exhibit, and the demand for her work continued to increase. She then added greeting cards to her offerings.

Now working out of her house, which she uses as her work and storage place, Cannon explores the intricate detail and coloration of nature around her, concentrating on the big world of small things: birds, in their habitat; insects; spiders; flora; and the occasional snake. Her style is delicate, yet firm; accurate in detail; capturing the personality of her subject matter through its pose, or the expression upon its face. There is a sense of peacefulness far removed from sights and sounds and demands of a huge city.

“Looking back on my life in Tokyo, it was not for me anymore,” Cannon muses.  “Now, with my paintbrush, I am gently and slowly observing nature, including my life.”

Wenaha GalleryHiroko Cannon is the Art Event: Pacific Northwest Artist at Wenaha Gallery from November 17 through December 15, 2014. She joins Vancouver, WA, wood artist Craig Hardin at an artist’s reception Friday, November 28, 2014, at Wenaha Gallery during Dayton’s annual Christmas Kick-off.

Meet Cannon at the evening reception, from 4-7 p.m., and enjoy good company, fine art, and free refreshments at Wenaha Gallery’s historic downtown location, 219 East Main.

Contact the gallery by phone at 800.755.2124 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,  located in historic downtown Dayton, Washington,  is your destination location for Greenwich Workshop Fine Art Prints, professional 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 at 219 East Main, Dayton; phone 509.382.2124; e-mail art@wenaha.com.

This article was written by Carolyn Henderson.