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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!

 

 

Great Horned Owl painting on feather, by Wenaha Gallery guest artist Deborah Otterstein

Featherlight Touch — The Wildlife Art of Debra Otterstein

Great Horned Owl painting on feather, by Wenaha Gallery guest artist Debra Otterstein

Great Horned Owl painting on feather, by Wenaha Gallery guest artist Debra Otterstein

Frequently, our biggest life decisions are the result of little things.

For wildlife artist Debra Otterstein, her determination to paint intricate animal portraits on domestic turkey feathers came about because of

  1. her lack of success in home economics and
  2. guilt.
Calliope Hummer by wildlife artist Debra Otterstein

Calliope Hummer by wildlife artist Debra Otterstein

“I did not find art when I was young, nor did I know that I would be a wildlife artist; I had to discover art,” the Cove, Oregon painter says. In high school, when presented with the elective choice between home economics and art, she chose the latter, because her earlier foray into the former “didn’t go so well.” Quite fortunately, she was not doomed to repeat the experience.

“The first day I picked up a piece of charcoal and started to draw, my life changed, and art has been with me ever since.”

A subsequent associate of science degree from Boise State University led Otterstein to eventually adopt a dual identity — medical coder by day and wildlife artist by night — and although these two pursuits seem at variance with one another, they are surprisingly compatible:

“Both are very detailed endeavors, both take into account anatomy, and both require that you spend many hours  working alone after doing much research,” Otterstein explains.

If you’re wondering by now where the guilt factors in, it has to do with Otterstein’s brother-in-law, who regularly found photos he wanted to see developed into paintings.

“One day he brought me the strangest eagle photo and he wanted me to create, using this reference, a very large painting,” Otterstein recounts. “This photo did not inspire me, and I could not bring myself to do as he asked, so I painted a tiny painting.

Cougar Cub, by Debra Otterstein

Cougar Cub, by Debra Otterstein

“Then I felt guilty.”

A second attempt resulted in further dissatisfaction, and more guilt. Daunted by the prospect of permanent mental turmoil, Otterstein decided that the third time would definitely be the charm.

“I knew I needed something really fun and interesting, so I painted an eagle on a feather.

“My guilt went away, and I found feather painting.”

It is an unusual substrate, one that requires intense concentration, unlimited patience, a steady hand, and a light, yet firm approach. Viewers and purchasers of Otterstein’s work observe that she paints with a feather-light touch, capturing special wildlife moments on a canvas of feathers. One of the first questions many people ask is where she gets the feathers upon which she creates her art.

“I am an upcycler, as I use domestic turkey feathers,” Otterstein explains.

“Many people do not realize that there is a law that protects bird feathers and nests: it is called the Migratory Bird Treaty Act of 1918. This act makes it illegal to possess feathers and nests.” Designed to prevent decimation by commercial trade in both birds and their feathers, the act lists some 800 species on its protected list, which pretty much means that, unless the feather is from a domestic bird (turkey, chicken, or duck), or from a non-native invasive species (sparrow or starling), it’s not something one picks up, or paints on.

The Otterstein painting which wildlife artist Terry Isaac calls "a Masterpiece."

The Otterstein painting which wildlife artist Terry Isaac calls “a Masterpiece.”

With collectors throughout the United States, as well as in international locales as far flung as Australia and Qatar, Otterstein works closely with some of the top wildlife artists in the world: John Seerey-Lester, Terry Isaac, Daniel Smith, and John Banovich. Isaac labeled one of Otterstein’s works — depicting, on traditional canvas substrate, a cougar crossing a river — “a masterpiece.”

“From these top artists, I have learned the importance of always conducting research before I start to paint, by doing field work and studying the physical appearance of each creature and its environment,” Otterstein says.

“I have learned that this is truly the best part of being a wildlife artist.”

In the 14 years that Otterstein has participated in the Wallowa Valley Festival of Arts at Joseph, OR — one of the premiere art exhibitions of the Pacific Northwest region — she has garnered numerous awards, including multiple First and Second Places, and People’s Choice. Other accolades include being named gallery featured artist in Baker City, OR, and receiving the Artist of the Year Award by the Eskridge Family Trust.

But what matters most to Otterstein, she emphasizes, is the subject matter — the wildlife with whom we share this planet, and which depends upon us to maintain a harmonious, peaceful, coexistence. If she can capture the viewer’s attention and evoke a sense of awe, then she has truly succeeded.

“By using a feather as my canvas, it symbolizes the balance of how delicate nature is, but also how strong it must be to survive.”

Wenaha GalleryDebra Otterstein is the featured Pacific Northwest Art Event artist from Monday, September 12 through Saturday, October 8.

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 at 219 East Main, Dayton, WA.

 

A hand-thrown pottery Brie baker, with curled handle, by Rose Quirk

Timeless Fashion: The Functional Pottery of Rose Quirk

A curved, hand-built pottery platter by Rose Quirk, Wenaha Gallery guest artist from Richland, WA

A curved, hand-built pottery platter by Rose Quirk, Wenaha Gallery guest artist from Richland, WA

Human beings are not machines.

Sounds sort of obvious, doesn’t it? While the statement would make a fine social media meme — short, punchy, rhyming, and good for a share or two and 7.5 seconds of fractured reflection — it makes a point well  worth comprehending:

Human beings are not machines.

A hand-thrown pottery Brie baker, with curled handle, by Rose Quirk

A hand-thrown pottery Brie baker, with curled handle, by Rose Quirk

And when those human beings are artists, creating items with their very human, very skilled hands, the resulting craftsmanship is not designed to be found, shrink-wrapped, in a child’s meal.

“Each piece I create is unique, handmade, and even pieces that are part of a set can be different,” says Rose Quirk, a ceramic artist from Richland who specializes in functional wheel-thrown and hand built pottery.

“Mugs are slightly different sizes; the glaze on each piece is unique and has its own personality. This is both wonderful, and challenging.”

Consider, for example, a stack of dinner dishes, she adds. They must, and do, stack evenly, but part of their singular, unparalleled charm is that they do not look like precisely the same piece, eight times over. Before approaching the wheel, Quirk meticulously weighs out the clay, apportioning an equal amount for each item. One after another a plate is shaped on the wheel, guided by steady hands that, after more than 20 years, know what “feels” right. A ruler measures and confirms the final step. The resulting dinnerware, while close in size and shape, is far from being a clone.

Fractured Fish ceramic wall art by Rose Quirk

Fractured Fish ceramic wall art by Rose Quirk

“Because each piece is hand-formed, there’s not going to be that exactness that you get in commercial pottery,” Quirk explains. “There are ways to control it without using a mold, but you can’t control it exactly,” nor should this be the driving focus.

“You can go to Walmart and buy a mug for a dollar, but when you spend $25 or $30 on a hand-thrown mug, you appreciate the aspect of its being hand-thrown.”

Such attention to detail, in conjunction with an understanding that nothing is 100 percent predictable, reflect the duality of Quirk’s professional background: a biochemist who has worked for medical and pharmaceutical firms throughout the nation, Quirk concurrently pursued her interest in pottery. Upon moving to Washington State with her husband (“I think we’re here permanently, now”), Quirk focused her attention on the art side of things.

Interior and exterior views of large pottery serving bowls by Rose Quirk

Interior and exterior views of large pottery serving bowls by Rose Quirk

“Science and art have frequently gone hand in hand for me,” Quirk says. “There is a strong correlation between the visualization skills needed to see and understand chemical elements and molecules and the art of creating a three-dimensional piece of pottery.”

Precision, experimentation, observation, research, creativity — a host of elements come to play as Quirk works in her 500-square foot home studio, where half the room is devoted to throwing and firing clay (“This can be quite messy . . . “) and the other half is devoted to finishing, including the addition of embellishments such as collage and fiber.

With an eye on food an entertainment trends, Quirk combs through Pinterest for ideas, which she then transforms into signature, trendy pieces of timeless appeal: a delicately curved, hand-formed platter to hold hors d’oeuvres and finger foods; a shallow dish for creamy Brie cheese; a gently sloping, texturized serving bowl that looks as good everyday on the coffee table as it does in the middle of a holiday gathering. The glazes are rich, warm, earth-toned, and perpetually in vogue.

Celestial Dream ceramic wall art by Richland, WA artist Rose Quirk

Celestial Dream ceramic wall art by Richland, WA artist Rose Quirk

“My art is in kitchens all across the Mid-Columbia,” Quirk says. “It is to be handled, used and enjoyed every day.”

A member of the Allied Arts Association in Richland, Quirk is a longtime board member who serves as the Featured Artist Chairperson, responsible for setting up and managing the exhibits that rotate through the facility’s 1800 square feet of gallery space. In 2015, she was honored by receiving the coveted Szulinski Award, recognizing artists who have distinguished themselves by their excellence of craftsmanship in a three-dimensional medium.

Such recognition is always positive, but for Quirk, an even greater joy is the creation of her work,  melding science with art, and finding that harmonious balance of individuality with congruity. An achievement like this, she notes, is lasting success.

“It has always been my goal to create beautiful, one-of-a-kind, functional pieces.”

Wenaha GalleryRose Quirk is the featured Pacific Northwest Art Event artist from Monday, June 20 through Saturday, July 16.

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 at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

A fossil of a fish is one of the more unusual items that framer Lael Loyd has framed at Wenaha Gallery.

When Being Framed Is a Good Thing — The Importance of the Simple (or Ornate) Frame

A fossil of a fish is one of the more unusual items that framer Lael Loyd has framed at Wenaha Gallery.

A fossil of a fish is one of the more unusual items that framer Lael Loyd has framed at Wenaha Gallery.

The beauty, and frustration, of history are the differing opinions by experts regarding what actually happened. After all, since the parties involved are long gone, it’s difficult to be precise.

So it is with the history of not only painting (with researchers propounding both Europe and Indonesia as sites with the oldest works, and dates ranging initially from 10,000 to a present consensus of 40,000 years ago), but with the frames that surround the paintings. One voice in the framing world, Church Hill Classics, asserts that frames have existed since the second century B.C., when borders were drawn around Etruscan cave paintings, while the UK’s Paul Mitchell Ltd, specializing in antique and reproduction frames, pinpoints framing’s origins to the embellishment of vase and tomb artwork around that same date . . . or a thousand years earlier.

Three dimensional items are a challenge, but not an impossibility, to frame.

Three dimensional items are a challenge, but not an impossibility, to frame.

Technicalities aside, framing artwork has been around for a long time, and as any college student with posters on the wall can attest, a formal outside border makes all the difference in whether the room feels like a dorm, or a home. It enhances, it upgrades, it protects.

“For all practical purposes, it holds the guts of the frame package together, and acts as another barrier to protect the art,” says Lael Loyd, principal framer at Wenaha Gallery in Dayton, WA. “The frame is the last line of defense against the elements from the side.”

While it can be as simple as strips of barn wood (hopefully without the splinters) to the ornately crafted, gold-leaf gilded frames associated with 19th century French landscapes, the final choice, Loyd observes, strongly depends upon the artwork within.

“The frames, like the lamps, floor rugs, couches, and mirrors, should never detract from the room. We encourage each piece to be designed for what it needs, keeping in mind the environment it will live in.”

A Victorian Shadowbox incorporates items from the era.

A Victorian Shadowbox incorporates items from the era.

Like that interior furniture and decor, framing goes “in” and “out” of mode, Loyd says, explaining that the manufacturers of commercial framing keep an alert eye on the home interior market, introducing styles that are trendy without being “faddy.” Some elements, however, are like the little black dress — always perfect, and always timeless:

“Basic black, gold and silver always win . . . Browns, in a variety of tones, mahogany, black and shades of gold, silver and bronze are what I use most.”

Loyd has designed framing packages for everything from what one would expect to frame — a painting, a poster, certificates and diplomas — to the more unusual — a fossilized rock, a piece of the Torah (“No pressure there!”), a softball outfit including the ball and bat, a World War I Service Banner encased in glass on both sides. Her most challenging 3-D framing commission was her first, a Victorian shadow box that included a feather, pair of gloves, book, buttons, pocket watch, and more.

“I was terrified! I took a long time because I couldn’t wrap my head around it. I used techniques I didn’t know existed until, and in the end, it is one of my favorite designs.”

Some frames are works of art in their own right, and within the museum art world, curators are paying increased attention to this fundamental, but easily overlooked, element to the finished art package. In 2015, The National Gallery in London presented a 5-month exhibition entitled Frames in Focus: Sansovino Frames, featuring elaborately designed frames from the 16th century. It is the first in a series of exhibitions that the gallery plans on frames.

For the average person, however, what needs to be framed probably won’t be found in a museum, although this does not mean that the work doesn’t have meaning.

“I love the designs that come with a story,” Loyd says, “like a child’s refrigerator art housed in a basic frame, and the child comes in and clings to the framed piece, or the photo of a prize-winning husky, with ribbon included, and the owner brings out a Kleenex because the beloved dog has passed away and we’re now working to display a memory.

“It’s history, living history, preserved and protected for future generations.”

Wenaha GalleryFraming Extravaganza is the Pacific Northwest Art Event from Monday, March 28 through Saturday, April 23. Both ready-made frames and a select inventory of link molding (from which custom frames are made) will be deeply discounted as the gallery makes room for additional frame styles and colors.

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 at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

 

 

 

Jewelry by Wenaha Gallery artist Andrea Lyman

One-of-a-Kind, Unusually Unique — The Handcrafted Jewelry of Andrea Lyman

Handcrafted necklaces, bracelets, and earrings by Wenaha Gallery artist Andrea Lyman

Handcrafted necklaces, bracelets, and earrings by Wenaha Gallery artist Andrea Lyman

In the adroit hands of Andrea Lyman, there is no such thing as dross. Found items, vintage beads, dice, glass, metal, buttons, fabric trim, even seeds and nuts, find their way to new life and unusual expression in one-of-a-kind jewelry that genuinely lives up to that description.

Jewelry by Wenaha Gallery artist Andrea Lyman.

Jewelry by Wenaha Gallery artist Andrea Lyman.

“I’ve been making jewelry for, man, decades,” Lyman says. “I have always loved anything slightly worn with its own natural patina, and I have always loved creating beautiful things.”

Lyman’s inspiration began early, watching her mother and grandmother transforming fiber into embroidered pillowcases, crocheted doilies, table coverings, and curtains.

“I remember how much time went into making the most mundane of household items into a thing of beauty for our family to enjoy,” Lyman says, recounting how she followed the matriarchal steps of creating with fabric before expanding her scope to hand-made art cards, large bags crafted from new and vintage textiles and trims, and encaustic, or hot wax, painting.

When she turned her attention to jewelry, at first she just made things for herself, then as presents for holidays and birthdays, then — at the urging of friends, family, and other gift recipients — for sale at craft fairs and festivals, gift shops, and galleries. What started as a hobby and a means of expressing herself soon grew into a second career, one pursued concurrently with her day job as a music teacher in both public and private schools, a position she held for more than 40 years.

Jewelry by Wenaha Gallery artist Andrea Lyman

Jewelry by Wenaha Gallery artist Andrea Lyman

“I am no longer teaching in a school, but nearing retirement age (notice I didn’t say ‘retirement’ — whatever that means!), I now travel and mentor other music teachers in Waldorf schools throughout North America and a couple in South America,” Lyman says.

Presently residing in Cuenca, Ecuador — where, in her non-retirement, she serves as artistic director for the 45-member Cuenca International Chorale — Lyman incorporates exotic elements, like hand-woven basket beads from Ecuadorian artisans, into her bracelets, earrings, and necklaces. Another favorite design element is the tagua nut, nicknamed the “vegetable ivory,” and prized for its ivory-like color and texture.

Earrings by Wenaha Gallery artist Andrea Lyman

Earrings by Wenaha Gallery artist Andrea Lyman

“I love making beautiful things — period,” Lyman explains. “I thoroughly enjoy creating something artistic, colorful and unique, and especially for the jewelry, making someone else happy or feel special.”

Through the years, many people have experienced this happy, special feeling, as Lyman readily takes on commissions for life’s important occasions — a necklace and earrings to match the mother-of-the-bride’s dress, or a birthday gift incorporating colors and items meaningful to the recipient.

“I love making things specifically for others.

“I think of them all the while I am working on the piece, so the piece ends up being imbued with my attention and good intentions for that  person.

Jewelry by Wenaha Gallery artist Andrea Lyman

Jewelry by Wenaha Gallery artist Andrea Lyman

“I like to think that it is similar to an amulet or ‘medicine’ piece for them, bringing them luck, good fortune, peace, or whatever good things can come their way.”

Because she has an eye for the unusual and distinct, Lyman finds signature raw material wherever she goes, and every flea market, antique store, community market, or even yard sale is an opportunity to discover hidden gems that most people overlook. Back at her studio (“a space that is my own, filled with all of the things I need and the things that bring me delight”), Lyman pores through the drawers of her bead cabinet, which she has organized by color and shape and size.

“Something calls out to me — perhaps a color or a certain bead. I kind of let the materials tell me what they want to become.”

Part of any artist’s dilemma is that, after investing so much of their soul in a work, an eventual good-bye must be said if the artist is going to make a living at selling it.

“I only make things that I would love to wear, so I either wear all of them or none of them!” Lyman exclaims. That being said, there are pieces that, upon completion, never leave her possession, having been created for her own special occasion or specific outfit. It is at these times that Lyman feels the joy her clients experience upon possessing the perfect piece of jewelry.

“I love to play with the colors, shapes, and textures of the materials until a piece begins to create itself, guiding my hands, thoughts, and visions.

“My jewelry is truly wearable art, and each piece is unique.”

Wenaha GalleryAndrea Lyman is the featured Art Event artist at Wenaha Gallery, 219 East Main Street, Dayton, WA from Monday, August 10 through Saturday, October 3.

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.

Belle, by Wenaha Gallery artist Monica Stobie.

Life Is a Journey — The Primitive Rock Art Paintings and Sculpture of Monica Stobie

Belle, by Wenaha Gallery artist Monica Stobie.

Belle, by Wenaha Gallery artist Monica Stobie.

Some humans live for many many decades, while others measure their lifespan in moments. But all humans, whether or not they ever physically walk on the earth, leave a footprint. It is part of their journey.

A Little Attitude by Wenaha Gallery artist Monica Stobie.

A Little Attitude by Wenaha Gallery artist Monica Stobie.

For fine artist Monica Stobie, the concept of a journey is simultaneously highly personal and sweepingly universal, embodying the distinctive experience of the individual in concomitance with the lives, stories, and existence of people throughout history. Stobie, whose subject matter — and passion — is rock art, creates pastel, oil, mixed media, collage, and sculpture that draw inspiration from the petroglyphs (pictures carved into rock or stone) and petrographs (pictures drawn or painted on a rock surface) of ancient people. Raised on an apple ranch in the Yakima Valley, Stobie was attracted from a young age to the symbolism and animal imagery of Native American culture, and when, years later, she stumbled upon rock art at a site near the Snake River, she was, as she phrases is, “hooked.”

Cowbird by Wenaha Gallery artist Monica Stobie.

Cowbird by Wenaha Gallery artist Monica Stobie.

“I have traveled extensively, exploring rock art sites, which has given me an unlimited source of inspiration,” Stobie says. “I worked for several weeks one summer documenting rock art sites on private land. Having a Navajo guide provided a unique perspective on these ancient sites. “Hiking through harsh desert conditions gave me an understanding of a much more difficult time of survival for ancient peoples.”

Fly Away by Wenaha Gallery artist Monica Stobie

Fly Away by Wenaha Gallery artist Monica Stobie

Stobie translates this understanding, empathy, and fascination into two- and three-dimensional format, and over a professional art career spanning 30 years, she has evolved her technique and style through exploration of various mediums. “Originally, I worked with paper collage — kind of a paper marquetry –fitting different pieces of paper into a design, much like a puzzle.”

Constant experimentation with papers led to her discovery of Mexican bark cloth, a heavily textured paper made from indigenous tree bark that holds layers of rich pastel colors and texture. The next step was sculpture, in response to requests by various galleries carrying her work, and the most recent path is that of oil and mixed media. Throughout all the variance and experimentation, the research and exploration, however, the crux of the matter, which forms the basis of her pilgrimage through both life and art, remains constant:

“When I look at the journey, the prevailing theme of textures, primitive imagery, and animals are prominent,” Stobie observes. She loves the mystery of it all. Life is, after all, a mystery to and for all of us, with none of us knowing where the next step will lead.

Red Hills by Wenaha Gallery artist Monica Stobie

Red Hills by Wenaha Gallery artist Monica Stobie

In Stobie’s case, art has been a part of her life since early childhood, when she learned under the aegis of her grandmother, a watercolorist.  Early school experiences reinforced a fledgling artistry, when a second-grade teacher praised Stobie’s interpretation of a bird as a sign of outstanding creativity. Adulthood found her graduating from Eastern Washington University with a degree in Art Education, which she put to use for 15 years teaching junior and senior high art in Walla Walla, WA, and Milton-Freewater, OR. Moving to Dayton, WA, coincided with the decision to turn her steps to a new path, one that plumbed the adventures of independent, full time, professional fine art.

Whispers by Wenaha Gallery artist Monica Stobie

Whispers by Wenaha Gallery artist Monica Stobie

“Working in a converted bedroom turned into a studio, I began my trek to carve a place in the art world,” Stobie says.

Given her chosen subject matter, it is ironically appropriate that Stobie chooses the word “carve.” The impact she has made extends far from her Dayton venue, as she shows and sells her work to a diverse and widespread clientele.

“During the span of my career I have shown in galleries, mostly throughout the Northwest but also Wyoming, Colorado, and California. In recent years, fellow artist Jill Ingram and I managed our own gallery in Dayton.”

And now, it’s a new adventure, a new direction on the path as Stobie and her husband prepare to move to the Southwest, using this new home as a base from which to travel.

As with all of life’s experiences, some things change, while others stay the same: in a new home, a new venue, a new adventure, the studio, for now, will start out in the familiar fashion of a converted bedroom. But it’s all part of the adventure. “And so,” Stobie proclaims, “a new journey begins.” Wenaha Gallery

Monica Stobie is the featured Art Event artist at Wenaha Gallery, 219 East Main Street, Dayton, WA from Saturday, August 22 through Saturday, September 19. An Artist’s Reception is scheduled Saturday, August 22, from 1 – 5 p.m. at the gallery, during which time Stobie will be present to meet viewers and talk about her art. 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.

Bowls and Onions, original oil painting by Wenaha Gallery guest artist Deborah Krupp

She Never Did Sell Wash Rags — The Oil Painting of Deborah Krupp

Bowls and Onions, original oil painting by Wenaha Gallery guest artist Deborah Krupp

Bowls and Onions, original oil painting by Wenaha Gallery guest artist Deborah Krupp

When painter Deborah Krupp was a child, she proclaimed to the world in general that her goal, as an adult, was to sell wash rags and towels.

“Art and color and decorating and architecture have been a part of me from as early as I can remember,” Krupp, who eventually pursued a successful career in teaching, explains. “My mother would take us shopping in the department stores, and I remember holding her hand while we looked at the beautiful items, especially those in the linen department where there were red and blue and orange towels.

Impressionist Roses, original oil painting by Wenaha Gallery guest artist, Deborah Krupp.

Impressionist Roses, original oil painting by Wenaha Gallery guest artist, Deborah Krupp

“So I announced that when I grew up I was going to sell washrags and towels. It was a story that followed me through my life as my mother enjoyed telling it.”

Even though Krupp’s initial avocation declaration underwent significant change, her love for beauty, color, and artistry did not. During the years that she taught K-12, or served as fulltime librarian in the Nine Mile Falls School District outside of Spokane, Krupp lived, and taught, the internal skills that she would later draw upon in her painting.

“As an English teacher, I had the students sit and think before they started writing, and I instructed that they put their pencils down for ten minutes and just think about what they were going to do next,” Krupp remembers.

“As the year went on, the kids naturally started to put the pencils down themselves, and the classroom — which normally has its share of noise — was very quiet.

Beachy Dream, original oil painting by Wenaha Gallery guest artist Deborah Krupp

Beachy Dream, original oil painting by Wenaha Gallery guest artist Deborah Krupp

“I rather believe that this is the same need we have in art. I think much of it is a matter of thinking to get into the feel, and that you have a peace by the time you get to putting color on the paper. It’s a slow process.”

For Krupp, who began actively pursuing a dream to paint after her retirement in 2009, this process of peaceful contemplation doesn’t always run smoothly, most significantly because her “studio” is a mobile one, which she sets up in the corner of the kitchen, family room, or den.

Golden Palms, original oil painting by Wenaha Gallery guest artist Deborah Krupp

Golden Palms, original oil painting by Wenaha Gallery guest artist Deborah Krupp

“I make an announcement that I need to be uninterrupted for a time, although that rarely happens,” Krupp says. “My ideal is that I have a separate studio where I don’t feel guilty about not baking cookies or getting dinner on the table.

“I’m probably not as indispensable as I think I am, but everyone likes my cookies!”

Despite any clamor, however, the cookies must wait, as Krupp, in a burst of enthusiasm echoing the voice of her childhood, explains that she loves to “paint, and paint, and paint!” With an initial background in drawing from architecture and drafting classes that she took at WSU, Krupp advances her skills through a combination of reading and studying art and the masters, analyzing the properties of paint, and transferring what she learns intellectually to paint or canvas.

She has taken workshops with David Riedel (still life oil painting), Carl Purcell (nature in watercolor), and Diane McClary (oil impressionism) and draws upon, for subject matter, the whole wide world around her.

Wenaha Morning Mist, original oil painting by Wenaha Gallery guest artist Deborah Krupp

Wenaha Morning Mist, original oil painting by Wenaha Gallery guest artist Deborah Krupp

“There are so many colors out there and so much beauty that I don’t have enough time in the day to take it on,” Krupp says. She sets up still lifes and studies the way the light reflects off surfaces. Other times, she paints landscapes, both from photo references and memories, but always she is seeking to capture that ethereal synthesis of light with color.

“As young as I can remember, I recall staying with my grandmother, whose shades were amber. In the morning, when the sun shone through, it turned the room gold, and that early memory has influenced my life ever since — from the colors that I put into my house to the paintings that I do now.

“There is a glow and a life that I want in the painting.”

Recently moved to Dayton, Krupp is still in the process of unpacking, and though she has connected with the Blue Mountain Artist Guild, she hasn’t yet set up her painting space.

“It’s like withdrawal and I find myself a little edgy not being able to paint. I think I’m going to have to work in the kitchen again, although I hope to set up a shed we have in back, into some kind of studio.”

She just needs time, place, and a space, but the one thing that’s always there is the love for, and appreciation of, color.

“I’m always striving for that natural glow that takes you beyond reality.”

Wenaha GalleryDeborah Krupp is the featured Art Event artist at Wenaha Gallery, 219 East Main Street, Dayton, WA from Monday, July 27 through Friday, August 21.

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.

Hand thrown pottery by Roberta Zimmerman

Beautiful Lizards — The Pottery of Roberta Zimmerman at Sun Lizard Studios

Hand thrown pottery by Roberta Zimmerman

The shape, form, glazing, and decoration of Roberta Zimmerman’s hand thrown pottery pieces is inspired by Native American design

Even the most urban-based child manages to find enough dirt and water to create mud pies at least once in their lives, but for Dayton potter Roberta Zimmerman, three out of four of the sacred elements — Earth, Air, and Water — were an integral part  of every childhood summer. (Fire, she added when she was an adult.)

Hand-thrown pottery by Roberta Zimmerman

Hand-thrown pottery by Roberta Zimmerman

“I was born in Arizona, the first-born daughter of a real cowboy and a homemaker,” Zimmerman says. “We lived all over Arizona on cattle ranches and movie sets, as my father worked on all of John Ford’s western movies shot in Arizona.”

While Zimmerman’s father attended to the stuff of legends, Zimmerman focused on that legendary childhood stuff — mud pies, baked under the scorching Arizona sun. When it got too hot for inedible culinary production, Zimmerman did what any sensible child would do and ran around barefoot.

“We found Indian arrowheads just laying all over the land. Another favorite pastime was chasing lizards — it was a challenge to be fast enough to catch them!”

Such is the stuff of memories better than legends, and in Zimmerman’s life, those memories have shaped the art that she does today: hand-thrown, hand-painted pottery designed to endure (because of that Fire she added, pushing the temperature in her studio kiln to 2300 degrees Fahrenheit) as well as be used for the cooking and serving of food (definitely not recommended with mud pies).

Hand-thrown pottery by Roberta Zimmerman

Hand-thrown pottery by Roberta Zimmerman

The lizards she chased and the arrowheads she admired factor strong in the decorative inspiration she adds to her finished work, expressing her reverence for and respect of Native American art and artists.

“The works I create reflect my love of the West and the ancient people who came before us,” Zimmerman explains. “Each and every piece is thrown on the pottery wheel, so there are no identical pieces — no molds.

“The paintings are free-hand paintings, no stencils. All the glazes are lead free to be safe for dinnerware.

“It is my deep wish that folks will enjoy using these pieces I create.”

Hand-thrown pottery by Roberta Zimmerman

Hand-thrown pottery by Roberta Zimmerman

In between childhood mud pies and adult work with clay, Zimmerman’s residence in the art arena took a break as she ceded to the demands of the work world, serving 11 years as a police dispatcher and 11 years as a correctional officer at Washington State Penitentiary (she and her husband, Ralph, who also worked as a correctional officer, like to tell friends that they met in prison).

When severe back surgery in 1999 resulted in an earlier retirement than Zimmerman had initially envisioned, Ralph’s practical, yet encouraging, nature propelled her forward when he asked,

“What do you want to do?”

Pottery. The answer was out before the question was finished.

“I just always wanted to do that ever since I was a little girl,” Zimmerman says. “So I started taking classes at community college, Ralph bought me a wheel and a kiln, and I was off and running.

“I bought every book I could get my hands on and highlighted and highlighted, and just tried and tried.”

Through the years, in addition to working with white stoneware, Zimmerman has explored Raku, pit-fired, black smoked, and horse hair pottery, and she has sold her work through art fairs, regional shows, gift shops, co-ops, and at Sun Lizard Studios, the brand name for her work which she creates from her Wolf Fork home.

Hand-thrown pottery by Roberta Zimmerman

Hand-thrown pottery by Roberta Zimmerman

An inveterate learner, she has added the Internet to her repertoire of information resources, communicating online with artist colleagues in Germany, Israel, and throughout the world. Ralph, ever the encourager, owes gratitude to the opportunities technology offers, remembering the five-hour driving detour they took once in Nevada so Zimmerman could visit a potter’s studio she had heard about.

“It turned out to be a fascinating place,” she remembers.

But just as fascinating is Sun Lizard Studios, named when Zimmerman’s daughter playfully observed, “Well, Mom, you are just an old sun lizard!” In this mountain retreat, where a bear swimming in the pond or turkeys strolling through the yard replace lizards darting underfoot, the child who spent her summers slapping mud seamlessly picks up where those joyous days of abandon left off.

“Making pottery has been the fulfillment of a dream for me.”

Wenaha GalleryRoberta Zimmerman is the featured Art Event artist at Wenaha Gallery, 219 East Main Street, Dayton, WA from Monday, July 13 through Saturday, August 8.

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.

 

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.

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.