Joan Stuart Ross, Arbor, 2025, Oil, acrylic, collage on canvas, 36" x 36" x 2"

Joan Stuart Ross creates two-dimensional artworks that combine encaustic, painting, printmaking, and collage techniques. Experimenting with process and repetition, Ross creates layered visual narratives that explore natural forms and color.

She is the recipient of the Betty Bowen Award from Seattle Art Museum. Her art is in the collections of Seattle Art Museum, Tacoma Art Museum, MoNA, and National Nordic, and many other collections.

My new "Plant Based" series of paintings is inspired by the brilliant colorful bouquets from Josie's J&J Farms in Roseburg, SW Washington, and from my own gardens in Ballard (Seattle) and in Nahcotta, SW Washington. These vibrant flowers are encircling and embracing!

I photograph the blooms and combine chosen parts of their photocopies with ink drawing, oil stick and acrylic paint.

Peter Millett, Black Diamond, 2024, Painted wood, 13" x 32" x 7"

Peter Millett has been exploring the mystery of common forms since the late 1970s. Millett's journey across the world brought inspiration from costumes, vernacular architecture, and sacred monuments. Millett's abstraction is a blend of personal and global influences from ancient tile work of Iranian mosques to the textiles of Andean weavers. Millett's first solo museum exhibition Peter Millett: Built Forms, was held at the Museum of Northwest Art in 2024.

Black Diamond is an example of his masterful craftsmanship, using color and deceptively simple shapes to reveal the complexity of intersecting lines and overlapping planes.

Patty Haller, Kinship, 2022, oil on panel, 25.5" x 49.5" x 2"

My oil paintings celebrate forests as complex natural systems. Although the forest is observable and measurable, being in a forest is a spiritual experience. I love both conceptions: the science and the mystery.

During the slow process of building a painting, I think about growth. I visualize shapes upon shapes, armatures stretching into the distance, all bathed in atmosphere. I weave the shapes around one another, obscuring and framing views into the sky beyond. I think about nourishment, and how the enormous microbiomes of forest floors determine the health and character of the ecosystem. I envision life from tiny forms to epic old growth and try to approximate that world in paint.

Thinking about forest life compels me to try new paint layers, new techniques, anything to explore my subject while still creating a cohesive whole.

Lisa McShane, Winter Storms on the Island, 2025, Oil on Linen on Panel, 24" x 30" x 1.5"

I aim for a deep beauty in my paintings and skies, clouds, water, reflections and a sense of luminosity are central to my work. I want my work to breathe and to convey how beautiful this world is, though I don't paint an untouched landscape. If you look closely, you can often see wildfire smoke, a road, and the reflection of lights.

My paintings usually begin as a memory of a specific moment where the light hit me: a river, an early morning on a beach, the island where I live at low tide, the view of the mountains and rivers I love from above. I start with photographs and rough drawings, then draw directly on toned linen and add the sky using as many layers as it takes to develop depth. Lately I find I have less to say about specific places, and more to say about the embrace of light on water and land.

Steve Klein, Shelter 32 looking east, 2023, kiln formed glass, 11" x 16" x 16"

Steve Klein lives in La Conner, WA where he currently maintains a studio and makes his distinctive kiln-formed glass work.

Howard N. Fox, Curator Emeritus at LACMA stated, "Klein's work reveals sumptuousness and sensuality, the elegance and refined physicality of form, color, texture and scale are undeniably and assertively present in his sculptures. He manifests a perfect colloquy of the ideal and the real in his art."

Klein's work has been influenced and inspired by the Abstract Expressionist painters and sculptors as well as the Constructivist movement. After 25 years, Steve's work and attention has now turned to our environment, global warming and the abuses our natural world has been subjected to.

Steve's work is in the permanent collections of Museums in the US, Europe, Asia and Middle East.

Kevin Paul, Eagle Paddle, 2009, Western red cedar, acrylic paints, lemon oil, 58" x 8" x 2"

Kevin "Wa lee hub" Paul, (born in 1960), enrolled tribal member, Swinomish Indian Tribal Community; resident of Swinomish and LaConner, Washington. Kevin is a visual artist and master carver, taught Northwest Native Art in the La Conner School District from 1994 to Covid 2020. Kevin was schooled "old style" from family members, who left their skills and knowledge with Kevin. Generations of traditional Native American songs and stories passed onto him. Private and public commissioned story and totem poles.

Richard Royal, Relationship Series R91-145, 1991, Blown Glass, 18" x 9" x 7"

Work hard, have integrity, be authentic.

Richard Royal, a native of the Northwest and resident of Seattle, is recognized internationally as one of the most skilled and talented glassblowers in the studio glass movement. His sensitivity and natural affinity towards the material reveal themselves within his extensive body of work. Richard's artistic approach combines sensuality, fluidity and bold abundance to deliver gracefully attenuated pieces that speak of elegance and sculptural verticality.

Royal's work is included in renowned public and private collections worldwide including; The Mint Museum of Art + Design (Charlotte, North Carolina), The High Museum (Atlanta, Georgia), Daiichi Museum (Nagoya, Japan), the SAFECO Collection, PricewaterhouseCoopers, IBM, and the Westinghouse Corporation.

Jared Rue, Cherry Grove, 2023, Oil, spray paint, aluminum leaf on canvas36" x 48" x 2"

My work is a call to unite with nature-a reminder that trees and water are not just passive elements of our world, but vital forces that sustain, heal, and inspire us. In a period of constant noise and upheaval, I choose to portray the quiet moments of our surroundings, those fleeting instances where nature reveals its resilience and grace. These moments serve as both a refuge and a warning: a reminder of what we could lose and an invitation to reconnect before it is too late.

Paul Havas, Skagit Barn, 2012, oil on canvas, 18" x 24" x 1.5"

Paul Havas grew up in New Jersey and received a Bachelor of Fine Arts degree from Syracuse University. Drawn to the Northwest by its mountainous landscapes, he earned a Master of Fine Arts degree in painting at the University of Washington. He lived and painted on Fir Island in the Skagit Valley for fourteen years before finally settling in Seattle.

"He was passionate about geology, mountain climbing, hiking and fly-fishing, activities that immersed him in his surroundings. An intimate, immersive quality infuses his paintings even while counterbalanced by a certain reserve. We are placed within the landscape amid golden grasses or vivid cranberry fields but also detached from the geometric farmhouses and warehouses on piers. We observe them from a distance, from the other side of a rivulet or across a curve in the marina." Gayle Clemans in the Seattle Times, Sunday, March 11, 2012.

William Slater, Gate of Joinery, oil, 54 3/4" x 36 1/2"

Skagit Valley artist William Slater moved from the east coast to La Conner in the early 1970s, bringing the sensibilities of abstract expressionism with him. A studio assistant to Jasper Johns and a friend of Mark Rothko, his artistic roots were firmly planted in American Modernism which grew into a distinctive personal style informed by the environment and artistic history of the Pacific Northwest.

In the early 1970s Slater moved from New York to the Skagit Valley to be near his good friend, author Tom Robbins. Slater had met Robbins in New York in 1964, while Slater was in graduate school at Hunter College at the City University of New York. Gate of Joinery is donated by Alexa Robbins, Tom Robbins' widow, who shared: "We watched Bill work on this piece when we were neighbors. Tom liked it so much so we bought it. This painting has been in our collection for 30 years."

Hart James, Water, 2024, oil and charcoal on canvas, 36" x 36" x 1.75"

Represented by Harris Harvey Gallery

Growing up on a farm, Hart absorbed the natural world around her small child self. She spent all of her days studying the beauty, the transience, the processes and cycles, the details of construction in nature.

In her early years on the farm, she spent all the daylight hours in nature. She wandered the family farm and the adjoining farms of neighbors. It was more than 1500 acres of countryside and farmland. In these surroundings, she became attuned to the natural world in a way that seems more connected to earlier societies, than with our present-day world. She intuited natural processes that are just now being 'discovered' by modern scientists. Hart understood the infinity of space, the insignificance of man, the transient nature of life, and the omnipotent power of the life force of nature.

Hart James' paintings of forests, rushing streams, and inlets of the Pacific Northwest are created with solid bush strokes. In Water, light, color and composition create an unforgettable experience of nature.

Charles Laurens Heald, In the Beartooth Range - Signs of Life, Acrylic on canvas, 32" x 44"

A landscape artist through and through, Heald studied at the University of Washington in Seattle where he received a BA (cum laude) in 1963, and an MFA in painting in 1964. Fresh out of college, Heald was included in "Art Across America;" (1965) and the "85th Annual" (1966) at the San Francisco Museum of Art. Heald moved to Skagit Valley, Washington, in 1970. During the next four years, he was included in several important exhibitions, including "American Landscape" at the University of Washington, "Prospect Northwest" and "Skagit Valley Artists" at the Seattle Art Museum. Heald was given a retrospective at the University of Puget Sound, Tacoma, in 1983 and exhibited with the original "Skagit Valley Artists" at the Museum of Northwest Art, La Conner, Washington in 1992.

Claudia Fitch, Dress Study with Pearls, 2025, High Fire clay, paint, 8" x 18" x 8"

My current studio work is centered on ceramic traditions, exploring the ceramic object as figural and functional. Making wry commentary on the metaphor "female as vessel", I make ceramic sculptures embodying my own female form, cropped, spliced or set into functional, architectural elements and spaces, and staged to test models of femininity, brutal and humorous.

William Turner, Pill Box Interior, 1988, Oil on Canvas, 30" x 26" x 1.5"

Turner (1940-2021) grew up in Tacoma. He studied at Washington State
University and earned his Bachelor of Arts degree from the University of Puget
Sound in Tacoma in 1965. He was drafted into the Vietnam War, enrolled in the
Naval Officer Candidate School, and served from 1965-1968. After his discharge,
he traveled and hitch- hiked through Europe, Tunisia, Libya, Egypt, Sudan,
Uganda, and Tanzania and was deeply affected by Africa's rich cultures,
landscapes, and the fragility of life on the Serengeti. Turner earned his Master of
Arts degree from the University of Washington in 1973.
Turner created paintings that investigate color and form, with a rich color palette
and spontaneous and imagined forms. He painted to jazz music and his work
demonstrates rhythm, energy, improvisation, and a resolution of opposites.

Alan Fulle, Time and Space, 2018, Oils on canvas, 48" x 36" x 2"

I have exhibited my artwork in galleries across North America, including Vancouver, British Columbia, Seattle, Portland, Los Angeles, and Toronto. As an artist committed to living and working in Seattle, my work consistently demonstrates a high level of innovation combined with industrial skills. My breakthrough in combining architectural sculpture with video further documents my progress in bridging the gap between painting, sculpture and video.

While my paintings and sculptures have gained recognition in galleries, my participation in the Seattle art community is particularly noteworthy. I have been a member of the Traver Gallery and I have contributed to public art projects such as Sound Transit, Heaven and Earth, outdoor sculptures, and wood video projects.

Whether the medium is painting, drawing, photography, printmaking, or video, Alan Fulle's artwork is always influenced by the beauty of the Pacific Northwest. His art emphasizes rich colors, translucency, strong composition, and natural earth forms. His lifelong effort is to push the boundaries of painting in new ways.

Elizabeth Paige Clark, Open Window, 2024, acrylic on stretched canvas, 72" x 60" x 1.5"

Painting is a digestive process for me. Making pictures helps me metabolize change. I live in Seattle. I have a BFA in Painting from Carnegie Mellon University and an MFA from CalArts. I work in a collage-like density of layered images, symbols, and doodled abstraction. I begin with color and pattern and often a variety of source images ranging from art history to geological diagrams.

I'm inspired by color that vibrates, an atomization of parts, and a connected, visual explosiveness. I have an obsession with transformational process, specifically volcanoes, after witnessing Kīlauea erupt at night when I was three. Open Window, was inspired by Matisse's painting of the same name. It depicts an imagined moment of a view of a volcano erupting with matilija poppies on the sill.

Greg Navratil, backwoods-free-for-all, 2024, acrylic on canvas, 66" x 40" x 1.5"

Greg's abstract landscape paintings have been described as a balance between the painting traditions of abstraction and realism.

His paintings explore the abstract and chaotic qualities of nature. The work arises from inspiration found in colorful natural areas. Back in the studio, tiny, intricately placed shapes of vivid acrylic colors, reminiscent of pointillism transform the canvas, establishing a delicate balance between abstraction and realism. By moving away from traditional brushes to squeeze bottle dispensers are utilized, to create textured, pure hues that lend the work a distinctiveness.

The result is a powerful interplay of color and form that demands contemplation from both up close and a distance. These paintings remind viewers that abstraction is deeply connected to the natural world, sharing the same chaotic force and essence.

Guy Anderson, The Sacrificial Horse, 1975, Mixed media on board, 24" x 70.5"

Guy Anderson was one of The Big Four and foundation figure in the history of Northwest Art was known primarily for his oil painting that engaged mythical themes with earthy colors evocative of the regional environment. His work is in the collections of numerous museums including the Seattle Art Museum, the Tacoma Art Museum, and the Metropolitan Museum of Art. He has been called "Perhaps the most powerful artist to emerge from the Northwest School". This painting was originally sold at the first MoNA Auction to raise money to establish the museum in the historical Gaches Mansion, making it a piece of Museum History.

Anthony Turpin, Fishtown, 2025, mixed collage, watercolor, acrylic, 13" x 23" x 18"

An ode to Fishtown from Anthony Turpin, one of the foremost Northwest watercolorists. The artist shares "From my earliest recollection, the landscape was a source of wonder... my quest for control of media to make paintings of things as they are in nature - especially the wide expanses of the West and Northwest."

Mark Larson, Resilience, 2025, Oil on panel, 48" x 48" x 1.5"

As a lifelong outdoorsman, I've always been interested in the fragility and resilience of the natural world, and I have long enjoyed creating oil paintings using surreal juxtapositions to ask questions about our relationship to nature. As my work has evolved, I've recently begun looking inward at my own life experiences and memories as an additional source of inspiration. In response, I've begun using fragmentation and abstraction combined with my imaginative realist style. This was born from my art school studies of constructivist abstract painters like Tatlin and others, and from more recent experiments with disintegrated photo emulsion soaked in water. This new visual language speaks to fragility and decay, the relentless nature of change, and the passage of time.

Rebecca Fletcher, Nest, 1995, Oil on canvas, 36" x 60" x 1"

Known for her saturated and luminous oil paintings, Skagit Valley-based artist Rebecca Fletcher says, "The world is a raw and continuous marvel before which I stand ever in wonder." Her paintings show the form and color of the world.

Roy Henry Vickers, Nunsulsailus, 1997, original serigraph, #34/150, 15" x 36" x 1"

Canadian artist Roy Henry Vickers is a world-renowned printmaker, painter, carver, and designer. He has developed a unique artistic style, which is identifiable through clean lines, vivid colors, and natural themes drawn from the rugged beauty of British Columbia. Roy merges his traditional indigenous art with a contemporary style, appealing to a universal spirit. His artwork is held in museums and private collections internationally.

Vickers shared: "My canoe is named Nunsulsailus, a Tsartlip word meaning many hands: hands working together, supporting one another, and pulling together in unison to enable our canoe to travel many miles."

Dinner with Visionary Legend Patti Warashina

Enjoy an unforgettable evening as our own Executive "Chef" Director Stefano Catalani takes you and five guests through a journey of flavors and colors with an exquisite personally prepared 3-course meal. Joined by Smithsonian Visionary Artist Award winner Patti Warashina, this intimate gathering offers a rare opportunity to engage with one of the artists who, with her wit and wisdom has blazed a trail in the international artistic scene.

Hosted by architect Robert Edson Swain in its beautiful residence nested in a mystic hidden oasis on Phinney Ridge neighborhood in Seattle and featured in The Seattle Times' NW Magazine, this once-in-a-lifetime experience promises fascinating conversations, insider stories, and a night to remember. Date to be mutually agreed.

Priceless.

Dinner with Visionary Legend Patti Warashina

Enjoy an unforgettable evening as our own Executive "Chef" Director Stefano Catalani takes you and five guests through a journey of flavors and colors with an exquisite personally prepared 3-course meal. Joined by Smithsonian Visionary Artist Award winner Patti Warashina, this intimate gathering offers a rare opportunity to engage with one of the artists who, with her wit and wisdom has blazed a trail in the international artistic scene.

Hosted by architect Robert Edson Swain in its beautiful residence nested in a mystic hidden oasis on Phinney Ridge neighborhood in Seattle and featured in The Seattle Times' NW Magazine, this once-in-a-lifetime experience promises fascinating conversations, insider stories, and a night to remember. Date to be mutually agreed.

Priceless.

Brandon Allebach, Satellites and Astronauts, 2022, Acrylic on canvas, 16" x 20" x .75"

From Seattle, Washington, Brandon Allebach has been a professional artist for over 16 years. Inspired by Cubism, Catharsis, and art of the southwest, Brandon paints abstractions with acrylic on canvas. Using sharp lines and contrast, he focuses on creating depth that interweaves the foreground and background.

Brandon Allebach is proudly a part of Art Lifting, an organization that champions artists impacted by homelessness and disabilities. He is a supporter of The Lymelight Foundation, Courage Kenny Rehabilitation Institutes' "Art of Possibilities", "Art Ability" at Bryn Mawr Rehabilitation Center, and "Art for The View" at Sunnyview Rehabilitation Hospital. He has also been a local presence at the New Mexico State Fair, New Mexico Masterworks, The New Mexico Art League, and The Rio Grande Arts and Crafts Festivals.

Jane Alynn, Ancient Gristmill, 2017, zone plate photograph, gelatin silver print, 21" x 17" x 0"

I am a Northwest photographer and poet. My photographic work, extending now over 50 years, explores the natural world, the beauty and mystery of the landscape - its patterns, textures, forms, shaped and storied terrain, and its vulnerability. In my soft-focus, pictorialist-inspired work, I intend to evoke a world beyond the literal, to convey the glimmer of dream, memory, and metaphor. As with my poems, I want my photographs to create immersive experiences that draw viewers/readers into some mysteriously hushed world of reverie that evokes contemplation and, better yet, attention.

Stephanie Ames, Exquisite Detail, 2024, Brass metal point on prepared panel, 24" x 18" x 1.5"

The shifting visual experience of painting and drawing with metals - due to aging, oxidation, burnishing, and reflection is a subject matter I like to explore.

I frequently include metallic elements in my work, such as gold, silver, copper and brass. I layer thin deposits of these metals onto prepared surfaces that catch the metal in a technique that dates back to the Renaissance era. I appreciate the dimensionality and reflection that built-up lines create. Erasure is not possible with this technique making it exacting work.

Depending on where you stand and how the light reflects off the work, you will experience something different. Over time, further changes emerge as the natural aging and oxidation process of each metal develops.

Garth & Pierre Amundson-Gour, Mr. & Mr. I, 2013, altered pigment print, 19.25" x 15.25" x 1 "

Garth Amundson and Pierre Gour work as a collaborative team exploring the perceptions and politics surrounding identity and place. They address loss, memory, and queer identity; incorporating found, archival, and personal imagery, utilizing physical and digital manipulation, collage, and installation. Using collage and photo-scanning techniques, they sort, sew, and suture archived memories together to metaphorically address ideas of social construction. As artists and storytellers, they use personal histories to encourage and underscore unique visual experiences. Statistically, human rights are being challenged internationally. Given the global political slippage of those human rights, their projects underscore the necessity of making the invisible visible.

Katie Anderson, Weather lines, 2025, Oil, pastel, crayon, 16" x 20" x .5"

My paintings speak with an abstract language that is deeply personal, a language that emerges from the energy of gesture drawing, the luminosity of the landscape, and archetypes of renewal.

I'm inspired by elements that shimmer and shift in beautiful ways. I paint energy more than shape, painting what is felt as much as what is seen. Marks come together as forms. Others evaporate into the field. Each painting holds a search for a balance point between order and abandon, where the unconscious can meet the outer world. Each is my attempt at tapping into the continuum that connects us, hopeful for a glance of something larger and more elusive.


Katie Anderson is a Pacific Northwest native who feels most at home in marine air. She has a BFA from the University of Washington School of Art. Her work can be seen at SAM Gallery at the Seattle Art Museum.

Louis Anderson, Blue Pond, 2024, Watercolor, 22" x 30" x 0.75"

Louis Anderson paints mostly in watercolor. His style is impressionistic sumi executed with total confidence. Every stroke is a reflection of his whole being, rendered in his unique view of the subject. His favorite places to paint are his garden and Helga Jaques' award-winning pond. Watching Louis paint, seeing his brush dance over the paper, one is reminded of the movements in ballet. A proficient painter, he is well known in the Pacific Northwest.

He received a scholarship from Cranbrook Academy of Art and had his paintings shown in several Seattle art museums. Besides that, he participated in yearly art fairs. Louis resides now in a Family Home and painting every day keeps him young. He will be 88 in a few months.

Education:

1960 University of Washington BA , painting

Patrick Anderson, Tree: Old Growth, 2002, Pastel on gypsum plaster on wood (fresco secco), 57" x 23" x 1.5"

Born in San Francisco (1961), Patrick grew up in Northern California, where he acquired a love of wild nature and the Sierra Nevada Mountains as he developed an interest in printmaking and fine art. He studied history at New York University, where he engaged in the art world of the late 70's and early 80's East Village and Soho scene. In 1981 he moved to Seattle, where his love of wilderness and art combined to create a portfolio of prints, artist's books and pastel works inspired by the North Cascades and Washington State's diverse natural environments. Patrick has exhibited widely from the Old Print Shop, NYC, to Davidson Gallery, Seattle. He has works in the Washington State Arts Commission Art in Public Place Program, Washington State Capital Museum, Seattle Public Library, University of Washington Book Arts Collection and MoMA NYC.

Felicia Andreotta, Mountain Oasis, 2024, Oil, 24" x 24" x 1.5"

Based in Bellingham, I create paintings rooted in personal experiences and emotions, drawing inspiration from the natural beauty of the Pacific Northwest. My work focuses on atmospheric and abstract landscapes, crafted with oil and palette knives as my primary tool. Rather than relying on photographs, I start with a concept and allow inspiration to guide me, letting the paint and my subconscious shape each piece. This process imbues my work with an ethereal quality, reflecting a sense of movement and feeling.

Sharron Antholt, Inversion, 2023, mixed media on board with sunlight and magnifying glass, 9" x 9" x 2"

This piece, Inversion, is from a series called Sequence which referred to the process. Inversion was created using a number of different mediums until it seemed ready for the final step, which was a series of marks burned onto the piece using a magnifying glass and sunlight.

Jean ARNOLD, Kitzmiller View, 2020, oil on canvas, 12" x 16" x 1"

Contour lines seen in agriculture and mining describe the underlying landforms, but they also describe human use of the land. Specifically, these are marks imprinted by heavy machinery, creating industrial landscapes of the fossil fuel age. Nevertheless, these landscapes can be quite beautiful.

I grew up in the Palouse region, a major agricultural area in the Northwest. Its rolling hills and sinuous contours inspired me visually from a young age. The graphic patterns and shapes of the fields influenced me to combine abstraction and observation in my art. I lived away from the Palouse area for years but recently returned and now paint directly from this landscape as a consistent practice. I find its seasonal variations, plowed contours, and biomorphic field shapes an endless source of visual inspiration.

Susan Bagrationoff, The Sea Hag, 2023, Molding Paste and Acrylic Paint with Metallic Mediums on Canvas, 18" x 24" x .75"

I utilize the magic within my artistic soul to summon these creatures so that anyone can experience their charm and be inspired to believe in what they cannot see.

My work is conjured onto canvas using copious amounts of modeling paste and acrylic paints with multiple layers of various brushstrokes and the use of palette knife techniques. Brilliant colors and metallic hues are used to enable the faeries to emphasize their `vibe`, inspiring the viewer to discover the essence of these beings. The texture of their skin, hair and backgrounds are vital to conveying the elemental qualities of each fae. I am perpetually discovering new ways to bring my faeries to life so they can gaze upon us humans as we admire their portraits.

Karthika Baiju, Seeds of Remembrance, 2025, Oil on Indian Saree stretched over Canvas Panel, 10" x 8" x 0.125"

My series, "Threads of Memories," is a way to reclaim my South Indian heritage by painting familiar South Indian scenes and objects onto sarees passed down from the women in my family. These fabrics, infused with history, become both the medium and the canvas. At its core, my work is a continuous search for an answer to the question: "Who am I?" Growing up in Kerala, I distanced myself from my cultural roots, seeking to redefine my identity away from tradition. It wasn't until I moved overseas that I realized how much my heritage shaped me, and how deeply disconnected I was from it. In the absence of home, I have found myself searching for the textures, colors, smells, and everyday moments that once seemed ordinary but now feel sacred. The saree carries the weight of my mother's presence and the culture I grew up in. Every time I look at it, I see her wearing it and I miss her.

Suzanne Bailie, Nite Lite, 2022, Paper on board, 20" x 16" x .75"

Since childhood, Suzanne loved manipulating paper. Her first creation was a covered wagon made from orange construction paper and all the tape she could find in her parents' house. Her award-winning collages are vibrant and whimsical. Her artistic creations are described as in-your-face reality whipped together with truth and unexpected laughter.

Karen Bakke, Forest Rhodies, 2024, Oil, 24" x 36" x 1.5"

KAREN BAKKE - As the Impressionists have done, Karen Bakke enthusiastically paints vibrant and fresh en plein air paintings (outdoors, on location) and breathes that same life into her studio paintings. She is not held back by any one type of subject or medium and is persistently creating challenges for herself. Karen strives to find that certain "je ne c'est quoi" evoking a memory, a mood, or passion.

Karen resides in beautiful Sedro-Woolley, WA, "the gateway to the great North Cascades". She and her husband travel to Southern Yosemite twice a year to paint the amazing character of this lesser-visited area. Karen's professional background includes toy design, illustration and visual effects in the tv and movie industry.

Sarah Banks, Refugee slumber, 2017, Intaglio print 1/20, 8" x 10" x 0"

In 2017 I created a body of work around the numerous crises in the Middle East, including the Syrian War. My focus was the child victims of war and displacement. Unfortunately the stories in these intaglio prints are as relevant today as then and I hope they serve to reflect on the cost of conflict and children's desperate need for peace.

Craig J. Barber, Two Trees One Slough, 2020, Archival Pigment Ink on Rag Paper, 28" x 40"

Over the past few years, I have been documenting farmworkers and the work they do growing our food in Skagit County.

Ursula Barton, Frayed, 2017, Mixed Media, 6â x 4â x 1"

My Oregon roots bear much responsibility for the conception of my art career. After graduating from Pacific Northwest College of Art, I gave up my car, getting to know the weather and landscape more intimately as I rode my bike, often in the rain, over the many bridges of Portland. These commutes inspired my first collection of cityscape paintings that changed my way of working with ink and water. 2014 was the beginning of my mural career. Finding joy in the physicality of large-scale painting, I began to paint any walls and odd spaces I could find. Art and community-building are equally important to me and have been intertwined for my entire 17-year career.

Diane Baxter, Altar, 2024, mixed, 12" x 14" x 16"

I grew up in the Pacific Northwest and spent many years in Alaska. I now live in Clinton, Washington full time. I have always been drawn to the simple but complex beauty of the natural world, such as the color and texture of rocks, plants and the raw earth, as well as how the sand looks when the tide goes out or the variations in tree bark.

I had been working in the wabi-sabi style for years before I knew what it meant.

It is the Japanese concept of finding the beauty in imperfection and impermanence, especially in nature.

The interior landscapes of my mind and heart are a big part of my work.

Wesley Wehr, Neah Bay, 1995, Swiss wax crayon/oil pastel,

Inspired by his piano pupil Mark Tobey to pursue painting, Wehr earned a reputation for painting miniature landscapes that gained him wide approbation as an artist. A renaissance man, Wehr was a talented musician, archaeologist and paleobotanist, working as a curator at the Burke Museum in addition to his career as an artist. His relationship with Tobey and talent as a painter opened the door to close relationships with the other artists of the Northwest School, for whom he served as an archivist, friend, and colleague.

Jean Behnke, Folding Portal, 2015, monoprint, 20" x 36" x 1"

I make graphite drawings and also unique monoprints on a large Ettan press. The press brings unpredictable depth into the flat space of paper by merging composite layers under 6,000 pounds of pressure. Each additional printed layer brings a welcome departure from my own initial intention. I am encouraged by the idea that the press always has something to say last in the process. My approach to making art is inventive and the start of this process is motivated by my innate bearings. I am often drawn in by inherent qualities of the materials and gathered objects, and by simple impulses to combine things.

What I make in the studio seems to resolve itself on its own terms, somewhere between any of my intentions and lack of that. Although this resolution is not possible to predict, I can place things in some kind of alignment where an authentic work may happen.

Kathleen McCarty, INTERSECTION, 2024, acrylic on canvas, 48" x 36" x 1.5"

Tom Bell-Games, Untitled, 2024, Intaglio, 18" x 14" x 0.75"

My approach to each piece of artwork is completely intuitive with gestures and marks on the page eliciting a counter reaction on my part. I am interested in how organic shapes can convey or evoke emotion. My ultimate goal is to create images of interest that will trigger some sense of the Other. I am not looking for answers, rather, I am looking for questions.

Lanny Bergner, Flora Meshell #4, 2019, stainless steel mesh, wire, silicone, 7" x 16" x 11"

Lanny Bergner is an international mixed-media metal mesh sculptor, installation and basketry artist. He received his MFA in sculpture from Tyler School of Art, Temple University and a BFA in sculpture from the University of Washington. His work is in numerous museum collections including the Renwick Gallery, Smithsonian American Art Museum, Washington DC, and the Museum of Art and Design, NY, NY. Lanny's work has received many awards including a Gold Prize at the Cheongju (Korea) International Craft Biennale and the Betty Bowen Memorial Award administered by the Seattle Art Museum. In 2024 he exhibited five works in the "Iris van Herpen: Sculpting the Senses" retrospective at the Musée des Arts Décoratifs in the Palais du Louvre, Paris, France (currently traveling).

Lanny has been creating biomorphic and geometric constructions and installations out of metal mesh since 1983.

Neil Berkowitz, Truthtelling, 2024, Multilayer photographic archival pigment print on paper, 36" x 24" x 0"

Photography loves telling its big lie: it captures. Photos, it tells us, are life preserved, visual nuggets of truth, the superfoods of seeing the world as it is. It wants you to believe that photography presents, where art merely represents. Bah!

Everything we see is a made thing. Take that landscape, so sublime, and wild, and exquisitely natural. It is a made thing-even if it has never been touched by any human hands. When we see it in person we are viewing something that has been shaped by our actions, by our inactions, by the tales we have told around communal fires or turned into song or cave painting or book, by how we surrounded it or cut it off or fouled what it relies on.

Art requires questioning an interpretation--and it is up to viewers to weigh its meaning, its reliability, and how it connects with their lives.

Coizie Bettinger, Icy Winter Blue, 2024, Pastel, 14" x 14" x 1"

Every day I am filled with delight, joy, peace, or astonishment as I see our ever-changing fields, sloughs, marshes, woods, and the edges of land and water. Their ordinary, yet surprising, beauty stops me in my tracks. I paint what I see from the feelings that inspired me, but through the kaleidoscope of my imagination and tenderness. I want people to slow down in order to recognize the simple profound beauty that is everywhere, and feel the calm it shares with us. I relish the dusty feel of soft pastels in my hands and am inspired by the colored sticks spread before me. Through them I express my wonder at the beauty we "ache to be worthy of" (poet Mary Oliver).

Paul Blum, Diobsud Joy, 2016, oil on canvas, 30" x 24" x 1"

One of a series of paintings inspired by a weekend of music-making with friends in a cabin on the edge of the Diobsud Wilderness near Marblemount and my undying love of Mount Baker and the North Cascades.

Brooke Borcherding, Above the Treetops, 2022, Acrylic, 24" x 36" x 1.5"

Brooke is a full-time award-winning artist working out of Wallingford, Seattle, Washington. Her acrylic landscape paintings depict familiar places in her own innovative and deconstructive technique using broken color mark making. She paints both en plein air and from photos in the studio, aiming to capture the beauty of everyday places with a style to stimulate our perception. Although she earned her BFA from the University of Oregon in 2010, she considers herself a self-taught artist when it comes to landscape painting as most of her "brush miles" come from a prolific output, working from observation and abstaining from any landscape workshops.

Over the past decade as an exhibiting artist she has become nationally collected, and shows in numerous galleries in the Pacific Northwest.

Janel Bragg, Coastal Dreaming III, 2022, casein and watercolor on paper, 20" x 22"

Janel is a painter from Anacortes, Washington. She is currently represented by Bridgeman Images with offices in London, Paris, New York, Bologna and Berlin and Image Conscious in San Francisco. She received her education from Skagit Valley College, Washington State University and completed an internship at Dorling Kindersley Publishing in New York, NY. She is currently working on a Certificate in Botanical Illustration from Cornell University. Janel is making art her lifelong pursuit and continually studies composition, color theory and art history.

Carly Brock, Joe Leary Slough, 2025, Oil on Linen, 20" x 20" x 2"

Brock was born and raised in the Skagit Valley. This lush corner of Washington State is alive with agriculture as well as artistic culture, which drew Brock's parents to the area in 1985. Her father, Joel Brock, cultivated a successful career as a landscape painter in the area. Carly Brock graduated with a Bachelor of Arts in Painting from the University of Puget Sound in 2016 and went on to teach art at several non-profit organizations in Los Angeles. A big move was made to the mountain town, South Lake Tahoe, in 2021 to pursue painting full-time. Whether in the Pacific Northwest or the Sierra Nevada, personal attachment to place has always fueled the inspiration behind Brock's work. She uses plein air practices to inform her studio work and help capture feelings of nostalgia, familiarity, and awe in her landscapes.

Julia Brodsky, Room divider Maze, 2025, wooden frame, canvas, spray print, penci, 60,25" x 52" x 0,75 "

My work goes beyond traditional mediums, including installations, objects, and conceptual paintings. I blend representative and abstract elements, letting shapes disappear and pop up again. I explore how emotions and behavior are shaped by different influences, how memories of the past affect the present, and how they create anxiety about the future. I'm drawn to the way light interacts with nature, revealing connections between the environment and living beings. My work isn't about critique but about reflecting on the search for stability, rest, escape, and the idea of home. By shifting the roles of objects and spaces, I explore how we experience emotions, culture, and physical reality.

At its core, my practice questions the boundary between observer and observed, material and immaterial, reality and dreams.

Gary Anderson, Ladders, 2009, Oil on canvas, 40"h x 30"w x 1.25"d

Larry Bullis, The Egg, 2024, Pinhole Photograph, 16.75" x 20.75"

Having been a photographer for 60 years, I have amassed a large collection of material, much more than I could ever use while I was working, but, now "retired" I am having a great time with what's in my files, finishing images that I may have never before seen or presenting neglected ones in a new way.

I often build or modify my own cameras. They may use novel imaging strategies such as lensless devices or simple lenses. My imagery tends to be driven by the design of the imaging device. I am often asked "what do you take pictures of?" I really don't do "of", although it is true that something has to be there to make the image happen. I choose my subjects for how they will work with the device I am using.

Carol Bultsma, The Silent Sentry, 2024, Oil on canvas, 20" x 16" x 1.375"

The white owl signifies purity and a higher level of consciousness, guiding individuals on their spiritual journeys. This was the first painting of the year and symbolized a new beginning for me: the start of a new direction in my training with the Aristides Atelier. The Silent Sentry was painted in oil with a limited palette.

Jane Burns, Peripheral Revisions: Teamwork, 2025, mixed media on canvas, 16" x 20" x 1.5"

I have been chasing my marbles with Art in one form or another here in the Pacific Northwest since the early 80's. I plan to keep on chasing till I find them.

elvira butler, Working the Land, 2022, photography, 21" x 29" x 2"

I concentrate on lines, patterns, shapes and their relationships. Dynamism is a key ingredient. Nature and man-made objects are subjects. Sometimes the photographs are in color but I also use black and white. My photography allows me to express my creativity in unique ways for the many years I have been in this genre.

Dederick Ward, Early Morning Green, 2009, Oil on Canvas, 34 x 42 x 1 5/8

Dederick Ward, an Anacortes artist, turned to full-time painting in 1989 after a lengthy academic career as a professor of Geoscience Information in Colorado and Illinois. Ward's oil paintings are of western landforms, waters, and atmosphere, and often include aspects of geologic time and evolution. His works are in private and corporate collections in the US, Germany, and Australia and have been included in regional group shows at MoNA, Whatcom Museum, Smith & Vallee Gallery, Edison, Scott Milo Gallery, Anacortes, and solo shows at Friesen Gallery, Seattle, and Blue Horse Gallery, Bellingham.

Greg Caldwell, Food or Gas, 2022, Archival Inkjet print, 20" x 26" x 1"

My photography explores the visual alchemy of light and time. The physical subject matter of my work is inspired by travel, nature, architecture and my intuition. The non-physical content incorporates the elements in the scene that create discord and mystery, like the ephemeral quality of light, the collision of contextual elements and the perception of time.

Cynthia Camlin, Flower and Trap no. 2, 2022, rust, botanical inks and polymer emulsion on paper, 19" x 14" x .5"

In my current work I reflect on entanglements of ecology and history with materials that carry the meaning of place. The work is often made using ingredients - from plants, clay, minerals and the waste stream - that have their own meaning from the landforms, biology and history they come from. In "Swamp/Garden" underwater landscapes are crowded with the detritus of history, with Confederate monuments and other emblems of white supremacy. In "Trembling Earth," large canvases recreate the intricate surface of peat bogs, an unknown, unappreciated landscape. "Anamorphic Carolina," (2024) is a slanted grid of 150 abstract watercolors inscribed with quotes from historical sources about the oval-shaped peat bogs, shallow lakes and savannas known as Carolina bays. In "Flower and Trap," (2022-3) I respond to the colonial naturalist gaze with devouring flytraps.

Christian Carlson, Islands Study #2, 2024, charcoal on paper, 14" x 11" x 1"

For decades I painted in the tradition of abstract expressionism. Now I obsess over the natural world. Abstract painters don't look at anything while they work and I maintain that habit. As such the paintings I make now are not depictions of known places but my sense of something unnamable, something I've needed to work at understanding, and I find that in the process of painting language falls away. I've learned to let the work carry me to the work's project: what lies hidden beneath appearance. I spend time now looking back at solid land from the Salish Sea in a small craft and it has subtly changed my perception. The sea is an exacting teacher of the difference between what is real and what is thought. I've quieted myself in the last few years and this is what I find-when language rests, what is real rushes to take its place, and this is what I attempt to paint.

Margaret Carpenter Arnett, Chuckanut Mysteries, 2023, Watercolor, 15" x 21" x 1"

Margaret Carpenter Arnett BSN, ATR, was born and educated in England and has lived most of her adult life in the western United States. Artist, art therapist, teacher, and writer, she is an accomplished and talented painter. Primarily a watercolorist, Margaret now works with pastel, mixed media, and collage. She is a signature member of the Northwest Pastel Society and has participated in juried and invitational shows in California and the Northwest. She works closely with the Museum of Northwest Art.

Combining her art and nursing backgrounds, Margaret became an art therapist in 1983 and led an art therapy support group at the University of Washington Cancer Center for sixteen years. She has worked as an art therapist in the community at large for the past forty years and currently leads a group in Visual Journaling at the La Conner Senior Center.

Jose Castro, The Thrills We Can Never Grasp, 2023, oil on wood, 14" x 11" x 1"

While landscapes often form the backdrop of my artworks, the foreground figures act as tangible artifacts, encapsulating the elusive nature of perception and the intangible aspects of reality, where color is paramount. These figures symbolize the fluctuating states of the mind-between clarity and obscurity-while bridging the gap between conscious awareness and the hidden depths of the subconscious.

My art explores mindscapes, visions, and other oneiric ideations, manifesting the subconscious and capturing the fluid, surreal nature of dreams and inner thoughts. I delve into the space between the waking world and the dream world, inviting viewers to experience landscapes and scenarios that blur the lines of reality. Through vibrant colors, abstract forms, and intricate detail.

Chao Chen, Mister Long, 2024, Oil on Canvas, 40" x 30" x 3 cm

Contemporary artist Damao moved into her studio in Seattle in 2018, continuing the original creative theme of "similarity, exclusivity, and open possibilities without locality" from her studio in Caochangdi, Beijing. Her works include oil paintings on canvas, art installations, performance art, photographs, videos and writing poetry, revealing a more contemporary exploration in an open and diverse context.

Pippin Christiansen, Green Pitcher, 2025, Glazed Stoneware, 6" x 4" x 4"

I am an artist who is inspired by the natural world. I endeavor to share small moments of beauty, tranquility, and interest through representation of the natural world. I use color, texture, and form to create in a variety of mediums. As a child I grew up immersed in the forests of Northeast Washington with pine, aspen, open fields, and granite cliffs. I now live between the Salish Sea, smelling of salt, seaweed, and mud and the dense, steep forests of the deep green Cascades. I work teaching art and try to make a difference in the world with my hands, creating beauty in functional and decorative objects as well as creating the opportunity for youth to engage in an artist community, share their truth, or explore art as a therapeutic experience.

Nancy J. Clark, The Conference; Earth and Sky for Climate Change, 2021, Archival print from an original pen and ink drawing, 48" x 36" x 1"

My Blackfeet heritage and my Masters in Fine Arts in Design at the University of Washington have been the greatest influences on my artwork. Upon graduation, I started an art business, working in a variety of art mediums.

Over the years, I have returned again and again to creating Native American inspired art. After moving to Columbia, SC in 1998, I was chosen to decorate a 9' tall steel palmetto tree (the state tree) in a Native American theme.

In 2023, my solo show at Daybreak Star Indian Cultural Center featured my Blackfeet father and grandmother. One artwork was featured at Artist Trust's 2024 Auction. I was awarded a GAP grant in 2024 from Artist Trust, and the Montana Museum of Art and Culture at the University of Montana selected three artworks for their permanent collection.

Jo Cosme, Battle for Paradise, 2024, Photography, 28" x 20" x 1"

Jo Cosme, a multimedia artist from Puerto Rico, faced displacement to Seattle following Hurricane María's landfall. Through mixed digital media and installations, Cosme contrasts the romanticized idea of Puerto Rico as a Caribbean paradise with the stark reality of a People enduring colonial subjugation for over 5 centuries.

Her new body of work, Welcome to Paradise: ¡Viva Puerto Rico Libre! is a growing body of work meant to tour the continental US, aiming to educate and mobilize against US Imperialism and disaster capitalism. It challenges audiences to confront their complicity in perpetuating power dynamics during travel. After having culminated her scholarship at the arts residency Anderson Ranch Fine Arts Center in Colorado, Cosme is showing an expanded version of the project, opening Nov 6th, 2025.

Austin Cullen, Panoramic Diorama, 2021, Inkjet Print, 24" x 18.5" x 1"

A Natural History (Built to be Seen) catalogs the various ways the western natural world is presented and reconstructed within museums. Documenting the life cycle of natural exhibitions, from inception to storage, both literally and metaphorically depicts how institutions shape nature. Dramatic dioramas, interactive virtual experiences, and miniaturized landscapes all act as windows into the natural world. While this framing acts as a guide for reading and understanding nature, the same frame can be analyzed to understand the complex and ever-changing relationship between people and land. It is imperative to re-evaluate our understanding of and relationship with nature. By creating images that subvert the viewer's ideas of what is natural or not, I am asking the viewer to recognize how influential museum nature is on their understanding of the larger natural world.

Rachele Custer, Soultice Sea, 2023, Mixed media, 20" x 40.5" x 1.5"

As a Pacific Northwest-based artist, I want viewers to feel emotions with no boundaries. Evoking a deepness that speaks to your inner soul. My inspiration comes from my surroundings, people, places, and things. The beauty we have here in Washington is inspirational in every piece I create. My creative process begins with a picture in my mind, a feeling I have, or something that inspired me. The colors and different textures are out of the ordinary at times. It may be paste, cardboard, paper, or anything else that I can repurpose that leads me to the ultimate thrill when it emerges. Revitalizing a repurposed canvas when I can. I find myself lost for hours in my studio, a peace within while healing my soul. It is an intimate dance I share with the canvas I like to refer to as "Zening."

Sarah Dalton, Weightless, 2024, Acrylic Paint, 24" x 18" x 2"

Sarah Dalton is a photographer, painter, ceramist, and mixed media artist based in La Conner, Washington. She is inspired by old things, faces, and birds. Sarah enjoys working with vibrant and colorful palettes. Each piece is a burst of energy capturing the essence of her surroundings and an inner solitude. Sarah's artistic process reflects her own multi-faceted nature and her dedication to exploring new techniques and art media.

Mark Danielson, Bounding Box, 2023, Acrylic on canvas, 10" x 8" x 2"

My work grows out of an interest in landscape painting, architecture, and graphic design of the mid-20th century, and links it to the computer fabricated environment of the present day.

The work intersects these disciplines and the spaces they occupy.

Various elements may interact based on these observed worlds.

Linda Davidson, Fri Sep 16 2022 00:00:00 GMT-0700 (Pacific Daylight Time), 2022, oil on linen on panel, 24" x 18" x 1"

I've been painting on-site in the Erratic Flats of the KingFisher Natural Area of Thornton Creek since stumbling upon it during a walk with a friend in July of 2021. It is a pocket in an urban neighborhood where the creek cuts through a steep ravine fringed at the sky with very tall firs, black cottonwoods and big leaf maples among many others.

It is a private public space which has become a squatting city dweller's place of respite. It also opens a lens into what feels like a petri-dish version of the natural world. Life surges for the sky and crashes to the earth in there, never without consequence.

Margaret Davidson, The Norway Maple, 2021, colored pencil on rag paper, 24" x 24" x 0"

All trees are complex and fascinating, but this tree grows in my front yard and is very splendid to me. It happened to be planted the year I was born, which was also the year my house was built. In honor of all that, I have drawn it many times, this being the latest.

Don De Leva, Salish, 2025, Oil on wood panel, 20" x 16" x 1.25"

Don De Leva focuses on an art that unfolds without planning, letting each mark guide the next. Embracing unpredictability, his work reflects the chaos of life: media, technology, goals, and personal perspectives. De Leva is drawn to the physicality of oil paint and graphite valuing how these materials create and suggest unique textures and outcomes. Liminal spaces and in-between moments also interest him, as he sees creativity as a process, not a fixed goal.

De Leva's approach prioritizes discovery and surprise, suggesting meaning out of chaos rather than controlling it. Constantly exploring new textures and techniques, Don is driven by the excitement of creation and the unexpected results it brings.

Bewilderment is the accelerant for creativity. Cheers!

Julie Devine, Crossing Waters, Yakima River Canyon, 2025, Oil, 36" x 35" x 1.5"

My work is about heightened emotional and spiritual experience in landscape. I've spent my life in Western and Pacific North America, and my aesthetic is shaped by its bold beauty. Arid or lush; mountain, rolling hills, forests, and shores; I marvel at the expansiveness and variety of this part of the world.

Painting outdoors has been instructive and inspirational, influencing the way I work in the studio. I draw upon this outdoor experience when working in the studio on larger work, invoking the freedom and fluidity that make plein air paintings so fresh and vibrant.

If I could paint the wind, I would. I pay close attention to the quality of light in a landscape and try to convey a sense of air and movement. Shape, color, and composition are important to me. I want my paintings to breathe with life and evoke soulfulness.

Michael Dickter, Evening Iris, 2025, Oil on panel, 18" x 24" x 1.5"

Art is a way of engaging with the world: of observing, feeling, and responding. A painting is never just a reproduction of what is seen; it is a reflection of the artist's experiences, emotions, and connections. Birds, trees, and animals become more than their form; they embody memory, movement, and meaning. Through my work, I explore the tension between permanence and impermanence, solitude and connection, loss and renewal.

The process of painting is just as important as the final piece. Each brushstroke, each layer of color, is a conversation with the canvas-a series of decisions, struggles, and discoveries. An offering-an invitation for others to pause, reflect, and find their own stories within the image.

Connie Dillon, Only the Sound of Ravens and Wrens, 2023, acrylic on gallery wrapped canvas, 30" x 40" x 1.5"

My focus and energy reflect the Pacific north coast, primarily the forests. I frequently meander through the woods with my camera. The enriching beauty, pristine air, and fine features from the forest floor to the treetops, inspire and rejuvenate me. My photographs are transformed into small shapes, each its own distinct module of color. On the canvas these tiny blocks of light and color and shadow become a unique representation of a space. Standing close to the painting the viewer will see shapes, but from across a room its details cohere like a photograph. I strive to represent on canvas the forest's mystique and its embracing presence.

Julie Sevilla Drake, LoveBirds, 2018, Quilt: Hand-dyed & commercial fabrics, cotton batting, 32" x 38" x 0.25"

"There is only one question: how to love this world. "

Julie Sevilla Drake has lived a lucky, rambunctious life filled with love, friendship, and adventure. The mess, mayhem, mischief and mystery of this world are the primal forces of her art, no matter what medium she is working in.

This past year Julie spent weeks upon weeks in wild places, hiking and backpacking and just generally travelling from her house in the forest, to the mountains, then off to faraway lands.

In her quilts, she offers you a glimpse of what she's seen and how she loves through color, shape, line and texture.

Ina Drosu, The Soon-To-Be- No-More Barn III, 2024, Charcoal on Paper, 16" x 12" x .75"

I'm interested in the underlying essence of things - the meaning that lingers silently beneath the surface and reveals itself indirectly over time. The medium matters only as far as its inherent virtues enable this to show through.

Over the decades, I have worked in multiple mediums, currently interweaving drawing on paper, works in lime plaster on panel, reverse oil painting on glass, and forged metal sculpture. I am self-taught. Born in Bucharest, Romania, I have lived and worked in the Northwest since the mid-nineties, now based in the San Juan Archipelago.

Kate Dwyer, Gingko leaves, 2025, Thread and Fabric Mache', 15" x 15" x 15"

I came to making these vessels after years of reverse painting on glass and then metal. One day I happened into a fabric store and was, as always, entranced by the materials and frustrated by my inability or unwillingness to sew. I bought a few choice pieces of fabric determined to make something of them without a needle. Paper mache' is an easy craft one does with 6 year olds---a form, torn paper, glue. I adapted it to fabric and thread using my painter's eye for color and composition and line. Their only function is aesthetic.

Kristine echigo, My Map Runneth Over, 2025, Watercolor, 16" x 8" x 1"

Watercolor is my favorite, but I almost always combine a variety of mediums like ink, pastels or collage. I paint fast, using strong lines and markings and high contrast colors. Inspired by sumi painters and Fauvists, I am both drawn and opposed to the use of complementary colors. I like monochromatic and limited palettes.

Cathy Pearson Stevens, Barn Show Montage, 2020, photography, 20" x 15" x 1.25"

Fay Jones, Grasshopper, Acrylic painting, 17" x 11" x 1.25"

Well known Northwest artist. BFA Rhode Island School of Design. Numerous
awards & grants including Joan Mitchell Painters & Sculptors grant, SAM 2006
Poncho Artist of the Year; grants from NEA & Washington Arts Commission.
In collections of SAM, Portland Art Museum, Hallie Ford Museum, Tacoma Art
Museum, Cities of Seattle & Tacoma.
Major exhibitions at MONA, Hallie Ford Museum, Boise Art Museum, SAM,
Anchorage Museum of History & Art, & Palm Springs Desert Museum, & Portland
Art Museum.
Her work conveys the intimacy of mind, emotion, & spirituality & a tremendous
sense of humanity.

Chris Elliott, Oceanic, 2006, Acrylic painting, 17" x 21" x 2.5"

William Elston, Here Comes that Rainy Day, 2001, oil on canvas, 18" x 24" x 1.5"

I am an artist that works primarily en plein air. I've exhibited in the Pacific Northwest for over 50 years. I was a founding member of the Northwest Figurative Artists' Alliance. I have worked in many public and private collections. My most recent exhibition was a solo show at Rick Leonard Gallery in Mount Vernon. I was born in Spirit Lake Idaho, grew up in Spokane, studied at Fort Wright College of the Holy Names in Spokane, California College of Arts and Crafts in Oakland CA, and studied privately in New York, and Boston. I've lectured at Marymount Manhattan College, the University of Washington, Eastern Washington University, The Gage Academy, and taught workshops at Seattle Art Museum and the Frye Museum. My most recent participation was a panel discussion, "From Petroglyphs to Anime" at Graphite Art Center in Edmonds, WA

Laurel Emmons, Let Me Think About It', 2025, Acrylic on wood panel, 12" x 12" x 1"

My work explores nature and imaginary worlds in nature, along with the inclusion of intentional and subconscious symbolism. As an artist I am drawn to vibrant colors when I feel that it may be the best way to genuinely express emotion and truthfully speak to the observer, in contrast, some days I work only in black and white.

Lucia Enriquez, Swamp Lantern, 2024, F, 24" x 36" x 1"

My art explores myth, from my cultural past in the Philippines, as well as my present in the Skagit Valley. In myths from the past, I explore themes from pre-colonial creation stories.

In the Skagit Valley, I have immersed myself in forests, spending time by myself in the woods. I watch sunlight filter through the trees in varying stages of growth and decay, smell resin in the air after a rain, marvel at swamp cabbage appearing like primordial candles in the Spring. My walks in the woods take me into something timeless, and I feel the surroundings as if they are extensions of my body.

By combining the past and the present, these paintings seek to ask: what qualities of the landscape might comprise future mythologies? What stories might define our shared future?

Heidi Epstein, Narrative November, 2019, Watercolor, 11.25" x 9" x 1.25"

This work was one of twelve done during each month of 2019.

The size of the image increased from January through June and decreased from July through December as the amount of light varied with the changing rotation around the Sun.

I often do a series of work as a "practice", expressing the fact of time passing and recording my response.

Kathleen Faulkner, We are Here, 2025, oil pastel on panel, 18" x 30" x .5"

Kathleen Faulkner's work is about environment and documentation.

Life on Earth today is very different from when we were young. Earth is paying the price for over-consumption, and other species, wild places, and biospheres are declining.

Kathleen keeps track of what is here now in a small portion of the Pacific Northwest. She misses the abundance of the past but tries to live in the moment. It is less than it was but more than it may be.

Kay Mattson Ferris, Backyard Garden, 2022, Watercolor, 27" x 21.5" x .1"

I am so happy to support this art museum. They are a wonderful asset to this community.

Ann Grcich, Owl, 2017, mixed media on canvas, 39" x 33" x 2"

Kristin Frost, Palouse Falls, 2024, Graphite on paper, 8" x 10" x 1"

My work responds to the specific elements of place: atmosphere, season, light, and time. Working primarily with graphite, ink, and watercolor, my drawings and paintings are observations of the Pacific Northwest landscape and our fluid place within it. I look for natural places that draw the viewer in, using texture and contrast to create focal points and tell stories through space. Whether my inspiration is the sky, trees, water, flowers, or animals, my work reflects both the simple and extraordinary connections we all have to nature.

T Michael gardiner, Some miasma, 2015, acrylic on cotton duck, 37" x 31" x 2"

Painting drawn from a mishmash of sightings and stories, given the climate of day-to-day political events.

Miwa Gardner, It's my time, 2025, Watercolor, 20" x 28" x 0"

In 'It's my time', I step away from my usual portrait work to capture the moment I felt welcomed to Washington State, my first time living in the mainland U.S.A. This painting was inspired by my first encounter with a wild deer, a magical moment that stirred deep emotions later that night when my sleep was interrupted by what sounded like distant gunshots. That mixture of wonder and worry became the emotional core of this piece.

Working on this piece helped me process my own feelings of vulnerability as a newcomer, while celebrating the raw beauty of my new home. There's something powerful about feeling both like an observer and the observed, a newcomer seeking sanctuary in a place where nature and human life interweave so intimately.

Erik Geschke, Surrogate, 2015, Polymerized gypsum, fiberglass, Styrofoam, epoxy, acrylic, 5" x 10" x 9"

My work deals with personal and social narratives more oblique than obvious. The images I use are primarily recognizable, whether human, other animals, the surrounding environment, or our own creations. Through the use of materials, imagery, and titles of varying origins and connotations, an awkwardness is created in which elements of both comedy and tragedy exist.

It is my aim to draw viewers into my work with something that may seem familiar at first. Upon closer inspection, the presence of satire and the absurd in the work confronts the viewers and subverts what at first seemed familiar. As a result, the viewers' perceptions of both the work and, hopefully, everything around them are in some way altered.

Kirsten Geyer, Fallen petals, 2024, Gouache, 5.5" x 4.5" x 0"

Based in the Pacific Northwest, Kirsten Geyer (aka KSTAN) loves to study realism and atmosphere with paint. A self-taught artist who discovered her passion for painting later in life, Kirsten is constantly exploring new ways of expressing realism in oil paint. She often works with found photos from the 60s and 70s and enjoys incorporating the color shifts of faded photos and half-hazard compositions that appear in these snapshots.

Robert Gideon, Bauhinia, 2024, Archival Print on 310 gsm Rag Paper, 20" x 16" x 1"

Photography is fundamentally documentary. Whether it be the simple act of recording a moment in time for others to experience later, or the more complex layering of emotion and interpretation onto a black and white canvas, ultimately the best photographic works communicate effectively to the viewer to elicit an emotional reaction. I find my photographic art at the intersection of human empathy and emotion with a desire to express my understanding and appreciation of the small wonders in the world around me. My artistic practice

consists of daily visual meditation on oft overlooked and humble features in the urban environment. It's there that I find transcendent beauty and I wish to share this through my photos to the viewer.

Gray Emery Grove, Aspens, 2025, Traditional Photography / Darkroom / Wood Working / Metal, 22.5" x 22.75" x 2.5"

The struggle of nature, the clash of elements, the decay of time, and the growth of life that persists, provides me with understanding and perspective.

To tell the story right, I need to step back from traditional presentation, and ask the elements how they work together. Artwork that creates a sense of place

and merges with its surroundings, that might do. But does it require more than I can craft? That is my challenge, one of which I hope hides its secrets, and

takes its place within the landscape of your life.

Silver particles freeze the light, and mirror scenes on fibrous paper. Trees & groves grow, recording their memories with patterns of carbon.

The silver grain with the wood grain, merged with a craftsman's hand.

Chuck Gumpert, Pacific Power Play, 2024, oil & mixed media, 40" x 40" x 1.5"

Exhibited professionally for more than 20 years throughout Washington, Oregon, and California, Chuck Gumpert's bold abstracts, impressionistic landscapes, and unique figurative paintings have enticed fine art collectors nationally and internationally, and his work has complemented the work of interior designers and architects in significant public projects in Seattle and Portland.

Lush, varied, mixed media layers of oil, acrylic, ink, graphite, and collage commingle to create organic elements and mystical forms - giving Gumpert's provocative and gestural works texture, depth, and energy. The work engages viewers and collectors to experience creatively whatever flows to them through the art.

Karen Hackenberg, Arctic Home, 2024, Archival pigment print on canvas, 24" x 24" x 2"

Karen Hackenberg's (B.F.A., RISD) paintings are currently featured in her solo exhibition, "Sea Change: The Art of Karen Hackenberg" at Tacoma Art Museum.. She exhibits internationally and is represented by Patricia Rovzar, Seattle, and Rebecca Hossack, London, UK.

Karen uses humor and beauty to light a candle in the darkness of our eco-disaster weary minds. In her wry post-pop Unnatural Disasters paintings, she interprets the effects of climate change such as recurrent large-scale fires, destructive superstorms, droughts, floods, melting glaciers, habitat loss, and species extinctions. In Arctic Home she ironically sets a plastic McDonald's/Coca Cola cup, emblazoned with a cute polar bear family, amidst the sea of cracking ice and oil rigs in their warming Arctic home.

Hal Singer, Circus Billboard #14, 1960, oil on canvas, framed, 33" x 41" x 2"

Patricia Halsell, Time Is Another River, 2021, oil on linen on panel, 18" x 24" x 1.5"

My river stones series is my interpretation of river stones I've encountered on the banks of the Skagit River. I work in oil, enlarging scale and exaggerating chroma beyond what exists in nature. I feel as though these stones are sentient beings whose portraits I am painting. I find their elliptical shapes comforting, the interstices between them mysterious, and their colors beautiful. Their ancient origins link us to the past and I find it reassuring that they will still be here after our short human lives are over. They are reminders that nature is a continuous cycle in which we are all connected.

Evy Olsen Halvorsen, Incoming, 2025, oil on canvas, 8" x 24" x 1"

I am drawn to challenges and sometimes shift styles, looking for a path to a new expression of my thoughts. Metaphors are my current interest, and the challenge is to be successful in translating my ideas for the viewer. Sometimes I'll revise a painting several times before I'm satisfied with it.

I've noticed in my recent paintings I am leaning towards storms, severe landscapes and dramatic atmospheres, suggestions of passages, safe havens, beacons to safety, a lot of thoughts of mortality and the dangers of the universe and closer. So many ways to be paranoid though I have no worries of death, so it is a little odd to be subconsciously fixated on disasters. I do have survival supplies, just in case.

Landscape dwells large in my consciousness. The landscape of time, space, and color.

This space around us all weighs on me, as comfort and a challenge.

Ria Harboe, Tree Shadows, 2024, Acrylic, 30" x 15" x 1.5"

I walk every day and luckily live in a beautiful place on an island in the Pacific Northwest. I'm inspired every day by the landscape, even on the gloomiest of days. There is light and drama in the sky that creates immense beauty right in front of me. I like to capture that light and dramatic quality in my paintings.

Matthew Harnisch, Rings #12, 2025, Photography, 11" x 8" x 1"

I have been doing photography for the last four years and have always just been doing basic photos. I would be getting photos of surfers, sports for my school or photos of things at the beach. Recently I have really wanted to dive into something more artistic, more creative. I have used my mental disorders to fuel my creativity and create something new. I can use art as an outlet for what I am feeling, and a way to communicate it to others. These photos are a result of beginning that journey.

JW Harrington, MBTW30, 2022, Acrylic on canvas, 36" x 36" x 1.5"

"The Impossibility of Knowing" refers to the strength of memory and imagination, compared to what is "seen." In these paintings, a solid shape, figure, or silhouette interacts with its mirrored outline, against a shadowed background. Something that seems substantive is augmented with its mirror, shadow, future, or past. The interplay creates visual dynamism as each shape is pulled in its opposite direction, and interpretive dynamism as each object or figure interacts with its complement.

The MBTW series is named for the only two pigments used in these paintings: Mars Black and Titanium White. I wanted to remove the symbolic and emotional connotations of color so that the viewer has even more freedom to interpret each composition. I've limited my shapes to basic geometric forms: square, rectangle, line, and circle, influenced by Russian Suprematism championed by Kazimir Malevich.

Louise Kikuchi, Keawe Tree Shadows at Noon, 2014, sumi and colors on paper, framed with glass, 24" x 20.5" x 1"

DAVID HARRISON, Arbortrail, 2001, Acrylic on board, 36" x 36" x 1.5"

I have always been moved by trees and nature. These paintings are an effort to understand how things grow.

Neal Hedges, Green Ridley, 2022, fabric, wood, rigid foam, 20" x 17" x 3"

Wire, fiber, fabric, wood, metal, and paint are materials I use to sculpt wildlife. I do not try to copy their exact appearance but focus on the features that define them - shape and color, texture of skin, symmetry of tusk, horn, and carapace. Inspiration for all my work comes from a lifelong interest in animals and a career as a wildlife biologist.

This collection was inspired by sea turtles. The beauty and symmetry of their shells is unlike anything else in the natural world.

Meg Holgate, Bamboo (Imprint Series), Watercolor on Paper, 27 x 34 framed

Holgate, a painter originally from the east coast, has made her home in the Pacific Northwest for the past 25 years. Raised in both New York and London during the 60's, her childhood was spent drawn to the parallel universes of the old masters and the contemporary works of the mid-century modernists. She has participated in artists residencies at Bullseye, Santa Fe, New Mexico; Pilchuck Glass School, Stanwood, Washington; and North Lands Creative Glass, Lybster, Scotland. Holgate's exhibitions in Washington State include Coastal Alchemy, Museum of Glass, Tacoma; Accreted Terrane, Museum of Northwest Art, La Conner; School with Joseph Rossano, Schack Art Center, Everett; and A Precarious Edge, with Steve Klein, the Museum of Northwest Art, La Conner and Schack Arts Center, Everett.

Prior to the above she worked as mural and trompe l'oeil artist, practicing the decorative arts for clients across the country from 1985 - 2005.

Madeleine Holman, for a moment the mountains were so blue (Bow-Edison, WA), 2024, Acrylic on canvas, 16" x 20" x .75"

Many of my paintings are a response to landscape or still life, and to the meaning and beauty I find there. I tend to work with the tension between order and disarray, exploring emerging relationships of marks, shapes and color, and moving toward a balance between harmony and contrast.

Eric Hopkins, Clouds Over Guemes Channel #3, 2023, Ink and watercolor, 32" x 26" x 1.5"

I first came to the Pacific Northwest in 1974 as a RISD student to Pilchuck Glass School. I was as excited by the visions of the Olympic and Cascade mountains as I was by experimenting with molten glass. I returned to Pilchuck as a teaching assistant and artist-in-residence, which resulted in a one-man show at the University of Southern Maine: "Images of The Maine Coast and The Pacific Northwest." I worked as a studio assistant to Italo Scanga and Dale Chihuly. The fluidity, color, and brilliance of molten glass continues to influence my paintings.

I love seeing the expansive variety of land masses across the American continent. I want to put a visual soundtrack to my movements through the sky, across the water, and over the roads. I'm drawn to see what's around the next corner where everything is BIG. There's so much space - I feel small - yet connected to something much bigger.

todd horton, Topographia 40, 2024, canvas, river silt and rope on wood door, 80" x 30" x 1.5"

In the tidelands of the Pacific Northwest, there is a sense of magic and mystery that pervades everything. Here, the dreaming rivers allow us to catch glimpses of hidden messages, reminding us that we are not alone in this universe and that every living being has a story to tell…. This is art from a sense of place.

These Tidal Drawing Devices allow a collaboration between the river and myself.

The resulting drawings reflect the river's subconscious, transcribing its hopes, fears, joys, and sorrows into visual form, mirroring our own dreams and nightmares.

Kathleen Houseman, Evening on Camano, 2023, Oil on Canvas, 24" x 24" x 2"

A cool crisp evening camping on Camano Island, a perfect sunset with friends.

I lived close by for over 18 years and had never experienced the island till this night.

There is always a strong desire to paint the fleeting moments. The moments you want to remember and share with others.

That is landscape painting for me - a bit embellished, a bit impressionistic, and deeply personal.

Christie Houston, Home, 2023, Pochoir print, 18" x 12" x 0"

This print is created in the pochoir style, a popular printmaking technique in Paris used to recreate drawings by artists such as MirÃ3, Picasso, and Matisse. Pochoir involves the use of stencils and solid forms to build up imagery and blend colors, resulting in vibrant and precise compositions. Stenciling itself is one of the oldest artistic techniques, dating back to the Stone Age when early humans created hand images by blowing or spraying pigment around hands pressed against rock surfaces.

Holly Hudson, Snakes in the Grass III, 2025, Glazed Porcelain, 6" x 6" x 3"

Inspired by Greek and Roman mythology, Christian religious art, and creation myths from all over the world, my work seeks to find the similarities in various cultural beliefs; to uncover a collective experience of what it means to be human.

Growing up in Southeast Alaska, I attended Catholic school during the week and the Methodist church on Sundays. At the same time, I was surrounded by the art and culture of the First Peoples of the area. It was a clash of monotheism and animism that I have forever been trying to reconcile and synthesize through art. I am interested in comparative mythologies - specifically similarities in creation stories that seem to repeat throughout many cultures. These common spiritual threads are a starting point for me to create my own imagined worlds where the divine feminine has been revived and humans, plants, and animals combine to create new life forms.

Corinne Humphrey, You are Enough!, 2025, Acrylic on Paper, 31" x 23" x 1.5"

I work with acrylic on canvas and mixed media/collage to create pieces that highlight one's inner landscape in a way that addresses negative issues or insecurities but still retains a humorous slant and positive hope that good will prevail.

Michelle Hurteau Patten, Beach Bingo, 2024, Acrylic on canvas, 24" x 20" x .75"

Michelle Hurteau Patten is a Seattle abstract artist inspired by emotional expression, color, nature, travel, and the fun of creating.

In her paintings she hopes viewers see what she sees: in dealing with traumas large and small, both personal and in the world around us, there exists simultaneously these gifts: beauty, connection, freedom, happiness, and more. Her experience is that these opposites exist intertwined in life.

Michelle's paintings reflect this complexity, and it's her wish that they inspire people to be lifted by life's goodness made richer by difficult times.

In addition to private collections, her work has been shown at Seattle Superfine Art Fair, West Seattle Art Walk, Parklane Gallery, Kirkland Arts Center, and Museum of Northwest Art's Annual Art Auctions.

Linde Husk, Hunter's Dawn over Siwash Slough, 2021, Acrylic on canvas, 30" x 40" x .75"

Once a little girl

Hidden beneath mother's desk

Quietly drawing

Gifted old pastels

Broken and magnificent

Imagine creatures

The girl grows older

Inspirations forgotten

Attention stolen

Schooling and studies

Pursuing life's profession

Embers burning low

The brain grinds away

Peace for the soul left wanting

Success takes its toll

Work that pays in gold

But embers cry from below

Oxygen needed

Humble idea

To bestow a special gift

Paint flies cross canvas

The embers breathe deep

A soul rekindled to life

Ardent fires blaze

The brain becomes still

So much beauty to be found

Surrounding wonders

Inspiration flows

The girl will paint for the world

Work that pays in full

William Ingham, Inner Fire, 2005, Acrylic on Board, 31"h x 26"w x 2"d

William Ingham graduated from the University of Washington's School of Art with a Master of Fine Arts Degree in 1972. Over his 36 year career, his work has been exhibited at leading Seattle art galleries, including the Gordon Woodside/John Braseth Gallery, Foster White, Dootson Calderhead, and Polly Friedlander galleries..

Vikki Jackson, The Sculptor, 2024, Acrylic and metal leaf on repurposed wood panel, 24" x 16" x .75"

I describe my paintings as stylized wildlife works. As a trained biologist I want to represent the wildlife I paint in an accurate manner, but I love design and a bit of bling . This has led me to a more simple, stylized depiction of my subjects with strong design elements, and almost always, a bit of bling.

Megan Lingerfelt, Below the Waterline, 2016, Watercolor on paper, framed with glass, 19" x 19" x 0.5"

Helga Jaques, Northwest Giant, 2025, Acrylic, 21" x 17" x 0.75"

Helga Jaques is a native of Austria. She looked at the world with an artist's eye and drew for as long as she remembers. Being practical, she studied graphic arts in Switzerland. This enabled her to work in different commercial graphic businesses. After immigrating to the US, Helga took several fine art classes. She fell in love with Watercolor and developed a special technique, painting on rice paper and not needing the protection of glass. She participated in many art Fairs and had collectors in the US and abroad. Her paintings of Seattle at night and village scenes from Europe

were especially in demand.

Nowadays, Helga likes to sketch during her many travels and produce acrylic paintings. back home. Life is good and she is thankful for the joy creating art gives her.

Christina Jensen, Thief, 2019, oil pastel, 18" x 18" x 2"

My work reflects how I am seeing and feeling the world, wanting to convey this to the viewer. My art has fun, energy and movement, woven with playfulness. There is a swirl and flow to life, and I try to capture it with lines, shapes, textures and colors that unite and interest. I currently paint on panel boards or canvas using oil pastel, acrylic or oil paint. I find a lot of inspiration from observing my garden and traveling.

Steve Jensen, Heceta Island, 2025, oil on vintage nautical chart, mounted to recycled aluminum, 21" x 21" x 2"

For me, the image of the boat is meant to symbolize a voyage or journey, perhaps it is the voyage to the other side, or the journey into the unknown. My family is from Norway. My father was a fisherman. My grandfather is also a fisherman. My other grandfather, a boat builder. I feel that, had I inherited my father or grandfather's fishing boat, that right now it is easier to make a living as an artist than a fisherman. For me, this is a very sad commentary on the state of our marine environment.

Upon the death of my parents, I made a boat for their ashes and buried them at sea, like a contemporary Viking funeral. I also made a boat for my best friend and former partner, again burying them at sea. These deaths were extremely tragic. What I am attempting to do is to take something that was personally extremely painful and turn it into something beautiful.

Janbi Kaghado, Searching For Tom Joad, 2023, American Flag & Broken mirror on canvas, 24" x 36" x 1"

My artwork explores the political state of the United States of America. It questions the political machine of the American government and the surrealist concept that is the "American Dream". As a first generation Circassian American growing up in a post 9/11 America all I've known in my life is political conflict.

Through my artwork I try to show the consequences of political/corporate greed in the name of "freedom" and the effects of the perceptual blindness that it has caused on the American population. The context of my work stems from my family's and my own experiences in the world.

My practice derives from the immediate world around me. I create installations and collages that incorporate found objects such as window frames, televisions, empty bullet shells, American flags, prescription pills, magazines, and newspapers obtained from the NJ/NY area.

Amelia Kaiser, Stormy Seas, 2019, Watercolor, 18" x 12"

Stormy Seas is part of a series inspired by the ever-shifting moods of the liminal space where the Olympic Mountains and Salish Sea meet. Growing up in this region, the mountains and inland waterways loomed large in my life, physically dictating my surroundings and providing fertile ground for my imagination. Attempting to capture the mists, currents, colors and light of this landscape is a form of reflection on the growth and change I have experienced in my own life, while in its embrace.

David Kane, Duchess, 2013, oil on canvas, 12" x 9"

David C. Kane was born and raised in the Pacific Northwest. He studied art for a time in the 1960's and 1970's at the University of Washington under Jacob Lawrence, Michael Spafford, and Everett DuPen among others. Kane remained in Seattle, eeking out a precarious living by his art, augmented from time to time by a succession of menial jobs from the 1980's until well into the early years of the 21st century, producing shows on a regular basis for local galleries, taking part in regional exhibitions, and occasionally teaching. By the mid-twenty-teens, he had exiled himself to Mount Vernon, where we find him an enthusiastic participant in the legendary, vibrant Skagit art community. A tireless worker for the betterment of Art, he is admired by all who know him and a credit to his profession. No record of his death can be found at this time.

John Kane, In the Red Room, 2005, Archival inkjet print from scanned Polaroid Time Zero photo, 15" x 15" x 1"

I have been driving around and photographing the state of Washington for 35 years. For most of that time I have used film cameras, including the Polaroid SX-70, which made this photograph. I scanned and enlarged the original instant picture, to make this digital print.

Samantha Kasprowicz, Past Best, 2024, Archival Pigment Print, 18" x 24"

My ongoing body of work 'Ripe Fruit' explores the invisibility of women as they age. Each piece begins with hand-cast bananas, which I then seamlessly paint to blend into their surroundings before photographing them. The patterns and textures of these elements help create a theatrical representation of the passage of time, allowing me to process my own experience of aging within today's society.

At first glance, the images may appear light-hearted and playful, but the titles reveal language commonly used in the beauty and fashion industries to objectify, shame, and target women's appearances. The combination of images and titles aim to challenge the viewer's perceptions of women and ageism in an era where women's rights continue to be in the spotlight. If no one can see us, perhaps we can truly be ourselves. In this invisibility, perhaps we find our greatest power.

Vincent Keele, Birth Of A Nation, 2018, Acrylic, 48" x 36" x .5"

My work is about retelling history, bringing back phenomenal

people and places that have been misplaced, forgotten or

unknown. These paintings are portals that create metaphysical

realms where every thought and action is balanced by it's

counterpart. Within this infinite expanse I've created a space

where directed energy and the immeasurable meet analytical

thinking.

Each artwork is brought to life through bold flowing lines with

luminous color. Becoming one with the fractal allows me to transcend the 2D

space where I can expand, retract and exist. Once connected with thought and

energy I begin to harness the feeling. My actions of applying acrylic paint create

energy around me as I shift and circle the canvas rhythmically.

I am interested in awakening cognitive processes, harnessing creative energy and expanding the limits of universal thinking.

Niki Keenan, Maple Phosphorescence, 2025, Acrylic on linen, 24" x 30" x 2"

I make paintings about scenes that take my breath away; Pacific Northwest forests and waterways to backyard sunsets and sunrises, underwater creatures and stellar nurseries. I want to be enveloped in landscape with a feeling of belonging and a sensation of the vastness of the universe while simultaneously being so close to delicate flora. The meeting place between these two parts, celestial/ terrestrial, parts of myself, or me and the other is the space I carve out in my work and my way of meeting them now.

Kathleen Kemly, Totem, 2024, Oil on board, 30" x 22" x 1"

Like many people, I find solace and peace in nature. Hiking in the forest or standing on my porch watching a rainstorm roll in over the city brings me to a place of connectivity with all things.

In my art, I seek to communicate these feelings through the use of color, rhythm and forms. I want the viewer to feel that they are right there, in that moment in time and place. My paintings begin when I am in nature's space: I feel a kinship with the trees, clouds and mountainous forms. I feel the thrum of life that persists in spite of our human missteps and interventions. I am compelled to express this world in my paintings, in the hope that they will become a portal for others to experience this essential energy; to respect and care for our beautiful world.

Hooshang Khorasani, Fish Gathering, 2024, Acrylic on canvas, 6" x 6" x 1.5"

The common theme for all my works is energy - energy in nature and the world around me, in moving colors that show power, in the inner life of my subjects. But my work, which reflects a bold contemporary style, isn't just about bright colors. Indeed, the palette alternates between muted and vibrant, and I've found that this mix brings a wonderful state of mind when the viewer ponders my paintings.

BELLA KIM, Mindful Holder, 2023, Recycled Plastic Packaging & Fabric, Thread, Yarn, 7" x 9" x 10"

Growing up, I watched the women in my family sew, which sparked my lifelong love for machine sewing. With limited resources, I began reusing materials early on-a habit that continues today. I collect discarded plastics, drawn to their unexpected colors and textures. I wash, dry, sort, and stitch them into harmonious compositions inspired by the Korean tradition of Jogakbo, which values resourcefulness and beauty in reuse. As a Korean American artist, I blend my cultural heritage with global influences, transforming everyday waste into meaningful art. Through this process, I find joy and hope to inspire others to see the creative potential in recycling and to reflect on their own consumption habits.

Allen Moe, Untitled, 2000, Egg tempera, 10" x 8" x 2"

I'm donating this painting by Allen Moe. The medium is natural earth pigments collected by Allen and combined with egg yolk. (Egg Tempera).

Joy Kloman, Conscription, 2024, Acrylic, charcoal on paper, 16" x 20"

My artistic practice can best be described as an exploration of temporality. The sourced photographs referenced in my art are black and white, suggesting a history of days that have passed. In my figurative paintings, I have added color and a fluorescent underpainting, creating tension between past and present. Passage of time is examined in these moments. My paintings include patterns enveloping figures, like peering behind grandmother's peeling wallpaper, revealing a record of those once there. I am investigating shared human experiences and relationships to their surroundings over the course of generations. My multi-generational works of art are a collective journey through life. My work addresses and queries brief, seemingly heartening moments in time- delving into what appear to be photo-worthy joys, rites of passage, and simple contentment, which cumulatively represent an epoch.

John Franklin Koenig, Ode l'Enfant Picpus, 1969, Mixed media painting, 77" x 76" x 1.5"

John Franklin Koenig, (1924 - 2008), a Seattle native, came to know and love French culture while serving in the U. S. Army, Eleventh Armored Division under General Patton, during World War II. After the war he attended University at Biarritz to study painting and then returned to Seattle to graduate from the University of Washington. During this period, he became involved in the Seattle art scene, coming to know artists such as Mark Tobey and Morris Graves. In 1948 Koenig moved to France, where he lived and worked for thirty years. With a partner, he opened the Galerie Arnaud in Paris and co-founded the art magazine Cimaise. In 1979 he began spending half of each year in Seattle. Like many Northwest artists in the middle of the twentieth century, John-Franklin Koenig invented himself as an artist, painter, photographer, writer, and world traveler.

Karen Kosoglad, 2 Figures Seated, 2020-2024, mixed media on collage on board, 18"h x 14"w

Karen Kosoglad's figurative paintings capture women during their introspective moments. Her expressive style, sometimes monochromatic, sometimes colorful, reveals her interest in what she describes as "the gestural moments in everyday life and the balance between weight, rhythm, shape and color." Kosoglad's compositions show a dynamic push and pull between representation and pure abstraction.

Sarah Koten, Hydrangea Close- up, 2023, Acrylic, 12" x 9" x 2"

My aim as an artist is to express through painting my interest in and love for the natural world. The beautiful Pacific Northwest provides infinite inspiration, from tide pools to trails to tulips! My work tends to focus on detail, color and pattern, hoping to draw the viewer in to take a closer look at the magic, mystery and wonder of it all.

Katie Kratzer, Calm Before The Storm, 2021, Acrylic, pumice on cradled clayboard, 36" x 24" x 2"

Katie Kratzer (b. 1985) is an artist based on Mercer Island, WA. Her paintings explore the interplay of color, gesture, and vibrational energy, channeling movement and emotion into layered compositions. Working in a meditative flow state, she allows instinct to guide her process. Starting with custom palettes and action painting, she embraces spontaneity and intuition to create expressive, gestural marks inspired by music, joy, and visceral experience. Kratzer's work is shaped by synesthesia and dyslexia-she sees sounds as colorful forms and thinks in nonlinear ways, bringing unique sensory depth to her work. Her paintings invite viewers into the act of creation itself, opening a portal between the tangible and the subconscious. She believes original art holds a distinct vibrational energy that infuses spaces with emotional and spiritual resonance.

Frankie Krupa Vahdani, Sheep Shears, 2024, Wax pastel on wood, 38.5" x 38.25" x 2"

Frankie Krupa Vahdani (b. 1991, she/her) works and lives in Skagit Valley, WA. Krupa Vahdani graduated from Western Washington University with a BA in Art and has exhibited work at Geheim Gallery in Bellingham, WA, The Warehouse Art Museum in Milwaukee, WI and Fuller Rosen Gallery in Portland, OR and Philadelphia, PA.

FKVs work explores a person's relationship to heritage and destructive historical events. The reinterpretation of classic Persian motifs alongside traditional Polish craft results in phosphorescent, color soaked works. These new works reflect back thoughts of:

RESILIENCE

Resilience of material

Resilience of spirit

Resilience of human

Motherhood

Caring

Caregiving

Caregiving as an art practice

Healing

Scooping up + holding close

In a tight and warm space.

My arms wrapped around my daughter

My arms holding a hot ball of emotion and anger

Compassion

DoosEt Daram (I Love You)

Mary Lamery, Public Market Center, 2025, Oil on Canvas, 4" x 4" x .5"

I am a Seattle-based artist. I grew up in Seattle and am a lifelong native of the Pacific Northwest. My current body of work explores the landscape of my home state of Washington. I use traditional materials of oil on canvas to create compositions where the negative space of the dynamic skies of the Pacific Northwest plays a distinctive role to create a cinematic sense of atmosphere. Although I typically work on a large scale, I am borrowing a page from the book of landscape painters of the 18th and 19th centuries that often recorded bucolic life of the outdoors in small, portable dimensions. Working on a scale that is tactile and personal enhances a sense of intimacy, like the sharing of an old photograph accompanied by stories, reawakening memories.

Lisa Lamoreaux, Beyond Reason IX, 2025, mixed media oil, 48" x 36" x 1.5"

Lisa Lamoreaux is a life-long Pacific Northwest artist whose career spans 25 years. She has had numerous solo and duo shows in galleries in Park City, UT, Santa Fe, NM, and across Washington State.

Her layered mixed-media paintings can be composed of paper, sculpting medium, oil stick, charcoal, acrylic and oil paint. Her work can be found in galleries, and in her studio on San Juan Island, WA.

Lamoreaux's inspirations are often the play between theories in physics, experiences in her PNW Island home environment, and philosophy. She enjoys most, the intuitive nature of pushing paint and mediums around on the canvas without a plan in mind, while being exquisitely aware of the external environment, internal experience, and instinctive impulses with the brush and design concepts.

Nicki Lang, Mount Rainier from the Pacific Crest Trail, 2024, oil on found panel, 8" x 15" x 2"

This piece, "Mount Rainier from the Pacific Crest Trail", offers a sweeping view of the mountain and its surrounding beauty. Painted in her unique palette knife style, Nicki Lang captures the iconic beauty of yet another Northwest vista.

Art Hupy, Untitled, , Photograph, 20" L x 16.125"W

Art Hupy began his photographic career in 1953 and developed into one of the Pacific Northwest's more acclaimed photographers. Excelling in both commercial and fine art photography, Hupy turned his lens on a variety of subjects from thoughtful portraiture to striking records of some of the Northwest's more significant Modern architects. Hupy was the founder of the Museum of Northwest Art, serving as Director and Curator from 1981 to 1990.

Art Hupy, Untitled, , Photograph, 20"L x 16.125"W

Art Hupy began his photographic career in 1953 and developed into one of the Pacific Northwest's more acclaimed photographers. Excelling in both commercial and fine art photography, Hupy turned his lens on a variety of subjects from thoughtful portraiture to striking records of some of the Northwest's more significant Modern architects. Hupy was the founder of the Museum of Northwest Art, serving as Director and Curator from 1981 to 1990.

Art Hupy, Untitled, , Photograph, 20"L x 16"W

Art Hupy began his photographic career in 1953 and developed into one of the Pacific Northwest's more acclaimed photographers. Excelling in both commercial and fine art photography, Hupy turned his lens on a variety of subjects from thoughtful portraiture to striking records of some of the Northwest's more significant Modern architects. Hupy was the founder of the Museum of Northwest Art, serving as Director and Curator from 1981 to 1990.

Caitlin Lanza, Shorts, 2023, Digital Painting, 20" x 20" x 1"

Carrie Larson, Leucadian Leap II, 2009, mixed media, 40" x 15"

A foundation in the making of artist's books informs my mixed media pieces, from an infatuation with papers to the use of stitched thread like drawn lines. My work shapes a cohesive whole from various fragments-while the materials themselves invite touch, encouraging a connection to one another. Influenced by the natural environment as well as interior worlds conjured by literature or emotion, my work explores a sense of place, edited down to essences, evoking a poetry of sorts.

The Leucadian Leap pieces were realized as an artist-in-residence at Hypatia-in-the-Woods, informed by readings of Sappho's poems and the trial by ordeal for accused persons, who were required to leap off the cliffs of the Greek Island of Leucas and deemed innocent only if they survived.

Margy Lavelle, Moon OverGaza, 2019, oil on canvas, 36" x 24" x 1"

I have been painting in oils for a long, long time. During the time that this painting was done (2019) I would use brightly hued pigments in my under painting and then subdue them with layers of muted colors. Almost a metaphor for suppression. Actually it is a literal stifling. But the intensity and the brilliance of the pigments underneath do come through. This image is of Gaza, which at that time was not at war. But it could be anywhere. Anywhere that suppression has the upper hand.

Carolyn Law, Thoughts of Troubling Times, 2017, Digital altered photo, 19 1/2" x 19 7/8"

Carolyn Law is a studio and public artist with diverse public art experience encompassing a wide range of commissioned art projects, art plans, and curation of innovative exhibitions in public places. Law's current focus is on her studio work involving both mixed media pieces as well as temporary installations in a variety of interior and natural settings. Up until recently, the public art projects focused on complex design team projects with diverse professionals coupled with extensive interface with communities and governmental agencies; site-specific integrated artworks; sculptures; and temporary installations. As well, work has included diverse arts plans for situations ranging from a matrix for artists working throughout the redevelopment of Yesler Terrace, an inclusive approach to art throughout the community of Redmond, WA, and multiple artworks throughout Seattle's park system.

Andrea Lawson, Isthmus Low Tide, 2016, oil on canvas, 10" x 20"

Fascinated by nature, my art explores the magical world around me, of sea, sky, lutescent light through foliage, from the majestic tableaus of vibrant sunsets to the microworld of symbiotic lichen and the human brain.

One has to look carefully to find lichen on the forest floor, on sidewalks, rocks, old buildings, a city railing, or bark on a twig in the park. Finding fascination in unlikely places intrigues me.

I enjoy the lush fluidity of oil paint as well as the chemical, incisive quality of intaglio printmaking.

Drawn on copper plates and etched in ferric chloride, my non-toxic printmaking plates are combined with monotypes and a variety of manipulated found objects which create experimental textures.

My creative process dances between figurative imagery and abstract processes that propel my forms into a world of the unexpected.

Alice Lee, Glowing Carved Sphere Lamp, 2024, Porcelain, 6" x 8" x 8"

Alice Kay Lee is a Seattle based potter, owner of A Kurious Life, and first generation Chinese-American. Growing up around strong cultural motifs allowed her to create a unique Asian fusion style of her own. She is a wheel potter and specializes in carved ceramics in both functional and decorative wares but the work she is most known for are her glowing porcelain luminaries. Most of her work begins on the wheel, where she makes "blanks" and from there designs are carved into the forms. From dumpling plates to blue/white porcelain to kraken mugs, she is proud of how her heritage inspires new work.

Bezalel Levy, Late Autumn, Return of the Swans, 2012, mixed media, 30" x 40"

We began our collaboration 35 years ago in Israel. We began combining photographic series of wildflowers and other subjects with hand painted illuminations. When the Gulf War broke out and tourism dried up, Chaim photocopied a photo of a scene at the local outdoor market on a sheet of rice paper. Living in a 4th floor walkup, he asked Yonnah to paint it while he took out the garbage. This became the basis of a staged process that developed into a series of paintings on different themes. Some projects have lasted 30 years and have been featured in exhibits around the world, from Cambridge University Museum to Bainbridge Island Museum and various galleries. Our paintings are in public collections of hospitals, museums (including MONA), government buildings, and hotels. We've contributed to 25 MONA auctions.

Erin Libby, Fanciful Ode, 2010, Watercolor, 22.5" x 18.5" x 0.75"

Artist Erin Libby is best described as a surrealist, fantasist, or magic realist. Her long career includes painting, commercial toy design, sculpting, animation, and illustration. Her paintings are by turns evocative, comic, adorable, mythical, and slightly disturbing.

Erin received a solid art education from the Art Institute of Chicago and Mexico City University. After showing in Chicago, New York and Paris, she completed her MFA at the University of Chicago, where she studied sculpting and lithography. The sculpting proved very useful during her career in the toy business. She studied animation in the 1970's at the University of California at Los Angeles. Her student film was a finalist at the Student Academy Awards. She was one of the top doll sculptors in the United States when she retired from the toy business to paint full time.

Emma Lieber, Ireland 06, 2024, Photography, 20" x 16"

Emma is passionate about travel and documenting her adventures through the lens of her camera. She also enjoys using her photographs to give her viewers a new perspective of common objects and experiences.

Jim Lilly, Luck Has Nothing To Do With It, 2025, Acrylic on Wood, 8" x 15" x 1"

I am a Washington State artist who creates intricately painted wall sculptures that typically depict the Salish Sea and adjoining regions. These trompe l'oeil pièces utilize a combination of a modern laser cutter and traditional sculpting tools. Presented as striking contemporary reliquaries, they appear to be made of distressed wood, metal and stone, with precise details executed down to fabricated screw heads and torch cut steel plating. Being inspired by events, settings, and politics in the Salish Sea region, I meticulously paint and sculpt fish, whales, and crabs to occupy places of reverence in the center of industrial looking altars. Single words ask questions and define polarities with a thesis capstone word featured within the reliquary. Viewers are left to puzzle out the meanings of these disparate but beautifully combined compositions.

Kristin Loffer Theiss, Vulture, 2019, Thread & Watercolor on Canvas, 10" x 8" x 0"

Kristin has been working on an ongoing series of drawings using her sewing

machine as a drawing tool. Using thread, Kristin uses

"free-motion" sewing, creating a continuous line drawing on heavy canvas. This technique is her

preferred form of drawing because it offers the least amount of control,

capturing spontaneity and chance. These drawings are present in her design work as well - the originals

have been shown in galleries and museums. Her most recent thread drawings have

been on top of watercolor paintings on heavy canvas, encompassing her love of birds. She has a vision

of an aviary of bird portraits. Her painting is light in color and her thread offers a dark continuous line.

A trademark of these drawings is the loose thread that starts and finishes the piece.

Aaron Loveitt, Cascade, 2024, Glass and Steel, 32" x 7.5" x 7.5"

Aaron Loveitt lives and works on Blanchard Mountain in Bow. As a sculptor, Aaron's materials and process aim to convey the raw essence of this Northwest landscape, as well as how our resource-based human relationship fits into this unfolding narrative. Hot glass slumped over river rocks, "Cascade" is a sculptural pause of one of this region's most fluid and dynamic icons.

L. Kelly Lyles, THE BASKET, 2023, Graphite on Paper, White Conte, 8.5" x 6.25" x 1"

These artworks were all created onsite at model sessions.

I love figurative work and portraiture (and had the honor of painting an 11 ft portrait of Cal Anderson for SOUND TRANSIT), am fascinated with human psychology, hopefully that sense of identification is projected to the subject's rendering. Even when painting landscapes I can't resist adding the house in the distance, rafters in the stream, or even litter on the beach to indicate mankind's presence in the environment. Humans are endlessly fascinating to draw in all ages, shapes and sizes, I hope this sense of wonder shows in my work.

Sally/Delphine Machlis/Keim, Waterline Calm, 2016, ink, graphite, crayon on paper with etched plexiglass, 23" x 19" x 1.5"

Waterline Series

Water is beautiful, useful, necessary, powerful, healing, cleansing, destructive, and endangered. …it is essential and life sustaining.

The ink paintings in this work allude to water-its color, motion and the marks left by water's presence and absence. With this body of work the artists invite you to explore our connection to water and to each other.

From everyday encounters, to the experiences we go out of our way to find, we are connected.

Anna Macrae, Hit The Reset 1, 2020, oil, mixed media, 24" x 24" x 2"

From a very young age, Anna Macrae has always been a maker. Play and exploration in the use of found objects and everyday materials have been a constant in her practice. This current series continues to be grounded in a process based art making approach, combined with the use of non-precious simple materials and mediums.

Creating highly textural surfaces, this work morphs between 2 and 3 dimensional sculptural constructions. There is a continual interplay from complexity to simplicity, where Macrae seeks to find a balance at the point where potential chaos and excess is somewhat harnessed.

Anna Macrae is interested in the physicality of materials as she plays with the notion of space and form. She uses paint as a sculpting medium effectively on a large and small scale. The surface quality of her pieces captivates the viewer and invites an intimate exploration of the terrain.

Crystal Marshall, Serenity, 2015, Oil on paper, 31" x 24" x 0.5"

My work mainly serves as a reflection and critique of societal norms. I explore narratives that evoke emotional connections and reference aspects of existence. Through symbolism and allegory, I refer to what lies beneath the surface, using varying imagery. I create imaginative realms that defy logic but are directly influenced by my experiences. I also investigate different themes that affect people from all walks of life, concerning inequality and systemic oppression which include exclusion and exploitation, all of which form the roots of a spiritual rebirth.

Being split between two cultures and ways of thinking has led me to create hybrid forms and concepts, fusing both science and spirituality. I reference biblical imagery to create fantasy dreamscapes, visually engaging storylines to intrigue the viewer. I utilize scientific concepts that coincide with creating other worldly realms.

Christopher Mathie, The Southern Resident Orca Chinook Salmon Connection, 2025, Acrylic, 40" x 50" x 1.5"

Christopher Mathie is a dynamic painter known for his emotional abstractions and expressive coastal landscapes using a language of symbolic forms. He draws on personal interests in psychology, philosophy and metaphysics, as well as observations of the natural world. He has exhibited his work professionally for more than 30 years, and his paintings are included in private and corporate collections nationally and internationally. He has taught art privately (pottery and painting) and worked with many fine art galleries as well as the high end interior design world. Mathie was nominated for the 2016 James W. Ray Distinguished Artist Award, given by Frye Art Museum / Artist Trust Consortium.

robert matinjussi, Paper Whites and Basket, 2025, Tempera, 24" x 18" x 0"

As an artist that is deeply observant, seeing the world through a lens of detail and subtlety. For me, painting isn't about solving problems or fitting into formulas; it's about capturing the essence of an image. Style, I believe, is like one's handwriting-distinct, personal, and a reflection of individuality. Each stroke speaks of their unique perspective, shaped by their perception of the world, rather than following prescribed rules or trends. Every observation becomes an intimate expression of personal vision.

Christen Mattix, Every Ending is a New Beginning (Grapefruit in a Bowl), 2024, oil on canvas, 52" x 52" x 2"

"I'm seeking to live whole, slow and attentive in this crazy smartphone age. My paintings are inspired by the stubborn beauty of the world."

In June 2025, Christen Mattix is showing with Susan Bennerstrom at Rick Leonard Gallery. Christen Mattix has exhibited throughout the Pacific Northwest including SAM Gallery and the Whatcom Museum. Mattix is represented by Matzke Fine Art Gallery and Sculpture Park.

Jack McBride, Dunlin in Distress, 2023, Photography, 18" x 24" x 1.25"

This feeding flock of Dunlin all suddenly took flight when a bird of prey (Kestrel) flew over them. It sounded like a helicopter flying over my head.

Eve McCauley, Hawk of the East, 2024, Oil on Canvas, 12" x 12" x .5"

Eve McCauley, a Northwest artist based in La Conner, Washington, creates oil paintings celebrating local wildlife and landscapes. Her recent collection, Mystical Wonders, highlights the survival instincts of four-legged creatures, birds of prey, and the natural beauty that sustains them.

She was recently featured in the Anacortes Arts Festival's juried Fine Art Exhibit. Part of her collection is currently on display at Raven's Cup Coffee and Art Gallery. Inspired by the Skagit Valley and the Pacific Northwest, Eve is currently working with her medicine art practice, deepening her connection to the natural world through her creative process.

David McCrae, Oyster Mushrooms in Nancy's Box, 2025, carbon pigment inkjet print, 7" x 9" x 0.1"

The history of photography is replete with examples of image capture without a camera. My present focus, 'From a Scanner, Darkly,' began when I had no time to work with film. Instead, a scanner and a computer became my substitute for photosensitive materials and a darkroom. The subject matter initially came from the pantry and the garden. Food and flowers; simple subjects but not mundane, for they feed the body and the mind.

More recent work, 'From a Scanner, Lightly,' started when I bought an inexpensive scanner that is powered by the USB port of a laptop. I was excited to go outside to see what would be obtained. The scanner provides unique images when operated in bright light, an unintended mode of operation.

I have continued to pursue still life images, but now with a camera, using both pinhole and traditional lenses, bringing a new perspective to the food and flowers.

Rebecca Meloy, Affable, 2025, acrylic hand stretched canvas, 36" x 24" x 1"

We are fragmenting our wild lands. The cutting of forests, clearing native plants, moving and disturbing soils, and the draining and filling of wetlands, are detrimental to our environment - to our oxygen producing native trees and plants, ground and surface water, insects, birds, animals, soil microbes - and to humans. We are a predatory species and our activities are fueling climate change that could be our demise. Our earth home is stressed. My mark making on paper and canvas is my plea for nature's health and our survival.

Most of my paintings and charcoal drawings depict and embrace trees. Rooted in a deep Scandinavian heritage-a descendant of immigrant Finnish farmers, pioneering Norwegians, and many generations of Swedish Lutheran ministers-my visual voice is instilled with a strong connection to the environment. Its' spirit inspires me.

Timothy Mickleburgh, The Decorated City #1, 2024, Photography, 11" x 19" x 1"

By nature anonymous, fleeting and cryptic, graffiti accumulates in certain places, overlaid by passing hands with paint, ground by rain and sun, until the meaning is all washed out of it.

Then it becomes a closeup vision of chaos and multitude, akin to the night sky or the ocean beating on the shore. The eye craves this sort of thing, the new, the unpredictable. It is cleansing. In the words of Paul Valery, "To see is to forget the name of the thing one sees".

Polina Tereshina, Marcels, 2018, gouache on paper, framed with glass, 19" x 17" x 1"

Allen Moe, Saguaro Cactus # 4, sonoran desert, 2024, modified cement, graphite, 26" x 11" x 2"

My work is like a photograph in that I first make a negative mold using silicone caulking and then casting a positive with modified cement. But instead of recording light i am recording physical presence

Jazz Morgan, Borrowed Gardens 4, 2025, oil, 24" x 20" x 2"

Artists are runners. They carry stories. Humans do not end at their fingertips. We extend into all of nature The Borrowed Garden series tells the stories of the energy of nature threading through a moment in time. The images create a sense of place for us. They give the wind -trees -the sea their voice .

Olena Mosiyevych, Sky's Embrace, 2024, acrylic on canvas, 18" x 24" x 2"

Plasticity of line and its pulsating quality create the nexus of my method and meaning. Combining Ukrainian folk traditions with modern techniques, I construct a visual language that reflects and explores the experience of a female immigrant in wartime. Due to the Russian invasion of Ukraine, my family has been dispersed across three countries. Anticipating the Russian threat in 2021, I moved to the United States with my two daughters. In this groundless state, I find myself visualizing trees as a symbol of resilience, renewal and rooting with my new homeland. One of the questions I'm currently researching: How does Ukrainian sensibility interact with the American Landscape to create a new perspective? How do my Ukrainian eyes perceive middle America?

Christian Murillo, Full Circle, 2022, Fine Art Photographic Print on Fuji Crystal Archival Paper, 32" x 24" x 1"

My photography seeks to expose the simultaneous power and fragility of the natural world, particularly in the context of climate change. My environmental storytelling photographs explore the space between archaic dichotomies; good-bad, conservation-exploitation, left-right, etc. I strive to pursue these ambitious endeavors by adhering to strict sustainable business practices and ethical photographic standards, where the condition of our natural world must be accurately represented in my art.

These values have been invaluable in publishing my own book 'Soul of the Skagit' (2023), as well as with international institutions, publications, and galleries including National Geographic, Harvard University, The Smithsonian, and the LUMEN Museum of Mountain Photography. My ultimate ambition with my work is to protect nature for future generations.

Donna Nevitt- Radtke, Peek into the past, 2024, Soft Pastel, 28" x 22" x 3"

I feel like I have been "Artistic" for as long as I can remember. Taking every opportunity to add to my knowledge of Value, Color, and Design. Studying with numerous well known Artists and Teachers taking from each what I needed in my quest.

My main mediums are Oil and Pastel. Oil for its buttery impasto texture and Pastel for the immediate satisfaction of pure fabulous color. Blurring the lines between representational and abstraction I am giving the viewer a different view of the world.

Cheri O'Brien, Nocturne Solitude, 2025, oil, 24" x 24" x 2"

Ms. O'Brien is intrigued with the haunting romance of nocturne paintings. This particular painting is from her Palouse series of landscapes in which the barn is the landscape's lonely guest. Cheri O'Brien has been creating one of a kind works of art for over 40 years. Her work is in several collections such as Washington State 1% for the Arts. She also has created several public art commissions around the state.

Meredith Ojala, Plastic Rein, 2025, Reindeer antler, plastic, antler velvet, 11" x 11" x 5"

Plastic Rein' extends an on-going study into the impact of human development on reindeer habitat in the US, Canada, and Sápmi. This work questions how we perceive the growing seen and unseen presence of plastic on a local and global scale. How can we sense our synthetic byproducts in the atmosphere as they travel on oceanic currents to remote areas of the earth through the wind, rain and snow? This piece aims to embody the genotoxicity of micro-and-nanoplastic (MNP) byproducts as they migrate into mammalian bone marrow. Historically, reindeer antlers have provided nutrient-rich food for northern landscapes as they naturally shed and decompose in the tundra. As atmospheric MNP pollution imprints itself into the Arctic ecosystem, these antlers likely contain MNP embedded in the bone matrix that creates a grey zone between biological and synthetic matter.

Kate Oltmann, Straight Shooter, 2024, Graphite and Watercolor, 24" x 19" x 0"

I create paintings and drawings inspired by the American West, weaving together archival imagery, cowboy mythology, and traditional quilt patterns. My work explores themes of legacy, identity, and place, honoring both the wildness of the frontier and the often-unseen labor of women. Quilt motifs-sunbursts, stars, and stitched forms-appear as visual symbols of care, craft, and home, layered with imagery of cowboys, horses, and rugged landscapes. These patterns serve as a bridge between personal and collective memory, reimagining the West through a lens that is both reverent and bold. I aim to tell stories that challenge and expand the traditional Western narrative, celebrating its grit, beauty, and complexity.

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Brian ONeill, White Wedge w/ Black Band, 2024, Mid-fire Stoneware, 10" x 14" x 3"

My pieces have been described as modern in their profile and

primitive in their surfaces. Some have said they are monumental at any

scale, ancient as if dug up from the sea.

Most of the forms are vessels. They have an interior and an exterior, the

visible form and the more hidden space inside is an anthropomorphic

relationship Brian enjoys exploring. Each piece comes into existence

and develops a personality as it evolves, much like all of us.

My artwork is rooted in the traditions of Japanese Mingei philosophies

while reflecting his long standing immersion in contemporary art and

design.

Darren Orange, Aquaterra, 2022, oil on canvas, 48" x 72" x 2"

My work of oil painting continues to explore the abstract reflection of the natural environment. The light and color of the Northwest keeps me tethered to a suggestion of landscape and emotional interscape. Fractal shards reference experience and sense of place.
 
My approach is made by free association of intuitive mark making, or automatism. I stretch further from the literal reference and deeper into abstraction. It's the process of pigment manipulation, aesthetic chess, and exploration carving out composition. 
 I begin two-dozen or more panels and canvases at a time. My rapid fire painting style can sometimes become as fast as a boxing match and slow to a series of chess games. This allows me to think quickly on my feet and make bold committed moves without fear in trying to preserve the precious painting or series of successful marks

Leo Osborne, Old Growth Entanglement, 2024, acrylic on gold leaf, 38" x 36" x 1.5"

My environmental art has travelled with the ENVIRONMENTAL IMPACT EXHIBITIONS I & II to 134 Museums in the United States and Canada and I was instrumental in the development of that International Exhibition. My submitted painting for this year represents our magnificent Old Growth Forests of the great Pacific Northwest, using my unique technique of painting on gold leaf and oxidizing with a special formula to arrive at the green colors on this work where no paint is used to create the greens, only oxidation. It is mysterious!!!!

Reid Ozaki (1951-2024), Oval Vase- Year Unknown, Ceramics, 7" h x 8" d

Born in Hilo, Hawaii in 1951, Reid Ozaki moved to Tacoma in 1969 to attend the University of Puget Sound. Studying both art and biology he incorporated elements of nature in his work while deftly blending Japanese cultural and stylistic influences, including the tea ceremony, with Pacific Northwest materials and techniques.

Tracy Powell, Peace and Love Dove, 2023, White Marble on black granite base, 9" x 11" x 9"

As with all my stone Doves, my portion of any sale will be donated to one of the nonprofit groups working for Peace and Nuclear Disarmament. The purchaser is welcome to help me decide which one.

Erin Power, Reflections, 2023, Oil on Canvas, 7.9" x 11.8" x 1.5"

In my printing practice, whether through monotype, aquatint, or relief printing, I strive to optimize the artistic elements most suited to those media. I relish the variability that can occur with multiples, seeking to uncover uniqueness within the group-though I realize this may not align with the traditional printer's goals! The integration of textural elements through found materials, shifts in color or value, or chine-colle with special papers are all aspects of printing that appeal to my senses of variability of the medium and allow the medium to be an active participant in the art making process.

These pieces represent an element of whimsy, criticism, and reflection of the urban experience so common to much of the world's population.

Peter Rand, Bound (detail), 2023, sisal rope, brass rings, LEDs., 40" x 54" x 4"

Peter Rand is an interdisciplinary artist. Many of his projects are documents of his own learning process and chronicle attempts to make sense of things that in the time of their inception, were unclear. His questions often have to do with the co-created space in which we find ourselves, and the indeterminate nature of an individual's role within it.

Peter's work has been exhibited internationally and he has collaborated on public art projects for the cities of Santa Monica, Dallas, and Rome. He has received a BFA in New Media Art from the University of North Texas, and an MFA from the School of the Arts & Architecture at UCLA.

Diane Reardon, Granny, 2023, Mixed Media, 7.5" x 10"

Since 1996, Diane Reardon has made her way through art quilting, encaustics' pigmented wax and mixed media. For the last four years she realized the throughline was the interplay of layers and has been building her printmaking skills.

Her prints create a lively (and often surprising) interplay among the layers' forms, colors, and textures. The shifting depths evoke the interplay of what's above and below the surface. They evoke the inner life and its role in the growth we make through all our changes.

Her current series uses monotypes to catch special moments both between or within people and portraits of her favorite whales. Silhouette outlines invite the viewer to imagine the inner and outer lives of the figures. Her hope is that the work helps transform public or private spaces by providing meditative or energizing moments for the viewer.

Ann Chadwick Reid, Island Marble Butterflies Lament Surging Tides, 2019, hand cut paper, 23" x 21" x 0"

Ann Chadwick Reid's hand cut paper and wall installations are as fragile as the environment and are intended to celebrate the special nature and remarkable diversity of her intertidal home on Padilla Bay as well as other regions in the Pacific Northwest. As our planet's biodiversity calls for urgent action with the looming climate crisis, she feels it is paramount that artists use their work to contribute to a world wide conversation about this urgent issue. Her artwork addresses the impact of human activities on whole ecosystems as well as individual species and she believes the challenge is for all communities to initiate and support conversations that lead to just cooperation and sustainable solutions.

Cynthia Richardson, What's Your Hurry?, 2025, acrylic on gallery wrap canvas, 8" x 16" x 1.5"

Anacortes artist Cynthia Richardson gathers inspiration from the Pacific Northwest's beauty. She especially loves painting landscapes, as well as the trees, flowers, birds and animals that share our world.

Her paintings bring the subject to life so that the viewer can enjoy it too - perhaps reminding them of a favorite place or experience in their own life.

Painting with acrylics allows her to experiment with a variety of techniques as she continues her artistic journey.

Public collections featuring her work include Island Hospital, Skagit Valley Hospital, and the Anacortes Public Library, and her paintings are in numerous local and international private collections.

Kathy Roseth, Ocean Waves, 2023, Oil on canvas, 30" x 30" x 1.5"

Kathy Roseth is a Seattle-based artist long fascinated by quilts, weavings, rugs and other domestic crafts designed to make human environments more human in an otherwise pretty chilly world. The subject of this painting is an Ocean Waves quilt (based on a traditional quilt pattern), which the artist hand-pieced and hand-quilted about 25 years ago. There may be something a bit haunted about a quilt thrown over an empty chair, with no human present to be rested or warmed. If so, all to the good. "Nature is a haunted house," according to the poet Emily Dickenson, "and Art is a House that tries to be haunted."

David Ryan, Votive I., 2024, Oil on linen., 20" x 16" x 1"

There is a continuum of spontaneous, meditative painting, stretching back to the Chauvet cave paintings of 35,000 years ago, through Chinese landscape painting, Zen painting, Abstract Expressionism, to the present day. I love that tradition and feel a part of it.

My work occurs in phases, and as one phase ebbs another one flows, and each phase flows into the next, yet they are all connected in a way that may not be obvious at first glance ..... They have in common much study and preparation, but then each piece is completed in a spontaneous way, usually in one flourish or session.

And I have always loved artist's materials: paper, pencils, pens, paint, beautiful brushes, the luxury of canvas and linen. These simple things hold endless, creative possibilities. Simple, yet profound and exciting.

Bryan Sabol, Field of Life, 2022, Photograph on paper, 16" x 24" x 1"

Nature has always presented itself to me as something mysterious. Those wild places that resonate deeply within us reflect our primeval relationship with the environment- our yearning for what we've lost.

My work feeds our hunger for nature's magic and mystery. I combine emotive landscape photography with fanciful narratives, encouraging creative interpretations by stimulating our most powerful sense: the imagination. Here, a tree becomes a monster that stalks a lake, a fissure in a rock is the broken heart of a mountain, an old doorway transports us to the time of the ancients.

My process begins with the photograph, using an unexpected compositional element to transform the ordinary into something remarkable. I then take inspiration from the scene's tone to compose a narrative that elicits an emotional response from the viewer, reigniting the sense of wonder and possibility in nature.

Diana Sanford, Endurance, 2024, Oil on Canvas, 36" x 36" x 2"

I paint inner and outer scapes. Responding intuitively and emotionally to the canvas in the moment. My palette and inner eye most often paint the light, space and watery depth of the Pacific Northwest. But also very influenced by this frantic distracted time we live in and painting in rebellion, for healing and connection. Each painting arises through a process of intense focus in the present moment, watching and responding. Reaching for my most present, human, organic expression.

Jay Steensma, Bird, 1992, oil on canvas on board, 22" x 19"

Jay Steensma was an American artist, primarily a painter, sometimes described by reviewers as a later-day exponent of the Northwest School of artists. He was known for his extremely prolific output, and, at times, unusual media (such as latex house paint on brown paper shopping bags). Chalices, snakes, houses, clouds, birds, and fish were frequent subjects in his work.

Jon Schmidt, Blended, 2022, Stone sculpture, 15" x 7" x 6"

I strive to bring out the natural beauty from the stone in all my works. There is so much wonder in this world that needs to be seen and appreciated by all of us.

Cathy Schoenberg, Enveloped in flower, 2023, Oil on canvas, 30" x 40" x 1.2"

Cathy Schoenberg is a long-time Skagit Valley artist currently living on Guemes Island with a studio in Anacortes. Her work is in many public spaces including Island hospital, Skagit Valley Hospital, Anacortes High School and more. She's shown at Arts Alive, Focus Gallery at the Anacortes Arts Festival, and currently at Scott Milo Gallery in Anacortes and Two Moons in LaConner.

This particular painting is enveloping in the color and beauty of the flowers in our midst.

Tom Semple, Birch Bay Boy, 2024, Acrylic on Canvas, 12" x 12" x 2"

I live in the northwest and my paintings are a reflection of my connection to the land and the water. I work in abstraction and realism as the mood fits. Moving from spontaneity to structure, often in the same work.

Steve Jensen, Blue Skies, Oil and Italian Plaster on recycled wood, 24"h x 20"w x 3"d

Steve Jensen's boat forms harken to his own personal heritage. His father and grandfather were Norwegian and lived his life as a fisherman and boat builder. The shape of the curved Viking vessel comes through in many of his paintings and sculptures. For Jensen the boat shape symbolizes a voyage or journey, perhaps it is the voyage to the other side, or the journey into the unknown.

Lisa Sheets, Refresh, 2023, Mixed Media Collage on Wood Panel, 12" x 9" x 1"

Lisa Sheets has a background in music, art and psychology. She earned a BA in Psychology and Art with a minor in Music from Western Illinois University. Following that she earned an MFA in cast metal sculpture at Southern Illinois University-Carbondale.

In the 1990s Sheets founded and directed Smart Art Studio/Gallery in Pioneer Square, and in 2000 she and her partner created Artspawn Studios, an art resource for workshops and art studio rentals in Woodinville WA. Since then Sheets has worked in mixed media collage, book arts, and printmaking.

Her art is included in the collections of the Cities of Kirkland, Redmond, and Mountlake Terrace, the State of Washington, University of Washington Medical Center & Book Arts Collection, the Doug + Laurie Kanyer Art Collection, Seattle City Light Portable Works Collection, and the National Museum of Women in the Arts in Washington DC.

Juliet Shen, Nurse Stump, 2025, ink on Kitakata paper, 37" x 25"

I work with Chinese brushes, pigment-based inks and semi-opaque watercolors. To paint is to enter a safe space in my head where anxiety, anger and despair cannot take root. I study Nature because I find there a blueprint for living morally and enduring. I hope my paintings bring these values into the homes where they hang.

chop shop, Let them eat cake, 2025, charred cedar, 8" x 12" x 12"

This is a collaboration of the Edison Chop Shop Studio artists Pieter & Todd. Chainsawing and carving a cedar log and burning it for the icing on the cake. The Chop Shop is the beating heart of Edison, an authentic bulwark against the fussy and precious. Making art and drinking beer since 1922.

Barbara Silverman Summers, Sacred Writing Ode to Anderson and Tobey, 2018, acrylic on wood panel, 24" x 24" x 2"

I graduated from Hunter College (NYC) with a Master's in Fine Art. On a road trip I discovered La Conner and made it my home.I was introduced to Guy Anderson and he introduced me to the Northwest Mystics. I was influenced by Guy's paintings from the very beginning. I love his bold continuous strokes. My paintings are a fusion of Abstract New York Expressionism and the influence of the Northwest Mystics. My paintings are in National and international collections

David W Simpson, Covered S8, 2023, Bamboo, brad- nails, cyanotyped- paper, archival wheat paste, 14.25" x 11.25" x 1 "

I create artifacts marked by the passage of time, transforming them into contemporary statements. Working within a specific environment at a given time, I create structures, prints, other works on paper, altered photographs, and site-specific installations. The work for this exhibition is sourced from a nearby beach as well as a stand of bamboo that grows alongside my house here in the southwest corner of Seattle. In 2019 I lived for a year in Taiwan continuing a body of work I had started here. The onset of Covid-19 and a scooter accident gave me time to reflect on why I was making these structures. When I was able to work again, wrapping the paper strips over sticks felt like wrapping broken bones. The pieces became shields, or awkward, abstracted face masks. I now see the work as metaphorical armor, to cover and protect.

Preston Singletary, Box of Knowledge, 2008, Serigraph on paper, unframed, 18.5" x 15"

When I first began working with glass in 1982, I had no idea how deeply I would connect with the material. It wasn't until I started incorporating Tlingit designs and stories-drawing from my lineage in the Eagle moiety, Kaagwaantaan Box House, Killer Whale clan-that my work took on a deeper sense of purpose. This artistic transformation allowed me to merge ancestral storytelling with a modern medium, giving voice to both my culture and my artistic vision.

Anna Skibska, Rains cats and dogs and the rest of menagerie, 2025, metal, glass, 8" x 8" x 8"

Trained in fine arts, now recognized as a sculptor of glass. Glass is only one medium that conveys my thoughts, embodies my visions. I work with space, time, and light. Sometimes I do collages, photography, and film. Sometimes I design small sculptural forms like jewelry. The latter I like passionately.

Sometimes I write.

Architecture and art are strongly connected: Fine arts do not decorate architecture; architecture is not a shell for fine arts. They are an integral part of each other, and this relationship interests me, as do monumental forms. I develop my thoughts via a unique technique known as Anna Skibska Technique. I have developed the technique and it serves me well: I like to wrap space, embrace time, and trap light, working on them simultaneously from the same beginning.

Lynn Skordal, Real Places That Don't Exist, No. 3, 2014, Three-dimensional paper collage, 10.5" x 8.5" x 1.0"

I live and work in the tiny town of La Conner in the far Northwest corner of the US. After retiring from the practice of law ten years ago, I began making artist's books and small works on paper. Old-style cut & paste collage has been and remains a favorite medium, and I frequently also incorporate sewing techniques, thread, fabric, metal, wood and other materials into my pieces. The goal is always to tell a story that might startle, amuse or provoke. My work has appeared in book arts and collage exhibitions across the country, in books and magazines, and is included in many public and private collections.

Charlotte Slade Decker, Ancestral Drums, 2024, Acrylic, 24" x 12" x 1.5"

Charlotte Slade Decker brings a deeply personal and fluid approach to creativity. She sees herself as "an artist in soul, and a dancer in spirit," suggesting that her art is as much about emotional expression and movement as it is about traditional visual elements. She draws inspiration from music, movement, and dance. For her they have parallel considerations. She thinks of composition, color, marks, and shapes as sounds and frequencies conveying mood, rhythms, texture, and space. This synthesis of sensory experiences allows her to embrace the "fiercely feminine" and to remain true to her authentic self. Her process is notably intuitive, staying open to spontaneous impulses. For her every work is an exploration into the mystery where each revelation informs and transforms her art. This dynamic process underscores the "joie de vivre" that defines her work.

Gary Smith, Dark Tree, 2025, photography, 24" x 18" x 2"

In the everyday environment can be found forms, shapes, patterns, light, shadow, and texture from the simple to the complex. Capturing unexpected and unique perspectives of these is a common theme in Gary Smith's photographs resulting in the images presented here. Typically little or no post processing manipulation is used in Gary's work.

Gary's involvement in photography spans fifty years. This includes being an exhibiting artist in past Anacortes Arts Festival juried fine art exhibitions, and the Winter and Spring Art Shows. He has been a staff photographer for the Anacortes American and The Downtowner (Portland, OR), newspapers. Gary's commercial photography includes work for Special Interest Autos, the Seattle Times, the Professional Photographers of Oregon, numerous small businesses, and private commissions.

Teresa Smith, The Islands, 2025, oil on canvas, 24" x 30" x 1.5"

This island as sanctuary. The richest of color after a rain - give mystery and awe and hope for the new.

A walk in the woods. Rich smells of bark, fir needles and sea. Birds as they chirp, the rough texture of bark - a touch that vibrates with life. A thousand shades of green. Burgundy, rich deep blue, luminous gold like cedar fronds gone by. Mist from damp earth rises. Mystery woven between worlds.

This island as refuge - a woodland temple and shelter from the storm.

Enid Smith Becker, Marshland, 2017, acrylic on canvas, 36" x 48" x 2"

We are all a product of landscape. My goal is to make the universal personal through the creation of places for the eye and heart to travel. At a time where the environment is threatened there is a pressing imperative to find a common vocabulary, to create a reminder of the solace often found in nature. My work, semi-abstract landscapes, depict multiple layered views of the environment in a single space. The sharp edges of the interior panels represent the human perspective, the geometric meshing with the organic, humans responding to nature in a constantly changing dialogue. These divisions reflect how we interact with the world around us on a daily basis, through the lenses of time, space and scale as we frame our experience though the screen of a mobile device. I paint in acrylic on canvas.

Lisa Snow Lady, Field, 2025, Acrylic on Canvas, 30" x 40" x 2"

My paintings and collages are about everyday spaces and the ordinary things that surround me. I believe that beauty and evidence of the divine are found in these often overlooked visual moments. Through harmonious simple shapes, color and balance, I work out my recurring themes of interiors, streets, and gardens. Architectural elements almost always find their way into my paintings, creating a dramatic back- drop for the play of light and shadow.

Many of my works are inspired by walks around my own neighborhood, visits to nearby parks, and community pea-patches and were created in my Ballard studio.

My studies in Art History have provided me with many influences: Vermeer for his genre subject matter and elegant use of color, Vuillard and Bonnard for their strong sense of design and intimate subject matter, and Diebenkorn bridging the abstract and the figurative.

Lori Soderberg, Evening 25, 2022, Fused Glass, 24.5" x 6.63" x 1.5"

The creative duo of Lori and Joel Soderberg make up JLS Glass Studio. This collaborative husband and wife team specialize in creating unique, fused and kiln-formed glass artwork. Their work is influenced by the scenic Puget Sound as well as the landscapes and vistas they have experienced while traveling extensively across the globe.

They started out creating pottery in their studio back in 1994, slowly transitioning into lamp-worked glass beads. This eventually led to blown glass and finally to fused glass art. While their current focus is now mostly on fused and kiln-formed glass, they bring elements of all their experiences together into singular, expressive pieces.

Their work is currently being shown in galleries across the Pacific Northwest. Their work can be found in collections throughout the World.

Keith Sorenson, Prairie Grass 11, 2024, Oil on canvas, 30" x 42" x 1"

My decades of painting have evolved, and are now focused on abstractions of the natural landscape, with a focus on color variations

Dan Bergsma, Bowl 1, 1990, Blown Glass, 11" x 18" x 11"

Dan was born in the Seattle area and comes from a family of artists. His glass studies began in 1984 at the renowned Pilchuck Glass School in Stanwood, WA and at the Pratt Fine Arts Center. Dan studied with such internationally known artists as Richard Marquis, Dante Marioni, Michael Glancy, and the Italian master, Lino Tagliapietra.

Dan's work ranges from richly colored natural flowing designs and classic shaped vessels with dichroic inclusions to sculptural pieces using sandcarving and electroforming techniques. He was drawn to the interplay of color, form and optical qualities inherent in glass. It is the only medium he found to offer such a wide range of visual qualities. From bold striking images to the sublime and fluid optical characteristics of solid pieces, glass stands alone in its diversity and beauty. Dan passed away in Mount Vernon in 2018.

John Ebner, Unknown, Original watercolor, 30"h x 38"w.

Growing up on his family's farm in Sublimity, Oregon, John Ebner's life-long love of the natural environment and rural landscape of Northwest is revealed through his compelling landscapes. Interested in capturing the essential mood of a scene, Ebner often focuses on the serenity and optical magic of water. A past president of the Northwest Watercolor Society, Ebner has worked in this challenging medium since 1973.

Jeffree Stewart, Mountain Portrait; Cascades, 2024, Oil on canvas, 16" x 20" x .05"

Jeffree Stewart has been painting around the northwest for a long time. His work in the studio is inspired by time in the mountains and on the waters, combining abstract and figurative dimensions.

Leslie Stoner, Seeking Clarity, 2019, Archival Ink and Acrylic on panel, 20" x 16" x 2"

Leslie Stoner currently resides on an island in the Pacific Northwest. Her imagery is a reflection of this fluid environment; and her ongoing engagement with what lies beneath and what floats above, with an emphasis on where the two meet. She enjoys blurring the concept of "perceived" imagery, purposefully creating shapes which totter between various forms; leaf, wing, flower, wave, wind, tide, cloud.

Scanning the rhythmic grain on a birch panel her eyes take in all the organic forms that nature has created. She then chooses what will become a more prevalent part of the overall composition, placing her own representation of a journey over the top of this beautiful grainy surface. Finally, drawing line after line after line that twists and curves along the edge of a slowly growing maze, spreading over the surface like a thin black veil. A slow and steady meditative process.

Annette Tamm, Autumn Flora, 2025, Glass, canvas, acrylic paint, resin, cork, 11.75" x 11" x 11"

Annette Tamm began her artistic career with pencil drawing and paintings in watercolors, oils, and pastels. In the mid-70's she began creating stained glass windows and lamps and then entered the world of fused glass in the early 2000's, varying her work from fused floral forms to dimensional landscapes to poudre de verre leafy structures. Her work has been selected many times for auctions at Pilchuck and MONA, and is included in private collections in the United States and Europe. Annette is a juried member of Northwest Designer Craftsmen.

Jeffry Mitchell, Untitled, Vitreograph

Playfully referring to himself as a gay folk artist, Northwest artist Jeffry Mitchell creates humorous and joyful artworks. Working primarily in ceramic but also print and drawing, Mitchell explores ideas of gender, spirituality, vulnerability, and self-discovery through his artwork. His work often appears handmade and uses familiar imagery such as animals and flowers, creating his art in accessible and deeply human terms.

Chris Theiss, Eye Relief, 2024, Porcelain, underglaze, 4.5" x 4.5" x 2"

My ceramic sculpture is image based and within the images I often form narratives. I sometimes use objects or toys from my past and present that act as characters within the stories. The human figure tends to move in and out of my images, sometimes being visible and sometimes as an unseen presence. Most recently, the focus of my work is the human eye. Eyes are a very small part of the human anatomy but are loaded with meaning. I limit my pallet to black and white to add a feeling of seriousness or at least to keep the images from feeling overly sentimental. It also helps me focus on design elements such as light and perspective.

Susan Cohen Thompson, By the Light of the Moon, 2019, oil on canvas, 20" x 20" x 1.5"

Relationships are at the center of my expressive vision which emerges from my dreams. My desire is to communicate an emotional inner connection between the human heart and spirit with the nature of Earth and Cosmos. The process of painting connects me with the land in a gentle and calming way. The natural environment surrounding my home on Camano Island and my frequent journeys into the Skagit Valley are abundant sources of my inspiration.

The moon in my art represents a gravitational pull towards the light. It is a focal point in many of my oil paintings. The forests and fields in my artworks are interconnected and interdependent energy fields - reaching to absorb the light from the stars.

Tom Tiberio, DIVERTIMENTO, 2025, acrylic on canvas, 48" x 36" x 2"

This is a playful, (perhaps flirtatious,) work inspired by the musical term "Divertimento." I currently self represent and am seeking Gallery representation.

Jose Trejo-Maya, Transparencies in Time, 2023, films, 8.5" x 11" x 1"

I am a remnant of the Nahuatlacah oral tradition a tonalpouhque mexica, a commoner from the lowlands (i.e., Mexico) from a time and place that no longer exists. My poetry has been has been published in the UK, US, India, Spain, Australia, Argentina, Germany, and Venezuela. I have been exhibited in different venues with a work that's titled: Transparencies in Time: Cuahpohualli embedded in ethnopoetic language poetry:. I seek to expand this work into a comprehensive exhibit in a gallery and/or installation in 3D public art sculptures (i.e., three simultaneous monumental works that expand into multiple levels of perception and/or dimensions). . In this the sculptures came from dreams, it's a refraction of our ancestors so you see a mirror in yourself, as naturally the visual art is transparent as its in films and sealed in acrylic/plexiglass to give it a holographic effect.

Ryan Uhlhorn, Gold high jar, 2025, Ceramic, Stoneware, 20.5" x 8" x 8"

Ceramic artist working out of his full studio and showroom in Alger Washington since 2020, and has been working with clay since 1989. He received his BA in Ceramics and Printmaking from Western Washington University in 1995.

This work is an approach to find visual balance and interest using subtle colors and elements, while also allowing the character of the wheel thrown process to show through in the final pieces.

Donna Watson, No Name, 32" x 24"

Donna Watson is a mixed media painter and collage artist for forty-five years. Her work has been accepted into numerous juried national and international exhibitions and she has received many awards. Donna is president emeritus of the National Waterfront Society and Northwest Watercolor Society. Donna has extensive experience as a juror and workshop instructor all over the U.S., Canada, Australia, and New Zealand. Her work has been widely published in art magazines like American Artist and the artist magazine, Where Women Create. Her art works can be found in the Lynn Hanson Gallery and the Matzke Fine Art Gallery

Carol Merrick, No name, collage, 20"h x 26"w x 1.5"d

Dederick Ward, Overlooking the Pickets, oil , 21"h x 17"w x 1.5"d

Dederick Ward, an Anacortes artist, turned to full-time painting in 1989 after a lengthy academic career as a professor of Geoscience Information in Colorado and Illinois. Ward's oil paintings are of western landforms, waters, and atmosphere, and often include aspects of geologic time and evolution. His works are in private and corporate collections in the US, Germany, and Australia and have been included in regional group shows at MoNA, Whatcom Museum, Smith & Vallee Gallery, Edison, Scott Milo Gallery, Anacortes, and solo shows at Friesen Gallery, Seattle, and Blue Horse Gallery, Bellingham.

Lori Vonderhorst, Gyre (Geologic Survey NM 10-10), 2021, acrylic on collage, 22" x 29" x 1"

Lori Vonderhorst grew up in a house of stone in Northern New Jersey. She moved to Seattle in 1979 and was immediately drawn to the Northwest's mystic landscape; its lush forests and stormy tides.

Her studio is filled with nests, stones, shells and artifacts collected throughout the years. Whether drawing, painting, or creating assemblages, her work is an intimate visual response to experience, emotions and memory.

Pehr Hallsten, Untitled # 176" (Centaur), 1961, Watercolor on paper

Diane Walker, Aqua Memories, 2022, Acrylic/Mixed Media, 30" x 48" x 0"

Diane Walker is a playwright, poet, photographer and artist whose colorful abstract paintings reflect the joy she finds in the natural surroundings of the Pacific Northwest. Working primarily in acrylics, she creates pieces that invite the viewer into an open, imaginative and peaceful space.

An award-winning member of Women Painters of Washington, Diane has been juried into the Santa Fe Gallery Association's Artist Catalog and her paintings have appeared in Seattle's Columbia Center, in the Red Sky Gallery in Forest Park, in Bainbridge Arts and Crafts, in Port Townsend's Northwind Arts, in the City of Kent's Centennial Gallery, in Camano Island's Matzke Gallery, in Bellingham's Cordata Gallery, in the Smith & Vallee Gallery in Bow, In the Scott Milo Gallery in Anacortes, and in juried Art Festivals in Edmonds, Anacortes, Kingston, Mercer Island, Mountlake Terrace, and Shoreline.

Randena Walsh, Tanager Mort, 2008, mixed media, 11" x 8" x 0"

Randena became fascinated and intimately acquainted with the natural world while growing up on Puget Sound. Her studio on Gamble Bay is surrounded by the flora and fauna that inform much of her creative work.

Randena received her Bachelor of Arts degree from The Evergreen State College in 1996. She has been published in Whatcom Museum's 2005 catalog, An Enduring Legacy, Women Painters of Washington 1930 - 2005, and North Light Books Strokes of Genius 2, Strokes of Genius 3, Strokes of Genius 4, and Art Journey Animals. She is a member of Women Painters of Washington and a distinguished member of Northwest Pastel Society.

"Gesture and expressive use of line are key elements in my work. Whether drawing or painting, a dynamic rhythm flows from energetic mark-making. Sensitive, lively lines act as a conduit for my emotions."

Patti Warashina, Nighthawk' 25-B, Earthenware, Underglaze, glaze, 10.5" x 13.5" x 4"

The human figure has fascinated ceramic sculptor Patti Warashina for most of her 55+ year art career. Her sustaining interest in the human figure is likely due to the fact that her own body is the closest resource from which she draws her ideas. Warashina draws from her daily life and has an abnormal interest in the absurdity and foibles of human behavior, in which her figures have become the actors in her introspective narratives.

Warashina's early study and exploration of freely associated "realistic" figures evolved and mutated over time to simpler, reductive, exaggerated forms, with details left only for facial features and extremities to tie the body back into a sense of reality.

Patti Warashina is nationally recognized for her work. In 1994, she was elected to the American Craft Council's College of Fellows. She received the Twining Humber Lifetime Achievement/Woman of the Year Award in 2001 from Seattle's Artist Trust and earned the University of Washington Division of the Arts Distinguished Alumna Award in 2003. In 2012 she received the National Endowment for the Arts Award and in 2020, she was the recipient of the Smithsonian's Visionary Artist Award for more than 50 years of groundbreaking work in ceramics

Her works are in the collections of the Museum of Arts and Design, the National Museum of Modern Art, Kyoto, Japan, the Seattle Art Museum and the Smithsonian American Art Museum.

Rebecca Ward, Santa Beard, 2025, Sterling silver, 23" x 23" x .75"

I merge base and precious metals with custom concrete pours to craft architectural, minimalist, and personalized wearable art. Each piece embodies a blend of strength and subtle style, imagined and crafted in my Seattle studio. From the initial sketch to the final polish, every piece is individually designed, cut, filed, shaped, forged, hammered, pierced, poured, and polished by hand, ensuring a unique narrative within each creation.

Christine Wardenburg- Skinner, Fragment I, 2020, Monotype, 20" x 16.5" x 1"

This pair of monotypes, representing the abstracted fragments of chairs, represents, for me as a practicing artist, an ongoing quest to find beauty, even mystery, in the ordinary. The art I make, be it in humble clay, drawing, the limitless possibilities of paint on a flat surface or the haunting images of printmaking, all seek some definition of beauty within that person, place or thing commonly deemed ordinary. It is a practice of the eye and heart in the spirit of balance, seeking and wholeness.

Jess Cathorn, Red Balls, 1964, Painting, 26.75" x 27" x 2.5"

Donna Watson, Sensing Place, 2023, Cold Wax and oil paints with assemblage, 20" x 20" x 1.5"

Sensing Place is my sense of place of the beach below my home in the Pacific Northwest. When I walk down to my beach I see sand, rocks, driftwood, water, distant mountains and vast sky. The water seems to melt into the sky and sometimes the water reflects the sky. When I look closer I see smaller tokens like shells, sticks, and pebbles which I bring home and add to my nature collections. I especially love the weathered driftwood, twisted by the water and bleached white by the sun.

Chris Watts, Prototype. Evens- second and fourth segment. Fibonacci 28x28, 2025, Mixed media on paper, 24" x 20"

My work is the result of a long-term interest in patterning, underlying order and to a certain degree, spiritual or esoteric ideas. The images often include numbers that refer to location and proportional relationships, referencing cellular structure or even the double helix of DNA, however they are not purely mathematical. The forms relate to crystalline

structure and deeper levels of order found in nature. Some viewers become involved in the process of uncovering how the general patterns are constructed-a puzzle I suppose. From my perspective, I am very interested in stimulating those deeper contemplative moments where the viewer's thoughts drift inward-perhaps into their own interpretation as to the place that patterns, of all types including those in nature, have in our experience.

Christine Westergaard, Thinking About a Greek Urn, 2024, Glazed Porcelain Ceramic, 9.5" x 7" x 2"

There is a rhythm to life, to the day, to the moment, though in our life of moments we may not recognize it and be the less for it. What is most likely to remind us of the measured flow of connections that cannot be described, and is our birthright, if not the personal vision of the artist?

In my work, landscape painting that has evolved into ceramic sculpture has led to the reduction of representational elements of nature into the abstract. For me the unadorned experience of pure color and form echoes the sacred thrum of a walk in the woods."

Kari Westphal, comfort - framed, 2017, encaustic, 30" x 20" x 2"

Kari Westphal paints with encaustics. Her work is inspired by nature; simply being outside and present in time. She aims to bring a part of that peace into each painting, striving for a small escape for those that venture in. The layers of beeswax and natural resin build to create a sense of space. Texture, light and atmospheric quality infuse her paintings.

Kari's work is in the permanent collection at the Museum of Encaustic Art, and can be found in public, private & corporate collections in the US, Canada, Panama, UK, and the EU.

Ron Wigginton, Whisper (Heaven), 2017, Enamel and co- polymer on cradled wood panel, 30" x 30" x 2"

A narrative painter, I paint a description of what we don't understand, versus painting a description of what we think we do. The goal is not to create pictures of things, or to paint a landscape scene, but in doing so to find an underlying reality.

Ingrid Williams, Mountainside, 2024, Casein, 14" x 12" x .3"

A poured casein gesture can imitate Nature and even look like a photograph. The gesture itself may be entirely abstract, but milk proteins attach to pigments as they will, surprising the painter and bringing unexpected content.

This is especially true of the desert or arctic mountainside. Where there is little vegetation, the trail of running water shows forth. The pigments settle, while the water running out sets up the little trails that our eye expects to see in the distance on a real slope.

Egg white with the casein, applied over it while still damp or dry, or next to the casein wash will fool the eye even more.

Allyce E. Wood, Portal, 2023, Handwoven tapestry in acid- dyed and reclaimed fiber, 64" x 24" x 0.25"

I have a long-held passion for systems, storytelling, and expanding code into something pliable, soft, and inviting. Weaving offers a way to create work that is flexible and warm in both materiality and concept: to me, the loom acts as a mediator between traditional and computerized technologies. This process uniquely combines online and offline experiences into something rooted in our shared industrial history and contemporary image culture. A collector of technologies and threads, my practice revolves around mechanical tools, punch cards, and carefully selected yarns. I often weave on a Thread Counter Loom to create intricate hand woven pieces using modern digital jacquard technology. In my West Seattle studio, I use analog technologies to create icon-oriented tapestries on my floor loom, Scandinavian frame looms, and a knitting machine from the 1960s.

Suze Woolf, El Dorado from Lookout Mountain, 2023, watercolor on paper, 11" x 15" x 0"

A long-time outdoor person, Suze Woolf is known for her large paintings of burned trees and novel artist books composed of bark-beetle-damaged wood and bark. Both bodies of work are prompted by the climate crisis. However, it is the lifetime of outdoor pursuits, especially in beloved places like the North Cascades, that drew her to this work in the first place. She continues to celebrate those times in nature with small landscapes, often painted on location.

John Worthey, British Camp Beach, 2023, Oil on Canvas, 20" x 40" x 2"

John Worthey is a Seattle-born painter whose subject matter comes from both the urban and natural environments. His use of both man-made and nature-made elements is conceived as a statement that harmony can exist between man and nature, and as a metaphor of personal fulfillment. This could generally be seen as man's dependence on nature for his own survival and spiritual welfare. His use of both man-made and nature-made elements is conceived as a statement that harmony can exist between man and nature and as a metaphor of personal fulfillment. This could generally be seen as man's dependence on nature for his own survival and spiritual welfare.

John Worthey's works have been shown nationwide as well as in Canada and Japan. Educated at the University Of Washington School of Art; he studied under Bill Holm, George Tsutakawa and Jacob Lawrence.

Cynthia Yatchman, Zinnias, 2023, acrylic paint and inks, 10" x 10" x 2"
Cynthia Yatchman is an accomplished Seattle based painter
and printmaker, whose career spans over 30 years.
Her art celebrates the unification to be found in
transformational dichotomies.
A former ceramicist, she
studied with J.T. Abernathy in Ann Arbor, Michigan. After receiving her BFA in Painting from the University of Washington, she switched from 3D art to 2D art and has remained there ever since. She was privileged to study with
both Michael Spafford and Michael Dailey.
She works primarily on paintings and prints and has shown
nationally. She has exhibited extensively
in the Northwest, including shows at Seattle University, Seattle Pacific University, and, the Tacoma and Seattle Convention
Centers. She frequently has work published in literary journals.
She is a member of the Seattle Print Art Association, Puget
Sound Painters of the Northwest, COCA, and Women Paint.

Jennifer Yates, Stripes, 2024, Terra Cotta, 3.25" x 4.5" x 15"
Jennifer A. Yates is an artist and educator living in Ferndale, Washington. She currently creates pottery, metal fine art, manages Yates Fine Arts, is a certified Washington State Teacher that instructs locally. Yates is published in 500 Bowls , The Best of 500 Ceramics, and shows her organic porcelain, earthenware, and precious metal forms in galleries around the country. She received her BFA in Studio Arts and BS in Art Education from the University of Wisconsin-Stout where she was an artist in residence.

Skydin Zeal, Sky Guard adjustable bracelet/ handguard, 2019, Sterling Silver or Brass, 2" x 6.5" x 1"

Skydin's current work spans photographic print, metalsmithing and outdoor sculpture! All are unified within one message - his metalwork and outdoor sculpture are the product of visions of unknown past and future civilizations. "My viewers are the present-day version of future archaeologists of the art created today," Skydin relates.

The past's mythos grants us our timeless meaning, humanity, culture and spiritual understanding. My metalworks and sculpture are riddled with text, bridging the ancient to the future for us. My small world of jewelry are silver books, wearable art-documents. I've intended all of my (20-years in process) body of work to be art-documents, carried by torch bearers of intellectual discourse.

Nataliya Zhukava, Good Lie, 2024, Oil on canvas, 30" x 30" x 1.5"

Natalie Reyne creates abstract paintings that explore themes of emotion, identity, and resilience. Working primarily with oil on canvas, she builds layered compositions using bold brushwork, rich textures, and dynamic color palettes. Her work often reflects personal experiences of transformation, displacement, and self-discovery, inviting viewers to engage with their own emotions and stories. In select pieces, she incorporates mixed media and sculptural elements to add depth and dimension. Through her intuitive and emotionally driven process, Natalie aims to create powerful visual narratives that resonate on a deeply human level.

Théo Jonsson-Currain, June Watershed, 2014, Oil on Canvas, 35" x 49" x 3"

David C Kane, Museum of the Heroes of Space, 2003, Inkjet Print on Paper, 220"H x 14"W

David C. Kane was born and raised in the Pacific Northwest. He studied art for a time in the 1960's and 1970's at the University of Washington under Jacob Lawrence, Michael Spafford, and Everett DuPen among others. Kane remained in Seattle, eeking out a precarious living by his art, augmented from time to time by a succession of menial jobs from the 1980's until well into the early years of the 21st century, producing shows on a regular basis for local galleries, taking part in regional exhibitions, and occasionally teaching. By the mid-twenty-teens, he had exiled himself to Mount Vernon, where we find him an enthusiastic participant in the legendary, vibrant Skagit art community. A tireless worker for the betterment of Art, he is admired by all who know him and a credit to his profession. No record of his death can be found at this time.

Sand Cast Ring Workshop with Camille

Join artist Camille in her Edison, Washington studio-nestled between the Salish Sea and the Cascade foothills-for an intimate sand cast ring workshop rooted in creativity, heritage, and place. Drawing inspiration from the rugged beauty of the Pacific Northwest and her Icelandic and Norwegian ancestry, Camille guides participants through the ancient process of sand casting. Begin by selecting a natural texture or shape-a piece of driftwood, pine, or stone-that speaks to you. With care and intention, you'll prepare a sand mold and witness the transformative power of fire as molten metal fills the void. As the mold breaks away, a one-of-a-kind ring is revealed-imperfect, enduring, and deeply personal. This hands-on experience honors tradition, celebrates resourcefulness, and forges a connection between maker, material, and memory.

Location: Edison, WA
Expiration: June 15, 2026

Bio:

Camille is an artist rooted in the Pacific Northwest, inspired by her Icelandic and Norwegian heritage. Raised among craftsmen, She value's tradition, sustainability, and hands-on creation. Her work honors ancestral techniques - like sand casting - and the natural world. She titles her pieces in Icelandic, preserving language and lineage while transforming raw materials into timeless, personal adornments shaped by fire and nature.

Dinner with Skagit Symphony Concertmaster in the heart of Skagit Valley

Enjoy an unforgettable evening in Skagit Valley as MoNA Executive "Chef" Director Stefano Catalani prepares an exquisite 3-course meal for you and five guests accompanied by an elegant selection of wines from the private cellar of MoNA President of the Board, Erik Benson. Hosted by Skagit Symphony concertmaster David Benson and his wife Amanda in their turn-of-the-century remodeled farmhouse in Bow/Allen, this intimate dinner offers a unique experience of food, art, and wine, capped by a set of pieces performed by David himself on his violin with the accompaniment of Finnish piano sensation Terhi Broersma. Date to be mutually agreed.

Behind the Scenes at Tacoma Art Museum

Gather your friends for a private, curator-led tour of Tacoma Art Museum for you and 11 guests-an unforgettable opportunity to explore one of the Pacific Northwest's most dynamic cultural landmarks. Your guides for the day will be Jessica Wilks, TAM's Director of Curatorial, and Christian Waguespack, MoNA's Director of Curatorial Affairs and Curator of Northwest Art.

Tacoma Art Museum is the leading resource for the art of the Northwest and greater Western region, housing over 5,400 works-including the largest retrospective museum collection of glass art by Dale Chihuly and the renowned Haub Family Collection of Western American Art. With exhibitions that span everything from French Impressionism to cutting-edge contemporary art.

Dive deep into the stories behind the works, uncover connections between regional and international movements, and enjoy a spirited, insightful exchange with two of the region's most compelling cultural voices.

Make a day of it-join Christian for a no-host lunch to continue the conversation.
Date to be mutually agreed. Transportation and lunch not included.

Artistic Get Away

Immerse yourself in the radiance of the Skagit Valley from a beautifully preserved 1905 farmhouse-an ideal retreat for art lovers and nature seekers alike. Perfectly situated between La Conner and Mt. Vernon, this warm and welcoming home offers sweeping views of golden fields, snow-capped mountains, vibrant birdlife, and classic Skagit barns.

Just a short drive to Gordon Skagit Farms-an autumn must-and the breathtaking spring blooms at Roozengaarde and Tulip Town, this location shines in every season. With four roomy bedrooms and 2.5 baths, it's the perfect setting for a group of friends or a family looking to enjoy a two-night escape. Explore local museums, set out on a scenic cycling adventure, or enjoy the tranquility of winter bird watching.

Upstairs features four comfortable bedrooms and two full bathrooms, while the main level offers a fully equipped kitchen, inviting common areas, and a convenient half bath. Unwind on the porch and take in the view-it's Skagit serenity at its finest.

Enhance your Skagit getaway with an exclusive, behind-the-scenes tour of the museum with MoNA's own Director of Curatorial Affairs and Curator of Northwest Art, Christian Waguespack. Dive deep into the stories behind the artworks, gain fresh perspectives on the current exhibitions and the museum's vision.

2 nights for 4 people at the 1905 Johnson Bayse farmhouse

You are invited to enjoy an enriching and inspiring getaway to Bainbridge Island, featuring:

A private guided tour of the Bainbridge Island Museum of Art with esteemed curator Greg Robinson, offering behind-the-scenes insights and stories that bring the exhibits to life.

A delicious lunch at the museum's café, where artful ambiance and locally sourced flavors meet.

A relaxing overnight stay at a charming hotel on Bainbridge Island, allowing you to linger in the island's beauty and creative spirit.

This experience is designed to nourish your curiosity, delight your senses, and offer a peaceful escape into the world of contemporary art and island charm.

Toni Ann Rust, Marsh and Mound,2024 24" x 34" x 1",

Richard Longstreet, Untitled, 2024, 20" x 16" x 1"

Statement: My foundational century, roughly 1870-1970, saw the emergence of new forms of narcissistic/pragmatic leadership, passive/reactive peasantry and psychological/aesthetic revolution. Impressionist, Post-Impressionist, Surrealist and Expressionist works of this period served as my early guides to a more direct experience of outer and inner worlds: Carl Jung's organization of the individual in resistance to the collective neurosis of our time. My present focus is that region of the psyche in which meaning and emotion originate; specifically, on the border between abstract form and symbol.

Claire Phillips, Leaving Anacortes, 2000, 8" x 14

Karla Matzke, Changing Tack, 1981, mixed media, 36x48

Tim Fowler, SlideRidge, oil on board, 16" x 20"

Carla Bucknell, Evening's Magic Garden, Mixed Media, 13.5" x 13.5" x 1.25"

Joe Max Emminger, Untitled, 1986,

acrylic on paper, 40" x 28.25" x .75"

Terri Shinn, Stillness in the Dancing Light #7, 2023, Mixed Media, 28" x 22" x 2"

Veronica Chang Jerng, The Rainbow,Graphite powder 2021, 22.5" x 30" x 1"

Bill Hacker, Untitled, 14"x 14"

Carol Adelman, Promised Land, 2005, oil on canvas, 50"x44"

I am interested in the tenuous balancing act required to negotiate the gap between lived experience of the flesh and the norms projected by visual culture and art history. I retrieve traditional forms of representation and stretch them to take on contemporary ideas of constructed identity and a fragmented self.

I take an aggressive, sensual approach to materials that engages the liquid and sculptural properties of paint. Marks build an image that falls apart, even as it emerges. As paint moves, so do we.

As I paint and repaint the sitter, the object, the space, or myself, each moment is unique and the impossibility of finding a fixed visual moment, identity, or edge, dogs my work. The act of painting becomes a practice of radical empathy, of walking within the skin of a person, an object, a space, or a historical practice. What remains is a residue- a history of overlapping moments and layered imagery that becomes a record of the consciousness that hangs between us.

Peter Belknap, Mystery of the Full Moon and the Secrets of Calligraphy 2025, Mixed media on canvas, 37"x48"x2"

Sam Albright, End of Day, 2024, Watercolor, 12" x 9" x 1.5"

I am a multidisciplinary artist at heart, I work in painting, music, building and video. Whether a painting or song, visual or auditory, being present in the process is where the art happens.

I'm a Northwest native from a creative family with roots in Seattle going back to the 1870s. Growing up following my mother painting en plein air in the meadows around Mt. Rainier, I carry that tradition forward into some of my work.

Some days the low evening light on the trees draws my eye and I try to capture the feeling with watercolors, brushes and paper. At other times I might work diligently on a video edit or series of musical compositions. My styles tend toward finely crafted work that has depth and layers; seemingly simple, while revealing complexity over time.

Sail the waters of the San Juan Islands on the beautiful 50-foot sailboat, the Alexandria. This is a trip for you and up to five of your favorite friends.

Create your own experience. Set out in search of whales and other wildlife, or sail to an out of the way, special island and go hiking. Or simply find the best wind and see where it takes us! The possibilities are endless.

When you arrive, enjoy pastries and mimosa, coffee and tea and a brief safety introduction to the boat and sailing. A delicious lunch will be enjoyed mid-day either on an island, picnic style, or afloat on a bay.

Date to be mutually agreed: Between July 15 and October 15, 2025, a Friday, Saturday or Sunday. May be rescheduled due to weather.

Radiance Restored ~ Love the experience. Love the results!

Madame or Monsieur! Be at your best for your next artful adventure. Enjoy over $1200 in care "just for you" at one of Rejuvenation MD's skin treatment and wellness centers:

VISIA 3D Complexion analysis to assess your complexion health and appearance.
BBL Forever Young Fotofacial for your face, neck and chest. This state-of-the-art treatment rejuvenates your skin and reduces pigmentation from sun exposure, tone, texture and clarity are enhanced.
ZO Skin Products, famed for creating and maintaining healthy skin.
$100 Gift Card toward any service.

Locations: Bothell, Bellingham and Burlington
Appointment to be mutually agreed. Expires: April 2026

Miri Admoni, Sunflower Bowl, 2025, Glass, 2" x 16" x 16"

In my work I show the many contrasts that exist in nature and in life: order & chaos, obvious & hidden, transparent & opaque, fragile & durable.

Initially, while still in Israel, I was inspired by the rich and diverse nature scenes that surrounded me, mainly the desert between the Mediterranean Sea and the Judean desert. I channel the natural world into my work by translating personal memories and experiences into emotional and abstract landscape expressions.

That transition between how I feel, and the outcome of my work is sometimes a mystery to me, but I believe that like in nature, everything has a reason.

I now live and work in Oregon and am continuing my relationship with nature.

My works are processed-based and often experimental. Creation teaches me to follow my intuition and my heart, to do what I love. Creation always gives me hope.