I see creating art as a way to savor the beauty of God’s world. When I sit by a river, gaze at a waterfall, or take in the vastness of the mountains, I become awestruck and deeply moved. For me the world of nature speaks of constancy, order, variety, balance, and vibrancy. It hums a melody of peace and conflict while it calms our hearts. It is full of mystery and delight. Continue reading “Barbara Hawk”
My process starts with dyeing yarn and fabrics using several type of dyes, depending on the results I seek. I may then further enhance the fabric using a variety of surface design techniques. I’m continually experimenting with new processes. My fibers include textured silk, cotton, rayon, wool, mohair, and alpaca. I collect vintage fabrics and love to incorporate them into my weavings for dynamic effects. Continue reading “Brenda Cameron”
Much of my inspiration is taken from woodworkers of the “mid century modern” period, such as George Nakashima and Sam Maloof. I use natural oils and varnishes as finishes, and do not stain my work so the natural character of the wood is preserved. Continue reading “Chuck Evans”
I make wall hangings, trivets, and coasters from wood using parquetry technique. My geometric patterns, quilt patterns, and scrollsaw work can create 3D effects in 2D work. In my Parquetry art, I use 1/8-inch thick pieces of wood inlaid on a craft-quality ply-back board. Continue reading “David Adler”
Diane uses both natural and professional artist dyes to create beautiful surface designs on natural fabrics. Two prevalent methods include Eco Printing and Shibori.
Eco Printing is a direct contact printing technique. After collecting many of the leaves in her own garden, Diane transfers the plant pigments to the fabric with direct contact and heat. Colors and effects vary based on many variables including the stage of the leaf growth and how the fabric is prepared. The unpredictable nature of Eco Printing ensures each piece is truly an original. Continue reading “Diane Kuehn”
The play of light and shadow washing over a subject is what grabs my attention. I never know where a subject will take me.
Each medium has its own challenges and rewards; graphite is comfortable and relaxing, while watercolor keeps me on my toes finding the balance of planning steps ahead while keeping the painting fresh and spontaneous. It’s an incredibly rewarding process. Continue reading “Donna Huyett”
After the copper is cleaned in an acid bath, it is fired multiple times in a kiln with temperatures ranging between 1850 and 2000 degrees with the desired colors and design. Each piece is fired about two minutes, taken out, cooled and re-fired with additional colors. I use forms for jewelry, switch plates, bowls, dishes, etc. Continue reading “Freddie Hart”
The wide variety of wildlife that surrounds me where I live is my inspiration. Bears, deer, raccoons, rabbits, owls, white squirrels and even snakes become the subjects I paint. I love to capture facial expressions and the eyes of my subjects. It is always exciting to depict them through my art. Continue reading “Gwen Flinn”
I usually begin my pieces on a wood lathe. After I have created a form I am happy with, I hollow out the inside of the form on the lathe or with bench-top tools. The wood is left to dry for 30 days or more before the finishing process begins. I often carve or texture the outside of the piece before painting. Some of my work is left natural and finished with a varnish or lacquer, depending on the type of wood I use. Continue reading “Holland Van Gores”
Combining light, color, line, texture, form and depth into a compelling image that tells a story is my goal in photography. When selecting a print medium for the finished image such as canvas, aluminum or various photographic papers, I try to choose the one that best complements the subject. Continue reading “Jack Christfield”