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Artist Gallery

​John Dempcy
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John Dempcy was born and raised in the Northwest and currently lives and works in Seattle. His work is  influenced by the natural beauty and rich biological environment at the heart of the region. He received a  Bachelor in Arts from the University of Washington and an Associate of Arts degree in Graphic Design from  the Art Institute of Seattle. He has exhibited his work in solo and group shows throughout the United States  as well as in Europe.​

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www.johndempcy.com

To view full size images, click to open a slide show

Leslie Stoner

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​​My paintings are suggestive of nature. Abstract, active, landscapes which “picture frame” a quiet central stillness, a resting place; with sporadic dots and lines that mimic the life or energy that is inherent in nature, it’s essence.

Using a process called encaustic, I work with molten beeswax, which allows me to push and pull the surface of the painting. I apply layers of opaque and transparent wax, burying what lies beneath, and then scrape away to reveal what is hidden. Working in this manner I am able to repeatedly work and rework the surface until the painting is complete.


www.lesliestoner.com

 

Susan Towle

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​​Picking up a paintbrush and laying paint to paper captivated me about 10 years ago and never let me go. Wetting a piece of paper, dropping in colors, and watching it move and mix always brings me to awe and delight. It is magical! My challenge is to stay loose, and by using washes, glazes, and transparent color, allow the light to illumine.

My one hope is that the viewers of my art also find that same joy – joy in the beauty that is all around us in both the big and small of creation.

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​www.susantowlewatercolors.com

Pam Mayer

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Local Seattle artist Pam Mayer majored in Studio Art at Wellesley College in Massachusetts. While her artistic talent finds expression in many traditional mediums including oil and photography, she also focuses on beautiful and functional design for Web and iPad in both corporate and artistic circles.

Although oil painting has been a long love for Pam, she moved toward collage as a less toxic creative outlet after her daughter was born. Her collages are often inspired by photographs she takes on trips with family, daily life, childhood memories, and in nature.

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​www.pamintheworld.com/collages

Jeff Blucher

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​​​​Jeff enjoys using a variety of cameras and techniques, both film and digital, and has a love for the surprising nuances that can be found in a vintage camera, or even a plastic “toy” camera. He does his own processing and enjoys spending rainy evenings with a fresh roll of film in the darkroom in his home. For subject matter, Jeff often chooses natural subjects, and enjoys creating images that show the juxtaposition of man and nature. He is forever enticed by his love of capturing images on film, and his work is characterized by depth, interest, and the hint of story.

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www.jeffblucher.com

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Sydney Ruth Palmer

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​Vegetables nourish our souls too---all their colors and shapes remind us to vive la différence!  I call my paintings and prints “vegetable portraits” because I hope to capture the essence of each vegetable but also its own quirky individuality.  For example I had been looking for a ginger model for quite a while when I suddenly came upon the ginger root portrayed here with its great, open-armed swoop, and I said, “Ahhh, you’re the one I’ve been waiting for.”  I don’t eat all of my models, however:  the mushroom dried beautifully and still rolls around on my desk.

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Duncan Smith

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​After 20 years of working professionally as a commercial photographer, Duncan Smith set out on an adventure of a lifetime through rural Latin America to rejuvenate his passion for photography.  He spent 15 months on the road, and 60,000 km, riding his motorcycle through indigenous lands, rarely traveled.  The primary focus of the trip was the local foods, markets, and cuisines, but it’s the people that really won Duncan’s heart.  Duncan is now writing a photo journal and cookbook based on his experiences.  The pieces on display are from three colorful markets in the Peruvian Andes.

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www.duncansmithphotography.com

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Abby Castle Brockaway​​​

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Flotsam and Jetsam

​Over the years these words flotsam and jetsam have evolved.  Originally describing the floating wreckage of ships, these discarded or broken items have been left to drift in the sea traveling in the currents and eventually washing up onto the shore.  The wreckage and waste that is deposited on beaches has moved on currents that may have been floating for many years traveling hundreds of miles.  Today, the random things - the bits and pieces that are cast offs from all sorts of sources in our society are gathered up by the tides and re-deposited as nature chooses.

Gary Iversen​​​

 

 

​Gary is an award winning nature photographer originally from Seattle who has spent the last 20 years with his wife living in the coastal town of Ocean Shores, Washington. Most of Iversen's photography is based around Ocean Shores, Washington.

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www.northcoastnature.com

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Faye Castle​

​What sparks me in painting is light, color and design, but color is often the biggest grabber. It allows me to pick and choose the kind of color world I want to be in.  On a dark grey day, I can choose to be with reds and yellows and magentas.  How good is that?!

For years, I was fascinated with pastel because it allowed hands-on sculpting with almost pure color.  More recently I’m pulled back into oil because of the color nuance and control it offers. The fun of design is the complex challenge of arranging a walk for the viewer around and even behind things without having them get bored or lost.  I always want that walk to have some little element of playfulness or surprise.

Truman Castle​

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Truman can be found painting on location around Washington State with the group Plein Air Washington and is currently active with Langley Artists Connect, on Whidbey Island. He is doing oil landscape painting both on location (plein air) and in his home studio in the Mutiny Bay area of Whidbey Island.

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Michele Rossinni​

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Raquel Stokes​

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I have always been a creative person and have used my imagination in various ways for as long as I can remember, whether I was making a cardboard fortress or writing an adventure story about my dogs Minnie and Ziggy taking over New York City. As I got older I channeled this creativity into making art. I mostly paint, though I also make mixed media pieces as well as tile mosaic. I taught myself how to paint over many years of experimentation.

I have a passion for learning new things and educating myself about the world through experience. I strongly believe in the importance of getting out of one’s comfort zone, and this philosophy has informed many aspects of my life.

Shinzaburo Takeda

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(b. 1935, Seto, Japan).  In 1957, graduates from the National Fine Arts School of Tokyo, Japan. Travels to Mexico, settling in Mexico City in 1963. In 1978, he moves to Oaxaca City and begins to teach at the Fine Arts School of the Autonomous University of Benito Juarez in 1979. In 2008, 2010, and 2012, he organizes the 1st, 2nd, and 3rd “National Print Competitions Shinzaburo Takeda”. In 2010, he founds Takedarte A.C. with his former students

Ponciano Vargas

 

 

​​Kristin Cammermeyer

​Gizmo and Threaded were part of a series of drawings that involved an initial spontaneous gesture with spray paint on paper. I then proceeded to establish a personality or character to this gesture with a more refined medium, the fine tip pen. Combining quick broad gestures with acute line work created a tension. These polarities are interdependent – one cannot exist without the other. To me these drawings become an embodiment of this relationship.

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​​Heidi Favour

​Scrounging around salvage yards, junk stores, and hardware stores, I am constantly on the lookout for interesting, unusual artifacts. I collect old things that are cast off and quirky.

I appreciate the workmanship and quality of materials found in the old – tools, wood and hardware and I love to think about the stories of the people who used these objects.

I salvage these things and present them in a new way  – putting disparate materials together to tell a new story with things of the past.

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​​Ana Karina Luna

​While I am indirectly influenced by the outside world, my inspiration comes most strongly from within. My work is autobiographical for the most part. I’m deeply interested in the individual and the unconscious worlds within. My process aims at making room for serendipity – such as cutting directly onto the clean un-sketched linoleum block – and welcomes “accidents” (cleverly called as such by the conscious mind)

​My main mediums are printmaking and sketching, but as a multi-disciplinary artist, I introduce other mediums according to the needs of the project, such as digital technology, interactivity, design, or even origami, among others.

​​Debbi Murray​

​I paint from the inside out. Exploring emotional connections and the clash of light and dark, where shadows live within us. 
Acrylics and collage elements are combined to form layers and texture—creating an intricate landscape upon which concepts are expressed. I am drawn to vibrant color. I don’t shy away from the dark. Happy colors lurk and evoke the emotional struggle—a paradox united on canvas. 
Color creates channels of mood and is an expression of both the concrete and the vague. There is a deep connection with process and expression revealed in the juxtaposition of these two abstractions. A flexibility of both spirit and medium.

​​Amanda Blake​

​My oil paintings take as inspiration religious and literary symbolism, superstition, found
photographs, and a love of pattern, color, paintings of the early Renaissance and abstract expressionism. Combining these elements with imagined characters I construct a familiar yet never fully revealed narrative to form an emotional connection between the viewer and the painting. Themes of memory, fate, love and obsession are explored through characters that wander through dark forests, sail icy seas, stand on starlit beaches and on rocky cliffs in often
dream like situations.

 

www.amandablakeart.com

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​​Mary Ellen Bartholomew​

​Mixed media paintings and drawings using acrylics, chalk and oil pastels, and oil sticks.  Ten years of living in the desert have influenced the unstructured, organic shapes and colors.  You may see an egg, a cell, a pod, an eye, a beak, a wing, a seed, a leaf a stem, a spine...any one in motion.  Changing colors, layers.

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​​Patricia Schoonover​

​​My work is inspired by natural forms; especially what I call the "forest floor". I like
the variety off vegetation across the seasons, ever changing; the development of
buds and shoots, grasses, flowers and fungi. The challenge of capturing the rapidly
changing environment demands close and constant observation. I love the
challenge!
The human forms that I draw come largely from very old photographs. These
people are placed into environments reflecting stories of my own making.

​​Reid Schoonover​

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The work I produce is a conscious amalgam of a number of interests I have and an attempt to reconcile these interests in a contemporary way while at the same time re-enforcing history through art and craft. Though my work may not appear representative of these historic times I do draw much inspiration from them. Also, I try to produce work that is easy to use, and live with and yet provides visual stimulation and aesthetic pleasure while encouraging a conceptual link to life and times long past.

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workingmanstudio.com

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​​Patricia ​Clayton

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I love the radiance of the sky at sunrise and sunset and for years have explored the glow that can be obtained from transparent oil paint.  Many of the landscapes in are done with layers of transparent paint to maximize the glow.   It is difficult to duplicate the color with opaque paint.


My “Slice of Life” series began as a class demonstration of maximizing the glow of a back-lit slice of citrus.  More recently I’ve been using the same intensity and color from the still life paintings to capture the glow of backlit leaves and trees on the Seattle streets in the “City Strokes” series.

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​​Peter Skidd

 

From my youth the constant presence of my great-grandfather’s art hanging above me throughout my home inspired me to love beauty and to pursue the search for beauty through painting. I love the limitless avenues of metal, especially the dimensionality, movement and transparency of the steel. I
find great enjoyment in testing ideas, exploring the possibilities in steel and creating art in such a rigid yet flowing medium.


“Summit I – III” is an attempt to capture the exuberant spirit of Spring’s
bursting colors on a fresh mountain morning.

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​​​Fulgencio Lazo

 

In my work I hope to represent ancient festivals and traditions as well as a living, vibrant culture. I evoke the smell of burning resin incense, the flowers, the food, and with music and dance as constant companions, I express the spiritual nature of our cultures.  I aim to represent the day-to-day struggle to survive in a society in which we are constantly in search of better living conditions.  In small circles I draw a past and a present, both fundamental elements that nourish us in order to maintain our identity as a people.  Processions, with their larger-than-life puppet creations, lanterns, and of course, their bands, can be transformed into new figures with lines in brilliant colors and thus, allow me to achieve free movements.

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​​​Anne-Marie Leon​

 

As a watercolor artist, I love the fluidity of the medium primarily. But secondly, I love the potential vibrancy of its color.  My perception is that my work is "dripping with light and color".

I focus on subjects which lend themselves to the expression of life, with many chaotic fragments which, when grouped in a logical way, become a coherent whole. I feel that, apart from sending a message about how I feel about life, my art emits dynamic energy.

My background in photography makes me want to fill the frame, to "zoom in" on the subject, hence the nontraditional composition of my work. I feel, too, that this gives the painting a thrilling quality.

​​​Nicole Sherey​

 

I use acrylic paint and photograph collage to create altered landscapes. With my visual language of bold compositions, melodic natural patterns and a high contrast palette, I pull color and images from a photograph inset found in each piece. Vibrant painting not only expands the idea of each photograph, it breaks through the confines of the snapshot to capture the complexity and grandeur of outdoor experience.

​​​Warren Dykeman​

 

My paintings and drawings are mixtures of images from sketch books, hand lettering, digital art and collage. I use pencil, acrylic, digital printing and computer projections to create these images.

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The figure, hand lettering and typography are the major themes of my work. I am intrigued by Folk Art, Primitive Art and all forms of Graphic Art from information design to corporate identity systems. I want my work to contain an awkwardness that has a rhythm between shape, contrast, color and inaccuracy.

 

www.warrendykeman.com

​​​Carolyn Fernandez

 

Los Angeles based artist Carolyn Fernandez use of bold color and energetic brushstrokes invites viewers into her entertaining and playful canvases.  Her whimsical paintings of poolside parties, pyramid water skiers and picnics galore range in size from six feet to six inches.  Her works capture glimpses of sunny Southern California, which proves to be a constant source of inspiration for the painter.

Carolyn’s love of painting food was cultivated at an early age:  Her mother was an artist and art educator and her father owned a bakery in Manhattan.  Growing up, her kitchen was filled with freshly baked pies, cakes and cookies from her father’s bakery.  Fernandez jokes, “My home would have been approved by Willy Wonka.”

​​​Jennifer Beedon Snow

 

My paintings try to conjure up memories of places and play from childhood. I am less interested in capturing an exact or realistic depiction of any place or specific interaction. The paintings are uninhabited, allowing the viewer to construct a personal narrative. Houses and their settings - places where most play happens, side yards and wide streets, along with lawn chairs, fences and garden tools are some of the iconic elements, often from a bygone era, I use to build my compositions. I also paint toys from the seventies - trying to create landscapes that happen in play-imaginary landscapes.

​​​Joe Burmeister

 

Content comes forth in a blurting.
These symbols introduce themselves to me as they are discovered.
The wax goes on invisible.
The wash exposes a drawing I’ve made.
I am somewhat removed from the authorship of the work,
Yet I have never done more personal art.

​​​Patricia De Caro

 

My painting  addresses the intersection of memory and experience that shapes our sense of self. In my most recent work,  I reveal a  child's point of view through narratives  involving play or encounters in domestic settings.  I create imagery that depicts the universe and experiences that touch upon imagined fears, ambivalence  or body awareness.  My idea is to convey the fragility of a child's emotions through the use of materials: the dripping and blurring of  ink or paint  parallels the  fragility of  a child's emotions  such as feeling vulnerable.  It's the recognition of this emotional experience I try to elicit in my work.

The Ventnor  series was created from my memories of summers at the Jersey shore.

Katherine Groesbeck

 

Tract
 

I tried to work ​intuitively through this project, without expectations. I hoped to work backwards, rather then start with a set of ideas; I wanted to find the ideas with the completion of the work. I worked on all three somewhat simultaneously in spurts of energy. I soon found the collages relatable to the idea of a map – trying to organize something (topography, stars, rivers, paths, ideas, images etc.) so that one can make more sense of the subject. Maps are a tool for understanding and finding ones way. A way to organize visual information, find patterns and new ideas.

 

www.katherinegroesbeck.wix.com/kjg

Scot Hasenkamp

 

What can I say; I’m a Sci-Fi, pop culture, “alternative” music junkie.

 

“Planet Claire” is based off of the lyrics from the B-52’s 1979 single of the same name. The painting marries the song’s lyrics with classic Sci-Fi imagery and pop culture references.

 

As for R2 and 45, I saw Star Wars at the UA 150 (R.I.P.) when I was 7 years old and I was hooked from the opening scene, like cinematic heroine.  With any luck I will live long enough to have my own service droid.

        -Scot

Skye Howell Henley

 

Lisa Kaser

 

Amy Kuhn

 

The print here is a linoleum cut from "back in the day".

Not having regular access to a printing press got me started painting in acrylics. 

Motherhood is my new form of artistic expression and I love it.  I do make time to paint occasionally; the painting here is a visual representation of a story my child told me:
My two year old was on a play phone chatting away.  I asked her who she was talking to?  Without hesitation she said, "The pink monster."  I asked where is the pink monster calling from?  Again without hesitation, and a bit indignant due to my second interruption, she replied, "In his pink car, on his pink phone!"  She liked pink A LOT at the time.

Anne Siems

 

All that I see, hear, touch, experience and dream moves into me and finds its way into my artwork. I love faces, bodies, gardens, wide open stretches of land with small forests and fields, old things that have had a life of their own, stories and all the realms in between. What I paint comes from an intuitive, visceral place. Elements found in my work through the years are there because they feel right; they have no specific symbolism. What you see is an open ended narrative, one that I invite you to enter into and complete or continue.

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Anne Simernitski

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My Abstract Expressionist work emphasizes spontaneity and the exploration of new emotions, feelings, and thoughts. It combines self-expression and emotional intensity. I travel from completely abstract panels to the addition of a unique representation of organic figure.
I draw my inspiration from several trips to Asia, where I encountered fascinating visual effects done with prayer papers, glued directly onto temple doors, sculptures of saints and even trees. Due to changing weather conditions, these papers become even more intriguing, mixing and blending into different layers and further interacting with the surfaces they are glued on.

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Jo Simonian

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Creating art with needle, thread and felt is perfect for me. The rhythm of the sewing is very relaxing
and I love the way a picture emerges on the felt canvas. Sometimes I have the whole piece planned out
in my mind, but other times, I just start and the stitches seem to find their own way onto the felt.

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Lisa Strauss

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My paintings are organically abstract; they deal with transparency, depth and texture. They are created by thin layers of acrylic paint, gels and any other material I can get my hands on. I pour, direct and manipulate these multiple  layers onto various surfaces ranging from copper, aluminum, paper and canvas.
Painting is a very physical process for me. I pour on the floor, throw from various heights, splash, slip, slide and drip. I like to see the paint react to different situations and conditions. I distort the paint by adding large amounts of water, gels, flow release, glass beads and other materials. I change the appearance of the paint, changing the intentions of the painting.

Julia Carlson

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I’ve been creating art for as long as I can remember. Although I’ve always enjoyed creating images from my
imagination, my true passion today is working from life. My work consists primarily of still life paintings in oil.
Things I strive to capture in my work are the character of an object, its signs of wear and use, and its tactile presence
in space. I especially enjoy painting objects that are nostalgic to me. That magic moment of capturing the
likeness of a physical thing on canvas is what I live for.

Rob Kimmerer

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Richard Royal​
“Relationship Series”


Two entities attracted by a common goal or belief need equal power to support a mutual existence.  Each Relationship Series piece signifies a complete relationship with two entities nuturing a core or center.  When the Relationships are displayed in groups of two or three, literal relationships are created not only within each individual piece, but with the surrounding pieces as well.  At this point, the space between the works becomes an important factor in the relationship.

This body of work represents a system of physical support and emotional receptivity, working together around a strong spiritual center to express a complete individual or family.

​​Irene Ingalls

 

Spirit and color inspire me. The symbols in my paintings are known as Light Language.  I have been painting and working with this visual non- linear written form for over 30 years.  My experience of these symbols can best be described as prayers  with the intention for each painting  to reflect those feelings into the surrounding environment.

​​Gina Masseno
 

As a printmaker I rely on the use of various indirect etching techniques to help me produce effects that simulate the patterns found in the natural world. Preferring almost exclusively to work between black and white, I incorporate many elements borrowed from both a childhood spent in the Pacific Northwest as well as an appreciation for the Art Nouveau movement and it's eye to decorative details. Influenced heavily by the aesthetic and tradition of natural science illustration and its adherence to precision, I have built my work around the themes of zoology, internal structures, anthropomorphism, and animal death/taxidermy. The majority of work I completed in the last year was based on frequent visual research trips to the local Natural History Museum of Florence, which also serves as the city's Natural Sciences and History University.

​Laura Sindell
 

“Seeds to Save, Seeds to Sow” is a portrait inspired by my father's life and a tribute to him. He loved people and was deeply concerned for the well being of others. Years ago I found in his desk drawer just a small saved bag of stamps, commemoratives of ideas that he must have felt were too important to throw away, ideals that he worked for throughout his lifetime. His stamps comprise the seeds in the sower's pouch.

The actual materials of the artwork form a collection of both common and rare mixed together.

The original resides at the University of Washington Medical Center. The image is much beloved, though I have made very few prints available. This is a rare opportunity for someone to purchase the image.

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