Robyn Williamson "Haiku Michelle"

During a workshop taught by artist Dawn Emerson, I decided to join in and try my hand at drawing the figure. It had been 39 years since I worked from the model. I didn't have any supplies or an easel, but Dawn graciously offered to share her pastels. I found a piece of foam board and propped it up against a folding chair and got down on my knees. There was only time remaining for 3 short poses. I have used the model, Michelle Wolff, for several figure sessions at the La Conner Art Workshops over the years and I admire not only her beauty and grace, but her professionalism. Now to actually be drawing her was a different experience. I considered the first pose a warm up and hit my stride with the second... with great regret that I did not choose to use good paper. With the last pose I knew only that I wanted to emphasis Michelle's beautiful neck. I finished this drawing in a few minutes and spent the remainder of the pose thinking...adding the final touches after Michelle had stepped down.

For me, painting with my friend Dawn, painting a friend Michelle, and painting with new friends in the workshop was truly a "Paint a Positive Picture" moment. I had traveled, for a short time, to the "zone" and was reminded that, although I rarely have the opportunity to make art, I still am an artist... and I get to be one for the rest of my life.

Robyn Williamson

Age: 58

"Haiku Michelle"

Pastel on BFK 22x30

April, 2009

Sharon Eckhardt " Trees on June Morning"

I painted this based on a photo I took on a warm morning driving around the farmland of Skagit Valley earlier in the week before a class with Teresa Saia. Something caught my eye about the group of trees and I knew immediately this was what I wanted to paint. I've been painting the past four years and always wanted to do landscapes, but trees were problematic and scary and I was always getting frustrated. Think, for me, the turning point was in a class with Susan Ogilvie last year, she said to simplify the shapes and not try and draw everything I see, and it finally clicked in my head how to do it. So now, I feel pretty comfortable painting landscapes. I love painting just the impressions of a forest or a clump of trees, and then gently and gradually laying down the warm and cool colors on top to give the feeling of volume and depth and light. Then, the deepest darks in the shadows really are fun to put in last.

Sharon Eckhardt

Age: 51

"Trees on June Morning"

Pastel on La Carte paper 12x19

June 2009

Robert H Lafond "D&R Canal from path across from It's Nutts Restaurant"

The painting I selected, done in late Spring, is a view of the canal that flows at the end of the street where I live in New Jersey. I walk along the canal almost daily, watching the water levels, feeding the ducks, picking up trash and following the cycle of the seasons. When I walk along the canal or the nearby Delaware river, by the fields or in the woods, when I look in the back yards, or down the streets, I am often filled by the fullness of what I see to the point of bursting. I usually feel this same way when looking at art in museums and galleries. I am compelled to respond creatively.

I paint to reenact and reestablish the intimacy I feel with the visible world. I paint small pictures to emphasize the intimacy. I paint to reconnect to the artistic aspirations of my grandfather and my mother, and to connect again with other artists, past and present. I paint to see anew and I look intently because I paint. I paint to share what excited my sight, and for others to see in my best work what motivated me to make it.

Often we spend an inordinate amount of our lives grasping for what is beyond us while neglecting or rejecting what has been given to us, until we gain the insight to open our eyes.

Frederick Franck wrote"...only if one sees one becomes harmless to all beings!" He writes about an inevitability of seeing, an inevitability of compassion and humanity that can come from the seeing and intimacy of painting, that leads to the right relationship to others and the world.

Robert H Lafond

Age: 62

"D&R Canal from the path across from It's Nutts Restaurant"

Soft Pastel 8 x 10

June, 2009

Rodricia Tilley "Crows Over the Corn"

I was born and grew up in this decidedly rural and remote Pennsylvania county.  I returned over three decades ago to raise a family and set up my studio here.  Despite my background and roots, I often feel quite at odds with the politics and aesthetics sensibilities of my neighbors; some of whom toss trash on the sides of the scenic back roads where I  love to paint.  Often I set up my easel near farmland and do not see another soul during the brief couple of hours I am there working.  I enjoy this solitude and peace.  I also enjoy the times that the farmer stops his or her pickup truck and takes a moment from their busy schedule to admire my painting...or occasionally to tell me that I "forgot" to include some detail or other...or to invite me to see the fabulous view from the top of the silo!  Those times I realize that we have different ways of working, but we both have a love of the land.  we can both appreciate the new willow leaves, the approaching rain clouds and a pink sunset.  we share a life that keeps us out of doors looking around and sniffing the wind.  the landscape is or common bond.

Rodrica Tilley

Age: 62

Crows Over the Corn

Pastel 12 x 16

MArch 2009

Susan Ogilvie "Old Growth"

I had an opportunity last summer to visit Antietam National Battlefield in Maryland while conducting a pastel workshop.  We were spread out painting, enjoying the beauty of the place -

but there were periodic discussions of what had taken place there.  I found a wonderful old farm house with an assortment of other structures and very large trees.  After painting a demo of the out-buildings, I realized that the field behind me had been the site of one of the bloodiest battles at Antietam.  My thoughts about the farm I had been painting began to turn from activity and farm work, to sadness and loss.  I returned to the farmhouse  with my sketchbook, and decided to find some compositions that made me feel a sense of connection, family and peace.  "Old Growth" was painted about a month later from the sketches I had made that day.  Looking at my sketchbook brought back much of what I felt that day, and allowed me to find a way to convey a sense of unity and completeness with the farmhouse and the old tree.  Cheerful.  In a small way, I was able to create my own sense of place - which uplifted me.

Susan Ogilvie

Age: 59

"Old Growth"

Pastel on panel 24" x 12"

June 2008

Jean Sullivan "Steve and Henry"

I painted this as a Christmas present for my husband's and my cousin, Steve.  I had taken a drawing class last summer and got interested in portraiture, but had done nothing with it for 

months.  We exchange names in our extended family of relatives and friends and I made a deal with the person who made the slips so that I would get Steve's name.  I had taken a photo of Steve and Henry, which I liked quite a bit and thought would make a good painting.  then, when I started on the painting I began to lose confidence.   I spent days sketching and trying to get a good likeness.  I almost gave up, and told myself I could just get Steve a book or CD or something if the painting didn't work out.  Finally, I deliberately told Margaret, Steve's wife, what I was doing.  I knew once I told her, I wouldn't be so likely to bag it.  The painting took about three weeks to finish.  It was during the snow storms just before and after Christmas.  Paul, my husband was home on vacation and told me to just concentrate on the painting; he'd take care of everything else.  He came out to my studio daily and gave me lots of encouragement.  At some point I decided it was going to be okay.  It wasn't until after New Year's day that I finally convinced myself to take the painting off the easel and frame it.  The tears on Steve's eyes when he saw the painting told me all I needed to know.  It was a real turning point for me.  It was the first time I felt I had been able to translate a strong emotion into my art. It gave me the motivation to keep exploring and challenging ,myself.  And it taught me that I had a lot to learn about color.

Jean Sullivan

Age: 68

"Steve and Henry"

Soft Pastel 14" x 20"

December 2008-January 2009

Sandy Byers "Waking Up"

The blessings of each day are not always obvious unless they are the very first thing one looks for when opening your heart's eyes in the morning.  Already being blessed with health and a perfect family seems enough for any one person.  For me, when you add to that the joy of rubbing pastel dust between my fingers, and the sound of the pastel gliding across a sanded surface, that cup begins to spill over onto everything.  this pastel painting of Camano Island, the morning view from my studio on the east side of Whidbey Island, is just one more reason I can't help but put on my happy face when I open my eyes in the morning.  From where I stand, each day is a day to look forward to and that makes my smile

Sandy Byers

Age: 53

"Waking up"

Soft Pastel 11"x 14"

November 2008