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

Loriann Signori "Hope and Longing"

After spending two weeks with this beautiful field, including time spent talking the men with the big lawn mowers from mowing it down, I had an idea.  I took all my small paintings back to the studio to begin a big studio painting.  For me, a studio painting is a very different experience from a plein air painting.  The concept is strong and the image is no longer present.  It really is an entirely different process.  

This one was for my Mom who died ten years ago.  I began this painting on her birthday.  Her favorite arias played in the background.  When I first had the idea, I thought it would be about the emotion of 'longing'.  Longing for my Mom's presence.  But, leave it to 'hope'.  Out of the Pandora's box she jumped again and inserted herself into the painting.  So now it is about hope...hope for the future and the beauty of the past.  I guess that is the human state.

Loriann Signori

Age 52

"Hope and Longing"

Pastel and Oil on board 21" x 28"

August,  2008

Margo Spellman "Improvisation 1"

'I painted this on a Saturday afternoon listening and dancing to King Sunny Ade, who always makes me happy.  I had a blast!  It was part of a series of samples I was developing in preparation for teaching a group of volunteer parents who are joining me this month in teaching a local grade school about abstract expressionism and the work of Kandinsky.  I had to show them what the process would be, and simplify it enough to work for kids ages 6 and up.  I taught my first class last week to about 40 first graders and it brought me such joy to be with them for those precious 75 minutes.  Next week I tackle my nephew's 3rd grade class and can't wait to see what happens

Margo Spellman

50ish

"Improvisation  1"

Watercolor and Oil bar on Paper 9" x 12"

January, 2009

Brittani Faulkes "Dusk"

"This pastel is a creation of the imagination.  I live in a climate with a grey, rainy and seemingly endless winter.  It is a very positive experience to visualize our coastal landscape in a Spring and Summer setting!  I end up feeling optimistic and energized and look forward to sunny days ahead when I can leave the studio and return to Plein Air Painting."

Brittani Faulkes

Age: 50

"Dusk"

Soft Pastel, 24" x 18"

February, 2009