Nick Brakel

Original calligraphy on marbled paper Through June at Fairweather: Works on Paper, an exhibition, including established and emerging artists who have created unique works using paper as their primary medium.

New work from Patricia Clark-Finley with works on graphite and sennelier ink on yupo; Penelope Culbertson with works in calligraphy on antique paper; and Christine Trexel, who plants, harvests the materials and creates paper art.


Also introducing new works on paper by Gary Pearlman, who embeds individually cut patterns of handmade paper integrating the works into original art.

  • Original watercolors by Paul Brent
  • Art by Victoria Brooks
  • Collagraphs by Nick Brakel
  • Art by Kathryn Delany
  • Collage and yupo art by Dr. Jo Pomeroy-Crockett
  • Pen and Ink art by Britney Drumheller
  • Contemporary art by Agnes Field
  • Ocean photography by Don Frank
  • Pastels by Joanne Donaca, Bev Drew Kindley, Gretha Lindwood and Lori Wallace-Lloyd
  • Teeny tiny art  by toothpick artist  Marga Stanley
  • Nature photography by Neal Maine
  • Landscape photography by Linda Fenton-Mendenhall
  • Collage art by Sherrie Stahl
  • Rice paper abstracts by Zifen Qian


And, too, Seaside nature photographer Neal Maine exhibits his latest natural history journal of images, habitat images found within steps from downtown, “along the coastal edge, in our own backyards.”

Neal Maine with his natural history journal of images.

Fairweather House and Gallery is located at 612 Broadway in Seaside, Oregon. Since 2006 the gallery has represented more than 100 nationally known artists with ties to the North coast, as well as mentored emerging regional artists.

Please visit for more information.

Nick and Jeremiah I

“So I’ve been working on a new series of collaborative mixed media paintings with my friend Jeremiah.  Many of these are still ocean themed, all nature themed.  But in this series, the creatures are colliding with bright worlds of geometry and abstraction.   In several of the paintings there is a theme of adaptation, or the question of it.  How will nature evolve, or adapt alongside the changing climate and our technological world.  They are fairly different from some of my other work (probably largely because they are collaborations).  But I wanted to show you some images, and see if you would consider showing some of these in October.   Almost all of the images that I am sending you are still in progress (except the beluga, which is finished, and the woodpecker penguin one, which is almost finished).

We are pretty excited about these, and I hope you like them too.

I definitely would  like to show in October, just wondering if these new works would be a good fit.” –Nick

And, so it goes forward into FALL RETREAT (no pun intended).  October 3rd. Seaside First Saturday Art Walk @ Fairweather’s.

Collaborative Paintings by Nick Brakel and Jeremiah Sieber

“These paintings were born of a simple one-off experiment to see if we could produce a collaborative painting.  The first of which was the Byzantine Beluga painting.  It proved successful, so we decided to embark upon a series.  Themes of climate change, and adaptation or the lack there of started to arise.  Throughout the series, there are images of honeycombs, whales, fish and birds, evolution and adaptation, sonar, and concerns of ocean acidification.  We live in a world where the climate is rapidly changing, and adaptation to these changes is crucial for survival.

Aesthetically within the work, there is the contrast between the bright modern and geometric forms, with the more organic forms of the natural world.  This is an echo, of the contrast between the modern human world, and that of nature.  A mirrored glimpse into the contrast and disconnect.” –Nick Brakel and Jeremiah Sieber

Jeremiah Sieber artist’s statement:

“There is a space somewhere in between the beating hearts we all have inside of us and the cell phones that we put up to our heads. It is a place where our own organic material and the mechanical world we have created must co-exist. That transient space is the place I search to describe and understand as an artist.

MOUNTAIN can mean many things.

In terms of our “human” understanding of it, isn’t the sporting gear we choose to wear or the pictures on the side of a bag of trail mix just as relevant as the crystalline structure of snow or the geological upheaval caused by plate tectonics?

There are limitless sources and references available to define and explain what were once common or natural objects, occurrences, and places; and because of this, the lines of reality have become blurry. It is the structure of things that fascinates me as an artist. Both physically and philosophically. A completely fictive world is being produced and manipulated daily and this is primarily occurring via the computer and television. Three dimensional forms are constructed with wireframe skeletons. Algorithms are fed into these skeletons to provide skin and texture and the appearance of the “real” within this context is becoming more and more believable. These “realities” can only exist on the screen, and I find that I want to make them with my hands.
These paintings represent internal, external, meta-physical landscapes of the digital and natural world.”


A group Fairweather show in the summer featured artists Jan Shield, Nick Brakel, Bed Drew Kindley, Paul Brent and Rosemary Klein.

Posting a note received:

“I hope we’ll be able to continue this creative journey. In ways I don’t fully understand, you are significantly influencing me as an artist. I hope you can accept how much you mean to the whole community, of whom I’ve only begun to be aware. Being part of your group certainly stimulates my creativity.” –Rosemary Klein.



It means collage intaglio. Taking mat board and adding gesso, covering it with carborundum or sand, then adding wood burn lines. It is then sealed with different viscosities, inked and run through a printing press. As with most printmaking there is quite a lot of work before you open a bottle of ink.
The material used to create a collagraph often shows textures and shapes, while the ink plate adds tone to the print. Once the collage is settled it is sealed with varnish, lacquer or shellac.

The American artist Glen Alps is often credited with coning the term “collograph” in the last 1950’s, but it is not easy to pin down the development of this printmaking technique exactly. There is evidence French sculptor Pierre Roche (1855-1922) and printmaker Rolf Nesch (1893-1975) experimented with layers on printing plates; that Edmond Casarella (1920-1996) produced prints with collaged board in the late 1940’s. By the 1950’s collaged board prints were part of the art work, especially in the United States.



Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to acrylic glass. The image is then transferred onto a sheet of paper by pressing the two together, usually using a printing-press. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque color. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones.

Monotyping produces a unique print, or monotype; most of the ink is removed during the initial pressing. Although subsequent reprinting are sometimes possible, they differ greatly from the first print and are generally considered inferior. These prints from the original plate are called “ghost prints.” A print made by pressing a new print onto another surface, effectively making the print into a plate, is called a “cognate”. Stencils, watercolor, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes can be spontaneously executed and with no previous sketch. –Jules Henri Lengrand



Linocut is a printmaking technique, a variant of woodcut in which a sheet of linoleum (sometimes mounted on a wooden block) is used for the relief surface. A design is cut into the linoleum surface with a sharp knife, V-shaped chisel or gouge, with the raised (uncarved) areas representing a reversal (mirror image) of the parts to show printed. The linoleum sheet is inked with a roller (called a brayer), and then impressed onto paper or fabric. The actual printing can be done by hand or with a press. –Carl Eugen Keel


People who visited, saw, and desired. Paintings, sculptures, glass and photographs shipped to:
Vail, Colorado/ Dallas, Texas/ Reno, Nevada, Sacramento, California…even to Australia and Turkey. Works of art connecting places here and the places there.

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Part of the wonder of the arts high cultural season is having artists that introduce thrilling new works and back stories.

“I am currently working on a number of new works as I said I would, a few taller and narrow ones, a few smaller rich oil works. as well, based on my trip to the coast and the aquarium/wonderful sea creatures, water, underwater, sky and forest compositions.” –Artist Jan Shield.



September 7, 2013

The lineup:  guys who matter

the guys take over

Marc Ward, activist/scientist; Michael Wing, emerging artist; Nick Brakel, artist/print maker; Jan Shield, art professor; Paul Brent, nationally recognized artist, with Neal Maine, NW naturalist/photographer.

Seven Guys

September 7, 2013

7th Anniversary Year


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