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“Through the Door” by Barbara Rosbe Felisky. Miniature oil on linen.

Barbara Rosbe Felisky
is known for rich impressionist paintings of gardens and landscapes. The afternoon sun warming a wall or a glorious profusion of roses climbing over a gate, miniatures that impart a sense of tranquility and awe in an all-too-often hectic world.

Travel is an important facet of Felisky’s life. Her frequent trips provide inspiration and source material for her images of Provence, Tuscany, the Amalfi Coast, Italy’s Lake District, the Pacific Coast, and, of course, many gardens. Felisky’s rich palette and vibrant colors capture the exhilarating hues of the flowers and shrubs, while the paths draw the viewer deep into the quiet tranquility of the vistas viewed through windows and doors.

“Looking Toward” by Barbara Rosbe Felisky. Miniature oil on linen.

 

Travel is an important facet of  Barbara Felisky’s life. Her frequent trips provide inspiration and source material for her images of Provence, Tuscany, the Amalfi Coast, Italy’s Lake District, along the Pacific Coast, and, of course, many  gardens. Felisky’s rich palette and vibrant colors capture the exhilarating hues of the flowers and shrubs, while the paths draw the viewer deep into the quiet tranquility of the vistas viewed through windows and doors.

Born in Chicago, Illinois, Felisky now resides in Southern California and the North Coast Oregon, painting daily at her studios. She received a Bachelor of Arts degree in Art and Education from the University of Michigan at Ann Arbor. In order to further develop her skills, Felisky studied oil painting with a number of artists as well as drawing under Fredrick Odell.

 

 

Barbara Felisky, whose biography appears in Who’s Who in American Art, has also been featured in American Artist magazine on a number of occasions. Her work has been shown in a number of major juried exhibitions and featured in many gallery shows.

SHOWS & EXHIBITIONS

Annual One-Woman Show, Simic New Renaissance Galleries,      Carmel, CA (15 years)

Annual Exhibitor, Decor Expo Trade Show,       Atlanta GA (15 years)

Exhibitor, Art Expo, New York and Los Angeles      (three years)

Haystack Gallery, Cannon Beach, Oregon

JURIED EXHIBITIONS

Guggenheim Gallery, Chapman College, Orange, CA

Catherine Lorillard Wolfe Art Club 81st National Exhibit,      National Arts Club, NYC

Miniature Art Society of Washington D.C., National Show

Miniature Art Society of Florida, National Show

AWARDS

First Place: National Miniature Show

First Place: National Western Small Paintings Show

First Place: Allegheny Small Paintings Show

CORPORATE COLLECTIONS

Nordstrom’s Corporate Collection, Seattle

Bank of America, Los Angeles, CA (various locations)

The Park Hotel, Los Vegas, NV

Marriott Hotels, Newport Beach, and Los Angeles, CA

Marriott Hotels, New Orleans, LA

The Breakers Hotel, Long Beach, CA

PUBLIC COLLECTIONS

City of Brea, California, Civic Center

City of Orange, California, Civic Center

 

 

Welcoming Barbara Felisky,  previously showing at Haystack Gallery in Cannon Beach, Oregon (closed),  now  showing at Fairweather Gallery.

 

 

Grace note! Thank you Paul Brent for the referral.

For more about the gallery, please visit www.fairweatherhouseandgallery.com

 

Pacific Force III by Neal Maine/ PacificLight Images

 

Tillamook Rock Lighthouse, Seaside Oregon. Jan. 2018.

Q: Why the large wave, you ask?

A: A high surf advisory was issued for the northern Oregon coast according to the National Weather Service. The coast will see breaking waves on the beaches much higher than normal. Forecasters said ocean swells will be above 60 feet for most of the day January 19, 2018. The high surf advisory has caused officials to keep some North Coast Oregon and South Coast Washington beaches closed.

 

 

 

January 19, 2018

Neal Maine/ PacificLight Images.

Pacific Force I, Pacific Force II and Pacific  Force III

Tillamook Rock Lighthouse.  Seaside Oregon.

Pacific Force I  (wave hgt. 176′)

Pacific Force II (wave hgt. 183′)

Pacific Force III (wave hgt. 211′)

Q: Where in the world is Tillamook Rock Lighthouse, you ask?

 

A: Tillamook Rock Lighthouse stands 133 feet above sea level and sits on a rock a mile off the beach of Seaside and is west of Tillamook Head in Clatsop County, Oregon. Operating from 1881 to 1957, the lighthouse was nicknamed Terrible Tilly for its ferocious storms and the difficulties facing lighthouse keepers stationed there. It was the most expensive lighthouse built in the United States up to that time.  An isolated, storm-battered basaltic island less than an acre in size, Tillamook Rock Lighthouse is 20 miles south of the mouth of the Columbia River. Violently churning seas crash against the steep sides of the Rock and surge high up its sloping eastern face. Tillamook Rock is part of Oregon Islands National Wildlife Refuge, and the lighthouse is listed on the National Register of Historic Places.

 

 

100% profits in support of  NCLC, North Coast Land Conservancy

  For more about the photographer, please go to  artists/ Neal Maine  www.fairweatherhouseandgallery.com 

 

 

https://traveloregon.com › … › Culture & History › Historic Sites & Oregon Trail

 

 Resting atop a sea stack of basalt, more than a mile off the banks of Oregon’s  Seaside North Coast, the notorious Tillamook Rock Lighthouse, (nicknamed “Terrible Tilly”), is the stuff of aged lore. Although long closed to the public, she still stands today, though battered and …

 

Tillamook Rock Lighthouse – The Oregon Encyclopedia
https://oregonencyclopedia.org/articles/tillamook_rock_lighthouse/
Tillamook Rock Lighthouse sits on a rock a mile offshore of Tillamook Head in Clatsop County, Oregon. Operating from 1881 to 1957, the lighthouse was …

 

“Pacific Force IV”  by Neal Maine/ PacificLight Images

 

100% Profits to NCLC, North Coast Land Conservancy

“Seaside Clam diggers”  by Sharon Johnson. Original oil on linen.

 

Sharon Johnson graduated with a BA in English Literature but art was a strong second major for her. She received numerous awards and a PEO scholarship for her representational drawing, painting, and calligraphy.

 

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Art history also holds a strong fascination for Sharon Johnson, particularly purveyors of magical realism like Rosseau, Magritte, Grant Wood, Edward Hopper, and Georgia O’Keefe. Sharon’s intention is to create a happier and more colorful child-like universe.

More about Sharon Johnson, artist:

After a long hiatus to have raise a family and have a career, Sharon returned to her first love, oil painting, and began showing in bookstores, galleries, and libraries.

She has shown at Shearwater Gallery, Beach Books Bookstore, and Seaside Public Library, all in Seaside, Oregon.

EDUCATION
Seaside High School, Seaside OR 1972
Clatsop Community College, Astoria OR 1974
Reed College, Portland OR 1978
Portland State University, Portland OR 1978

 

 

 

 

 

“Involution/Evolution” by Jim Unwin

 

The piece depicts the movement of spirit as it becomes manifested in form. The negative space reveals the shape that becomes the form as matter solidifies around the primordial energy.   The sculpture was carved with hand tools from a block of Northwestern Yellow Cedar, scavenged from the leftovers of a saw mill and is mounted on Black Walnut. The wood is unstained, so the yellow color you see is the natural tone. A thin-film of polyethylene finish was hand rubbed into the raw wood to protect it.

 

“Raven and the Winter Solstice”

22 x 24 x 2 Wall Hanging

Shop scraps and yard debris

 

 

Jim Unwin artist statement: 

My work is about the journey of spirit through time and form: involution, transformation and liberation. I work mostly with discarded wood (driftwood, pallets, left-overs from logging and construction, etc.) and strive to elevate each piece to its highest and best use, through telling a story, conveying a meaning, or making a statement. My greatest sense of satisfaction comes when someone says I’ve changed how they look at wood.

Subjects explored in my work:

  • The birth and evolution of consciousness.
  • Ancient legends and their modern correlations.
  • The connectedness of all life, and how we destroy one aspect or another at our own peril.

Processes:

I mix archetypal images, metaphors and allegories, preferably cross-culturally, to give expression to themes that are universal and timeless. Once the appropriate material has been selected, I mostly use hand tools for carving and shaping. Atypical piece will take eighty to one hundred hours of work, spread out over a one-to-three month period.

 

 

Fairweather House and Gallery

Emerging Artist Hall of Fame

 Kristin Qian

Britney Drumheller

Nick Brakel

Robert McWhirter

Michael Wing

Michele Bettger

Rebecca Gore

Gayle H. Seely

Linda Trexler

Diane Copenhaver

Ashley Howarth

Whelpsy Whelp

Veronica Russell

 

12th Annual Emerging Artist exhibition

Through August 30

Veronica Russell artist launch

 

“Beneath the Aquamarine” lino wood block print by Veronica Russell 

 

Veronica Russell is a mixed media artist whose work explores her fascination with the natural world, and also at times, her avid fandom for sci-fi. Her pieces are typically built around printmaking, for example an original lino cut printed in black on the foundation of a watercolor background, with finish details painted in metallics as a third, light-catching layer.

 

Russell’s current series Lost & Found at Seaside depicts everyday organic objects that one may find lying around on the beach. Pieces in this series draw from Russell’s previous work in macro photography, encouraging beachcombers to look closer at what they may have considered “common.” In looking closer we discover unexpected beauty, the intricacies that most people don’t stop to notice: a faint pattern in the texture of a sand dollar skeleton, the ridges looping in ovals around the shell of a clam with razor-sharp edges, the slick other-worldly pods adorning the strands of a bull kelp tangle at surf’s edge.

 

However, it’s not only beauty one finds when looking so closely. This is where those touches of the surreal may come in to Russell’s work. Looking closely at this series, one may notice that the subjects are beautiful and interesting pieces of nature, but they are all either dead, dying, or about to be eaten!

Russell hopes her work celebrates the fleeting beauty and some of the mystery in our naturally imperfect world.

Veronica Russell at work in her studio.

 

Veronica Russell is a mixed media artist who has lived on the Oregon coast for 25+ years. While studying creative writing at Pacific University in 2001, she took as many art courses as she could: photography, pottery & sculpture, graphic design, and her favorite, printmaking. Her fascination for creating wood and linocuts stuck. After college, while her art was relegated to a hobby, she spent time as managing editor and graphic designer for travel publications on the coast. Russell feels blessed to be able to work on her art full time now. Her work draws from her deep admiration for the natural world, and on occasion, her avid fandom for film and literature, particularly the sci-fi genres. Russell’s current mixed-media work centers around a block print, using other media to layer in texture, color, and overall finish to her multilayered pieces.

 

 

 

Emerging artists are selected through an audition process and receive gallery mentoring. Since 2006 Fairweather House and Gallery has championed regional emerging visionaries who take risks, embrace challenges and are rigorous in their approach to creation and production.

For more about the gallery, please go to www.fairweatherhouseandgallery.com

 

 

 

 

Inspired by the beach and nature, Peg Wells has prepared a gallery exhibit composed of  hot wax encaustic  and cold wax collage. The work is decorative, but with a purpose that is secure in the strength of using natural elements. Her provocative style proves that a quiet approach can have a very powerful effect.  Summer time resident and artist Peg Wells, who exhibits in the winter-season at the Saddle Brooke Resort/ Primary Studio in Arizona, presents new work in an ocean theme for Fairweather’s.  WELCOME BACK TO SEASIDE!

 

 

“Wonder of the Sea” by Peg Wells.  Cold Wax Painting.

“From the Depths” by Peg Wells.  Cold Wax Painting.

 

Q: What is Cold Wax Painting, you ask?

 

A: Cold Wax Painting is not defined by subject matter nor the degree of realism or abstraction, Cold Wax Painting is unified by artists’ shared interest in experimentation, texture and the physicality of paint layers. In its own way, Cold Wax Painting blurs the line between oil painting and encaustic painting.

 

Cold Wax is a mixture of natural beeswax, solvent and a small amount of  resin. The term “cold” in beeswax painting refers to the fact that heat is not required for working with this wax medium – as it dries by solvent evaporation, rather than the cooling of the wax, as in encaustic painting. As the solvent evaporates out of the medium, the soft wax hardens to the density of a beeswax candle.

Cold Wax is creating a variety of textures within a painting. It gives a clean break off the brush or knife, retaining the sharp peaks of impasto. These working properties allow for expressive brush marks and the ability to carve into paint layers with palette knives. Cold Wax also gives oil colors a beautiful translucent quality, similar to the seductive surfaces of encaustic paintings.

 

Q: What is encaustic painting, you ask?

A: Pronunciation: en-caws-tick, is a paint consisting of pigment mixed with beeswax and fixed with heat after its application. –n. The Greek word is enkaustikos –to burn in.

 

Encaustic dates back to the ancient Greeks, as far back as the 5th century BC. Ancient ship builders used beeswax, resin to seal, and waterproof their vessels. Ultimately, they began adding pigment to the wax-giving rise to the decoration of spectacular ships. To paint with encaustic, a combination of beeswax, resin and pigment is combined and then melted to a liquid state. Encaustic paintings have many layers of wax. Depending on the piece, it is not uncommon to have anywhere from 25-50 layers.

 

 

“Surf” Encaustic by Peg Wells

 

It’s not always obvious whether an abstract work of art should be hung vertically or horizontally.  Oftentimes on a contemporary piece, the artist signs that work on the back, which  allows the  gallerist and interested clients to determine how the art could be oriented for display.

 

 

 

Artist grace note

 

“I am grateful that my art found a gallery presence for my seventh summer season with you! I do appreciate your support of my art and me as an artist. I hope that my art will find new homes and that it will bring as much pleasure to people as it has given me create. Thank you.”Peg Wells

 

WELCOME BACK TO SEASIDE!

 

For more information about the gallery, please go to  www.fairweatherhouseandgallery.com

Bumble bee jasper pendant #568 by Alan Stockam.

 

Q:  What is bumble bee jasper and where is it found, you ask?

A: Highly polished bumble bee jasper  portrays intricate patterns and marvelous yellow/orange hues. The colors within this stone have the same characteristics of a bumble bee, which is how it got its name. These stones contain natural cracks and fractures. It is a notoriously difficult mineral to score because the volcanic mine where bumble bee jasper is located has activated from its previously dormant state. It comes to us exclusively from West Java, Indonesia near Mount Papandayan.

 

Alan Stockam creates handmade silver jewelry with gemstones from the Northwest and beyond.

 

A cool blue gold Labradorite ring  #785 by Alan Stockam

Alan Stockam set this sideways to give it a softer, more classic look. This piece of Labradorite has a lot to see in the stone, a couple of flashes and it almost looks faceted by the way the lines are in the stone but it is not. It is a flat high shine stone.

 

Each silver piece is signed, marked by the artist, Alan Stockam, and numbered.

 

 

Lapis ring #783 by Alan Stockam

Jewelry staging by Heather Rieder.

Available exclusively at Fairweather House and Gallery.

 

Fun facts about the semi-precious gemstones selected by Alan Stockam and Heather Rieder.

 

  • Amethyst is best known for its rich, violet-purple hue. Historically it has been highly valued as a precious stone for the uniqueness of its color, as there are few purple gemstones. The Greek name for the stone, “amethustos” became known as amethyst.
  • Agates are a form of quartz that are banded or lined in a variety of patterns of colored layers. Agate is derived from the Greek word “achates”, which is a river in Sicily where agate was mined in abundance as early as 3000 BC.
  • Jasper is an opaque variety of chalcedony. Jasper is derived from the Greek word “iaspis”. One of the characteristics of jasper is that it is able to take a high polish.
  • Lapis is a beautiful, rich ultramarine-blue stone consisting largely of lazurite and speckled with golden pyrite. It was one of the most prized stones of ancient times. Egyptian blue paint was made from finely ground lapis.
  • Turquoise was one of the first gemstones to be mined by the native people of Egypt. It is easily shaped and polished.

 

Please call 503-738-8899 for more details.

 

www.fairweatherhouseandgallery.com

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