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Signature Profiles

Kathryn Townsend

Sadie Sullivan


ARTIST BIO

I paint landscape, figure, portrait and still life, both in the studio and outdoor on location. My intent is the exploration of the visual/painting language in whatever way and with whatever subject matter moves and challenges me in the moment. I find the best relationship to painting is to consider everything that I do as an experiment and exploration in learning—to paint, to understand visual concepts, and to see and appreciate what exists in the world around me as well as my own vision.



Julie Baroh

PSGNA

Clone. Oil on Panel. 2013. 12 x 16"

Smee's Tea Time. Gouache on Bristol. 10 x 14"

Little Grandma. Oil on Canvas. 22 x 32"


Artist Bio

Julie has worked as an illustrator, a fine artist, and a designer for nearly half a lifetime plus two. These days, she focuses her time working on private commissions as well as curating shows with Krab Jab Studio.

Julie's early works can be seen in games such as Magic: the Gathering, Legends of the Five Rings and Shadowfist.

Later works can be seen in publications such as The Art of Faery, The Gathering, and Watercolor Faeries. Her illustrations harken to the Golden Age of Illustration, with strong hints of Arthur Rackham in her management of watercolor pigments.

Her more recent works have been in graphite or oils. While she still works on fantasy content (such as faeries), she has been focusing much of her painting on personal motifs, such as family. She shows regularly at her studio (Krab Jab Studio in Seattle) and will pop up on the radar at conventions (such as ECCC and Norwescon) and in shows around the Seattle area.



Brian Beausoleil

PSGNA

Fields of Gold

Tension

Vanity


Artist Bio

I have been painting at a professional level for 30 years among my first artistic inspirations were that of Walt Disney and the Warner Brothers. I was born in Putnam,Connecticut In 1953 and my adventure in art started at the age of 5 as I grew up in Lacey, Washington. At a young age I was convinced that I wanted to be an illustrator and work for the Disney studios. After graduation from High school I served in the US Navy. I did not pursue working for the Disney studios After that. Being mostly self taught, I honed my skills by studying with the Art Instructions Schools and also earned an Associates of Fine Art from Highline College. I have studied now under the instruction of artist Mike Casad for two years. And two years with a former Disney animator, Thomas Cook studying animation. I work in Acrylic, oils, pencil, colored pencil and a variety of other mediums including recently, digital painting. My art is constantly evolving in ways I sometimes don't see coming until I start the piece, trying different techniques and combining some. 

The work that I do is more of an illustrative/Fine Art style, with some whimsy thrown in. I find a great sense of joy and satisfaction in painting and drawing. I move to paint with a strong story to my work, that has a certain beauty and storybook pleasure which is colorful and vibrant. I paint from the heart and evoke my personal feeling into each painting no matter what the subject is. My hope is that each painting will reach the viewer on more than a superficial level and touch something deeper inside. I want people to have a feeling inside they will never forget.

Tacoma

Washington



Mary A. Beneventi

PSGNA

Autumn Moon. Oil on Canvas. 24 x 36". 2014. 

Evening Calm. Oil on Canvas. 36 x 48". 2014. 

Summer Sky. oil on Canvas. 18 x 24". 2013.      


Artist Bio

I was born and raised in San Diego, California. Upon graduating from High School, I attended Chouinard School of Fine Art in Los Angeles, later transferring to Woodbury University and graduating with a Bachelor of Arts in Design. In the following years I furthered my education in oil painting and various mediums at the Art Center College of Design

For a number of years I pursued a career in Interior Design. I am now a full time artist and have in recent years been represented by art galleries in the Portland area. My works are in private collections throughout the Northwest, Southwest and California.

I work exclusively in oils, with color playing a large part in my personal style. My work features the hues and values favored by artists of the 18th and 19th Century. I refer to my style as "controlled Impressionism". I find aesthetic inspiration in landscapes, therefore I paint what I most appreciate, always looking for the dramatic perspective and color in the natural landscape.



Ned Block

PSGNA

Feathered Foes


Artist Bio

Sculpture is “theater in the round”, a celebration of form that reflects the human experience and prods the spirit to rise.That is true for the artist as well as the audience. Sculpture, with its tactile allure and myriad of viewpoints, insists that you explore the work and invent your own impressions. It is sculpture that begs you to look around the corner to see what's on the backside. The "continuum" takes you there.

There's a tour guide for my work. It's called the "continuum". Think of it as drawing without lifting the pencil. I attempt to create bits and pieces that lead one to the next; elements that tease your eye and demand your attention. Enticing the audience, instead of forcing it to find its own way, keeps the viewer from tiring and moving on.

My abstractions of the graceful, droll, often “quirky nature” of nature, rarely miss an opportunity to opt for form over reality. One of my birds has three wings. Nobody has called me on that, yet, but getting away with things isn’t really my way. It’s an artist’s responsibility to constantly challenge the work’s ability to explain itself. The creating can lead you astray and "you’ve gotta know when to hold’em and know when to fold’em.” I believe that good enough is not good enough.

There's a thread of humor in some of my sculpture. If you get too serious about  your work, you run the risk of losing your direction, your audience, and sometimes, your mind. I have pieces like Birds of a Feather, A Bitter Pill, A Bird in the Hand, Galileo, and Roadrunner that demonstrate my need to occasionally lighten up.

For me, the excitement comes in creating the armatures in wire and steel that are the linear implication of the forms to follow. I marvel at the manipulation of shapes by the barest twist or turn, the continuous movement of the material, and the great surprises that occur while constructing these wonderful skeletons. Puddling the steel, molding the resin, the endless filling and sanding are both drudgery and delight. The reward is the work completed…”as I see it.”



Sandy Byers

PSGNA

Love is Love

Trusted Wings

Moe


Artist Bio

When I'm not painting, I'm thinking about painting. I love being an artist and when I was young I could hardly wait to grow up and call myself one. I enjoy every part of the process of creating and I hope that is what shows when you view my art. Art is a way for me to openly share my thoughts, emotions, knowledge, and respect for this God-given gift that brings me so many ways to discover and enjoy the world around me.

Solidifying a composition, capturing the right lighting, and finding the perfect combination of colors is the goal for which I am always passionately striving. It is difficult to explain the exhilaration when these elements come together. I suppose that explains my addiction to painting and the process of painting.

As a teen, and then again as a young adult, I took private lessons in oil painting. Along with my budding career in the software industry,  I painted (off-and-on again) as time allowed.

After many years in the software industry, I was recently able to make a transition to working full-time on developing my art career. My husband (Larry)  and I moved to our home on Whidbey Island  and we are now working full-time in the art field.

It has been an exciting change for us and we thoroughly enjoy every day.



Truman Castle

PSGNA

Langley Sunshine

San Miguel Pot

La Push Surf


Artist Bio

I have been drawing and painting since childhood, but began formal study in the 1970's in watercolor, and oil painting with Ron Likas in Seattle in the 1980's and 90's. I joined the PSG in 1992, and have focused on plein aire landscapes in oil ever since. I have been influenced by the work of Sergei Bongart, Ned Jacobs, Fairfield Porter, Alfred Chadbourn, and a broad range of Russian Impressionists.

In recent years I am most interested in working in plein aire as I travel, and exploring the everyday scenes of my daily life on Whidbey Island in Puget Sound. For me growth in painting comes from the ability to see and translate my observations into a visual language. what goes on the canvas is no more than the notes I have taken of my observations. In this way, I am "painting" wherever I go, even if I have nothing with me to record the notes of what I see.

Freeland, WA.

Washington


Pat Clayton

Sadie Sullivan

CASCADES, 2015, 11 X 14", oil on canvas

Eye of the Icon, 2014, 30 x 18", oil on canvas

Eye of the Icon, 2014, 30 x 18", oil on canvas

October Song, 2015, 18 x 24", oil on canvas

October Song, 2015, 18 x 24", oil on canvas


ARTIST BIO

After practicing medicine as a family doctor in Seattle for twenty years, with much of that time spent in community health centers, in 1997 I devoted more and more time to painting and at present work as an M.D. only on a volunteer basis outside the U.S. 

My art education began at the Gage Academy in Seattle and has been supplemented by workshops and the learning that comes from teaching.  With my work now in corporate and private collections, I feel fortunate to have had the good fortune to be able to experience two careers and to “follow my passion.”

To me it is all about the glow of the color and nothing glows more than multiple glazes of transparent oil paint.  Beginning intuitively with a multicolored application of thinned oil paint manipulated by my finger in a torn up T-shirt, I use brushstrokes, rag blots and fingernail accents to develop the subject.  And the glow?  Subsequent layers of thin glazes with occasional thick impasto create a final result that is deceptively realistic with radiant transparent colors that glow and change with the light.

In order to add more interest to the two dimensional work of art itself I have recently increased my use of the palette knife.  The color tends to be stronger and cleaner and the texture is a lot of fun.  These paintings are obviously not reproductions!  Sometimes the trees become even more alive from the side when the texture of the brushstrokes adds to the impression of tangled branches and leaves.



Aaron Coberly

Sadie Sullivan


ARTIST BIO

Aaron Coberly was born in Seattle in 1971. He has been drawing for as long as he can remember. He started taking art seriously as a teenager after being invited to attend a life drawing class. Living and traveling in Europe further inspired him. He began oil painting in 1999. His work is primarily figurative with a stylistic nod to the Masters and the Impressionists. Aaron runs an open painting and drawing session in Seattle. He resides in the greater Seattle area and is married with a young son. Every day I work on becoming a better artist.


ARTIST STATEMENT

I believe that art in all of its forms is a way for a person to communicate their feelings to others in an emotional and unique way. Through painting I can show others a world that is inside of me by taking elements of the existing world and through paint creating a new vision, a moment, a life that is eternal. I want to share the love that I feel when I look at a painting that touches me. For me creating a connection with the viewer is critical, that is when the life of the painting begins.

My thoughts on painting are as follows. First and foremost composition is critical, without an interesting composition a painting or any work of art is dead. Drawing in imperative as well, you have to be able to put what you want where you want it. Then there are the elements of form, how to use value, color, edge control and texture to take a 2 dimensional surface and give it depth and space.

Every day is an opportunity to crystallize my vision by breaking things down and building them up. Sometimes I have to lose myself in order to get a better understanding of where I am going. It can be a scary process but without it one does not grow as an artist.



Valerie Collymore

PSGNA

Two Boats in Villefranche-sur-mer.

French Cottage at St Julien l'Ars.

Cap Ferrat, Seaside Walk.


Artist Bio

Through works attentive to the“in-the-moment" character of a scene, to design, color and unusual light effects, and striving for a painterly impressionist style, my hope is to share the visual feast that is the magnificent creation that surrounds us and to connect with viewers through shared experiences.

Born to a physician and a nurse in a small town in New Jersey, life circumstances brought me to the French Riviera at the age of 9. Then recently widowed, my intrepid mother confidently put her two children in French grade schools, exhorting us to achieve, despite the temporary handicap of the language barrier. I flourished on those sun-drenched Mediterranean hills and beaches, collecting unique memories, rich experiences, lifelong friends and several languages.

At the age of 18, uncertain about the practicality of a career in the arts, I dove into a career in the health care field, returning to the U.S. to pursue my degrees. Art aspirations were put on hold for several decades, as I poured energies into the lives of many others. After encouragement from established members of the community of artists residing in this inspiringly beautiful part of the Northwest, and newly an empty-nester with a little bit more time to focus on my passions, I saw my chance to pursue art full time… and I went for it!



Paul Daneker

PSGNA

Becalmed, HMS Surprise

Shuksan

Starboard Watch


Artist Bio

Beginning with studies in college, Paul has nearly 40 years learning, teaching and being an artist. Working alongside such luminaries as Ned Mueller, and Austin Dwyer, Paul remains devoted to the mastery of his craft. Strong color, design and sense of light are hallmarks of his work. Paul is a retired disabled military officer. He belongs to the following associations: American Society of Marine Artists, Puget Sound Group of Northwest Artists, Plein Air Washington Artists.



Mark Downey

PSGNA

The Iris Glee Club

Springtime Thaw

The Country Look


Artist Bio

Mark's early career began as an Army illustrator in the Vietnam war, which led to a job in Los Angeles illustrating magazines for 10 years. In 1983 he became a full time professional artist in the fine arts and has never looked back. Mark is not a formula painter, just churning out what the public is told is good art. Instead, artist Mark Downey aspires to produce great art.

He has no qualms about calling his work original, as he goes out in the field to find his subject matter, and spends much thought and preparation on each painting. It is an act of providence that his keen eye always sees something that can be celebrated in art. Whether it's capturing the mood of the stormy Pacific coast or the magnificence of the northwest mountains, you can count on a Downey painting bringing directly to you the spirit of life in depth and detail.

A Downey original touches the soul. This explains the continual accolades, year after year, in major art shows of People's Choice Awards, Best of Show, and first place recognition. His peers have also acknowledged his abilities by inducting him into the second oldest fraternal art organization in the country, the prestigious Puget Sound Group of Northwest Painters (being nominated by the late William 'Bill' Phillips, Gig Harbor watercolorist extraordinaire). Mark was also accepted into the Western Heritage Artists and was president of the Rainier League of Art. He is a member of Oil Painters of America and, by virtue of his professional success and 'consistent excellence', Mark has been inducted as a Signature Artist of National Oil and Acrylic Painters Society.

He has donated artwork to help the Rocky Mountain Elk Foundation, Wolf Haven, the Ridgefield National Wildlife Refuge, Portland Audubon Society and other charities. For the last 15 years, he has participated in major western and wildlife art shows.

In 2003 Mark's piece "Above Rainier" was selected for the Arts for the Parks "Top 100" national juried competition. This is one of the biggest art contests in the United States, with thousands of artists competing and only 100 picked for exhibition. The piece was on tour for a year to art museums and art institutions throughout the country.

Although Mark has been capturing the dramatic and poetic ambiance of the Pacific Northwest for many years, he is not limited to a regional genre. In fact, he and his wife have travelled the backroads of Hawaii, discovering new subject matter.   In 2005, they moved to Kentucky where the bluegrass aesthetics of horse country has made an impression on Mark's palette.  He was accepted as a signature artist in the Cincinnati Art Club in 2008. 

Mark's work appeals to the average art connoisseur as well as the serious art collector. Several originals hang in corporate collections. From time to time, Mark does special commissioned work for patrons who have a personal idea in mind. The latest technology in image reproduction is also available.



Lance Dooley

PSGNA

Cougar. Clay in Progress. 32 x 8 x 12”

The Magic Portal. Bronze Cast. 17 x 11 x 17”

America. Bronze Cast. 20 x 20 x 27”

America. Bronze Cast. 20 x 20 x 27”


Artist Bio

Lance was born 1968 to a family of traveling Americans in Thailand. His family then spent seven years in Tehran before returning to the father's hometown in Oroville, Washington and then moving to East Wenatchee, WA where he graduated from High School with the Artist of the Year award.

Lance served four years in the Unites States Army, mostly in Wurzburg Germany where he enjoyed touring the countryside and central Europe in his old beat up 1979 Mazda and learned to speak German.

After finishing military service in 1990, he attended and graduated from Wenatchee Valley College and was awarded the presidents medal.

He continued with more education at Washington State University and graduated Cum Laude from the Electrical Engineering program.

Lance then worked in Seattle for a number of years, while pursuing his artistic studies in parallel. When he bought his first house in 1999, he finally had his own art studio and began participating in regional art shows and embracing serious training in the visual arts.

The rich infusion of cultures from different countries imprinted Lance and he always dreamed of going to the best art school in the world and developing the necessary skills to visually articulate facets of the society he lived in and other wanderlust adventures and experiences yet to come. 

That dream came true when he went to The Florence Academy of Art in the renaissance city of Florence, Italy and graduated from the sculpting program directed by Robert Bodem, with principal sculpting instructor Cody Swanson.

With the mind of an engineer and the soul of an artist, Lance continues to thrive in the beautiful state of Washington.



Ken Duffin

PSGNA

Spring Blossoms

Canadian Dock

Beach Shadows 


Artist Bio

Since his return from WWll and his schooling at the Art Center College of Design, Ken Duffin has been a professional artist. For many years he was a freelance artist with his studio in San Francisco working on advertising accounts. Later he moved to Seattle to become a Boeing artist. Here he painted airplanes in flight as well as promotional illustrations. After leaving Boeing, he again became a freelance artist , this time in Seattle and specializing in architectural  illustration. These many years of fast-pace production, meeting deadlines and other demands developed skill and discipline which he now finds useful in his most recent direction. 

In his remaining years here in Eastern Washington, he now paints, released from the demands of commercial art. He loves the outdoors with sunlight and shadows, fog, rain and all the elements, trees and fields and mountains and lakes and rivers, almost anything from nature. His home now is the Northwest where he has lived for 40 years and where nature abounds. Trips to the mountains and beaches provide him with an abundant supply of material for his paintings. He 
occasionally travels to other parts of the country, and abroad to gather material to paint. 

Ken is a life member and past president of the Puget Sound Group of Northwest Painters, a 85 year old organization that has had many of Northwest's finest painters as members. He was a founding member of the 'San Francisco Society of Illustrators' and a contributing member of the US Air Force Documentary Art Program, again paintings are donated documenting experiences had while visiting Air Force Bases around the world. He is also a member of 'Oil Painters of America' and a signature member of the 'Northwest Watercolor Society'. 



Austin Dwyer

PSGNA

Charles Morgan Maiden Voyage

Shackleton, Escape From Elephant Island

The Bluenose Mystic


Artist Bio

Austin Dwyer was born in Tipperary, Ireland where he graduated from the Municipal School of Music in Dublin, Ireland and the Burnley School of Professional Art. He is a fellow artist and past president of the Puget Sound Group of N.W. Painters. He is also a signature member of the American Society of Marine Artists where he serves on the board of directors. He is a published author and musician. Presently Austin is working on two books. The first book is being co-authored with Rorke Bryan; a coffee table book featuring historical ships. The book will be published in Ireland and the UK next year. The second book is a guide to maritime painting.

Mukilteo

Washington



Gordon Edberg

PSGNA


Artist Bio

From the time of my high school education, through college and my professional career as an architect, I have been fascinated by the landscape. Drawing and painting has been my focus in appreciating and responding to nature, both untouched or with man's influence on it.

I'm most interested in reflecting on what I see and experience from the landscape in paintings which enhance the mood and setting with unexpected color, elements of abstraction, calligraphy, marks and incising the surface.

I primarily paint grounded in realism with a leaning toward impressionism. I paint on canvas with a combination of oilbar and oil paint and brush or pallet knife.

Landscape images and also urbanscape and marinescape images painted in the studio are many times imagined in response to the mood and feel of actual places that I've sketched or painted "en plein air".

I refer to plein air paintings or sketches for paintings done in the studio. I don't rely on the camera. 

Places that tell a story, convey a feeling or mood are my inspirations for painting that I hope can translate those feelings to the viewer.



John Ebner

PSGNA

New Beach Walkers

Canna Leaves

Incoming Storm


Artist Bio

A Northwest native, John Ebner, born in 1943, grew up on the family farm in Sublimity, Oregon. Plagued with severe allergies, he moved to Portland and attended art school. In 1969 he married his wife, Paula, and they moved to the Puget Sound area. Paula has been a constant source of encouragement and support.

John Ebner has been painting in watercolors since 1973 when Paula signed him up for a watercolor course as a start of a new hobby. John was employed as a manufacturers rep. covering western states--a great opportunity to gather subject material for his artwork. "I would bring my paints and paint in the motel at night. I couldn't get enough of it."

ART CHANGES THE WAY WE LOOK AT EVERYTHING!

"My paintings are a contrast of soft and hard edges, warm and cool colors, light and dark values. My goal is to capture the mood and essence of the scene."

John Ebners’ passion for serenity is mirrored in his passion for the world he paints. Considered today the Northwest's most collected painter, Ebner creates paintings that reflect the essence of the Pacific Northwest. From his misty mountains to the vague figures of his signature Rain People strolling ocean beaches or waiting, huddled under umbrellas.

Water, in its many forms, is one of the most predominant elements in his work. Water in the Pacific Northwest after all becomes waterfalls, mud flats, rivers, seascapes, beaches and mist. These recurring elements and the impressionistic colors that define the Northwest have endeared his paintings to anyone who loves this special place.

John is a past president of the Northwest Watercolor Society and a life member of the Puget Sound Group of Northwest Painters.



Clark Elster

PSGNA

Osso At Daybreak

Arden Charles

Heceta Winter's Eve


Artist Bio

Clark Elster is a Charter and Signature member (“Distinguished Pastellist”) and past President of the Northwest Pastel Society (NPS), Member of the Oregon Pastel Society and Member and Past President of the Puget Sound Group of Northwest Artists.

Clark started painting in 1984 shortly before retirement as a Seattle Police Commander and soon thereafter began earning widespread recognition for his award-winning work accepted in regional and national juried exhibitions, as well as being featured in one-man exhibits in California, Oregon and Seattle. He has studied and painted with a number of nationally and internationally acclaimed artists. His work spans a broad range of subjects from landscapes (including plein-air) and marinescapes to still-lifes, figures and portraiture.

His paintings have been featured twice in American Artist magazine and at the 1986 World Exposition Fair in Canada, and his paintings are in private, corporate and public collections in Europe, Japan, Canada and throughout the United States. Clark also juries art exhibits and conducts artist’s workshops in Washington and Oregon.


Ray Gerring

PSGNA


Artist Bio

Ray Gerring, BVA member and artist, served as an airplane mechanic in the Army Air Corps during World War II. Later in life, he found joy in his family and his painting. However, one day in 1994, Ray was shocked to wake up unable to see anything but a jumble of colors in his left eye. Diagnosed with retinal vein occlusion, a condition that occurs with higher frequency in those over 65, Ray lost sight in his other eye about ten years later. He was now legally blind.

Like many newly blinded veterans, the loss of vision drove Ray into a severe depression. “It just destroyed me. I’d get so angry; I was like a crazy person,” Ray says.

At times, his wife of 58 years would watch helplessly as her husband sat with his head in his hands. Other times, Ray lashed out over little things, like knocking over a glass of water.

Doctors prescribed antidepressants, but according to Ray, “I didn’t have the patience to take those drugs.” For a while, Ray spent much of his day sleeping, abandoning everyone and everything, including his beloved brushes and canvases. Eventually, Ray decided to give painting — and life — another chance. Standing in his studio one day, he picked up a jar of acrylic paint and began dabbling on a canvas, since blindness had deprived him of the ability to paint realistic landscapes and seascapes using pen and ink, watercolors, and oil and acrylic. He thought, “Hey, I think that works as an abstract painting.” And Ray was on the road to recovery.

Ray’s vision is 10 percent of what it used to be, and he often has to paint just one inch from the canvas. But Ray is a working artist again in more ways than one. Along with painting, Ray has been writing to lift his spirits. But he couldn’t use a computer to share his short stories. Following BVA advice, Ray recently spent eight weeks at a VA blind rehabilitation center, where he learned how to type and edit on a computer, along with other skills to increase his independence.

And now, 20 years after he began to lose his vision, Ray’s first book has been published. Available on Amazon.com, “Tales from the Emerald City” tells 11 fascinating stories about the wonders of Ray’s hometown of Seattle and its unforgettable characters. Ray’s book, his paintings and Ray himself show us that when we help our blinded veterans, there is no end in sight to what our heroes can do.


Charles Fawcett

PSGNA

Shackleton Revisited.

Capt. W. Kitney

Longliner "Dorothy" alongside at Sitka, AK, 1932


Artist Bio

Charles, a keen artist from an early age, lived aboard a Sailing Barge on the River Thames as a child. He went to sea as a cadet at the age of 16 in the British Merchant Marine, and came ashore in New Zealand at 24, having obtained an unlimited Master's License. As he worked his way up the management ladder in the shipping industry he continued painting in his spare time. In 1984 he was transferred with his family to New York, then later San Francisco before settling in Seattle in 1999. He retired from managing a major shipping line in 2005.
In the mid 90's he began painting seriously , switching from watercolors to oils a few years ago.
His love is maritime art and he has exhibited widely in the Northwest and featured on the cover of 48North and within the FOSS maritime calendar many times.
Apart from being Secretary of PSGNA he is also a member of ASMA and EAFA.

I strive to reflect my knowledge and affection for the sea in all it's moods together with the craft that sail it's waters plus those that either make their living from it or purely enjoy the spell of it...

Bellevue.

Washington