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Photographs by Tom Ommen at Rogue Gallery

Community Gallery Exhibit

Landscapes: Photographs by Tom Ommen at Rogue Gallery

Abandoned Farm, Image by Tom Ommen

Abandoned Farm, Image by Tom Ommen

June 12 – July 10, 2015

Reception Friday, June 19, 5:00-8:00pm


The Rogue Gallery presents works by photographer Tom Ommen who captures images of western landscapes, nature, and unusual buildings. The photos are primarily from Texas, Utah, and Oregon.


With strong compositions and vibrant colors, Tom Ommen produces images of profound beauty. Many of his photos are from unusual perspective. The results are images that introduce the viewer to new visual experiences. Tom states, “I started taking pictures with an Argus C3 during high school in North Bend, Oregon. My interest in photography continued through my career as a university professor of Religious Studies and now into retirement, first in Texas and now in Jacksonville, Oregon, since moving to Southern Oregon in January of 2014.”


A reception will be held on Friday, June 19 from 5:00-8:00. Wine, Rogue Creamery cheese, and Harry and David snacks will be served.


The Rogue Gallery & Art Center is a non-profit community art center, founded in 1960 to promote and support the arts in the Rogue Valley. The center exhibits a wide range of artistic styles and mediums from local and national artists. Programming includes art educational opportunities for children and adults. Hours of operation are Tuesday through Friday from 10 a.m. to 5 p.m. and Saturday from 11 a.m. to 3 p.m.Call (541)772-8118 for more info or visit

Painting with Frit Demonstration Saturday!

Jessica Carrara of Light Garden Glass Art presents a Valley View Winery show of fine glass art and demonstration of painting with frit to make fused glass art on Saturday June 12 2015. Local band SIP (Survive In Peace) will provide live music and Valley View Winery will also have wine tasting and food available. There will be glass art for sale.

Painting with Panels or Canvas?

The Secrets of Priming and Preparing Panels for Painting
Part One: Selecting the Panel

For an artist, nothing beats the feeling of working on a flawless painting surface that has been carefully prepared by skilled craftsmen educated in the Renaissance tradition with recipes that have been handed down from generation to generation for hundreds of years. These recipes included various exotic ingredients such as resin extracted from trees farmed in the Amazon rainforests in Brazil, which was then hand pressed by Monks, and aged in cellars for 30 years as the main ingredient. Also, marble pumas mined from the same quarries in Italy that Michangelo used to sculpt his masterpiece “David,” was used along with linen textile made from the heartiest flax seed grown in eastern Europe that was then hand spun in Belgium using thread counts in the thousands. All of this was applied to wood, cut harvested from the western slopes of the France and Italian Alps, milled into panels, assembled in Venice, and exported around the world.

During the early days, preparation of the surface of the panel was a guarded secret, an art in itself, a skill passed down for generations. And unfortunately, often the secrets died with the artist. Many artists hired apprentices to prepare the grounds and mediums used to create these magic surfaces. They where sworn to keep these secrets from other rival artists and would not deliver the panels until they were properly dried in fear that a rival artist could smell the medium used in the preparing the surface. The finish of the surface was often the defining difference that contributed to creating a successful result as much as the painting itself.

Nowadays, we can step up to the counter at big box art store and buy 10- 8x 10 canvases for $10, and with a coupon, get another 20% off. Students ask me, “Why should I waste my money on quality supplies or spend hours of my time preparing a canvas when I am only learning how to paint and the paintings that I’m doing are just studies or practices and will probably get thrown away?”

I answer by saying “Inexpensive practice canvases will never come close to the experience that you will have with a quality canvas or panel. In fact, if you practice from the start on quality panels, it might change the way you practice painting forever. The quality of the surface will impact the way you apply your paint, the quality of your stroke, the way your paints blend and react to the surface, and the way light reflects on your brushstrokes.”

Yes, it is true that you can practice on inexpensive canvases, but what could you have achieved if you would have done it on a superior surface? Experiencing the way the paint absorbs or does not absorb, or how transparent or soft the paint appears on the surface of a fine canvas may help you think about painting in a different manner all together. Investing time and effort in the preparation and care of all of your materials will serve you well and will greatly assist you along in the painting process. Always be prepared and ready to paint with the best supplies possible.

The post Painting with Panels or Canvas? appeared first on Stefan Baumann – The Grand View: Paintings by Stefan Baumann.

Art Presence Welcomes Three New Members!

We are delighted to welcome three new members of the Art Presence Art Center. Each artist adds to the diversity and quality of our gallery’s offerings, along with their own unique creative style.

All prospective members are juried into the gallery by our Board members. The criteria by which we assess their work include consistency of style, range of work, mastery of their medium, uniqueness and originality, timelessness or staying power, and a professional presentation. We trust you will find their work as appealing as we have and look forward to seeing their work included in our member shows.

June Spindler

creates beaded jewelry. She tells us that she went to a beading class with a friend and it was love at first sight. She’s been beading ever since that first class got her started…twenty years ago!

Jeffrey McFarland

Jeff started photography in journalism in 1978. His images have been published in many maps, magazines, and other publications.. He is inspired by the beauty and the wonders in creation.

Debbie Earley

Debbie has been fusing glass since 2001 and became a Jacksonville resident in 2002. Her work consists primarily of functional glass items with an organic look.

Look for the works of our new members in our next member show in September!



The post Art Presence Welcomes Three New Members! appeared first on Art Presence.

Plein Air Trip to the Oregon Coast

Oil Painting by Sarah F Burns

McVay Beach, Brookings, Oregon

Oil Painting by Sarah F Burns

Samuel H. Boardman State Park, Oregon


Oil Painting by Sarah F Burns

Whaleshead Beach


Oil Painting by Sarah F Burns

Whaleshead Beach

Clifford Beach Grassland, Northern California

Clifford Beach Grassland, Northern California


Clifford Dunes, Northern California

Clifford Dunes, Northern California

Filed under: Landscape, painting, Paintings, Uncategorized Tagged: 2015, art, landscape, oil, oregon, painting, plein air, Sarah burns, sarah f burns, southern oregon

Studio Snapshot – Color, Shape & Henri Matisse Workshop With Dory Kanter

This past week I took a wonderful workshop, Color, Shape & Henri Matisse taught by Dory Kanter at the Sitka Center for Art and Ecology on the Oregon Coast. I have taken many wonderful workshops at Sitka, and this one was exceptional.

From our Nōtan project.

From our Nōtan project.

Dory first gave us a brief history of Matisse which included a power point slide show and a video. I learned quite a bit about Matisse that wasn’t taught in my Art History courses. It really helped to understand the progression of his art throughout his life.

Workshop participants working on the watercolor collage exercise.

Workshop participants working on the watercolor collage exercise.

Next we played with Nōtan (濃淡?), a Japanese design concept involving the play and placement of light and dark as they are placed next to the other. We started with a square of black square and a larger red, yellow or blue paper.

A closer look at some of our Nōtan works.

A closer look at some of our Nōtan works.

Another of our projects was a watercolor collage. Working with a sense of place, we made and then cut up a watercolor wash to make our collage. It was amazing to see how everyone interpreted the assignment differently.

Some of our watercolor collages.

Some of our watercolor collages.

We had warm up exercises, then made brush drawings that were based on some of Matisse’s brush paintings. We each put our own twist on our paintings.

At the end of the workshop, we laid out our favorite pieces on our tables and walked around enjoying all the are we produced. It was an amazing experience.

At the end of the workshop, we laid out our favorite pieces on our tables and walked around enjoying all the art we produced. It was an amazing experience.

I hadn’t realized that all of Matisse’s cut outs were made from paper that had been painted. He used a high quality gouache that is still produced today.

More samples of the art we made at the workshop.

More samples of the art we made during the workshop.

We painted our own gouache papers and cut the papers and made another collage. With each exercise, we took another look at the work of Matisse for inspiration, though we always incorporated our own personalities into our art.

More samples of the art we made at the workshop.

More samples of the art we made during the workshop.

There were 17 workshop participants, ranging from beginners to professional artists. Dory is an incredible teacher and made the workshop fun and educational for all of us. I learned a lot and loved the experience.

More samples of the art we made at the workshop.

More samples of the art we made during the workshop.

One of the exercises Dory had us do came from her book, Art Escapes, which I own. It’s a wonderful book with daily exercises and inspirations for discovering greater creativity and artistic confidence. One of these days I will do a review of her book. It’s a great resource.

More samples of the art we made at the workshop.

More samples of the art we made during the workshop.

The end of the workshop came all too soon. I would have liked to stay for another couple of days to try out more of the ideas and inspiration that Dory shared with us.

Nōtan examples. Mine is on the left, Paul's is on the right.

Nōtan examples. Mine is on the left, Paul’s is on the right.

I hope to keep in touch with my fellow workshop attendees and see how they incorporate what we learned in this workshop into their art. I know I will be trying new things with my art as a result of this workshop. Thank you, Dory.

These are two of my pieces of the same scene out my living room window.

These are two of my pieces of the same scene out my living room window.

The above two photos were from two different exercises that used the same subject matter. It’s amazing how different they turned out.

Photos from 4 journals from workshop participants. Mine is the bottom right. I have an idea for Nōtan-like alphabet. Look for it in a future blog post if I like the way it comes out.

Photos from 4 journals from workshop participants. Mine is the bottom right. I have an idea for Nōtan-inspired alphabet. Look for it in a future blog post (if I like the way it comes out).

If you ever get the chance, I highly recommend taking a workshop at the Sitka Center for Art and Ecology. I also recommend any workshops taught by Dory Kanter.

Enjoy, Candy

Art Show Preparation & Subterranean Blues

Art Show Prep

I’ve been working on preparing myself for an art show.  I’m showing at the Deschutes Gallery of the Rogue Valley Manor’s Plaza Building.  This is in Medford, OR.  I will deliver paintings on the end of the month, ready to show!  The works will be on display through the month of July.

Art Show Preparation - Subterranean Blues

Artist’s Inventory No 243
10.5 x 14
Watercolor and Acrylic on Arches 140lb Cold Press Festive Abstracts Series

I am to have about 25 paintings prepared to hang.  This is going to be the largest single showing of my work to date.  I find this both exciting and intimidating.  I always feel vulnerable about seeing my art out and about.  A bit of my soul is exposed – which is good!

I am also required to give a small talk about my work and myself.  I do know how to prepare, and I have an excellent coach – my husband.  The main issue – getting over procrastination, anxiety, and the usual things.  I will; I always do and end up having a grand time.

The Audience?

They’re sophisticated.  The Rogue Valley Manor is a retirement community.  Their residents come from many walks of life.  Their life experiences are varied.  Many of the residents are artists themselves or have been around the arts.  I need to be on my “A” game.

Don’t we always?  :)


So, what have I been doing to prepare?  Here’s some of my tasks:

  • Check framing – is it clean and ready to go?
  • Check the size of the frames – will I have enough for the room?
  • Prepare the inventory – I need to have a record of what will be shown.  Plus, the inventory is the source document for the title cards and price list.
  • Oh, curating the show – choosing which paintings will hang.  What story will they tell?
  • Write my talk; practice, edit, re-write.
  • Practice.

One fun tool I’m using is the “photo booth” of my computer.  I can film myself speaking.  Oh, nothing so intimidating as seeing one talk.  Its the mannerism that can distract.


  • Inventory is about at the 75% level
  • Writing my talk – first draft 50%
  • Practice – I’ve tested talking and being filmed.  I’d maybe give myself a 25%
  • Paintings – Tracking.  I have enough framed.  I can always add a couple more.  I’d give myself a 50 to 75%

Today’s Painting

Oddly enough, this is one of the paintings on the “alternate” list.  It is one of my husband’s favorite paintings.  It is in line for being part of our permanent collection.

Oh, yes, and my husband likes early Bob Dylan.

I used both watercolor and acrylic in this painting.  This is the “artist statement” I wrote upon completing the painting:

“Sometimes compositions develop from a simple doodle, as is the case with this painting. I was experimenting with shapes and liked what I saw.  It made me think of something reaching down deep into the earth, perhaps roots of an old tree or plant.  Or, maybe itís a metaphor for my roots and links to the past.”

Now What?

My priority of work: Documentation, painting preparation, talk rehearsal.

Back to work!  :)  Thank you and enjoy!



The post Art Show Preparation & Subterranean Blues appeared first on Margaret Stermer-Cox.

The Day Of The Mother

mothers day garden1Mothers Day Garden2


The Day Of The Mother

I am standing on my deck surveying new growth in the gardens. All the bulbs are in riotous full bloom and the perennials just on the verge of opening to their color. In the garden where an Apple tree had been removed and replaced with a new peach tree, I check to see if the transplanted flowers have survived the winter and if the wildflower seeds I have spread earlier this spring are sprouting. They are! All of them are delicate yet vigorous and I am thrilled.

As I soak up the joy of this glorious day, I am struck by a thought, “My Mother would love this garden.” Her ashes have resided in a red velvet bag in my dresser drawer for eighteen years. I intended to make a glaze out of them to adorn a hand-made vessel but learned that the process is too toxic and too complicated for me to accomplish. I then planned to spread them in a magnificent place in nature but I either didn’t have her ashes with me or didn’t feel the spot did her justice. Her standards were always high and I felt I rarely met them.

Not this time. I run for the red velvet bag, carefully untie the cording and take her on a tour of the garden, placing a little bit of her at every plant and tree. “Remember how much you loved the blue Columbine when we vacationed In the Rocky Mountains?” as I add her to the earth where blue columbine are blooming.

After eighteen years of looking “out there” for the right place for my mother, I finally have found the perfect spot: Right here with me. It is a final For-Giving.

By the Light of Spring




My world has been ablaze with color.

Warm rainy days

have watered the gardens and my soul.


_DSC0032 - Version 2


I've been quiet, 

relishing my moments, touched by my workshops,

and always touched by art.





First the flowers

then the green

a shady refuge.




Just like you,

I find beauty in unlikely places

and savor it 

making it last with 

my camera.




The return of the snowgeese

fills the sky with wonder.




And the daffodil

wears her crown.





This is my world.

A bird bath, a flower

…a garden,

And the corner of my worktable.





And each day

the light moves around the house

my art grows 

and I am grateful.












Nature and wildlife

are major sources of inspiration to me.

I just got my copy

of Painted Blossoms by Carrie Schmitt


and if you love flowers and inspiration

You should get yourself a copy!




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Tail Reflections

This image of tail reflections was taken during Ashland Airport Day last month.