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Plein Air at Lone Ranch with Silvia Trujillo May 4th


Plein Air at Lone Ranch with Silvia Trujillo
Beginning through advanced painters welcome
Saturday May 4th, 9am-3pm

Experience painting and drawing in the great outdoors. Enjoy painting the beautiful surroundings of Alpacas at Lone Ranch in Eagle Point, Oregon. Landscape artist Silvia Trujillo will guide you in depicting the beauty of the landscape, creating interesting compositions, and capturing a moment in time.

Contact The Rogue Gallery & Art Center to register

Register by Phone (541) 772-8118 during our business hours Tue – Fri 10 – 5, Sat 11 – 3

Emotional Power in a Figurative Painting Workshop


Only two openings remaining at…


Don’t wait any longer! Registration closes May 1!

Register now to secure one of the final two openings in this


What makes a great painting connect so powerfully with the viewer?  And as artists, how can we create works that are increasingly effective and emotionally impacting?

Study with renowned artist Ron DiCianni for this two day hands-on painting workshop in exploration of this fascinating topic. Plus, enjoy an evening (Thurs, May 16) with Ron as he tells his story and expounds on his vast experiences in the role of art and faith in culture spanning four decades.


 Masterpiece and Pacific Rim Guild Members Discount: $295 
Registration Fee: $325

Pacific Rim Art Guild (Eugene faith based art guild) offers host housing
or dorm lodging at New Hope College
Contact Dan Chen (541.461.3735 | [email protected])
or enjoy one of the many other Eugene hotels or inns.

Do you have a spouse, family member, or friend joining you for the weekend? Click here to see how they too can participate in this beauty-filled weekend!

Details & Registration
Copyright © 2019 Masterpiece Christian Fine Arts Foundation All rights reserved.
Our mailing address is:
17575 Hwy. 66, Ashland, Or. 97520, 541.601.7496
[email protected]
Masterpiece is a registered 501(c)3 non -profit corporation registered in Oregon

Special Art Reception at Rogue Gallery Friday, April 26, 5:30 – 8:00 pm

Special Art Reception Friday, April 26, 5:30 – 8:00 pm

Artist talk by Katy Cauker at 7:00 pm


Main Gallery

Artist Teen Mentoring Project Exhibit

April 19 – May 3, 2019

Matt Hearon_Chauvet_Acrylic

This exhibit is a culmination of the Rogue Gallery & Art Center’s annual Artist Teen Mentoring Project. Through this program, students receive art instruction and insight on being a professional artist. On display is the artwork of nine students and four mentors who participated in the program. Media includes drawing, painting, pastels, printmaking, and photography. Mentors include Kristen Beck, Amy Godard, Charity Hubbard, and Silvia Trujillo. Students include Brieann Fitch, Morgan Godard, Matt Hearon, Lenah Hong, Grace Jarrett, Merwin Nikad, Cassie Penn, Azana Prout, and Lakaia Thornton.

Brieann Fitch_A Day at the Louvre

This program is made possible through the generous sponsorship of Rogue Disposal and Recycling, and the artist mentors and volunteers who give their time and knowledge to inspire young artists every year to create and grow in this unique artistic experience.

Community Gallery

Finding Form: Paintings by Katy Cauker

April 19 – May 31, 2019

painting by Katy Cauker_A Favorite Place

Katy Cauker’s paintings explore the shape and form of water and the farmlands that surround her home in the Rogue Valley. Katy has expressionistic, lively, vigorous brushstrokes in her paintings of waterways and open fields. She paints in acrylic, oil, and gouache.

Refreshments from Harry & David will be served at the reception.




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

Ashland’s First Friday Art Walk, May 3rd, from 5 to 8 PM

Ashland Gallery Association Art Exhibit Openings & Artist Receptions

First Friday Art Walk, May 3rd, from 5 to 8 PM

Stroll the galleries and take in the visual delights in downtown Ashland and the Historic Railroad District.  Enjoy this free year-round community event, filled with a diverse array of artwork, live music, artist demonstrations, refreshments and lively conversation!

May Spotlight Exhibits

Hanson Howard

Sue Springer, ceramic sculpture & Robert Koch, paintings

Sue Springer creates quirky ceramic sculptures, which are mostly figurative, with a whimsy and freedom of unexpected combinations. Dreams, imagination and wonder combine with a response to the current world to tell the stories of these figures.  Sue, founder of the former Illahe Studios and Gallery now lives and works in Seattle, Washington.

Gestural strokes and spontaneous marks collide with color blocks in Robert Koch’s narrative vignettes. Often prompted by found photographs, Koch takes the liberty to make his subjects humans or creatures inhabiting the same world. Having the appearance of quickness and even naiveté, Koch’s deft drawing skills mean each mark is playful and intentional at the same time

CVA Galleries (SOU)

Spring Exhibitions at the CVA Galleries

Opening Reception:  Friday, May 3, 2019, 5:00 p.m.- 7:00 p.m.

Refreshments provided

Exhibition Dates:  May 3rd – May 24th, 2019

Gallery Hours:  Monday – Friday, 8:00 a.m. – 9:00 p.m.

Retzlaff Gallery (Art Building):

When I Live My Dream, Anna McGrath, BFA Thesis Exhibition  

Thorndike Gallery (Art Building):

The Company I Keep, Thomas Fisher, Capstone Exhibition  

Meyer Memorial Gallery (Marion Ady Building):

Home Away from Home, Hayley Weak, Solo Exhibition

Art Department Chairs Gallery (Marion Ady Building):

Beautiful View, Magnificent Desolation, Patrick Vogel, Solo Exhibition

Boise-Cascade Gallery (Marion Ady Building):

On Form and Function, Rafael Ordorica, Solo Exhibition

JELD WEN Gallery (Marion Ady Building):

The Voice of the Art Students, Contemporary Drawing & Painting Art Class, Group Exhibition

Rafael Ordorica,Three Sisters, Ceramic  

Rafael Ordorica,Three Sisters, Ceramic

Anna McGrath, Untitled, Bead-embroidered cyanotype on denim

Thomas Fisher, Jeff, Oil Paint on canvas

Hayley WeakSouthwest, Linoleum Reduction Print

Rafael Ordorica,Three Sisters, Ceramic  

Hayley Weak, Southwest, Linoleum Reduction Print

Hayley Weak, Southwest, Linoleum Reduction Print

Photographers’ Gallery

Featuring John Christer Petersen

John Christer Petersen’s new show, Bouquet of Pink Tulips, opens on Friday, May 3rd at The Photographers’ Gallery At The Ashland Art Center.


John Christer Petersen, a local fine art photographer, primarily exhibits landscapes, seascapes and architecture from his worldly travels.  Occasionally he focuses on floral and macro photography.  John will exhibit a trilogy of macro images from a bouquet of pink tulips.

Studio 151

Guest Artist Jane Sterling

May at the studio features a joint show of mixed media figures and wall art by Elizabeth York and works by guest artist, Jane Sterling. Jane’s “Evolutionary Art” consists of antique Chinese wall panels renovated and embellished with collected jewels, gold glass beads, wood from Oregon and broken colored glass to enhance the black lacquer panels. Additional items in the show are mixed medium clay sculptures with bead adornments and custom earrings.

The Studio will be open on First Fridays 5:00 – 8:00 and Friday through Sunday from 11:00 – 2:30 through June.

Jane Sterling, Amethyst Dragon, mixed media

Jane Sterling, Amethyst Dragon, mixed media

For more information about all of our exhibits and to download the May Gallery Tour map, please visit:  


Please see “Spotlight Exhibits” and May Gallery Tour Map:

Download (PDF, Unknown)

Thank you for your support of the Visual Arts in our communities!

WMG 22nd International Open Call For Art

22nd International Open
Exhibition Dates: August 9 – 31, 2019
Entry Due Date: May 28, 2019
Juror: Dolores Mercado


Exhibition Description: Invitation to all female identified artists worldwide to submit artwork for this open exhibition. All themes, styles, and media will be considered. Artwork that explores or challenges conceptual and material boundaries is encouraged.

Prizes Awarded:  Best of Show $500 / 2nd Place $250 / 3rd Place $100

The application fee for juried exhibitions is $30 for up to three images of work, plus one detail image each if necessary. A limited number of artists who experience financial hardship may be exempt from paying the entry fee; please send us an email to request a fee waiver: [email protected].

We encourage entries of recent works, but there is no restriction in the creation date. All applicants should submit an artist’s statement about their body of work (up to 250 words.) Accepted artworks must not exceed 72″ horizontally and must not have been previously shown at WMG.

Juror: Dolores Mercado

Dolores Mercado is the Associate Curator at the National Museum of Mexican Art (NMMA) in Chicago, Illinois, and former Associate Director of Education and Senior Arts Educator. She studied at the National School of Painting, Sculpture and Printing La Esmeralda in Mexico City, The Academy of San Carlos from the UNAM in Mexico City, The School of Video of the University of Guadalajara, and at the School of Visual Arts of the University of Guadalajara.

Mercado was the Curator of Women Artists of Modern Mexico: Frida’s Contemporaries; La vida sobre papel: Judithe Hernández; Contemplations: Dan Ramirez, Works from the Permanent Collection; Deportable Aliens: New Work by Rodrigo Lara Zendejas; La Muerte Niña: Day of the Dead; Carmen Parra: Suave Patria; Rito y Recuerdo: Day of the Dead; Quilt Me A Story: Nuestros relatos (Immigration Stories); Maquila Blues: Oscar Moya; Fragmentos: Pilar Acevedo; and Abyss: Rocío Caballero among many others. Mercado has also Co-curated Memoria Presente: An Artistic Journey; !No se olvida! Remembering the Tlatelolco Massacre and Rastros y Crónicas: Women of Juarez, and others.

Mercado has hosted Camino Tierra Adentro radio program at WRTE 90.5 FM (1999 to 2004, MFACM), and Alquimia radio program at WRTE 90.5 FM. (2004-2006) NMMA. She was coordinator and collaborator for the Women Artists of Modern Mexico: Frida’s Contemporaries catalog and Coordinator for Nahui Olin: A Woman Beyond Time catalog, NMMA. Mercado has been in charge of several Symposiums, Conferences and Events and has participated as a panelist in Art in Response to Violence, Northeastern University; Ni Una Más: Remembering the Missing Women of Juarez, DePaul University; and Translating Tragedy into Art, a conversation with Filmmaker Carlos Carrera. Dolores Mercado has exhibited in the US, Mexico, Spain, Canada and Nicaragua.

Image: Artwork by Anoush Bargamian

Join Woman Made Gallery
2150 S. Canalport 4th Fl, Chicago, IL 60608
Enter through Parking Lot at North Entrance on 21st Street
312.738.0400 | Email | Website
Gallery Hours: Thur-Fri 12 – 6pm & Sat-Sun 12 – 4pm
Woman Made Gallery (WMG) is a tax-exempt, not-for-profit organization founded in 1992. Its mission is to support, cultivate, and promote the diverse contributions of women in the arts through exhibitions and other programs that serve, educate, and enrich our community. We rely on membership contributions and individual donations to create the programs that support our mission.

Woman Made Gallery is supported in part by grants from The Arts Work Fund; The Chicago Department of Cultural Affairs and Special Events; The Gaylord and Dorothy Donnelley Foundation;  The Efroymson Family Fund, a CICF Fund; The Illinois Arts Council Agency;  The MacArthur Funds for Arts and Culture at The Richard H. Driehaus Foundation; The Joyce Foundation; and the generosity of its members and contributors. We thank our Art Angel, an anonymous donor who contributes generously and repeatedly through BMO Harris Bank.

Table Rock Plein Air Hike!

 Saturday, May 4, 9:00 a.m., LOWER TABLE ROCK OAK LOOP TRAIL Plein Air Paintout @ the Rocks: Join Darlene Southworth, botanist and artist, for an outdoor painting session along the Lower Table Rock Oak Loop Trail (1/2 mile accessible trail) Bring your sketchpads, painting materials (any medium) and easel and chair, if you desire. Limited to 15 individuals.

The Nature Conservancy and Medford District BLM annually sponsor a series of free guided hikes at the Table Rocks led by local specialists in different fields. This year’s list of spring hikes – Find Your Nature on the Rocks! – includes one of special interest to artists. Hikes are free but online registration is required due to limited space.

Saturday, May 4, 9:00 a.m., LOWER TABLE ROCK OAK LOOP TRAIL

Plein Air Paintout @ the Rocks:  Join Darlene Southworth, botanist and artist, for an outdoor painting session along the Lower Table Rock Oak Loop Trail (1/2 mile accessible trail) Bring your sketchpads, painting materials (any medium) and easel and chair, if you desire. Limited to 15 individuals. (

View the complete list of hikes at

A Taste of Ashland 2019

A Taste of Ashland

April 27th & 28th 12pm to 4pm

Celebrating our 30th year, this is the Ashland Gallery Association signature fundraising event!

A Taste of Ashland is on Saturday and Sunday, April 28th and 29th from 12pm to 4pm.

Foodies and wine connoisseurs, local and traveled, follow a map to 17 galleries, viewing art while discovering Ashland’s best restaurants, the region’s best wines, and more. For a complete list of pairings go to

A Taste of Ashland is unique because each gallery, winery, and restaurant are meticulously matched, working together to create unique pairings so attendees experience a delight of senses, says Gretchen W. HartTown, Event Coordinator for 2019 A Taste of Ashland. “We are excited to celebrate our 30th year! This event really showcases the talent in our region! The stroll through the inspired works of internationally renowned artists, while experiencing the pairings of our region’s best in cuisine and wine, is so much fun. Bring a group, or keep it intimate, make it special as you lavish and laugh in the experience of A Taste of Ashland!”

The Ashland Springs Inn will be hosting Ashland Gallery Association artist members Pop-Up Art Show. Tasters stroll leisurely through the quaint town of Ashland all afternoon, experiencing the best of Ashland art, food and wine, then have time to relax and attend an Oregon Shakespeare Festival performance in the evening and many delicious dining opportunities for dinner or late night bites and night caps.

Tasters will have the opportunity to vote for their favorite restaurant, winery and gallery using a ballot for the Taster’s Choice award. By doing so, their name will be entered into a drawing for two weekend passes to A Taste of Ashland 2020.

Tickets for A Taste of Ashland are $65 for both Saturday and Sunday, $55 for Saturday only and $45 for Sunday only. A free shuttle by AllAboard Trolley, will offer rides to all galleries, and most are within walking distance. For tickets and more information about A Taste of Ashland 2019 a complete list of pairings go to


Ashland Art Center 357 East Main St., & Manzanita/Flower Thyme, 55 N. Main st.

Tickets can also be purchased and wine glasses picked up prior to A Taste weekend at the Ashland Plaza Kiosk from 12pm to 2pm April 20th through April 26th. The Kiosk will open at 11am on April 27th and 28th.

A special thank you to our generous sponsors!

Download (PDF, Unknown)

Table Rock Plein Air Hike

MAY  04  Plein Air Paintout @ the Rocks by The Nature Conservancy & Bureau of Land Management, Medford District

The Nature Conservancy and Medford District BLM annually sponsor a series of free guided hikes at the Table Rocks led by local specialists in different fields. This year’s list of spring hikes – Find Your Nature on the Rocks! – includes one that we thought might be of special interest to your organization. Hikes are free but online registration is required due to limited space.

 Saturday, May 4, 9:00 a.m., LOWER TABLE ROCK OAK LOOP TRAIL          

Plein Air Paintout @ the Rocks:  Join Darlene Southworth, botanist and artist, for an outdoor painting session along the Lower Table Rock Oak Loop Trail (1/2 mile accessible trail) Bring your sketchpads, painting materials (any medium) and easel and chair, if you desire. Limited to 15 individuals. (

 If you have any questions or need more info, please feel free to contact me.

Thank you,

Kathy Kudo (TNC Volunteer Hike Coordinator)

  P.S. You can view the complete list of hikes at

A long goodbye

I was pleased and surprised when I got the notice that the Butler Institute of American Art wanted my painting of taffy for its Midyear exhibition, since other work had been rejected this year by our local museum and another regional gallery. After a decade of selling my work and showing it in juried exhibitions, it was still a game of percentages, entering these events. This year it might be only the two small museums that showed my work—Arnot and Butler—mostly because I haven’t had the time to finish enough work to enter other shows. Last year, I’d vowed not to enter anything larger than 24” in at least one dimension, and if possible enter nothing larger than that in any dimension. The difference in cost, and the amount of hassle that goes into the whole physical process of getting a painting to and from a show, is dramatic, when you exceed a certain size. But I had nothing else to enter, having submitted smaller paintings to other shows. So in the week I was home in Pittsford, I had to build a new crate, the largest yet, and figure out how to get it to Youngstown, Ohio and back.

The only reliable way to do this was either to drive it there myself—about ten hours of a round trip on the road to deliver it and another ten to pick it up after the show, which I had done for the last show I was in at Butler—or ship it through the UPS Store. I had tried both Fed Ex and UPS before, signing up for accounts, but in every case I got lost in the obstacle course of being transferred to other people, or put on hold, or told to do things that weren’t available to me in the online forms. This time was no exception. The shipping companies aren’t terribly interested in a non-commercial shipper who wants to do things—like print out a return label—that only retail companies usually need to do. Getting that return label pre-paid and printed and inserted into the crate was the stumbling block. I called and the UPS help desk and they told me I had to actually create a permanent account with them, and so I did. They supplied me with my own account number, but it changed nothing in the form. Still no option to print a return label. Which is when they put me on hold for a transfer—and no one picked up. So I surrendered to defeat again and decided I would have to lug the four-feet by four-feet crate to the UPS Store, all sixty pounds of it, rather than have them pick it up.

Before 8 a.m. I drove to Home Depot and got a 4′ x 8′ sheet of quarter-inch plywood sheathing— thin and flexible and lightweight. It’s more delicate than typical plywood and pretty easily punctured if you were to drop the crate onto something like a giant paper spike, which UPS once apparently tried to do with a previous shipment, luckily without damaging the painting inside. I had a friendly, helpful worker cut this sheathing into two identical squares and then slice the six-inch boards I would use for the sides of the crate into a pair of four-feet long planks and another pair of slightly shorter ones. I’d create the box out of them and then screw the sheathing to each side, using drywall screws. I’d done this many times, so I was finished by noon. Inside the crate, I attached a convoluted foam mattress top to the sheaths as cushion for the painting, and constructed an inner “lid” out of foam core to slip over the front of the canvas, so the lining wouldn’t press against the canvas inside the crate.

In transit, linen quickly gets slack if it isn’t stretched tautly to begin with. Any pressure against it will leave it buckling slightly like a loose sail, so this last little component, the foam core, is essential. I’d ordered a box full of these sheets, and though I could never find any large enough for my biggest work I would make two of them and slide them together until they overlapped to fit snugly around the edges of the painting.

But that wasn’t enough. This particular painting had already gotten slack on the stretcher bars since I’d finished it in January—humidity alone is enough to loosen stretched linen—so I had to remove the frame and pulled out the staples from two contiguous sides of the painting and retighten it with canvas pliers, stapling it back into place until the canvas sounded like a snare drum when I flicked the back of it with my finger. All of this is slow and laborious. While I was doing it, I saw small imperfections in the surface of the painting—in the background color—so I took a sable rigger brush and touched it up. This would mean shipping the painting with a couple tiny areas of new paint, but they were tiny and would be fixed in place by the dried wax. It was at this point that I realized I’d never applied a final, protective thin coat of wax to get a uniform finish, a matte shine over the entire surface. Without this coat—which can be removed at any time, even years later, with a rag soaked in mineral spirits—the paint has an uneven, rough look from certain angles. In some places it shines more than others. A thin layer of wax is the best way to remove the disruptive shine. I managed to apply it without a problem, though I had to let the painting sit overnight before enclosing it into the crate.

The following day, I was still determined to get a shipper to pick up the crate at my home. I tried to weigh it using a bathroom scale but all I got in the digital readout was ERR. So I guessed 75 pounds and clicked to the UPS website whereupon I chased my tail for another hour.  I wouldn’t have even bothered with the online option if we had had an SUV large enough to accommodate a painting that size, but our Jeep is long-gone and my wife Nancy owns a smaller Honda CRV, because she has no need for a roomier cargo hold. (She likes to to sit up high on the road and in parking lots.) But there was no way I could slide the crate into the back of it. So, as I had many times before, I needed to drive to Victor, rent a cargo van from U-Haul and drive it back home, load up the painting and deliver it to the UPS Store a block away from the U-Haul office. When I got to the U-Haul, a retired couple ahead of me were waiting to unburden themselves with their tale of woe about their own truck rental the day before. It had broken down and they called U-Haul and it took two hours for someone to find them on the road. The men who showed up refused to help this elderly couple transfer their bedroom set from the bad truck to the good one. So they had to do it themselves—she was clearly the younger of the pair and in charge, while her husband smiled benignly but uselessly through the whole story. The fellow at the desk cancelled all charges and apologized, but she kept on for several minutes telling her story, not out of anger as much as simply wanting to release it into the air after having held it in since the incident. (She’d started telling me the story before her turn came up at the register. ) I got my van without a problem, drove it home and hoisted my sixty pounds into the back—the opening was just barely wide enough from top to bottom to get the crate into the truck, though I could have gone in diagonally.

I drove it back to Victor, unloaded and carried it into the UPS Store and waited while they weighed it and calculated the costs. It sat on that little scale on the countertop, standing upright, towering over everyone’s head as he printed out the two shipping labels, one for the trip to Youngstown and one for the return. I had left a manila folder inside the crate with the lip sticking out, with four screws in my pocket, one corner of the sheathing loose enough to slide the label into the envelope and then push the envelope back into the crate. “That’s a great idea,” Chad, the manager, said. I’d forgotten to grab the screwdriver from the passenger seat in the CRV when I parked it at U-Haul so I had to ask Chad for a screwdriver and he rummaged in back and found one. I fastened the sheathing with it, and it was ready for pickup. I snatched the shipping receipts with the tracking numbers and thanked him and drove across the highway to the rental, turned in the van and walked out to our CRV. A woman had just pulled in next to me.

“Are you renting from U-Haul?” she asked, urgently, as she stepped out.

“Yeah, a cargo van.”

“Well don’t. I called the better business bureau. The guy changed my mileage charge from $.59 to $.79. See?”

She held up her rental contract.

“I complained, but he wouldn’t do a thing about it.”

“Wow. The odometer seemed off to me,” I said. “It always racked up more miles than Google maps.” I had tracked the mileage during my delivery and it never matched up with my phone. The miles on my phone were always slightly fewer than the ones on the van’s odometer. The difference in the charge was negligible, but it wasn’t inspiring me with confidence in the company.

“Good luck,” she said, as she marched back into the rental office.

“Same to you,” I said.

An hour later, at home, I got a call from Chad.

“I don’t think you paid,” he said.

“I’m sure I did. I remember signing,” I said, but then wondered if I was thinking of my payment at U-Haul, across the street. “I have the receipts.”

“Those are the shipping and tracking receipts but do you have, you know, a long cash register receipt, like the one you get anywhere?”

“Hm, let me look,” I said, and pawed in the kitchen trash, found the other flyers he’d handed me but no receipt.

“I guess you’re right. Looks like I pulled a fast one, Chad. Can you take my card number?”

“Sure. Just a sec,” he said.

And I was done with a process that required many hours over two days: $418 to get the painting to and from the Butler Institute. Another $60 for the wooden crate materials, though I could amortize the cost of the crate over the time I would reuse it for other shows and other paintings. Around $40 for the memory gel egg crate foam—it was what I’d ordered the year before from Amazon without realizing how heavy it was, with the gel. So, all in all, $600 simply to get a painting to a neighboring state for exhibition and back again. (I have a story of a simple shipment to Cambridge, Mass. and back that is even more involved and more expensive.) If I’d been sending to California, as I’ve done many times in the past, the cost would have been significantly higher. When I was finally done with the process, having begun shortly after Home Depot opened that morning, it was around 2 p.m. My work day was over.

Being a painter, unless you are one of the most elite and successful, means being many other things as well: carpenter, shipper, renter of U-Haul vans and primarily a profligate spender. For someone selling out a show of work with five- or six-figure price tags, none of this is consequential. You can hire someone else to put on the gloves and submit your credit card. But for the vast majority of professional painters who make part or most of their living by creating and selling work, this is an integral part of the life. You are a physical worker in the actual, three-dimensional world—not a “knowledge worker” or part of some “creative class” that hovers above the rest of the toiling billions. Painting, and everything else it entails, is fundamentally a physical way of life that requires a body as much as, if not more than, a mind. Writing doesn’t have these physical contingencies. Stephen Hawking proves the point: to think and write books, one can very nearly be a disembodied mind. To be a painter, you are as wedded to the earth, its gravity and its elements as a plumber. And it not only drains you of calories, it slowly erodes your bank account as well: the cost of painting, the literal economic toll, is far larger than any act of writing ever exacts, unless it involves having a staff of researchers like Elmore Leonard or a factory of ghostwriters like the James Patterson book assembly lines. I imagine Keats hardly had to spend more than a few farthings to write his immortal odes, nor get up from his chair. With Turner or Sir Joshua Reynolds, it was another sort of life altogether. (Keats never tied himself to the mast of a ship in order to describe a storm accurately.) In the end, it’s worth the cost and the calories, but there is a unique toll in all of these ancillary logistics that you need to endure cheerfully and gratefully: emotional, financial, physical, and most of all, in the time it steals from your work and family. But all of this is an inevitable and essential part of the privilege of having your work seen, judged, written about, awarded money and sold, if and when that happens, so you try to do it with grace.

Or maybe stick to a rule of painting pictures no larger than a couple feet in any dimension.

More Classes at Kindred Spirits- April 2019

                       More Classes

Workshops for April 2019- sign up here:

A Show of Hands
April 20th, Saturday,  11-4
Cast hands collaged with Old School Tattoo Images or India Henna images.
All materials provided.


Moonlight Dancers
April 27th, Saturday,  1-4
Acrylic and mixed media.
Ink Painting
Tuesday mornings at 10:00

Copyright © 2019 Cathy Dorris Studios, All rights reserved.
We are sending art event and workshop information to people who wanted to be on the mailing list.

Our mailing address is:

Cathy Dorris Studios

106 Talent Ave. #2

TalentOR 97540