W A V E S
VOL 2.2
Photo by Luke Whittaker
N Y E
Historic
B E A C H
Located just a few short blocks off Highway 101, the “European walking neighborhood” of Historic Nye beach is a perfect spot to enjoy easy access to miles of perfect beaches and offers the visitors lots of …
Beachcombing Bike Riding/Rental Beach Walking Kite Flying Surfing Sail-boarding Tide Pooling Photography Galleries
Jewelry Visual Arts Apparel Lodging Spa – Massage Cafés & Fine Dining Hours of Family Fun
For more information:
Unique Retail Shops Professional Services Fine Gifts and Home Decor World Class Performing Arts Sweets - Ice Cream - Chocolates
www.NyeBeach.org
OC W A V E S Publisher Jeremy Burke Editor Steve Card
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Cleaning crab has never easier
Recipe - Apple pie cookies
Recipe - Venison Nacho Fries
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Dream Home of the Month
Waldport Oil Painter
Joy of Creating Art
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Love of Animals
Chance Encounter
Met Opera returns to the PAC
©2021 and J.burkephotos ©2021 Oregon Coast Waves 2021
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A News-Times Publication
Take the family on a Quest
Oregon Sea Grant turns 50
Moon Jellies light up for the camera
Advertising Sales Teresa Barnes Kathy Wyatt Jenna Bartlett Jeanna Petersen Misty Berg Contributing Writers News-Times Staff Leslie O'Donnell Susan Schuytema Photographers Jeremy Burke About the Cover Shot
Long exposure of Cobble Stone Beach. If you haven't been here before this is a must visit. It isn't just the sites. The sound of the cooblestones moving is amazing. photo by Jeremy Burke
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W A V E S
VOL 1.9 APRIL 2021
Oregon fishermen Tony Thiessen and Eugene Calkins invented a tool called Crack’n Crab, which allows users to cut the crab in two pieces while leaving the guts in the top shell. (Photos by Casey Felton)
CLEANING CRAB NEVER EASIER
Product makes crab cleaning easy and efficient he proverb “Necessity is the mother of invention” and the saying “Happy wife, happy life” encapsulate what led two friends to invent a product that not only led to happy wives, but thousands of happy customers. Eugene Calkins and Tony Thiessen are the inventors of Crack’n Crab, a product that makes cleaning Dungeness crab quick and easy. “There are a lot of ways to clean a live crab, but the crab doesn’t like any of them,” joked Thiessen. “We’ve been friends since college, and we’ve always crabbed together, and we’ve always cooked them whole,” said Calins. “About five years ago, all the crabbing was shut down around here because of all the biotoxins in crabs.” Those biotoxins were domoic acid — a neurotoxin that causes shellfish poisoning. Domoic acid is produced by algae and accumulates in shellfish, sardines and anchovies. When sea lions, otters, cetaceans, humans and other predators eat contaminated animals, poisoning may result. “When crabbing opened up the following year, we went
crabbing and I took the crabs back home, and my wife wouldn’t eat them until they were cleaned,” said Calkins. His wife, Lena, had read about domoic acid and took a hard stance. When a whole crab is cooked in liquid, domoic acid may leach into the cooking liquid. “We had never cleaned them ahead of boiling them,” said Calkins. The two old friends continued crabbing for a couple weeks when one day, Calkins showed up with a surprise. He had a 2 x 6 piece of wood with a piece of aluminum he had embedded upright. The idea was to design a product that made cleaning crab quick, easy and with no waste. By putting a crab on the steel edge and giving it a smack, the crab is cut down the middle with the guts remaining on the top shell (carapace.) A pull on the legs of each side releases the body from the shell, and then a shake of each side releases the lungs and any remaining guts. With the Crack’n Crab, a Dungeness can be cleaned in as little as 40 seconds. “It was a big ‘wow’ moment. It was so easy,” said Thiessen. The fishermen continued to brainstorm for a few days on the idea. “Nobody wants a big clunky three-dimensional thing to
BY SUSAN SCHUYTEMA | PHOTOS CASEY FELTON, KATIE WILEY, SUSAN SCHUTEMA
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store on a small boat. So, we wondered how we could store it flat so it wouldn’t take up too much room or risk someone getting injured by stepping on it,” Thiessen said. Their idea was a two-piece product where the metal gauge is interlocked onto the base when not in use.
product’s first retailer, and the owners invited Calkins and Thiessen to set up a table with the Crack’n Crab in their booth at a sportsmen and outdoor show. “We came out of that by selling 450 Crack’n Crabs,” said Thiessen. The product is now in nearly 50 retailers from Alaska to the Bay area.
Within three weeks, Calkins and Thiessen had a working prototype and sold the first Crack’n Crab in November of 2017. In 2018, they patented their invention. “We made 250 to start with,” said Thiessen. “We knew if nobody liked them, we would have Christmas presents for family and friends for the rest of our lives.”
Both men are retired mechanical engineers and worked at an aerospace company in southern California for a time. They both agreed they weren’t looking for a job, but they certainly enjoy the dividends. “It does help support our fishing habit,” said Calkins. The men own and harbor a boat in Newport’s South Beach marina.
Those 250 Crack’ns, as the inventors call them, sold out in three weeks.
The Crack’n Crabs are manufactured in the Salem area. “The production facility,” they say in quotes, is in Calkins’ garage. The stainless-steel gauges are sourced from a laser cutter in Salem, and the food-grade cutting board plastic comes from a factory in Wilsonville. “We get those as blank square blocks, and we do the machining on them,” Thiessen explained. “We cut the slots, cut the holes, and route all four sides. We assemble them and package them ourselves, in our ‘production facility.’ One of us has touched every one of these that are made.”
But early on, the two discovered another problem and set out to solve it. “It came up after we lost three of them,” explained Calkins. “So, we brainstormed again and came up with a float that is attached with Velcro. It won’t sink if it goes into the water and is comfortable when measuring the crab.” Englund Marine, located on the Newport Bayfront, was the
A fresh caught Dungeness crab, (top) is prepped for a quick and easy cleaning
Since 2017, the men have sold just under 16,000 Crack’ns. “I used to tell people that we sell a ton of these,” said Thiessen. “Then I got to thinking, they are a pound a piece, so we have really sold about 8 tons.” Through trial and error, the business partners have also dialed in the perfect way to cook the cleaned crab, and it isn’t boiling them. “When we first used the Crack’n, we boiled them just like how we used to cook them when they were whole,” said Calkins. “The water washed out the flavor, and we didn’t like the way they tasted. Someone recommended we steam them, and that is the only way we cook them now.” After steaming the cleaned crabs, they recommend plunging them into a sea salt/ice water bath. “The temperature cools them down fast, and then the crab absorbs some salt,” explained Calkins. “When you are cooling so fast, it also pulls the meat away from the shell, which makes it easier to pick.” Another benefit of cleaning crab before cooking is that they also last longer in the refrigerator after they are cooked. After they are cleaned, rinsed and put in a plastic bag, they can be placed on ice and transported without the concern that they
might die. Crab cleaned in this method also allow more to fit in a cooking pot. More and more people are switching to the Crack’n Crab and the recommended steaming methods. “There are a lot of converts out there,” Thiessen said. “And it’s been a really fun process. Taking an idea, to making a product and seeing people using them at the cleaning station, just about anytime we are there, is just really cool. It’s always fun to get feedback from other fishermen about how much they love the product.” Their website is tealcrab.com. Teal is an acronym for the business owners and their wives: Tony, Eugene, Alison and Lena. “Naming the business and the website were the most difficult things we had to decide in the beginning,” Thiessen said. As for what is next for the two inventors, or problem solvers, they say they are planning a new product, but it is still in the works. It’s a safe bet it involves something to do with fishing. “We fish and crab a lot,” Thiessen said. “And we eat a ton of crab. We are here. We live this.”
Above, Thiessen prepares to clean a crab on a Crack’n Crab device. A Dungeness crab can be cleaned in about 40 seconds with the innovative tool. (Photos by Susan Schuytema)
PHOTO BY: JEREMY BURKE
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CELESTE’S KITCHEN PNW BY CELESTE MCENTEE AND GUESTS
Caramel Apple Pie Cookies These apple pie cookies are stuffed with delicious homemade apple pie filling and caramel, then surrounded by flakey pie crust. These mini pies are absolutely addictive!
4 tablespoons ice water 2-3 teaspoons cinnamon For the egg wash: 1 egg 1 tablespoon cream For the caramel: 1 cup brown sugar 5 tablespoons butter, salted 1/2 cup cream 1 tablespoon vanilla extract 1 pinch salt, generous
the apples soften.
The recipe makes a lot of filling. You can repurpose the leftovers into extra for topping pancakes, ice cream or snacking.
Directions To make the dough, add the flour, sugar, salt and spices in a food processor. Give it a few pulses before adding the butter.
Strain the apples in a colander over a medium bowl to catch all the juice. Give the colander a good shake to get as much liquid as possible. Return the juices to the skillet and simmer over medium-high heat until thickened and lightly caramelized — about 10 minutes. Toss the apples with the reduced juices and spices. Make sure everything is evenly coated. Go ahead and set them aside to cool completely. Once the apples are fully cooled, dump them out on cutting board and chop them up into small pieces, then return them to the bowl.
It’s easiest to assemble the cookies on the prepared baking sheet as they can be difficult to transfer. If you’re short on time, you can use frozen pastry dough, pre-made caramel and/or even store bought pie filling. That said, all the components are easy to make, and you will definitely taste the difference if you take the time to make these from scratch.
Cut the cold butter up into tablespoon-sized pieces and add it to the flour mixture. Pulse a few times until the butter is in pea-sized clumps. Drizzle the mixture into the processor while pulsing. If you can squeeze the dough into a clump that stays together, it’s done. If not, add a tablespoon of ice water.
Now to prepare the pie crust. Roll your pastry dough out to about a quarter-inch thick. One half of the dough is for the bases and the other half is for the lattice tops. You will probably want to chill the dough for the lattice tops until just before cutting the strips and arranging on top. First, cut your circles.
Transfer the dough onto a pastry mat or another floured surface and knead 2 to 3 times just to help it come together a bit. Gently flatten the dough into a one-inch thick disk and cover it in plastic wrap or a Ziploc bag, then place it in the fridge to chill for about 30 minutes to an hour.
I use a ruler to help me cut straight lines for the lattice tops. You will probably need 6-7 small strips to drape over the top of each pie. Once you have all of your pastry dough cut out, it’s time to grab that apple filling. Place each base on a baking sheet and brush the caramel on top. Make sure you leave a border at the edge. Add about 1 tablespoon of the apple pie filling to the center of each circle and brush the edge with egg wash. For the egg wash, mix an egg and dash of cream in a small bowl. Brush the edge of the cookie with the egg wash then arrange the first rows of the lattice on top and brush with the egg wash. Place the perpendicular strips on top. Using the same size cookie cutter, cut and remove the excess pastry dough. Brush a final egg wash on and sprinkle with sugar (and cinnamon if desired) and bake at 350 degrees for about 20-25 minutes until golden brown.
These mini apple pies are a fall favorite. I love the way this lattice looks, and I can’t explain how delicious they are — a huge part of that is the homemade caramel. Each bite has the perfect combination of apple, caramel and flakey crunch.
Measure your flour correctly. Adding too much flour to the recipe is the most common mistake. The best and easiest way to measure flour is by using a scale. If you don’t have one, then fluff your flour with a spoon, sprinkle it into your measuring cup, and use a knife to level it off. Ingredients For the filling: 2 tablespoons freshly squeezed lemon juice 3 pounds apples Honey crisp, 1/2 Granny Smith 2/3 cup sugar plus more for sprinkling on the pie 1/4 cup salted butter 1/2 teaspoon ground cinnamon For the dough: 2 1/2 cups flour plus more for rolling 4 tablespoons granulated sugar 1/2 teaspoon sea salt 16 tablespoons unsalted butter chilled
To make the caramel, combine the sugar, salt and cream in a small pot and heat over medium-low heat while whisking. Cook for 7-8 minutes until the caramel begins to thicken. Once caramel has thickened and is bubbling, remove it from the heat and pour into a bowl, then set it aside to cool off. Because this is getting baked into the cookies, you don’t have to worry about crystallization. Instructions for the filling: Once your apples are roughly chopped, put them in a bowl and add the sugar, spices and lemon juice. Toss them around to make sure they are evenly coated. In a large skillet, melt the butter over medium-high heat. Add the apples and cook, stirring until the sugar dissolves and it begins to simmer. Cover it up, reduce the heat to medium-low and cook until
Combine confectioners’ sugar and 1 teaspoon cinnamon in a mixing bowl; add 1 teaspoon vanilla extract. Stir in milk slowly until desired consistency is reached; drizzle over cooled pies. You can also bottle the leftover apple filling and use for later, or eat with a spoon. 13
THE KITCHEN WILD
BY KATIE WILEY
Venison Nacho Fries Venison Nacho Fries Ingredients: 1 pound ground venison 1 packet taco seasoning 6 large russet potatoes Shredded cheese Oil for frying Salt Directions: Sauté ground venison until browned, drain off excess fat. Add taco seasoning per taco brand instructions. Set aside. For fries: Heat oil to 375 degrees Puncture potatoes with a fork and microwave as you would a baked potato until almost fully cooked (approximately 90 percent cooked). Allow to cool.
We have had a blast archery hunting this season, taking the kids out night after night, all dressed from head to toe in their camo. Unfortunately, we weren’t able to tag a deer this year, but we were able to teach our little ones some invaluable life skills. They’re finally getting to the age that they’re able to identify tracks and game trails, learning to pay close attention to the wind, and, most importantly, they’re learning how to stay quiet out there in the woods when hunting. For those of you who have hunted with little ones, you know they don’t like to stay quiet for long out there, and everything sounds about 10 times louder in the woods. But I’m really
proud of how well they did this archery season and how much fun they had learning. Not only did they tackle some really important hunting skills, but they also identified so many plants and mushrooms while we were out there, too — picking blackberries and salal berries as we hiked and even bagging some beautiful lobster mushrooms along the way. We may not have tagged a deer this year, but we certainly had a blast trying! If you happened to have better luck than we did, then these Venison Nacho Fries are an absolute must try. If not, they would be great made with ground beef as well.
Slice potatoes into wedges, then deep fry until golden brown and sprinkle with salt immediately when removed from fryer. Top fries with ground venison and shredded cheese and place under the broiler until melted. Serve with sour cream, your favorite salsa or hot sauce.
Crispy Salmon Head Curry “A fish is much more than a fillet. The head, bones, skin and fins can account for half the weight of each fish, but rarely make it onto your plate.” — Fishful Future In an effort to use as much of my recent salmon catch as possible, I’ve been creating dishes with the typically discarded parts of the fish, such as the ribs, head and eggs. With the ribs, I made my family’s favorite — Smoked Salmon Ribs — that I have written about in previous articles. They are far too delicious not to share (if you haven’t seen that recipe published, you can find it on my Instagram at @ thekitchenwild or feel free to reach out to me directly at katie.r.wiley@gmail. com and I’m happy to send it your way.) This recipe is incredible on just about any cut of any fish!
butter and thyme gave the salmon roe a really nice savory flavor. Paired with a crisp baguette, sweet cherry tomato and chives, it was a well balanced bite. Would I eat it again? Yes. Would I prefer this appetizer with thinly sliced salmon filet instead? Also yes. All in all, it was pretty OK, and very simple to make. If you’re feeling adventurous and want to give this recipe a try, it’s located at the bottom of the page. But my favorite use of this salmon so far has been Crispy Salmon Head Curry. It was so incredibly delicious! The salmon head was super meaty and flavorful, with the collar and cheeks being a couple of the most delicious parts of this fish. Served with a spicy yellow curry and a side of jasmine rice, this meal will certainly be one I repeat with my salmon heads from here on out. Honestly, even without the curry to go with it, these Crispy Salmon Heads are so fantastic. I’ve actually eaten them three times this week already. Crispy Salmon Head Curry
With the eggs I made Fried Salmon Roe w/ Spicy Sriracha Dipping Sauce and a Salmon Roe Crostini w/ Brown Butter and Thyme. The Fried Salmon Roe was absolutely terrible — don’t try this at home folks, you will immediately regret it. However, I actually kind of enjoyed the Salmon Roe Crostini w/ Brown Butter and Thyme though. The brown
Ingredients: 1 salmon head Tempura mix (use per directions) Club soda (for tempura mix) Oil for frying fish head 1/2 tablespoon coconut oil Bell peppers (I used small red, purple and green farmers market peppers for this)
3 garlic cloves, minced 1 (13.5 ounce) can of coconut milk 2 tablespoons yellow curry paste 2 tablespoons peanut butter (I prefer creamy peanut butter) 1 teaspoon red pepper flakes 1/4 teaspoon salt Fresh basil, cilantro and chives for garnish Directions: • Preheat oil to 375 degrees • Mix tempura mix with club soda per directions. Fully coat salmon head in batter and fry until golden brown. • In a large skillet or stock pot on medium heat, add coconut oil, peppers and garlic, sauté until peppers are cooked. • Add coconut milk, yellow curry paste, peanut butter, red pepper flakes and salt and simmer for approximately 5 minutes. • Add your crispy salmon head. Garnish with fresh basil, cilantro and chives and serve with a side of jasmine rice. For the adventurous eaters: Salmon Roe Crostini w/ Brown Butter and Thyme Ingredients: 1/4 cup butter A few sprigs of fresh thyme Fresh salmon roe Toasted baguette slices Cherry tomatoes, thinly sliced Chives Directions: In a small saucepan, melt butter over medium heat, cooking the butter until it begins to foam and brown specks float up through the foam. Add salmon roe and fresh thyme and sauté until salmon roe is cooked through. Place approximately a tablespoon-sized amount atop toasted baguette slices. Top with cherry tomatoes and chives.
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AGATE BEACH
SURF CLASSIC
Crowds watched as Newport Parks & Recreation hosted the Agate Beach Surf Classic. Following a year without the event due to the pandemic, the 2021 Agate Beach Surf Classic took place September 11-12 2021 PHOTOS BY JEREMY BURKE
(Top) Randy Ford rides a wave last weekend during the Agate Beach Surf Classic, hosted by the city of Newport Parks & Recreation. (Bottom) Ocean Shores surfer Jay Sennewald competes last weekend at Newport’s Agate Beach Surf Classic.
(Top) Local surfer and former event champion Kirk Tice battles a wave during last weekend’s Agate Beach Surf Classic in Newport, sponsored by the News-Times, Ossies Surf Shop and 10 Barrel Brewing Co. (Bottom) Newport surfer Olivia Schroeder competes last weekend in the Agate Beach Surf Classic in Newport.
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WALDPORT ARTIST
SHARES PAINTING TECHNIQUE
Gina Nielsen painted this canvas, illuminated with streetlights and apartment windows.
It was a class she didn’t want to take, but Gina Nielsen finally agreed to enroll to please her husband. It was a decision she has never regretted. “I didn’t want to go to the painting class — I didn’t think I had time for it,” Nielsen recalled. “But my husband wanted to take the class and wanted me to take it as well. We had to bring a roll of paper towels and $35 and we each went home with a painting. And I got hooked.” That was in the late ’80s in Cobb Mountain in northern California, and ever since then, Nielsen has been painting and teaching what she learned in that long-ago class. “I took the wet-on-wet class in 1987 or 1988 and started sharing my paintings with people who wanted to learn to paint,” she said. “I started teaching a year or two later. I love to share with people what I know — when you get something good, you want to share it.” The class that got her hooked was in the wet-on-wet method of oil painting taught by William Alexander, host of the Magic of Oil Painting TV series. Devotees of his style of painting, and that of Bob Ross, who studied with Alexander and later hosted the TV show “The Joy of Painting,” are numerous. At the time she took the class, Nielsen was living on a farm in northern California with no television and few distractions. “I started painting and just kept going,” she said. In 2005, she moved to Waldport to be near one of her daughters, who had recently been widowed. Nielsen worked at the Lincoln County Assessor’s Office and then in the accounting department
of the Central Lincoln People’s Utility District before retiring in January. But she continues to paint and to teach the wet-on-wet quick painting style. She is offering a class titled “Oil Painting, Weton-Wet Method” this fall at Oregon Coast Community College. And she has no plans to stop. Wet-on-wet painting produces a luminous canvas in which layers of wet paint are applied to previous layers of paint that are still wet. Working quickly is required, and paintings are often completed in one sitting. Nielsen explains that in wet-on-wet painting, the canvas is first covered with white or black paint that has been thinned with linseed oil. “Then you start adding color,” she said. “Every color you put on starts intense and then slowly lightens up. As soon as you wet it down, the paint blends on its own.” She always starts out by painting what is furthest away, usually the sky; then she moves into the foreground, perhaps painting clouds and adding mountains or buildings. “You add color as you go,” she said. “You blend with a 2-inch
brush throughout the painting to soften what you’re putting on the canvas.” She also uses a palette knife in some of her paintings. Not only does she love the process of painting, she also loves the finished product. “Some of the paintings I can’t part with,” she said. While she never expected to paint on canvas, Nielsen did tole painting for years, and worked with ceramics and porcelain dolls. “I’m musically inclined also and did music for 15 years before I worked with art,” she said. But there was early inspiration behind her unanticipated devotion to painting. When she was 10 years old, her father — “he was creative and really stretched our imaginations,” she said, — invited an artist to their Orange County, Calif., home, and the family watched as the woman painted a 4-foot-wide seascape in the space of one day. “So I already had the bug from my dad having invited that lady to the house to paint,” Nielsen said.
(Top Left) Gina Nielsen of Waldport has found her niche as a painter in the wet-on-wet oil style. (Above) “Blue Guitar” is a dramatic sunset, and when turned on its side, is the image of a guitar. (Courtesy photos)
These days, Nielsen uses her dining room as her studio, and she teaches two students a week — one on Saturday, one on Sunday. “We work on a painting until we’re done,” she said.
she explained. “I never know what I’m going to do and how much I’m going to change my idea until I get into it. The changes make it more personal and unique.
sunset, but when the canvas is turned sideways, the image of a guitar appears. And in a painting called “Fairyland,” with a castle struck by lightning, all the trees have faces.
“I think I like this technique because it’s pretty fast,” Nielsen said. “When I teach, I can finish a painting in a day.” She’s taught people ranging in age from 8 to 86, and limits her classes to 10 so she can provide extensive individual attention.
“And oil paint is very forgiving,” she added. “If I don’t like it, I scrape it off.”
“Painting in oils allows me to create my own colorful vision of land and sea for others to enjoy,” Nielsen said in her artist’s statement. “My hope is to bring forth the beauty and depth all around us represented in oils. If I can help enhance a person’s view of this world through my paintings, I have accomplished my artistic mission.” Her work can now be seen at the Lippman Gallery in the COVE at the News-Times office in Newport and at the Waldport Café.
She usually does not know what she is going to paint until she gets in front of her canvas. “I may see a picture of something I really like, and I go from there, making adjustments as I go,”
Early on she hung some of her paintings in a restaurant, only to find they had all sold in two weeks. “Then I started showing them in galleries,” she said. She will often take a digital photograph of her painting and order prints of that photo printed on canvas. There’s cleverness to some of her paintings: “Blue Guitar” looks like a
(Above)“Fairyland,” painted by Gina Nielsen, brings the viewer a castle struck by lightning, fairies hovering around, and trees lighting up in the night in the wet-on-wet style of painting.
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Long exposure of Cobble Stone Beach. If you haven't been here before this is a must visit. It isn't just the sites. The sound of the cooblestones moving is amazing. PHOTO BY JEREMY BURKE
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LINCOLN COUNTY JOBS & LOCAL BUSINESSES
MEASURE 21-203 WOULD DEVASTATE LINCOLN COUNTY TOURISM Measure 21-203, is a ban on vacation rentals in Lincoln County that will appear on the November 2021 ballot. The measure is designed to phase out vacation rentals in Lincoln County. A ban on vacation rentals would devastate the number one driver of the Lincoln County economy: Tourism.
› DEVASTATE Local Businesses: $105 Million in tourist spending LOST in Lincoln County › DEVASTATE Local Restaurants: $27 Million in spending LOST in our local restaurants from visitors. › DEVASTATE Local Workers: Thousands of tourism and hospitality jobs LOST › DEVASTATE School/Community: $11.5 Million LOST in city, county, and local school budgets for community projects › DEVASTATE Community Development: $3.8 Million LOST in construction and renovation projects
PROTECT LINCOLN COUNTY’S LOCAL ECONOMY. VOTE NO! PAID FOR BY SAVE LINCOLN COUNTY JOBS
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hough she grew up in an artistic household — the only child of a journeyman and librarian — Jill Myer never imagined she would create art for a living. “Both of my parents are creative individuals,” said Myer. “I grew up in the ’70s when everyone lived on what they had. We didn’t have credit cards. We made do. We made things, and we fixed things. And that’s the heart of an artist. ‘How do I make that? How do I represent that in a way no one else has done?’ I came by it pretty naturally.” But even though she was artistically inclined, art was not on her radar as a career. She had only taken one art class in high school and after graduation, started pursuing a degree in social work. She quickly realized social work was not for her. “My grades were slipping. I knew that taking art classes would be easy A’s for me, so I became an art major. It kind of felt like cheating because it was what I knew and what I did. So, I got a degree in art.” BY SUSAN SCHUYTEMA | PHOTOS SUSAN SCHUYTEMA
But even after earning her art degree at the University of Montana, Myer didn’t think she could support herself as an artist. “So, I went and got a job.” She worked as a barista, in retail, and as a guide on a dude ranch. She worked in property management and other office jobs before she got a job fundraising at a nonprofit. “It’s one of those things where you just feel good doing what you’re doing.” There was always an undercurrent of wanting creativity to be a career. A few years ago, Myer said she experienced an art craving, so she bought a children’s set of watercolor paints and painted for 12 hours straight. “The next day, I went to an art store and bought some better paints. It was the smallest investment possible to get started. I watched classes online and loved every second of it,” she said. Since that day, her work has evolved into encaustic paintings inspired by the beauty of the coast in the Pacific Northwest. “My current work reflects the soft soothing gray rainy days, the frothy roar of the ocean waves, and the
wide array of plant life provided by the lush landscape of Oregon,” Myer said.
and re-melt the wax to smooth and blend and swish.”
Encaustic paints are pigment, beeswax and a natural tree resin called damar. To work with encaustic paints, they must be melted from a solid wax to a liquid. Torches, heat guns and carving tools are then used to render an image.
Though encaustic is her primary medium, Myer still works with watercolors. She has a current project of creating small paintings — about an inch in size — and leaving them for people to find. “My hope is that it brings someone joy. But if it gets thrown away, I’m not out too much. It makes me happy. I add my Instagram handle to the back along with a hashtag #artlefttofind and I hope that one day someone finds a mini painting and tags me in a photo. To me, this is the modern-day version of a message in a bottle.”
Myers had always been interested in encaustic work, but it is a lot more complicated than what she had been doing. “It needs cross-ventilation. There must be a setup. This is not your dining room table type of art. It’s a commitment.” The colored wax is placed on an electric griddle to keep it warm enough to remain a liquid. The wax dries almost as soon as the brush touches canvas, or in Myer’s art, the cradle board the is the surface sturdy enough for hot wax. “Encaustic is not a traditional type of painting. The torches are actually the paint brushes because when I put the wax on a dry surface, it would let go. It is not enough time to blend. So, I dab and come back through with the flame
Myer has recently been accepted into the For Arts Sake Gallery — an artistowned gallery in Newport’s Nye Beach. “It’s a huge milestone professionally for me to be involved,” she said. After completing a residency with the Corvallis Art Center focused on business training, Myer is also working toward helping other artists think like business owners.
“If you want to make a career as an artist, you not only need to create the art, but you have to market yourself. You are a salesperson. You have to apply for grants. You have to sell yourself to gallery owners.” She discovered she was really good at sales and very comfortable talking with people. “I’m a chatty lady. I’ve been a communicator this whole time, and now I get to talk about something I love.” Myer is creating a workshop to help other artists promote and sell their work. “I see a need. Some people think if their art is good enough, people will just buy it without any extra effort on their part. I think it is something that people can learn. “I see the value of how creativity and being a creative person has enriched my life,” she added. “People need some encouragement. Humans are creative. I want that for everyone.” Visit jillmyerartist.com to view her current work and projects. 31
LOVE OF ANIMALS SHINES IN ARTIST’S WORK
am Levander, of Otis, has moved on from raising and breeding Afghan Hounds to creating whimsical clay sculptures of people and animals, particularly dogs and fish, and she’s enjoyed every minute of both worlds. “I had raised, bred and showed Afghans for about 25 years and was very successful at it,” she said, noting some of her dogs now live in Canada and Germany. “But as time went on, I got older and it was harder to compete in the ring, so I decided to do judging instead, and I let the (breeding) lines die out.” Now she is an American Kennel Club (AKC) judge emeritus in the hound
group.
Oregon and I could paint and write.”
Levander and her husband were living in Minneapolis when they acknowledged it was no longer fun to shovel huge piles of snow each winter, and they decided on a move to the Oregon coast. Levander’s parents were living in Otis, and the Levanders found a nearby house and made the move the year Mount St. Helens blew.
While still in Minnesota, Levander also was a volunteer with a project that provided foster care for wild animals needing a home while they were being rehabilitated. “I took in baby mammals and would wean them, and then the state would help place them,” she said. She fostered animals ranging from bears to squirrels — and even provided six weeks of shelter for Thor, the cougar in the car commercial, when he needed to be in quarantine.
“My husband was working for a company in San Francisco at the time, and the prices for houses three hours away from there were so high,” Levander recalled. “So we went up to Oregon to visit my parents, and found a house at the end of their road and made an offer. I was tired of climbing out the dining room window to shovel out the walk to the front door in those Minneapolis winters. Instead, we could move to
But once settled in Oregon, it was time for art. Levander took a class in clay at Sitka Center for Art and Ecology, and discovered that sculpting in clay was what she wanted to do. “I’ve painted since I was in kindergarten in Chicago and have been very
MiMiMicchaelchaelhaelDaviDaviDavidddSorSorSoreensenensennsen successful, but I fell in love with clay,” she said. She has taken numerous classes in clay since then, particularly in raku. “You just keep learning — whatever art form you’re doing, you can always learn more,” she said. “The raku glaze with its color and shine is so typical of what I see when I look at fish in the water when the sun is shining,” she said. And if she’s not working in raku, she fires her handsculpted stoneware to Cone 6, the temperature range most potters work in, usually choosing earth tones in her structural glazes.
And her success in art dating back to kindergarten? She recalled that one day in her kindergarten class she was using tempera paint and slathering it on. “A lady from the Chicago Art Institute came to our school and saw me slathering, and said she had to take my painting for the children’s collection,” she said. “So my work has been hung at the Chicago Art Institute!”
Levander is one of the founders of the Pacific Artists’ Alliance Co-op Gallery at 620 NE Highway 101 in Lincoln City. “It’s a place where I can take my things BY LESLIE O’DONNELL
She said she helped found the gallery in 2009 because there was no place locally for artists, particularly beginners, to display their work. “The gallery promotes interaction with other artists as well as putting art out for public view, where it’s basically adjudicated by the public,” she said. Levander added that an artist’s success or failure can be the guide for how long they are members of the gallery. “The gallery gives artists a chance to talk with other artists and get inspiration as well as criticism,” she said. “I enjoy visiting with other clay artists at the gallery.” Levander has also taught clay classes for years, and while she did not teach during the height of the COVID-19 pandemic, she has resumed offering occasional classes at her home studio. Her work can be seen at the Pacific Artists’ Alliance gallery. She said she plans to continue sculpting and showing her work for the foreseeable future. “It’s a social outlet — I get to be out among people, and it’s fun when people say they love my work,” she said. “And it sure beats housework!”
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We invite you to visit the Silver Heron Gallery and delight in our extensive collection of fine art, jewelry, glas s, home décor, and fashion accessories. Relax and watch the whalwhaleessfrforommouroursseecondcondflflooororoceanoceanvvieiewwpatpatioioandandwiwinneettaassttiinngg ssaalloon.n.WeWe lloookok ffoorrwwarardd totosseeeieinnggyyoouuththisisssuummermmeratatourour““TTheheTiTiddee GiGivveetthh”” ExExhhibibiittiioonn andand lliivvee musmusiicc eveveentntss.. S I LV E R H E R O N ON N SS II LLVV EE RR HH EE RR O
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She’s painted most of her life and still paints a little now for her own enjoyment, adding “people have been known to buy my paintings,” but her particular joy is her sculpting. “I’ve been very fortunate to have a husband who’s supported me through these ventures and has let me be me,” she said.
“I’ve been part of cultural tours and have met many neat people,” she said. “The gallery has been really successful for me.”
Denise Joy McFadden Denise Denise Joy Joy McFadden McFadden
She sculpts images of children and animals predominantly, saying, “Everyone does vessels and pitchers, which to me can be boring. I’d rather create something.” Her love of animals — and her sense of humor — are found in her art as well
and maybe visitors will find something they enjoy,” she said, adding with a laugh, “one of my fears is saddling my two kids with all my clay inventory when I die.
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ecades after she began working with fused glass, Teresa Kowalski of South Beach remains devoted to her medium. “When I found glass, I felt an affinity, and I’ve stayed with it for 35 years,” she said. “I’ve enjoyed it the whole time, and have no intention of doing anything different. I’ll keep at it as long as I can.” Kowalski didn’t plan to be a glass artist. Raised in the Midwest, where she grew up making art at school, she traveled to Germany in the 1970s for a vacation and ended up staying four years.
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“I took a tour of a glass factory and was mesmerized by the beauty and fluidity of glass,” she said. At that time she was working in ceramics and experimenting with melting bottles and glass onto clay in a kiln.
When she returned to the U.S., she settled in Eugene to be near friends, and when her friends moved to the coast, she did as well. “It was wonderful here then,” she said. She was doing torchworked glass in 1986 when Boyce Lundstrom, one of the founders of Bullseye Glass Co., in Portland, invited her to his workshop on the new technique of glass fusing — melting glass together in a kiln. That workshop and his first book on fused glass were the starting points for her devotion to fused glass. “I fell in love with it,” she said. By 1990, she had stopped doing torchwork and was devoting herself to fused glass. She also took classes at Pilchuck Glass School in Washington state and at the Camp Colton Glass Program. She started offering classes in her studio around 1990, and taught at Sitka Center
for Art and Ecology in Otis for two years. When she began working with fused glass, it was a new technique. She noted that glass expands and shrinks in firing, and all of the glass used has to shrink and expand at the same time. In those early years, this technique required a lot of experimentation and testing, “and I fell in love with that,” Kowalski said. “Now there’s a huge selection of tested, compatible glass.” Kowalski explained that fused glass involves stacking layers of compatible glass to make a design that is then placed in a kiln, where it melts — or fuses — together. “That’s what I do now,’ she said. She also continues to teach fused glass (see sidebar). “I’ve done a lot of research and experimentation so I can take care of all the technical aspects of firing and guide my students to build their project,” she said. “You don’t have to learn how to paint or draw to learn how to play with design and color and produce art. My students can immediately start working on their project and experiment with design and color,” what she considers the most interesting part of creating art. “Glass is very accessible, but it requires many materials,” she said. “It’s not a portable technique. My students have access to all my supplies in my studio.” In her own work, Kowalski is experimenting with vitrigraph and wire melt techniques. Vitrigraph uses a special kiln with a crucible and shelf, each with holes in their bottoms. When the glass is heated sufficiently, a thin stream of glass flows out the bottom of the vitrigraph and toward the floor, allowing her to make a variety of stringers. The kiln is heated up to 1700 degrees Fahrenheit. The technique of wire melt involves placing small pieces of glass strategically BY LESLIE O’DONNELL
on a stainless steel wire mesh screen and heating it to 1540 degrees. As the pieces liquefy, they slowly drip through the mesh and onto the kiln shelf, creating random mixing of colors as they merge into a single sheet. “This gives the wire melt a wonderful organic feel and a special beauty,” she said. Kowalski’s work is bright and colorful. “I’ve always loved vibrant colors and overlaying them to create different shades of color,” she said. One of her more striking techniques is woven glass, in which she cuts strips of glass, layers them and fuses them together. She places the glass on a zigzag mold and alternates the bars, as if weaving in reverse. Kowalski has three kilns in her studio — a large one about 40 inches, a vitrigraph kiln about 20 inches, and a tiny test kiln. She uses the large kiln most often, both for her regular glass pieces and her classes. The COVID pandemic caused Kowalski to stop all of her classes; she reopened her studio in May. During the pandemic she sold art supplies on Etsy. “People were off work and staying home and doing more hobbies, so it worked out,” she said. “It was nice to take a break, and I kept busy with commissions.” And as part of the city of Newportfunded repair project for Sam Briseño’s
“Ambassador” metal sculpture, long a fixture overlooking the ocean in Nye Beach, she will be recreating the figure’s two glass inserts. Kowalski is inspired by the beauty of the coast, especially the ocean and water. As she says on her website, her work “reflects the dynamic play of color, tone and nature of the Northwest. “The properties of transparency, refraction, and magnification set glass apart from other art mediums,” she wrote. “The optics of glass can bring the illusion of movement and life to a sculpture. When the alchemy of intense heat is added, the fluid nature of fused glass holds a fascination that no other medium can satisfy.” Her work ranges from realistic representations of nature to abstract interpretations of the “essence and palette of her environment. “I don’t try to pre-think a piece,” she said. “Leaving it to the unconscious, ideas and designs can come from the intuitive, subconscious level. Designs can express that which lies under the surface. I’m searching for what remains after self is forgotten.” Kowalski’s art can be seen at Icefire Glassworks in Cannon Beach or at her website: kowalskiglass.com. 35
THE MASSIVE
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METROPOLITAN OPERA ‘LIVE IN HD’ Series returning to Newport Performing Arts Center
A trip to the big city isn’t the only way to enjoy live opera, thanks to the Metropolitan Opera’s “Live in HD” (high definition) series at the Newport Performing Arts Center (PAC). The 10-opera series is presented by Oregon Coast Council for the Arts (OCCA). The 15th season for the opera begins with an encore presentation Oct. 16 at 2 p.m. of “Boris Godunov,” the tale of a tortured tsar caught between ambition and paranoia. Additional operas continue through June 11 and are: • Oct. 23 at 9:55 a.m., live in HD, the Met premier of Terence Blanchard’s “Fire Shut Up in My Bones.” • Dec. 11, 2 p.m., “Eurydice,” encore presentation. • Jan. 22, 2022, 2 p.m., “Cinderella,” encore presentation in the abridged BY LESLIE O’DONNELL
English language version, a shorter program targeted to families and youths. • Jan. 29, 9:55 a.m., live in HD, “Rigoletto.” • March 26, 9 a.m. live in HD, “Don Carlos.” • April 2, 2 p.m., encore presentation, “Ariadne auf Naxos.” • May 14, 2 p.m., encore presentation, “Turandot.” • May 21, 9:55 a.m., live in HD, “Lucia di Lammermoor.” • June 11, 2 p.m., encore presentation, “Hamlet.” Jason Holland, OCCA executive director, noted that the operas listed as encore presentations are recorded live in HD and then broadcast at a later time. The ones listed as “live” are just that —
shown as they are being performed. The series from the Metropolitan Opera in New York City presents high definition live cinema transmissions shown in HD with 5.1 surround sound and 80 speakers, and added acoustical support from Meyer Sound’s Constellation system. The programs are presented on a huge screen on stage at the PAC. Holland said the screen in the Silverman Theatre was lowered last week to make sure it was OK, and it stands about two stories vertically. “HD is the next best thing to seeing something live,” Holland said, adding that surround sound contributes to the experience. “To share the Met Opera with that sensory experience is exciting.” He said seating is by general admission, meaning attendees are not assigned seats but can sit where they want,
allowing them to space apart from their neighbors as they wish. Noting that opera is a very expensive art form to produce and maintain, Holland said, “For an organization like the Met to make performances accessible to theaters around the country is a great asset. The scale of the production is so impressive, and the quality of what they produce is overwhelming.” In past years, OCCA has presented National Theatre Live offerings as well. While none have been booked so far this year, Holland said they are keeping an eye on new offerings, including Broadway shows, as they become available. And as theaters reopen, he expects more of National Theatre Live HD to be offered. Longtime Newport resident Paul Brookhyser is an ardent supporter of “The Met: Live in HD,” along with his wife, Evelyn. He is looking forward to the coming season’s performances, and said, “You’ve got the best seat in the house in Newport — nowhere in the
PAC is there a bad seat for those shows, and you get close-ups of the individuals on stage while they perform.” He added that the presentations include interviews with performers during intermission or a look at “phenomenal” set changes being made backstage. “It’s like watching a ballet,” he said of the set changes. Opera now runs in the family, with Brookhyser’s daughter Erica an accomplished opera singer as well as a voiceover artist. Brookhyser said he had not been interested in opera until Erica got involved in the art form. Brookhyser said another benefit of “The Met: Live in HD” is that subtitles appear at the bottom of the screen, rather than as supertitles at the top, making them easier to read while enjoying what is happening. He said the Newport opera season attracts a consistent audience, and he is looking forward to the opening performance, “Boris Godunov,” which
he described as “one of the best operas in the world, with a lot of costuming and instrumentation. I wouldn’t miss this one,” he said. Tickets are $22 each; a subscription of 10 for 2021-2022 programs is $175. Met member and OCCA member ticket prices are $20 per program or a subscription of 10 for $145. For seniors, individual tickets are $19 or a subscription of 10 for $145. Children’s tickets are $10, and student tickets are $12 each, with a subscription of 10 2021-22 tickets at $80. Tickets are available at the PAC box office. Season tickets can be purchased up until the first performance, Oct. 16. The box office is open Tuesdays through Fridays from 10 a.m. to 5 p.m. at the PAC. Masks are required when visiting the box office. For more information, visit www.coastarts.org or call 541-2652787.
QUESTS OFFER OUTDOOR FUN AND LEARNING FOR ALL AGES Whether you are a visitor to Lincoln County or a seasoned local, there are plenty of opportunities to learn about the Lincoln County area in a fun and interactive way. Quests are fun and primarily outdoor learning adventures that use clues and hints to encourage participants to discover the natural, cultural and historical “treasures” of place and community. Cait Goodwin, Oregon Coast Quest coordinator for Oregon Sea Grant at Oregon State University, said the quests are suitable for all ages and allow lifelong learners to explore parks, trails and other outdoor spaces in new ways BY SUSAN SCHUYTEMA | PHOTOS SUSAN SCHUYTEMA
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and at their own pace. “It is great for kids, adults and open to anyone,” said Goodwin. “It’s a cluedirected hunt with people being outside and finding some hidden treasure.” Quests aren’t trinket trading exchanges like geocaching or letterboxing, explained Goodwin. At the end of each interpretive quest, participants find a hidden box containing a logbook to sign and a hand-carved stamp to mark their accomplishment. The only actual treasure is the fun of the walk and learning about special places in the community. All the quests contain three types
of clues: movement clues where the participant reads a map and follows directions; learning clues that provide historical or factual information; and letter clues where the questers collect letters that eventually spell a message on where to find the hidden box. Most quests take about 45 minutes to complete. Once adventurers find the hidden box, they can sign a logbook and stamp their quest book to prove they made it to the end. Those who complete 10 or more quests are eligible to receive an Oregon Coast Quests embroidered patch. There are 27 active quests in seven Oregon counties, with 11 of those in
Lincoln County. Each quest is unique in content, with some focused on nature while others have an emphasis on history or architecture. An informational tsunami quest based out of the Hatfield Marine Science Center is not only educational, but practical. “It is fun with family while talking and learning about a scary topic,” said Goodwin. “It’s like having a fire drill. We think we know something but haven’t practiced it. This allows you to think about things ahead of time and that starts a conversation. It’s empowering.” There is also a historic cemetery quest in Lincoln County. “People have preconceived notions about cemeteries,” said Goodwin. “And people don’t usually recreate there. But there is so much to learn about math and history. And it has incredible views and plants.” Avery Chandler, an area seventh grader, has participated in all Lincoln County quests and said he loves each one of them. “They are all so fun, but there are four that really stand out to me,” Chandler said. “I like the South Beach quest and the HMSC quest because you get to explore different habitats, and you learn a lot about the ecosystem.” He also counts the Eureka Cemetery quest and the Bayfront quest as favorites. Chandler said participants learn all kinds of facts about the history of the place where the quest is. “In the Eureka Cemetery quest, you get to visit Sam Case’s grave and get to learn about all of the amazing things he did, including building Sam Case Elementary School,” he explained. “Also, you usually get to hike and walk in some really cool areas.” About 1,000 people participate in
Oregon quests each year. Chandler said anyone who might be hesitant about trying a quest should just try one. “I don’t know any single person that has done a quest and not enjoyed it,” Chandler said. “They are fun, take an hour at most, and you learn a lot. And start off doing a simple one, like the HMSC Nature Trail quest. It’s fun, short and sweet.” Goodwin suggests that anyone setting out on a quest check their website at seagrant.oregonstate.edu/education/ quests for the latest information. “We have volunteers up and down the coast which is super helpful,” said Goodwin. “If there is something that we can’t correct immediately, such as a sidewalk repair, that will be noted online.” The maps and directions needed to go on a quest are found in the Oregon Coast Quest guidebook, available at bookstores around the region. The newest guidebook costs $10 and has directions for all 27 hunts. The list
of retailers can also be found on their website. The introduction to the quest guidebook includes the approximate time of the journey, the approximate time to complete, the terrain, accessibility, whether there are any parking fees and whether you can bring a dog. Chandler’s mother, Leigh Chandler, said the quests are a wonderful way to spend an afternoon. “Every time I have done one, I see a new place or learn something new about my community,” she said. “We always have fun together too, laughing and discussing the challenges, trying to find our way. It’s like an escape room, but free and outdoors. I just wish there were more!” For more information about quests or to see the latest updates on specific quests, go to seagrant.oregonstate.edu/ education/quests or contact Goodwin at 541-961-0968.
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rom the prevalent tsunami hazard zone signs along the coast to the fresh seafood served at local restaurants, the impact of Oregon Sea Grant is evident in all walks of life. Oregon Sea Grant (OSG), a marine science program based at Oregon State University (OSU), officially turns 50 on Sept. 17. On that date in 1971, OSU was designated a Sea Grant college. Today, OSG is one of 34 Sea Grant programs in the U.S. under the National Oceanic and Atmospheric Administration. OSG funds research, outreach, scholarships and K-12 education, as well as manages and staffs the public education wing of the Hatfield Marine Science Center in Newport. “If you care about ocean resources, then you are connected to Oregon Sea
Grant,” said Charlie Plybon, member of Oregon Sea Grant’s stakeholder advisory council. “It’s about informed management about all we love on the coast. We don’t need to understand all the science, but we can enjoy and appreciate it.” Plybon said OSG connects policy with real people and makes a huge impact in the lives of everyday citizens. “OSG helps fishermen be safer and more effective on the water.” Those efforts have a trickle-down effect on the community and consumers. Salmon is one of the many areas of focus for OSG. With Pacific salmon on the decline, scientists in the 1970s and 1980s studied their reproduction, distribution, predators and viral and parasitic diseases. In the late 1990s, OSG began funding nearly a decade of research in the Salmon River Estuary that pioneered concepts for evaluating
(Above left) Charlie Plybon, the Oregon policy manager for the Surfrider Foundation, facilitates a panel on coastal livability during Oregon Sea Grant’s 2019 State of the Coast conference in Gleneden Beach (Above right) Sea Grant Extension has worked with the U.S. Coast Guard to introduce and train commercial fishermen in seagoing safety and survival gear. (Courtesy photos)
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how salmon respond to restored wetlands. In 2004 and 2005, they published reports on how tide gates affect salmon and other fish, and in 2006, they co-sponsored a symposium on the topic. After restrictions were imposed on salmon fishing off Oregon and California in 2006 to protect Klamath River chinook, OSG teamed up with Oregon fishermen to collect genetic samples from salmon in the ocean to determine their river of origin. Jeri Bartholomew, department head of microbiology at OSU, began studying salmon parasites in the 1980s with funding from OSG. Though most of the funding for that ongoing research now comes from other sources, Bartholomew said it laid the foundation for ongoing partnerships. “Oregon Sea Grant funding helped us dive into basic research,” said Bartholomew. “We now collaborate with scientists in Israel and other areas. Our goal is to make it possible that salmon are plentiful enough to be harvested, which support our fishing economies.”
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administering paid internships and fellowships is another focus of OSG. Since 1980, they have helped place more than 60 early-career professionals from Oregon universities in federal offices in Washington, D.C. In 2017, OSG began partnering with Oregon’s Department of Environmental Quality on an internship program that has placed more than three dozen interns with about 30 Oregon businesses to help the companies reduce waste and energy use. OSG director Shelby Walker said recent graduates from the scholarship program work with industries for a mutual benefit. “They work with such businesses as Pacific Seafood and Boeing, for example, in areas such as pollution reduction and energy efficiency. It is impactful.” Walker said OSG supplies the research to help communities make better decisions. “We need to be informed by science and about what our coastal communities can look like when we are informed by science to navigate an uncertain future. It’s heartening to see OSG’s impact.” The extension-based agents are another critical component to OSG, explained
(Above) Bob Jacobson, right, Oregon’s first marine extension agent, meets with fishermen early in his long career. The Oregon Sea Grant program celebrates its 50th anniversary this month. (Courtesy photo)
Walker. “The extension agents work directly with people in the community and are the faces many people see first.” Bob Jacobson, retired marine extension specialist with Oregon Sea Grant, was the very first employee of OSG back in 1971. “Basically, what they told me when they hired me was that you are an agricultural agent in hip boots,” said Jacobson in an oral history from 2008. He spent the first six months on the job talking with fishermen about their needs. “One of the things that was very obvious was that there was very little communication, if any, between members of the commercial fishing industry and those people who regulated them — the National Marine Fisheries Service at the federal level and the old Oregon Fish Commission employees from the state level,” Jacobson said. He organized face-to-face meetings with fishermen and regulators to open the lines of communication. “Those were very, very successful in getting those two groups a little closer together,” he said. Jacobson was also instrumental in vessel and fishermen safety. In the mid70s, he ordered, financed, and sold hundreds of survival suits. “Survival suits were basically big cumbersome oversized neoprene suits that you climbed into with a zipper that came up the front all the way to your BY SUSAN SCHUYTEMA
chin that were waterproof,” he explained. “And if you ever had to ditch at sea, you could get into these survival suits and the theory was that it would protect you from the cold water and would improve your chances for survival over a longer period of time.” Survival suits are now required on all vessels, as are life rafts. “The Fishing Vessel Safety Act put in motion a safety program for fishing vessels that was long overdue, first of all, and it’s been very, very effective in reducing vessel and crewmen casualties,” said Jacobson. Marine education, preparation for natural disasters, wave energy, support for fisheries and marine debris research have been other highlights of OSG efforts in the past 50 years. Looking toward the future, Walker said OSG research will continue to explore the impacts of climate change. “From coastal storm frequency, to erosion, to ocean temperatures impacting fish and the fishing industry, it is a challenging, dynamic and complicated thing. But it is our duty to provide the scientific data so industries can make informed decisions.” Oregon Sea Grant is funded by federal and state appropriations, as well as project-specific contributions from local governments and industry. 45
1943-2020
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"MOON JELLY" As I was taking this photo at a small gathering in the one of the backrooms of the Oregon Coast Aquarium, I heard one of the aguarium's staff explain how special these organisims reflect light. Every time I have seen them previously they have been translusent white color. Three mins after that conversation someone by the door moved and the light hit this jelly perfectly. I just happen to be shooting at that time it only lasted about 25 pictures, which is about 5 seconds. PHOTO BY JEREMY BURKE
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Limited edition fine art HD Acrylic prints. Stunning quality that you have to see in person. Stop in the News-Times to see examples 831 NE Avery Newport Oregon
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