Canyon Echoes - January 2024 by JH Morris Productions

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January 2024

THE OFFICIAL MAGAZINE OF THE DRY CANYON ARTS ASSOCIATION

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“Calm Waters” by Shireen Gastineau, DCAA Artist of the Month

In This Issue

FEATURES 5

Echoes from the Gallery (Editor’s Message)

Canyon Collective (Community Stories)

Welcome to the Premiere Issue of Canyon Echoes

Art and Community Outreach Unraveling the Tapestry of Adaptive Art

Healing Echoes (Art Therapy)

Artisan Echoes (Artisan Anecdotes)

Dry Canyon Arts Currents (DCAA Happenings)

Digital Echoes (Technology Tips)

Canyon Craftsman’s Tips (Tips and Tricks)

38.

Readers’ Resonance (Reader’s Contributions)

6 Art and Community Outreach

Creativity Magic The Transformative Power in Adaptive Art Therapy A New Year’s Greeting to your Artist within

12 Creativity Magic

Colors of Connection

Grant to Lynch Elementary Artist of the Month Lend Me Your Walls First Friday Art Walk Calendar of Events

21 Artist of the Month

The Renaissance of Art Restoration

Unveiling the Muse

Sharing the Palette

26 First Friday Art Walk

Canyon’s Call for Creativity (Call for Art)

Playful Echoes

Finishing Up

Crossword Puzzle Inspiration

34 Unveiling the Muse

Dry Canyon Arts Association Redmond, Oregon

Newsletter produced by J. H. Morris Productions www.JHMorrisProductions.com

info@DryCanyonArts.org www.DryCanyonArts.org

Echoes from the Gallery WELCOME TO THE PREMIERE ISSUE OF CANYON ECHOES A MESSAGE FROM THE EDITOR

s the Editor of this fine publication, it’s with immense pride and excitement that I present to you the inaugural issue of Canyon Echoes, the newly reimagined official magazine of the Dry Canyon Arts Association. This edition marks a significant milestone in our journey, transcending from the familiar format of our traditional newsletter to a more comprehensive and engaging magazine. Canyon Echoes is not just a publication; it’s a celebration of our artistic community. Our mission is to enrich, engage, and enlighten, providing content that spans the spectrum of art and its myriad expressions. Whether art is your weekend retreat or the very heart of your livelihood, our magazine aims to be a source of inspiration, knowledge, and practical insight. In this issue, you’ll find a thoughtful blend of the familiar and the new. We continue to cover the beloved topics from our previous newsletter, but with added depth and a wider lens. Expect features that delve into the creative process, explore the intricacies of the art business, and offer a platform for diverse voices within our community. We’re particularly excited about two new sections: Exhibit Insights and Reader’s Corner. In Exhibit Insights, we take you behind the scenes of art exhibitions, providing an insider’s view of the art world. Meanwhile, Reader’s Corner is a space dedicated to stories and experiences from you, our valued members. It’s a testament to the collaborative spirit that defines the Dry Canyon Arts Association. As we embark on this new chapter, our goal remains steadfast: to make your engagement with art, whether as a hobby or a profession, both fulfilling and exhilarating. Canyon Echoes is more than just a magazine; it’s a reflection of our vibrant and diverse artistic community. We invite you to join us in this exciting journey, where every page brings a new discovery and a deeper connection to the world of art. Thank you for being a part of this transformative journey. We hope that Canyon Echoes resonates with your artistic soul and becomes a cherished companion in your creative endeavors. Warm regards, James Morris Editor / Contributor, Canyon Echoes Dry Canyon Arts Association

DCAA BOARD OF DIRECTORS CHAIR Mel Archer 503-201-3951 chair@drycanyonarts.org VICE CHAIR MEMBERSHIP CHAIR Kelley Salber 971-570-6811 vicechair@drycanyonarts.org membership@drycanyonarts.org SECRETARY Katie Harris 541-526-5037 secretary@drycanyonarts.org TREASURER Terri Dill-Simpson 503-520-5897 treasurer@drycanyonarts.org BUILDING COMMITTEE CHAIR EVENTS CO-CHAIR Bill Hunt 360-600-4706 highdesertcarvers@gmail.com events2@drycanyonarts.org MARKETING CHAIR Toni Morgan 503-539-5980 marketing@drycanonarts.org GRANT WRITER Josie Powell 406-530-2115 grants1@drycanyonarts.org CANYON ECHOES EDITOR James Morris 541-408-7288 newsletter@drycanyonarts.org EDUCATION COMMITTEE CHAIR Joan Sheets 503-319-2074 education@drycanyonarts.org EVENTS CO-CHAIR Bill Lind 503-298-9116 events@drycanyonarts.org LEND ME YOUR WALLS OPEN lendmeyourwalls@drycanyonarts.org FIRST FRIDAY ART WALKS ORIENTATION COORDINATOR Laurel Werhane 541-633-6693 firstfriday@drycanyonarts.org orientation@drycanyonarts.org VOLUNTEER COORDINATOR OPEN Hearts4art@drycanyonarts.org

Canyon Collective The Soul of our Community

Art and Community Outreach A TAPESTRY OF CONNECTION

By James Morris

rt has always been a fundamental part of human expression, transcending boundaries and connecting people from diverse backgrounds. In recent years, the role of art in community outreach has gained significant attention as a tool for fostering social cohesion, promoting cultural understanding, and empowering individuals. This article delves into the history of art outreach programs, their benefits to nonprofits and communities, and the challenges they face.

The Genesis of Art Outreach Programs The concept of art outreach is not new; it has its roots in the early 20th century when artists began to use their craft to engage with marginalized communities. However, the modern iteration of these programs took off in the 1970s and 1980s as museums and cultural institutions started to recognize their potential for community engagement.1 For instance, Art Encounter, a nonprofit organization in Evanston, Illinois, has been at the forefront of developing original outreach programs for over 40 years.2 These initiatives have provided access to art education and facilitated public 1 https://www.timkenmuseum.org/about/overview/outreachprograms/ 2 https://www.artencounter.org/community-outreach

exhibition opportunities for underserved communities. Similarly, the Michener Art Museum in Doylestown, Pennsylvania, offers diverse arts programs and teen service opportunities, strengthening the connection between the museum and the community.3

The Intersection of Corporations and Art Outreach Corporations are increasingly recognizing the value of sponsoring art outreach programs. Beyond the obvious public relations benefits, these sponsorships provide companies with an opportunity to align themselves with causes that resonate with their customers and employees. Sponsoring art outreach initiatives can also contribute to a corporation’s Corporate Social Responsibility (CSR) objectives. For example, the Coast Guard Art Program (COGAP) uses fine art as an outreach tool, educating diverse audiences about the United States Coast Guard. This initiative is sponsored by corporations interested in supporting both the arts and the military.4

The Impact on Nonprofits and Communities

The Challenges of Art Outreach

Nonprofits benefit immensely from art outreach programs. They help build a positive, reciprocal relationship between the community and the organization, fostering a sense of mutual respect and understanding.5 Through art outreach programs, nonprofits can provide marginalized individuals with creative outlets to express their experiences and emotions. The Eskenazi Museum of Art in Bloomington, Indiana, for instance, has an outreach program that brings collections to schools, helping teachers understand and utilize art’s healing potential.6

Despite the numerous benefits, art outreach programs do face challenges. Economic inequality can create barriers to participation, as those from lower-income backgrounds may not have the time or resources to engage fully. There are also concerns about the exploitation of artists, particularly those from marginalized communities. Artists are often expected to donate their time and talents for free or minimal compensation, which can perpetuate economic disparities within the art world. Moreover, ethical issues can arise when corporate sponsors attempt to influence the content or direction of the art outreach programs they fund, potentially compromising artistic integrity and freedom of expression.

The impact on communities is equally profound. Art outreach initiatives have the power to transform communities by instilling a sense of pride, fostering creativity, and promoting cultural understanding. For example, the Telfair Museums in Savannah, Georgia, deliver outreach art workshops at various social service organizations, including programs for individuals with disabilities.7

Conclusion Art outreach programs play a crucial role in bridging gaps, fostering cultural understanding, and empowering individuals and communities. While challenges persist, the benefits these programs offer to nonprofits, corporations, and communities are undeniable. As we move forward, it is essential to address these challenges to ensure the sustainability and impact of art outreach initiatives. •

https://www.michenerartmuseum.org/art-classes-workshops/artsoutreach-service-opportunites/ 4 https://www.uscg.mil/Community/Art-Program/ 5 https://sustainingplaces.com/education-2/programs/ 6 https://news.iu.edu/live/news/28260-eskenazi-museum-of-artoutreach-program-brings-collect 7 https://www.telfair.org/about/outreach-community-impact/

Grant to M.A. Lynch Elementary School Art Project By Joan Sheets

he Dry Canyon Arts Association is pleased to grant the M.A. Lynch Elementary School $3000 to fund the “A” in a STEAM (Science, Technology, Engineering, Art, Math) project for their 4th and 5th grades. DCAA is committed to supporting the arts in our area elementary schools. We believe the arts are an essential piece of the education process. Last year we provided funding to a project at Hugh Hartman Elementary School where students learned to explore the world through watercolor. Generous donations to a raffle at our November Art Show and Sale helped DCAA to fund the M.A. Lynch project. A big thank you to our community for their support of art education. On December 7th, DCAA members Joan Sheets and Josie Powell presented a check for $3000 to Principal Chris Wyland Left to Right: Amie Kilgore, Joan Sheets, Toni Morgan, Callie Hodges, Christ Wyland and STEAM project coordinators Callie Hodges and Amie Kilgore. •

Join the Dry Canyon Arts Association and unlock your artistic potential! Connect with a vibrant local artist community and reap the benefits of joining the Dry Canyon Arts Association. Meet and collaborate with talented artists, build valuable relationships, and expand your network. Showcase your art in our Lend Me Your Walls program, First Friday events, and our two annual art fairs, gaining exposure and recognition. Join today, sign up is fast and easy. Don’t miss out on the opportunity to be part of this supportive and creative community of Redmond, Oregon. Elevate your art with the Dry Canyon Arts Association! www.DryCanyonArts.org

Dry Canyon Arts Association Joins the Oregon Cultural Trust Registry A NEW ERA FOR ARTS AND CULTURE IN REDMOND By James Morris

he Dry Canyon Arts Association, a non-profit organization dedicated to fostering art and culture in Redmond, Oregon, has recently achieved a significant milestone by being listed on the registry of Eligible Cultural Nonprofits with the Oregon Cultural Trust. This notable inclusion not only highlights the association’s commitment to promoting diverse art forms but also opens up new opportunities for financial support and community engagement.

cultural programs. The financial support garnered through this association can help materialize the vision of a community arts center, enriching the cultural landscape of Redmond. Moreover, the funds raised by the Oregon Cultural Trust are redistributed throughout the state, supporting various cultural activities. In the fiscal year 2019-2020, the Trust awarded $2.7 million in grants, with 60 percent of the funds raised being channeled back into the community through various cultural initiatives.

The Significance of the Inclusion

A Win-Win for Taxpayers and the Arts The tax benefits associated with donations to the Trust and its listed nonprofits provide an added incentive for community members to support local cultural activities. For example, a taxpayer in the 32% federal rate and 9% Oregon rate could see a combined tax savings of $1,410 when donating a total of $2,000 to cultural nonprofits and the Trust. This system benefits the taxpayer, the cultural nonprofits, and the Trust, creating a sustainable cycle of cultural investment and enrichment. In conclusion, the inclusion of the Dry Canyon Arts Association in the Oregon Cultural Trust’s registry marks a significant step forward for the arts in Redmond. It opens doors to enhanced cultural experiences, financial sustainability for the association, and a model for community members to contribute to the enrichment of their cultural landscape in a financially savvy way. This development is a boon for art enthusiasts, community members, and the Association alike, promising a vibrant and culturally rich future for Redmond, Oregon. •

Being listed with the Oregon Cultural Trust is a testament to the Dry Canyon Arts Association’s dedication to cultural enrichment in the Redmond area. Their mission, which revolves around providing accessible art experiences for people of all ages, aligns perfectly with the Trust’s objectives. The association envisions establishing a Community Arts Center, offering art classes, cultural events, and studio space for members, a goal that now seems more attainable with this new development.

Benefits of the Oregon Cultural Trust Registry For nonprofits like the Dry Canyon Arts Association, being part of the Oregon Cultural Trust registry opens up avenues for additional funding and support. The Cultural Trust operates on a unique model where it encourages donations to listed nonprofits and matches these with gifts to the Trust itself. This model significantly benefits both donors and the organizations. Donors who contribute to nonprofits on the Trust’s list and match their donations with gifts to the Oregon Cultural Trust are eligible for a state tax credit. This credit is dollar-for-dollar on their tax return, effectively making their donations costneutral while supporting cultural activities. The maximum credit is $1,000 for joint filers and $500 for individual filers.

culturaltrust.org/get-involved/donate/ www.drycanyonarts.org/donate

Impact on the Community and the Arts Association For the community, the association’s listing with the Trust means more resources to fund and expand its art and

Unraveling the Tapestry of Adaptive Art A DEEP DIVE INTO ITS EVOLUTION AND IMPACT By James Morris

n the vast landscape of human creativity, adaptive art, a term that may still be tucked away in the niche corners of our cultural consciousness, has been quietly yet powerfully transforming perceptions of disability, and empowering individuals to embrace their unique artistic abilities. This dynamic field is rich with history, cultural significance, and an evolving narrative that continually adapts to the needs and abilities of each new generation.

Journey Through Time The genesis of adaptive art can be traced back to various stylistic epochs and historical periods, each bearing witness to the ever-changing ways disability has been perceived and represented. The term ‘adaptation’ in the realm of art refers to the transmutation of a work of art from one style or culture to another, or from one medium to another.1 Over the centuries, this concept has evolved, blossoming into the creation of art that is not just accessible to but also celebrates individuals with disabilities, using specialized tools and techniques that cater to their unique needs.2

Emergence and Spread The first seeds of formal adaptive art programs were sown in 1995 by United Cerebral Palsy in Rhode Island, where a pioneering program offered a small group of individuals with disabilities the transformative opportunity to express them1 https://en.wikipedia.org/wiki/Adaptation_(arts) 2 https://momentum4work.org/adaptive-art-techniques-help-toempower-creativity-for-all/

needs.9

Looking Ahead As our society continues to champion inclusivity and diversity, the role of adaptive art will undoubtedly become even more crucial. It not only empowers individuals with disabilities but also enriches our cultural landscape, promoting understanding, compassion, and acceptance through the universal language of art. Adaptive art, with its rich history and promising future, stands as a testament to the indomitable spirit of human creativity. As it continues to evolve, it will unquestionably continue to empower, inspire, and transform lives, one brushstroke, one note, one dance move at a time. • 9

selves through art.3 Since then, these programs have mushroomed across the globe, with trailblazing organizations like the College of Adaptive Arts (CAA) dedicating themselves wholeheartedly to empowering adults with special needs through the liberating power of creative pursuits.4

More Than Just Art Programs At its essence, adaptive art is about acknowledging challenges and meeting them head-on with resilience and creativity.5 These programs are meticulously designed to accommodate different disabilities and challenges, providing participants with the necessary tools, resources, and a nurturing environment conducive to creative expression. They’re often funded by generous donations, grants, or government assistance, ensuring they remain accessible to those who need them most.6 The benefits of adaptive art extend far beyond the canvas. For many participants, these programs offer a vital sense of belonging and community. They provide a potent outlet for self-expression, boost self-esteem, and can even serve as a therapeutic tool, aiding in emotional healing and personal growth.7

Adaptive Art Unveiled One of the most compelling narratives of adaptive art in action is Matthew’s story, shared on YouTube.8 Matthew, a participant in an adaptive arts program, used art to express his thoughts, feelings, and experiences, showcasing the transformative power of these programs. The College of Adaptive Arts (CAA), founded in 2009, is another beacon of success in the realm of adaptive art. With its mission to creatively transform perceptions of disability, CAA offers a diverse array of courses, ranging from music to dance to visual arts, all designed with the explicit aim of being accessible, enriching, and empowering for adults with special 3 https://ucpri.org/what-we-do/adaptive-art-program/ 4 https://www.collegeofadaptivearts.org/about 5 https://www.nascoeducation.com/adaptive-art 6 https://www.davisart.com/art-education-resources/adaptive-art/ 7 https://www.kennedy-center.org/globalassets/education/ networks-conferences--research/research--resources/vsa-resources/parents-and-educators/professional_papers_vol_1.pdf 8 https://www.youtube.com/watch?v=fZ677CJQhLc

https://www.collegeofadaptivearts.org/about

Healing Echoes

Healing Souls Through Art

CREATIVITY MAGIC

By Molly Frietag

elcome to a happy month of creative gratitude: A gestural poetry in your art … whistling rainbows for yourself and others. As much as the virtue of gratitude is universal, the expression of it is unique to every individual. I find that once you begin to experience gratitude in all its many hues, you discover just how much of a gift it is unto itself. It’s a gift that keeps on giving. With the holidays, we celebrated creativity through all our arts… including reading poetry, receiving unexpected gifts from the heart, lighting candles, watching children giggle in delight, and ushering in a New Year together. It is so important that we share our gratitude and express our thankfulness to one another. Recently, I heard someone tell friends that when she reads the news especially when she’s done so in the last couple of months - she gets disheartened. She feels herself losing hope as history repeats itself, as people’s hatred calcifies and turns to violence. But then when she visits creative, uplifting friends or views an art exhibit or her own work, she has a moment of awakening: “Oh, I can send my light to the world, I can express my gratitude. There is something positive I can do.” In that next moment, her spirits were

uplifted. And how fabulous is it that so many of you have also been taking positive action! As soon as you received gifts, you set about creating your own art-full forms -- poems, messages, paintings, drawings, sculptures -- creating poetic with your attitude as to how to bring light into this world through your gifts of artistry. It never fails to astonish me how, even though we’re all ‘following our bliss’ with our chosen creative pursuit, each person has their own distinct perspective to express, their own particular way of sharing the light. And that’s the thing - each one of these poetic forms, regardless of where the person is on the creativity scale, the artist’s age or place of origin, regardless of where they are in their spiritual growth, does emanate light. You have written upon the soul of your expansion a more focused attention to the words you choose; the smiles you will share with others; the art form you will create; about taking cues from nature for how to be, how to act; about turning inward and consciously expressing gratitude. It has been inspiring to see all the different ways you are ushering light into the world, and to join you for a short while to consider what is possible.

Expressing ‘Thanks’ is an American tradition, one that remains an open invitation to invoke and expand our hearts. When admiring one of your trans-formational works, I feel grateful. I feel your conviction when you’ve expressed your heart’s desire in the creative outcomes demonstrated - very beneficial actions you’ve taken and will take. You know, it’s synchronistic: When I first started connecting with each art form -- contemplating your creations, I had the experience that they were like fireworks, sparks of light and joy, and energy. It’s my hope that this letter, too, has brought a little extra light to all your celebrations of life during this year. Thank you for your creative beauty - all that you bring to the table to share - it’s sheer poetry my friends! Whether you’re dealing with tragedy or loss, a stressful situation or just the everyday grind of life, seeing the beauty that can be created by humans is inspirational, invigorating and is a catalyst to becoming your best self. Here’s to the divinely magical in each of us, that we may continue to whistle rainbows of light for all to see and delight in. Sincerely, Milo

Creativity is intelligence having fun. - Albert Einstein 13

The Transformative Power in Adaptive Art Therapy By Molly Frietag

n the creative realm of therapeutic interventions, adaptive art has emerged as an extremely powerful tool, bringing positive transformation into the lives of people with disabilities. The very real fusion of creativity and adaptability in art therapy produces a unique space where people facing various physical, cognitive, or emotional challenges can find true solace, self-expression, and personal growth. As you know, Art, by its very nature, transcends boundaries of language and physical abilities. For people with disabilities, being able to participate in adaptive art offers a means of expression that goes way beyond the limitations imposed by their conditions. Whether it’s through painting, sculpture, music, or dance, individuals can communicate emotions, thoughts, and experiences in ways that words may struggle to convey. Adaptive art therapy programs have continued to prove effective in enhancing emotional well-being for individuals with disabilities. The creative process allows exploration and an ability to process complex emotions, thereby providing an outlet for frustration, sadness, or anxiety. This emotional release can contribute to improved mental health and a heightened sense of self-awareness. The adaptability of this therapeutic method ensures that individuals can participate at their own pace and in ways that suit their abilities. In this personalized approach, unique oppor-tunities foster a sense of accomplishment, boosting self-esteem and confidence. As people begin to see tangible results in their creative endeavors, they gain a renewed belief in their capabilities, which often translates

into increased enthusiasm and confidence in other aspects of their lives. For those with physical disabilities, art therapy can serve as an innovative form of physical rehabilitation. Many of the adaptive art activities may involve fine motor skills, hand-eye coordination, and other physical movements. Engaging in these activities not only provides a therapeutic outlet for creativity but also contributes to the improvement of motor skills and physical coordination. Optimal art therapy sessions can create inclusive environments that will encourage social interaction and connection. Participants are encouraged to share their creations, stories, and experiences, which foster a sense of community and understanding. This social aspect of adaptive art is especially valuable for people with disabilities who may face social isolation since it provides an opportunity for them to connect with others who share similar challenges. The total impact of adaptive art on people with disabilities through art therapy methods is definitely profound and multifaceted. With provision of a medium for self-expression, emotional release, and personal growth, adaptive art methods have the potential to significantly enhance the overall well-being of those who face diverse challenges. As we all continue to recognize the transformative power of creativity, it’s crucial to advocate for and look for opportunities to implement inclusive art therapy programs that will cater to the unique needs of each person, thereby fostering a more compassionate and understanding society. •

A New Year’s Greeting to your Artist within:

HEART-BOUND “I listen with both my ears but they cannot always do justice. So I connect with the center of my heart and perceive all that is subtle, all that is beautiful. “I look for sacredness in everything but my eyes cannot always do justice. So I connect with the center of my heart and see all that is invisible, all that is auspicious. “I use my hands to give and receive blessings but they cannot always do justice. So I connect with the center of my heart and experience an abundance of blessings within and without. “By connecting with the center of my own heart, I am heard and I feel respected. I am seen and I feel understood. I am blessed and I feel my own worthiness. I am protected, as I am always heart-bound. “By refreshing my belief in the goodness of the world and making this belief as stable and strong as possible, I feel that I am gifted with the ability to access the power to listen clearly, see accurately, and give and receive blessings. “This energizes my breath to take flight and uplifts my spirits so that I may care for everything as sacred and divine.” ~ a Great Being

Artisan Echoes Inspiration for the Artist’s Soul

Colors of Connection THE JOURNEY OF ARTIST ELARA

By James Morris

nce in a quaint town nestled among rolling hills, there lived a reclusive artist named Elara. Her world was confined within the four walls of her studio, where she painted day and night, creating vibrant canvases that rarely saw the light of day. Elara was an introvert, comfortable in her solitude, yet a part of her yearned for something more, something she couldn’t quite grasp. One drizzly afternoon, as Elara wandered through the town’s cobblestone streets, a flyer caught her eye. It was a call for volunteers at the local community center, which was organizing an art program for children. Something about the cheerful illustration of kids painting made her pause. “Maybe this is what I’ve been missing,” she thought. The next day, with a flutter in her heart, Elara stepped into the community center. The room buzzed with the excited chatter of children, a stark contrast to the silence of her studio. She met Mr. Jacobs, the program coordinator, a man with a warm smile and eyes that sparkled with kindness. “Welcome, Elara! We’re so glad to have you here,” Mr. Jacobs greeted her. “The kids are eager to learn from a real

artist like you.” Elara’s hands trembled as she approached the group of children. She introduced herself, her voice barely above a whisper. But as the children started showing their drawings, asking for her advice, something within Elara began to change. A little boy named Milo tugged at her sleeve. “Miss Elara, can you show me how to paint a tree like the one in your picture?” Elara knelt beside Milo, guiding his hand as they painted. The joy in his eyes when he looked at their creation was something she had never experienced in her solitary studio. Weeks passed, and with each session, Elara’s shell began to crack. She laughed more, spoke freely, and even started sharing stories of her own art journey. The children’s uninhibited creativity inspired her, and her own art transformed, becoming more lively and colorful. One evening, as they were cleaning up, Mr. Jacobs approached Elara. “You’ve brought so much joy here, Elara. The children adore you, and I can see a change in you too.” Elara smiled, a true, heartfelt smile. “I never knew how much I was missing by staying within my own world. These children, this place, it’s given me a new perspective.” Mr. Jacobs nodded. “Sometimes, stepping out of our comfort zone reveals the beautiful parts of life we never knew existed.” As the program concluded with an exhibition of the children’s artwork, Elara looked around at the beaming faces of the children and their parents. She realized that in teaching these children, she had learned the most valuable lesson herself - life is richer, fuller, and more vibrant when shared with others. Elara’s journey from a reclusive artist to a beloved mentor was more than a change of routine; it was a transformation of the soul. She continued to volunteer, finding new causes and touching more lives. Her art, once a solitary expression, became a testament to the beauty of connection and the joy of stepping out into the world. And so, Elara learned that sometimes, the greatest discoveries lie just outside the comfort of our shell. •

4. The Value of Mentorship and Teaching: Contemplate the mutual benefits of teaching and mentorship, as seen through Elara’s journey with the children. 5. The Importance of Small Steps in Making Big Changes: Acknowledge how small decisions, like responding to a flyer, can lead to significant life changes. 6. Joy in Shared Experiences: Reflect on the joy and fulfillment that come from sharing skills and experiences with others, as opposed to keeping them to oneself.

Ask Yourself... 1.

Am I Holding Myself Back? Consider if there are areas in your life where fear or comfort is preventing you from experiencing growth. 2. How Do I Connect with My Community? Ask yourself if you are actively seeking opportunities to engage with and contribute to your community. 3. Am I Using My Talents to Their Fullest? Reflect on whether you are utilizing your skills and talents just for yourself or also for the benefit of others. 4. What Can I Learn from Teaching Others? Think about the potential learning opportunities that could come from mentoring or teaching others. 5. Am I Open to New Experiences? Question whether you are willing to step into unfamiliar situations that could lead to personal growth and fulfillment. 6. How Do Shared Experiences Enrich My Life? Evaluate how your interactions with others enrich your personal and professional life.

Points to Ponder 1.

The Power of Stepping Out of Comfort Zones: Reflect on how Elara’s decision to volunteer, despite her initial hesitance, profoundly changed her life and art. The Role of Community in Personal Growth: Consider the impact of the community center and the children on Elara’s transformation from an introvert to a more open and engaged individual. Art as a Medium for Connection: Explore how Elara’s art evolved as she began to interact with others, highlighting the relationship between personal experiences and creative expression.

FOR SALE!

Assembled and unassembled picture frames. Each includes a mat and foam mounting board, springs and hanging wire. Suggested price $25, but negotiable.

Stand With Us: Support the Dry Canyon Arts Association

Contact John Aylward at (845)416-8815 or John@JohnAylward.Photos

The Dry Canyon Arts Association (DCAA) is a testament to passion and commitment. Every month, our tireless volunteers weave together an engaging tapestry of Redmond’s arts scene, all in an effort to keep you informed and connected. But quality comes with a cost, and we need your help. Your donations not only cover production costs but also affirm the importance of arts in our community. This is your chance to become part of a community that values and supports the arts. Every dollar counts, and every contribution helps us continue our mission. Stand with us. Stand for the arts.

Donate today - www.DryCanyonArts.org/ donate

Unleash Your Creative Spirit

RESOURCES FOR ARTISTS

A Volunteer is Needed for DCAA’s

Zapplication is an online platform that offers artists a streamlined application process for participating in professional art shows and events. With a comprehensive listing of various art events such as art & craft festivals, fine arts shows, and more, Zapplication.org facilitiates the application, jurying, and booth payment process. Users can apply to multiple shows through a single platform, simplifying the procedure and saving time. This website is a must-visit for any artist looking to showcase their work at art events. (www.Zapplication.org)

Lend Me Your Walls Program!

Are you passionate about art and community? The Dry Canyon Art Association (DCAA) is seeking a dedicated volunteer to help coordinate our signature event, the Lend Me Your Walls program. Join us in our mission to enrich the community through art and cultural experiences.

CaFÉ™ is a leading online platform for artists and related fields aimed at simplifying the process of entering into art events and competitions. Essentially, it is a one-stop solution that artists can use to find opportunities, submit their entries, and go through an online jurying process. Developed for the arts and public art field community, CallForEntry.org showcases various creative work from a multitude of artists. By centralizing the application process, CaFÉ™ eliminates the hassle and fosters an environment for both emerging and seasoned artists to rise and flourish. (www.CallForEntry.org)

The Lend Me Your Wall program connects artists with participating venues to display their artwork for extended periods, fostering a dynamic art scene within our community. By volunteering with DCAA, you’ll play a vital role in making this program a reality. As a volunteer, you’ll take on exciting responsibilities such as: • Event planning and coordination • Marketing and promoting the events • Communicating with artists and venues • Ensuring the smooth running of each event

Oregon. Elevate your art with the Dry Canyon Arts Association!

Why volunteer with DCAA? You’ll enjoy numerous benefits, including: • Hands-on experience in event planning and marketing • Opportunities to network with local artists and community leaders • A chance to make a lasting, positive impact on the community Ready to join our creative team? To apply, simply email your resume or a brief description of your relevant experience to Chair@DryCanyonArts.org. Don’t miss this opportunity to be part of the artistic heartbeat of our community!

Dry Canyon Arts Currents The latest News from The Dry Canyon Arts Association

Artist of the Month AN INTERVIEW WITH SHIREEN GASTINEAU By James Morris

n the vibrant world of art, where colors speak louder than words, Shireen Gastineau emerges as a beacon of creativity and dedication. As the celebrated Artist of the Month for Dry Canyon Arts Association, Gastineau’s canvas is a mesmerizing blend of nature’s serene beauty and her own artistic vision. A painter par excellence, her brushstrokes bring to life the tranquility and vitality of the natural world, capturing the essence of landscapes and wildlife with a poise that is both evocative and enchanting. This past December, Gastineau’s talent received a nod of recognition as her charming painting of Santa graced the cover of Cascade A & E, (as well as the DCAA Newsletter) adding a festive sparkle to the art scene. In this exclusive interview, we delve into the journey of this remarkable artist, exploring her passion for painting, her inspirations drawn from the natural world, and the unwavering dedication that has sculpted her path in the art world. Join us as we unveil the story behind Shireen Gastineau’s artistry, a narrative as compelling and vibrant as her paintings.

Shireen Gastineau (SG): As a child during the 70s and teen in the 80s, I had a very eclectic upbringing. My Dad was an outdoorsman deluxe and Mom supported my brother and I to enjoy nature and be independent. Each of them were pioneers in trying something new; not being afraid to take risks. My Dad took a leap of faith, quit his teaching job in LA when I was a few months old, and had us camping on the beaches and in the caves of Hawaii. We settled in the mountains of Grants Pass before I was 4. My brother, Scott, and I learned to hike and be very comfortable in the deep woods. Walking through a meadow of daisies, taller than you are, makes a powerful impact. I strive to impart a bit of that fantastical whimsy and strong emotion into my work.

CE: What unique materials and techniques do you employ in your art?

SG: For my PhotoArt AKA Digital Art Photography, I have developed a catalog and digital file folders that I keep ’tools and supplies’ to develop art works. For example I have folders titled ‘Textures’,‘Colours’, etc. When I am building a digital artwork, for example, wanting to add a detail of cement texture for added grunge effect, or I want a certain color tone over the piece, I will use my photography image files. The majority

The Interview Cascade Echoes (CE): How has your background influenced your work? Fall Reflective

to create an art piece, I can recall several images that would play nicely together with the one I start on. Sometimes I simply scroll through a variety of my images and see several that stick out and seem to match up, in a woven sort of way; a flowing white stream picture, an image of sparkles from the dew of morning grass, and the colors of a sunset; All Sun Sunset similar to putting a puzzle together. As far as painting, I seek to find something either incredibly challenging, or I am arrested by a moment in nature that I want to capture and share from my perspective. After the ‘inspiration’, I almost always make some notes of colors, tones, composition as well as a sketch. Oft-times, I begin layering my work in photoshop, similar to sketching it out, prior to beginning a painting.

Bridging Earth and Sky of my art pieces have roughly 3-100 layers of images ‘built’ in it. It is very rare that I use a filter to alter an image, besides a B&W conversion. For watercolour, acrylic and oil painting I tend to jump in, be bold, and add unusual colours, lots of colour. Here, also, I add a variety of details and texture to give it depth and complexity.

CE: Are there themes or ideas you consistently explore?

CE: Who or what inspires you?

SG: Well, not surprisingly I love nature. Besides my stark

SG: The old masters certainly, wow! My friends and peers

architecture images, most photo art, pen/ink or paintings have a nature element. Having just started painting again after exactly 40 yrs, the bulk of my art has been in photography. I love to take an image and transform it into an artwork that has layers of nature, however with an exploratory venture. Outcomes range from abstract, like ‘Fire and Ice’ or more in the fantasy realm. ’Swirling in the Trees’ is a good example of that. Lately I’ve been challenging myself to paint portraits of people and animals. I love to learn new things so this keeps the creative juices flowing.

in the three art associations that I am a member of. So many inspire me BUT, I must confess that I typically avoid paying much attention to other’s art. They are fantastic, yet for me, I find that the comparison of my work to theirs can stymie my style or confidence. So often, if I study my fellow artist’s work, I throw my hands up and say there are soooo many talented folks out there, what do I have better or different? Rather, I stick to hikes, camping and other outdoor activities, am struck by something I feel is worth sharing, then I try to create it in my own ‘voice’ without preconceived versions, colours, etc.

CE: Can you discuss any challenges you’ve

CE: Could you detail your creative process

navigated in your career and how you overcame them?

from inception to completion?

SG: Wow, do other artists struggle to put

SG: Oh boy, well… Being a nurse, working

that into words as well? A lot of times I have an image I’ve captured, I love it, or it has a special place in my memory, so that I know that I want to use it in some way, yet it doesn’t always present itself right off, so it sits ‘on the back burner’ so to speak. I have a distinct recollection of the images that I’ve captured over the years. When I sit down to use a particular image Loved

full-time from 1988 to current, as well as raising 2 boys, I’d say that has been the greatest reward and challenge. Finding time to dedicate to my craft has been challenging; to teaching myself, first film, then digital photography, and now painting. I’ve been blessed to take a few classes at Sagebrushers Art Society, I watch tons of Youtube how-

to videos, and I pick the brains of fellow artists. I experiment and fail A LOT, with many mediums. I sketch, work on an image, or paint, daily, with at least a dozen art pieces in the works. Another great challenge is that the art that I create from my photography is not taken as seriously as a painting. As a photo artist, it is Festival Garden of Colours no simple task to use our images and come up with an artwork, oft-times looking like a painting, from 3-100 image layers blended. Overcoming this challenge is simply trying to educate the public on the creative process and hope they can appreciate how difficult it is to create and the extensive time invested.

Besides those items, I would love to do an art expression series based on emotions, stages of grief and healing, etc. Incorporated in this would be the impact of art therapy whilst working through traumas or other life stresses. I feel like the emotions and stages that we go through in a healing process can be facilitated by art expression.

CE: How has the Dry Canyon Arts Association impacted you and your work?

SG: DCAA has been invaluable in helping me begin showing my work, through ‘Lend me your walls program’, First Fridays and the Art Shows. Having the great feedback from the visitors and business owners have been incredibly supportive as well. Many volunteers and board members have gone out of their way to make these events happen and support us so much behind the scenes.

CE: Could you describe a piece of your work that holds special meaning to you?

SG: One or two are right up there for me. Spring & Winter has a story of the cycle of life, with ties to one of the last walks, in Spring, with my Dad, before his passing. ‘Calm Waters’ AKA An Ode to Monet and his water lilies, made during lockdown that help keep my sanity. Then, most recently, my oil painting, ‘Santa’, made the cover of Cascades A&E, a huge honor! When the purchaser ‘Santa’ had as much of a connection to him, as I did during his ‘creation’, that made it all worthwhile; the past/present rejections, the frustrations and obstacles.

CE: What advice would you give to emerging artists? SG: You know you love art so you just have to go for it, daily if possible. Hone your skills by studying, practicing, and finding the version of art that you enjoy most. Don’t think that craft projects are any less worthy of your time. It all plays a part in your creative growth. Surround yourself with supportive family, friends and/ or peers. This can be a discouraging journey and we all need the circle of those encouraging us. I have been so fortunate to have my husband, Regan, and local family: sons, Nathan and Kyle, brother, Scott, sister from another mother, Dalania to join me often during events, so supportive. I think I would’ve given up if not for them cheering me on in lean times.

CE: Do you have any advice for current or prospective members of the Dry Canyon Arts Association?

SG: We as artists, we create original works that are unique, like us. Share your work to add to the beauty of our world, support fellow artists, be bold enough to believe in yourself. Finally, don’t give up…even when those bleak times come up. You are not alone, press on! •

CE: Do you have any upcoming projects or exhibitions? SG: Like how many art pieces I have going at once, I have several ideas and projects percolating, as well as classes coming up. There is a fantastic coffee/cafe in Redmond, M Caffe, that is going to display my work as soon as. Also, plans for a commissioned mural in that space, which will be incredibly rewarding. Regarding murals, I’ve researched extensively, and desired to do a city mural in Redmond for the last 2 years. A mural reflecting the stunning topography of the area is in my mind’s eye. Fellow artist, Karen Williams of Art Spaz, and I are teaching a fun, family-friendly, large painting class of animals and people on Jan 13th 10-4 at Sagebrushers Art Society gallery.

A Day at the Beach

Lend Me Your Walls

ENRICHING REDMOND’S BUSINESS SPACES WITH LOCAL ART By James Morris

he Dry Canyon Arts Association (DCAA) in Redmond, Oregon, has launched an innovative and culturally enriching initiative: the “Lend Me Your Walls” program. This program bridges the gap between local businesses and artists, offering a platform for artists to showcase their work and businesses to enhance their spaces with local creativity. Currently, six pioneering businesses in Redmond have embraced this artistic collaboration, including St. Charles Hospital, Feast Food Company, Redmond Senior Center, Grace & Hammer Pizzeria, High Desert Vision Source, and Birdies Brow & Spa. The “Lend Me Your Walls” program is an opportunity for local artists to display their juried artwork in prominent commercial spaces. This exposure not only supports the artists by introducing their work to a broader audience but also enriches the cultural atmosphere of the businesses involved. It’s a symbiotic relationship where art becomes a conversation starter, an aesthetic enhancer, and a symbol of community support. For businesses, participating in this program offers numerous advantages. Artwork can transform the ambiance of a space, making it more inviting and engaging for customers. It’s a way to stand out, showing commitment to supporting local culture and the arts. Additionally, businesses can enjoy the dynamism and diversity of rotating

art exhibits, keeping their environment fresh and exciting. The success stories of the current participants serve as a beacon for other businesses. St. Charles Hospital has reported an enhanced atmosphere for patients and staff, while Feast Food Company has seen an increase in customer engagement and interest. Similarly, the Redmond Senior Center, Grace & Hammer Pizzeria, High Desert Vision Source, and Birdies Brow & Spa have all enriched their customer experience through this artistic collaboration. The DCAA invites more artists to submit their work for consideration. This is a unique platform for artists to gain visibility, connect with the community, and potentially sell their work. The program seeks a diverse range of art, reflecting the rich tapestry of creativity in Redmond. “Lend Me Your Walls” is more than an art program; it’s a cultural movement fostering community connections and celebrating local talent. Businesses in Redmond have a unique opportunity to participate in this cultural exchange, enhancing their spaces while supporting the arts. Artists are encouraged to seize this chance to showcase their work and make their mark on Redmond’s cultural landscape. In conclusion, the “Lend Me Your Walls” program is a testament to the power of community and art coming together. It’s an open invitation for more businesses and artists to join and contribute to Redmond’s vibrant and evolving cultural scene. •

LEND ME YOUR WALL LEADS: Grace and Hammer Laura Fouts, LMYW.GH@drycanyonarts.org Redmond Senior Center Mel Archer, lmyw.sc@drycanyonarts.org St. Charles Redmond Jill Fahnestock, lmyw.hosp@drycanyonarts.org

High Desert Vision Source Scott Larson, lmyw.hdvc@drycanyonarts.org Birdies Brow and Spa Janice Tracy, lmyw.birdies@drycanyonarts.org Feast Food Company Wendy Wheeler,lmyw.ffc@drycanyonarts.org

First Friday Art Walk

CELEBRATING CREATIVITY AND COMMUNITY: A LOOK BACK AND FORWARD By James Morris

estled in the heart of Oregon, Redmond has long been a hub for cultural and artistic expression, a characteristic that reached new heights with the First Friday Art Walk (FFAW) under the stewardship of the Dry Canyon Arts Association (DCAA). As 2023 draws to a close, we not only reflect on a year of remarkable artistic endeavors and community engagement but also look forward to welcoming new talents and businesses to this growing cultural event. The past year has been a testament to the resilience and creativity of Redmond’s artistic community, showcasing a rich tapestry of talents and styles. The First Friday Art Walk, once a modest local event, has evolved into a vibrant, city-wide celebration, drawing artists and visitors from all over central Oregon and beyond.

showcase their work and merchants with unique offerings for their customers. This collaboration benefited both parties, creating a rich cultural atmosphere in the heart of Redmond. 2. Marketing and Outreach Successes: The DCAA’s innovative marketing strategies led to enhanced visibility for artists and events. Social media campaigns, local magazine features, and online promotions brought the FFAW into the limelight, attracting a wider audience and fostering a greater appreciation for local arts. 3. Community-Centric Celebrations: Beyond art exhibitions, FFAW events were integrated into the fabric of Redmond’s community life. Participation in local events like the Watermelon Crawl and art demonstration days not only brought art into public spaces but also fostered a sense of community and belonging among residents and visitors alike. 4. Education and Engagement: One of the most notable aspects of the FFAW has been its role in educating the public about the arts. Artist talks, live demonstrations, and interactive sessions provided attendees with insights into the creative process and the stories behind the artworks.

Key Highlights of 2023: Robust Participation: A total of 53 artists graced the FFAW with their diverse works, displayed across 10 unique venues. This participation marked not just a quantitative success but a qualitative one, bringing a range of artistic voices to the forefront. 1. Dynamic Artist-Retailer Partnerships: The year saw a deepening of relationships between artists and local businesses. Retail spaces transformed into galleries, providing artists with platforms to

Despite the successes, the year also posed its share of challenges. Rapid adaptations were needed in event organization, particularly with the change in leadership at the DCAA. The team, however, rose to the occasion, leveraging past experiences and established networks to ensure a smooth transition. Issues such as space allocation for artists, ensuring diversity in art forms, and balancing the interests of various stakeholders were addressed with a mix of creativity and pragmatism. The FFAW’s impact extended beyond the cultural realm into the economic sphere. Retailers hosting art events observed increased foot traffic and sales, while artists gained new avenues for income and exposure. The integration of art into local businesses fostered a unique shopping and cultural experience, encouraging economic growth and community development. Inclusivity has been a cornerstone of the FFAW, with the event welcoming artists and audiences from diverse backgrounds. Efforts were made to ensure that the art walk represented a variety of artistic styles, mediums, and cultural perspectives, making it a truly inclusive event. Technology and social media played a pivotal role in the success of the FFAW. Online platforms were used not only for marketing and promotions but also for artist registrations and communications. This digital approach enabled wider reach and easier management of the event logistics.

into cultural hubs, attracting new customers and contributing to the city’s artistic legacy. Participating in the FFAW offers numerous benefits. Artists gain exposure and potential sales opportunities, while retailers enjoy increased foot traffic and the chance to be part of a unique cultural event. The art walk also contributes to the overall economic and cultural health of Redmond, promoting tourism and local business.

Collaboration Community Support

and

The success of the FFAW hinges on collaboration and community support. Partnerships with local organizations, businesses, and the City of Redmond have been instrumental in the event’s growth. Continued support and collaboration will be crucial as we move forward. The FFAW is more than just an art exhibition; it’s a platform for education and cultural exchange. Workshops, artist talks, and interactive sessions provide opportunities for learning and engagement, making the event an educational experience for participants and attendees alike.

A Beacon of Art and Culture in Oregon The FFAW stands as a beacon of art and culture in Oregon, showcasing the best of Redmond’s artistic talents and community spirit. As we reflect on the successes of the past year and look forward to the future, we invite you to join us in this celebration of creativity and community. Together, let’s continue to make Redmond a vibrant and culturally rich city, where art and commerce thrive in harmony. In conclusion, the First Friday Art Walk is more than an event; it’s a movement. A movement that celebrates creativity, fosters business growth, and brings our community closer. As we cherish the memories of the past year, we open our arms to new participants, ready to make the coming years even more colorful and impactful. Join us, and let’s make Redmond a beacon of art and culture in Oregon. •

Building a Future: Vision for 2024 and Beyond Looking forward, the DCAA envisions an even more vibrant FFAW. Plans include expanding the number of venues and artists, incorporating street vendors, pop-up events, and activities for children. The goal is to create an event that is not just an art walk but a comprehensive celebration of Redmond’s cultural vibrancy. We extend an open invitation to artists and retailers to be part of the FFAW. For artists, it’s an opportunity to showcase your work, connect with peers, and engage with a wider audience. Retailers can transform their spaces

Calendar of Events JANUARY 2024

Legend: DCAA Event

Sagebrushers Event

Other Event

1 HAPPY NEW YEAR! 2 Pastel Group, 10am–1pm, MEMBERS ONLY

3 www.DryCanyonArts.org

Watercolor Wednesday - Group A, 10am–12pm Mixer Wednesday with Jack Bridges, 1pm–4pm, MEMBERS ONLY

4 Insight Into Modulations as Value with David Kinker, 9:30am–12:00pm Oil Painting Essentials with Michael Wise, 5–8pm DCAA Board Meeting, 2-5PM @ Redmond Housing Works www.SageBrushersArtofBend.com

5 Redmond Chamber COFFEE CLATTER – HOST: LOCAL PAWS, 8:30AM - 9:30AM Prime Time Artists, with Michelle Oberg, 9:30am–2:00pm, MEMBERS ONLY

6 7 8 Mixer Mondays, 1–4pm

9 Pastel Group, 10am–1pm, MEMBERS ONLY Oil Painting - Open Studio Sessions with Mike Wise, 2:30–5:30pm

10 Watercolor Wednesday - Group A, 10am–12pm Mixer Wednesday with Jack Bridges, 1–4pm, MEMBERS ONLY

11 Insight Into Modulations as Value with David Kinker, 9:30am–12:00pm Oil Painting Essentials with Michael Wise, 5–8pm

12 Redmond Chamber COFFEE CLATTER – HOST: ADVANCED PAIN SOLUTIONS, 8:30AM - 9:30AM

13 Come Learn Large Painting w/Shireen Gastineau & Karen Williams, 10am–4pm

14 Wise Woman Emerging - Mixed Media Collage Journaling Group (Maria Wattier), 1–5pm

15 Mixer Mondays, 1–4pm

16 28

Sagebrusher’s Board Meeting (1PM), 12:45–1:45pm Pastel Group, 10am–1pm, MEMBERS ONLY

17 Watercolor Wednesday - Group A, 10am–12pm Mixer Wednesday with Jack Bridges, 1–4pm, MEMBERS ONLY

18 Insight Into Modulations as Value with David Kinker, 9:30am–12:00pm Oil Painting Essentials with Michael Wise, 5–8pm

19 Prime Time Artists, with Michelle Oberg, 9:30am–2:00pm, MEMBERS ONLY Lunch & Learn - Ken Marunowski, 12–1pm REDMOND CHAMBER 2023 ANNUAL AWARDS BANQUET, 5-9PM

20 Abstract Reception, 2–4pm

21 Little Books for Little Gifts with Penelope Youngfeather, 1–4:30pm

22 Mixer Mondays, 1–4pm

23 Pastel Group, 10am–1pm, MEMBERS ONLY Oil Painting - Open Studio Sessions with Mike Wise, 2:30–5:30pm

24 Watercolor Wednesday - Group A, 10am–12pm Mixer Wednesday with Jack Bridges, 1–4pm, MEMBERS ONLY

25 Insight Into Modulations as Value with David Kinker, 9:30am–12:00pm Oil Painting Essentials with Michael Wise, 5–8pm DCAA Annual Member Meeting, 5-7PM @ General Duffy’s Annex

26 Prime Time Artists, with Michelle Oberg, 9:30am–2:00pm, MEMBERS ONLY Redmond Chamber COFFEE CLATTER – HOST: THE PREMIER PICKLEBALL CLUB, 8:30AM-9:30AM

27 Abstract Workshop with Gerlinde Gelina

28 Family Art Class with Karen Williams, 1–3pm

29 Mixer Mondays, 1–4pm

30 Pastel Group, 10am–1pm, MEMBERS ONLY REDMOND CHAMBER LUNCH & LEARN – “2024: PIVOT TO PROSPER – BUILDING YOUR MOMENTUM FOR THE NEW YEAR” -SHANNON REYNOLDS 11:30AM-1PM

31 Mixer Wednesday with Jack Bridges, 1–4pm, MEMBERS ONLY

Digital Echoes

The Art of Technology

The Renaissance of Art Restoration

HOW TECHNOLOGY BREATHES NEW LIFE INTO CLASSICS By James Morris

n the hallowed halls of world-renowned museums, classics of art history are being given a new lease on life. The heroes of this renaissance aren’t the traditional restorers armed with delicate brushes and painstaking patience but instead, they are tech-savvy innovators using cutting-edge technology to preserve and restore these invaluable works of art. From Leonardo da Vinci’s Mona Lisa to Michelangelo’s frescoes in the Sistine Chapel, every piece of art tells a story. But over time, these stories fade, obscured by the patina of age, environmental damage, or even wellintentioned but misguided restoration efforts. Enter the age of digital restoration, where advanced technologies like laser scanning, 3D printing, and digital reconstruction are playing pivotal roles. One striking example of this wave of innovation is the digital restoration of the Ghent Altarpiece, also known as The Adoration of the Mystic Lamb, by Hubert and Jan van

Eyck. This 15th-century polyptych has been subjected to numerous restoration attempts over the centuries, resulting in a muddled mixture of original paint and overpainting. Using advanced imaging techniques, a team of experts was able to discern the original brushstrokes from later additions, bringing the van Eycks’ original vision back to life. These techniques ranged from X-ray fluorescence to infrared reflectography, each penetrating a different layer of the artwork and revealing secrets hidden beneath the surface.1 Dr. Salvador Muñoz Viñas, author of Contemporary Theory of Conservation, explains that such technological interventions are transforming our understanding of preservation and restoration. “We’re not just preserving the physical object,” he says. “We’re preserving the artist’s intent, the cultural context, and the aesthetic experience it was designed to evoke.” 2 In another instance, tubular nanomaterials have been successfully used in art conservation. 3 These materials can penetrate the microscopic cracks and fissures in a painting’s surface, reinforcing it from within and preventing further degradation. This technique is particularly useful for artworks that are too fragile to withstand traditional restoration methods. Moreover, the field of digital reconstruction allows us to experience lost or damaged artwork in a new way. For example, the Buddhas of Bamiyan in Afghanistan, destroyed in 2001, have been digitally reconstructed using

3D laser scanning technology and can now be explored using virtual reality.4 These advancements are not just about preserving the past; they’re also about making art more accessible. Digital reconstructions can be shared online, reaching a global audience and providing new educational opportunities. The combination of art and technology is fostering an exciting era of discovery and preservation. As we step into this brave new world, we can look forward to a future where no artwork is ever truly lost to time. •

1 https://scholarlypublishingcollective.org/uip/jae/article-abstract/51/2/82/uip 2 https://www.taylorfrancis.com/books/ mono/10.4324/9780080476834/contemporary-theory-conservation-salvador-munoz-vinas 3 https://www.mdpi.com/1996-1944/13/9/2064

Embark on a transformative journey through the arts with me as I present my latest masterpiece, “The Starving Artist’s Guide to Survival.” Within its captivating pages, you’ll discover 20 enthralling short stories that explore the lives of artists from various disciplines. From painters to writers, sculptors to musicians, each artist’s story offers a unique perspective on the creative process and the triumphs and trials that come with it. But this book is more than just inspiration - it’s a guide that provides invaluable insights and practical advice to navigate the challenges you may face on your artistic journey. With authenticity and a genuine understanding of the artist’s struggle, “The Starving Artist’s Guide to Survival” is a beacon of encouragement and guidance. Order your copy today and unlock the endless possibilities that await you. Available now at Amazon.com and Lulu.com bookstores.

https://www.mdpi.com/1420-3049/26/13/3967

Canyon Craftman’s Tips

Tips and Tricks for the Artist Unveiling the Muse

A JOURNEY INTO THE HEART OF ARTISTIC INSPIRATION By James Morris

raming artwork is a crucial aspect of presenting it in art shows and galleries. It’s not just about protection; it’s about enhancing the visual appeal and ensuring that the art speaks to the audience in its best light. This guide provides artists with detailed tips and tricks for effectively framing their artwork. The right frame does more than encase artwork; it can elevate the piece, creating a dialogue between the art and its audience. A frame should complement the work, not distract from it, and should be chosen with the venue and potential buyers in mind.

Selecting the Right Frame: Aesthetics Over Trends: Choose a frame that enhances the artwork, considering style and period. For instance, a modern minimalist frame may suit contemporary works, while ornate, classic frames might better suit traditional paintings. Material Matters: Wood frames offer a classic look,

while metal frames provide a modern edge. The choice of material can influence the perceived value and aesthetics of the artwork.

Color and Texture: Complement, Don’t Compete: The color of the frame should complement the artwork. A general rule is to pick up a subtle color from the art piece itself. Texture Considerations: Textured frames can add depth, but be wary of overpowering the artwork.

Matting: Mat for Emphasis: Mats can make artwork stand out. Using acid-free mats is essential to prevent damage. Color Coordination: The color of the mat should complement both the art and the frame. Often, neutral colors are the safest bet.

Glass and Acrylic: Protection and Clarity: Glass or acrylic protection is essential, especially for works on paper. Consider UVprotective and anti-reflective options. Weight and Safety: Acrylic is lighter and shatterproof, an advantage for large pieces or in high-traffic areas.

Framing is an art in itself, integral to presenting and selling artwork in galleries and shows. It requires thoughtful consideration of the artwork, the intended audience, and the display environment. By following these tips and tricks, artists can ensure their work is showcased in the best possible way, enhancing their chances of a successful exhibition.

Size and Proportion: Balance is Key: The frame size should be in proportion to the artwork. Overly large frames can overwhelm, while too small frames may look insignificant. Gallery Standards: Some galleries and shows have specific framing requirements. Always check and adhere to these.

Want to Learn More? Learning about framing artwork is a valuable skill for artists, collectors, and enthusiasts. Here are some resources that offer detailed information and guidance on this topic: 1.

Books: • “Picture Framing for the First Time” by Barry Jay Kaplan: This book is ideal for beginners and covers the basics of picture framing. • “The Complete Photo Guide to Framing and Displaying Artwork” by Vivian Carli Kistler: Provides comprehensive guidance on framing techniques, materials, and design considerations. 2. Online Courses and Workshops: • Udemy: Offers various online courses related to picture framing, from basic techniques to more advanced skills. • LinkedIn Learning (formerly Lynda. com): Features courses on framing and art presentation, useful for both beginners and experienced framers. 3. YouTube Channels: • DIY Picture Framing channels on YouTube: Many YouTube creators offer tutorials on

Hanging and Hardware: Secure and Stable: Ensure the frame has sturdy hanging hardware. D-rings and wire are common and reliable choices. Gallery Systems: Be familiar with the gallery’s hanging system to ensure compatibility.

Preparation for Transport: Protective Measures: Use corner protectors and bubble wrap for transportation. Labeling: Clearly label the back with the artist’s name, title of the work, medium, dimensions, and price.

Special Considerations: Unframed Works: Some contemporary galleries prefer unframed canvases for a modern look. Ensure edges are finished and neat. Cost-Effective Solutions: For artists on a budget, consider simple, elegant frames that don’t detract from the artwork.

framing, from selecting assembling the frame.

materials

•

Professional framing businesses often have YouTube channels where they share tips and techniques. 4. Art Blogs and Websites: • TheArtLeague.org: Provides blog posts and articles about different aspects of art, including framing. • ArtistsNetwork.com: Offers resources and articles on various art topics, including tips on framing and displaying artwork. 5. Community Art Centers and Local Classes: • Many community art centers offer workshops or classes on framing, which can provide hands-on experience. • Local framing shops sometimes host classes or demonstrations, offering practical insights into framing techniques. 6. Art Supply Stores: • Stores like Michaels or Hobby Lobby often provide framing services and can be a resource

for learning about materials and techniques. • They may also offer workshops or classes on framing. 7. Museum and Gallery Resources: • Museums and galleries occasionally host seminars or talks on art preservation, which can include framing techniques. • Gallery staff can also be a source of information and advice on framing standards and trends. 8. Professional Framers’ Associations: • Organizations such as the Professional Picture Framers Association (PPFA) offer resources, certifications, and workshops for those interested in professional framing. Each of these resources can provide valuable insights and skills in framing artwork, from the basics of choosing a frame to more advanced techniques in conservation and display. Whether you’re a beginner or looking to refine your skills, these resources offer a wealth of information. •

JOIN THE ART ASSCIATION THAT SUPPORTS THEIR ARTIST MEMBERS. WWW.DRYCANYONARTS.ORG

Membership has its privileges: Join the Dry Canyon Arts Association At the Dry Canyon Arts Association (DCAA), we believe in fostering creativity and providing a platform for artists to showcase their talent. By becoming a member of DCAA, you not only support our mission but also gain access to a wide range of benefits and opportunities that will enhance your artistic journey. I. Participate in Spring and Fall Art Shows DCAA organizes annual art shows in both the spring and fall, providing members with the perfect opportunity to showcase their artwork. These events are not only a platform for exposure but also a chance to connect with art enthusiasts and potential buyers. We welcome a diverse range of artistic styles and themes to ensure that every member finds their place to shine. II. Bi-Monthly Member Meetings Our bi-monthly member meetings are an integral part of the DCAA community. These gatherings offer a space for artists to socialize and network with like-minded individuals. We often invite guest speakers and organize workshops to provide valuable insights and learning opportunities. The camaraderie built through these meetings strengthens our artistic community and facilitates growth for all members. III. First Friday Art Walk in Redmond, Oregon The First Friday Art Walk in Redmond, Oregon, is a highly anticipated monthly event that brings together art enthusiasts from the local area. As a DCAA member, you have the privilege of participating in this vibrant event and showcasing your artwork to a wider audience. The exposure gained from the Art Walk can be a significant stepping stone in your artistic career. www.drycanyonarts.org/join-us

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Reader’s Resonance

Your Stories, Your Voice Sharing The Palette INVITING YOUR ART STORIES By James Morris

very brush stroke tells a story, every sculpture holds a sentiment, and every gallery visit can spark a transformative experience. As the editor of this esteemed art enthusiast magazine, I am thrilled to extend an invitation to you, our cherished readers, to share your unique art-related stories. The power of personal narratives in the world of art is undeniable. They add depth to our understanding, broaden our perspective, and foster a sense of community among art lovers. When we share our experiences, we not only enrich our collective knowledge but also celebrate the diversity and uniqueness that makes art so captivating. For our upcoming issue, themed “Art: A Personal Journey,” we’re seeking compelling narratives about your encounters with art. Be it a moving personal experience, an inspiring artist interview, a thought-provoking art piece, or a hidden gem of a gallery - we want to hear your story. By sharing these narratives, we aim to explore the multitude of ways art touches our lives. We believe that your perspectives will inspire others, fostering a deeper

appreciation for art, and creating a more vibrant, engaging community of art enthusiasts. To ensure your story shines, here are a few submission guidelines and writing tips: 1. Quality over Quantity: We value insightful, wellcrafted narratives. Your submission should be between 500-1000 words. Focus on the quality of your storytelling rather than the length. 2. Make it Personal: Don’t shy away from sharing your personal connection to the story. It’s your unique perspective that will make your narrative stand out. 3. Attention to Detail: Paint a vivid picture for your readers. Use descriptive language to bring your experiences to life. 4. Include a Call to Action: Encourage readers to explore further, visit a gallery, or check out an artist’s work. 5. Testimonials: If you’re recommending a gallery or an artist, include testimonials for credibility. This could be your own testimonial or those of other art enthusiasts. 6. Professionalism: Maintain a professional tone throughout your piece. Your story should inspire and inform our readers. Remember, art is not confined to galleries and museums. It permeates every facet of our lives, influencing our perceptions, enriching our experiences, and sparking

our creativity. We invite you to delve into this theme, explore it from your unique vantage point, and share your insights with our community. Your story could be the inspiration that ignites a fellow reader’s artistic journey. So, pick up your pen, let your memories flow onto the page, and help us create a tapestry of art stories that celebrate our shared passion. We look forward to reading your submissions. •

CALL FOR ARTISTS

Send your story submissions to Newsletter@DryCanyonArts.org All submissions are subject to grammar editing and will be printed on a first come - first serve basis.

Submitted by Jackie Petrovic

Your ad here!

edmond Commission for Arts in Public Places (RCAPP) does placement of sculpture art around town (Art Around the Clock). This next year, the sculpture art will be rotated and 14 new pieces of sculpture art will be voted on and installed by June of 2024. Call for Artists will start sometime in January 2024 so be on the lookout if you’d like to submit your work. There are opportunities to sell your art through this program as well. Go to www.redmondoregon.gov/ rcapp or ‘Redmond Commission for Art in Public Places” on Facebook for more information.

Reach thousands of art enthusiests in the Pacific Northwest. Contact

Newsletter@DryCanyonArts.org 37

for information.

(UNTITLED)

Copenhagen is located, to the east. My host family lived in a small town not far from Odense, in a 400-year-old house that was used as part of the underground railway for Jews during WWII. The local church was 800 years old. I was surrounded by history. And was made very welcome. To repay my hosts largess, I provided them with entertainment every night by reading them the local newspaper in my version of Danish. It led to lots of laughs. As did my crinoline-supported poodle skirt. My hosts made sure that I visited all I could wish to see—a Viking burial mound that included an entire Viking boat—I was amazed at how small it was, especially compared with vessels today—a dairy farm and a farmhouse that was different than anything I’d seen before, battle sites from a thousand years earlier, plus lots of walking and biking. And dinners with neighbors and friends. At the end of our two months, those of us visiting Denmark met up in Copenhagen, where I’m getting to with my story. There were half-adozen of us or so and we stayed in a youth hostel. On our last night, we went to visit Tivoli Gardens (Walt Disney’s inspiration for Disneyland, I’ve been told). After a ride on a Ferris Wheel, extremely high and with each basket weighted to swing back and forth—it was like none other I’d ever seen or ridden on. Actually, I kept my eyes closed most of the time. Anyway, after that, I decided to try something tamer. A slide, for instance. It was mahogany and about two stories high. Seriously. I sailed down it on a gunny sack. I tried, but failed, to slow my descent, and landed at the bottom with my ankle twisted and all my weight on it. Yowie did that hurt. I can’t remember if I managed not to cry, but if I did, it was a miracle. On my way back to the youth hostel, hobbling across a wide street and still fighting tears, no doubt, I suddenly heard an alarming sound. At the time, Denmark was said to contain three million people, five million pigs and six million bicycles. All six million were heading straight for me, their bells ringing like crazy. They weren’t slowing down and I couldn’t very well speed up. I barely made it across before they whizzed past. I think it must have been a race, or they would have slowed or moved to one side. Surely. The next day, we boarded another train and headed south. Me still hobbling—I think I tore the ligament, because I had a strange lump the size of a walnut on the side of my foot. Having been raised to keep a stiff upper lip, I rode it out and tried not to complain. But I was glad

Submitted by Toni Morgan

y ankle hurts this morning, but it makes me smile, remembering my 16-year-old self and my first grand adventure. It was the summer of 1956, and I was between my junior and senior years at Canby Union High School, located in the Willamette Valley of Oregon, a bit south of Portland. I went to school with the children of loggers and town folks, and many, like me, the off-spring of farmers—dairy, beef, wheat, or produce. That spring I learned I’d been chosen by the American Field Service (which started as an ambulance service in WWI) to be a foreign exchange student and that I was going to Denmark. Shortly after the school year ended in late May (just in time for students to get out in the fields and pick those ripening strawberries, then blueberries and later help bring in the hay) I joined with other Oregon high schoolers, including another student from Canby, and we said farewell to our families before boarding the Union Pacific train to Washington DC. In DC we saw the sights, climbed to the top of the Washington Monument, visited the museums, toured Mount Vernon and met our Representatives in Congress. Then we were off to New York City, where we met up with students from all over the country—more that 350 of them— who’d also been given the fabulous opportunity of traveling abroad in an era when not many people traveled. We visited the Empire State Building, visited Ellis Island and climbed the Statue of Liberty as high as we could go, explored Central Park. We explored everything. Finally we were herded onto buses to be taken to Hoboken, NJ, where we boarded a converted merchant ship that was to carry us first to Le Havre, France, where many of the students got off to continue their separate journeys to their respective countries, while the rest of us went on to Bremen, Germany. All I can say is, wow! 350+ sixteen- and seventeen-year-old kids cooped up on a ship for eleven days. So far as I know, no one got into trouble, but I bet the crew, and possibly our young chaperones, were happy to see the back of some of us. In Bremen, those of us going to northern Europe debarked and boarded trains for our eventual destinations. Mine was the island of Funen, located between Jutland to the west and Sjelland, the main island of Denmark, where

to be able to mostly sit for a couple of days. That night we crossed the Baltic on a train ferry and then traveled south through Germany on our way to Paris. I remember two things about that train trip. One was that the tracks were very close to the border between East and West Germany. Those of a certain age will remember how frightened we were of a nuclear war with the great enemy Russia. I had an ominous feeling the entire way, like someone was going to reach over and grab me, forcing me to live in East Germany. Or worse, take me to Russia. The second thing I remember about that train ride was my seatmate saying “I wonder what this does,” as she reached up and grasped a handle. Just then the train lurched, putting her off-balance and she pulled the lever. She found out what that handle did, as did we all. She was mortified as the train screeched to a slow halt, where we sat while the conductor and engineer came running through the train to find out what had happened. After quite a bit of confusion, lots of apologies, the train was cleared to go once again. We finally arrived in Paris, where we met the 350+ other teens who’d spent that summer with host families all over Europe. And we did all the tourist things tourists still do. We went to the top of the Eiffel Tower, we visited the Louvre, we took a boat ride on the Seine, we visited Notre Dame Cathedral. At the end of the week, we boarded yet another train. This one took us to the harbor in Le Havre where we got on another converted merchant ship to

return to the good old USA. It was late August, just in time to get home and prepare for school to start—our senior years for most of us. It was also hurricane season. We hit the outskirts of one. Huge waves. At night, I heard the bow of the ship actually pull out of the water—or the water fell out from under the front of the ship—then slam back into it. No one was allowed on deck. Some of my shipmates were a little hysterical. Although I, too, was fully convinced the ship would sink and we’d all drown, I was unafraid. Afterall, I’d been to Europe. I’d seen the Mona Lisa (I much preferred Rodin’s work, btw). I’d lived. We were two days late getting back to the states— thirteen days rather than eleven. We were only allowed to take $25 with us, to last the summer so that we wouldn’t appear as the ugly Americans with too much money to spend. I had only $2 left of that, with a three-or-four-day train ride via the Great Northern railway back to Portland (with a side-trip to Niagara Falls). At a deli, I bought some crackers, cheese and bologna (which spoiled). None of it lasted more than a couple of days so I was pretty hungry by the time I got home. You might ask why I didn’t phone my parents and ask them to wire me some money. I’ve asked myself the same thing. My kids would have. I didn’t even think of it. Times were different then. Anyway, that’s why, when my left ankle plays up a bit, as it’s doing today, I just smile and remember being 16. What a grand experience for a young farm girl from Canby, Oregon. •

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newsletter@DryCanyonArts.org

Canyon’s Call for Creativity

OPEN CALLS FOR ART This curated collection of Call For Art requests (CFAs) is meticulously gathered from prominent online platforms like CaFE and ZAPP, offering you a centralized and easily accessible reference. Specifically tailored for artists in Oregon, this list focuses exclusively on opportunities within the state, ensuring relevance and convenience for local creators seeking to showcase their talents.

www.Zapplication.org

www.CallForEntry.org

CaFE

Art In The Pearl Fine Arts & Crafts Festival 2024 EVENT DATES: 8/31/24 - 9/2/24 Portland, Oregon FEE (EARLY BIRD NON REFUNDABLE JURY FEE): $35.00 DEADLINE: 2/15/24 EARLY BIRD DEADLINE: 12/15/23

callforentry.org

Black and White: 2024

Call Type: Photography Eligibility: International State: Oregon Fee: $40.00 (Entry Fee) Entry Deadline: 1/12/24 Number of Applications Allowed: 5 Black Box Gallery is excited to announce a Black and White juried group photo show. There is often a classic, nostalgic and dynamic translation to black and white photography. Black and White has an important tradition of luminous, well-crafted and thoughtfully composed imagery. Contemporary photographers are involved in this dialog of history and tradition, but with their own modern voice, visions and aesthetics of imagery. Black Box will be looking for a diversity of photographic works and ideas for this exciting exhibition!

Art in the High Desert 2024

EVENT DATES: 8/23/24 - 8/25/24 NOTIFICATION DATE: 4/3/23 Bend, Oregon FEE (EARLY BIRD JURY FEE): $35.00 DEADLINE: 2/15/24 EARLY BIRD DEADLINE: 12/30/23

Bend Fall Festival 2024

EVENT DATES: 10/5/24 - 10/6/24 Bend , Oregon FEE (JURY FEE/PROCESSING FEE): $35.00 DEADLINE: 9/30/24

Materiality Matters

Bend Summer Festival 2024

Call Type: Exhibitions Eligibility: International State: Oregon Fee: $15.00 (Entry Fee) Entry Deadline: 2/16/24 A juried exhibition of works from artists who explore the use of diverse materials, modes of making, and/or the concept of materiality with their art practice.

EVENT DATES: 7/13/24 - 7/14/24 Bend , Oregon FEE (JURY FEE/PROCESSING FEE ): $35.00 DEADLINE: 6/22/24

Corvallis Fall Festival 2024

EVENT DATES: 9/28/24 - 9/29/24 Corvallis, Oregon FEE (APPLICATION FEE): $40.00 DEADLINE: 5/1/24

The Deschutes Public Library Creates New Art Collection

Call Type: Public Art Eligibility: Regional State: Oregon Entry Deadline: 3/31/24 Situated in the center of Oregon, over 200,000 people call Deschutes County home. Central Oregon, widely known for its stunning mountains, rivers, pine forests and recreational opportunities, will now be home to a new 100,000 square foot library in east Bend known as Stevens Ranch, a new branch library in Redmond and completely renovated and renewed libraries in the communities of La Pine, Sunriver and Sisters and in historic downtown Bend. The project is funded by a voter approved bond measure. 1% of the brick and mortar costs are reserved for the purchase of art.

Lake Oswego Festival of the Arts 2024 EVENT DATES: 6/21/24 - 6/23/24 NOTIFICATION DATE: 4/11/24 Lake Oswego, Oregon FEE (APPLICATION FEE): $45.00 DEADLINE: 3/17/24

Salem Art Fair & Festival 2024

EVENT DATES: 9/13/24 - 9/15/24 Salem, Oregon FEE (EARLY BIRD JURY FEE): $40.00 DEADLINE: 5/10/24 EARLY BIRD DEADLINE: 2/2/24

Summer Arts Festival 2024 - 55TH ANNUAL

2025 & 2026 Exhibits Season

EVENT DATES: 6/28/24 - 6/30/24 Roseburg, Oregon FEE (APPLICATION FEE): $25.00 DEADLINE: 5/15/24

Call Type: Exhibitions Eligibility: National State: Oregon Fee: $35.00 (Entry Fee) Entry Deadline: 4/15/24 Number of Applications Allowed: 2 Maude Kerns Art Center is currently accepting submissions for its 2025 & 2026 Exhibits Season. Local, regional, and national artists (individuals and groups) working in 2- and 3- dimensional mediums, as well as installation art, are invited to submit their work for consideration. Solo, group, and/or themed shows will be curated based on the content, quality, and number of submissions. Established, mid-career, and emerging artists are encouraged to apply.

Sunriver Art Fair 2024

EVENT DATES: 8/9/24 - 8/11/24 NOTIFICATION DATE: 4/8/24 Sunriver, Oregon FEE (APPLICATION FEE - NON REFUNDABLE): $37.00 DEADLINE: 3/9/24

Troutdale Arts Festival 2024 EVENT DATES: 6/8/24 - 6/9/24 NOTIFICATION DATE: 3/1/24 Troutdale, Oregon FEE (JURY FEE): $35.00

ZAPP

zapplication.org

DEADLINE: 2/15/24

Playful Echoes CROSSWORD PUZZLE

Answers will be provided in next month’s issue.

Take a pic of your completed puzzle and send it in for a chance to win a prize! Winner is randomly selected from all entries. Send your completed puzzle pic to Newsletter@DryCanyonArts.org.

WIN ME!

INSTRUCTIONS:

JANUARY’S TOPIC: 1. Complete puzzle 2. Take pic of your puzzle Name: _____________________________________________________ Date: _______ THE BUSINESS OF ART 3. Send your pic to

Newsletter@DryCanyonArts.org

The Business of Art 1 2

7 9

10 11

16 17

28 29

Across 2. Artwork made by spraying paint through a stencil. 4. Art style that uses dots to create images. 13. Primary material used by sculptors. 15. Art made from assembling different materials. 17. The official magazine of the DCAA. 20. An artist who uses a camera. 21. Gallery event where artists display their work. 23. A small preliminary drawing or painting. 24. A person who makes and sells frames. 26. A type of printmaking. 28. A drawing or painting of a person's face.

30. A detailed and realistic style of art. 31. Substance used by artists to create a specific texture. 32. A three-dimensional work of art. Down 1. A protective coating applied over a painting. 3. Used by artists to hold and mix paint. 5. Famous Italian Renaissance artist, painted the Mona Lisa. 6. Artist's workshop. 7. Newest member of the Oregon Cultural Trust. (abbrev.) 8. The art of beautiful handwriting. 9. A style of painting with thick layers of paint. 10. Famous Spanish artist known for cubism.

11. Period known for the revival of classical art and literature. 12. Art of creating and arranging dances or ballets. 14. Artistic movement known for its depiction of light and everyday scenes. 16. City home to the Louvre Museum. 18. French term for a young apprentice in a studio. 19. This type of art is created using computers. 22. Artistic medium involving the shaping of metal. 25. A fast-drying paint used by artists. 27. A semi-transparent layer of color. 29. Light-sensitive surface used in photography.

LEND ME YOUR WALLS EXHIBITS A list of members participating in the Lend Me Your Walls program. If you are a member and want to participate in a future exhibit, contact LendMeYourWalls@DryCanyonArts.org.

Currently showing:

Susan D Lees Alexa Oxenrider Wendy Wheeler Jacobs Terri Dill-Simpson Joan Ouchida Karen Williams Valerie Y Smith Laura Fouts Carol Picknell

Carol Picknell Diana Krugle Gary McPherson Jennifer Ramerman Joan Ouchida Jodi Schneider Julie Miller KarenWilliams Kelley Salber Laura Fouts Rick Thompson Terri Dill-Simpson Wendy Wheeler-Jacobs Steve Post Cory O’Neill

Cecilia Bryant Kelly Lish Jack Perry Valerie Smith Linda Ziegenhagen

Currently showing:

John Aylward

Mel Archer John Aylward Marie Carmean Diana Krugle Vance Perry Jennifer Ramerman

(Names not available in time for print.)

The Lend Me Your Walls program has been hugely successful in engaging the community, with business owners and artists alike feeling a sense of pride and ownership over their contributions. By working together, they have created a vibrant and dynamic arts community that is benefitting from increased exposure and engagement. • The Lend Me Your Walls program is a fantastic opportunity for artists, businesses, and the community. • It provides a platform where artists can showcase their work, local businesses can drive traffic and revenue,

• •

and the community can experience art in unexpected places. The program reinforces the importance of supporting the arts and building a more vibrant community. We encourage artists and businesses to participate in this program.

Please contact us at the Dry Canyon Arts Association at LendMeYourWalls@DryCanyonArts.org to learn more about the program and how you can get involved.

FIRST FRIDAY PHOTOS December 2023 participants.

If you are a member and want to participate in a future First Friday, complete the form at www.DryCanyonArts.org/first-friday.

Finishing Up Name: _____________________________________________________ November Crossword Contest Winner

Date: _______ Congratulations to Becky Becker! She’s now drinking her morning coffee in a stylin’ DCAA coffee mug.

DCAA Crossword - December 2023

Answers to December Crossword Puzzle 1

S I 2

S 3 4

W A

T L

I N

V E

B S

T 13

E 16

U U

S R

N C

L E

E M

C G

O L

N 14

C 20

C 19

G A

D 11

A 9

G 8

M R 5

E 21

I 22

Across 4. Adam ___________: The Preacher of Pizza 5. SCP is one 9. Vincent van Gogh was one 14. DCAA's month for Fall Art Show 16. A social media management platform 17. The true essence of DCAA lies in the synergy of its members and ____________ 19. DCAA original name, _________ ___________ __________ Society

20. Newsletter editor's tool 21. Campbell’s Soup Cans painter: Andy __________ 22. An ancient Physician and founder of modern chemistry Down 1. Home of 4th Friday 2. One of the founders of Grace and Hammer 3. Newsletter editor's salutation 6. Introduced by Pablo Picasso and Georges Braque 7. This month's cover "Santa" by Shireen ____________

8. LMYW retail participant, High Desert _________ __________ 10. Art club in Bend 11. Mona's creator 12. DCAA Treasurer (first name) 13. Large-scale wall painting 15. DCAA Event Chairs (first names) 18. Artisian Anecdotes __________ of Amy

MEMBER DIRECTORY A list of members and their websites.

If you are a member and want your website listed, contact media@DryCanyonArts.org.

Grace Gasior

www.ashestoapples.com

Roundhouse Foundation Pine Meadow Ranch

www.roundhousefoundation.org

Cory and Julie O’Neill

www.coryjoneillphotography.com

K.C. Snider www.kcsniderart.com Danica Curtright www.danica.glass/ Linda Ziegenhagen

www.zhibit.org/lindaziephotoz

Wendy Wheeler www.ThePaintGeek.com Kelley Salber

www.kelleysalber.com

Gin Laughery

www.ginlaughery.com

Trenton Bahr

www.trentonbahr.com

Rick Thompson

rjt-art.com

Vance Perry www.vancemperryart.com Henriette Heiny henrietteheiny.com Terry Solini www.tsolini.com Gina Detweiler www.ginadetweiler.com John Aylward Www.JohnAylward.Photos James Morris

www.JamesHMorris.com

Gilda Hunt

www.gildasfiberandphotos.com

Terri Dill Simpson www.4brushstrokes.com Nikole Beck www.nikolorart.com Bill Hunt www.highdesertcarvers.com Katie Harris www.zhibit.org/turtlearts Shireen Gastineau

portfolio-uhacwjj.format.com/

Mel Archer www.MelArcher.com Shandel Gamer www.golemart.com Julie Miller

www.juliekmiller-horseart.com

Jennifer Ramerman

jenramerman.wixsite.com/artist

Rebecca Sentgeorge rebeccasentgeorge.portfolio.site Beth Hanson

2-beth-hanson.pixels.com

Stephen Gasior www.gasiorstudio.com Inger Bracken www.ingerbracken.com

SPONSOR DIRECTORY A list of DCAA sponsors and supporters with their websites. The Round House Foundation

www.roundhousefoundation.org

Oregon Community Foundation

oregoncf.org

Deschutes Cultural Coalition

www.deschutesculturalcoalition.org

Arome aromekitchen.com/ Cascade Hasson Sotheby’s

www.cascadehassonsir.com

Cares & Whoes caresandwhoas.com Desert Prairie www.desertprairie.com/ Grace and Hammer Pizzeria

graceandhammer.com/

Eqwine Wine Bar eqwine-wine.com/ High Desert Florals

www.highdesertflorals.com/

Birdies Brow and Spa

www.birdiesbrows.com/

St. Charles Health System

www.stcharleshealthcare.org

Harcourts The Garner Group

www.thegarnergroup.com/

High Desert Music Hall

www.highdesertmusichall.com/

General Duffy’s Waterhole generalduffys.com/ SCP Redmond Hotel scphotel.com/redmond/ Redmond Senior Center www.redmondseniors.org/ J. H. Morris Productions

www.JHMorrisProductions.com

High Desert Vision Source

visionsource-highdeserteyecare.com/

City of Redmond visitredmond.com Cascade A & E Magazine

cascadeae.com

newsletter@DryCanyonArts.org 47

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Artist’s Photo Artist’s Name and Statement

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