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DESIGNERS
Cailee Maestro
Mackenzie Mayhem
ILLUSTRATOR
Mackenzie Mayhem
COPY EDITOR
Aspen Kvicala
PRINTERS
Wenatchee World
FEATURED ARTIST PHOTOGRAPHER
Roxanne Best
COVER PHOTOS
Roxanne Best
WHERE THE INK RUNS WILD
PHOTOGRAPHER
Roxanne Best
COLORING PAGES
Meadow Topacio
Cal Waichler
SUPPORTERS
Public School Funding Alliance
Icicle Fund
Community Foundation
Arts WA
Three Rivers Hospital
Waste Wise
Creative West
Blue Star Coffee Roasters
PARTNERS
TwispWorks
Confluence: Art In Twisp
Methow Pride
The Merc Playhouse
Winthrop Rhythm & Blues Festival
SPONSORS
Blue Star Coffee Roasters
Three Fingered Jacks
Purple Sage / Methow Reservations
Methow Valley News
Johnston Architects
Methow Trails
KTRT The Root
Tackman Survey LLC
Carlton Landscaping
Sawtooth Dental
Riverside Printing
Winthrop Folk & Roots Festival
The Confluence: Art in Twisp
SPECIAL THANKS
Paid in part by Okanogan County LTAC.
from the director
Dear Friends,
As we share the second edition of the new Okanogan Arts Magazine, I want to take a moment to reflect on the powerful role that the arts play in shaping and sustaining our rural communities.
In the Methow Valley and across Okanogan County, we know firsthand that access to the arts is not a luxury—it is essential. The arts connect us, nurture us, and help us make sense of the world around us. In rural communities like ours, where resources and opportunities can be limited by geography or infrastructure, the arts provide a vital bridge to learning, expression, and connection.
At Methow Arts, we see the impact of arts education every day in the faces of students who light up when they create something with their hands, dance to the rhythm of a live drum, or hear their own words spoken on stage. For rural youth, the arts open doors to confidence, imagination, and critical thinking—skills they will carry with them for a lifetime. Through our partnerships with schools, we are building creative
pathways for the next generation and ensuring that every child, no matter where they live, has access to high-quality arts education.
But this work doesn’t happen by accident. It takes all of us—artists, educators, parents, supporters, and community members—working together to build a vibrant and inclusive cultural landscape. When you support the arts, culture, and humanities, you’re investing in more than performances or exhibits.
You’re investing in our youth. In the local economy. In community identity. In a future where rural places like ours thrive.
As you flip through these pages, we invite you to celebrate the creative spirit that runs through Okanogan County.
Support a local artist. Attend a performance. Volunteer your time. Donate if you’re able.
Share your voice in the chorus that keeps our cultural heartbeat strong.
Thank you for being a part of this community and for believing, as we do, that the arts belong to everyone—everywhere.
In community,
Sarah Jo Lightner Executive Director
Table of contents
TwispWorks is a nonprofit community campus in the heart of Twisp, WA, on a historic 6.4-acre site. Home to artists, entrepreneurs, and nonprofits, it provides the space, tools, and connections people need to do their best work. From studios and small business support to community events and education, TwispWorks is a hub for creativity, collaboration, and a thriving Methow Valley economy.
THE ARTISTS AMONG US
TwispWorks is home to a community of creators who shape raw materials into something extraordinary. Whether through metal, paint, fiber, or ink, each artist contributes to the vibrant tapestry that defines this campus. Here’s a quick rundown of the hands and minds shaping that work:
Bethany Wray
Watercolor becomes memory in Bethany’s paintings—each stroke capturing the light, movement, and essence of the valley’s ever-changing seasons. Through her workshops, she invites others to find their own rhythm in paint.
Camille Leininger
A jewelry artist who handcrafts one-of-a-kind metal pieces, honoring traditional techniques and artisanal craftsmanship. Committed to sustainability, she sources ethically mined stones and recycled metals to create timeless jewelry that reflects her deep connection to nature.
Culler Studio
Textiles and handcrafted dyes by the legendary Sara Ashford, who specializes in creating unique colors using earth pigments—both ancient and exotic—as well as locally gathered botanicals.
Don Ashford Pots
The newly remodeled Bernie Hosey basement is now home to Don Ashford and his pottery creations, which showcase the ancient Japanese technique of Kurinuki. Don’s love of pottery has brought him joy for over 50 years, during which he has honed a skill that produces usable items for every type of enthusiast.
eqpd
Championing durability and sustainability, eqpd designs and manufactures functional, ultradurable bags and accessories built for real life.
Fireweed Printshop
A collaborative printmaking studio run by Laura Gunnip, where ink meets imagination and bold, tactile designs come to life on paper and fabric.
Hannah Viano
An artist, illustrator, and storyteller whose striking cut-paper designs distill the beauty of the natural world into bold, elegant forms.
Heroncraft
A collaborative venture between Alicia and Paige Heron, dedicated to the art and science of natural building and fine woodworking.
KTRT The Root
More than a radio station, KTRT is the Methow’s independent voice, keeping the community connected througm usic, news, and local storytelling.
Masha Falkov
A multimedia artist weaving steampunk narrative and scientific intrigue through glass sculpture, 3D printing, and illustration—inviting viewers into a world of intricate, organic beauty.
Methow Metalworks
Blending craftsmanship with creativity, Jerry Merz forges custom pieces that balance industrial strength with artistic expression.
Methow Valley Goods
A showcase of the region’s best handmade and locally produced items, supporting the artists and artisans of the Methow.
Old Schoolhouse Brewery Taproom
More than just a brewery, it’s a gathering place where craft beer meets community spirit in the heart of Twisp.
Orchard House Bakery
A mighty confectionery crafting handcrafted, seasonal doughnuts that turn simple ingredients into edible art—plus offering the best homemade chai in the region.
Peter Nawrot Woodworking
Creating finely crafted furniture, cabinetry, and wood sculpture, Peter Nawrot blends traditional woodworking techniques with uniquely stunning wood.
Red Umbrella Design
Founded by illustrator and graphic designer Baylie Peplow, this studio specializes in nature-inspired art and illustrations, offering prints and original works that bring beauty and meaning to everyday life.
The Wild In Us
A custom saddle and leather goods workshop founded by Trent Peterson, who blends traditional craftsmanship with a passion for the equestrian lifestyle. He donates a portion of each sale to the National Ataxia Foundation in his father’s honor.
Unruly Beings Tattoo and Tarot
Founded by Caitlin Cordell, the studio specializes in fine line, black and gray illustrative tattoos inspired by nature. With a background in social work, Caitlin takes a trauma-informed approach, using tattooing as a tool for healing and personal expression.
Velocity Made Good
Multidisciplinary artist Perri Lynch Howard creates site-specific sculpture, sound installations, and integrated public art. Rooted in exploration and a deep sense of place, VMG investigates the intersection of sound, landscape, and human impact.
Kelleigh McMillan
Under the name Songbird Jewelry, Kelleigh crafts pieces meant for movement—light, organic, and effortless. She also shares her craft with young artists, ensuring that knowledge and creativity continue to flow through generations.
KNOWLEDGE IS POWER: INTERNSHIPS AND APPRENTICESHIPS TRANSFER SKILLS FROM ONE CRAFTSPERSON TO ANOTHER
By Grant Eadie
Sharing knowledge is intrinsic to the mission of TwispWorks, as well as to the artists and makers who occupy the campus. Craftspeople of all types—from welders to woodworkers—make demonstrating skills part of their purpose in setting up shop here, and Methow Valley School District students jump at the chance for handson learning.
The Independent Learning Center (ILC), located on the TwispWorks campus, operates on the principals of Big Picture Learning, an educational model that proposes that all students can and should live lives of their own design, supported by caring mentors and plentiful hands-on opportunities—like internships—in order to achieve their greatest potential.
“Internships not only teach students important real-world skills,” says Kelleigh McMillan, Work and Education Advisor for the Methow Valley
School District, “but also important life skills, such as how to be a responsible employee, and whether they enjoy various career options.”
Internships are mandatory at the ILC, and 35 students participated in community- based internships in the 2024-2025 academic year. The program has been so successful that McMillan is working to establish internship opportunities for students at Liberty Bell High School as well.
We spoke with several interns to find out what their hands-on learning opportunities meant to them. Once a week throughout the spring semester, Damien Spears, a 2025 ILC graduate, interned with Tyler Johnsen of Johnsen Steel Works. Eventually he’d like to parlay his welding skills into a career that can take him all over the country—and even the world.
“Welding class (at the newly upgraded Welding Classroom at TwispWorks) was great for practicing my skills,” Spears said, “but my internship gave me an understanding of the whole metal-working process—from planning a project, to cutting the pieces, to putting the final assembly together.”
Another ILC graduate, Amelia Evans, completed several internships during her high school career. “My first internship was with Nicole Ringgold doing silversmithing,” Evans told us. “Then I took a natural dying internship with Sara Ashford, of Culler Studio. Both were magical experiences. I also had a short internship with Laura Gunnip, of Fireweed Print Shop, and then Fletcher Rickabaugh, learning screen printing. My internship with Fletcher taught me to use the drawing app Procreate to digitize my artwork, which is very useful! Plus, the internship worked into a summer job with him!
“After my internship with Nicole, I had enough experience making jewelry that I could start selling it, so I joined the Magpie Jewelry Collective in Winthrop,” she continued. “But more than anything, I love the personal connection of an internship—both to what is being taught, and who is teaching you!”
Nicole Ringgold, one of Evans’ mentors, also values her relationships with her mentees. “I try to mentor one to four interns a year,” she says. “Although I teach classes for adults from all over the world, I particularly enjoy opening the world of silversmithing to teenagers because they find it so empowering. It’s like learning a new language that you can translate into other aspects of your life: the creativity, the problem-solving, the planning and executing, the working with fire, the hammering and soldering—all to arrive at an outcome that is beautiful. You can see in their eyes the excitement they feel at their own creation—even people who never considered themselves artistic. That’s why I keep doing it.”
Izabel Bajema is another young artist who benefited from a TwispWorks internship—hers with Laura Gunnip of Fireweed Printshop.
“Laura taught me screen printing and block printing, how to use Adobe Photoshop and other tools, how to merchandise and price my products, and turn my art into a business,” Bajema said. “Before I came to the ILC, my education was very structured and two-dimensional. It was on paper, literally. An internship is much more immersive—and because of it, making art has become part of my life.”
Bajema graduated this year and will take a gap year before moving to Fairhaven for more internships. “I want to keep exploring,” she said. “I’m interested in textiles and fiber arts, upcycling clothing, and printing and painting.”
Gunnip, who has mentored interns for years, says that the experience, “is life-changing. Our relationships are more about support than about sharing a craft. Making art is just the activity that brings us together. I help them with their projects, and they help me with mine.”
“Most business owners who serve as mentors find the experience rewarding,” McMillan confirmed. “Rather than looking at it as ‘free labor,’ most see internships as a way to pass along their knowledge and build cross-generational connections that are meaningful to them, as well as to the students.”
Over 75 artists, tradespeople, and business owners have participated as mentors today, but as the program grows, McMillan says that the school district “is always open to new participants. Because internships are based upon student interests we can’t guarantee a match right away, but we would love to add you to our database.”
These internships and apprenticeships reflect something essential about TwispWorks: knowledge is meant to be shared. When a young person works alongside a mentor, they’re stepping into a tradition of learning by doing, of passing down skills, stories, and confidence. The relationships built in these studios and workshops shape more than just careers, they shape community. And with each new match between student and craftsperson, that community grows stronger, more connected, and more capable of imagining what comes next.
For more information visit: www.twispworks.org
EVENTS ON THE TWISPWORKS CAMPUS: A 2025 UPDATE
By Grant Eadie
This was, without a doubt, our busiest summer yet. Since May, nearly every weekend has had something happening here—live music, art classes, community gatherings, a few dance parties, and the occasional meeting or workshop tucked into the mix. Between June and July alone, we hosted two Fourth Fridays, Schoolapalooza (great work PSFA), ArtsFest (huge thanks to Methow Arts), Pride Fest (big love to Methow Pride), and a wildly successful Grateful Dead tribute night that felt like it turned the Pavilion into a living postcard for the community
It’s wild to think about, honestly. When you know the history of this place: the old USFS station sitting empty for decades, mostly consisting of gravel lots. It makes these packed summer weekends feel like a utopic dream.
Back in 2008, a bunch of locals believed this property could look like what it does today, and
over time, with a lot of effort and a bit of patience, it’s become exactly that.
These days, the campus feels like it’s doing exactly what it was built to do. Right in the heart of town, it brings together artists, educators, small business owners, a brewery, a radio station, an early learning center—all in one place. It’s a unique mix, but it works, and not by chance. The people who came before us had a clear vision: create a space that serves the community in real, everyday ways. That vision is alive now— in the music, the conversations, the kids weaving between picnic blankets. When the lawn fills up and the lights come on, it’s clear: this place was made to be used. And this year it is used more than ever.
Thank you, to everyone who chose TwispWorks as the place to hold your event this summer, and to everyone who came out and made it feel alive.
Methow Arts enriches the lives of people in Okanogan County by making the arts an integral part of public school education, economic vitality & community. We envision a future where artists & art organizations collaborate & thrive, where the arts are part of the consciousness & experience of people of all ages.
“ART PARTY!” A CHILD-CENTERED APPROACH TO ART EDUCATION IN THE CLASSROOM.
By Judith Robertson
Step into the art classroom at Methow Valley Elementary School (MVES) and you’ll feel it instantly, a joyful explosion of color, curiosity, and creativity. Brushes dance, ideas bloom, and every student shines. This is no ordinary art class, it’s an “Art Party! ”Here every child is an artist. Every child is engaged. The “Art Party” takes place every seven weeks for the Kindergarten through Grade 5 classes as part of a child-centered art education approach that truly emphasizes self-expression and belonging.
The art supplies are abundant; one table is piled high with recycled boxes, egg cartons, and toilet paper rolls. Another table is laid out like a buffet, with donated beading supplies, tiny cocktail umbrellas, pressed flowers, and fabric scraps. There is a painting table, a drawing table, and a collage table. Students move around the room freely, exploring the variety of mediums and sharing in inspiration from and with each other.
Sometimes they create their own masterpieces, sometimes they work together. The art making is not directed by the teacher, rather the art making is focused on individual choice. Based on a learner-focused pedagogy known as Teaching Artistic Behaviour (T.A.B.) the “Art Party”, as the students know it, is about teaching creativity. TAB originated in the 1970s, when educators Katherine Douglas and John Crowe firmly believed that, “The child is the artist” and sought to find alternatives to teaching to support this. In response to rigid, product-focused art instruction, they created a model that puts creative decision-making into students’ hands which is a shift that remains powerfully relevant today.
The “Art Party” at MVES is also inspired by Art Hives, which are community art studios that celebrate the strengths and creative capacities of individuals and communities. Professor and art therapist Dr. Janis Timm-Bot-
tos was instrumental in creating the model and structure of Art Hives. Rooted in traditions like quilting bees, Art Hives emphasize inclusion, sharing, and accessibility. They encourage both skill and resource sharing, often using recycled materials to make creativity more sustainable and approachable for all.
At MVES, Methow Arts educator Judith Robertson asks the students, “What do you like about making art?” They share their responses on the white board at the front of the class: “inventing,” “freedom,” “the challenge,” “it’s peaceful,” “having fun.” “I love art making because you can make stuff and fix your mistakes.” These responses clearly reflect Methow Arts’ belief in art being a tool for empowering the students in their own learning and self expression. Student-centered art education benefits include:
ENGAGEMENT THROUGH CHOICE
When students have the freedom to choose materials, subjects, and approaches, they are more invested and enthusiastic about their work.
INDIVIDUAL
INTERESTS, NEEDS, & ABILITIES
Each child is recognized as a unique learner, allowing for personalized learning and creative expression at their own pace and level.
CREATIVITY & SELF-EXPRESSION
Open-ended projects invite students to express their thoughts, ideas, and identities through a variety of artistic forms.
EMOTIONAL DEVELOPMENT
Art becomes a safe space for students to explore and process their emotions, experiences, and personal narratives.
PROCESS OVER PRODUCT
Emphasizing exploration and experimentation over perfection helps students take creative risks and embrace discovery.
SELF-CONFIDENCE & EMPOWERMENT
By making their own artistic decisions, students develop a sense of ownership, pride, and belief in their abilities.
SOCIAL GROWTH & COLLABORATION
Through shared materials, peer mentoring, and a supportive environment, students build community and learn from one another.
The teacher’s role is to hold the space; one where the child is valued, and encouraged to take risks and express themselves authentically. Student-centered art education is not about students trying to mimic the teacher’s art. It is not always about beautiful artwork to send home or to display. The focus is on thinking, problemsolving, discovering new media, and expressing themselves. The child is the artist. In the art room, creativity sparks connection—among students, their work, and their world.
CAN WE TEACH STUDENTS TO LOVE WRITING AGAIN? EXPANDING THE DEFINITION OF WRITING IN SCHOOLS
By Nick Littman
When I began teaching poetry to children in 2017, traveling to rural and urban classrooms around Western Montana, my mentor in the teaching of writing, poet Sheryl Noethe, reminded me of a singular purpose: “We teach students to love writing again.”
Having just come from tutoring at the Writing Center at the University of Montana, I knew that for many college students, writing was both a chore and a struggle. The challenge wasn’t just grammar or sentence structure—it was also connecting ideas, practicing self-reflection, and tapping into creativity. As a result, much of their writing felt prescriptive rather than expressive, constrained rather than expansive.
When I began teaching poetry in elementary and middle school classrooms, I realized that younger students were at a stage where their definition of writing could still be expanded. Writing didn’t
have to be only a tool for producing a book report (though it can be that too). Like any form of expressive art, it could serve as a way to translate our experiences of the world into something others could see and hear. As Sheryl Noethe and Jack Collom wrote in Poetry Everywhere, poetry is “what people write when their sense of discovery is working well.”
That sense of discovery—finding something you want to say but not yet having the words, the time, or the space to say it—is what I began bringing into classrooms around Okanogan County in the spring of 2025. When students realize that writing doesn’t always need to fit into a rigid form, and that it can reflect their truest selves– in all their silliness, confusion, or pain– they often begin to enjoy it more. With focused prompts and room to explore, they start to examine their place in the world:
I am from a place of one main color, From a great plain of grass, if you ask. I am with the people of tribe, under. When you drive, you may have passed
A place only 2nd to 1st and 3rd
Very deserted, you probably haven’t heard, Critters, big and small, always about, Dirt in between your toes, all abound.
This was written by a ninth-grade student from Paschal Sherman Indian School, describing their home on the Colville Indian Reservation through rhyme. Another sixth-grade student from Methow Valley Middle School reflected on their life through their hands:
As students look more closely at themselves, they often uncover the trauma they carry. Lines from Paschal Sherman students include:
“I am from a place the U.S. government and Canadian Government forced my ancestors on by genocide and Indian Boarding schools and nothing else except trauma.”
“I’m from a place where most kids don’t have parents, but I’m one of them, so we all just bear it.”
“Poetry saves lives,” Sheryl once told me, after teaching for over 25 years. It’s hard to prove such a claim. But what if, by expressing their truth, students feel—perhaps for the first time—that they have something worth saying? That is the heart of what poetry and creative writing can offer: the reminder that every individual has something unique and vitally important to share.
A student might read their poem and realize they’re not alone. Or, through shaping their words, they might unearth what causes them pain. They may come to see writing as far more than a tool for school assignments—it becomes a mirror for self-understanding and a map for locating themselves in a complex world.
Does poetry save lives? Maybe. But it certainly does shape them. It gives us another way to figure out who we are and where we’re going. And perhaps most importantly, it reminds students that writing, and the reflection it inspires, is in fact fun.
THE POWER OF THE ARTS: BUILDING COMMUNITY, CELEBRATING CREATIVITY
AND LIFTING LOCAL VOICES
By Methow Arts
At Methow Arts Alliance, we believe that the arts are more than entertainment—they are essential to the heartbeat of a vibrant, connected community. Whether it’s a local youth performance, a professional quartet, or a dazzling drag show, the arts offer shared experiences that inspire empathy, celebrate diversity, and foster joy. In rural communities like ours, these moments of collective expression are not just important— they are transformative.
As we look ahead to an exciting fall season of performances, we invite you to join us in celebrating the power of live art and performance. Mark your calendars for two not-tomiss events at the Winthrop Red Barn: Medusa Quartet on Friday, October 10, and the Holiday Drag Spectacular—in partnership with Methow Pride—on Saturday, December 6.
These performances showcase not only outstanding talent, but also Methow Arts’ commitment to inclusion, representation, and community building.
WHY COMMUNITY PERFORMANCES MATTER
Art has the unique ability to bring people together across generations, perspectives, and backgrounds. Community performances, in particular, create shared spaces for connection. In an age of digital overload and social isolation, gathering in person to witness a story told through music, movement, or drama becomes deeply meaningful. It reminds us that we are part of something bigger than ourselves.
Supporting local and touring performers helps keep our creative economy thriving. Each ticket purchased, every seat filled, and every word-of-mouth recommendation helps sustain the work of artists who contribute not only to
our cultural life but to our regional economy. According to Americans for the Arts, nonprofit arts and culture organizations generate billions in economic activity nationwide. Even in small towns, performances can be powerful drivers for local businesses—from restaurants to lodging.
Methow Arts’ performance series creates platforms for emerging voices, honors tradition, and takes bold steps to reflect the full diversity of our community. Whether it’s dance, music or drag, these shows invite us to explore new perspectives and expand our understanding of what art can be.
SPOTLIGHT: MEDUSA QUARTET — FRIDAY, OCTOBER 10
We are thrilled to present Medusa Quartet, a dynamic and genre-blending string quartet, at the Winthrop Red Barn on Friday, October 10. Doors open at 6PM and the show begins at 7PM. This electrifying all-female quartet defies expectations with a program that fuses classical precision with modern edge.
Named after the powerful Greek mythological figure, Medusa Quartet turns classical string repertoire on its head, weaving in contemporary arrangements and unexpected musical twists. Audiences can expect a riveting mix of emotional depth, technical mastery, and accessible storytelling through sound. Whether you are a chamber music aficionado or a curious newcomer, this performance promises to captivate.
The Red Barn’s intimate acoustics and relaxed setting make it the perfect venue for this oneof-a-kind evening of live music. Come early, grab a beverage, and settle in for a transformative musical experience.
COMING SOON: THE HOLIDAY DRAG SPECTACULAR — SATURDAY, DECEMBER 6TH
On Saturday, December 6, Methow Arts and Methow Pride are teaming up to bring a burst of holiday sparkle to the Winthrop Red Barn with the Holiday Drag Spectacular, a 21-and-
over event. This glittering night of celebration and performance features a beloved local queen to kick off the evening (surprise special guest!!!), followed by a cast of fabulous Seattle-based drag artists who will light up the stage with music, comedy, and high-octane glamour.
Doors open at 6PM, and the show starts at 7PM. Expect festive vibes, big energy, and a chance to dress up, dance, and revel in the joyful spirit of drag artistry. More than just a party, this event is a statement: that rural communities like ours can—and should—embrace inclusive, affirming spaces for expression. Drag performance is an art form that fuses theater, dance, costume
design, and personal storytelling. It offers a platform for queer joy, cultural commentary, and celebration of individuality. We’re proud to partner with Methow Pride to create a space that’s welcoming, safe, and alive with creativity.
JOIN THE MOVEMENT
Methow Arts’ Red Barn series reflects our ongoing commitment to access, artistic excellence, and community engagement. When you attend a performance, you’re not just enjoying a night out—you’re helping sustain a creative ecosystem that uplifts youth, supports working artists, and builds belonging across our region. We encourage you to invite friends, bring neighbors, and be a part of these upcoming events. Tell your story, share your voice, and help us build an arts community where everyone feels seen, heard, and celebrated.
UPCOMING EVENTS AT A GLANCE
Medusa Quartet
Date: Friday, October 10
Time: Doors at 6PM, Show at 7PM
Location: Winthrop Red Barn
Tickets: Available online at methowarts.org
Holiday
Drag Spectacular (21+)
Presented in partnership with Methow Pride
Date: Saturday, December 6
Time: Doors at 6PM, Show at 7PM
Location: Winthrop Red Barn
Featuring: Local and Seattle-based drag performers
Tickets: Coming soon at methowarts.org
Holiday Drag Spectacular featuring Clara Voyance
D r a wingLines ofConnecti o n
TATTOO, TAROT, AND THE ART OF HEALI NG
By Cailee Maestro
When you walk into Caitlin Cordell’s studio, it doesn’t feel transactional. There’s no fluorescent buzz, no flashbook on the wall asking you to point and pick. Instead, it’s quiet. Warm. There’s a stillness, like you’ve stepped into a space where story, spirit, and symbolism gently unfold.
Caitlin is a tattoo artist, yes, but to leave it at that would be like calling a forest just “a bunch of trees.” Her practice draws from deeper roots. With a background in social work and a long-standing connection to art and archetype, Caitlin weaves together modalities that don’t traditionally share a sentence: tattoos, tarot, trauma-informed care, youth empowerment. What ties them together is presence. Her work is about witnessing, whether through ink, conversation, or illustration—she holds space for transformation.
At Methow Arts, we champion art in all its expressions: visual, experiential, cultural. Caitlin’s work is a perfect reflection of that mission. She creates not just on the surface, but in the spirit. Through delicate linework, intentional dialogue, and a grounded ethic of care, Caitlin’s work reminds us that art can hold space. That it can listen, reflect, and heal. In her hands, a tattoo isn’t just a mark. It’s a memory, a connection, and most importantly, a conversation that lingers long after the ink dries.
Cailee: Let’s start with the big picture—when you think about your work, how do tattooing, tarot, and social work come together in your life? What’s the thread that ties them all?
Caitlin: As a social worker, a lot of my experience is listening and being present with people’s pain, their trauma, their stories, and their experience. To have a practice where we’re doing something
very symbolically oriented like tattoo or doing a tarot reading where the conversation is very personal is healing. I would say healing and connection are kind of the through line.
Cailee: So what drew you to this path?
Caitlin: I’ve loved tattoos since I was sixteen and had considered loosely what being a tattoo artist would take, but I was also very committed to my youth work career path. I’d been an illustrator most of my life but thought of it more as a hobby. In 2017 I renewed my commitment to a drawing practice and started teaching myself the technique of hand poking, which is a method where the artist manually dips the needle into the ink and then into the skin rather than using a machine. After lots of practice on myself I had friends start to ask if I would do tattoos for them and this turned into a small side business. In 2020 I had a friend and tattoo shop owner offer to mentor me in machine tattooing after seeing my work. Machine tattooing gave my skills a major boost and my clientele grew. In 2023 I decided to take the leap to full-time tattooing! My sixteen- year-old self would have never dreamed she could become a tattoo artist, so it still blows my mind that I’m doing this professionally.
Cailee: Trauma-informed care is a central part of your practice—how has that influenced how you hold space for clients as a tattoo artist?
Caitlin: A lot of people get tattoos that commemorate experiences and people in their lives. I’ve done a lot of tattoos for people that are memorializing a loved one that has passed, either animal or human, and it feels important for me to hold their grief and their stories. I usually ask my clients if they would like to talk about their experiences or share stories because consent is important to me. Holding space is about not trying to obfuscate the conversation or redirect, but to be really present. There have been many tears shared in this space, not from pain (I’ve been told I have a light hand), but because all the feelings are welcome in my chair.
Cailee: You’ve described your tattoo practice as deeply intentional. For someone walking into your space, what does that experience feel like? How does it differ from what they might expect in a more traditional tattoo setting?
Caitlin: I want my clients to know I care about the reasons behind their tattoo idea and I make space to talk about it. I also care about collaborating with my clients and getting their feedback on the art I’m making. I set up free thirty-minute consultations to anyone who wants one and I always send the art for the tattoo ahead of time and allow my clients to offer feedback. At the appointment I check in regularly with my clients about their comfort. Being intentional with my clients means they know I care about their needs and feel safe speaking up when they need something different.
Cailee: You’ve built a brand around Unruly Beings. What does that name mean to you?
Caitlin: The Unruly Beings name came from a process of trying to figure out what to call the tarot deck that I’m publishing but applies to my tattoo business as well. My art is about reverence for the more than human world– which is predominantly non-hierarchical– so the word “ unruly” felt like a great descriptor. This planet has rules but not rulers and definitely doesn’t work in a linear fashion. The Unruly Beings brand is about having a rebellious spirit, it’s about kinship with all life, it’s about the word “beings” denoting sentience. It feels like an inclusive phrase to describe those of us that aren’t interested in abiding by traditional roles and who look to plants and animals as guides and friends.
Cailee: Your artistic style—delicate, earthy, symbolic—runs through your tattoos and tarot illustrations. We’ve talked about that a little bit. Where does that come from? What’s your relationship to nature and symbolism in your work?
Caitlin: I’m drawn to details and texture and light and dark. Black and white has always been a
part of my illustrative style since I was a kid, so I think there’s something innate about that in me. As far as plant and animal symbolism go, I think there’s something innate in humans that makes us understand our experiences through the flora and fauna that we come into contact with. We see this in the earliest of hieroglyphic art. I’ve always been drawn to using animals and plants as symbols. There is something beautifully profound about the pure ways animals and plants express themselves. When I relate to an animal, it’s almost instinctual the way I connect. As a child I loved cheetahs (what kid doesn’t) but for me it was because I loved to run fast and they exemplified speed and grace in a way I admired. It’s interesting, I don’t even describe myself in human terms, I often think of my personality as being made up of animals and plants. Maybe that’s why I lean on non-human symbolism in my work—it comes naturally.
Cailee: Are there any myths or misconceptions about tattooing that you wish people would unlearn?
Caitlin: think the biggest misconceptions come from the ways clients give power to the tattoo artist. If you don’t like the tattoo art, the size or the location of a stencil, you should not move forward and the artists should make accommodations. I also think a lot of clients feel like they need to be exposed with their body, or that they should automatically say yes to having vulnerable photos taken of their exposed body for an artist’s social media profile. Your tattoo artist should honor your needs and comfort and ask your permission for photos. Sure, the artist may have some boundaries around their art and time, but tattooing is a practice in consent and respecting boundaries. I think one of the other biggest myths is that getting a tattoo is a high-risk for infection. The tattoo industry is very good overall about protecting clients from bloodborne pathogens and using clean and well-tested inks and needles. The technology keeps getting better and we take your care very seriously.
Cailee: Let’s talk about your tarot deck—what inspired you to create Unruly Beings Tarot, and what makes it different from traditional decks out there?
Caitlin: A little under ten years ago my partner Easton introduced me to tarot and I really loved it as a tool for navigating challenges and big decisions. A little after my introduction, I had a friend that wanted to collaborate on a tarot deck and it felt aligned with how and what I like to draw. A lot of it felt pretty intuitive. Unfortunately my friend wasn’t able to continue the process but I didn’t want to stop. So I started drawing a card a week. I’ve always gravitated toward plant and animal decks like the Wild Unknown or the Herb Crafters Tarot so I knew I wanted to do a flora fauna deck without humans or human symbols. I think the art in
my deck is unique from other decks. I haven’t seen other black and white decks that have the level of detail mine does. I also don’t use any human made objects and most decks do. Finally, one of the major differences in my deck compared with other tarot cards is that I don’t use the traditional court cards (Paige, Knight, Queen, King) and instead use the four seasons (Spring, Summer, Autumn, Winter). This was my partner Easton’s idea and it fits perfectly with the message of this deck.
Cailee: Many artists talk about the emotional labor of creating in such a personal and vulnerable space. How do you take care of yourself while doing this work?
Caitlin: The hardest part of the work is mostly the physical labor of it. My body struggles with long hours of sitting and concentration so releasing through movement is pretty important. I try to incorporate exercise and fitness into my life. Usually after a tattoo I just have to totally zone out for a while or take time to myself by the river. The art creation of my work doesn’t feel draining. I love drawing and doing it doesn’t feel like labor.
Cailee: If there’s one message or experience you hope people take away from encountering your art, your deck, or sitting in your chair— what would that be?
Caitlin: What I hope people take away is that they feel deeply heard and respected. I often ask my clients, “what would make this even better?” and I hope that helps people feel safe to say exactly what they need to feel good. One of my favorite things about tattooing is when people feel a renewed sense of beauty in themselves after they get art on a part of their bodies that maybe had trauma, a scar, or just didn’t feel like them. I just love that.
With my tarot deck, I hope it prompts people to connect deeply with all sentient life on this planet. I hope that people receive lessons and
messages from the beings they meet in the deck that help them find a path forward if they are stuck.
Cailee: Is there anything else that you would love to showcase?
Caitlin: You know, one thing I’d like to highlight, is that I’m a pretty eco-friendly tattoo artist. I use almost zero plastic in my practice. All of my barrier films are made from plants, even my Saran wrap is made from corn. It’s something I’m very conscious of. My only exception is I do use nitrile gloves when people are allergic to latex and of course my needle cartridges are plastic and metal. But other than that I try to focus on low plastic waste. It aligns with my values.
In a world that often moves too fast, Caitlin Cordell invites us to pause—to listen, reflect, and honor our own stories. Whether through the delicate lines of a tattoo, the symbolism of her tarot deck, or the quiet attentiveness she brings to each session, her work reminds us that art is more than creation—it is connection. In her studio, transformation happens not in grand gestures but in the small, sacred spaces where presence and care meet. For those seeking more than just a mark on the skin, Caitlin offers an experience that resonates long after you leave— a chance to be seen, heard, and celebrated in all your complexity.
A heartfelt thank you to Caitlin Cordell for opening her studio, sharing her story, and allowing us a glimpse into the thoughtful, transformative work she brings to the Methow Valley.
Find and follow her work on instagram: @caitlincordell23 and @unrulybeings
UNRULY BEINGS FLASH SHEET
Email Caitlin with the name of the flash piece you want at caitlin.cordell@gmail.com
$400 Japanese Stone Pine
$600 Magnolia
$400 Hawthorn
$400 Checkerspot Butterfly $300 Rose $300 Gingko
Test the flash out by trying a temporary tattoo! Step 1. Cut out a design from the flash sheet. Step 2. Spritz some perfume on the area of skin that you want the design. Step 3. Spritz some perfume on the face of the design. Step 4. Place your design on the skin. Step 5. Apply pressure on the newspaper with a damp cloth for 45 seconds.
Temporary Tattoo Disclaimer Use at your own risk. Not recommended for sensitive skin or children under 12 without supervision. Discontinue use if irritation occurs. Methow Arts is not liable for any reactions.
The Confluence: Art in Twisp, a 501c3 organization, was founded in 1988 by a small, forward-thinking group of artists who felt the Methow Valley needed a place to gather for the celebration of the visual arts. Since that time, The Confluence: Art in Twisp has become a cultural landmark in downtown Twisp.
Artwork by Ryan! Feddersen
THE CONFLUENCE: ART IN TWISP
By Teresa Mitchell
As the only non-profit art gallery in Okanogan County, The Confluence: Art in Twisp proudly showcases the work of local and regional artists. The gallery hosts sixteen exhibits each year, eight in the main gallery and eight in the Community Gallery, and strives to share work from all segments of our rural community. The Confluence Gift Shop boasts a wide selection of handmade jewelry, ceramics, textiles, cards, and one of a kind works from artists across the region.
By curating high-quality exhibits and a dynamic gift shop, The Confluence supports the local economy by putting money directly into the pockets of working artists.
The Confluence is also home to the Confluence Poets. Through the Confluence Poets, the gallery hosts regular meetings, workshops, readings, and special events, like the William Stafford Birthday Celebration in January.
Each spring, The Confluence: Art in Twisp hosts the Trashion Show, a showcase event for designers who create high fashion using recycled materials. Through partnerships with other local businesses and organizations, Trashion Show has become one of the Methow Valley’s most popular events. Mark your calendars for next year’s event on May 16, 2026.
The Confluence: Art in Twisp is also home of the Methow Valley Home Tour, a daylong event on September 20, 2025, that invites participants to experience first-hand the multitude of ways residents use creativity and ingenuity to live in harmony with the landscape.
This year’s MV Home Tour, titled The Place that Keeps You, explores the creative and clever ways people live in the Methow Valley. The tour features homes and gardens in Twisp, Carlton, and Methow that celebrate artful, engaging function.
Artwork by Patty Yates
FALL 2025 EXHIBITION SEASON
SEPTEMBER
RECONSTRUCTED LANDSCAPES
Main Gallery: August 10 - October 4
Opening Reception: August 23, 5-7 PM
Curator: Robin Doggett
Landscapes orient us by presenting us with a vision of the world. In the traditional sense, they represent a view in nature but often what is considered “of nature” is in fact manufactured; a yard, a park, a lawn. A re-constructed landscape considers the natural and the un-natural, the representative and the abstracted. It can be an open skyline, cityscape, or even a skyscape. Where does nature end and human influence meet and where do they diverge?
HOME—BEYOND ARCHITEXTURE
Community Gallery: August 10 - October 4
Opening Reception: August 23, 5-7 PM
This exhibit, created by local artist Janet Fagan, explores the idea of home as a safe space for the heart. The idea of home implies safety and is a space where we can be ourselves and rest. When our idea of home is lost, how can we find it again? Where does one feel most at peace, welcome, and at ease? What is “home” to you and who do you welcome in? Perhaps architecture is not the only criteria. For Janet, the deepest sense of home is often constructed by the sky and earth, as the landscape witnesses her life and reminds her of her connection to all things. She states, “People or animals I love are my places of rest. This exhibit presents spaces of safety as I feel them, inviting you to reflect, create, and respond. I hope you all feel wecomed and join me in creating a call and response to what home means to you.” At the end of the exhibit, community responses will be gathered and braided into new artwork. We are all artists, and together we can create a place of safety and beauty. We are Home.
OCTOBER
RHAPSODY IN HUE
Main Gallery: October 7 - November 15
Opening Reception: October 11, 5-7 PM
Curator: Janet Fagan
Main Gallery - Rhapsody in Hue Rhapsody in Hue highlights work that celebrates the power of music through creative disciplines. Music moves us, physically and emotionally. It generates mood, ideas, energy, and creates a deep sensory form of memory that we hold onto beyond the challenges of aging and dementia. It heals and informs our art. Join us for this special celebration of the 101st birthday of Gershwin’s Rhapsody in Blue and experience a rich display of visual art influenced by music.
RYAN! FEDDERSEN: COYOTE & MONSTERS YET TO SLAY
Community Gallery: October 7 - November 15
Opening Reception: October 11, 5-7 PM
In her first exhibit at The Confluence, Ryan! Feddersen will share works on paper that tackle current social problems through the lens of Plateau lore. Artworks explores Coyote’s interactions with monsters, both established in past stories and envisioned for the present day. Now based in Tacoma, WA, Feddersen grew up in Wenatchee and is an enrolled member of the Confederated Tribes of the Colville Reservation. Her work focuses on creative problem solving to address social issues through visual allegories that provide opportunities for exploration, introspection, and epiphany.
November
BACKYARD WILDERNESS: COYOTE IN THE PARKING LOT
Main Gallery: November 18 - January 10
Opening Reception: November 22, 5-7 PM
Curators: Jennifer Molesworth & Janet Fagan
The title of this exhibit comes from experiences we all have had when encountering wild animals in places commonly used by humans–a coyote in the parking lot, a mouse in the house, a hummingbird at the feeder, or a bear on the trail. Artists in the exhibit respond to questions like, “When we overlap so closely with our wild neighbors what is the outcome?” and “How can art give us new ideas and ways of seeing those connections?” The exhibit aims to shine a light on how we can share the land, sky, and water in ways that benefit all. This is The Confluence’s: Art in Twisp’s annual holiday show and work will be sold off the wall for seasonal gift giving.
UNTAMED
Comunity Gallery: November 18 - January 10
Opening Reception: November 22, 5-7 PM
A perfect pairing with The Confluence: Art in Twisp’s main gallery exhibit, Methow Valley artist Cheryl Quintana’s work explores the animals of the Methow in stoneware form. Works include wall hangings and 3-dimensional pieces affixed to metal stands. As a part of the holiday exhibit, Cheryl’s work will be sold off the wall for seasonal gift giving.
The Confluence: Art in Twisp is located at 104 Glover Street in downtown Twisp. Gallery and gift shop hours are 10AM-5PM Tuesday through Saturday.
To contact the gallery, call 509-997-ARTS, email info@confluencegallery.org, or visit www.confluencegallery.org.
WHERE THE INK RUNS WILD: THE STORIES OF WOMEN TATTOO ARTISTS IN OKANOGAN COUNTY
By Cailee Maestro
For several artists in Okanogan County, tattoos aren’t just decoration, they are living stories. They can hold the shapes of mountains and rivers, carry the lines of old traditions, or map deeply personal journeys of loss, love, and transformation. In the hands of women artists here, tattooing is more than art, it is a vessel for memory, identity, and resilience.
For Marsallai Quick, the process begins with listening. Every tattoo she creates honors the life story a client brings into her studio. In her hands, ink becomes a bridge between the inner world and the outer skin—a way for people to carry their truths in a visible, tangible way.
For Meadow Topacio, an Indigenous artist whose work often draws on ancestral symbols, medicinal plants, and the teachings of elders, each design is a continuation of traditions that nearly slipped away. Her tattoos become threads in a
much larger story– one that connects generations and keeps cultural knowledge alive.
For Teresa Jensen, a seasoned tattoo artist rooted in a rich lineage of west coast tattooing, her journey began over two decades ago apprenticing under the legendary Patti Jo Armstrong. Teresa’s work honors tradition while embracing creativity, and she dedicates herself to education and advocacy within the tattoo community.
Together, these women remind us that ink is a language– one of inheritance, healing, and belonging. It has a way of saying: this is who I am, and this is where I come from.
These are their stories.
TELL US ABOUT YOURSELF AND YOUR JOURNEY AS A TATTOO ARTIST!
“I’ve been an artist since the beginning of time—at least it feels that way! Growing up, my mom encouraged me to draw and paint, even on my bedroom walls. I still create art in all forms today. I studied graphic design and had a fulfilling career as an EMT/IV technician, which was actually my first experience working with needles. After raising our three kids, I decided to pursue tattooing, a decision my husband fully supported —even though he doesn’t have tattoos himself. Tattooing has been an amazing journey. Every time a client trusts me to ink their story, I’m humbled and honored. I take that responsibility seriously and always check in to see how they’re doing after the tattoo. I feel deeply connected to my clients and the community.”
MARSALLAI QUICK
“My Indian name is Sisyu’s, and I’ve been an artist for as long as I can remember, whether with pencils, brushes, needle and thread, or a tattoo machine. Art has been my lifelong companion, but I only started taking tattooing seriously after becoming a mother. The apprenticeships I pursued didn’t always work out, but I kept pushing forward on my own. Thankfully, I found a safe, supportive studio environment where I could grow. Now, after over five years tattooing, I’m surrounded by artists who believe in me and help me grow. My journey is one of persistence, finding community, and honoring my Indigenous heritage through my work.”
“22 years ago, I went into a shop in Omak called “One Eyed Jacks.” I was looking to get a piece done by the lady who owned and operated it, Patti Jo. As I waited my turn, I heard her complaining about how apprentices never last. I giggled and she smirked asking me if I thought I could do it. My reply was simply, “Yes.”
So I started my apprenticeship under Patti Jo and became another link in the lineage of “One Eyed Jack” Armstrong’s tattoo family, who is one of the grandpappys of west coast tattooing. I soon made the journey into owning my own shop, having only one protégé (whom I married 17 years ago), and putting in the work of giving back to tattooing as it’s given me so much.
Getting to travel, work with, and learn from phenomenal artists across the state has been a dream. Bettering my art as well as helping guide others has been so humbling and rewarding. And none of it would be possible without tattooing.”
MEADOW TOPACIO
TERESA JENSEN
WHAT INSPIRES YOU PERSONALLY OR
“What inspires me most are the stories my clients share. Every tattoo has deep meaning—why they choose certain designs and what those images mean to them is endlessly fascinating. I love that the tattoos I create carry so much emotion and personal significance. Artistically, I enjoy all styles but lean toward blackwork and fine-line tattoos. It’s a fun challenge to experiment with different techniques and push my skills.”
“My inspiration florals, medicinal ditions. I’m especially by my ancestors, how those old Each piece I create history, identity,
MARSALLAI QUICK
MEADOW TOPACIO
YOU OR ARTISTICALLY?
“I’m most inspired by all things both light and dark. The beauty of an animal, the silliness of a movie or song, the balance of feminine and masculine in the world in a person’s smile, and the stories and experiences of my clients, friends, and family.”
inspiration comes from nature, feminine bodies, medicinal plants, animals, and ancestral traespecially drawn to how tattooing was done ancestors, the meanings behind the symbols, and traditions blend into modern tattoo art. create tells a story, weaving together identity, and healing.”
TERESA JENSEN
HOW DO YOU DESIGN CUSTOM PIECES? WHAT’S YOUR CREATIVE PROCESS?
“My process starts with lots of questions—not just about the tattoo itself, but about who my clients are. I find that learning about their lives eases anxiety and helps me design something meaningful. I appreciate when clients bring reference images, but I always ask what they like about those images—whether it’s the shape, color, or feeling they evoke. I then create rough sketches and narrow down the design by listening closely to their feedback. I’ve learned through graphic design that clients often know what they don’t like more clearly than what they do. Together, we refine until the piece feels just right.”
“My creative process varies with each client and tattoo. Usually, I start with a rough draft during consultation and then carefully curate the design to fit the client’s body and style preferences. Sometimes I draw directly on the skin and freehand the tattoo, depending on what feels best for the piece. I enjoy custom work the most because it allows me to fully express the client’s vision and create something unique that fits their story.”
“The consultation and connection to the client is the most important. Sometimes I’m given a few small points of importance and then told to run wild with my own creativity. Other times it can be done in a 10-minute conversation to pick the brain of my client and see if they have references they need me to incorporate. And then sometimes it takes going out to lunch to learn more about the client and their tattoo needs—especially when you are doing big pieces or memorial pieces. Paying tribute to a loved one is extremely personal and a vulnerable place for a client. Sometimes it takes wading through the feelings to find what will truly be the best tribute for the client and their loved one. Once that’s done, a date is set, I get to drawing and when the time has come, we buckle in and get to tattooing.”
MARSALLAI QUICK
MEADOW TOPACIO
TERESA JENSEN
HAVE YOU FELT THAT YOUR IDENTITY (CULTURE, GENDER, BACKGROUND, BELIEFS) SHAPES HOW YOU SHOW UP IN THE TATTOO WORLD?
“Yes, absolutely. My identity shapes everything about how I approach my art and clients. I’m a grandmother and naturally motherly toward my younger clients. I’m very religious and hold many conservative values, but I’m open-minded and nonjudgmental. While I do face judgment sometimes, it doesn’t bother me because I love what I do. Tattooing doesn’t feel like work—it’s a passion and a way I express myself authentically.”
“My identity feels complex but is central to how I show up as an artist. I’m Chicasaw, Cree, Shawnee, Cherokee, and Caucasian on my mother’s side, and Filipino on my father’s. Growing up partly on the Colville reservation and spending time off-grid in the mountains gave me a deep connection to the land. This connection influences my art’s themes and my preferred earthy color palettes. Embracing my multicultural heritage while staying authentic is a continual journey.”
MARSALLAI QUICK
MEADOW TOPACIO
“Oh, it definitely does. As a woman in the tattoo world 20 years ago, it was a place women weren’t as welcome but yet we were a commodity or an attraction in a shop. I learned how to grow a thick skin as well as cash in on what being a woman in a male-dominated craft meant. Through thousands of years, in many cultures, women were the tattooers a.k.a healers, a.k.a shamans, who marked people for life with the symbols they needed to have strength, mark occasions, or to just adorn.
Being an Indigenous woman in a world where racist depictions of not just Indigenous people but all races of color were being sold as joke tattoos or assertion of a client’s ethnic background made for a determination in me towards education about tattoo history and racial history/cultural appropriation, to help guide clients in their search for their connection to their ethnicity through their tattoos. Being both of Indigenous and Caucasian blood, I felt a responsibility to do right by the ink being laid into skin.
It’s not just about tattooing for money. The legacy we leave behind in skin and ink helps forge the road ahead. Being able to help move the needle on education about tattoo history, tattoo symbols as well as the importance for women being accepted as those guides is what I strive to do in the tattoo world.”
HOW DO THE LANDSCAPES, WILDLIFE, OR CULTURES OF THIS REGION
INFLUENCE YOUR WORK?
Design by Teresa Jensen
TERESA JENSEN
“My husband and I raised our kids here and spent some time away, but we always wanted to come back to the lakes and rivers. Living here inspires me daily. I even have a water-themed mural in my home because being close to water means so much to me. The natural beauty and the community here influence my work and fuel my creativity.”
“The mountains, forests, and wildlife are a huge part of my life and art. Growing up camping, foraging medicinal plants, and living off-grid, I’m deeply inspired by botanical and floral elements and animals. I’ve studied their anatomy and spiritual meanings. My artwork is never just decoration—it’s always layered with meaning and personal connection.”
“They definitely do. Lots of clients ask me to do portraits of animals that they feel connected to from the area as well as the vegetation and landscape. The lands around us hold lots of memories for us going back generations. It’s good medicine to pay homage to them by tattooing them.”
These women are weaving stories of heritage, healing, and identity into the very fabric of their community. Their art speaks loudly without words, honoring the past, empowering the present, and inspiring future generations.
If you’re ready to explore your own story through ink, these artists offer both skill and heart. Whether you seek a design rooted in tradition, a personal symbol of transformation, or simply a unique expression of who you are, you can connect with them directly.
Find and follow their work:
Meadow Topacio
Instagram: @fallenrainink
Marsallai Quick
Instagram: @applemoontattoo
Teresa Jensen
Instagram: @bigmommatat2
Tattoo Shop: @bigmommashouseoftattoo
Reach out, book a consultation, and let your story be told!
MARSALLAI QUICK
MEADOW TOPACIO
TERESA JENSEN
This could be you!
Rythm and Blues
The Winthrop Rhythm & Blues Festival is a three-day event — located at the Blues Ranch on the Methow River in the resort town of Winthrop, Washington — packed full of exciting national and regional entertainment for all ages. There’s on-site camping, food and craft vendors, portable showers, a beer garden, and easy access to the river for recreation and cooling, which all help make the Blues Ranch the perfect setting for Washington’s “best little festival.”
by Peter
Photo
Dervin
THE POWER OF THE WINTHROP RHYTHM & BLUES FESTIVAL: MUSIC, COMMUNITY, AND GIVING BACK
By Sarah Jo Lightner Board Member, Winthrop Music Association
Every July, the Methow Valley pulses with soul, rhythm, and the joyful sound of connection. Nestled among the trees beside the Methow River, the Winthrop Rhythm & Blues Festival isn’t just a weekend escape—it’s a living, breathing celebration of music, community, and generosity.
As a board member of the Winthrop Music Association, I’m often asked what makes our festival different. My answer is simple: it’s the people, the purpose, and the power of what happens when we come together with open hearts, good music, and the shared intention to give back.
A FESTIVAL WITH HEART
For more than 35 years, the Winthrop Rhythm & Blues Festival has been drawing music lovers from across the Pacific Northwest and beyond. Our lineup brings together world-renowned headliners and emerging artists in a way that’s
both electrifying and intimate. Whether you’re a longtime blues devotee or new to the genre, you’ll find something that moves you—musically and emotionally.
But beyond the exceptional performances, what sets this festival apart is its heart. The festival is more than a music event—it’s a gathering of people who care deeply about the arts, about each other, and about the valley we call home.
Set at the scenic Blues Ranch just outside of Winthrop, the festival grounds feel like a second home to many. From the first strum of a guitar on Friday evening to the final encore on Sunday night, there’s a sense of joy and connection in the air. You’ll see kids dancing barefoot, old friends reconnecting, and new friendships forming over shared meals, shade tents, and late-night jam sessions. It’s a place where people of all ages and backgrounds feel welcome.
Photo by Steve Mitchell
GIVING BACK TO THE VALLEY
What many people may not realize is that for the last 20 years, the Winthrop Rhythm & Blues Festival has been produced by a non-profit organization, the Winthrop Music Association. That means every ticket purchased, every beverage sipped, and every song sung helps support the Methow Valley all year long.
Each year, we donate proceeds from the festival to a wide range of local organizations and initiatives. From emergency services and shelter to school programs and food security, these donations make a real difference in the lives of our neighbors.
One of the organizations we’re especially proud to support is The Cove Food Bank, which provides critical food assistance to individuals and families throughout the Methow Valley. The Cove’s work helps ensure that no one in our community goes hungry—and our festival pro-
ceeds help sustain their vital mission. When you buy a ticket to the Winthrop Rhythm & Blues Festival, you’re not just supporting music— you’re helping put meals on tables.
We’ve also contributed to other local nonprofits, community wellness efforts, and programs that reflect the values of inclusion, dignity, and compassion. At its core, the Winthrop Rhythm & Blues Festival is about more than just the blues. It’s about lifting up our neighbors through music and collective action.
A PLACE TO DISCOVER NEW MUSIC
One of my favorite parts of the festival is watching people discover new music. There’s something magical about seeing a crowd light up when an artist they’ve never heard before steps on stage and delivers a knockout performance.
Every year, Erika Olsen, our festival director, carefully curates a lineup that blends legendary
performers with fresh, powerful voices from across the country and beyond. We believe in showcasing the full spectrum of blues—from deep Delta traditions to modern soul, funk, and Americana. That diversity keeps the festival fresh and dynamic, year after year.
It also means that no matter who you come to see, you’re likely to leave with a few new favorites. It’s not uncommon to hear someone say, “I didn’t know who they were when I walked in— but now I’m a lifelong fan.”
SAFE, FUN, AND FAMILY-FRIENDLY
The Winthrop Rhythm & Blues Festival has become a beloved tradition for families, friends, and solo travelers alike—and that’s no accident. We work hard to make the event safe, inclusive, and accessible for everyone.
From on-site security and medical support to kids’ activities, community mural painting, shaded seating, and accessibility services, the festival is thoughtfully designed to welcome people of all ages and abilities. Whether you’re grooving with toddlers in tow or attending your 20th festival with old friends, you’ll find a space that feels safe, joyful, and affirming.
We’re proud that the festival has become a multigenerational tradition. You’ll often see grandparents, parents, and kids enjoying the same performance together—united by the power of great music and shared experience.
LOOKING AHEAD
As we close another successful season and begin dreaming about next year, I’m filled with gratitude. Grateful for our volunteers, our sponsors, our artists, and especially our audience. You are what makes this festival not only possible, but magical.
If you’ve never experienced the Winthrop Rhythm & Blues Festival, I invite you to come next July. Come for the music, stay for the community, and leave with the knowledge that your presence made a difference—on and off the stage.
And if you’re a longtime festival fan, thank you. Thank you for showing up, for spreading the word, and for helping us build something special.
The Winthrop Rhythm & Blues Festival is more than a weekend. It’s a movement. It’s a mission. And it’s a family—one we’re proud to welcome you into.
For tickets, lineup details, and camping info, visit winthropbluesfestival.com
Photo by Steve Mitchell
ART AS WITNESS: INK, ECOLOGY, & ACTIVISM
By Mackenzie Mayhem
Cal Waichler is a printmaker whose work is shaped by time in the mountains, on rivers, at sea, and through methodical fieldwork. Both artist and scientist, she draws from wild landscapes like the North Cascades, Alaska, and Patagonia. Her prints reflect a deep engagement with ecological change and the everyday realities of life in these environments.
Blending observation and interpretation, Cal uses a range of printmaking techniques and text to translate scientific and personal experience into layered visual narratives. With a background in environmental science and a practice grounded in fieldwork and community, her work carries clarity and urgency without losing sight of beauty or nuance. In the conversation that follows, she shares insight into her process, her values, and the evolving role of art in environmental storytelling.
Mackenzie: To start, could you share a bit about your background and how you first found your way to printmaking? How has your relationship with the medium evolved over time?
Cal: I grew up in the Methow Valley and my first experience with printmaking was in elementary school. I think it was a Methow Arts-sponsored block print workshop! I remember loving it, but didn’t get the chance to print again until college. I jumped into printmaking in my first semester and was in the print studio every semester after that, eventually becoming a teacher’s assistant and creating a big body of work about glaciers my senior year. I majored in Environmental Science, and printmaking was my outlet to digest and go deeper into the environmental science issues I found interesting. Since college I’ve been learning how to adapt my visions to a low-tech, on-the-go art practice that draws inspiration from what I am currently up to!
M: You grew up in the Methow Valley. How has that landscape, and life in Okanogan County more broadly, influenced your work and shaped your creative vision?
C: Oh gosh. I can’t exactly put into words how growing up surrounded by public lands and wildlife here has shaped me—very deeply. I have a close relationship with mountains and rivers and wild beings that I strive to share and explore through art. This county has also shaped how I see artists, and my own path toward becoming one.
Living in the Methow can mean working a lot of different jobs. Yet people embrace doing many different things that align with their values and so many people are outwardly artists. I love that being an artist and a field biologist and an educator and a commercial fisherperson (or whatever your mixture is!) is accepted here. People here are engaged in the land, and the art reflects that.
M: You live a fairly nomadic lifestyle. Are there particular places or communities outside the Methow Valley that have left a lasting impression on your work—either visually, emotionally, or politically?
C: I migrate between the Methow, Alaska, and Chilean Patagonia but most of my work centers around home in Washington. I think spending time in those other wild rugged places helps me see what remains so special about this place, like lynx, wolverines, alpine glaciers, river restoration, and strong rural community. My travels motivate me to celebrate life in this corner of the world by depicting those treasures, which are often threatened.
M: Environmentalism is a clear throughline in your practice. Are there particular landscapes, events, or ecological concerns that inspire or drive your work? Do you feel a sense of responsibility to respond to these issues in your art?
C: Sometimes making art feels like the best response I can muster! I really care about the salmon runs of the Columbia River. I commercially fish in Alaska and get to see full-blown sockeye runs returning year after year and it leads me to imagine the ecological abundance and justice that a restored Columbia would provide. I have highlighted local stream and river restoration projects through watercolor and carved panels. I’ve also made pieces that advocate for dam removal on the Lower Snake River. If a piece of artwork can reach a fresh audience or bring a little more attention to those causes, I’d like to try making it.
M: Your practice draws on a range of printmaking techniques. Could you walk us through your creative process—from initial concept or research to finished piece? How do you approach layering imagery through different printmaking processes?
C: I mostly create woodblock relief prints. I sketch a scene or animal onto plywood and plan out where the light and dark space will be. For my animals, I carve with gouges and pull shapes of glaciers or elements of the critters’ natural history into the print. On larger pieces I carve with a Dremel tool which allows me to cover ground more efficiently and create sketch-like marks with a lot of energy and movement. I’ve also laser-cut sketches and textures into woodblocks which become quite interesting when layered.
When I’m done carving, I roll ink onto the block and print it on paper. Pulling back the first print of a new block is always a big surprise. I’m seeing it in stark contrast for the first time. I rarely attempt to “edition” a print which means creating a set number of consistent prints. I’d rather play with different colors of ink and paper, and
different combinations of printed blocks. Usually, I print on thin Japanese papers, which are easily hand printed and collaged. When I want to tell a bigger story within one piece or play with old prints, I’ll slice and paste prints together using X-acto knives and glue.
Finally, I’ll make a frame for my finished pieces. Often these come with their own story too. I got some amazing white pine and spruce that was cleared from the 2024 Easy Fire and milled in Twisp. I built some beautiful frames that resonated with the pieces about the North Cascades that I was framing. And now that beautiful timber is holding artwork in a lot of different friends’ homes around Okanogan County. That’s fulfilling!
M: Your work is oftentimes accompanied by written pieces. What role does text play in your practice and how does it support or expand the visual message?
C: Often during the drawn-out carving of a piece, questions or ideas sprout from and shape the work. I like to share those or wrap them into an artist statement that can provide a little more for someone who is grasped by the visual of a piece. Particularly my collages contain a lot of abstracted textures that are actually specific characters in the story, like topography, plants or rock formations. Naming them helps me trace my influences back to the ground!
M: Do you consider your practice experimental? How do you push yourself outside of your comfort zone? Is there something unexpected that is essential to your creative process?
C: Yeah, finding inspiration in some wild place and transferring that to a print has a lot of experimentation or unpredictability! While I’m carving I usually make the marks intuitively, not checking reference photos too much, so I can channel the feelings and textures of being in the field, like how the ice was swooping. Working intuitively also helps me integrate the character of the wood I’m working with.
One challenge I’m currently working at is creating reduction prints on a 2x2-foot scale. Reduction is a printmaking technique where multiple colors are printed from the same block. I carve and ink once for each color from lightest to darkest, and print all the layers on each paper in the edition. A great reduction print is tricky to execute!
M: How does your work engage with community? Is there a particular ecological story you’re trying to tell? Are there ways that collaboration or collective action play a role in your process?
C: My best projects are fueled by the time I spend with field crews and learning from their insights. The ecological communities of the North Cascades have been woven right into my work for a while. Especially since 2020 when I got involved with the North Cascades Glacier Climate Project, a 50-year effort to monitor glaciers’ response to climate change in Washington. Glaciers shape ecosystems, store freshwater, and are these dynamic climate libraries. The project is very collaborative, integrating new field assistants and artists each year for the two-week field season to help tell glaciers’ stories. I’ve learned a great deal about the nexus between science and communication from that community and it’s inspired many of my prints.
In summer 2024, we were in a meadow near a glacier on Mt. Shuksan that is studied every year. Folks who have been involved with the project for a long time noted how the meadows there are slowly shrinking– the heather is dying, and the hemlock trees are thriving. So, on the borders of a print of that glacier, I depicted those more nuanced vegetation impacts of climate change that would have gone unnoticed if I’d been by myself and not alongside observant people. I could go on about similar collaborative projects that sprouted from working with the Methow Okanogan Beaver Project or the Cascades Wolverine Project!
M: Are there any upcoming projects, exhibitions, or themes you’re excited to explore next?
C: A theme that I’ve been wrestling with and learning from is envisioning futures for our watersheds and communities. I believe artists can do that as well as anyone, and it’s essential for our communities to have a picture of what is possible, and worth fighting for. I’m working on a big piece about the past and future of the town of Twisp in that vein!
I’m also excited to share some newly collaged Columbia River Salmon work at Ryzo in Twisp in October. Through the winter I’ll work on adding more local landscapes that have shaped me to my large-format Mountains as Mirrors series.
Find and follow their work at:
Instagram: @cwaichler
Website: www.clairewaichler.com
Methow Pride is working toward creating a rural haven where LGBTQIA+ individuals believe in their creative expression, share their voices, build thriving intergenerational relationships, and find rural belonging. We ultimately aim to keep LGBTQIA+ people present, safe, and alive in this rural and natural space.
PORTALS, PRINTMAKING, & PRIDE: LAURA GUNNIP’S EVOLUTION THROUGH SPACE AND SPIRIT
By Celia Gottlieb
Laura Gunnip defies easy categorization. They float through Fireweed Print Shop—part artist’s studio, community sanctuary, and mystical portal—with a fairy-like flow, equally comfortable operating a letterpress or facilitating a transformation ritual. They describe themselves without hesitation as “neurodivergent intuitive witch, artist, teacher, parent, mentor, portal maker, community member.” Laura embodies multiplicity as both art form and survival.
I first encountered Laura before moving to the valley. They were unlike anyone I had ever met— I was mystified, intrigued. For Laura, teaching ‘art’ means teaching people to be human. Holding space for community means people finding their freedom to be themselves, which Laura models beautifully and messily.
SACRED BEGINNINGS
Laura’s relationship with making began in childhood solitude and connection to the more-thanhuman world. “My first print is on the wall—it’s a cardinal I did when I was 10,” they tell me, gesturing toward the framed piece. “I went to the library and got a bird book. I loved Cardinals. Nature was my lifeline as a kid, and I spent a lot of time in the woods by myself. So even then, I picked something dear to me,” a theme that has informed their creative process and teaching since.
After studying printmaking at Evergreen in Olympia and then during their Master’s in England, Laura rooted in the Methow Valley where they evolved their understanding of art as spiritual practice, community building, and political resistance.
Artwork by Laura Gunnip
EVOLUTION OF SACRED SPACES
Laura’s journey in Twisp included a decade-long collaboration with dear friend Robin Doggett at Door No. 3, creating what Laura describes as a “culture of participatory art”—events that pushed boundaries of what art could be in a small rural town. In 2018, Laura established Fireweed Print Shop as a solo practice. For nearly a decade, the space operated primarily as Laura’s studio and teaching space, though queer folks naturally gravitated there and young people found refuge among the printing presses. “I really learned how to teach here in the valley,” notes Laura, “this valley nurtured me. That is evident in my approach.”
“Part of the magic I give is being my authentic self, and that gives other people permission to be themselves,” Laura explains. They see through masks we wear, inviting forth parts of ourselves
we have learned to hide. This gift makes Laura particularly powerful with queer and neurodivergent youth. Laura creates spaces where difference is sacred, dissolving the antagonism and avoidance queer people can experience in rural communities.
“This is a beacon, a symbol—you are safe here. This is a place for you to do, be, and play as you please,” Laura says. Fireweed has become a watering hole for queer community—an organic gathering place where people exist authentically. Throughout their evolution, Laura kept central what had been sacred since childhood: nature as lifeline and connection with the self for healing. They’ve shared these personal practices with community through what they call “portals”— energetic shifts during creative or spiritual experiences focused on release. I’ve witnessed room transformations: nervous workshop participants become co-conspirators, someone full of reservation unravels into reflection and release. Their portal creations also enhance events like Saskatoon Skills Circle, meditation retreats, weddings or further afield at the Sun Up Festival in England.
THE SHAPESHIFTING PRESENT: COLLABORATION WITH METHOW PRIDE
When Methow Pride co-located with Fireweed Print Shop this past year, it formalized what already existed which was recognition and amplification of community care that had always happened there.
“I feel the responsibility to keep this space alive. This space holds a cultural piece that is essential,” Laura reflects. Laura now works in collaboration with Methow Pride to offer community -run programming for queer people and allies. Collaborations with OkFyre, the ILC, MVSD, Methow Arts, Confluence Art in Twisp and Western Washington University Pathways have Laura doing what they love most, “coaching people through learning to create in their own way and really learning skilled processes.” Recent com-
munity offerings included art mentorship and workshops to empower queer people to express themselves through the WAYYY Out Here Art Exhibition and zine.
Laura’s work reaches beyond the valley. They recently began a shirt exchange with Queer Cumbria, a rural queer collective in England, sending them “Silence = Death” shirts printed on second-hand shirts for Methow Pride’s march. This international exchange reflects Laura’s commitment to solidarity practices and community relationships, even across borders.
THE RECIPE FOR TRANSFORMATION
When I ask Laura to describe their approach to art and community, they offer a “recipe.” “There’s
one part joy, one part needing to express myself so fear doesn’t get stuck in me, and one part wanting to share and create connection. I do it because I can’t help it— this is my way of contributing and expressing myself. That gives other people permission to express themselves, which creates community so we all feel less alone. In that togetherness, we can create joy, we can shout about injustice and stand up for each other.”
This recipe reveals the alchemy at Laura’s core. Individual healing becomes collective transformation. Creative expression becomes political resistance. Art-making becomes ceremony. Through collaboration with Methow Pride, they hope to feed more people sustainably.
WHOLENESS IN PRACTICE
In our current moment of “systemic collapse,” their model feels essential. “Now more than ever, this is a time to really be who you are, and all of your nuance,” they insist. “We all have hopes and dreams, pain, and joy. I want art to be a place of expression for our fears, for our hopes, for our dreams, as a way to stand up and say what’s important.”
Laura’s gift to our community: unwavering insistence that wholeness is possible, that creativity is birthright, that spaces we create together can transform reality.
To see more of what Laura Gunnip is up to, visit: fireweedprintshop.square.site
To stay up-to-date on Methow Pride events, visit: www.methowpride.org
Artwork by Laura Gunnip
METHOW PRIDE EVENTS
SEPTEMBER
LGBTQIA+ YOGA AND RIVER HANG
September 11, 5:30-7:30 PM at Y’alls Yoga Studio
Free or donation based yoga with Y’alls with a river dip and chat to follow
NEW MOON VIRGO AND EQUINOX
September 21 at Pride Center and Sanctuary at Fireweed Print Shop
Guided by Laura Gunnip of Fireweed Print Shop
this is a time of ritual and reflection. Visit: www.methowpride.org for more details
QUEER COLLAGE NIGHT
September 29, 5-7 PM at Pride Center and Sanctuary at Fireweed Print Shop
Open hours at the Pride Center for collage, crafting, or your latest mending project!
OCTOBER
NEW MOON IN LIBRA
October 21 at Pride Center and Sanctuary at Fireweed Print Shop
Guided by Laura Gunnip of Fireweed Print Shop this is a time of ritual and reflection. Visit: www.methowpride.org for more details
November
GENDER AND QUEER AFFIRMING CLOTHING DRIVE AND SWAP
November 11, 12-1 PM at Pride Center and Sanctuary at Fireweed Print Shop
Show up with or without items to swap. Methow Pride will provide used clothes for free.
ALLYSHIP FOR BUSINESSES WORKSHOP
Contact Methow Pride for more information and to register.
Workshops for our sponsors exploring allyship as a business, challenges, and opportunities for supporting staff.
NEW MOON IN SCORPIO
November 19 at Pride Center and Sanctuary at Fireweed Print Shop
Guided by Laura Gunnip of Fireweed Print Shop this is a time of ritual and reflection. Visit: www.methowpride.org for more details
The Merc Playhouse is a nonprofit community theater seated in the historic Twisp Mercantile Building in Twisp, WA. Originally built in the early twentieth century and transformed into a theater in 1999, the 100-seat venue has become a beloved cultural hub for the Methow Valley. With its exceptional acoustics and intimate setting, the Playhouse hosts a diverse yearly lineup of performances—from classic plays like Our Town and musical collaborations with local schools to reader’s theater readings, children’s productions, music concerts, lectures, and more– even offering its space for rentals and classes. The Merc Playhouse relies on ticket sales, donations, volunteers, and sponsorships to support its mission of connecting the community through live performing arts.
A QUARTER-CENTURY OF ENCHANTMENT: THE MERC PLAYHOUSE CELEBRATES 25 YEARS
By Jane Hill & Darla Hussey
Tucked into the heart of Twisp’s historic downtown, The Merc Playhouse has been weaving art and community together since its inaugural season in 1999. This year, the theater marks 25 years of live performance, shining a spotlight on its journey from humble beginnings in an old mercantile to becoming a vibrant cultural haven for both locals and wanderers alike.
FROM MERCANTILE TO MAGICAL STAGE
The story began in the 1990s, when Carolanne and Egon Steinebach discovered the old Twisp Mercantile. Soaring ceilings and resonant acoustics whispered potential. After the Mercantile closed in 1994 and the building spent four years as an antique shop, the transformation to a community theater began in 1998, with Carolanne as director and Egon handling tech. The intimate space seats about 140, perfect for fostering the genuine connection that defines The Merc Playhouse experience.
A STAGE OF MANY VOICES
From the beginning, The Merc has embraced a wide spectrum of live performances — far beyond traditional theater. The venue has hosted everything from a movie series to dance revues, open-mic nights, opera, jazz, panel talks, and even puppetry from master Joseph Cashore.
READER’S THEATER: SIMPLICITY SPEAKS VOLUMES
Removing elaborate sets and costumes, Reader’s Theater productions focus purely on language and performance. In 2021, a Reader’s Theater production of Twelve Angry Women allowed a larger cast on the modest stage than can be accommodated in traditional performances. More recent adaptations—like Lifespan of a Fact (2023)—have introduced movement, props, soundscapes, and lighting, breathing fresh life into this minimalist form. Reader’s Theater productions aren’t just a good way for actors to get
2021 Readers Theater Production of 12 Angry Women
Horse Crazy Cowgirl Band Performed their Farewell Concert at The Merc in 2017
a taste of theater — as board member Phil Quevillon shares, “I was able to ease into directing plays here at the Merc Playhouse through the Reader’s Theater program.”
NURTURING THE NEXT GENERATION & PAYING IT FORWARD
The Merc has found innovative ways to blend performance and philanthropy. It has hosted events for local individuals to raise funds for global causes:
• Dana Visalli shared stories and slides from his time with an Iraq Peace Team.
• A concert by school superintendent Mark Wenzel in 2010 benefited public school funding.
• Students like Nate Hirsch (FLOW: clean water project) and Hannah Hogness (supporting science education in Cambodia) used the stage as their spring board, raising thousands while learning community engagement.
HONORING A REAL-LIFE SUPERHERO
From 2010 to 2013, Thomas Nelson Zbyszewski lit up The Merc stage in nearly a dozen youth productions, including The Hobbit, Alice in Wonderland, and The Lion, the Witch and the Wardrobe. A beloved member of both our Children’s Theater and the Liberty Bell Drama Club, Tom brought heart, humor, and talent to every role.
On August 19, 2015, Tom tragically lost his life fighting the Twisp River Fire. To honor his legacy, we renamed our youth program the Tom Zbyszewski Children’s Theater—a lasting tribute to a young man whose spirit continues to inspire.
A BEAUTIFUL SECRET: THE GRAND PIANO
Behind the curtains lies a treasure: a K. Kawai concert grand piano—a coveted centerpiece acquired through dedication and community hustle. When a loaned Chickering piano had to
be returned in 2000, the Merc Playhouse didn’t falter. With a $1,500 grant and spirited benefit events led by local musicians like Pam & Terry Hunt, John Weeks, and Lynette Westendorf, the community rallied until the funds were secured. The piano has since become a concert anchor for recitals, fundraisers, and music events.
LOOKING FORWARD, WITH GRATITUDE
As The Merc Playhouse celebrates its silver anniversary, the theater invites everyone to look back with pride and look ahead with promise. It is a living testament to what a small town, fueled by passion and collaboration, can create.
Whether you’re drawn by Shakespeare under cedar beams, jazz notes floating through high ceilings, or the elemental charm of Reader’s Theater, The Merc offers a slice of small-town magic. To the storytellers, volunteers, ticketholders, and performers who’ve shaped these 25 years, the message is clear: “Cheers to 25 years—and here’s to many more.”
EXPERIENCE THE NEXT ACT AT THE MERC!
Attend a show, visit a Reader’s Theater event, or rent the stage for your own creative undertaking. You’ll leave feeling part of a story bigger than any one person. The narrative of a community that turned an old mercantile into a stage for art, generosity, and connection.
With thanks to everyone whose spotlights keep The Merc Playhouse glowing. Here’s to the next 25 years with encore after encore of inspiration!
Sign up for auditions, learn what’s currently on stage, and subscribe to our monthly newsletter by visiting mercplayhouse.org
organization? Partner with us. support it? Become a Sponsor. communications@methowarts.org
Our mission is to inspire artistic curiosity, empower creativity, and propel the creative economy in Okanogan County. Because art weaves the fabric of humanity, awakens the spirit, enables self-expression, and supports belonging, we believe:
Art matters – for all of us.
the fabric of humanity, awakens the spirit, enables self-expression, and supports belonging, we believe: Art matters – for all of us.
