Exploring the Three dimensions of Art by the Pasadena Society of Artists

Exploring the Three Dimensions of Art September 2021

Exhibition can also be viewed online at www.issuu.com

President’s Message Hello, Friends, I am very excited about our latest virtual exhibit, “Exploring the Three Dimensions of Art.” I hope you enjoy it, as well. Fourteen of our members submitted 49 works for this show. As always, I am amazed by the variety of media employed by our artists: everything from clay to wood to foam to canvas to found items and beyond; in short, anything that has depth and could be manipulated to serve their artistic bent. I love experiencing the variety of perspectives our member artists bring to the PSA and am pleased to present this exhibition online to a worldwide audience.

Please enjoy your journey through the artwork.

Warmly, Shaney Watters President Pasadena Society of Artists

Table of Contents

Directory of Artists

President’s Message 1 Table of Contents & Directory of Artists 1 Chris Moore 2 Mariko Bird 5 Michael Childs 9 Fred Chuang 11 Mims Ellis 15 Jeffry Jensen 19 Leah Knecht 23 Eileen Oda Leaf 25 Brian Mark 29 Victor Picou 33 Marilyn Stempel 37 E. M. Tietjen 39 Tsvetelina Valkov 43 Gayle Westrate 47 Contact the Artist 51 PSA Board of Directors 2021-2022 52 Catalog Production Team 53 A Short History of PSA 54 Call for New Members 55

Mariko Bird 5 Michael Childs 9 Fred Chuang 11 Mims Ellis 15 Jeffry Jensen 19 Leah Knecht 23 Eileen Oda Leaf 25 Brian Mark 29 Chris Moore 2 Victor Picou 33 Marilyn Stempel 37 E. M. Tietjen 39 Tsvetelina Valkov 43 Gayle Westrate 47

1

Artists represented on the cover: Clockwise from top right: Brian Mark, Tsvetelina Valkov, Leah Knecht, Marilyn Stempel, Victor Picou, Eileen Oda Leaf, E. M. Tietjen

Artwork appears courtesy of PSA members.

Copyrights held by the artists. All rights reserved.

Got Any More? (Bright Ideas) Chris Moore

Metal and Glass 23" x 11" x 12" $250 This work is quite old, but it still ranks with my favorites. At the time, I was making stands for hurricane bell jars (most were generic, but I was allowed two or three oddballs out of batches of 25 or so). I had this fantastic bulb with no way to display it and when I accidentally broke one of the jars, there was an extra stand. They fit nicely together.

Contact information for this artist can be found on page 51.

2

Bouquet Chris Moore

Metal 15" x 8" x 5" $120 “Bouquet” is another attempt at turning something utilitarian and ugly into something of grace and beauty. It is made with barbed wire, a wheel hub and harvested machine parts. Hopefully they are more pleasing to view assembled in this manner.

3

Contact information for this artist can be found on page 51.

Immaculate II - Fly On My Sweet Chris Moore

Metal and Stone 74" x 82" x 2" $2400 “Immaculate” describes the stone as beautiful in and of itself. It was selected, smoothed and polished by both the late Robert Moore and myself, but sat for many years, waiting for the right setting. The metalwork is almost incidental, as it was made separately and only the gear and post were created with the center piece in mind.

Contact information for this artist can be found on page 51.

4

Four Seasons Mariko Bird

High-Fire Ceramic 3" x 3" x 3" $230

5

Contact information for this artist can be found on page 51.

Which Animal Are You? #3 Mariko Bird

High-Fire Ceramic 10" x 8" x 8" $450

Contact information for this artist can be found on page 51.

6

Peppery Mariko Bird

Porcelain 5" x 3.5" x 3.5" $95 This is a three-footed green pepper that is ready to start walking. If you don’t keep a careful watch, it may walk off the table. Oops! I hope it won’t go too far...

7

Contact information for this artist can be found on page 51.

Rhapsodie Provençal #7 Mariko Bird

High-Fire Ceramic 16" x 7.5" x 6.5" $470 Old stone ruins in southern France left lasting impressions on me. This is one of many pieces I have made attempting to personalize those impressions. Tea lights or a candle will light it up from inside, projecting an aura of the old days, I hope.

Contact information for this artist can be found on page 51.

8

Crossing Together Michael Childs

Purpleheart and Padauk Wood 39" x 42" x 13.5" $2650 I strive to transform the ordinary into the extraordinary, and, by so doing, transform the world around me. My work is esthetic, art, unique, functional, whimsical, and beautiful. My intention is to enhance the quality of our lives.

9

Contact information for this artist can be found on page 51.

Travel Table Michael Childs

Wenge and Live Oak Wood 30" x 48" x 22" $4750 This table answered a special need: to display woodworking virtuosity, originality and portability. The seed for the design came from observing the incredible grain patterns in Wenge that contrasted with the dark brown wood. Why not reverse that idea with wood that matches the color of the Wenge’s grain? Live oak does. Since hardwood is usually sold in narrow boards, I alternated the two woods side by side and canted them to create interest. These woods are so stable that, after ten years, they had not warped one little bit. So I opted to combine legs with feet and pin them all together with wedges.

Contact information for this artist can be found on page 51.

10

Front

Left

Rear

Right

Gentrification II Fred Chuang

Mixed Media: Porcelainized Paper-wasp Nest, Quartz Crystals, Cultured Pearl, Apatite and Labradorite 3" x 2" x 3" $350 This piece is built upon the industry and architecture of the paper wasp. The insects produce a cellulose honeycomb structure that is of use for a single year of colony building and is then abandoned. Using paper porcelain slip, I “fossilize” these found structures, glaze the resulting ceramic “ruin” and build upon it with inclusions of crystal, cultured pearl, and other natural minerals. In effect, I have “gentrified” the insect home for a different and more lasting purpose. No creatures were harmed in this urban renewal project.

11

Contact information for this artist can be found on page 51.

Metropolis Fred Chuang

Mixed Media: Glazed, Porcelainized Paper-wasp Nest, Quartz Crystals, Cultured Pearl, Semi-precious Stones, Polished Labradorite 3.5" x 3.5" x 2" $500 This piece is built upon the industry and architecture of the paper wasp. These social insects produce a cellulose city of honeycomb cells that is of use for one year of colony building and is then abandoned. I use paper porcelain slip to “fossilize” these found structures, glazing the resulting ceramic impression and building upon it with inclusions of crystal, cultured pearl, cut gemstones, and other natural minerals. The resulting construct plays with scale and pattern to suggest a spectacular city. The underside reveals a glimpse of the true infrastructure of the original object.

Contact information for this artist can be found on page 51.

12

Left

Back

Right

Proteus Fred Chuang

Mixed Media: Glazed, Porcelainized Paper-wasp Nest, Dyed Coral, Quartz Crystals, Cultured Pearl, and Polished Labradorite 5.5" x 5.5" x 3.75" $600 My mixed media sculptural pieces are an inter-species collaboration. In this example, dyed natural coral, quartz crystals, cultured pearls, and polished drops of labradorite transform a porcelainized paper wasp structure into a radiant, floral metaphor. The ceramic glaze color, the flashing blue of the labradorite, and the origin of many of the inclusions suggest a marine origin. Proteus is the name of the Greek shape-shifting demigod of the ocean—and the namesake of the Protea flower genus. The shattered surface of the underside reveals the inner shapes created by the long-gone insect architects.

13

Contact information for this artist can be found on page 51.

Left

Back

Right

Shiva Fred Chuang

Mixed Media: Chicken Eggshell, Natural Precious Coral, Aquamarine Crystal in matrix 4.5" x 4" x 4" $650 My mixed media sculptural pieces are an inter-species collaboration. In this example, I use the common chicken egg as the central form on which to expand in a symbolic fashion using natural coral and a mineral crystal—in effect, a sculptural, Dadaist Exquisite Corpse. The title references the multi-limbed Hindu God Shiva the Destroyer, the creator, protector and transformer of the Universe. The meta-symbolism and fragility of the eggshell add tension and poignancy to the image, while the durable elements of coral and crystal add wonder and frisson.

Contact information for this artist can be found on page 51.

14

Barely Hanging In There Mims Ellis

Stoneware 8" x 6" x 6" $145 The year 2020 hit a lot of us very hard: dodging COVID-19, police shootings of people of color, and a presidential election. It was a year of “too much”! I often felt like I was falling apart on a regular basis and only being held together by the most feeble of threads. This vessel with its hidden faces represents all of those feelings.

15

Contact information for this artist can be found on page 51.

Have a Cuppa?

Mims Ellis

Stoneware 8" x 9" x 5" $95 I took a teapot workshop recently and was challenged to come up with different shapes for the standard teapot. Here is one that would look right at home at the Mad Hatter’s tea party!

Contact information for this artist can be found on page 51.

16

Spiral Vase Mims Ellis

Stoneware 9" x 4" x 4" $95 A combination of soft slab and coiling methods were used to make this vase.

17

Contact information for this artist can be found on page 51.

What’s Inside?

Mims Ellis

Stoneware 8" x 8" x 5" $175 Who doesn’t like to open a box and see what’s inside? A box that has two ways to open is even more intriguing! Lift the lid? Or slide the drawer open?

Contact information for this artist can be found on page 51.

18

Banding Together With a Buzz Jeffry Jensen

Assemblage 20" x 16" x 0.5" $175 This assemblage work incorporates painting, cutouts, and found items in order to examine how music can be found in nature by all elements banding together. I hope that the idea of “banding together” can be music to our ears.

19

Contact information for this artist can be found on page 51.

Heads Up Jeffry Jensen

Assemblage 40" x 30" x 0.75" $650 This assemblage work incorporates painting, cutouts, and found items in order to examine ever-expanding heads and what each version of a head represents to each of us. I hope that the idea of how a “head” should function will entice each of us to take a journey into the imagination.

Contact information for this artist can be found on page 51.

20

Shaking Out in Surf City Jeffry Jensen

Assemblage 28" x 20" x 1" $300 This assemblage work incorporates painting, cutouts, and found items in order to examine the fascinating and crazy world of surfing and how it appears to those on the outside looking in.

I hope that the idea of “surfing” can take all of us on a wild ride of the imagination.

21

Contact information for this artist can be found on page 51.

Shark Bait Jeffry Jensen

Assemblage 13" x 13" x 1" $300 This assemblage work incorporates wood, cutouts, and found items in order to examine the gathering of rubber sharks in the world of a party situation. I hope that the idea of how “rubber sharks” swimming around making us nervous in many social situations does not force our imaginations to go really bonkers.

Contact information for this artist can be found on page 51.

22

Ministry of Propaganda Leah Knecht

Assemblage 24" x 20" x 6" $1000 “Ministry of Propaganda” was inspired by the Nazi regime, which had a department called “Propaganda Ministry and Public Enlightenment” headed by Joseph Goebbels. This assemblage is a reaction to the constant lying stemming from the Trump White House and the amplification by the right-wing media. The goal was/is to repeat lies enough until the listeners become brainwashed. This assemblage incorporated many intriguing objects, such as a filmstrip of Sean Hannity and a toy pig representing the rich feeding at the trough of public deception. Painted on the surface of a speaker are terms like “Alternative facts” and “Faux news.” The use of an old film sound speaker, vintage radio, an 8-mm film camera parts and other assorted items form a cohesive multi-layered assemblage.

23

Contact information for this artist can be found on page 51.

Tic Tock Leah Knecht

Assemblage 28" x 14" x 9" NFS This assemblage/sculpture is in response to climate change, and the clock is nearing midnight, when it will be too late to save our planet, according to climate scientists. I used old clock parts, a globe, wood, vintage astrology posters, and resin to create it. The clock gears still turn and ring the bell.

Contact information for this artist can be found on page 51.

24

A Squat Napoleon Eileen Oda Leaf

Oil, Mixed Media on Canvases 2" x 3.5" x 3.5" $325 In 2018 I began a new type of oil painting called Exsculpainting: three-dimensional oil painting on canvas/es, sometimes on the backside or underneath. “Ex” is for the expressionistic use of color, “sculp” describes the use of a sculpting medium to create a 3-D textural and sculptural effect and, finally, oil painting. Exsculpainting of food and canvas soft sculptures of nature is new, and comes from a desire to expand on the confines that two-dimensional art can offer to the viewer.

25

Contact information for this artist can be found on page 51.

Skinny Fries Eileen Oda Leaf

Oil, Mixed Media on Hand-Cut Canvases 6" x 8" x 4" $400 Food exsculpainting takes time thinking in three dimensions. Casting aside traditional painting on primed and mounted canvas, it seemed natural to want to design, cut, sculpt and paint individual canvases before assembling for a sculpted effect. Small, but taking as much effort to make as a large painting, a diminutive exsculpainting can take weeks to create.

Contact information for this artist can be found on page 51.

26

Solvang Danish Eileen Oda Leaf

Oil, Mixed Media on Canvas 13" x 13" x 2" $350 Oftentimes, food exsculpainting is inspired through travels to places that feature delicious dishes. The Danish village of Solvang, California is such a place that has many bakeries to choose from and the question is: which pastry? Using a sculpting medium, oil paint and a custom-made canvas, the classic Danish with toasted almonds was the answer.

27

Contact information for this artist can be found on page 51.

White Chocolate Peep Tweet Eileen Oda Leaf

Oil, Mixed Media on Hand-Cut Canvases 7" x 4" x 4" $375 A strong love for nature inspires me and it shows up in food art exsculpaintings. Taking this further, I wanted to create a sweet treat in the form of a hummingbird’s nest with eggs. Landscapes of the natural world, as well as food art, are ways to explore this new style of oil painting that is challenging, innovative and keeps creating art exciting.

Contact information for this artist can be found on page 51.

28

Front

Left

Right

Back

Keats Brian Mark

Green Marble 28.25" x 11" x 10.5" $2000 When I purchased the original, raw green marble, I knew I wanted an image that would uplift the viewer. As I worked with this stone, I came to see in it a cylindrical and graceful form.

The additional grooves and sculpting give this piece beautiful movement, which draws you in.

29

Contact information for this artist can be found on page 51.

Front

Back

Left

Right

Out There Brian Mark

Grand Canyon Onyx 29.25" x 9.5" x 4.5" $1980 I loved the colors and the stripes of this Grand Canyon Onyx. The holes were even more dramatic, once I surrendered to what the stone was telling me. I deliberately left a lot of the natural stone (called the skin) to help you see its drama.

Contact information for this artist can be found on page 51.

30

Front

Back

Left

Right

Renaissance Brian Mark

Travertine 20" x 9.5" x 7" $2400 “Renaissance,” created from travertine, delighted me as I carved. I continued to discover nuances and colors that had been hidden. This discovery is part of the joy that sculpting gives me.

31

Contact information for this artist can be found on page 51.

Front

Left

Right

Back

Shy Beauty Brian Mark

Roman Breccia Marble 15" x 8" x 7.5" $2250 “Shy Beauty” emerged from Roman Breccia Marble. The stunning colors didn’t present themselves until I was well into carving her. The shape took form as the colors delighted me.

The Romans used this stone extensively to beautify their buildings. I can understand why.

Contact information for this artist can be found on page 51.

32

Butterfly Bath Victor Picou

Aragonite Crystal 22" x 8" x 6" $6000 “Butterfly Bath” was hand carved with abrasive diamond tools from a raw piece of aragonite crystal that was quarried in Nevada. Its hollow core allows the installation of a natural LED strip, which gives the finished sculpture a beautiful warm amber glow. The top of the design gives me the idea that a butterfly could take a nice bath in it. I carved this at night so that I could appreciate the light and dark qualities of the stone. This piece is suitable for indoor and outdoor installation.

33

Contact information for this artist can be found on page 51.

Lifespring Victor Picou

Carrara (Italian) Marble 42" x 12" x 14" $12,000 In my exploration of three-dimensional art during the past 50 years, I have introduced elements of nature, as you see here in “Lifespring.” While studying seed forms and young seedlings, I chose to carve “life” into a column of beautiful Carrara marble. The resulting design is both strong and smooth, having a gentle spiral, culminating at the top with signs of new life springing forth.

Contact information for this artist can be found on page 51.

34

Nevada Calla Victor Picou

Aragonite Crystal 31" x 7" x 9" $6000 “Nevada Calla” is made from a calcium carbonate crystal, similar to onyx, that was quarried in Nevada. Flowers have been a common theme in my art, and translucent stone always a favorite choice. When illuminated with the natural LED strip, the beautiful amber of the stone shows warmly. Without the light, the stone has a nice ivory appearance. The piece is suitable for indoor and outdoor installation.

35

Contact information for this artist can be found on page 51.

Tribute to Georgia O’Keeffe Victor Picou

Oolitic Limestone 26" x 18" x 15" $6000 I’ve always enjoyed the art of the late Georgia O’Keeffe because of her expressions of passionate large flowers and other subjects. I created this sculpture in her honor, showing her image flying into her celestial gardens. The limestone can hold a distinct line to catch the light, and smooth shadows to soften the light.

Contact information for this artist can be found on page 51.

36

Just a Walk’n Marilyn Stempel

Shipping Paper, Tissue Paper, Acrylics, Mirror 29" x 12" x 12" $1200 I love paper. This sculpture was inspired by packing paper that had spaces through it and when stretched looked similar to scales.

37

Contact information for this artist can be found on page 51.

Splish Splash Marilyn Stempel

Polymer Clay, Bronze Wool, Earring Feathers 14" x 14" x 4" $900 This piece is a solo runner enjoying zipping from puddle to puddle. I used one of the costume-jewelry earrings my mother owned.

Contact information for this artist can be found on page 51.

38

Breathe!

E. M. Tietjen

High-Fire Ceramic 10" x 12" x 10.5" $575 Expansion and contraction drive living processes in many creatures. Hearts, lungs, gills ... the oxygen that breathing brings to our blood keeps us alive. Along with the pumping of our hearts it’s the most elemental movement of our bodies, for after three minutes without it most humans suffer brain damage. This piece reminds me of the essential action of lungs and the need to slow down and really fill them. And in these times, how much we appreciate the simple taking of a deep breath.

39

Contact information for this artist can be found on page 51.

Entrance E. M. Tietjen

High-Fire Ceramic 9" x 12" x 12" $575 This piece plays with the double meaning of the word “entrance” — since entering a mysterious enclosed place can often enchant and mesmerize. I’m always attracted to forms in nature that demonstrate their movement and power. I like complexity of shape and color, elemental forces, and the layers and parts in living things that record a history of their own growth.

Contact information for this artist can be found on page 51.

40

Imprint E. M. Tietjen

High-Fire Ceramic 8" x 10.5" x 8.5" $180 Clay, rock walls, and the human body itself were the original surfaces on which humans applied their “writing” and art. There is a primal satisfaction in making one’s mark and in creating symbols. Here, then, is the language of the day of this piece’s creation.

41

Contact information for this artist can be found on page 51.

Lava Lake E. M. Tietjen

High-Fire Ceramic 8" x 15" x 11.5" $586 With lifelong interests in biodiversity and conservation, I’m drawn to organic forms and patterns, asymmetrical shapes, and natural color combinations. Even when the forms and images are abstract, I hope my work can inspire feelings of recognition — that the natural world we depend on looks like that, feels like that, invites us in like that — or challenges us with mystery like that.

Contact information for this artist can be found on page 51.

42

Hard to Resist Tsvetelina Valkov

High-Fire Clay, Paint 24" x 7.5" x 7" $500 As a kid, I was a very poor eater. It was a punishment to finish whatever I had to eat. My uncle, a famous physician, used to smile and say, “the minor hour has come,” when it was time for dinner. I did have a favorite food, though: “plaisir,” a popular dessert in pastry shops - a waffle cone filled with chocolate mousse. I only liked the mousse, so I would remove the cone and enjoy the filling. Well, here is an impression of my melted chocolate mousse.

43

Contact information for this artist can be found on page 51.

Rusty Coffee Time Tsvetelina Valkov

High-Fire Clay, Colored Glazes 8.5" x 4.5" x 4" $250 Started initially as an Italian espresso maker, this ceramic sculpture spontaneously changed its upper form into a bouquet of broken fragments. It happened after I broke a detail of the coffeemaker, and that broken piece inspired me to multiply it in many similar parts attached to the base of the sculpture.

Contact information for this artist can be found on page 51.

44

Soft Tornado Tsvetelina Valkov

High-Fire Clay, Black Iron Oxide, Clear Glaze 11" x 4.5" x 4" $250 I only had one favorite food as a child, a dessert called “plaisir.” It was a waffle cone filled with chocolate mousse. I only liked the mousse, so I would remove the cone and enjoy the filling.

Despite the fact that I disliked the cone, I keep the memory sweet.

45

Contact information for this artist can be found on page 51.

Untitled Tsvetelina Valkov

Yellow Foam, Fiberglass, Paint, Wood Base 28" x 10" x 8" $500 As long as soft organic curves are pliable and fascinating for sculpting, I would love to explore any (nontraditional) material for molding. Here, I have carved yellow foam, strengthened with fiberglass, and finished with paint and patina. Also, the sculpture includes a custom-made, hand-crafted wood base.

Contact information for this artist can be found on page 51.

46

Double Eagle Gayle Westrate

Stoneware Clay 6" x 11" x 10" NFS

No matter what medium I work with, what I really wind up doing is drawing. To me everything is about line … direction … movement … lead-the-eye … and just a little tug-of-war with mass. Five years ago my daughter gifted to us both several classes of pottery — Buncheong with a Korean teacher, and then hand-coiled and paddled bowls and figures with a Native American Navajo-Puebloan teacher.

I became fascinated by the feeling of forming and melding clay coils, plus the magic of engineering from a thousand years ago: recurved shoulders distributing stress, tensile strength that increases from its layers being paddled.

“Double Eagle” is a combination of those techniques: a traditional coil-built and paddled bowl with applied eagles cut from sheets of clay and marked with feathers drawn in underglaze and carved directly into the clay by dragging the backs of my fingernails lightly along its surface.

47

Contact information for this artist can be found on page 51.

Loon Gayle Westrate

Stoneware Clay 2" x 13" x 6" NFS As I became comfortable with the clay, I realized I was beginning to draw with it, letting my hands coax coils and flat strips and assemblages of small bits into patterns growing upward like trees toward light and sinking downward by the pull of our planet’s gravity toward its core. A three-person waltz: me, clay, and the forces of nature.

One morning I woke up with a vision of clay ribbons inserted through slots in each other, almost like weaving leather. Well, with dreams or even two-dimensional drawings, you never really know whether something will actually work in three dimensions, so of course I had to explore its possibilities … and that became something that keeps insisting it’s a “Loon.”

Contact information for this artist can be found on page 51.

48

Spathe Vase Gayle Westrate

Stoneware Clay 14" x 8" x 6" NFS I loved watching wet clay move, fold, melt, crack. What I didn’t love was what reappeared out of the kilns. The forms held, but the color? … a changeling! All that intense handwork had created a kind of intimate relationship, but now that bond felt broken. No applied glaze could bring it back.

I didn’t even recognize my own work anymore. How could color matter that much?

So I decided I wanted to work with black pottery, as many Southwest potters had for centuries. Elegant stuff.

Glows when polished. But it needs reduction firing and we weren’t set up for that. Ultimately I got a batch of Laguna dark brown high-fire stoneware clay. Gritty stuff, but that grit makes it very strong and it remains wonderfully dark even with oxidation firing.

Now I see the pieces; remember how they felt: limber, moist; know them … and smile.

49

Contact information for this artist can be found on page 51.

Woodpecker Gayle Westrate

Stoneware Clay 9" x 7" x 7" NFS A further refinement of clay ribbons resulted in the “Woodpecker” (there’s an egg in a nest in that hollow tree too … somewhere!). A new take on the classic “blasted tree.” Tree bark is suggested only near the bird’s own feather detail, but the back of the structure is increasingly abstract --collapsing and tilted precariously.

I yearned for the dark wet clays I had played with earlier, but soft elephant grays came out of the kiln as bleached stark white bones, and shadowy terra-cottas were suddenly screaming orange. So I shifted to a highfire dark brown rough stoneware.

And then someone showed me that she had been experimenting with low-fire underglazes on high-fire clay.

The underglazes were tricky ... they definitely got scorched a bit, but that toasted effect made my drawn figures look like ancient pictographs on canyon walls.

Contact information for this artist can be found on page 51.

50

Contact the Artist Mariko Bird marikoceramics@gmail.com http://www.marikobird.com FB: marikobird https://www.pasadenasocietyofartists.org/artists/bird/mariko-bird.html Michael Childs michael_v_childs@yahoo.com www.michaelchilds.com FB: MeherBabas777 IG: @michael_v_childs https://www.pasadenasocietyofartists.org/artists/michael-childs/michael-childs.html Fred Chuang ftchuang@gmail.com https://fred-chuang.pixels.com/ https://fredchuang.com/

FB: The Art of Fred Chuang IG: @ftchuang https://www.pasadenasocietyofartists.org/artists/chuang/fred-chuang.html Mims Ellis mims.e@charter.net https://www.mimsellisceramics.com FB: mimsellisceramics IG: @mimselleisceramics https://www.pasadenasocietyofartists.org/artists/ellis/mims-ellis.html Jeffry Jensen jjensen011@earthlink.net

FB: jeffryjensen

https://www.pasadenasocietyofartists.org/artists/jensen/jeffry-michael-jensen.html

Leah Knecht leah@leahknecht-art.com https://www.leahknecht-art.com FB: leah.knecht.3 IG: @leahknecht https://www.pasadenasocietyofartists.org/artists/knecht/leah-knecht.html Eileen Oda Leaf cre8art2001@aol.com FB: EileenOdaFineArt https://www.pasadenasocietyofartists.org/artists/oda/eileen-oda.html Brian Mark BrianMarkSculptor@gmail.com https://www.brianmarksculptor.com IG: @brianmarksculptor https://www.pasadenasocietyofartists.org/artists/brian-mark/brian-mark.html Chris Moore cemoore102903@yahoo.com https://www.pasadenasocietyofartists.org/artists/christopher-l-moore/moore.html Victor Picou vicpicou@icloud.com https://www.victorpicou.com FB: victorpicou https://www.pasadenasocietyofartists.org/artists/picou/victor-picou.html Marliyn Stempel marilyn@marilynstempel.com https://www.marilynstempel.com

FB: MarilynStempelArtist IG: @marilynstempel https://www.pasadenasocietyofartists.org/artists/stempel/stempel.html E. M. Tietjen mtrabbitworks@gmail.com https://www.mountainrabbitworks.com https://www.pasadenasocietyofartists.org/artists/elaine-tietjen/tietjen.html Tsvetelina Valkov lozenez1@yahoo.com FB: TsvetelinaValkov https://www.pasadenasocietyofartists.org/artists/valkov/tsvetelina-valkov.html Gayle Westrate Gayle@designwest.com https://www.pasadenasocietyofartists.org/artists/gayle-westrate/westrate.html

51

Pasadena Society of Artists Board of Directors 2021 - 2022 President: Shaney Watters President@PasadenaSocietyofArtists.org Executive Vice President: Robert Asa Crook VicePresident@PasadenaSocietyofArtists.org Vice President - Exhibitions: Lawrence D. Rodgers Exhibitions@PasadenaSocietyofArtists.org Recording Secretary: Rhonda Raulston Secretary@PasadenaSocietyofArtists.org Treasurer: Kathleen Swaydan Admin@PasadenaSocietyofArtists.org Director of Communications: Debbi Swanson Patrick News@PasadenaSocietyofArtists.org Director of Grants: Kruti Shah Grants@PasadenaSocietyofArtists.org Director of History & Archives: Robert Asa Crook Historian@PasadenaSocietyofArtists.org Director of Membership: Marion Dies Membership@PasadenaSocietyofArtists.org Director of Programs: Patricia Jessup-Woodlin Programs@PasadenaSocietyofArtists.org Past President: Victor Picou PastPresident@PasadenaSocietyofArtists.org Member at Large: Art Carrillo MembersatLarge@PasadenaSocietyofArtists.org Member at Large: Liz Crimzon MembersatLarge@PasadenaSocietyofArtists.org www.PasadenaSocietyofArtists.org FB: PasadenaSocietyofArtists IG: @pasadenasocietyofartists

52

Catalog Production Team Exhibition Chair: Lawrence D. Rodgers Director of Communications: Debbi Swanson Patrick Editor: Alison Davies Treasurer: Kathleen Swaydan Technical Lead: Rhonda Raulston Instagram Content: Emily Suñez Facebook Content: George Paul Miller Webmaster: Fred Chuang Catalog Designer: Lawrence D. Rodgers Cover Design: Karen Hochman Brown Artwork appears courtesy of PSA members.

Copyrights held by the artists. All rights reserved. © 2021 Pasadena Society of Artists www.PasadenaSocietyofArtists.org The Pasadena Society of Artists wishes to acknowledge and thank the Jeanne Ward Foundation for its continuing support.

The Pasadena Society of Artists wishes to acknowledge and thank the Pasadena Arts League for its support.

53

A Short History of the Pasadena Society of Artists The Pasadena Society of Artists came into being in early 1925. Benjamin C. Brown, the “dean of Pasadena painters,” sent out a notice to local painters to discuss the formation of a society for local artists. In addition to Mr. Brown, attending this meeting were Edward B. Butler, Maud Daggett, Antoinette De Forest Merwin, Louis Hovey Sharp, F. Carl Smith, Orrin A. White, Wallace LeRoy De Wolff, and Frederick A. Zimmerman. The consensus was that the Pasadena Society of Artists should be formed. Seven more artists then joined PSA to form the founding charter members. They were Herbert V. B. Acker, F. Tolles Chamberlin, Alson S. Clark, John “Jack” Frost, Jean Mannheim, Katherine B. Stetson and Marion Wachtel.

It has been suggested that PSA was formed out of the desire of the founders to exhibit their contemporary work, which was not acceptable in exhibitions of the California Art Club. The first Annual Juried Exhibition was presented in April 1925 at the Pasadena Art Institute located in Carmelita Park, now the site of the Norton Simon Art Museum. The PSA founders stated that “the standard will be high and only work of real merit will be accepted.” Every year since 1925 PSA has presented an Annual Juried Exhibition.

For more than 50 years PSA exhibited at the Pasadena Art Institute/Pasadena Art Museum in addition to presenting Annuals at various institutions throughout southern California. Besides the Annual Exhibition, the Society has always maintained a vigorous schedule of other exhibitions each year. These are usually selected by the exhibition committee, and may be juried or non-juried. They take place in schools, universities, libraries, museums, art galleries and other public buildings.

The Pasadena Society of Artists is celebrating its 96th anniversary during 2021.

Five exhibitions, including the 96th Annual Juried Exhibition, are scheduled for this year. Each exhibition will be presented online and will have a printed catalog; some may also have a traditional gallery installation concurrent with the online version. With over 100 PSA members, the variety of artworks presented at exhibitions is always very interesting.

PSA continues to adhere to the guiding statement of the founders by accepting new members by juried submission. www.PasadenaSocietyofArtists.org Facebook: PasadenaSocietyofArtists Instagram: @pasadenasocietyofartists 54

Call for New Members Are you an artist?

Throughout Pasadena Society of Artists’ 96-year history, works by PSA members of have been sold at major auction houses, collected in important art collections, and displayed in museums throughout the United States and Europe.

Our legacy is immense!

Would you like to be part of our organization?

We are always looking for new, dedicated members. Our artists work in all media and styles of drawing, painting, sculpture, and photography. All have been juried into the society.

New Member Screenings for the Pasadena Society of Artists are usually held twice a year, in the spring and fall. Please go to our website at www.pasadenasocietyofartists.org for more information. If you are interested in becoming a member, please complete a Membership Inquiry Form, found online, and contact our Director of Membership, Marion Dies. Ms. Dies will notify you when the next screening has been scheduled.

Qualifications considered for membership include the applicant’s dedication to artistic standards of excellence, professionalism, accomplishments, skills that benefit the Society, and the artist’s future potential. Applicants submit three (four if a virtual screening) pieces of artwork representing current media and style, created in the past two years. Artwork submitted is judged by presentation, talent, and originality. We encourage perseverance; a number of our members have been offered memberships after having been declined multiple times. Former members include Charles White, Walter Askin, Jirayr Zorithian, Conrad Buff, David Green, Enjar Hansen, Frode Dann, Jae Carmichael, Leonard Edmondson, Mildred Lapson, Paul Sample, Hanson Puthuff, Sam Hyde Harris, Martin Mondrus, Betye Saar and many more.

We look forward to welcoming new artists to the Pasadena Society of Artists as we approach our 100th anniversary in 2025.

For a Membership Inquiry Form go to: https://www.pasadenasocietyofartists.org/get_involved/join/application.html

55

Pasadena Society of Artists P. O. Box 90074 Pasadena, California 91109

www.PasadenaSocietyofArtists.org Facebook: PasadenaSocietyofArtists Instagram: @pasadenasocietyofartists