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MAY 2010



communities – they make communities more attractive places to live, they help bring a community to life, they define a community’s unique characteristics, they attract tourists and they help communities compete economically around the world”. The Canada Council for the Arts

. . . where it all comes together


“Arts and cultural activities are at the heart of

S2SARTWORKS.COM May 2010 Publisher, E.I.C.: Liz Burnett and, until the right person walks through the door . . . Creative Director: Me Interviewer: Moi Art Reviewer: Ek Photographer: Ich Advertising Sales: Nna

Contact info: P O Box 20084 Kelowna, BC, V1Y 9H2 Tel.: 250.215 0929 Website: Email / Submissions / Subscriptions: © All rights reserved. is published monthly on-line. Reproduction in whole or in part is strictly prohibited. makes every effort to ensure the accuracy of the information it publishes, but cannot be held responsible for any consequences arising from errors or omissions. Artists published in this issue of are granting us permission to publish their work and images on the cover and throughout the internet, as needed, to help bring attention to the publication. This month’s cover: Ramona Swift (see page 6), “Hearts of Fire”, 7.5’ x 4.5’


The Vision of Magazine is to nurture, encourage, promote, and showcase the extraordinary talented artists who have chosen the Okanagan region in beautiful British Columbia, Canada as their home studio for creating original art. We also show appreciation to those who support local artists by collecting their work.



























Ramona Swift Painting to Feed the Soul Some people are born to be artists, no matter how long it takes for them to find their voice and start their walk down that creative and inspiring path of life. As a child living in Peace River, Alberta, Ramona Swift doodled and drew pictures constantly, did well in art at high school, and was dreaming of learning more. In 1996, after relocating to the Okanagan, the time came to pursue the learning of art. At first it was the drawn out process of studying with an international correspondent school. This was followed by hands on tuition with professional artists such as Terry Isaac, Paco Young, John Banovich and Daniel Smith. She learnt well. Today Ramona Swift is an established Okanagan artist, regularly commissioned to do special works for clients. Her latest project is a large scale triptych of Grizzly Falls, 9’ x 6’ once done and installed. Watch this magazine for a follow-up on this incredible project. This triptych is a vast

Above: “Embracing the Sun” - 30” x 40” Previous page: “Standing Strong” - 48” x 36” © Ramona Swift

difference from her first painting of 30” x 20” sold in 2005. “This life as an artist has been a great journey”, she says, “with a destination that does not actually exist. I am discovering that arriving at my dreams in the art world, are simply doors that keep opening to other rooms full of more doors. There is no ultimate arrival. The fun never ends and the possibilities are endless.” Ramona has become known for her paintings with deeper meanings, for instance, a painting of rocks with flowers in between symbolizing survival for a cancer sufferer. Many of these symbolic paintings are available as giclee prints as she has found, after the original is sold, the message often continues to give to others who need the same type of comfort.

Above: “Morning Sunlight” - 48” x 36” © Ramona Swift

Above: “Hearts of Fire” - 7.5’ x 4.5’ © Ramona Swift

“Ruined for the ordinary”, was a comment an art lover made when viewing Ramona’s work at a booth where she was exhibiting her art. These four words had such a profound effect on the artist that she has written it onto a note and has stuck this up on a wall in her studio. Once you have viewed Ramona’s art, especially her canvasses that are larger than life, and her paintings that have so much more to say than just what you see in shapes and colours, that is when you fully understand that you are ruined to view the ordinary. The ordinary would be the canvas that was painted perhaps in the style of someone famous, or copied from someone else’s work, or painted purely for the sake of appeasing a tourist looking for a souvenir. The ordinary would be the painting that did not come from the heart, the painting that does not speak to the soul, and stir the spirit. The above work of art, “Hearts of Fire” is another of Ramona Swift’s paintings that quite obviously did come from the heart and does speak to the soul. Large in scale, over seven feet long and over four feet wide, it is a close up view of a small patch of earth sprouting a profusion of red poppies. Each stem, leaf, budding bloom, seed pod and open flower is painted with a remarkable attention to detail. The depth, perception and overall composition are outstanding and the use of the play of light on the silkiness of the petals contrasting with how it plays on the furry surfaces of the seed pods is quite profound. One has the desire to move the leaves aside, put a hand in there and pick a few flowers to put in a vase. Thinking of the classics, one can quite easily say, here is another ‘great piece of turf’. It is a wonderful example of how much Ramona is inspired by the abundant beauty of nature and her surroundings “Hearts of Fire” is hanging proudly in a private collection in the Okanagan.

Below is her paintings called “Life Song”, now available as a giclee print. In her own words: “The original of this painting was a commissioned project. My client asked me to paint a scene that would give her hope. Her story had many sad moments in it; many hurts. She told me that as a child she had loved to go into the woods and hide out in a secret grove of aspen trees. It felt safe and it was her special place. I prayed that God would give me a picture meant just for her, something with impact that would show her His ‘hope'. As I was drifting off to sleep that night I saw a scene in my mind. It was as if through the eyes of a child, sitting in the grass in the grove of trees she’d described to me. The scene came across like you would see through a camera panning slowly and I caught little details. Each tree was scarred or split in a unique way. There


was a fallen log with shadows and dappled light on it. In the shadows a tiny cocoon hung empty. A little to the side of the cocoon was a brilliantly coloured orange butterfly. It was slowly opening and closing its wings as though it was just realizing it had them. I experienced that prickly goose-bumpy feeling you get when you have an ‘ah ha!’ moment! This image resonated strongly with my client. The adventure then was to find Alberta type trees in our BC forests. We tromped through the bush with the camera and found perfect trees … none conveniently growing near each other, but the grove was able to be created through many individual photos. This painting stretched me as an artist and once again I was able to be part of creating something that is someone’s most special possession. This just blesses me right down to my toes.”


The Heart of an Artist by Ramona Swift The heart of an artist is a beautiful thing A kaleidoscope of colours The song a warbler sings The brightest brights above Romantics to the core When they are up they fly Above the clouds they soar The air inhaled goes deep, giving power to their wings Wildflowers on a slope Clear waters of a stream Full of anticipation Realities and dreams Lion hearted warriors for passions They believe in Hot as molten lava Tender as turtledoves Ramona Swift can be contacted at: Tel.: 1-250-878 7256 or or

An artist can give words or sight To the abstract we call love When hurt, the wound goes deep Cuts to their very soul Bleeds and aches in ways That only God can know Artists love their time alone To let creativity flow freely A bound up mix of ego And insecurities The heart of the artist … Is a beautiful thing A kaleidoscope of colours The song a warbler sings Last minute news: CONGRATULATIONS!! Ramona Swift has just won the SUSAN KATHLEEN BLACK FOUNDATION Scholarship for the 9th ANNUAL WORKSHOP/ART CONFERENCE September 15-20, 2010 HEADWATERS ARTS & CONFERENCE CENTER DUBOIS, WY, USA. Left: The artist, Ramona Swift, seated in front of one of her original paintings called “Rich with Promise” - 18” x 24”, © Ramona Swift. Below: “The Fruit of Diligence” - 22” x 28”, © Ramona Swift.

Pack Your Easel and go take a hike … It is that time of the year when the weather in the Okanagan gets the best imaginable, which means the time is right for painting en plein air. Outdoor painting has been popular throughout the 20th century and into the 21st century. Some of the best classic paintings originated from artists venturing outdoors with their easel and paints. One can only think of the well known Canadian artists called the Group of Seven who became known for their adventures in finding the perfect spot for capturing the rugged Canadian landscape. To paint en plein air is not for everyone, but by being well prepared, everyone can enjoy this, even if only once. Here are a few guidelines to follow: Most Important and Rule Number One: Do not go alone. Take an artist friend along who enjoys hiking. You can find your own spot to paint, but it is always safer to hike in pairs or in a group. Always tell someone where you are going and when you plan to be back.

Above: Commando Bay on Okanagan Lake – a great place for a great painting.

Wear the correct clothing and shoes. Do not forget sunscreen, sun hat, UV sunglasses and loose cotton clothing. Roll up a raincoat and pack that too, just in case. Water, water, water. You need this for your paints, but also, you have to stay hydrated as well. A light lunch will most certainly stretch the day too. Travel light. Try not to carry more than 5 kg. Believe me; stuff gets heavy after an hour’s hike. Remember, the idea of painting en plein air is to capture the essence of a landscape and then use these sketches back at your studio as a starting point for the painting you have in mind. In the Okanagan, beware of ticks. Ideas for basic art supplies are: Lightweight portable easel and folding chair. A foam core board to affix canvas or paper to. Or a small palette. Small canvasses or sketchbook. Watercolor, acrylics or pastel travel well. A few brushes, pencils and eraser. Water container and paper towels. A digital camera. So, go out there and be creative and most of all, be safe.

Teri Paul

Bonnie Sheppard

Joy Caravello

Pat Higgins

Mireille Giasson

Craig Warner


Renew your Spirit at

Working Horse Winery There is a place on a hill overlooking Peachland where the air is fresh, the view stunning and the spirit so tranquil and fulfilling, you don’t want to leave. This is Working Horse Winery, probably the greenest winery in all of British Columbia and now offering their latest release, a marriage between their great wine and Okanagan fine art. Working Horse Winery is a boutique organic vineyard and farm. It is unique in the sense that it uses heritage farming techniques together with a contemporary approach to produce some of the finest wines in this region. Part of this vineyard’s appeal is the dedication to preserve heritage plants and animals on the property. Utilization of the almost extinct Suffolk draft horses in the vineyard is an example. These horses are the oldest breed of draft horses in the world. They are stocky and strong and bred specifically for farming. Shortly after WWII almost all Suffolk horses were slaughtered when their use on farms became obsolete due to their replacement by mechanization. Fortunately some were saved and today a few can be seen doing what they are best at, working on the farm at Working Horse Winery. It certainly gives a different meaning to the words “working horse”. Tilman Hainle, present owner of the winery, with his partner Sara Norman, has a vision of creating a sustainable, symbiotic farm identity that will express itself through wine food and beauty. A step in this direction is their desire to share the essence of their farm with creative people who would appreciate its natural state and be inspired by its untainted beauty.

“The farm and our winery have been evolving as a living object over the past few years and we expect it to continue to do so for many more.” Sara said, summarizing their concept of symbiotic existence. “As part of our evolution we have opened the Inn Bed and Breakfast and offered this as a place for others to enjoy. As a central part of our vision, we have always had to offer this as an island where people can come to learn and share with a focus on the arts, which for us includes the art of food - from growing to cooking to eating, the art of wine making, the art of gardening, the art of nature, and of course the fine art and sculptural arts.” An incorporation of the arts into their events schedule has already been initiated. Already CD releases and movie evenings have drawn visitors to enjoy this winery as a creative venue. On the list of recent art events was the L’ art de la Vigne (Vine Art) Drawing Workshop held on April 17th. A young model, Donnalee Davidson sat for a small group of accomplished figurative artists (see images on the left). The drawing room was private, comfortable, and wood paneled. For natural light, the large, windows on one wall were left uncovered. These windows looked out into the vineyard and in the distance, far down the valley one

could catch a glimpse of the sun shimmering on Okanagan Lake. There is something about a group of artists gathered to acquire a common goal that creates a sense of companionship. In this case, the purpose of the life drawing workshop was to practice the study of human anatomy. The rapt attention during each drawing session was palpable. As in all life drawing events, at this workshop too, you could almost hear a pin drop in the silence as each artist tried to complete the figurative drawing within the allotted time sessions. Afterwards it was the sharing of images and discussion of techniques that brought the group together. An exhibition was held of the work done and visitors came to view and admire the art. The drawings were done in a variety of media, such as conté, charcoal, graphite, etc. It was fascinating to see how each artist used the interplay of light and dark values on the human body. This group of artists worked at their easels in a circle around the model, each drawing the model from a different point of view. This created an interesting perspective of the day’s work. When viewing the drawings afterwards, it was as if the artists subconsciously as a group took you for a walk around the model. The Working Horse Winery management wants to evolve and nurture art awareness and appreciation on their farm. Future art events will include regular juried art exhibitions, more figurative drawing workshops, and outdoor art events. Left: Donnalee Davidson modeling for the figurative workshop held at Working Horse Winery on Saturday, April 17, 2010.

They feel it is so easy to appreciate art other than in an art gallery. Imagine enjoying a glass of their premium wine while taking a walk through their vineyard to experience a wonderful visit to an organic winery and great 3-dimensional art at the same time. There can be nothing more inviting. “A place can have a great spirituality without being blatant about it,” Sara said. “Art captures life forever. That is a legacy. We are in a great place to pass this on to the world, especially with art linked to the environment where it was created.” Working Horse Winery is a vineyard with a fascinating history. Many years ago it was founded by a remittance man. The Hainles eventually purchased it and planted the vines by hand. They produced the first ice wine in Canada. Now they are on the road to realize their close association of art and culture with their wines and their natural way of living. What a great marriage this would be. Further information will be listed on their website at



Zoey Mahrie Taylor puts pen to paper Mahrie Locket is an author living in Kelowna, British Columbia. She received her teaching degree from the University of British Columbia and later earned several counseling certificates. Her first non-fiction book, “Radio Man” was based on her father’s detailed diary of life as a ship’s radio man during World War II. The response was so inspiring that it started her new career as an author. Mahrie felt that a pen -name might bring her inspiration, so she created the name Zoey Mahrie Taylor. Her first work of fiction “Follow Your Dreams”, a story of love lost and found, and dreams realized, was printed in early 2009. This was followed soon after by her latest novel, a psycho-thriller “Escape Your Nightmares”. A short summary of “Escape Your Nightmares”: When Christie Livingston wakes in the morning, she suffers heart palpitations and shivers with fear. Lately, her sinister recurring dreams have been featuring visions of kidnappings, home invasions, and motorcycle gangs. At times Christie even questions her own sanity. She especially worries about her family and friends when they make appearances in her dreams. Christie prays that these events remain in her subconscious alone. But soon, Christie's worst nightmares are manifested when her best friend's young granddaughter is abducted from school. With a fierce winter storm approaching, authorities launch desperate efforts to obtain the handicapped child's safe return. A massive manhunt—for someone in Christie's life— begins in earnest. A roller coaster ride of drama and suspense, Escape Your Nightmares reveals the twisted thinking of a disturbed serial killer and touches upon the terror produced by a contagious and potentially fatal disease. Author Zoey Taylor's new psycho-thriller addresses topics of current relevance while holding you captive to a tension-filled tale. All books by Zoey Mahrie Taylor are available from:


Steve Brow Romancing with Stone When you can take one thing that is absolutely nothing, and turn it into something that is stunningly amazing, that is called being a goldsmith. Ask Steve Brow, Master Goldsmith and Designer who operates his custom manufacturing studio in the heart of Kelowna. He will be the first to tell you there is much more to making that stunning piece of jewellery than what we can ever imagine. It is one of the most fascinating professions to watch when a goldsmith takes a piece of shapeless molten metal and hand fabricates it into something most desirable. Long before the ring is ready to be slipped onto your finger, the metal gets hammered, shaped, soldered, buffed, rouged, in fact, the toughest manhandling you can imagine is being used to create the finest most delicate piece of jewellery. Yet, this is not all. The most important part of making your jewellery is the designing, measuring, calculating, and the engineering beforehand. Will this piece of jewellery be structurally sound? Will it be evenly balanced? Yet

Above: hand fabricated 22kt,19kt,18kt yellow and white gold hinged bracelet, 60grams, 2.30ct diamonds total weight. © Steve Brow.

again, this is not all that is required either.

Above: hand fabricated 18kt yellow gold lady’s ring with 1.14ct center diamond in a platinum setting with platinum scroll inside shank. © Steve Brow.

What fits the customer is the very first question that should be considered before any of the thinking and hammering starts. Will this ring be too big, too top heavy, too garish for the person who will be wearing it? “I can spend an hour with a customer only to find out what they do not like or want,” Steve says. “In fact, 97% of my customers leave everything to me. They trust my designing skills and I take great care to match their needs. After all, my reputation is at stake as each piece I make is an advertisement of my work.” Steve’s reputation has grown so much that many widows rely on his designing talent to change their old jewellery into something modern and wearable. The gold gets refined, reused and redesigned into either objects d’art, or a different style of jewellery. The sentimentality of the gold that has passed between husband and wife is still there, but new life has been added to it. He calls it his “hug” designs, referring to the happiness these designs create with his customers.

As most goldsmiths and jewelers know, there is only so much jewellery a customer wants. This is why it is important to diversify one’s portfolio. Steve Brow’s choice of diversity is stone sculpture, although in his case, the stone sculpture came many years before the goldsmithing, in fact, it is what started it all - at the age of nine. In the Brow family the exchange of gifts was never about how much the gift cost, but rather how much it meant based on the amount of time and effort that went into the making of the gift. So it was that as a young child, Steve one day took a sharpened screwdriver and a hammer and carved the faces of his mother and father out of a piece of soapstone. This gift was very well received and his creativity as a stone carver was encouraged. Life sometimes has a habit of forcing a person into a different direction as planned. Coming from a sports minded family, Steve had all the intention and talent of becoming a professional football player, however, a car accident put an end to this dream. Instead, silversmithing was pursued and then advanced to goldsmithing. He studied Fine Art at the Okanagan College, apprenticed with a Master Goldsmith in Calgary, and continued his apprenticeship with a major jewellery manufacturer in Vancouver. Eventually the time came to open his own studio and today, he is recognized in his own right as a Master Goldsmith with strong ethics, very high


standards, and a dedicated determination to meet his commitments to his customers. In between the fabrication of custom jewellery projects, Steve still finds time for stone sculpture. How apt too that the very first sculpture made for his parents was called “Inspiration”. Sculpting set the grounding for jewellery manufacturing and in those early years it subsidized paying for it. Today, even though the roles are reversed, the sculpting has evolved into sophisticated artwork carved out of beautiful gemstones such as aquamarine, or organic material such as ivory. Often these delicate and captivating carvings are commissioned by corporate companies as award gifts. These are the companies stepping outside the box when awarding employees, or by wanting to present extraordinary gifts to visiting dignitaries. The list of celebrities reads like a Who’s Who and the pieces can be unusual, such as the gold golf ball marker given to Bill Clinton, the gold tooth pick for P. Diddy, Bernie Little’s gold and lapis hydroplane pendant, or even gold fly fishing pins. It is amazing how the art, skill and talent of a goldsmith can be applied on his workbench when he allows his creativity to take him beyond the expected.

Above: Handmade brooch of the Langara Island Lodge logo - 18kt yellow gold whale with platinum inlay, three round brilliant cut diamonds of 0.30ct total carat weight, and appliquéd with hand-carved walrus tusk with 24kt yellow gold inlay.


To keep up with the demand for his work, Steve starts his day at 5:00am. What brings him to work at this early hour of the day is his client list and the different time zones they find themselves in. The first part of his day is spent on the phone to places as far afield as Texas, California, other parts of the US and Europe. Then it is about three hours of uninterrupted work at his workbench until his local clientele start their day.

Above: “Okanagan Scene”, 23kt,24kt yellow and white gold balloon pendant fabricated for the Children’s Miracle Network with 0.50ct total weight diamonds. © Steve Brow.

This dedication and hard work has paid off and when you give back as much as you receive, recognition comes from all levels. Steve has been an ardent supporter of Children’s Miracle Network and in March every year he donates a handmade pendant showing a different Okanagan landscape and a balloon as a fundraising auction to this charity. Through these donations he has indirectly raised about $40,000 for this charity already. So, what is the true definition of “goldsmith”? In Steve’s own words: “A goldsmith is an individual that creates something from nothing to create a piece as unique as the person that it is being created for. It is not just hand fabricating. It is creating something that suites the client for a life time. It is creating an heirloom”. Steve Brow can be contacted through his website

Above: “Golden Nectar”, 18kt humming bird drinking from stamen containing 0.50ct total weight diamonds, protruding from a hand-carved opal flower on a 18kt yellow gold stem. © Steve Brow.

All photographs in this article copyright of, and kindly supplied by Steve Brow.

Great Tips from the City of Kelowna:

Ten Things You Can Do to Embrace Local Culture 1. Discover Arts, Culture & Heritage in Kelowna. Join in on a free Heritage walk or tour of the Cultural District Walk, on Tuesdays and Thursdays. Meet at Kerry Park. 2. Decorate your home or office with local art. Kelowna is home to a diverse array of visual artists. From glass to metal. Paint to fiber. Functional to pure pleasure. 3. Volunteer for an arts organization or event. Get involved with an arts organization and support them with your time. Contact Kelowna Community Resources or view their website at for a variety of volunteer opportunities. 4. Try one new creative thing each year. Dance, sing, act, sculpt, paint, drum, create, play. Drop in to the Drum Circle on Wednesday or Salsa on Thursday at the Rotary Centre for the Arts. 5. Take a tour through Kelowna’s heritage. Discover the fascinating exhibits at the four Kelowna Museums. The “Is There Anybody Out There?” exhibit at the Okanagan Heritage Museum explores the history of radio communication and the permanent exhibit is filled with interesting artifacts from Kelowna’s past. 6. Give the gift of your community’s artists. When you are searching for that special gift, consider a painting, book, pottery or jewelry created by a local artist. Check out the shops in the Cultural District to find that special something! Or pick up some tickets for a live performance! 7. Share your passion for the arts with a friend or loved one. Bring the family to the Kelowna Art Gallery on Sunday for their hands-on activities that open up the world of art and artists to children and adults. Family Sundays run 1 – 4pm. 8. Join up! There’s an arts, culture or heritage organization out there for you. These groups make things happen so you can buy things, learn things, experience things, give gifts and challenge yourself. 9. Challenge yourself to get out and experience as many cultural activities as you can. With events happening every day, Arts & Culture week is a great time to take on this challenge. Then challenge six other people to do the same. 10. Pass it on! Send this list to as many people as you can so they can embrace arts, culture and heritage in Kelowna.



Craig Warner seeing life through a kaleidoscope of colour What are the private thoughts of a figurative artist, one sometimes wonders? Craig Warner has offered us a direct line to his own reality. “I first drew from the figure when I was a kid in college back in the late 60's. I remember it was pretty exciting watching a strange woman undress! But it wasn't the excitement I expected it might be. I got used to the naked figure before long. In a way it was like drawing a bowl of flowers, but in a way it wasn't. There was an intimacy in the relationship between artist and model. Her personality was as important as her figure, even though the clues to her personality may have been few. One day I did a drawing that really surprised me. I had gone to class feeling very angry about something or other. I remember it was a reclining pose. I scribbled with the stick of charcoal, hardly lifting it from the paper. I made noise. The easel shook with the way I was attacking the pad. I didn't care much about the result. The pose ended, and I stepped back. The scribbles had a volume that my usual line drawings lacked. There was a figure there on the page, all right, with unusual dimensionality. For me, too, the drawing had an expressive quality that was new to me. I liked it. Previous page: “Model at Rest” - 25.5” x 19.5” Right: “Contemplation” - 25.5” x 19.5” © Craig Warner

My college course ended, and I didn't return to figure drawing until the late 90's. I was working as a graphic designer in New York City. I remembered the way I could lose myself in the act of drawing when I was younger. I bought a pad and found my old box of charcoal. Sometimes I liked the results and sometimes I didn't. But once again I found a certain satisfaction in drawing the figure. I switched from charcoal to conté crayons around this time because they allowed

me to draw with a gradation of black. I also started drawing on gray paper around then. I found I could knock areas back with black and bring them forward with white. In 2003 my wife and I relocated from New Jersey to Vernon, BC, her old hometown. I was surprised to find an open studio for life drawing in my new town. I made friends quickly, and one of my fellow artists gave me some pastels one day. Now I had always avoided colour in the past because I have never played with a full deck. I'm colour-blind. I can see many colours, but others are beyond me, and I usually don't know if my perception is correct or not.


But I gave it a go. Instead of trying to match colours, I treated the colours as values. Really, I figured, what does it matter if I can't name the colours? Since then, it never ceases to amaze me how many people will comment on my work, "oh, I love your colours!" I use colours that others wouldn't dream of using simply because I don't know any better. Since then I've been in a few group shows in Vernon and Kelowna and have sold a few pieces. I would love to show and sell more but I dislike marketing and put little energy into Below: “Anguish” - 25.5” x 19.5” © Craig Warner

it. Drawing is like a meditation for me, I lose myself in the activity. I like life drawing for the inspiration I find in the figure. Its immediacy also appeals to me because it makes me work fast; one can't expect a pose or an expression to last for long. When a particular pose turns me on I work with a heightened awareness that it could end at any moment. I strive to get the information down on the page as fast and as completely as possible. Sometimes when drawing I get lost in another way. I'll suddenly discover the proportions are all wrong, the colours are off, and it's like "oh my god, I'd be so embarrassed if somebody were to set eyes on this one!" I make alterations, and it's funny how these drawings often turn into appealing ones for me. Those false starts seem to add interest. Other times I find myself thinking "oh, this is going to be one of my best!" The pose ends and to my surprise the "sure bet" seems to lack interest and life. Often I am asked the questions, "what makes a good model?" or "is there a sexual component for you in life drawing?" I've done some drawings of men that I like, but there is an excitement lacking in the process for me, a moment of disappointment. I clearly prefer drawing the female form. I prefer a model with a nice figure, but the figure itself isn't everything. Some poses are incredibly exciting to me, while others leave me cold. A twist of the torso usually offers more than something very symmetrical. It might be a certain grace in the model that is a source of inspiration to me. It might be a stylish haircut. It might be an uninhibited attitude. It might be her laugh. It might be an aim to please. It might be Left: “Profile” - 25.5” x 17.5” © Craig Warner

a certain confidence or it might be a lack of confidence. Sometimes I wonder about the motivation of the model. What is it that brings her to the modeling stand? Some models are quite curious to see the artist's works. I know I like it when the model compliments me on my efforts. And I always try to offer my gratitude for her work, especially for a particular pose that is unusual or exciting to me. Lighting of the figure can make a big difference to a pose. Shadows can add both drama and an emotive quality in my work. I don't care for costumes on the model, but a little accent has worked for me, like a wristwatch, or maybe a pair of socks.


I like pastels for their colour and their ease of application. One of these days I might try some paints, but painting seems like a slower process to me (not to mention all the clean-up). I usually don't have much success with poses that last more than 30 minutes. I start to lose my urgency. I start "gilding the lily." And I feel guilty about asking the model not to move for such a length of time. I've done some portraits over the years and in general I like the process. What I don't care for is getting hung up on capturing a likeness. (I can just hear the subject exclaim in dismay, "Oh I look so old / serious / unhappy / fat / etc!") I'm fine with it when I can accept the work for what it is. I like being a part of the Liveessence group in Kelowna for the community that it


brings. We offer one another our encouragement, help and inspiration.” Craig Warner started life as an artist working as a graphic designer in New York, US. He now lives in Vernon, BC, with his wife and two children. He has exhibited in numerous group shows in Vernon and Kelowna and is currently exhibiting at the Coatcheck Gallery, and the District Performing Arts Centre in Vernon. See Craig at work on page 11, at the Working Horse Winery. Craig Warner can be contacted at All images in this article kindly supplied by Craig Warner. Below: “Model with Pillow” - 18” x 27” © Craig Warner

Dinner Rings and other shiny things ‌. Dinner rings, cocktail rings, diva rings, right-hand rings . . . no matter what you want to call them, they are worn on the fourth finger of the right hand and have been loved by women for decades. The diva ring and cocktail ring became fashionable during the 1940s and 1950s. It is often an over-sized, dramatic ring in an animal or flower design and can be worn on the middle or index finger as well. The right-hand ring is less dramatic but still a statement ring invariably bought by women for themselves when they have acquired a milestone in their lives or careers. The most beautiful of all is the vintage dinner ring (see images on right). These rings have always been the perfect way to add elegance and style to an outfit. Some of the most exquisite vintage dinner rings date back to the Edwardian period, 1901 – 1910. They are often set with Old European cut diamonds in delicate milgrained platinum with pierced scroll motives. The most stunning of these rings are the ones where the design stretches along the length of the finger instead of across its width. Estate sales and antique shops are the best places to find one of these rings for your collection. However, always have your jewellery appraised to ensure you have purchased what you have paid for.



Kevin Zucht where Form follows Function in Fine Woodworking The principle associated with any fine woodworking design installed by Kevin Zucht is that of Left: Custom made wall wine rack made of red oak and part form following function. This means the shape of an object ideally should be based on its of a full wine cellar installed by Kevin Zucht in the home of a intended purpose and when it shows visual appealwine as well, that is the artistic advantage. connoisseur. Take the example of coffered ceilings. Traditionally this design was used to lighten the load of a domed ceiling, as found in buildings in old Rome. Today coffered ceilings can be used as a decorative way of crossing the wooden beams of a ceiling to add additional support. Or, it can be used to transform a plain white ceiling in a beautiful home to a stunning show piece. The beauty is in its design, the choice of wood, the quality of its installation, and the way it allows light to bring out the richness of the wood and interact on its various surfaces.

The same can be said about wine racks. The ultimate goal is to store bottles of wine and a variety of geometric shapes can be used to do this by creating an attractive ambience in a room. This is where decorative design becomes functioning art. Quality workmanship is not expensive. It is priceless, as has been found in the homes in which Kevin has installed his fine woodworking. Many have sold in the multi-million dollar range. Kevin’s fine woodworking is not only found in home interiors. As an outdoor adventurer, Kevin has applied the same disciplines and principles to boat building.

Above: A geometric designed wine rack of red oak as part of a full wine cellar installed by Kevin Zucht.

Above: Custom designed coffered ceilings made of vertical grain fir installed by Kevin Zucht.

Coming from a woodworking and canoeing family, his lifelong dream was to build his own canoe. One day, about ten years ago, this opportunity arrived and a month after he started, a yellow cedar canoe took its maiden paddle on Daisy Lake in Whistler, BC. He recounted his canoe building experience as follows: S2SA: Tell us more about the size of the canoe. KZ: This canoe weighs about 50lbs, is 15’ long, 3’ wide, and is made of clear yellow cedar and cherry. I milled all the wood myself and I am proud to say, there is only one joint in the whole boat. It is right in the middle. I just could not get that last piece in without a joint and I found this feat of woodworking most satisfying. S2SA: What made you choose yellow cedar? KZ: It so happened that someone owed me something and paid me in yellow cedar. I looked at all the options and thought yellow cedar would be different. It would contrast perfectly with the red of the cherry. Also yellow cedar is a stronger type of wood than the red cedar and would therefore take accidental impact much better. The canoe could have been 5lbs lighter if I had used red cedar, but yellow cedar was my choice. S2SA: Was it a frustrating time building a something this exact to form? KZ: Not in the least. It took between 12 and 14 hours a day for about a month to build this canoe and I learnt as I went along. I had a plan to work from, but decided to lengthen the canoe, so had to figure out all of that. It was sheer joy though watching it take shape and very satisfying knowing it was happening under my own hands. The one frustrating part though Left: Kevin Zucht and his dog Zeus in his hand built 15’ yellow cedar and cherry strip canoe.


was working with yellow cedar. It got to the point that I did not enjoy working with this particular type of wood. Yellow cedar has the most pungent smell that lasts for the longest time. But that is all gone now. S2SA: Anything in particular you found the most rewarding in building this canoe? KZ: Yes, the caning. I have never done caning before, so I read and read and found out different ways of weaving the canes for the seats. First I had to build the seat frames and then drill the holes in the correct places. I bought two big roles from a leather place in Vancouver and started. Took everything apart and started again. Finally I got it right. It took about three days to do the caning. Towards the end it went faster as it became clearer how to do this. To me this was the most creative and rewarding part of building this canoe.

S2SA: This canoe must be getting many admiring looks from fellow canoeists every time you are out on a lake or river. KZ: Many people have said this is the finest canoe they have ever seen, even other canoe builders. It has even been on a five day photo shoot by a marketing company to use as a prop in their advertisements. I am very pleased with the way it has turned out. S2SA: Tell me about the first day you took the canoe out. KZ: It was fantastic. My dad was with me and he is a fellow woodworker and canoeist and was watching from the shore when I paddled out onto Daisy Lake. It was beautiful. I can’t tell you the joy I felt paddling my own boat. S2SA: So, you had no doubt about it sinking? KZ: How can it sink? It is made from wood. There was no doubt about the workmanship, and as expected, the canoe tracked straight. S2SA: Where have you gone paddling with this canoe?


KZ: I have paddled it on many lakes and rivers around Whistler. We took it along on a 10-day family canoe trip in Tweetsmuir Park once. It has been trout fishing on Anahem Lake. It has done a class 2 section of the Lillooet River, and a few lakes and rivers in the US. S2SA: What has been your favourite time paddling your canoe? KZ: When my dog Zeus was still alive, he would go paddling with me. All I had to say was “Zeus, in the boat!” and he would jump in. It took some training but it was worth it. He would lean his head over the gunnel and watch life go by. So would I. Canoeing can be very peaceful and calming. S2SA: Do you design and build canoes on commission, and what about kayaks? KZ: For sure. There are great types of wood out there to use, ash, cedar, mahogany, or even teak maybe. Weight is always a factor, but anything is possible. As with my fine woodworking, call and we can put a great design from different wood types together.


Richard Smith Creating something new: Preservation Art When a man has a burning ambition to revitalize art in his community, things start happening. Richard Smith may be a retired art teacher, but this does not mean his art has retired as well. It has just taken on a different shape, much to the benefit of Peachland, on the shores of Okanagan Lake. Known as the unofficial historian of Peachland, Richard is the contact person for anything and everything old and historical related to his community. Some of his achievements to date are: Compiling the picture book: ‘Peachland. A pictorial History of the First 100 Years’, Getting actively involved with the historical society at the Peachland Museum, Bringing back the traditional 13-man war canoes to race on Okanagan Lake again, Initiating the Chinese Laundry Restaurant on Beach Road,

Acquiring the old and damaged totem pole from Rutland, restoring it, offering it to the town, who erected it opposite the Peachland Museum. This has become his new form of art. Is it Installation Art? Is it Environment Art? Is it Project Art? It could very well be a hybrid form of any one of these categories. Maybe it should be called Preservation Art. Whatever it is, it is reminiscent of Allan Kaprow’s theory that the separation of life and art, of artist and audience becomes blurred. In this case the audience experiences the sounds and vision of history and of life recreated in

Above: An image of the war canoes used in 1909 to race the one mile race on Okanagan Lake – the only area this race was done outside Eastern Canada. Photo supplied by Richard Smith.

modern times. Quite a different interpretation of Kaprow’s quote: “The line between art and life should be kept as fluid and perhaps indistinct as possible.” To Richard the preservation of his community’s history is a passion. Revitalizing art in the same community is a close second. Combining the two is easy, as was shown in the community gift presented to The Honourable Steven L. Point, Lt. Gov. of BC, when he visited this lakeshore village in 2009 for the Peachland centenary celebrations. Peachland is known for its peaches, of course. What better gift to give a dignitary than a peach, but not just any kind of peach. Richard decided nothing but a golden peach would do. He remembers the story: “This peach was picked from a pioneer orchard here in Peachland that was established at the turn of the century. It was the best one on the tree. I took it home and cast it in plasterof-Paris. Then sawed it in half on a band saw, took the two halves of the peach, cut and ate them, then closed the cast back up again and

poured paraffin wax in. This made a perfect impression in wax. I then gave it to the foundry man who cast it in bronze. We then polished it and finally had it 24kt gold plated in Summerland.” The gift of the golden peach was very well received and now serves as a life size icon from one of the most fertile villages in British Columbia. The art community in Peachland was very strong once, but dwindled down to almost nothing. One group, the Peachland Art Group, somehow survived the art slumber of the village. They regularly have exhibitions of their work and their next show is scheduled for May 30th at the Peachland Community Centre. Richard’s mission is to revitalize all of the arts in his community. He sees the problem as a lack of a dedicated facility in which artists could practice, house, exhibit their work and network with likeminded people and art buyers. There was an excellent opportunity to meet this need when the unused 4-roomed school house came up for rent. However, the rent was prohibitive and the Chamber will now occupy these premises. Richard strongly believes that an arts facility in Peachland will encourage local artists to be more active. This in turn will invigorate the town to grow in the right direction and create an additional appeal to visitors. After all, everybody knows art attracts attention. Richard Smith can be contacted at Images in this article kindly supplied by Richard Smith. Left: Richard Smith holding the 24kt gold plated life size peach he had made as a gift for the Lt Gov.of BC, Steven L. Point on his visit to Peachland in 2009.


Liz Burnett seeing the beauty of nature for what it is Previous page: “Angel’s Trumpet” – 24” x 36” Below: “Something Indescribably Beautiful” – 26” x 32” © Liz Burnett

For more information, contact Liz at or visit



Local Artists’ News UPCOMING EXHIBITIONS AND ART EVENTS IMPRESSION'S ART SHOW & SALE: Kelowna Art Gallery, 1315 Water Street, Kelowna - Friday May 14, 3 - 9 pm. Please join Artist's Opening Reception Friday evening from 5 - 9 pm for wine and cheese. Saturday, May 15, 10 - 4 pm. Together since 2003, they are a group of professional and emerging artists who paint together every Friday at the Rotary Center for the Arts. This venue, and our commitment to working together on a regular basis, provides the stimulus and support in order to experiment and improve. This group have developed a reputation for strong color and varied composition. Impressionism, realism, and abstract styles are worked in all mediums in landscape, still life, and figurative compositions. The eight members involved in the show are Marilynn Bury, Ethel Hewson, Jessie Johnson, Debra Martin, Joanne Onrait, Laura Salisbury, Cindy Smith & Liz Woodside.

PEACHLAND ART GROUP: Peachland Community Centre, Beach Road and 6th Street, Peachland Sunday, May 30th, from 10 am – 4pm. The Golden Anniversary Galleria will feature several paintings from alumni of the group. Available works of art include: oils, acrylics, watercolours and pastels. Admission is by donation. For further information, contact Deborah at or call 250-767-6796. Tea and goodies served. Everyone is welcome. DIANNE KORSCH and BARB HOFER: Red Rooster’s upstairs gallery, 891 Naramata Road, Naramata – the month of June, 2010. Opening reception is Sunday, June 6th from 1 - 4 pm.

THE NARAMATA ARTS STUDIO: Lang Vineyards, Gammon Road, Naramata - from now till early August 2010. The Naramata Arts Studio is currently hanging their original artworks in the tasting room at Lang Vineyards. For those wishing a unique piece of art, there is a choice of 25 lovely pieces in a variety of mediums. Call for open hours. 250 496-5987, or visit

NARAMATA BENCH ART STUDIO TOUR: Saturday Mar 20, 2010 - Friday Dec 31, 2010 - Nine Naramata artists have put together an exciting art studio tour. Pick up one of their colourful brochures at most wineries or the Penticton Visitor's Information Centre. Then choose which studios you would like to visit. For further information, call Dianne at 250 496-5188.

DIANNE KORSCH, ALPENVIEW NARAMATA ART STUDIO: My art studio in my home at Noyes Road, Naramata, is open to the public.


Liz Burnett, G.G., RMVP Independent Jewellery Appraiser, Graduate Gemmologist Conference Speaker

P O Box 20084, Kelowna, BC, V1Y 9H2 Tel:

1. 250.215 0929 /

KEVIN ZUCHT Fine Finishing and Woodworking on the finest homes since 1988


Cell: 1 (604) 905-9853 Email: Web:

. . . where it all comes together - May 2010  

Online gallery and artist news from Okanagan, British Columbia in Canada