Art Chowder May | June 2016, Issue 3

CULINARY ARTS | PERFORMING ARTS | VISUAL ARTS

50

Hour Slam With Juan Mas

Conservation

r e s t o r at i o n

&

t h e Vi c i s si t u de s of Pa i n t i n g s

Tod Marshall Wash i n g ton Stat e Poet L au re at e

ART FROM AROUND THE

WORLD

Kathleen Wong | Hong Kong

The

Bearing Sculpture Project $5.95 US

$7.75 CAN

www.artchowder.com

Artist Exclusives with cover artist Marcella Rose M AY . J U N E 2 0 1 6 . I S S U E 3

May |June 2016 1

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$50 PER PERSON Fo r T i c ke t s C o n t a c t : Spokane Galler y 509.747.0812

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A n nu a l F u n d r a i s e r B e n e f i t i n g

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SPOKANE VALLEY ARTS COUNCIL

11525 Eey 20tha r t s . o r g ss pp o kSpokne an n ev ev ok a aa ll ll eya rts.org Valley, WA 99206

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C e n t e r P l a c e R e g i o n a l E ve n t C e n t e r L o c a t e d i n M i r a b e a u P a r k • C i t y o f S p o k a n e Va l l ey

U N C I L’ S

CONTENTS: Artist Showcase

F O R T H E S P O K A N E VA L L E Y A RT S C O U N C I L’ S 9 T H A N N UA L

ON ART AUCTION 04 From The Publisher

Dean Cameron

06 Call For Entries $ 5 0 P EPhotography R P E R S O N Contest

( T i c ke t s i n c l u d e S VAC m e m b e r s h i p fo r a ye a r )

08 Artist Exclisives A RT, F O O D & M USIC Marcella Rose

30PM

.4744

Q U I C K D R AW / D E M O N S T R AT I O N • 5 TO 6 : 3 0 P M

18 Art About Town

Art Resource Directory

6 : 3 0 P M AU C T I O N B E G I N S

Fo r t i c ke22 t s ,50p lHour e a s eSlam contact:

P a c i f i c F ly G a l l e r yJuan 5 0 9 .Mas 747.0812 w ay With J i m H a r ke n 5 0 9 . 9 2 4 . 5 0 0 9 o r E l a i n e F u l t o n 5 0 9 . 9 2 6 . 4 7 4 4

28 The Bearing Sculpture Project

By Ildikó Kalapács

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34 Conservation, R e stor at i on and

t he Vi c iss itu d e s of Pai nt i ng s s p o k a n evBya lMelv l ey airl ltesHol . o rme g s SPOKANE VALLEY ARTS COUNCIL

May |June 2016 3

From the Publisher Dean Cameron

W

e at Art Chowder Magazine are very thankful you have chosen to read this magazine; whether by a print copy, your Kindle, Nook or online. Your curiosity is the beginning of our journey together to bring you the very best of our community and the artisans who create the positive experiences in our lives. Art Chowder Magazine will reach out into all the corners of our region to be inclusive of the many aspects the various arts bring to our senses.

We have partnered with many community leaders in the Visual, Performing and Culinary Arts to deliver interesting, engaging and informative content that we hope will leave you with a “what will they publish next?” curiosity.

Along with our community format we will, on occasion, bring news and information from the nation and around the globe in an effort to grow our knowledge and experiences beyond our local boundaries. The Arts are not something to be contained. We have our preferences, whatever they may be, and that is a good thing. With our eyes, ears and minds open however, we may learn that as we “experience” the arts in all their forms we may find new roads we have not yet traveled and yet we enjoy the adventure.

Finally, I would like to personally thank the founder and our “Editor in Chief ” Rebecca Lloyd. Art Chowder was created and developed through her passion for the arts and her tremendous effort and hard work to launch this project. We are proud to work hand in hand with her as we build Art Chowder into a periodical our community can be proud of.

So why the picture of my empty desk above? Well, “The purpose of art it is because I do not intend to spend much time is washing the dust there. Art Chowder is about interaction and a “hands on” approach. I will be meeting you at art of daily life off our events, and concerts and local restaurants so that souls”. we enjoy the arts together.

In a world filled with so much negativity these days -Pablo Picasso I am reminded of this quote: I very much look forward to washing off that dust.

Dean Cameron Publisher

4 ART CHOWDER MAGAZINE

CONTENTS:

42 Art From Around The World

Kathleen Wong, Hong Kong 48 Todd Marshall

Washington State Poet Laureate

By Karen Mobley 54 Inland Northwest Culinary Academy

By Julie raftis-litzenberger 58 Fan Favorite Recipes

Caribbean Chowder

By William Maltese

62 Art Chowder Marketplace

P.O. Box 141292 Spokane Valley Washington 99214 509-995-9958 ISSUE No. 3

Publisher & Advertising Sales Dean Cameron dean@artchowder.com Editor In Chief & Creative Director Rebecca Lloyd rebecca@artchowder.com

Contributing Writers Juan Mas Karen Mobley Melville Herman Julie Raftis-Litzenberger Cover Art Marcellla Rose

www.artchowder.com May |June 2016 5

6 ART CHOWDER MAGAZINE

CAROLSCHMAUDER

Ponderay Garden Center

presents the

Garden of Artistry Invitational Fine Arts Show July 22, 23 & 24 Come meet over thirty artists and enjoy the work of some of the region’s finest painters, sculptors, photographers and jewelers. A rich variety of styles, media, and subject matter.

Carol Schmauder paints her thoughts in watercolors and acrylics. You can find her works online at www.carolschmauder.com or in Avenue West Gallery

Art Show is open with Free Admission:

Fri. 1-5 pm • Sat.10 am-5 pm • Sun. 10 am-3 pm

907 W. Boone Ave, Ste B; Spokane, Washington.

Opening Benefit Reception

509-325-4809 | clschmauder 1@ gmail . com www . carolschmauder . com

Please contact Gabe Gabel, Show Director at 208-265-9613

Friday Evening 6-8 pm

Ponderay Garden Center • Highway 95 (north of Walmart)

May |June 2016 7

Artist

Exclusives MARCELLA ROSE

Did you always know that you wanted to be an artist? I have considered myself an artist for as long as I can remember.

M

y paintings and sculptures reflect the divine and inseparable essence that resonates within each of us. The admiration and passion I feel for the intrinsic nature of every sentient being serves to elevate and inspire, moving past darkness, past separateness.

My paintings and sculptures are rich and orchestrated; dancing to the heartbeat of our universe. Each painting is multi-layered with transparent, highly contrasting warm and cool color, texture, gestural strokes and mood. Every sculpture bursts with life, communing with vibrant expression from deep within, be it of warm, pliable clay or cast bronze.

It is in the process of creation, reflecting the liquid and pliable narrative of life, that we feel and hear the song of the soul. That path distinguishes all of nature from inorganic matter. My work seeks to bridge any gap between spiritual and worldly natures, serving to remind us of our essential interdependence.

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How long have you been creating? I began creating art as a young child. Growing up on a farm, I was very influenced by nature, animals, etc. I would make anything that I wanted; be it a doll’s clothing, jewelry, paintings, anything I could think of.

Do you work in different mediums? Which is your favorite? I work primarily in oils for painting, and currently in clay and wax for sculpting. Starting out my career in illustration and design gave me the opportunity to experiment with many mediums.

I resonate with the oil, wax and clay because they are so sensual, rich and tactile.

What are some of the most meaningful responses you have had to your work? In two words: spiritual connection. I am very passionate about my art, and viewers feel the same resonance that I have creating it. It inspires others. This is my intent.

SPIRIT

RISING The 3.5-foot creation is titled ‘Spirit

Rising.’ It depicts Rose’s perception of the prehistoric young woman whose remains were found in 1931 about a mile north of Pelican Rapids during construction of what is now U.S. Highway 59. She is believed to have lived about 20,000 years ago and may represent the oldest archeological discovery in North America.

‘Spirit Rising’ shows this young woman creating music from within, blowing into a whelk. She is in communion with a pelican, whose origins in the area go back much further in time. Nimuué also carries some of the items, such as a turtle carapace and tools, that were found with her.

What is your favorite piece of your own artwork to date? “Spirit Rising,” my most recent work. The photo is of the clay model. It is currently at the foundry manifesting into bronze.

May |June 2016 9

Artist

Exclusives

MARCELLA ROSE Is there anything you wish was different in the art world?

Value and respect for the arts in schools, communities and the paying of dues for recognition. It seems as though artists are continuously being asked to donate their time, talent and money for fundraisers out of a perceived entitlement. Grants are set up more for “left brains” than for the creative process.

I wish people would understand that it is not how many hours one spends on the actual painting of a subject that sets the value of it. People seem to not understand the creative process and only want to know the actual time spent with brush in hand.

Are there certain subjects that you are particularly drawn to for inspiration?

Nature. All nature. My spiritual connection, meditation, all Animals, the feminine in all things and music.

If you had not become an artist what other career pursuits would you have?

That really wasn’t an option for me.

However, I did entertain the idea of working with animals as a veterinarian, or as a paleontologist, archaeologist, geologist or musician.

10 ART CHOWDER MAGAZINE

May |June 2016 11

Marcella Rose What do you enjoying doing besides art?

Art is a way of life for me. If I am not painting or sculpting, I am creating something else, and it pours through me like a river that never stops flowing. Although creating 24/7, I do it constantly in the moment, while meditating, walking, swimming, fishing, entertaining guests, visiting galleries and museums, mentoring, enjoying fine wine and fabulous food — always planning the next phase of each project.

Is there anything interesting, unusual or notable about you or your career that you feel comfortable sharing with our readers?

I started my career in advertising. I was an illustrator, creative director and product designer in the commercial world. I designed, illustrated and sculpted prototypes for many major companies. While all that made me financially successful and internationally recognized and helped me gain skills; it simultaneously left me feeling empty, and unfulfilled. The good thing is, I can do all my marketing and advertising today while I create what is passionate within my soul.

What is your favorite childhood memory?

I have lots of good childhood memories: riding horse, playing with my kittens, being outdoors, painting, making sculptures, singing, dancing, collecting rocks, riding bike, going on camping trips with my family, spending time at the lake.

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May |June 2016 13

14 ART CHOWDER MAGAZINE

Marcella Rose Would you consider yourself to be a social person?

Sometimes. The more I have grown in my confidence as an artist, the more I have enjoyed social environments. But I still very much need to have my alone, quiet, inner life.

What is your biggest fear when exhibiting your work?

Damage during transport.

What is the name and location of the favorite place you have exhibited your work? Downey Gallery on Canyon Road in Santa Fe, New Mexico. My art has a southwest

contemporary flair, and I felt like I had finally arrived where I fit in. Being there was also a tremendous confidence boost.

May |June 2016 15

MARCELLA ROSE Is there anything you wish you’d done differently in your own career as an artist? Do you have any advice for emerging talents?

I would have bridged my career from commercial to fine art earlier in life. The need for financial means to support oneself and family is necessary, as is the need for funds to create art. Advice to emerging artists: spend all the time you can drawing, seeing, experimenting and painting for the sheer love and passion of it, not for the money. That will come.

Do you have an artist “bucket list” so to speak?

What ‘s on it and what would you consider to be a dream project?

Where can we see and find out more about your work? www.marcellarose.com,

www.facebook.com/marcellaroseart

marcella@marcellarose.com

I am living my dream project, creating a large-scale bronze monument. (Spirit Rising) My goals have always been to paint or sculpt meaningful art that inspires and lifts spirits. I am living that dream. I now own my own gallery, with a studio on the river, and am a founding member of an organization, which feeds my soul. My art is a reflection of that.

Fred Hoefler |P h o t o g r a p h i c P e r s p e c t i v e s BEYOND THE

SNAPSHOT My images go beyond merely

preserving a snapshot in time.

I create something that is “super-real” and invite the viewers to notice something that they would not have noticed in real life. To me, a successful image is one you come back to for second, third, fourth or more looks, discovering new things with each look. photographic-perspectives.com

fred@photographic-perspectives.com

“In my work, the image from a digital camera or a scanned film negative is the “starting material.” It needs to be cleaned up, straightened, balanced and sharpened. From there, tones, colors and textures are emphasized or de-emphasized as the situation dictates. Finally, I use oil paint and texture filters, to soften and create a three dimensional look. Filters allow me to select from a palate of differing colors within the image that makes the eye mix colors unique to every viewer.”

- Fred Hoefler 16 ART CHOWDER MAGAZINE

NI NG S HA PP E

LIVE MUSIC

Featuring Garland’s very own- Rob Bryceson

JAZZ by Pink Tango

OPEN Mic Night

ART throughout the District

IMPROV at Blue Door

LOCAL Food - Local Shopping

SATURDAY, MAY 14TH @ 3:00 P.M.

2ND ANNUAL Satellite Dish Fundraiser

COME EXPERIENCE A VARIETY OF ART ON GARLAND! Vendor applications now available for 2016 street fair!

Visit GarlandDistrict.com for more info.

Sponsored by Integrity Insurance Solutions.

Mitchell Pluto

Pershone in the Chamber of Reflections | 36” x 36” | Oil

www.mitchellpluto.com

Migrating glyph | 30” x 30” | Oil

t o t e m t r a n s i t @ ya h o o . c o m

May |June 2016 17

Art About Town

ART RESOURCE DIRECTORY 29th Avenue Artworks 3128 East 29th Ave. Spokane, WA 99223 (509) 534-7959 Angel Art Gallery 423 Sherman Ave. Coeur d’Alene, ID 83814 (208) 665-7232

Avenue West Gallery 907 W Boone Ave, Spokane, WA 99201 (509) 838-4999 Bozzi Gallery 221 N Wall St Suite 226, Spokane, WA 99201 (509) 290-5604 Cello 415 W Main Ave #101 (509) 315-9579 Opens at 11:00 AM Chase Gallery 808 W Spokane Falls Blvd (509) 625-6050

East Sprague Art Gallery 1812 E. Sprague Spokane, WA 99201 (509) 202-0850 Emerge 208 N 4th St, CURRENT ADVERTISERS 18 ART CHOWDER MAGAZINE

Coeur d’Alene, ID 83814 (208) 818-3342 Hatch Gallery 9612 E Sprague Ave, Spokane Valley, WA, 99206, SUITE 201 509-598-8080 Jundt Art Museum 200 E Desmet Ave Spokane, WA 99202 (509) 313-6843 Kolva Sullivan Gallery & Trackside Studio 115 S Adams St Spokane, WA.99201 (509) 462-5653 Kress Gallery / River Park Square 808 W. Main River Park Square, Third Level Spokane, WA 99201 (509) 456-3413 Marmot Art Space 1206 W Summit Pkwy Spokane, WA 99201 (509) 270-5804 Magic Craftsman Gallery 18209 E Appleway Ave Spokane Valley, WA 99016 (509) 475-2390 McCarthy Art Company

601 W. Main Spokane, Washington 99201

New Moon Art Gallery 1326 East Sprague Spokane, WA 99202 (509) 413-9101 Northwest Museum of Arts & Culture 2316 W 1st Ave Spokane, WA 99201 (509) 456-3931 Painters Chair 223 Sherman Ave. Coeur d’Alene, ID 83814 (208) 667-3606 Saranac Art Projects 2910 E 57th Ave # 5-282 Spokane, WA 99223 (509) 954-5458 Spectrum Fine Art 21 W 34th Ave Spokane, WA 99203 (509) 747-5267

Spokane Gallery 409 S. Dishman Mica Rd Spokane Valley, WA 99206 (509) 747-0812

Spokane Falls Community College Fine Arts Gallery 3410 W Fort George Wright Dr, Bldg 6 Spokane, WA 99204 (509) 533-3710

Steven A. Scroggins Fine Art Gallery 110 N 4th St, Coeur d’Alene, ID 83814 (208) 659-8332 The Art Spirit Gallery 415 Sherman Ave Coeur d’Alene, ID 83814 (208) 765-6006

The Artisan Gallery 53 Wisconsin Street Priest River, ID 83856 (208)-304-4656 The Liberty Art Gallery 203 N Washington, Spokane, WA 99201

Urban Art Co-op 3017 N Monroe St. Spokane, WA 99205 (509) 720-7624 William Grant Gallery 1188 W Summit Pkwy Spokane, WA 99201 (509) 484-3535

May |June 2016 19

EAST SPRAGUE ART GALLERY 1812 E. Sprague Ave., SpokaneWA. 99202 | 509.202.0850

Our Hours:

Tuesday – Saturday 11 am – 6 pm Closed Sunday and Mondays First Fridays 5 pm - 8:00 pm Email: dspano4323@aol. facebook.com/eastspragueartgallery | flootie.com 20 ART CHOWDER MAGAZINE

Oil il paintings paintings | Watercolor atercolor | Drawings rawings Metal etal Sculpture culpture | Bronze ronze Sculpture culpture Ceramic eramic Sculpture culpture | Blown lown Glass lass Fused used Glass lass | Etchings tchings | Glass lass Mosaics osaics Wood ood Sculpture culpture | Photography hotography Fabric abric Art rt | Mixed ixed Media edia & More ore

Quinn’sCORNER

E . L. STE WART

R I C H A R D WA R R I N G T O N An internationally known, diverse, and impressionistic sculptor who creates two and three-dimensional hollow form and silhouette sculptures using powder coated aluminum, stainless steel, corten steel and bronze.

Eyes Open | 24x24� | Acrylic on Canvas www.elstewart.com

www.rwarrington.com

May |June 2016 21

50

T

he 50 Hour Slam Inland Northwest Film Festival is about to celebrate its sixth year of sending off hundreds of indie-filmmakers into the city of Spokane to cobble together a short film in just a single weekend. Attend the event’s “Kick-Off” night where the filmmaking clock starts ticking and you’ll probably feel the palpable anticipation of the dozens of filmmaking teams waiting to receive their “Secret Criteria” so they can embark on the somewhat expedited first steps of the filmmaking process.

But while the event has grown to

22 ART CHOWDER MAGAZINE

Hour Slam With Juan Mas

be a staple annual art event within The incoming feature film projects Spokane, it had humble beginnings. (many out of Los Angeles) hired much of the local Spokane film Back in 2010 the city of Spokane crew: film and television professionwas beginning to see the return als of whom many were filmmakers benefits of the Washington State tax in their own right. And while steady incentive program for filmmaking. work was appreciated by those in Feature film production had surged the Spokane film community, some within the state, and Spokane was had the desire to write or direct getting a large portion of the work, films found themselves working on and both the business community film sets in positions that did not and the public at large seemed to cater to their passions or ultimate be excitedly embracing the fact that goals. It seemed that if you wantHollywood celebrities and film ed to be an established filmmaker crews were invading their town. and tell your own stories, Spokane wasn’t the city to do it in.

50 Hour Slam: A Time Based Filmmaking Competition & Festival in Spokane, Washington

May |June 2016 23

I

t was these conditions that brought together the five local filmmakers who eventually created the 50 Hour Slam. Adam Boyd, Tom Dineen, Adam Harum, Juan Mas, and Brandon Smith – all whom had worked together in some facet on local film projects – began brainstorming on how they could develop a platform for Spokane filmmakers to gain exposure and recognition. Fueled by past experience with film festivals, events, and competitions (and a few pints of beer), the group conceived the 50 Hour Slam Inland Northwest Film Festival. The model: A time restricted film competition open to any filmmakers; novice to professional. Competing filmmakers would have just 50 hours to write, shoot, and edit a short film entry, and to ensure the work was done during the competition the organizers would require three specific criteria (announced at the beginning of the 50 hour period) be incorporated into each film. The criteria, while carrying 24 ART CHOWDER MAGAZINE

every year, would be Spokane centric to help root the festival in the city of its origin. Seven Northwest-based judges, who were affiliated with the local arts community in some way, would then score the competing films. The top 15 scoring films would be considered finalists and would then be shown at a public screening event where top film awards would be given.

The 50 Hour Slam organizers developed some very specific goals as part of the events mission. Their first aim was to inspire local filmmakers to create works that carried their distinct voice and to motivate them to continue to make films beyond the competition. The other main focus of the Slam was to have local filmmakers acknowledge and collaborate with the other art disciplines and communities within Spokane.

And ultimately the event organizers wanted the Slam to serve an exhibition point for artists to connect with the Spokane community at large. Their hope was to bring the Arts to the public in a new and innovative way that would feel inclusive, connect with a diverse crowd, and perhaps even instill a sense of Spokane pride within the participants and attendees. A few years after its inception, the Slam’s mission and growth attracted local public television station KSPS-TV, and a partnership was formed between the two organizations that would further the exposure and opportunities for the participating filmmakers.

Over the last five years the Slam has lived up to its mission by sharing over 140 short films with the Spokane community. And all the films have focused on elements that make the Northwest unique: local music, visual

arts, literature, culinary arts as well as iconic features like the Riverfront Park Sculpture Walk, historical Spokane architecture, and Spokane businesses that have been operating for over a century. This year the film competition will spotlight several distinct Spokane neighborhoods as well as throw focus on the art of Dance and the Spokane Dance Community. The 2016 Slam competition finalists will all be shown at the Bing Crosby Theater on May 7th as part of the Slam’s annual Screening Event. In addition to featuring the competing short films, the night’s festivities will include live performances and presentations from other local artists in a variety of disciplines.

The 50 Hour Slam has grown from a singular film event to a full celebration of the Spokane Arts. www.50hourslam.com www.facebook.com/50HourSlam May |June 2016 25

208-304-4656 artisangallery.biz

From Emerging, To Established.

53 Wisconsin St.

New Events, Artists, And Openings Every Month.

Priest River, ID

26 ART CHOWDER MAGAZINE

at the corner of High St.

Summer Hours: Mon-Sat 10-5

“Morning Sail”

Chuck loves moving paint around, blending colors. This one was almost done, but he felt it needed something else, so he added the sailboat in the mist. Framed 26x26 acrylic, glazed with resin. $450

“Primaries”

This came out of a River Ridge Association of Fine Arts “RRAFA Challenge,” to make a piece of art using only the three primary colors. Once the piece was done, Chuck thought about the political process going on, and the fact that the colors once assigned to the two parties seemed to be blending and morphing into something else. 24x48, $750. Available at Spokane Gallery (formerly Pacific Flyway Gallery).

Chuck Harmon www.harmonyartsspokane.com

Ten years ago, the idea of becoming an “artist” would have never occurred to Chuck Harmon. Seven years ago, Chuck retired from a 30 year career in the financial services industry. Although his job was to help others plan for their retirement, he had no clear cut ideas for himself other than travel and watching more sports on TV. It didn’t take long before his artist wife Alice handed him a brush and said, “go paint something.”

It wasn’t immediate, but somewhere along the line, it became fun, and then, almost like a job. But a fun job. His style is not quite identifiable yet, but his subjects, for the most part are landscapes and abstract “airscapes.”

Chuck has shown in outdoor shows like Art on the Green, but prefers indoor venues. He and his wife spent two years exhibiting at Avenue West Gallery, and has since done shows as well as venues provided

by River Ridge Association of Fine Arts, for whom he also does publicity.

you can find chuck’s art around the spokane area this spring and summer. or connect with him on facebook at Chuck Harmon or Harmony Arts Spokane on flootie.com or visit www.harmonyartsspokane.com

May |June 2016 27

The

Bearing Sculpture Project By Ildikรณ Kalapรกcs

G

rowing up in the socialist Hungary and in the kind of family, which has been through hardships, I became socially sensitive. Now that I am a visual artist, I take interest in healthy cultural diversity and in also preserving cultural identity globally. I am more drawn to issues of resilience and solidarity with suffering.

Thus the image of the Bearing sculpture came to mind as I have watched the images of refugees, soldiers and their families coping with the impact of brutal conflicts worldwide. Although more women are in the crossfire, they are also the ones who are relied on for help and survival. The scale of the injury and homelessness is enormous: Hundreds of thousands of soldiers and 60 million refugees worldwide.

The Puffin Foundation, Ltd., gave me funds to create the small bronze with the request that I display it in a non-gallery setting, thus exposing people from all walks of life to this socially oriented art work. The non-profit Bearing Public Sculpture Project follows that philosophy, and its board works toward creating a life-size version of the sculpture and placing it in a public space in Spokane, Washington. The future goal is to place one life-size replica on each continent in communities, which were impacted by wars.

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The “ Bearing� is a bronze sculpture depicting a woman carrying a man holding a military-style rifle and sitting in a basket on her head. Thought provoking, the sculpture celebrates the strength of the human spirit as it carries the burdens of the physical and emotional aftermath of war.

J

ennifer Compau, art advocate of Spokane, glimpsed the sculpture in Seattle where I participated in an art exhibition in 2008. She had this visionary idea to create the piece life-size and place it permanently in a public space in Spokane. A non-profit organization formed around her idea with the help and advice of numerous friends and acquaintances. There has been a huge effort by our supporters in Spokane and our region to spread the word about the humanitarian approach of our project, how it embraces all who have suffered due to wars, and how it promotes empathy and care. It would be difficult to list all the wonderful people who contributed to the development of this project, but we are grateful to all of them!

May |June 2016 29

T

he board and I reached out to soldiers, refugees, and their families. We introduced the sculpture and the project to them, and also asked for their stories which you can read on our website. Also, we asked professionals from different fields who have been in touch with both soldiers, refugees, also their families, and asked for their experiences.

Stories are powerful, they are unique to each individual, but in this case they have one issue in common: How to cope with trauma, how to help those with PTSD and dampen the multigenerational impact of the memories of armed conflicts. Our belief is that this public sculpture in the right intimate and open setting could help with healing, sharing stories with loved ones and possibly with the greater public. Generating understanding and empathy are our main goals.

It has been a slow process to get this project moving forward, but it has a considerable number of supporters in our community and beyond!

We recently made a presentation to the Special Art Committee in Spokane, and its reaction has been positive. We have also identified an ideal city park location, which is in a serene place, could be approached on foot, and could facilitate the notion of a pilgrimage or destination site open to all.

As a designated city for refugees, Spokane has 40,000 refugees from all over the world. We have a large population of military personnel, including veterans, and the Fairchild Air Force base is nearby. Mann-Grandstaff VA Medical Center serves 300,000 veterans every year. Our region’s Native American population also understands war trauma and the struggle of healing. Our community demonstrated that it cares about those who struggle and that it can rally around them, thus we feel this public sculpture’s placement is the right choice for our larger community.

Our board members are Karen Boone, Cat Garrett, Patricia Kienholz, Liz Peterson and Kathy Thamm. Our website is donated and designed

by Laura Bracken and Design Spike, Inc.

30 ART CHOWDER MAGAZINE

“Bearing” makes a powerful statement about the burdens borne by societies, most especially women, because of war.

Artist Ildikó Kalapács employs universal archetypes to prompt questions we should all be asking about the costs -financial, emotional, and moral -- of institutionalized violence. The result, for the viewer, is compassion, not only for those who must shoulder the burdens imposed by war, but also for those sent to fight who, when they return home, are now so damaged that they must be carried.

-Sherry Jones, author

Friends of the Bearing Public Sculpture Project Bob Adolfson Denise Attwood Joy and Wayne Attwood Charity Bagatsing Doyle Laura Bracken Laura Brunell Mary Carr Ann M. Colford Jennifer Compau Tim Connor Joyce Cameron Zan Deery Rachel Dolezal Rick Eichstaedt Gerard Fischer Leslie Ann Grove Pia Hallenberg Christensen Diane Gibson Paul Haeder Lunell Haught Shaun Higgins andAnn Glendening

Donors

Mary Alberts and Jim Sheehan Laura Bracken and Design Spike, Inc. Emily and Vincent Bozzi Zsuzsanna Cziráky Mary L. Compton Tim J. Connor Rachel Dolezal Gerard Fischer Gita S. George-Hatcher Katherine Hassler Lunell Haught Shaun O’L. Higgins and Ann Glendening Eve Hogard Wayne Kraft and Ildikó Kalapács Myrta and Mike Ladich Mimi Marinucci Linda and Larry Milsow Cate Paul Pam Pyrc Robi Railey Dale Raugust Ed Renouard Kathy and John Thamm MarianneTorressandMichaelPoulin

Eve Hogard Sherry Jones Jim Kolva and Pat Sullivan David Laird Esa Lariviere Tammy Marshall Mimi Marinucci Cheryll-Ann Millsap Linda and Larry Milsow Ben Mitchell Yvonne Lopez-Morton Karen Mobley Liz Moore John A. Olsen Catherine Paul Michael Poulin Robi Railey Ed Renouard Marilee Roloff Rick Singer Marianne Torres Norvel Trosst Heather Villa

Donations: thebearingproject.com/ donations The Bearing Public Art Project 1314 S. Grand Blvd. #2 Box 330 Spokane, WA 99202-1174 The Bearing Public Sculpture Project is a 501(c)3 organization.

Ildikó Kalapács, executive director and visual artist Spokane, Washington 509-747-0979 ildiko@ildiart.com

May |June 2016 31

Judith Sanders-Wood | J.K. Sanders

W W W. J K S A N D E R S S T U D I O . C O M | J U D I T H S A N D E R S 3 1 3 @ G M A I L . C O M

I

have been creating art for as long as I can remember. It is as much a part of my life as anything else.

Creating art has helped me through some difficult times as well. I love to explore different techniques and materials to see where it takes me. Sharing my art is also important to me I share my visual art as well as teach my techniques to others. When I paint I can be alone in my studio, pleine air, or with a group. I love sharing creative time with others.

In my paintings although they may differ in subject matter I try to convey a mood. I want my viewer to feel the painting and have some surprises as well. My techniques can be a little different and sometimes I utilize mixed media or I can be simple as with a transparent watercolor. My mood is translated into my painting. I am ever challenging myself and pushing the envelope with new mediums and techniques. I hope my viewer feels that in my paintings. I am always excited to see where the process leads and sometimes sad when the painting is finished, but looking forward to the next. My recent move to Idaho has brought some wonderful opportunities for growth and that excites me.

Robert Banger P

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May |June 2016 33

Conservation

r e s t o r at i o n

&

t h e Vi c i s si t u de s of Pa i n t i n g s M e lv i l l e h o l m e s

“S

trange things can happen to pictures.” So wrote wherever they could be found. From these he would se-

George L. Stout in his 1948 book The Care of Pictures. He was in a unique position to know, for he was one of the leading pioneers to help place the field of art conservation on a rational scientific basis. First opening in 1895, the Fogg Art Museum at Harvard University had during the 1920s become a veritable “laboratory for art,” and in 1928 Stout was appointed head of what became the Department of Conservation and Technical Research, a post he occupied until 1947. In this role he became a pivotal figure in making the Fogg “the leading center for conservation research and training in the United States.”

He was also the real man behind George Clooney’s character Frank Stokes in the motion picture The Monuments Men, about the recovery of the vast trove of artworks looted and secreted away by Hitler and the Nazis during World War II. Loosely based on the book of the same title by Robert M. Edsel, the movie highlights only a few of the strange circumstances surrounding the search for stolen masterpieces and the discovery of their hiding places.

The Monuments Men were a special cadre of some 350 men and women from 13 nations who took part in what was officially called the Monuments, Fine Arts, and Archives (MFA&A) program. Their mission, unprecedented in the history of warfare, was to protect, as far as possible, cultural properties in war zones. Stout was among the first to follow Allied forces landing in Normandy in 1944, and his expertise and ingenuity in carefully handing fragile artworks gave him a central role as the details and the enormous scale of Hitler’s bizarre plan for art began to come to light.

Although the Nazis’ systematic brutality and monstrous racial ideology are well known, it is only relatively recently that Hitler’s preoccupation with art and grandiose dream to draw to himself the greatest works of European culture has come to popular awareness, especially with the publication of The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War by Lynn H. Nicholas in 1994. During the years leading up to the war Hitler had sent his agents to scour Europe to make lists of artworks and other cultural artifacts 34 ART CHOWDER MAGAZINE

lect the choicest treasures to house in a vast Führermuseum he would build in his hometown of Linz, Austria.

This, his megalomania envisioned, would be the most magnificent art museum in the world. The sheer scale and organization of Hitler’s plan is staggering. Millions of paintings, sculptures, books, tapestries, and other art and cultural objects were gathered and stored in a multitude of locations.

During the last year of the war Monuments Men in Northern Europe were beginning to learn something of this. One of the most dramatic events in the film was the discovery, quite by chance, that many art objects had been stored in ancient salt mines in the Austrian Alps.

Deep inside were some 6755 old master paintings (5350 of which were destined for the Linz museum), 230 drawings or watercolors, 95 tapestries, 68 sculptures, and hundreds of other artifacts. Here were found Michelangelo’s Bruges Madonna, Jan Vermeer’s The Art of Painting and The Astronomer, and Hubert and Jan Van Eyck’s Adoration of the Mystic Lamb, known as the Ghent Altarpiece [Figure 1], which Hitler coveted to be the crown jewel of this Führermuseum.

In the last days of the war, before the U.S. Army arrived on the scene, a regional Nazi leader had rigged the mine with heavy explosives. After Hitler’s suicide he gave the order to blow up the mine and all the artworks within.

The plan was thwarted by the director of the mines who disobeyed the order, had the bombs removed and the mine entrances sealed. More suspense followed. As the Americans were finally able to reach the area, word came that the Russians were on the way to take charge of the region. Without a moment to lose, under Stout’s supervision the artworks were carefully packed (the Bruges Madonna and the Ghent Altarpiece are said to have taken a whole day), loaded on trucks, and sent to MFA&A depositories for processing. In these locations would begin the long and complex tasks of inspecting, cataloging, and finding out where millions of art and cultural items rightfully belonged. Though the MFA&A was disbanded in 1946, the task of locating artworks stolen by Nazi Germany and repatriating them continued and is a work still unfinished to this day.

D

Figure 1: The Ghent Altarpiece open | From Wikipedia, source Web Gallery of Art.

escribed as “the most important artwork stolen by the Germans,” the Ghent Altarpiece [illus] was the first to be returned to its place of origin; it was flown to Belgium on August 22, 1945. But the polyptych, a painting made of multiple panels, in this case 20, was over 500 years old and had suffered various misfortunes throughout its long years. In 1950 the altarpiece was sent to the Central Laboratory of Belgian Museums in Brussels for extensive analysis to take stock of its actual condition and accomplish the most needful treatment to stabilize it to prevent further degradation. As a result of a yearlong study, the findings were published in 1953 with a remarkable book called L’Agneau Mystique au Laboratoire (The Mystic Lamb in the Laboratory): the first book to describe the scientific examination of a work of art and detailing the specific reasons for treatment in every aspect and how it was carried out.

Numerous micro cross-sections and x-rays were taken and analyzed and a clear picture emerged of the distinction between the artists’ original work and the numerous layers of successive retouching (painting over) and discolored varnish that disguised the

painting’s original character.

But many questions remained unanswered and treatment stopped short of a full restoration. After recent discovery of flaking paint, a grant from the Getty Foundation in 2010 enabled a new condition assessment using much more developed analytical tools and methods than were available in the 1950s.

This led to a full conservation plan projected to be complete 2017. Many details of its progress can be found online, including the 362 page Progress Report of 2010 and extremely high-resolution photographs of the altarpiece. http://closertovaneyck. kikirpa.be/#home/sub=altarpiece The Progress Report itself is an amazing document for its systematic thoroughness addressing every detail of the polyptych, including the recorded histories of each panel, their construction, present condition, and recommended treatment, all lavishly illustrated with diagrams and color photographs. The histories include causes of damage, when the panels restored and by whom, moved and exhibited outside the city of Ghent, even sold and returned.

May |June 2016 35

A

lthough the Ghent Altarpiece has had a dramatic history, its vicissitudes are not all unique in themselves. Many other artworks have endured circumstances never imagined when they were created, from natural and man-made disasters, to being carried off as spoils of war, to outright vandalism. In 1914 a suffragette wielding a meat cleaver slashed the Rokeby Venus by Diego Velázquez in London’s National Gallery. An unemployed schoolteacher slashed Rembrandt’s Nightwatch in the Rijksmuseum, Amsterdam, with a knife in 1975. Then there are the numerous and much more mundane causes of damage to pictures, from defects in craftsmanship, unsuitable environments where they are kept, accidents, carelessness, and even ill advised “restorations.”

state of semi-equilibrium is reached. But the story isn’t over. Over time oil paint becomes very brittle. The drying oils used to make paint yellow to one degree or another and oil paint also becomes more transparent with age. These effects do not constitute damage, of course, since they are normal processes intrinsic to the nature of oil paint. But failure to be aware of the changing nature of paint over time can lead to unfortunate results. For example, artists are always advised to wait for a period of six months to a year before varnishing their paintings, so as to allow time for the oil paint to come to the state where it is no longer contracting.

Applying a fast drying coat of paint or varnish over a layer that is not fully dry can lead to what are called “drying cracks,” wide, unsightly fissures in the picture.

In The Care of Pictures, George Stout put it this way, “As soon as a picture is finished, it starts to deteriorate.” With oil paintings chemical and physical changes begin almost immediately. As oil paint dries, it first expands by taking up oxygen from the air, followed by chemical reactions that produce volatile compounds that are given off and the paint begins to shrink until a

Another source of alteration to paintings can come from the colored pigments that are used. Some facilitate drying, while others hinder it. Some will ultimately fade through exposure to light, while others can darken, depending on a variety of circumstances.

Figure 2: Drawing by Melville Holmes

36 ART CHOWDER MAGAZINE

Paintings are essentially complex structures made up of a number of parts that are interdependent. The accompanying illustration [figure 2] shows the typical structure of a painting. First there is something to paint it on: the support, which may be wood, canvas, metal, or other. On top of that there is usually a ground, which prepares the support to receive the paint layers. Sometimes there is a supplemental ground layer known as an imprimatura that gives a neutral or colored tone to the ground.

Oil paintings are commonly given a final coating of varnish, which serves as a protection and gives an even sheen to the picture while also enhancing the saturation of the colors.

Each of these components is subject to a variety of factors that can affect their stability. A fault or weakness in one part can have a deleterious effect on the whole. Every painting has its own story.

Space will not permit discussion of the myriad issues involved in damage to pictures, beyond listing some of the strange occurrences the present author has come across and illustrating with a few examples.

Old paintings are usually covered with natural resin varnish that has turned yellow-brown, on top of which is accumulated surface dirt. Some pictures additionally have thick coatings of tobacco smoke and/or soot. (one of these was so blackened that it looked as if it had been kept in a coal chute.) [Figure 3] One painting by a street artist in Vietnam on unstretched canvas was rolled then crushed in transit, resulting in hundreds of pinhead sized paint losses. (The owner’s sister, who had given it to her, was coming to visit and the painting needed to be fixed.) Other infirmities range from dust, flyspecks, and food spatters to scratches and dents, to punctures, tears, deformation of the support, and flaking paint detached from the ground.

During the restoration of Spokane’s Davenport Hotel from 20002002 I was in charge of cleaning and repairing the historic paintings, beginning with The Three Ships of Columbus over the lobby fireplace, painted by Einar Petersen. It was heavily discolored with smoke from the ever-burning hearth fire and darkened varnish, but was otherwise in good condition. A portrait of Louis Davenport by Leopold Seyffert only needed minimal cleaning and hangs by the front desk. The ceiling of the Hall of the Doges, painted on canvas and stuck on plaster, artist unknown, had been badly scraped, possibly by careless cleaning after an alleged fire. One of the most interesting ones though, from a restoration perspective, was the portrait that has always hung in the Isabella Room, the hotel’s original dining room.

Though often referred to as a portrait of Queen Isabella of Spain, after whom the room was named, the picture, unsigned and undated, depicts a woman in 18th century French rococo style and dress. The Davenport’s 1915 guidebook, Davenport Hotel, Spokane, U.S.A., identifies the artist as Jean Marc Nattier but this attribution is unfounded. The identity of the woman is unknown, but the flowers, garden setting, and unusual implement the woman is holding, which could be a stylized gardening tool, suggest the subject could be an allegorical depiction of the goddess Flora. The picture was much darkened by old varnish and surface grime and had several small areas of paint loss, with two small holes to the right of the figure’s head, which according to legend were caused when champagne corks were aimed at the picture.

Upon inspection, areas at the top and left side of the canvas had been crudely painted over with greenish brown oil paint to mask numerous tiny paint losses. [Figure 4]

Figure 3

Portrait of an unidetified lady, 19th century American photo: Melville Holmes

Figure 4

The Isabelle Room painting before treatment photo: Melville Holmes May |June 2016 37

Figure 5: A portion of the painting during restoration photo: Melville Holmes

U

nlike the smooth, fluid enamel quality of the original painting, this had the stiff quality of ordinary 20th century artists’ tube oil colors. It was easily removed and only the paint losses themselves were filled in.

As varnish removal proceeded, bright, clear colors began to emerge, as did the nature of the artist’s skillful technique, and then followed a curious discovery. Beneath the yellow-brown murk the lady’s brocade gown was a delightful, clear rose. The 1.) Original underlayer where gray-brown glaze had artist had applied a gray been removed in the past. glaze to the entire figure to 2. Original gray-brown glaze intact. harmonize all its elements.

3.) Pigmented brown glaze to cover up over-cleaning Beneath this glaze the 4.) Cleaned area with original glaze intact gown had first been painted 5.) Appearance prior to varnish removal what we would call a bright “shocking pink,” which the glaze served to tone down. This glaze also covered the yellow drapery behind the woman and under her left arm. But there was something odd. As the varnish came off on the cotton swabs, some of it was much darker than the rest. Further, there was a portion of the background drapery where the glaze was missing. At some time in the past, very likely before the hotel acquired the painting, this area had been over-cleaned during a previous restoration. As can be seen in the illustration [Figure 5], the underpainting was done in shades of pale off-white, visible where the glaze was cleaned off, and harmonized with the rest of the figure by the gray glaze. The dark brown area (“3” in Figure 5) is actually varnish that was tinted with brown pigment, the only reasonable explanation for which was to hide the damage. Unlike the paint itself, which was not readily soluble in the cleaning solvent, the pigmented varnish came up easily. This same pigmented varnish was used in other shaded areas of the figure, explainable as to make the darker value appear part of the original modeling. This was all removed, the missing glaze was inpainted to match the original (retouched by only coloring the missing area), and the painting returned as closely as possible to its original state. [Figure 6] As a final note of interest, at the bottom edge of the painting the painted area wraps around the stretcher frame, likely in order to fit this frame. Could it possibly have originally been a full-length figure?

38 ART CHOWDER MAGAZINE

In 2014 the mural on the ceiling of the “French Room” in the Patsy Clark mansion, located in Spokane’s Browne’s Addition and designed by architect Kirtland Cutter in 1897, was in urgent need of attention. The mural is an oval measuring some 10 x 16’, a French 19th century, academic style decorative picture of a sky with some clouds and little cherub figures with garlands of foliage and flowers. The artist is currently unnamed but was clearly highly competent in drawing and color.

Like the ceiling of the Hall of the Doges, it was painted on canvas and stuck on the plaster ceiling. But at one end large chunks of plaster had broken off the lath the canvas was bulging downward.

The mural had to be taken down from the ceiling and moved to a location next door while the damage to the ceiling was repaired. In the region surrounding the fallen plaster were large areas of missing, wrinkled, blistered, and flaking paint [Figure 7], suggesting that at some time in the past serious but limited water leakage had occurred. There had in fact been a bathroom immediately above and a plumbing overflow seems the most likely culprit.

Figure 7: Water damage to the ceiling mural at the Patsy Clark mansion, Spokane, WA photo: Melville Holmes

Figure 8: Detail of the ceiling mural in the Patsy Clark mansion, Spokane, after restoration photo: Melville Holmes

Figure 6: The restored Isabella Room painting photo: J. Craig Sweat Photography

With the typical accumulation of dirt and soot (there is a fireplace in the room) and discolored varnish, the painting was cleaned and varnish removed, revealing the charming original pastel colors. [Figure 8] Wrinkled and blistered paint was flattened and flaking paint was consolidated. Some areas of paint loss were new, caused by the deformation of the canvas by the plaster. But there was a large area of missing original paint that had been painted over in the same fashion as the crude overpainting on the Isabella Room picture.

May |June 2016 39

Conservation

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A

color had been mixed to approximate the dingy brown of the accumulated dirt and old varnish and broadly brushed over the big section of paint loss, only in this case it was oil based enamel, which proved difficult to remove. [Figure 9] Prior to the 20th century, when principles

of scientific methodology and transparency were being applied to the new field of art conservation, restorers, artists and craftsmen of greater or lesser ability whose work was largely a secretive affair carried out repair of artworks. They didn’t carefully docuFigure 9: Detail of the Patsy Clark mural showing area of crude overpainting. ment their work and there were no codes of ethics regarding the treatment of historical photo: Melville Holmes cultural artifacts, as are in place today. One of the cardinal principles of art conservation now is that, as far as possible, all work done must be reversible. Materials and methods used muse be able to be undone in case better and safer options become available in the future. To be fair, though, the highly advanced conservation products that are available now did not exist, even in the early 20th century, let alone in centuries past.

Attempts to freshen up dingy paintings or recreate areas of loss were typically done by painting over with oil paint. The principle of getting back as closely as possible to the artist’s original intent had not been established and the goal was often simply to make the picture look better. But they also didn’t have non-yellowing, easily removable synthetic resins with which to mix their colors, which are now used for “inpainting.”

But then what exactly is the difference between art restoration and art conservation? The distinction has remained somewhat fuzzy, even as late as 2010, when a working group under the International Council of Museums got together to find wording to define the work of a “conservator-restorer.” The simplest answer is that in modern conservation the two roles are combined. Conservation can be defined strictly as whatever goes into stabilization and preservation of the artwork, whereas restoration is work done to bring an artwork back to its original state to be appreciated and enjoyed by the academic and the public as well. But even with this, it is by no means so simple, because there are multiple schools of thought. Should a cultural artifact be brought back to an earlier appearance or is its later history an integral part of it? Is it better to intervene to prevent what might happen in the future, or is the best policy to leave it alone as much as possible? Does the removal of discolored varnish also destroy subtle nuances of the artist’s mastery? These are questions that have been repeatedly and hotly debated, but that is a subject for another time.

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M e lv i l l e H o l m e s

Melville Holmes (b.1950) is a fine artist devoted to doing “new paintings like those of the old masters. He has deeply studied the history, technology, and chemistry of the materials of oil painting, and has written several published papers on the subject.

He lives in Spokane, WA.

Suggested reading: Stout, George L. The care of pictures.

New York: Columbia Univ. Press, 1948.

Edsel, Robert M and Witter, Bret.

The monuments men: Allied heroes, Nazi thieves, and the greatest treasure hunt in history. New York: Center Street, 2009.

Nicholas, Lynn H. The rape of Europa : the fate of Europe’s treasures in the Third Reich and the Second World War. New York: Alfred A. Knopf, 1994.

Bewer, Francesca G. A laboratory for art: Harvard’s Fogg Museum and the emergence of conservation in America, 1900-1950.

Cambridge, Mass.: Harvard Art Museum; New Haven: Yale University Press, ©2010.

Vicki West westwatercolor @ gmail . com SOLO EXHIBITION

june

2016

W illiam G rant gallery

Kendall Yards spokane, wa

full tilt

| 16” x 20” |

original oil painting on linen

John Peterson W & W A es t e r n

ildlife

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www . j o h n p e t e r s o n a r t . c o m

509-690-0286

Close Up | 30” x 40” |

acrylic on canvas

Spring Roundup | 17.5” x 23.5” | Watercolor

discover more from artist vicki west at

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May |June 2016 41

ART FROM AROUND THE

WORLD

Kathleen Wong | Hong Kong I

am a self-taught artist. My preferred medium is oil on canvas, because it allows me to play with unlimited colors, layers, and different textures. I find this approach gives me the opportunity to convey emotions and to tell stories. My creative fusion painting allows me to show life in all of its pain, beauty, joy, happiness and ugliness. My style also allows me to convey these feeling in nature subjects as well. All my art represents my memories and my passion for life.

How long have you been creating art?

Drawing has been my hobby, since I was four years old. In the late eighties, I studied design in Hong Kong. Initially, my main work was in graphic design. Due to my job requirements I mostly used computers in my design work. However, starting in 2013, I realized that I must find more time to continue my childhood dream of being a complete artist; so I explored using different media to create art.

Does it matter to you what happens to your art after you sell it?

I hope the person who bought my painting will

42 ART CHOWDER MAGAZINE

appreciate my work. I have put my feelings into each handmade piece of art, gave it life and story.

Would you rather have a solo show or a group show?

I like solo exhibitions, which allow the visitors to focus on each piece of your work and to learn more about you. It is easy for the viewer to be impressed by creator. However, art aficionados who can share different techniques and experiences in the group show are also interesting.

Do you have another job besides being an artist? What is your

title?

Yes, Graphic Designer.

What is your greatest fear when showing your art to others?

My greatest fear when showing my art to others is, the people don’t discuss it and leave in haste.

If someone asked you what you do, would you respond by saying “I am an artist”?

It’s a number of artists to distinguish categories, including writing, painting, photography, performance, sculpture, music, calligraphy and dance. So I would tell people I’m a painter.

“The Bed Is Hers” Oil on canvas May 2015 Kathleen Wong

May |June 2016 43

KATHLEEN WONG

Out of all the work you have created, which piece is your favorite? “The bed is mine!� was my first painting in early 2014 and it was really is my favorite one. I have received two awards in art competitions as well. It gave me confidence; let me express my emotions and dreams to the world. I thank God for giving me this gift and this talent.

"The Bed is Mine!" This painting is about my pet. Since the death of my first cat, Momo have be-

come my second loved cat, She is ferocious and overbearing, with black and white color. She likes to play with me, bite me and claw me. Sometimes she is very cute. Every day when I come home, she rolls on the floor again and again. She often sleeps on my bed or pillow. She thinks that the bed belongs to her, and she never wants to leave the bed or go to rest elsewhere. Certainly, she will bite me and warn me "The bed is mine!" Anyway, I love animals; I love cats, and Momo. I will cherish her and accompany her until the end of her life.

44 ART CHOWDER MAGAZINE

“Except for my use of canvas, I try to use discarded materials such as glass bottles, waste paper, plastics, and metals in my art. But I’m still collecting these things.”

-Kathleen Wong

For More Information: kathleenwongart.wix.com/arts

facebook.com/KathleenWongArt

May |June 2016 45

“I am a tattoo

artist and painter.

My studio is located at 310 1st Avenue in Spokane, WA. My first love is being able to create paintings that stir up emotions in the viewer and creates a story based on the viewers past experiences such as dreams, pain or imagination.�

Ron LeMay

Lost Love

46 ART CHOWDER MAGAZINE

Beauty Within

Backed Into a Corner 48” x 72” Pastel, Spray paint, Chalk 2016

Great Loss

18” x 36” Pastel, Spray paint, Chalk 2016

Lost Love

36” x 24” Pastel, Spray paint, Chalk 2016

In My Head

18” x 24” Pastel, Spray paint, Acrylic, Watercolor 2015

Beauty Wintin

24” x 36” Pastel, Spray paint, Acrylic, Watercolor 2016

Backed Into a Corner

Great Loss

In My Head

May |June 2016 47

Tod Marshall

Washington State Poet Laureate 48 ART CHOWDER MAGAZINE

TWash od Marshall i n g ton Stat e Poet L au re at e KA R E N M O B L E Y

“G

o to the library,” he says. “Listen to poets read aloud. Connect with the word at its most intense.” Tod Marshall loves words, poems, and people. His enthusiasm is infectious. His memorization of other’s writing is disconcerting. He drops long lines of poetry into the conversation. His eyes are deep and intense, he recites as if he is reading from a book that you cannot see.

If you are someone who had the love of words beaten out of you by the mean English teacher in the 7th grade, you would be happy to talk with Marshall who speaks about how he got started, “thirsty for language,” listening to words in the lyrics of music recorded by Styx, Rush and Kansas. He happily says that he wants to avoid “the church and museum attitude” of those who believe that the teacher is the “priest that holds the key to understanding.”

Spokane poet and Gonzaga University professor, Tod Marshall, has been selected to be the 2016 – 2018 Washington State Poet Laureate. The Washington State Poet Laureate serves to build awareness and appreciation of poetry — including the state’s legacy of poetry — through public readings, workshops, lectures and presentations in communities, schools, colleges, universities, and other public settings in geographically diverse areas of the state. The appointed poet laureate serves a two-year term. In April 2007, the Washington State Legislature passed a bill that recognized the value of poetry to the culture and heritage of the state by establishing the Washington State Poet Laureate. The poet laureate is sponsored by Humanities Washington and ArtsWA with the support of Gov. Jay Inslee. The position is funded by the National Endowment for the Arts and Humanities Washington.

Marshall will be travelling the state to read and encourage others to read poetry as the Poet Laureate. He will be collecting poetry by writers in Washington for an anthology and e-book to be produced in 2017. He hopes that this book will be a broad representation of the poetry of Washington including poetry by known, even famous writers, and the unknown. He will do school visits, poetry readings, and community events throughout the state. The schedule of events is intense and can be found at www.wapoetlaureate.org.

Marshall was the recipient of the 2015 Washington State Book Award for Bugle. Other books include poetry in The Tangled Line and Dare Say and two anthologies of twenty important poets of our time in Range of Voices and the Range of Possibilities.

Tod Marshall was born in Buffalo, New York. He grew up in Wichita, Kansas.

He studied English and philosophy at Siena Heights University, earned an MFA from Eastern Washington University, and graduated with his PhD from The University of Kansas. He directs the writing concentration and coordinates the visiting writer series at Gonzaga University where he is the Robert K. and Ann J. Powers Endowed Professor in the Humanities.

Karen Mobley is free range but not a chicken.

She earned the Dabbler badge in Girl Scouts has been working at it ever since. She is a visual artist, poet and arts consultant.

She lives in Spokane, Washington with a cat, Mary Mouse Cassatt. She was artist in residence at the Jentel Foundation in January. www.karenmobley.com

May |June 2016 49

Tod Marshall Washington State Poet Laureate

His work has been published in many journals, including Narrative, The Southern Review, The American Poetry Review, The Iowa Review, Shenandoah, Boulevard, The Colorado Review, The Denver Quarterly, The Columbia Poetry Review, Poetry East, Poetry Northwest, Volt, Interim, The Canary, Willow Springs, Cutbank, The Georgia Review, The Kenyon Review, and elsewhere.

When a Bus Lurches Against a Steep Hill he imagines his mother at a round wooden table considering her lost mother, head in hands, an empty glass aching for water, a white cloth bunched and piled in the corner, wine stain never to be washed out. For years, he has lived like this.

A flock of winter geese rising from the lake in a sudden burst of lifting feathers: sheet snapped in air, slowly settling over the soiled mattress. And so on, each imagined thing a version of a word, refrain of the song not belonging. He doesn’t know what is enough, doesn’t know that among treeless hills covered with snow, mice scrape toward seeds of grain, and hovering hawks see small movements, coyotes hear them, and if he did, he certainly would not care.

Recommended poetry resources: Poetry Foundation http://www.poetryfoundation.org Penn Sound http://writing.upenn.edu/pennsound

po·et·ry ˈpōətrē/

noun noun: poetry; plural noun: poetries literary work in which special intensity is given to the expression of feelings and ideas by the use of distinctive style and rhythm; poems collectively or as a genre of literature.

quality of beauty and intensity of emotion regarded as characteristic of poems something regarded as comparable to poetry in its beauty

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t POETRY SU B M I T NOW OPPORTUNITY

t

Submit your poetry to a new anthology, Washington 129 I’m excited to announce a new project: Washington 129, an anthology of poems gathered from the people of Washington State—one poem for every year of statehood up until 2018. The project will include work from experienced poets and newcomers to the art, young students and lifetime learners. These poems will be published in two formats: many of the poems will be included in an online anthology that will utilize the format of an e-book; one hundred and twenty-nine of the poems will be published in book form in March of 2017. During the last several months of my term, I will travel throughout the state, revisiting many of the places where I previously held workshops, and invite poets in both publications to join me in celebratory readings from the anthology.

What sort of poetry will be included in the publications? Submissions of any type of poetry are welcome, and all poets, no matter age or experience level, are encouraged to submit. Poems are not required to address Washington geography, imagery, or culture directly, but those that do will be given priority consideration.

Washington 129 is accepting submissions until January 31, 2017. Previously published poems will not be considered. Please submit no more than three poems as a single Microsoft Word attachment or as the body of an email to submissions@humanities.org. If preferred, submit via postal mail to: Washington 129 SUBMISSION c/o Tod Marshall English Department, Gonzaga University 502 E. Boone Avenue Spokane, WA 99258

Be sure to include your name, an email address, and a phone number with your submission.

In addition, I will be holding poetry writing workshops throughout the state which could provide inspiration for anyone looking to submit to Washington 129 (participation in a workshop, though, is not required). Check the events calendar at wapoetlaureate.org for events near you.

Best,

Washington 129 is edited by Tod Marshall, 2016-18 Washington State Poet Laureate.

The Washington State Poet Laureate builds awareness and appreciation of poetry throughout the state. Sponsored by Humanities Washington and ArtsWA.

May |June 2016 51

52 ART CHOWDER MAGAZINE

Tracy Dupuis Roland Cities of Color SERIES

Jseries oin Tracy as she introduces her “Cities of Color” at the upcoming First Friday event this June at Nordstrom in Spokane, Washington.

JUNE 3, 2016 NORDSTROM | 828 W. MAIN ST

Tracy will reveal her “Spokane in Color” piece for the first time at this event.

These are large scale 4 foot by 5 foot Fauvist style compositions with intricately placed strokes of bold color.

for more information contact tracy@adazedream.com adazedream.com Proud member of the River Ridge Association of Fine Arts.

Looking for a relaxing accompaniment for your wedding, corporate event or private function?

The classical guitar is an ideal choice.

Intimate and unobtrusive, solo classical guitar is ideally suited to both acoustic or amplified environments and adds a sense of style to any occasion.

I am available for weddings, private or corporate events and special occasions in the surrounding area and the greater Pacific Northwest area.

CARLTON OAKES

info@carltonoakesmusic.com

Facebook.com/CarltonOakesClassicalGuitarist

509-456-2157

May |June 2016 53

Inland N orthwest Culinary Academy Julie Raftis-Litzenberger

“I

f I had a nickel….” for all the times people have been surprised to find there is a legitimate culinary school in Spokane, and then to further find a full service, fine dining, student-run restaurant operates within this program, right here on the campus of Spokane Community College, well, let’s just say I would be shopping a bit differently. In fact, the Inland Northwest Culinary Academy at SCC is one of Spokane’s best kept secrets when it comes to culinary adventures, innovative food, live-action education, and some of our city’s greatest talents teaching and leading our students towards endless careers in the foodservice industry.

INCA, the Inland Northwest Culinary Academy, is an “umbrella” of sorts, encompassing three different (but intertwined) community college degrees in foodservice. Two years and many interesting classes such as Front Office Procedures, Hotel/Restaurant Law, Tourism and Human Relations will earn you an Associate in Applied Science (AAS) in Hotel/ Restaurant Management. If baking is your passion, INCA offers a bit shorter, Certificate program encompassing the art of Pastries, Artisan Breads, Rolled Fondant and Wedding Cakes. And the Culinary Arts degree - after two years, numerous cuts and burns, quite a few tears of joy and frustration, and many, many hours in our live kitchen labs reward the student with an AAS Degree in Culinary Arts.

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There are many such programs across the U.S, twelve or so just in the Seattle/Portland area, some being for-profit organizations, will set you back upwards of $40k. But here’s one of our greatest secrets, the INCA Culinary Arts degree is taught by industry professionals with so much experience and passion for teaching it is quite impossible to verbalize; we are accredited by the largest, most prestigious Chef’s educational network, the American Culinary Federation, who set the standards for content and curriculum and our incredibly high performance & professionalism standards; and we have the best possible “training ground” ever in our live lab, hands-on learning playground/restaurant called Orlando’s. The total cost of the two-year program is a quarter of the for-profit price tag.

Located in Building One on the SCC campus, Orlando’s Restaurant is open for lunch Wednesday through Friday, determined by a schedule distributed to the public at the beginning of each fall, winter and spring quarters. We do not teach in the summertime, as most all of our instructors are working “in the field”. From soups, to charcuterie sampler platters, to themed regional (Mediterranean, French Bistro, etc.) and more technique-driven menu themes (such as Food & Film, American BBQ and Hemingway’s Bistro), nothing on the menu surpasses $9 per plate. As you are escorted to your table by a student Maître d’, you will see inside a giant window the veritable sea of white chef jackets each manning their rotating station and creating and plating your meal.

Your service staff are also students, who spend a tremendous amount of time learning about the menu, so curious questions are encouraged! A bartender and Manager on Duty (MOD) round out the frontof-the-house students, all of whom are learning the other 50% of the operation of running a restaurant, through critical thinking, problem solving, directing a “line up” inspection prior to opening, and a follow up report to the instructor of challenges, solutions and observations.

May |June 2016 55

T

hroughout the Culinary program, students are introduced to a most rigorous training program, beginning with equipment identification and usage, safety, sanitation, culinary math, nutrition, human relations, cost controls, and menu planning.

The culinary, or “lab” portions, of the program are progressive and each class builds upon the one previous. At INCA, we begin by teaching traditional French style foundations – stocks, soups, the Mother Sauces, preservation methods (such as smoking, curing, pickling, fermenting), sausage making, whole animal butchery, Garde Manger (“cold kitchen”), restaurant baking, yeast doughs, plated desserts, ice cream, gelato, every cooking method from sauté to sous vide, dry, moist and combination cooking methods; to name just a few! Every day you are challenged to perfect proper knife handling cuts and skills, and must demonstrate to your instructors over 100 competencies throughout the two year program.

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“T

he culmination, or orchestration, of everything mentioned above, which is only a partial list, comes together on a spectacular plate of food, with so much love and pride put into each element it is simply impossible to explain. This is Orlando’s. Our beautiful and functional, perfect training ground that any assembly of fanatical culinary instructors could dream of. And a most meaningful, expressive and challenging opportunity for our ambitious students, each with his or her very personal and individual career goal.

What is the missing element? You! We invite you to join us for lunch, ask questions, watch carefully, experience the joy that brought these young and older students to INCA to reach for their dreams. Allow them to “practice” on you, share their passion, love and dedication to their art.

Appreciate with them the sacrifices they are making for two very grueling years of their lives, often holding down full time jobs, caring for families and participating in community events to further their education.

We are proud and thrilled to have been asked to submit a bi-monthly “INCA Column” in Art Chowder magazine. In the future, please look forward to student, faculty and guest article submissions, sharing with you even more about what we do within the walls of the Inland Northwest Culinary Academy. In the meantime, please visit our website http://www. scc.spokane.edu/Hospitality/INCA/Home.aspx for our service calendar, menus, banquet information, chef & instructor profiles, special events and reservation policies. We welcome you to contact our Program Coordinator, Janet Breedlove @ (509)533-7283 or Janet.Breedlove@scc.spokane. edu to be added to our quarterly newsletter.

I welcome your inquiries as well. If you have specific topics you would like us to cover, please do not hesitate to contact me at any time. Hospitality is our language and I am at your service. Looking forward to many, many issues of information and all the food joy we are so proud to share.

Welcome Spring, as it brings with it a new abundance of food, growth, energy, synergy and opportunity. We have so much to share with you and it is all so delicious! Until next time...

JULIE R A F T I S - L I TZ E N B E R G E R

Born and raised in Spokane, Julie Raftis-Litzenberger is a graduate of Gonzaga Prep and WSU with a B.A. in Hotel/Restaurant Administration. She has been an instructor at INCA for 13 years and is honored to be able to launch the next generation into a career field that has brought her much joy and satisfaction in helping and feeding others. She brings her 25 years of experience to the classroom while training culinary arts students to work in and appreciate the front of the house positions, restaurant management, espresso, banquets and catering. Widely involved in the community, she is a member of the Washington Restaurant Association Board, CTE Advisory Committee for Spokane Public Schools, and supports and works closely with local high school ProStart classes. In her spare time, Julie is a hospitality consultant serving many local restaurateurs with a myriad of services. Her interests include spending time with her family at the lake, golf, long walks and her 14 year old pride and joy, Brett.

May |June 2016 57

Fan Favorite Recipes e

W

hile I was on holiday on the Caribbean island of Grenada, my host served up a memorable conch chowder.

However, since conch isn’t all that easily accessed in the rest of the world, my sister-in-law suggested, once I was back in the States, to substitute some plain canned clams from the local grocery store. The result became an instant favorite of the family.

It’s still what I serve to guests whenever entertaining calls for it.

Caribbean Chowder | William Maltese 2— (6½ oz each) cans or 1 lb minced clams and juice 1 C onions, finely diced 1 C celery, finely diced 2 C potatoes, finely diced ¾ C butter

Drain juice from clams and pour over vegetables in very small saucepan.

Add enough water to barely cover.

Leave to simmer, covered, over medium heat until barely tender.

In meantime, melt butter, add flour, salt, and pepper and blend.

Cook, stirring constantly.

Pour in half-and-half; cook and stir with wire whip until smooth and thick (this is important).

Finally, add the simmered undrained vegetables, clams, clam juice, and vinegar, and heat through.

Yield: 6 large servings 58 ART CHOWDER MAGAZINE

¾ C flour 1½ tsp salt Few grains pepper 1 qt half-and-half 2 T red wine vinegar

May |June 2016 59

Priscilla Barnett Gotcha | 24” x 36” | Acrylic | $500.00

Priscilla Barnett was born in Barbados, West Indies. She came to New York at the age of fifteen. Priscilla obtained her BFA at Parsons School of Design. She later moved to Alaska before ending up in Spokane, WA. She has shown her work in New York, Alaska and Spokane. She currently runs an art group for youth called “Recovery Through the Arts” at Passages Family Support. Priscilla’s art speaks from the heart and life experiences.

p r i s c i l l a b a r n e t t. c o m

OakesGuitars.com info@oakesguitars.com 509-456-2157 60 ART CHOWDER MAGAZINE

Erik Sullivan

w w w . s u l l i va n a r t w o r k s . c o m

|

@e r i k s u l l i va n a r t

May |June 2016 61

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Ginny Brennan

Watercolors - Acrylics - Upcycle & Recycle

RL GA

AN D

DISTRICT MAY

201 6

come view the artwork of ginny brennan

The Garden Expo 2016 Saturday, May 14th 9 am to 5pm

Spokane Community College Lair Bld. #61810 N. Greene St. Spokane, WA ginnybrennan.com ginnybrennan@gmail.com

GRAPHIC DESIGN | WEB DESIGN | BRANDING

509.592.3925

Facebook.com/RebeccaLloydDesigns

62 ART CHOWDER MAGAZINE

J O E Y FAV I N O | J F W O A . C O M

903-1/2 W Garland Avenue Spokane WA | 509. 315.7900

The whimsical shoreline of Newman Lake is shown here repeated seven times, lending itself to the form of a very green “Interior Northwest” wildflower.

Nora Egger 509-991-0041

Alaska $350 14”x18” Oil on canvas 2015

Original Watercolors

by

Bobbie Wieber

509.536.6635

1326 E. Sprague Avenue Spokane, Washington 99202

509-413-9101 | newmoonartgallery.com

EAST SPRAGUE ART GALLERY 1812 E. Sprague Ave., SpokaneWA. 99202 | 509.202.0850

208-304-4656 artisangallery.biz

OPEN TO THE PUBLIC

Figure Drawing Every Wednesday Daron Brunke Facilitator/Model (208) 699-3072

JOIN US!

Every 4th Wednesday at 10:ooam

in the large classroom of Spokane Art Supply 1303 N. Monroe.

learn more about the exclusive venues available to our member artists

EAST SPRAGUE ART GALLERY 1812 E. Sprague Ave., SpokaneWA. 99202 | 509.202.0850

meetup.com/East-Sprague-Figure-Drawing-Meetup

208-304-4656 artisangallery.biz

offering monthly rental spaces for personal artist exhibitions.

CALL TODAY: 509.202.0850

EAST SPRAGUE ART GALLERY 1812 E. Sprague Ave., SpokaneWA. 99202 | 509.202.0850

208-304-4656 artisangallery.biz May |June 2016 63

The Desire

to Create

is one of the deepest

yearnings of the

human soul.

-Dieter F. Uchtdorf

a r t c h o w d e r . c o m

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