PSWC Magazine Summer 2019

PSWC magazine

PASTELS USA 2019

All the award winners and accepted entries at our biggest show now at the Haggin Museum.

The Interview

Artist Alain Picard on his own art history--spoiler alert, he wanted to be in the MLB!

Meet the Members

Two of our new Signature artists, Jean Choi and Susan Kuznitsky share their stories.

Artist-In-Residency

Bonnie Griffith shares her experience as the Artist -in-Residency.

Work In Progress

See what’s on the easels of some our favorite members.

Pa s t e l S o c i e t y o f t h e W e s t C o a s t Volume 12, Issue 3

Summer 2019

PSWC Magazine | Summer 2019

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Beautiful by Alain Picard

We. Are. Pastelists.

Join the most dynamic pastel group in the USA for less than 20c per day You don’t have to live on the West Coast to become a member. With PSWC members located around the US, as well as international members, the Pastel Society of the West Coast offers a strong voice for expanding the presence of soft pastel as a major fine art painting medium.

PSWC was organized in 1984 to promote pastel artists and the soft pastel medium. Today, PSWC is one of the most recognized pastel societies in the country, with an ever-increasing international presence. Benefits include: Pastels USA Annual Exhibition | Members Only Online Competition | Workshops by Noted PSWC Artists | PSWC Social Media Exposure Opportunities | Free Online Gallery | Critique Program with Master Pastelists | Membership in IAPS | No Juried Membership, unlike other societies

We. Make. Pastels.

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PSWC magazine Table of Contents

FEATURES SPECIAL SUPPLEMENT PASTELS USA 2019 Winners & Accepted Entries The Interview Alain Picard Paints Life Meet the Members Meet Two of the New Signature Status Members Jean Choi and Susan Kuznitsky

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ABOUT ART Artist-in-Residency Bonnie Griffith shares her experience

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Work-in-Progress Members show us what they are working on.

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Art Workshops Workshops Coming Up

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REGULARS Letter from the PSWC President From Sabrina Hill

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Scholarship Winner Say Congrats to Mariana Núñez!

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PSWC Housekeeping Here’s what’s happening with the Society

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PSWC Magazine | Summer 2019

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Contributors Our Art Partner: The Haggin Museum The Haggin Museum, an art and history museum located in Stockton, CA has been referred to by Sunset magazine as “one of the undersung gems of California.” The impressive brick building has stood in the center of Stockton’s lush Victory Park for over 85 years, but it’s what’s on the inside that makes it worth visiting.

On display in the museum’s fine art galleries are dozens of paintings by renowned 19th- and early 20th-century American and European artists, including Jean Béraud, Rosa Bonheur, William Bouguereau, Jean-Léon Gérôme, George Inness, and Pierre-Auguste Renoir. Of particular note are breathtaking panoramas of Yosemite Valley (including one once loaned to the White House) by American painter Albert Bierstadt. The Haggin has the largest museum collection of major Bierstadt works. The Haggin Museum also houses the largest museum collection of original art works by “Golden Age” illustrator J.C. Leyendecker.

WANT TO GET INVOLVED? There’s always room for more.

Let us know what you want to do, and we’lll find a spot for you!

KEEP IN TOUCH & FOLLOW US!

ABOUT THIS ISSUE Our magazine format was a big hit! This format allows us to add more art and gives readers a PDF version or an online digital version to read on mobile devices.

InDesign Magazine Template Designed by Erick Ragas StockInDesign Inc. www.stockindesign.com @stockindesign Fonts: Sabon, Aller Display, and Open Sans All photos are property of the artists

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How did world-renowned paintings come to be located in Stockton?

In 1928, the San Joaquin Pioneer and Historical Society was looking to build a history museum but had been unable to raise enough funds. Stockton native Robert T. McKee offered the group $30,000 on behalf of his wife, Eila Haggin McKee, who had only two requirements: name the museum in honor of her late father, Louis Terah Haggin; and add an art wing to fill with paintings from her father’s collection.

The history galleries focus on the San Joaquin Valley’s past and the accomplishments of its residents, such as Charles Weber, Stockton’s founder; Benjamin Holt, inventor of the Caterpillar tracktype tractor; Tillie Lewis, the “Tomato Queen” and the Stephens Bros. Boat Builders.

To house the continually growing collections, the museum has undergone several additions since first opening. The McKee Room was added in 1939; an extensive addition was constructed in 1949; and the Benjamin Holt Wing opened in 1976. Today the museum’s three-story building contains more than 34,000 square feet of exhibition space.

The museum’s permanent art and history exhibits are augmented by a number of temporary exhibitions annually. Special events, such as family programs, lectures, and musical performances, are held throughout the year. Haggin Museum also maintains a Library-Archive, which is available by appointment. The Museum Store features a wonderful array of merchandise especially selected to complement your museum visit. A trip to Stockton isn’t complete without a visit to the Haggin Museum.

Letter from the Editor Dear Pastelists, Fellow Artists, and Exhibition Goers,

Welcome to the Pastel Society of the West Coast’s 33rd International Exhibition PASTELS USA: A Dynamic Journey! We are delighted to return to the Haggin Museum.

The Exhibition is a labor of love at every level. From the artists who put their hearts and souls into the magnificent work shown within these walls (and these pages), to the framers who carefully prepare each painting, to the shippers who carefully wrap each piece to ensure safe delivery, to the jurors who viewed over 500 paintings to choose the 109 that are on exbibit, to the judge who had the arduous task of selecting the award winners, to the volunteers who have spent the last year planning, designing, ordering, listing, and preparing for the opening day, to the museum staff who created the perfect environment for this art to be displayed…definitely a labor of love for art.

There are so many people to thank. The Haggin Museum has been the perfect partner. They have accommodated our needs and helped us for over a year as we get ready for this show. Andrea Dompe and Tod Ruhstaller have been so supportive, and we cannot say enough thank-you’s to them.

Jerry Boyd has been a stellar PASTELS USA Chairman. This job has a lot of moving parts, in particular, receiving, delivering, and returning 109 pieces of art worth hundreds of thousands of dollars. Jerry has done ALL of that.

Plus he coordinated the jurors and judge, worked with the ShowSubmit portal to accept the entries, and kept us all informed at every step. To say we couldn’t do this without him is an understatement.

A huge THANK YOU to our wondeful jurors-Debora Stewart, W. Truman Hosner, and Gary Huber who helped make the daunting task of narrowing the field of accepted entries, and thank you to judge Dawn Emerson for selecting our winners.

Joe Baker of ShowSubmit.com was terrific to work with and allowed us to make the most use of deadlines, right up to receiving entries at the last minute (midnight on a Sunday), which processed in real time. Thanks you Joe! Susan Goodmundson acted as the Awards Chair and this is not as easy as it sounds. Between organizing the physical prizes (paper, pastels, etc.) and keeping track of the certificates, and managing her job as Treasurer. She was one busy lady!

Pat Aragon deserves special thanks for stepping in to Chair the Ways and Means committee. She helped bring in the donations that are vital to the show’s success. Our PSWC Board members--Dug Wagonner, Cynthia Riordan, Bonnie Griffith, Deborah Pepin, Russell Frank, and Rita Romero all play a vital part in getting this show “on the road.” And a big shout-out to Alejandra Gos, Ashleigh Hill and Susan Goodmundson for editing the magazine. It take a village! Thank you one and all!

Our donors are critical to the process of supporting art. Exhibitions like ours encourage artists to paint and help to give them an incentive to paint. Our donors have shown their support with gift certificates, art supplies, and money. We encourage you to support them and their businesses if you can.

Finally, every so often, we have a member who demonstrates extraordinary art skills and stellar leadership qualities. They paint, they teach, they volunteer, they lead, they write, they win competitions—it’s hard to keep up! To these individuals, we award our highest honor—The Pastel Laureate Award. This year, we take great pleasure and pride in awarding it to Gerald Boyd. He is the kind of person we aspire to be. Thank you Jerry; we love you!

Paint Away, my friends!

Sabrina Hill

PSWC President and Editor, PSWC Magazine PSWC Magazine | Summer 2019

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Artist-in-Residency

Artist-in-Residency Embracing an Opportunity – An Artist in Residency

by Bonnie Griffith

What do you think of when you see an article or a social media post about an Artist in Residency (AiR)?

An opportunity to hone in on a body of work? A place to live and work on your art? A place to teach and share your talents and skills? That’s it…all of the above. An AiR is a place where art professionals can work and live temporarily to create their art often for in-kind exchange of demos and classes offered to staff and/or the facility’s clientele. The Artist in residency programs are many; worldwide and all have a specific detail that is unique to them in duration of the residency, the requirements of the artist, housing, studio facilities, exhibiting, networking, application processes and so on. Some AiRs are offered through the national park system, government entities (BLM, National Monuments, etc.), nonprofit organizations and private corporations.

A few years ago I applied to and was accepted to the Grand Staircase National Monument AiR based out of the southcentral location of the BLM visitor’s center of Escalante, Utah. I spent a month painting plein air studies of that part of the Staircase offering community classes in pastel to adults and an art project utilizing pastels to the elementary school system as well as demos at the annual Escalante 6

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Canyons Plein Air Festival at the end of the residency. I learned a lot from the experience in terms of plein air painting techniques and really felt that during my time painting on a daily basis and the completion of approximately 30 paintings that my work grew in quality significantly.

I had done quite a bit of plein air work before the GSNM (Grand Staircase National Monument) experience, but not in a concentrated time frame and with the discipline to paint daily the landscape in plein air. The geographic location of Escalante is remote, along the scenic byway of Hwy 12 and the GSNM is a diversely rugged and beautiful section of Utah near Bryce and Canyonlands National Parks. I went to this area prepared with ample art supplies, framing materials and tools of the trade. Because of the remoteness of my location I needed to think ahead and plan – not only in terms of art supplies, but to be prepared for a variety of weather conditions an daily living needs.

So a few years have passed and through my travels attending plein air events, I met a couple who established and are the directors of a nonprofit art center in eastern Idaho – The Idaho Art Lab. Getting to know Daniel and Kara Hildago has been a pleasure; talking with them about their vision of a comprehensive art center and multiple program facility they have put together and manage. In visiting with them I learned that they offer an AiR at the Idaho Art Lab located in the small (3200 pop.) town of St. Anthony, Idaho located on Hwy 20 about 70 miles south of West Yellowstone. This is on the upper Snake River Plateau and the town sits on ei-

Artist-in-Residency The Falls. Pastel. 30x20

ther side of the Henry’s Fork of the Snake River with the a view of the Grand Targhee area of the Teton Mountains and the closer Big Hole Range. (More about the area later.)

So after spending some time with this couple at some plein air events, they discussed more about their AiR program and told me it is an invitational residency and ask me if I would like to do a residency with them. I was honored that they were interested in me coming to the Lab and we decided on a late winter time frame for my visit with a duration of four weeks in mid February – mid March of 2019. We agreed that I would offer to them, instruction in basic pastel painting techniques for future beginner classes at the Lab for their patrons as well as teaching Dan and Kara encaustic techniques (using pastels and other media in creations with this wax medium). I also agreed to teach another class in the use of alcohol inks.

These classes offered to the public,c were designed as the basis of future programing possibilities for the Art Lab in generating income for the center and enriching the community with new art techniques. The classes filled readily and resulted in a pastel workshop I will teach in May to those individuals interested in more pastel technique.

So, about the Idaho Art Lab residency; I looked forward to this experience to better get to know the upper Snake River Plain landscape, to offer some of my skills to the staff for program development and in exchange to work on a couple of bodies of work for: 1) The Timeless Legacy – Glacier Park invitational show and 2) New Hues – Fusion a multimedia collection and show of works in Walla Walla, Washington.

In preparation I am watching the weather reports as it’s a 4.5 hour trip from my home and studio in the Boise, Idaho area and the late winter storms and cold seem daunting. As the agreed departure times nears, I am looking for a window of opportunity of clear travel and narrow that date down. The temperatures are below zero in the St. Anthony area

and forecast for daily snow. I had not been to the Art Lab but know from chats with the Hildagos and photos online of the facility that my living and studio space is all within the confines of the Art Lab building. I pack warm work clothes and supplies to accomplish my art making goals for the month. I arrive in the late afternoon on a frigid day just before sundown and get all my supplies relocated to the “quad” (central in the middle of the art lab with great light exposure from the large southeasterly windows).

My living quarters are a comfortable bedroom adjacent to the kitchen of the art center. I can see this is a nicely set up venue that will be conducive to getting my planned work completed. The weather remained cold and windy…not plein air atmosphere.

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Artist-in-Residency

Early on, the days were gray with snow nearly daily.

A break of sunshine happens, and I am out taking reference photos and looking for possible plein air painting locations. There isn’t a lack of wonderful spots to paint, it’s the literal road block of not being able to find places to park to get to a painting spot because of the drifted and ample amount of snow!

Because I was working on a couple of different projects. I planned my schedule to accommodate good creative blocks of work time. For me, it makes sense to develop a schedule, even during this dedicated art time to maintain optimum focus. My goal was to create work each day, both for your bodies of work but also for class prep.

The Lab is a large open space that includes an area for youth classes, a ceramic studio, an art supply store, a lapidary workshop, clay studio with pottery wheels, a computer lab, a gallery for invitational shows and the “Quad” for the artist-in-residence to work or other featured display/ center of activity. A lot of the programing is done free to this small rural community or with small registration fees to encourage involvement of the cultural art experiences. The Hildagos have carefully analyzed the community needs and make every effort to meet those needs. There is a Spanish class/club that meets weekly; a fiber arts group, a gem group, art (instruction) movie night and more. The Lab functions on a volunteer basis. Volunteers and class participants travel from the surrounding area – some up to 40+ miles away to be involved in the Lab. One of the offerings the Lab does is a field trip program for plein air. The IAL was gifted a small school bus that Dan and Kara transformed into the “Cool Bus” 8

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that has some of the original bus seats in place for passengers and then an open area in the back of the bus with shelving or racks for holding supplies and wet canvases and a space to set up an easel or two. So on two clear and cold days, Dan fired up the bus and we embarked on a couple of plein air trips. The temperatures were in the teens and low 20’s with some wind, so we set up our easels inside the bus, turned on Pandora and painted the Henry’s Fork of the Snake one day and Fall River the other.

The bus offered great protection from the elements and some acceptable paintings were accomplished!

We all painted in oil during these trips since we were confined to a small space. (I kept my pastel work dedicated to the studio space during this time for simplicity sake).

On my days out taking photos, I found some great reference shots of snow, shadows, weeds, trees and water.

Some of these photos resulted in multiple variations being painted in both oil and pastel. I planned these trips Resistance 9x9 pastel at various times of the day to capture the differences in light…all great tools to have in reference!

By the end of the residency, my production of work, the success of my classes and the staff instruction/ collaboration goals were met. I painted daily as well as maintained my art business obligations. (One has to balance these two!) Could I have done this in my studio and not done this at a residency? Of course, but the residency does offer opportunities of being immersed and painting a different geographic area, it gives one the opportunity to share their skill with a community and establish new contacts. It offers that uninterrupted work time without many distrac-

Artist-in-Residency

tions. It’s an adventure and a time to embrace your art.

Interested in an Artist in Residence program? Check out these and other websites: •

Resartis.org

•

Thebalancecareers.com

•

Blm.gov

•

Nps.gov

(Photo credits: Kara Hildago, Bonnie Griffith) Bonnie Zahn Griffith is an artist from Meridian, ID working in pastels and oils painting the western landscape en plein air and studio. She is the current secretary for the PSWC and signature member of the PSWC and Northwest Pastel Society. Her works can be found in galleries in MT, ID. WA, OR and UT. She teaches workshops in pastel and plein air. More info: https:// bonniegriffith.com, Facebook –Bonnie Griffith Landscape Artist | Instagram-@bonniezahngriffith

Work station at the Idaho Art Lab

A view of the Grand Tetons from St Anthony, Idaho

PSWC Magazine | Summer 2019

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Painting by Teresa Saia

Featured Interview: Artist to Artist

PSWC Magazine | Summer 2019

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The 33rd Annual International Open Exhibition of

A Dynamic Journey!

A Special Supplement PSWC Magazine | Summer 2019

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Pastels USA 33rd Annual International Exhibition

PASTELS USA 2019: A DYNAMIC JOURNEY We have a winner! Actually many winners. The 33rd Annual International Exhibition of PASTELS USA: A Dynamic Journey is officially judged and complete. We couldn’t be prouder to show you the award winners and all the accepted entries. We have many thank you’s to dispense starting with our amazing show chairman, Jerry Boyd. This is a job requiring hundreds, if not thousands of hours. Jerry Boyd received all the shipped paintings and gave them safe passage to the Haggin Museum. He is an artist extraordinaire and a great organizer! Our jurors Debora L. Stewart, W. Truman Hosner, and Gary Huber and judge Dawn Emerson have brought their substantial art expertise and objective eyes to determine who we will honor this year. We are humbled by your efforts. Thanks to all who participated!

Gerald Boyd – Chairman and Shipping Agent, PASTELS USA 2019 Drawing on my experience of over 30 years as a Signature Member of PSWC, as well as 11 years as Chairman of PASTELS USA, and 13 years as shipping agent, I can attest to the fact that PSWC’s Annual International Exhibition we call “Pastels USA” has maintained a high standard of quality over the years that few could match. We have usually received between 450 and 500 entries from 150 to 185 artists during that time and have accepted around 100 paintings each year for our exhibition.

This year we had 468 images submitted by 143 artists and our jurors selected 109 paintings to exhibit in the Haggin Museum.

What struck me, as I received paintings, both the national and international flavor, and participation has been stronger than ever. While the international numbers may not be large, the distances artists are sending from have been increasing.

Represented in the exhibition are paintings from outside of California which includes different states - many from the East Coast. There are two paintings from Malaysia. It’s great to see PSWC reaching out across the nation and even the world.

PASTELS USA Judge Dawn Emerson Dawn Emerson grew up in Marblehead, Massachusetts. After graduating from Brown University with a BA in English/Minor in Art in 1977, she began a career in graphic design and illustration. She became a book designer and art director for an educational publisher in the Boston area, until leaving to head west with her young family and husband in 1985. It was in Salt Lake City she discovered a passion for teaching art to children, and she continued teaching in the public schools after moving to Central OregonIn 1991. Dawn fell in love with pastels after meeting portrait artist Harley Brown, and has spent the past 25 years creating art, teaching, and working to push the boundaries of the pastel medium. Since 2008, Dawn has expanded her work to include printmaking, which has led to new and exciting directions for her art expression. Dawn has produced six instructional dvds, and is the author of “Pastel Innovations,” published in 2017 with North Light. Her works are included in many art books and magazines, and she has been a signature member of the Pastel Society of America since 1997. She is sought after as a judge, demonstrator, and instructor for the pastel medium, most recently in Moscow, Russia. She and her husband, Bruce, live on the high desert plateau of Terrebonne, in Central Oregon. She is represented by the Mockingbird Gallery in Bend, OR and can be contacted through her website at www.dawnemerson.com.

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Pastels USA 33rd Annual International Exhibition

PASTELS USA Jurors Debora L. Stewart is a Signature Member and Master Pastelist of the Pastel Society of America and a member of the Master’s Circle of the International Association of Pastel Societies. Her pastels have won awards from Pastel Journal Magazine, International Artist Magazine and the Pastel Society of America. Her work has been included in many national and international juried exhibitions. She exhibited in the pastel invitational exhibit Pastel en Perigord, St. Aulaye, France July of 2016. She has also been a featured artist in the French magazine Pratique des Artes July 2018. Her work was also included in the Third Biennial China Pastel Exhibit at the Ming Gallery of Art in Suzhou, China. Debora works in both soft pastel and acrylic mixed media on canvas. She is inspired by nature. Drawings, marks and colors used reflect gardens, flowers and specific places. Works range from semi-realistic interpretations to non-objective works. Debora has taught abstract workshops extensively throughout the U.S. She is a sought after instructor by pastel societies, art guilds and schools. She is the author of Abstract Art Painting: Expressions in Mixed Media published by Northlight Books in 2015 in addition to a series of teaching videos. She has served as a judge for artist competitions in Pastel Journal Magazine and pastel societies in the U.S. Debora is represented by galleries in Georgia, Arizona, Wisconsin, Iowa, Missouri and Illinois.

W. Truman Hosner “During an open air painting session everything is always changing, the light is constantly modulating . . . and then my painting slowly evolves . . . if I am successful it becomes dynamic, it pulsates with the energy before me and the exuberance of the plein-air experience implants itself into the work.”

Born in Detroit . . .William Truman Hosner earned his BFA at Wayne State University, and went on to study illustration at The Center for Creative Studies, College of Art and Design in Detroit where he eventually returned to teach.

Over his 17 years as a professional illustrator, his assignments included, among others, The Kennedy Center for the Performing Arts, Field and Stream magazine, CBS-Fox Video, and Reader’s Digest. At the peak of a very successful career in commercial art, Hosner re-focused himself: Studying under two master painters at the Scottsdale Artists School in Arizona: Harley Brown and Dan Gerhartz. Plein-air fine art painting captured his passion. For two decades Hosner was also fortunate to have the personal mentoring of Max Altekruse, himself a student of the renowned Frank Reilly of the Art Students League in New York City.

Gary Huber brings to his art a deep passion for nature and the great outdoors. Early years were spent exploring Pennsylvania’s pastoral landscape where, by his artist mother, he was first encouraged to take up a brush. Today the western landscape is his playground and inspiration. From the montane lakes of the Tetons and Yellowstone to the wave-worn cliffs of California, he portrays bold shapes and subtle hues on home-made panels using handcrafted pastels. Gary holds signature membership in Pastel Society of America and is a member of Rocky Mountain Plein Air Painters and American Impressionist Society. He holds Master Circle status with the International Association of Pastel Societies. His work has been exhibited at the Butler Institute of American Art, The National Arts Club, The Brinton Museum, the Haggin Museum and many others.

More important than awards and praise, Gary seeks to paint according to his own sense of values. Feeling the profound importance of wild natural places and the small farms and ranches that are the cornerstones of America’s independent spirit, Gary incorporates these themes throughout his body of work. Combining naturalistic color with dynamic composition, scenes of peace and tranquility are charged with beauty, light and hope. Gary spends his time painting and exploring America’s great outdoors always on the lookout for fresh inspiration. He resides with his wife, Ann, in Buffalo, Wyoming, where they enjoy a breathtaking view of the Bighorn Mountains.

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Pastels USA 33rd Annual International Exhibition

Pastel Society of the West Coast Pastel Laureates PSWC’s Pastel LaureateTM is the highest level of award presented by The Pastel Society of the West Coast in connection with our Annual International Exhibitions. It is awarded to honorees in recognition of their nationally or internationally significant contributions to the advancement of the pastel medium. The honoree’s impact on the advancement of pastel may be through teaching, writing and/or major contributions of their work in galleries or museums. Having won at least ten awards in the Pastels USA exhibitions and membership in the PSWC may also be considered qualifying factors. The PSWC Board of Directors will nominate and select the recipient of this award. A combination of all factors will be considered. Here are the past honorees.

2000 Albert Handell, PSWC-PL, PSA-MP Blue Wonder

2004 Bob Gerbracht, PSWC-PL, PSA-MP Loraine

2006 Margot Schulzke, PSWC-PL, PSA Quiet Sea

2009 Duane Wakeham, PSWC-PL, PSA-MP Sonoma, Summer Evening 16

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2003 Daniel E. Greene, PSWC-PL, PSA-MP, NA Self Portrait Grand Central Station

2008 Marbo Barnard, PSWC-PL, PSA Nõ Gaku

2012 Richard McKinley, PSWC-PL, PSA-MP Arizona Impressions

Pastels USA 33rd Annual International Exhibition

Pastel Society of the West Coast Pastel Laureate 2019

Gerald Boyd PSWC PL, IAPS-MC, PSA

Gerald Boyd became interested in art as a career when, as a fourteen year old schoolboy, he won a statewide contest in Oregon for a pencil portrait, drawn from life, of his 89 year old grandfather. By his mid teens, he began using pastels and with the limited set he owned, gained some notoriety for portraits of fellow classmates and the principal of his high school in southern California’s San Fernando Valley. Upon graduation, Jerry secured a position as an apprentice pictorial artist with a billboard company in Los Angeles and for the next five years was sent to private fine art classes one evening a week with an academic teacher. He also took classes in art two nights a week at Los Angeles Trade Technical College.

Gerald spent 42 years painting giant advertisements in oil, but continued his own private work in both oil, watercolor, and pastel during his off hours and weekends. Beginning in 1983, he became more involved with a local art society in Fremont, CA and has done demonstrations, mostly in

portrait painting, to over 100 such societies. He began entering exhibitions and by 1987 had earned Signature status with the Society of Western Artists

in San Francisco and the Pastel Society of the West Coast headquartered in the Sacramento area.

After moving to Galt in the Central Valley of California, retiring in 2003, and building a studio in his backyard, Jerry has taught classes and workshops, judged dozens of art shows both large and small, and served twelve years on the board of the Pastel Society of the West Coast, 11 as Chairman of their national show called “Pastels USA”. He has also served as shipping agent for Pastels USA since 2006. In 2009, Gerald earned the “Distinguished Pastelist” status with PSWC based on numbers of awards earned in national exhibitions, and in 2011 gained Signature status with the Pastel Society of America in New York City. Most recently, he has been awarded “Master Circle” status with IAPS - the International Association of Pastel Societies.

Jerry has been published in the 2019 Purely Pastels and will have a chapter in the upcoming The Art of Pastels to be released in 2020.

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Pastels USA 33rd Annual International Exhibition

Distinguished Pastelist & Signature Status Awards The Distinguished Pastelist is accorded to PSWC signature members who have received an award in three (3) of five (5) consecutive PSWC International Open Exhibitions. Scholarship Awards will not be considered in making this determination. PSWC Signature Status is awarded for acceptance into three Pastels USA Exhibitions or two PASTELS USA Exhibits and one award in the PSWC Membership Show. Congratulations to those artists who qualified for status this year!

PSWC DISTINGUISHED PASTELLIST HONOREE FOR 2019

Vera Sickinger

Kimberly Wurster

Ruth Hussey

PAST YEARS: 1989 DeLoma Davis Margot Schulzke 1990 Sherrie Casaurang Hayashi 1991 Marbo Barnard Reif Erickson Adele Lloyd 1992 Anita Wolff 1993 Thelma Davis Milton Meyer Clark Mitchell 1994 Claire Miller Hopkins Gwen C. Manfrin 1995 Mikki R. Dillon Elizabeth Mowry Roy Pfister Gina Leyton Marsh Nelson Duane Wakeham 1996 Gary R. Blackwell 1997 Beverly Nichols 1998 Betsy Kellum 18

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Mary Wagstaff 1999 Waif Mullins 2000 Lee A. Kimball 2001 W. Truman Hosner 2002 Christine Debrosky 2003 Alana Smart Shirley 2004 Richard McKinley 2005 Deborah Matlack 2006 Elaine Augustine Terri Ford Nancy MacDonald Jane Wallis 2007 Joe Mancuso 2008 Sarah Blumenshein Tina Moore 2009 Gerald Boyd Kim Lordier Cuong Nguyen Claire Schroeven Verbiest 2010 Lisa Fricker

2011 Philip R. Bates 2012 Ellen Dreibelbis Kari Tirrell David Will 2013 Evalynne A. McDougall Vianna Szabo Marie Tippets 2014 Linda Mutti Jennifer Rowe Dug Waggoner 2016 Diane Fechenbach Ann Sanders 2017 Debbie Patrick Willo Balfrey 2018 Lynda Conley Daggi Wallace

2019 SIGNATURE MEMBERS Shirley Anderson Mary Aslin Steve Bennett Jean Choi Marianne Harris Karen Horne Karen Israel Christine Ivers Susan Kuznitsky Sandy Lindblad Karen Miller Jean Myers Sam Pearson Douglas Tweddale

Pastels USA 33rd Annual International Exhibition

PASTELS USA 2019 Awards The Pastel Society of the West Coast wishes to extend the sincerest gratitude to our wonderful donors. Your generosity and support make this show possible. We cannot imagine a world without art, and your contributions to the continued advancement of art excellence keeps the world a more colorful place. Thank You! AWARD WINNER TITLE VALUE PSWC - BEST OF SHOW AWARD Candice Grieve The Narrator

$2,000 WAKEHAM/SUTHERLAND AWARD Mary Aslin Mirth and Serendipity $1,500 ROBERT & PATRICIA SUGGS AWARD Jeri Greenberg Chinese Tea $1,000 DAKOTA ART PASTELS AWARD Phil Bates Steadfast $ 640 PAN PASTELS AWARD Nancie King Mertz Alley off Elm $ 525 GOODMUNDSON FAMILY AWARD Otto Stürcke The Drifter

$ 500 RUTH CABRERA ART AWARD - Gerald Boyd Child on a Bungee $ 500 GREAT AMERICAN ART WORKS AWARD TaiMeng Lim Rainy Day in Taipei $ 429 TERRY LUDWIG PASTELS AWARD Maryann Mullett Crater $ 350 WAIF MULLINS AWARD Sally Strand Napster $ 250 ATLANTIC PAPERS AWARD #1

Terri Ford Lily Pads Sur Ciel Bleu $ 250 ATLANTIC PAPERS AWARD #2

Stephanie Rose Long Lookin’ for a Friend $ 250 GREAT AMERICAN ART WORKS AWARD Morgan Green Monterey Dunes Revisited $ 215 JACK RICHESON & CO. PLATINUM AWARD Debbie Patrick Favorite Chair $ 200 AMPERSAND ART SUPPLY AWARD Susanna Griswold Brittney $ 200 UART NEW YORK AWARD Clark Mitchell Omar’s Dahlias $ 200 THELMA DAVIS AWARD Dug Waggoner Clod Buster

$ 200 JACK RICHESON & CO. GOLD AWARD Mike Barret Kolasinski Slippery Slope

$ 175 JACK RICHESON & CO. SILVER AWARD Diane Breuer The Sketch $ 150 PASTEL SOCIETY OF AMERICA AWARD David Will Not Ready to Face the Day Ahead $ 150 HK HOLBEIN INC AWARD Kimberly Wurster Black Phoebe in Spring Cattails $ 148 JACK RICHESON & CO. BRONZE AWARD Randye Jensen Farewell To Spring $ 125 PASTEL SOCIETY OF NEW MEXICO AWARD Lynda Conley Sunshine Farm

$ 100 JACK RICHESON & CO. COPPER AWARD Marie Tippets Masquerade

$ 100 PAN PASTELS AWARD Sandy Lindblad Chester and Bunny $ 100 PSWC CERTIFICATE OF MERIT #1 Lisa Rico But Still Like Dust, I’ll Rise $ 100 PSWC CERTIFICATE OF MERIT #2 Christine Ivers Stop It! $ 100 Commentary on the show from judge DAWN EMERSON It was a privilege to judge the PSWC’s Pastels USA 33rd Annual International Exhibition. The setting at the Haggen Museum is elegant, and just perfect for the caliber of pastel artwork in this year’s show. I commend the three jurors for their selection of these 109 pieces, and congratulate each artist for their acceptance into the show.

As a judge, I strive to honor the full range of artistic expression and style possible with the pastel medium. The elements of art-- color, line, texture, value, edges, space and shape --are merely the building blocks of our visual language. In the hands of the artist those elements can come alive and sometimes cause us to stop in our tracks as we see things in a brave new way. Apart from technical expertise, compositional design, mark-making, draughtsmanship, and sometimes risk taking--it is this special quality of originality which I hope to reward.

I am truly humbled by many of the pieces in this show, and only wish I could have awarded more prizes. I hope visitors, artists of all mediums, and pastel colleagues will be as inspired as I was. Thank you for this opportunity, and again, my heartfelt congratulations to the winners!

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Pastels USA 33rd Annual International Exhibition

PASTELS USA 2019 Show Winners

BEST IN SHOW The Narrator by Candice Grieve, PSA Chesterfield, Michigan 17x21 $2,000

WAKEHAM/SUTHERLAND AWARD

Mirth and Serendipity by Mary Aslin, PSWC, PSA San Juan Capistrano, California 18x24 $2,800

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Pastels USA 33rd Annual International Exhibition

ROBERT & PATRICIA SUGG AWARD

Chinese Tea

by Jeri Greenberg, PSA Mountainside, New Jersey 16x12 $650

DAKOTA ART PASTELS AWARD

Steadfast

by Phil Bates, PSWC-DP, PSA Myrtle Creek, Oregon 18x18 $2,400

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Pastels USA 33rd Annual International Exhibition

PAN PASTELS AWARD Alley Off Elm by Nancie King Mertz, PSA-MP Chicago, Illinois | 20x16 $1,800

GOODMUNDSON FAMILY AWARD

GREAT AMERICAN ART WORKS AWARD

The Drifter by Otto Sturcke, PSA-MP Valencia, California | 20x30 $15,000

RUTH CABRERA ART AWARD

Child on a Bungee by Gerald Boyd, PSWC-PL, IAPS-MC, PSA Galt, California | 25x42 $2,500 Rainy Day in Taipei by TaiMeng Lim, PSWC Beranang, Malaysia | 16x15 $2,200

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Pastels USA 33rd Annual International Exhibition

TERRY LUDWIG PASTELS AWARD

WAIF MULLINS AWARD

Napster by Sally Strand, PSA-MP Capistrano Beach, California | 16x24 $4,800

Crater by Maryann Mullett, PSA Fitzwilliam, New Hampshire | 11x11 $1,000

ATLANTIC PAPER AWARD 1 & 2

Lily Pads Sur Ciel Bleu by Terri Ford, PSWC-DP, IAPS-EP, PSA-MP San Jose, Ca;ifornia | 11x14 $2,800 Looking for a Friend by Stephanie Rose Long, PSWC Petaluma, California | 24x17 $1,950

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Pastels USA 33rd Annual International Exhibition

GREAT AMERICAN ART WORKS AWARD AMPERSAND ART AWARD

Monterey Dunes Revisited by Morgan Green, PSWC Santa Barbara, California | 11X14 $1,000

THELMA DAVIS AWARD

Britteny by Susanna Griswold, PSA Orinda, California | 16x12 $850

Clod Buster by Dug Waggoner, PSWC-DP, IAPS-MC El Cerrito, California |14x20 $1,200

UART NEW YORK AWARD

Omar’s Dahlias by Clark Mitchell, PSWC-DP, PSA-MP Cotati, California | 12x24 $2,150

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Pastels USA 33rd Annual International Exhibition

JACK RICHESON & CO, INC. AWARDS

PLATINUM: Favorite Chair by Debbie Patrick, PSWC-DP Sausalito, California 20x16 $950

GOLD: Slippery Slope by Mike Barret Kolasinski, PSA Chicago, Illinois | 20x16 $1,200

BRONZE: Farewell to Spring by Randye Jensen, PSWC Corvallis, Oregon | 12x18 $795

SILVER: The Sketch by Diane Breuer, PSWC Fresno, California | 12x9 $1,000

COPPER: Masquerade by Marie Tippetts, PSWC-DP, IAPS-MC, PSA Dana Point, California | 9x12 $2,000

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Pastels USA 33rd Annual International Exhibition

HK HOLBEIN, INC. AWARD Black Phoebe in Spring Cattails by Kimberly Wurster, PSWC-DP Coquille, Oregon | 16x10 $1,200

PASTEL SOCIETY OF AMERICA AWARD Not Ready to Face the Day Ahead

by David Will, PSWC-DP, PSA Grass Valley, California 24x18 $1,800

PAN PASTELS AWARD Chester and Bunny by Sandy Lindblad, PSWC Grass Valley, California | 16x20 $650

PASTEL SOCIETY OF NEW MEXICO AWARD Sunshine Farm by Lynda Conley, PSWC-DP, PSA | Fort Worth, Texas | 12x16 $975

CERTIFICATE OF MERIT Stop It! by Christine Ivers, PSWC, PSA-MP Meriden, Connecticut 20x16 $1,500

CERTIFICATE OF MERIT But Still Like Dust, I’ll Rise

by Lisa Rico, PSWC, PSA Vacaville, California 11x14 $1,100

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Pastels USA 33rd Annual International Exhibition

Accepted Entries Weeping in June

by Shirley Anderson, PSWC Spring Village, Arkansas 12x16 $825

Morning Visit by Willo Balfrey, PSWC-DP, IAPS-MC.PSA Weed, California 16x12 $1,500

Carmel Woods by Bobbie Belvel, PSWC Pacific Grove, California | 16x20 $1,200

Walking in Florence

by Minnie Bhupathi Alpharetta, Georgia 24x18 $2,200

Evening Sky by Steve Bennett, PSWC Jacksonville, Florida | 16x20 $1,600

Cactus Flower by Deborah Breedon Lompoc, California 16x12 $1,225

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Pastels USA 33rd Annual International Exhibition

Sunset

by Kris Buck, PSWC Santa Barbara, California 12x12 $700

Windswept by Ginny Burdick, PSWC Coarsegold, California 14x14 $850

Across the Lynn Canal by Donna Catotti Haines, Alabama | 18x24 $2,600

After the Storm by Jean Choi, PSWC Orange, California | 14x18 $1,200

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Approaching Front by Chris Chapman, PSWC Solvang, California | 17x26 $1,800

Just Before Sundown on Mount Diablo

by Marsha Dalmas Berkeley, California 23x17 $2,000

Pastels USA 33rd Annual International Exhibition

Moonlit Walk by Gary Drake Placerville, California | 10x28 $500

Breaking Through by Janice Lacey Ellison, PSWC, PSA Grants Pass, Oregon | 11x14 $900 Sea Breeze by Esther Engelman, PSWC, PSA Woodland Hills, California | 12x12 $1,800 Kaleidoscope

by Judy Felsen, PSA Albuquerque, New Mexico 18x22 $1,150

Would You Play with Me? By Irene Georgopoulou, PSA Athens, Greece 11x14 $750

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Pastels USA 33rd Annual International Exhibition

Morning Light by Lisa Gleim, PSA Atlanta, Georgia 12x17 $1,925

Frosted Leaves by Marie Gonzales Folsom, California 11x14 $400

Adventures at the Koi Pond by Susan Goodmundson, PSWC Auburn, California 24x18 $750

Resistance by Bonnie Griffth, PSWC Meridian, Idaho 9x9 $900

For Phoebe by Donna Gross Aptos, California 8x6 $525.00

Leaning Giants by Ellen Gust, PSWC Palo Alto, California 16x20 $1,400

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Pastels USA 33rd Annual International Exhibition

Cedar’s Gaze by Marianne Harris. PSWC Loomis, California | 8x12 $550

A Berry Focused Flicker by Paul Harman, PSWC Auburn, California | 13x17 $1,200

Tide Changing North of Mendocino, California by Debra Holland-Olson | Weaverville, California | 10x15 $1,300 Island Marsh by Deborah Henderson Olympia, Washington | 8x10 $475 Poised Offstage

by Karen Horne, PSWC Salt Lake City, Utah 22x18 $1,700

Reflections by Francine Hurd, PSWC Santa Rosa, California 12x16 $850

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Pastels USA 33rd Annual International Exhibition

Out of the Past by Karen Israel, PSWC, PSA-MP West Hartford, Connecticut | 10x20 $1,400

Room with a View by Karene Infranco Short Hills, New Jersey | 24x18 $1,000

Beautiful Seattle by Somayeh Jazayeri Bothell, Washington | 10x16 $10,000

Twilight Rain by Katherine Irish, PSWC, PSA Placitas, New Mexico | 14x10 $800 Western Slope Bales

by Becky Johnson Colorado City, Colorado 6x9 $1,100

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Sea Foam by Virginia Kamhi Thousand Oaks, California | 12x18 $925

Pastels USA 33rd Annual International Exhibition

Story of the Warriors by Deepali Kapatkar Los Altos, California | 18 x 24 $1,500

Lora’s Mom by Susan Kuznitsky, PSWC Portland, Oregon | 12x16 $1,800

A Date with Spring

by Jeremy Mun Loong Lee Kuala Lumpur, Malaysia 16x11 $1000

Diamond Valley by Matt Lister, PSWC El Dorado Hills, California 18x24 $700

Chinese New Year by Shuk Susan Lee Newton Upper Falls, Massachusetts 12x10 $3,000

Autumn Fairies by Kim Lordier, PSWC-DP, PSA Millbrae, California 24x18 $5,000

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Pastels USA 33rd Annual International Exhibition

Bourbon Street Blues by September McGee, PSWC, PSA Laguna Beach, California | 13x18.5 $2,700

Monterey Pine by Jospeh Mancuso, PSWC-DP, PSA Torrance, California | 11x14 $1,200

Lemon Tree in March by Karen Miller, PSWC Healdsburg, California | 8x9 $400

Twilight by Eveline Miller, PSWC, PSA Saint Helena Island, South Carolina | 12x16 $1,200

Caught by Carol Murphy Salem, Oregon 11x8 $475

Morning’s Gift by Linda Mutti, PSWC-DP, PSA Santa Barbara, California | 12x16 $950

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Pastels USA 33rd Annual International Exhibition Painted Lady by Jean Myers, PSWC Newbury Park, California 24x18 $1,500

Nomad by Karen O’Brien University Place, Washington 18x18 $700

1957 Chevy BEL-AIR by Ugo Paradiso Olathe, Kansas | 10x15 $900

Santa Ana Pueblo by Sam Pearson, PSWC Los Gatos, California | 26x40 $4,000

Spring Meadows by Janet L. Patterson, PSWC Ashland, Oregon | 12x16 $900

Sun Raked b y Erika Perloff, PSWC Santa Cruz, California | 14x11 $900

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Pastels USA 33rd Annual International Exhibition

Sound and Spray by Peggy Post Mount Kisco, New York | 16x20 $1,450

California Moment by Sandra Place Santa Fe, New Mexico | 14x18 $1,500 Canyon Serenity

by Susan Powers Alamo, California 12x9 $625

Black Hen

by Leah Read San Jose, California 20x16 $590

Beach Bunny by Heidi Reeves, PSWC Kings Beach, California 12x12 $795

Coop at the Inn by Barbara Reich, PSWC Traverse City, Michigan | 9x12 $675

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Pastels USA 33rd Annual International Exhibition

Strength in Numbers by Elizabeth Rhoades, PSWC, PSA Belle Haven, Virginia | 9x12 $725

Interrupted by Judy Richardson Medford, Oregon | 12x12 $800

I Told You So by Cynthia Riordan, PSWC Saratoga, California 16x12 $1,000

Flashdance by Linda Roemisch, PSWC Nevada City, California | 9x12 $450

The Elusive Stayman Winesap by Jane Robbins Saunderstown, Rhode Island | 8x10 $500

Santa Cruz Island by Ann Sanders, PSWC-DP, PSA-MP Goleta, California | 16x20 $1,450

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Pastels USA 33rd Annual International Exhibition

Fall RIver Flow by Brian Sauerland, PSA Palatine, Illinois 12x16 $750

Kelly by Moonlight by William A. Schneider PSWC, IAPS-MC, PSA-MP Village of Lakewood Illinois 16x20 $3,250

Grace by Renay Shaffer Bellingham Washington 20x20 $1,050

Remembering You by Deborah Shea Redwood City, California 13x10 $650

An Original by Laura Jo Sherman, PSA Sunriver, Oregon | 11x14 $700

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California Dreaming by Sarah St. George Evergreen, Colorado | 16x20 $1,500

Pastels USA 33rd Annual International Exhibition

Low Tide Reflections

by Suzie Stach, PSWC Fresno, California 20x16 $1,000

All That Jazz by Vianna Szabo, PSWC, PSA, IAPS-EP Romeo, Michigan 24x18 $2,300

Still Waters by LaVone Sterling, PSWC, PSA Visalia, California | 9x18 $1,400 Lanai by Helen Turner, PSWC Eleele, Hawaii | 12x16 $900

Evening Blush by Terri Taber, PSWC Santa Barbara, California | 12x18 $1,000

Sunlit Cottonwood by Douglas Tweddale, PSWC, PSA North Wales, Pennsylvania | 20x24 $1,800

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Pastels USA 33rd Annual International Exhibition

Into the Light by Jim Tyler, PSWC San Luis Obispo, California | 20x16 $800

Jungle Red by Pam Walker Sequim, Washington | 11x9 $500

Arch Rock by Marti Walker West Sacramento, California 6x8 $300

Brilliant Morning by Patricia Westman Santa Rosa, California | 13x17 $490

Forsythia in Bloom by Sharon Will, PSWC-DP Washington, Michigan | 12.5x18.5 $1,495

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Pastels USA 33rd Annual International Exhibition

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The Interview--Alain Picard

Alain Picard PSWC

oils, pastels are a passion of his. They are his default medium.

To pursue this new dream, Alain needed guidance.

He turned to Abe Echevarria, a New York Spanish Harlem artist who suggested that Alain try illustration. Echevarria exposed him to great illustrators like N.C. Wyeth, J.C. Leyendecker, and Norman Rockwell and great painters like John Singer Sargent and Joaquin Sorolla y Bastida, whose bold brush work and large scale was mind-bending.

Alain Picard did not aspire to be an artist. He wanted to be a left-handed pitcher in the major leagues.

Midway through college, he realized that he didn’t have what it takes to be in major league baseball.

Luckily, he was also enrolled in an elective art class.

The confluence of realizing there would be no professional baseball and an art teacher who praised his skills and commented, ““What are you doing with this talent? You could teach this drawing class right now!” caused a change in major to art. And the more he invested in his artistic gifts, the more that passion turned into a flame. “My boyhood dream had to die before I could accept the reality of being an artist.”

It was at this point that Alain discovered pastels, as they were part of the required materials for art classes. He purchased a set of Rembrandts and was hooked on the medium. Though he also paints in 42

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While he was single, he rented a commercial studio instead of an apartment and began working as an illustrator, taking on portrait commissions as well.

An electrical fire across the hallway changed things dramatically. While the fire department was able to save his studio, his work was covered in a thick layer of ash. He moved home feeling more than a little defeated. Then he heard about a John Singer Sargent exhibition in Boston—some three hours away. He drove. Remembering the experience, he says, “Here was this young portrait artist looking at magnificent Sargent paintings. It changed me. I was a different artist after that. As a creative spirit and unique individual, you plug into a power source that is synchronistic-- a pool of energy that you access.”

He met the woman who would become his wife, Mirjam and they started a family. (They have two sons.) They became involved in their church, and Alain began teaching art classes there part-time and organizing exhibitions of students’ work. Through the church, he and his wife participated in taking a group of students to Rwanda for a World Relief effort. This was an amazing experience which also

Noelle by Alain Picard

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The Interview--Alain Picard inspired him to create some wonderful paintings.

“We create out of the well of experience,” he says.

The economic down-turn in 2009 nudged him into teaching painting workshops and he has not looked back, Mirjam runs the operations and production of videos and publications. She also manages the teaching schedule to allow time for travel, teaching, and most importantly, family. Family is so important to him, and he cherishes fatherhood. This point was brought home to him the day of the Sandy Hook shooting. He was painting when he got the news.

He dropped his brush and headed to his church— just a short distance from Sandy Hook. There he and others helped the community and parents deal with the horrific events of the day. (The gravity and sadness of the moment is still so present—even in our conversation.)

Teaching has become a passion. Alain is an extrovert and teaching is a good counter-balance to the often-lonely act of painting. He also likes being a student, having taken a regular live model painting class with other professionals run by artist Joel Spector. He is currently working exclusively in pastels and has accepted commissions for portraits and landscapes, though sometimes the commissions dictate the medium he will use.

As always, I am curious about the advice an artist would give to their 20-year-old self. Alain’s advice would be to focus and listen. “Every 20-year-old is arrogant and ignorant. I was a hard worker, but my creative spirit was inspired by everything; I had to focus and set goals.”

He would tell himself, “Practice patience and persistence. Set goals and move towards them. And I

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The Interview--Alain Picard would say it’s okay not to be perfect. Don’t put on a show for everybody.“ He laughed, “The achiever/performer in me wanted people to be impressed with me. I have moved past that to become more authentic.”

A perfect response.

www.picardstudio.com

Go to https://www.picardstudio.com/store for information on Alain’s books, videos, prints, and workshops.

The_Recital by Alain Picard

Apsara Dancer by Alain Picard

In the Studio...

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The Interview--Alain Picard

Dawning Of A New Day by Alain Picard

Additional work by Alain Picard

Burn Away the Fog by Alain Picard

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Lowcountry Blues by Alain Picard

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Light and Shadow by Jean Choi

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Meet the Members

Jean Choi PSWC

by Jean Choi

Jean Choi is one of our new Signature members, Congratulations! Jean obtained her Bachelor of Fine Arts in applied art from Duksung Women’s University in Seoul, Korea. She has continues her education in the States. Her work has been exhibited in local and national juried shows and won a number of awards since 2004.

Jean is a member of the Pastel Society of the West Coast, California Art Club, Laguna Plein Air Painters Association, SOCALPAPA, Pastel Society of SoCal and Studio 250.

She has shown her works at the Laguna North Gallery in Laguna beach, California . (2010 2018) . We asked Jean about her life in art and here’s what she had to say:

Q. Did you always consider yourself an artist? Or was there one day, when you realized that you were one?

A I’ve never had one particular moment that led me to consider myself as an artist-- I had an art teacher in junior high that saw a watercolor painting I did for her class, and she suggested to me that maybe I should pursue a career in art. I didn’t think about it that much at the time and joined the professional world, but eventually I started going to school for art while working. I thought of art as homework for my future, and so in 1991 I signed up for more local art classes as my kids (ages 3 and 5) were in school. After a brief pause, in 2001, I got a sudden urge to start up my art again. I started taking a pastel class again, and the instructor was very helpful and nice, so I kept taking classes with her. We still are friends today and meet together monthly to share art in a critiquing group. It wasn’t that I thought of myself as an artist, or that it was even necessary to be thought of as one, but I always felt in my head that I just had to do art, regardless of how people thought of my art. I did it because I liked it, and that’s still the approach I take to my art.

Q. Who or what has had an strong influence in your work?

A. For me, landscapes are my main subject. Plein air and studio landscape paintings serve

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Meet the Members

After the Storm by Jean Choi

a memory for me, and so in a way it is like reliving those memories to look at or work on art. It’s like an autobiography throughout my lifetime. There’s a few artists I like that deal with landscapes, but my main motivation and influence is from the feelings and memories that these paintings give me rather than any one person.

Q. What other jobs have you done?

A. A long time ago, I worked at a bank in Korea. After I got married and moved to America, I helped my husband manage the operations of his 30+ year small business.

Q. Do you work exclusively in pastels?

A. Yes. I started out with watercolor, but eventually 50

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moved entirely to pastels.

Q. What other mediums do you use? How do you feel about pastels versus the others?

A. I don’t use any other mediums besides pastels.

To me pastels are the form of art that I’m the most comfortable with-- maybe it’s because of the feeling of using pastels sticks with my fingers, rather than using a paintbrush.

Q. What do you think about when choosing multiple pieces for a show? What do you look for in a piece to be selected for a show?

A. My process isn’t too complicated-- I just choose whatever looks the best to me. A lot of the times, I just pick my favorites. I don’t really think too much

Meet the Members about what I’m looking for to be selected for a show. I might be able to answer this better if I was a judge (joke).

Q. For many artists, the idea of entering a juried show or competition is terrifying. What advice would you differ to artists contemplating an entry in a show?

A. Honestly, it’s pretty intimidating. In 2007 and 2008, my art was accepted for the Pastel USA show. Then in the next couple years, my art wasn’t accepted, so I felt as if my progress had gone backwards. So I stopped submitting them for a while, and from 2010 to 2018, I decided to become more actively involved in a local co-op gallery, so I wasn’t as focused on submitting to competitions. While not getting accepted was discouraging, I kept working on my art for my own sake and stopped worrying so much about the competitions. Eventually, I started submitting my work again, and as you can see, it has worked out well for me. So I guess my advice would be to concentrate on your own pursuit of art and not to worry so much about what your art means to other people.

Q. What advice would you give to your 20-year-old-self regarding art?

A. To try to work with passion, and that the main goal is art itself and not to worry so much about competitions. And to keep doing it because you will get better.

Serenity at Tomales Bay by Jean Choi

Laguna Low TIde by Jean Choi

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Meet the Members

Susan Kuznitsky PSWC

room. At the same time my mom was taking art lessons at a local studio and noticed my interest. She signed me up and it became the beginning of my journey as an artist. Art gave me focus at a tumultuous time. It is a big reason why I teach art as well – I experienced the importance of having this inspiration as a young person and it carries on at all ages and phases of life.

Q. Who or what has had a strong influence in your work?

Susan Kuznitsky achieved Signature status with her entry Lora’s Mom in this year’s PASTELS USA Exhibition.

I spoke with Susan at length about her life as an artist.

Her art has always played an important role in her life, more so now that ever, as she deals with the recent loss of her husband. She says her friends and students helped her through the process of grieving.

What struck me about Susan was her sense of fun and adventure. She is wise and funny and real. We swapped stories about kids and painting and teaching: I felt like I was speaking to an old friend. She offers workshops, and they are a wonderful opportunity to see art with a new perspectice. Go to her website for more information. Here’s what she says about herself:

Q. Did you always consider yourself an artist? Or was there one day, when you realized that you were one?

A. I took my first art class my freshman year in high school. I started drawing all the time at home in my 52

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My first teacher, the late Joe Abbrecia, had a strong influence on the path I chose as an artist. He consulted with my parents to guide me to the next phase of training after high school, which led me to the American Academy of Art in Chicago where I had a great foundation to build on. The next very strong influence was the almost two years I spent as Albert Handell’s workshop assistant back in the early 80’s when he had his studio in Woodstock, NY. This is where the world of pastels opened up to me.

After moving back to Chicago to open my own studio I had the great fortune to paint at the Palette and Chisel Academy with Richard Schmid, another huge influence. A small group of us painted several times a week from life. It was an amazing time. Most recently I have had a couple workshops with Joe Paquet. I have been so fortunate to have amazing mentors that continue to influence who I am as an artist and a teacher. It is important to me to pass on what I learned to others which is why I will always teach.

Q. What other jobs have you done?

A. I have worked as an artist and art teacher my whole adult life other then a couple short stints as a

Hill Tribe Mother by Susan Kuznitsky

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Meet the Members

Garden Vineyard

by Susan Kuznitsky

waitress early on. I was awful! I did put my art on the back burner when I became a mom almost 25 years ago. I continued to paint and teach but only part time. I was very involved as a volunteer at my kids’ schools (I have 2 boys ages 21 and almost 25). I also helped my husband in his remodeling business – I learned Quickbooks and did all the bookkeeping. It turned out to be a great skill to have to manage an art business. My husband passed away suddenly in November 2017, and the business is closed. It is the first time in 25 years that I am again a full-time artist.

show? What do you look for in a piece to be selected for a show?

Q. Do you work exclusively in pastels?

shop. I advised my students to really consider what their goal is as an artist. For some it is just a a passionate hobby. For others it starts as that and when there is a level of confidence it might be time to put yourself out there. It is a vulnerable thing to do no matter what level you are at. I would say you have to develop a thick skin. I am forever working on that!

I have been on both sides of it – being judged and being the judge. Getting juried in and even winning an award is awesome, getting that rejection notice is so disappointing – that never goes away, at least for me. Remembering it is a VERY subjected thing helps. I have had a piece rejected into a show and

A. I work in oils as well as pastels.

Q. What other mediums do you use? How do you feel about pastels versus the others?

A. I began in oils, then watercolors followed by pastels. I really believe that’s the years I spent focusing on pastels made my oil paintings stronger. I discovered so much about color and value working in pastels that directly translates to mixing color and value in oils. I definitely believe from my experience that pastel is the best medium for beginners.

Q. What do you think about when choosing multiple pieces for a 54

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A, There are different considerations when painting multiple pieces for a show. It can be subject matter like figure in the landscape. I have also done multiple pieces focusing on dappled light as a series for a show.

Q. For many artists, the idea of entering a juried show or competition is terrifying. What advice would you differ to artists contemplating an entry in a show?

A. This is a conversation I just had in my last work-

Meet the Members

then the same piece accepted into another show and given an award. It is a crazy but necessary part of building an art career.

Q. What advice would you give to your 20-year-old-self-regarding art?

My 20-year-old self was bold and brave (comes with youth I think). My 63-year-old self is wiser and more skilled. So, I would probably wish I could merge the two! To use the young optimistic ‘I can conquer the world’ energy combined with all I know and have learned would be amazing!

Senior Moment by Susan Kuznitsky

www.susankuznitsky.com Lucy in Red by Susan Kuznitsky

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Work-in-Progress

WiP

Work In Progress

We put out a FACEBOOK call for works in progress. It seems that the members of the PSWC have been a little busy! Thanks for sharing. It’s always intresting to see how a piece evolves. Here’s what was sent in!

WiP !. Watercolor Sketch

2. Preparing the backgorund

Vianna Szabo

3. Steps along the way...

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Work-in-Progress

4. Final Results--All That Jazz by Vianna Szabo

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Work-in-Progress

WiP Late Night Margaritas

by Sharon Will 20x16

Sharon Will

Sunset on the Narrows

by Sharon Will 6x11

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Work-in-Progress

Marie Tippetts

Untitled Works by Marie Tippetts

WiP

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Work-in-Progress

Cindy Schrenk Gillett

WiP

Untitled Work by Cindy Schrenk Gillett

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Work-in-Progress

WiP Lisa Rico On The Easel

Karene Infranco

WiP

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Work-in-Progress

WiP Jeremy Lee

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Work-in-Progress

Wow...

...someone’s been busy!

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Art Workshops Sally Strand Thursday, June 6, 2019 Showcase the Color of Light!

IAPS Convention International Association of Pastel Societies Albuquerque, NM 1 day Workshop See more classes at pswc.ws/ workshops

Focusing on color and light, Sally discusses optical mixing of layered color and how to truly see and identify color, especially subtle color. The effects of light on color, composition, and perception, as well as use of different types of light are explored.

Painting from costumed models and still life, each student receives individual attention and critiques.

Demonstrations and lectures and a slide show are designed to give students tools to achieve intensely beautiful color

explore the finishing touches that turn paintings into personal statements.

Master Class/Next Level (intermediate and up) – If you have taken Sally’s workshops before and want to build on the numerous principles discussed, this new class continues where the previous workshops left off. It begins with a review of painting principles including optical mixing of layered color, essential elements of strong composition and the effects of light. We also focus on the later stages of painting, learning to harmonize color masses while developing the ability to really see and mix color, especially those that are nuanced and subtle. Finally we will

Showcase the Color of Light!

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Sally Strand, a Master Pastelist, was inducted into the Hall of Fame, the highest commendation of the Pastel Society of America, NY. For more information: 949-493-6892 Info@sallystrand.com or www.sallystrand.com 2019 Workshop Schedule is online at pswc.ws Friday, June 7, 2019 IAPS Convention International Association of Pastel Societies June 17–20, 2019 Color of Light Whidbey Island Fine Art Studio Langley, Washington Contact: Cary Jurriaans 206-571-0442 info@whidbeyislandfas.com caryjur@gmail.com

Art Workshops

W. Truman Hosner

“I

want you to stop trying to

paint like some one else . . .

STOP ADMIRING SO MUCH! Let me help you find your own course to sail. I want you to trust that you have something important to say. I want you to go outdoors and find YOU!” W. Truman Hosner

DEVELOPING YOUR OWN VOICE 3-DAY WORKSHOP / STUDIO & EN PLEIN-AIR June 20, 21, & 22 $500 I will be teaching a workshop at my new studio (and its’ accompanying backyard-courtyard) in Ferndale (Detroit), Michigan. It is being held June 20, 21, and 22.

The workshop is open to beginners through advanced. My goal is to teach how understandings that derive from painting directly from life lead to development of individualism in painting. These ways will inspire the experienced artist as well as help the beginner get started.

Day to Day Itinerary The first morning is an in studio keynote presentation in which I share my concepts and knowledge of painting. I discuss the exciting opportunities, in color and personal style that may only be found from direct observation of nature.

That afternoon and the next day, weather permitting, the class will work out of doors under my instruction.

On the final morning I will work en plein-air along with the class. Then in the afternoon the class will work again with my instruction.

On the last day, over lunch, I like to hold a Q&A and critique of the work done in the workshop.

HOSNER STUDIO, FERNDALE, MICHIGAN Registration/Questions: (231) 881-2895 or truman@wtrumanhosner.com To find out more: http://wtrumanhosner.com/ teaching/ W. Truman Hosner: BFA Wayne State University, Former Instrutor- Center for Creative Studies, Detroit, 17 years experience as an Illustrator, 28 years experience as a plein air Fine Art Painter, Master Pastelist with PSA, IAPS, PSEC, Distinguished Pastelist- PSWC, Member of the California Art Club

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Art Workshops

RITA KIRKMAN

An All-Inclusive Pastel Art Retreat “Paint the Light in Pastel” with Rita Kirkman

Dates: July 15-19, 2019 Level: All Levels Join Rita for the Ultimate Summer Art Vacation - an all-inclusive 5-day Art Retreat at The Abbey of the Hills, in the heart of the glacial lakes region of South Dakota. Immerse yourself in the tranquility of this former monastery while stimulating your creativity with a Rita Kirkman Pastel Workshop! The 5-day workshop will give you plenty of time to exercise and improve your pastel abilities (all skill levels welcome) in the classroom, while leaving extra hours to explore the beautiful grounds, paint outside, sketch and take photos, or simply relax!

Learn from Rita’s 40+ years of experience with pastel. Lots of individual attention given.

For more info and to register:

One price includes the workshop tuition, on-site lodging and daily home-cooked meals!

https://ritakirkman.com/page/16136/an-all-inclusive-pastel-art-experience

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Art Workshops

Aaron Schuerr SPONSORED WORKSHOP

Fresh and Direct Landscape Painting in Pastel Dates: Aug 26–28, 2019 Class times: 9:00am–4:00pm Tuition: $450 Level: All Levels Class Limit: 15 Get ready to explore the California coast with award winning artist Aaron Schuerr.

Find “the story” in the landscape and paint it in a way that is direct, simple, fresh, and honest. Engage in fun exercises designed to focus on value, color, and shape. From that foundation, you’ll explore edges, atmospheric perspective, color and shape relationships, composition, and mood. Most importantly you’ll learn to paint with greater intention. Through demonstrations, group discussions, composition walks, painting exercises, and plenty of individual instruction, you will learn to approach the landscape in enthusiasm and confidence. This workshop is open to pastel and oil, but the focus will be on pastel work.

Carmel Visual Arts | Barnyard Shopping Village | 3694 The Barnyard, F22,Carmel, CA 93923 |Studio Line: (831) 250-5732

www.carmelvisualarts.com/aaron/

Be sure to look for Aaron Schuerr’s selection of landscape pastels from Jack Richeson & Company. Eighty gorgeous colors--have Aaron sign the box at class!

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2019 OSWC Scholarship Winner

PSWC SCHOLARSHIP WINNER 2019 Bob Gerbercht Scholarship Winner We are pleased to annnounce that the winner of the 2019 PSWC Scholarship is Mariana Núñez! She is a currently enrolled at University of the Pacific in Stockton, California where she is working for a BFA in Studio Art. Mariana’s passionate desire to pursue art, and her stellar artwork definitely caught the eye of the PSWC Board. In three letters of recommendation, her instructors spoke of her hard work ethic, her determination, and her spirit.

She has stated that, “I don’t think there was ever any precise moment when I decided that I would pursue a career in art. There was no epiphany or sudden revelation where I realized what I wanted to do with my life. It has been a part of me for as long as I can remember, since even before I can remember; I have been drawing since I could hold a pencil in my hands. Even as a child, I never seriously considered doing anything different as far as a career goes. People have always been impressed by my work and encouraged me to continue, by the time I started high school I had already gotten my first commission from an adult. I am pursuing my degree because art is my passion. I simply love it.”

Mariana has requested a postponement of her scholarship for one year. She has recently been accepted into a study abroad program in Mexico for the 2019-2020 school year. The board has accepted this postponement for one year and will hold and award her scholarship for the 2020 – 2021 school year.

We wish her all of the best in the study abroad program in Mexico and we are pleased and look forward to assisting her with her studies and art endeavors when she returns.

Some of her accomplishments include: Mayor’s Top 25 Award (for high school GPA) 1st Place in Mexican Heritage Center Student Art Showcase (2014, 2016) Dean’s Honor Roll (2016, 2017, 2018) Studio assistant/ volunteer during high school (at Millie’s Art Korner, Stockton, CA Private commission work Art Instruction: Millie’s Art Korner (previously “The Art Korner”) Cesar Chávez High School AP Studio Art Program (3 years) San Joaquin Delta College University of the Pacific

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Housekeeping

PSWC HOUSEKEEPING Here’s a Bit of News for Members & Information on New Members

ELECTED BOARD POSITIONS

LOOKING FOR A GRANT WRITER & SCHOLARSHIP CHAIR

Vice President/Treasurer

We are looking for a volunteer with grant writing experience to help us in the fall. There are some exciting opportunies that we want to prepare for, and we are hoping a grant will let us achieve these goals. We are also looking for a volunteer to manage the scholarship process. Contact Sabrina Hill here.

MEMBERSHIP DRIVE We are always looking to expand our membership. As one of the largest Pastel Societies in the United States, we are proud to have such talented, diverse and active artists in our group.

One of the best ways to support a healthy society is to bring in new members. There are lots of good reasons to join. If you have artist-friends who are not members, now’s the time to invite them to join. Contact Debbie Pepin if you have questions or would like more information.

VOLUNTEERS NEEDED Members, we need your other talents, too! We have the lots of opportunities for volunteers from working on the PASTELS USA Show to hosting Paint-outs. Please contact Sabrina Hill for more information.

CONTRIBUTE TO THE MAGAZINE The magazine is looking for ideas, suggestions and contributors. If you have something to say, an idea for a feature, or a favorite artist for an interview, I want to hear from you! And if you have graphics experience, would be willing to collect information, write an article or help with production contact me at pswcmag@pswc.ws

President/Editor Sabrina Hill e: Art@sabrinahill.com Susan Goodmundson e: goodmundson@sbcglobal.net Pastels USA Exhibits Chair Gerald Boyd e: jerry@geraldboyd.com Pastels USA 2020 Chair Jan Miller e: halfhalt@saber.net Secretary Bonnie Griffith e: bzgriff53@gmail.com Scholarship Chair Russell Frank e: frankpastels@gmail.com Membership Chair Deborah Pepin e: pswcmembership@gmail.com.

Magazine Editor Sabrina Hill e: art@sabrinahill.com Membership Show Chair Dug Waggoner e: dugwaggoner@att.net Ways & Means Chair Pat Stoddard Aragon e: grayrockstudio@yahoo.com COMMITTEE APPOINTEES Eblast Coordinator/Publicity Cynthia Riordan e: clriordan@gmail.com Facebook Coordinator/Social Media

NEW MEMBERS

Jan Frank Santa Cruz CA www.janfrankfineart.com/ Idalia Fraga Larsen San Francisco CA Lory Williams Winford Nashville IN Michelle Wells Grant Aptos CA www.mwgrantart.com Vicki Crane Block San Anselmo CA www.Vickicraneblock.com Lily Hurlimann Menlo Park CA Will Noel Madison WI Reneeí Marz Mullis Las Cruces NM www.MullisStudio.com Ranjani Mohana San Ramon CA www.ranjanimohana.com Jane Hilton Pacific Palisades CA Verna May Puglisi Newcastle CA Larry Hemmerich Pastels Palm Springs CA www.larryhemmerich.com Nina Thomson Sacramento CA Nina Le-Currier Garden Grove CA

Rita Romero e: artist@romeroartstudio.com Workshop Coordinator Daniele Todaro e: daniele.todaro.8278@gmail.com

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The Pastel Pastel Society Society of of the the West West Coast’s Coast’s Premier Premier Event Event The

The 33nd Annual International Open Exhibition

BEST IN SHOW The Narrator by Candice Grieve, PSA | Chesterfield, Michigan | 17x21

May 16, 2019 - July 14, 2019

Haggin Museum 1201 N. Pershing Ave, Stockton, California 95203 70

www.pswc.ws