Okanagan Art Works - August 2010

AUGUST 2010

VOLUME 4 OF 1

This month’s cover: LISA LUTZ

GRAHAM T CHAMBERS DOUG ALCOCK CHERYL MCFADDEN JANEY VOLDEN WOON-HING MANNING WENDY PENNER

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

The Canada Council for the Arts

The Vision of OKANAGAN ART WORKS online magazine is to nurture, encourage, promote, and showcase the extraordinary talented artists who have chosen the Okanagan region in beautiful British Columbia, Canada as their home studio for creating original art.

We also show appreciation to those who support local artists by collecting their work.

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“Arts and cultural activities are at the heart of

OKANAGAN ART WORKS August 2010 Publisher, E.I.C.: Liz Burnett and, until the right person walks through the door . . .

All content and layout: Liz Burnett Contact info: Okanagan Art Works P O Box 20084 Kelowna, BC, V1Y 9H2 Tel.: 250.215 0929 Website: www.okanaganartworks.com Email / Submissions /Subscriptions: info@s2sartworks.com © All rights reserved.

OKANAGAN ART WORKS is published monthly on-line.

Reproduction in whole or in part is strictly prohibited.

OKANAGAN ART WORKS makes every effort to ensure the accuracy of the information it publishes, but cannot be held responsible for any consequences arising from errors or omissions.

Artists published in this issue of OKANAGAN ART WORKS are granting us permission to publish their work and images on the cover and throughout this issue via the internet as needed, to help bring attention to this publication and their work. Copyright of all the artworks in this issue belong to the respective artists.

This month’s cover: ‘Something Blue’, a lampworked bead by Lisa Lutz see page 8.

Liz Burnett: Editor/Publisher info@s2sartworks.com www.s2sartwokrs.com Tel.: 1.250.215 0929

Welcome to the August 2010 issue of OKANAGAN ART WORKS. Summer is finally here and there is nothing more enjoyable than spending time outdoors experiencing the beauty of the Okanagan.

This brings us to Public Art. We see it in and around our cities, but how often do we stop and consider the artists and their hard work behind the pieces we see. In this issue we look at two examples of Public Art. The first one, an enormous landscape mural of Okanagan Lake painted onto the side of a building on Leon Street

by Graham T Chambers (see page 16). The second one is an exceptional sculpture of a heron fabricated by Doug Alcock. This heron can be seen standing on a branch in a pond at Brandt’s Creek Parkway (see page 20).

In both cases the artists talk about their interesting experiences in creating these outstanding pieces of work.

Different types of art using glass as its medium, are becoming more and more popular. Lisa Lutz, our cover artist, talks about how she fell in love with lampworking (see page 8). Cheryl McFadden again introduces us to the beauty of kiln-fused glass (see page 28). Both art forms require an exact science to create its beauty and both artists have successfully conquered this demanding learning curve.

When putting this August issue together, what came to mind were the fascinating conversations I have had with local artists. It is almost as if the magazine should be called ‘In Conversation With . . .’ because that is how it is evolving. The second thought immediately after that was how these conversations are forming a captivating record of artists operating in the Okanagan today. How, ten years from now, readers can return to old issues of ‘Okanagan Art Works’ and rediscover how art history was made in this region and who the artists were who created such beauty for us to treasure. I sincerely hope you recognize this value too.

Enjoy!

Liz

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CALL FOR ARTISTS OKANAGAN ART WORKS – DECEMBER 2010 COVER ART Did you know that a GIFT EDITION of OKANAGAN ART WORKS is scheduled as a printed hard copy in December 2010? This printed Gift Edition will combine all the monthly on-line issues of this year, plus the December feature articles, in one stunning, beautiful and vibrantly colourful presentation copy. This will be a wonderful record of local art to keep in your library, or give away as a gift to someone special.

We are looking for a special cover for the December 2010 gift edition.

Here is your chance to get onto the prestigious December 2010 cover!

There are a few simple rules to follow: 1. Any visual artist 18 years and older and residing in the Okanagan region, who has not been on the cover of OKANAGAN ART WORKS yet, is welcome to enter.

2. All visual arts genre can be entered: paintings, fiber art, ceramics, sculptures, jewellery, etc.

3. Your work will be judged by images. Submit top quality photos of your artwork, and clear closeup photos of any three dimensional art.

4. Images will be displayed on-line at www.okanaganartworks.com and judged by the viewers through Twitter and Facebook. Artwork will be shown anonymously to allow impartial judging.

5. Judging will be done on a points basis – the more points allocated to an artwork by the public, the better your chances of winning. Therefore, the sooner you enter, the better.

6. Deadline: Enter now. Judging will start on August 1st and be ongoing for three months.

7. Final judging: The winning entry will be announced on-line on November 15th and will appear on the December 2010 cover of Okanagan Art Works. A feature article on the winning artist will appear in the same issue.

8. A CDN$25 non-refundable fee is due for every two items submitted by an artist. You can submit as many entries as you want. Cheques are to be made payable to Okanagan Art Works.

Print out, complete and submit this page to enter:

DECEMBER 2010 COVER ART:

NAME: _________________________________ TELEPHONE: ____________________________ MAILING ADDRESS: _______________________________________________________________ CITY/TOWN: _____________________________ POSTAL CODE: __________________________ TYPE OF ART: ____________________________ NUMBER OF ARTWORK SUBMITTED: ________ TITLE OF ARTWORK: _______________________TILTE OF ARTWORK: ______________________ I HEREBY GIVE PERMISSION FOR AN IMAGE OF MY COMPETITION ARTWORK TO BE LISTED ON-LINE AS PART OF THE OKANAGAN ART WORKS - DECEMBER 2010 COVER ART COMPETITION. IMAGES RELEASE SIGNATURE: DATE: _________________ SEND YOUR COMPLETED ENTRIES, IMAGES AND SUBMISSION FEES TO: OKANAGAN ART WORKS – DECEMBER 2010 COVER ART COMPETITION P O BOX 20084, KELOWNA, BC, V1Y 9H2 ANY QUESTIONS?: CONTACT LIZ BY EMAIL INFO@S2SARTWORKS.COM, OR TEL.: 250.215 0929

OKANAGAN ART WORKS INDEX ON THE COVER 8 LISA LUTZ always finding time for art

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CALL FOR ARTISTS December 2010 Cover Competition

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GRAHAM T CHAMBERS helping to beautify Kelowna

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DOUG ALCOCK and his leap of faith

OKANAGAN ART WORKS INDEX

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JEWELLERY APPRAISALS and why it is so important

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CHERYL MCFADDEN taking glass to its limits

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JANEY VOLDEN remembering the people and adventures of Kenya

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WOON-HING MANNING finding luck in everything

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WENDY PENNER and her transformation to fine art

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ARTISTS’ NEWS

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Lisa Lutz always finding time for art Who does not love heating things up, then melting them down? Playing with fire can be most hypnotic, as Lisa Lutz can attest to, especially when it is used to create objects of delightful beauty.

Art was Lisa’s first choice as a career.

However, her parents were not convinced that she would make money in doing art. So instead, she became a medical laboratory technician. Not that this is so bad. Afterall, she has a great affinity with math and science as well.

Having worked at her day job now for 20 years, and raising seven children over almost the same time period, life has been very busy.

She has always played an active role in her children’s lives, and enjoys getting involved with their school events and projects.

Lisa also loves her job and is particularly

drawn to the analytical aspect it offers. Yet, she has always had a need for a creative outlet.

At first there was soap making. Then, when she needed to have jewellery repaired, she discovered beading, and signed up for classes to learn this craft. It was a great outlet for her creativity. She started wearing her own jewellery to work and her colleagues would say, “Is that for sale?” So she started selling to friends from work.

After a couple of years of doing that, she attended the Frazer Valley Bead Show. The rows and rows of beads were fascinating, but none more so than the lampworked beads.

Previous Page: ‘Something Blue’, a bouquet of flowers in glass! This delightful necklace features Lisa’s own handmade lampwork glass focal bead. Made with a black base and adorned with charming three dimensional floral surface design in blue tones, this pendant is one of a kind.

Details: Lampwork bead measures approximately 7/8 x 3/4 inch (20x18mm) on a 18 inch sterling silver rolo chain.

Below: ‘Charmed’, mix and match (or not!) Pandora- style individual lampwork glass beads in a variety of colours and designs.

Handmade by Lisa in her home studio, these beads are lined with a sterling silver core and are guaranteed to fit all popular European style add-a-bead charm bracelets. They have been properly kiln annealed for strength and durability.

Details: Sterling silver lined, size varies approximately 14mm x 8mm, hole size 5mm.

All artwork © Lisa Lutz.

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Intrigued by the art of lampworking, Lisa sat in on a demonstration in the lobby at the show. She must have sat there for two hours absorbing everything and there was no doubt, that was what she wanted to do.

At that time there was nowhere for her to learn this art in the Okanagan. Then, one day she found out about Pat Doyle teaching lampworking in Vernon, signed up and totally fell in love with the art. She bought a starter kit and took her first steps in becoming a lampwork artist.

“Lampworking became my love over all the other crafts I have done before,” she said.

“There is an amazing network of glass artists on-line and so many educational websites for self-directed learning. I learnt so much this way in the beginning, then went on to more

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advanced glass work. I bought a new torch, we renovated the garage into a working studio, added a ventilation fan, and I was set to go. I still make bead jewellery, but now, instead of spending tons of money buying supplies, I make my own beads. Nothing is purchased other than the raw material.

When I first started making jewellery, I was just assembling my designs. Now it is not a hobby anymore. It has become a business that I have to balance with my full-time job and raising a family. This can be hard sometimes.”

Lisa used to sell her jewellery to friends at work. In fact, there was a time when almost all the jewellery they wore, was made by Lisa.

Since exhausting that line, she has found other avenues of selling through craft markets and, on-line sales.

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Previous Page: ‘Day at The Beach’, warm sand and cool water, wading through tidal pools searching for treasures. This beautiful seashore bracelet features Lisa’s handmade lampwork glass beads. All metal components are .925 sterling silver. This bracelet will fit a 7 inch wrist comfortably and closes with a sterling silver toggle style clasp.

Above: ‘Tangerine Dream’, vibrant summer fresh tangerine orange, turquoise blue and white lampwork bracelet made with Lisa’s own handmade glass beads, sterling silver disk spacer beads and genuine tumbled turquoise nuggets.

Details: The lampwork beads are properly kiln annealed for strength and durability. Sizes vary slightly bead to bead.

8 Patterned lampwork beads 1/2 inch (12mm), 4 Orange lampwork rondelles 1/4 x 3/8 inch (6 x 9mm), 12 Turquoise nuggets 1/4 x 3/8 inch (6 x 9mm) Length: 8 1/2 inches will fit a 6 1/2 to 7 inch wrist. This bracelet has a hammered sterling silver toggle clasp closure.

All artwork © Lisa Lutz

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One of the popular lampwork items made by Lisa in the past, was her wine stoppers. These were sold through a gift shop at a local wine estate. This kept her very busy at the time.

Unfortunately the gift shop has since closed down and Lisa sees this as a blessing in disguise as that work load became too much.

Now Lisa sells through Etsy and finds this arrangement working very well. Her first few sales were to places as far afield as Tel Aviv, Switzerland and North Carolina. This was very exciting.

“I certainly learned a lot about Canada Post,” she remembers. “To think that someone in the outside world is using my beads, that is fun. My husband bought me a world map and now I put pins into places where I sell my beads.

I have customers in the UK, Australia, all of the United States, especially North and South Carolina, Montreal, Toronto and Vancouver.

Some are repeat customers too. You meet such interesting people this way.”

As with all handmade artwork, every bead made by Lisa is unique. There may be many different styles, like an organic-looking raku style, a vintage style, rose buds, or perhaps Previous Page: ‘Spring Fling’, a fun and whimsical bracelet, designed with Lisa’s handmade lampwork beads in black, white, mauve, violet and lime green glass. Each bead is unique with either polka dots and stripes, florals and swirls.

Details: 8 1/2 inches - fits a 6 1/2 to 7 inch wrist Sterling silver toggle style clasp. All metal components are .925 sterling silver.

Right: ‘What a Hoot’, One of Lisa’s handmade lampwork glass focal beads. Dark purple glass base with raised glass surface decoration, owl in a pine tree.

Handcrafted and properly annealed in a kiln for strength and durability.

Details: 7/8 x 1/4 inch (20 x 8mm). Hole size - made on a 1/16 inch (1.5mm) mandrel. Hole runs vertical.

All artwork © Lisa Lutz

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a misty look. Each style has its own fabricating challenges. However, this is not where the difficulty lies.

“What is the most challenging to do is to recreate the same bead more than once,” Lisa says. “Sometimes, when you want a set of beads, let’s say 5 or 15 matching beads for a necklace, making that is not easy. They will not all be exactly the same size, for instance. I don’t enjoy that as much as making focal beads with fancy metal work. I have started making buttons though, and small vessels with a stopper for aromatherapy oils or perfume. I don’t make the wine stoppers anymore, they are too time consuming and too expensive to make.

“I really enjoy what I do. I think part of why it appeals so much to me is the science and technology of it all. There is the science of how the different types of glass react to heat. Silver glass for instance needs more control than other glass types. Some glass contain more copper again, and you can use this to your advantage. You have to understand the

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chemical make-up of the glass and the intricacies this requires when making the beads.

Detail and patience are needed when working in microbiology. The same is required when lampworking. It can take 45 minutes to make one bead, for instance. I am also very picky with quality control. When there are any air bubbles, or the bead is slightly lopsided, or have rough edges, I discard it. It is the same in microbiology. You have to examine everything up close and look for the little details.

“Before, when the bead was not perfect in my mind, I would not sell it. Now I sell them at a reduced price at the market. When you think of it, before I made my own beads I bought what was called first quality from a supply chain store in town. I thought those

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beads were amazing. Now I can see the difference. They must be all mass produced.

“I tend to make what I like and because I like to experiment with different and new techniques, I often work outside my comfort zone. Raku glass for beads is one such difficult challenge that I still have to manage. You can get the most amazing colours with this material, but so far mine look mostly like mud.

Lampworking is an art form that is always evolving and this makes it so interesting. For centuries the techniques were closely guarded.

Today however, information is freely available.”

For a busy person like Lisa, time management is essential. When you have a creative mind, you will find a way to be creative with your time.

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Lisa Luts can be contacted by email at lisalutz@shaw.ca.

More images of her work can be viewed at www.beadcrazed.com All images in this article supplied by Lisa Lutz.

Previous page: ‘Copper Rain’, vintage styled double strand necklace made with my own handmade lampwork beads, copper beads, findings and chain, and genuine Swarovski crystals. Finished with a toggle style clasp.

Details: Necklace measures 18 inches long Components Include: 5 Lentil shaped (round, flat) lampwork beads in graduated sizes (1 x 7/8") (2 x 3/4") and (2 x 5/8"), 4 Smaller round lampwork beads 3/8", 10 Swarovski bicone crystals 1/4", 2 large copper beads 1/2" Assorted copper bead caps and spacer beads Below: The artist Lisa Lutz in her studio.

All artworks © Lisa Lutz

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Graham T Chambers helping to beautify downtown Kelowna When there is a public area in a city that tends to attract the negative, shows no beauty, no greenery, no life, it stands to reason that no-one enjoys going there. A section of Leon Street in Kelowna, between Ellis and Pondosy used to be such an area. Graham T Chambers heard about the idea of using art to ‘heal’ this part of town, and offered his own suggestions.

“I was invited to a meeting on Leon Street,” Graham remembers. “It was cold and we were all huddled into this alley.

Suzanne Anderton wanted to beautify this area one block at a time and various ideas were offered. I suggested a landscape mural and this was recommended to the Parks Department.

They liked the idea and put out a call to mural artists.

Fortunately my bid was accepted. A photo of Giant’s Head Mountain at Summerland I had taken from across the lake at Naramato, was my inspiration.

The mural called ‘Okanagan Blessing’ by Graham T Chambers, 2009.

Location: On the side of the COIES building on Leon Street, Kelowna, (between Ellis and Pandosy cross-streets).

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Graham recalls his summer of working on the mural on Leon Street.

“The whole downtown area was a mystery to me as it was always thought of as a negative area. People used to use the alley where I had to paint to urinate in. The Drop-In center was just across the road. This offered a restaurant, clothes, showers, and bathroom facilities for the homeless. They would meet all their buddies there.

“Yet, every day I worked on Leon Street, I became more and more part of the landscape.

I would arrive in the morning, wash down the urine, then carry on working. Eventually the peeing stopped.

“I would take chairs to work with me, and put them out where I painted. I played my music and eventually many of regular people became part of my day. They often told me their stories. For instance, the one guy was from Bella Coola and wanted to get back there but did not know how. Then there were the Japanese students learning English upstairs in the next building. There were the people having their alcoholics anonymous meetings, or the drug addicts, they would come every morning and repeat their stories over and over.

Sometimes their stories were not the same as the day before. There were the Arab ladies, and people who worked in the area. Lunch time they would come out, sit on my chairs and smoke. There was an infinite variety of people and every possible scenario that summer. I even found out which restrooms in public buildings some men use for morning shaves.

“Then one day this business man came walking across the road. He said he had been watching me from his office window and at first could not figure out what I was doing. Slowly

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he saw how everything was falling into place.

Then, a while later he looked out through his office window again and saw that I was painting his grandparents farm. He just wanted to come over and tell me that.

“I guess I just avoided the area before.

To me it was a dark, ugly area but I was really impressed how pleasant an experience it was.

People would walk by and yell out “way to go”, or sometimes call out ideas of what to put into the painting, like adding a teepee. I added only one thing though that someone suggested. A man who lead the AA group had a sailboat called Faith and that was the only thing I added from all those suggestions.

“At the bottom of the mural I added quail, right below where the kids would find them. There is also a family of eagles waiting for their dad who is flying in from the other corner.

“The image evolved with time. I used a panorama to cover the wall and did a grid on

Below: Work in progress on mural ‘Okanagan Blessing’,

by Graham T Chambers.

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the picture to help with transferring the image.

This I superimposed onto an image of the wall.

Fortunately the bricks on the wall are visible as this helped to put the lay out onto the wall. But first, I painted the whole wall baby pink. This really scared the community . . . Then I started painting over the pink. It looks really great when the background colour shows through in places.

“To paint large scale is not complicated, rather it is quite simple. It is physically painful though. It hurts your legs and feet and hands, and the weather can be very hot and inconvenient. Painting a mural can be tedious too as there is so much repetition in a giant way. Don Ming Li, a local successful portrait artists, says “Doing a painting is a war and the client only sees victory in the end”. To me doing a mural is a Big war, I thought.

“I was an interior designer most of my life. When I started out wanting to be an artist, I broke out in ways I would never have dreamed, ways of painting, music, singing, gardening, sculpture. My goal is to leave a legacy in God’s amazing world with the gifts he has given us.”

Thanks to Graham, one such gift is now permanently on display on Leon Street.

Graham T Chambers can be contacted by email at graham@grahamtchambers.com and through his website at www.grahamtchambers.com All images supplied by Graham T Chambers Above: The artists, Graham T Chambers at the Opening Day of the Leon Street mural.

Below: Another mural done by Graham T Chambers at Brookhaven. This is a circular court yard for alzheimer patients who want to walk. He painted a mural of a meadow with receding colour of blues and greens.

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Doug Alcock and his leap of faith Many people who create art, start at an early age. The first time Doug Alcock struck a piece of iron into fire, he knew it would be part of his life. He was eight years old.

Doug’s father often used to take the family through the Kootenays to show them the history of the country. The old ghost towns were particularly fascinating. This is where Doug developed his own interest in history. As blacksmithing played a large role in history, it also became an important part of Doug’s life.

“I am a self taught artist,” he says. “I attended several conferences and blacksmithing symposiums, and even though this kind of knowledge stays amongst metalsmiths, I learnt a lot. What I learnt the most is that working with steel, is like working in plasticine. It is a constant push and pull, an add and subtract. It is a continuing journey from one process to another. The really great thing about blacksmithing is that if you can imagine it, you can make it.

The heron at the Rotary Marsh Restoration project on Sunset Drive in Kelowna is one such piece of imagination (see image on left).

The heron series was initiated by Canada Lands Company. As the heron is specific to that area, they requested that the sculpture be installed in a pond at the reclaimed wetland to commemorate their hugely successful project on Sunset Drive. Therefore the sculpture had to be able to withstand the elements of weather and the pace of time.

The heron is 4’ tall, and is made from forged and fabricated steel. Over time it has

developed a natural patina and even though it looks like it is rusting away, the rust will slow down.

“It took about two months to create this heron,” Doug says, “and it was my first representational piece. The heron was created in pieces and assembled. For instance, the feathers were made individually and welded into a skeletal type structure. Then the legs were welded to the structure. Everything was textured. The heron is standing on a branch in the water and I had to make the branch as well.

“What you cannot see is that below the water is a concrete plinth supporting all of this.

When everything was finished and ready to be installed, I had to weld the heron into its position in the water. It is about four or five feet deep in that spot so I had to set up scaffolding to secure everything. But before anything could be installed, I also had to have an environmental technician on site to make sure the wetlands project stays intact.

“This was all fun, but a challenging piece. In fact, it probably posed more challenges than anything else I had done up to that time.”

Left: ‘Leap of Faith’, 4’ tall, forged and fabricated steel sculpture by Doug Alcock.

Location: Brandt’s Creek Walkway, east of Sunset Drive, Kelowna.

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The second representational piece Doug Alcock was requested to do, was the hummingbird at Guisachan Heritage Park “Dr Anderson established the Okanagan Historical Society. He was one of those old-fashioned doctors who made the rounds and he was the doctor who delivered me. He was also the doctor who saved my brother from meningitis. My mom thought the world of him. He saved Guisachan Heritage Park from demolition and his daughter wanted a hummingbird garden in the park with a hummingbird in it.

“This was another big challenge, pulling the image of a delicate hummingbird from steel and bringing the piece of steel to life. I had to think of an image that would engage the viewer, yet have the structure to support it.

“I finally decided to use the beak as the support for the bird and then scaled everything else off the head.

“I had to make special tools to build the feathers, and each one is done individually as a blank to get the look I required, before being textured.

“To finish it off I added a sculptural element of woven twine and leaves around it.”

Left: The Hummingbird, forged and fabricated steel sculpture by Doug Alcock.

Location: Guisachan Heritage Park, SE corner of the Cameron Garden, 1060 Cameron Avenue, Kelowna.

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Above: A section of the new art gallery being built on Doug Alcock’s property. The beautiful wooden beams and arched window are from recycled material. The wall sconces are fabricated by Doug Alcock.

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Public art is not the only sculptures Doug Alcock is known for. He is a full time artist and is kept very busy providing his neighbor, Predator Ridge Golf Course and its property owners with his artwork.

“We lost a beautiful piece of land and privacy with that development, but my art sales soared. Whenever they want to sell a unit and put a show home together, they use some of my art for decorations. I do architectural details and metal work, wine cellar gates, steel mantel pieces, glass shelf units, brackets, and window grills. The new unit owner gets the option to buy the metal artwork on display, or buy additional sculptural pieces like the hawk and its prey (see image on next page). I have a good relationship with my neighbor and definitely got over losing our privacy once I realized the volume of work I was going to get.”

Where to from here?

“I am experimenting with a combination of glass and steel sculptures with another artist. I want to explore the play of light and shadow you get from these two elements.

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“I also feel I only have so many pieces of art within me. I am slowing down a bit. My work is getting smaller in scale and I started to change the process by looking at different materials. I want to try working with nonferrous material like copper and brass, or use discarded material, like silver plates people don’t want to polish anymore. This poses new challenges like using silver solder instead of forging . What this all means is that my work will become lighter and quieter.

“I still fall asleep at night thinking of what I am going to do the next day though.

There is not a lot of separation between my every day life and my work. One flows into the other.

“Nowadays I also think more and more about the environment. My process has not been very environmentally friendly, so I try and give back as much as I can. I plant 300 trees a year and we grow our own vegetables. We heat our house with wood, we compost our horse manure, and we grow organic food. We work hard to live the change we want to see.”

Doug Alcock can be contacted by email at alcockdj@telus.net More images of his work can be viewed on his website: http://alcockart.com

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You could lose a ring while swimming.

You could lose it while washing the dog. It could disappear mysteriously, or perhaps get damaged beyond repair.

Whatever the reason, it is always heart breaking to lose something beautiful.

If this ring is properly insured, you stand a very good chance of getting it replaced with something just like it, or close to it at least.

Remember though, your insurance policy will not cover your jewellery unless the items were appraised by a qualified gemologist, the jewellery clearly described and photographed on the appraisal document, and the weights of the diamonds or gemstones clearly listed. The documents should be dated as well to give the insurance company an indication of how recent the item was appraised. The values of precious metal, and the currency exchange rate fluctuate constantly which in turn influence the value of your jewellery.

The most important fact about jewellery appraising is to find an independent jewellery appraiser who is not affiliated to any jewellery store. Such an appraiser is not personally involved in the buying or selling of the item of jewellery to be appraised and will therefore give you an impartial appraisal from a third party’s point of view.

Liz Burnett, G.G., RMV, is a graduate gemologist and experienced jewellery appraiser in Kelowna. Liz specializes in the grading and appraising of diamonds, gemstones and jewellery.

For a private appointment, please call tel.: 250.215 0929.

_____________________________________________________________________________________________________________________

WHY IS IT SO IMPORTANT TO HAVE YOUR JEWELLERY APPRAISED?

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Cheryl McFadden taking glass to its limits What started out as a decorative idea for a Christmas tree, inadvertently sent Cheryl McFadden on a journey of discovering the unlimited potential of fused glass. Now, so many years later, she is still on the same road, continuing to learn, create and decorate with glass. ” Because of its amorphous molecular configuration, glass reacts to heat differently than do other materials. Whereas metals heated to a specific temperature (a melting point) change from solid to liquid instantaneously, glass goes through a very gradual transformation—from a material that behaves like a solid to a material that behaves like a liquid. It is this unique characteristic of glass that allows it to be blown or to be worked in the myriad ways we call kilnforming.”

Bullseye Glass Co. Fusing glass is fascinating, but of all the art genres out there, glass probably requires the

most product knowledge from its user.

One of the most important points to be aware of when fusing glass, is that all the glass being used in a design must have the same coefficient of expansion. The rate at which glass expands and contracts differs from one type of glass to the next. When these rates differ, the glass would crack under cooling. This cracking could happen right away, or it could even happen up to a year later. To avoid this problem, always make sure all your glass comes from the same manufacturer where it has been tested for compatibility.

Left: ‘Jewel’ Vase - tan, bronze and khaki vase with textured iridescent glass. Approx. 20” x 14”.

Below: ‘Glassplosion’ Plate – multi-coloured, iridescent shards layered upon gold mica powders. Approx. 14” x 20” All Artwork © Cheryl McFadden

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In addition, different colours react to heat differently. Plus, the temperature at which glass melt and fuse has nothing to do with its rate of expansion and retraction. Heating up the glass must happen slowly to avoid thermal shock. Slight fluctuations in temperature plays an enormous role as well. 5 - 10° hotter or cooler could change the outcome of how the glass would react and this would affect the appearance of the piece.

No doubt about it, fusing glass is an exact science and you truly have to understand your medium to be successful in this art form.

Cheryl McFadden knows her product.

“I have been glass fusing for 18 years, and still find it exhilarating to experiment with designs, colours and textures. Much of the glass I use has “dichroic” or “iridescent” coatings that create beautiful light-transmitting colours within the glass when viewed under different lighting conditions.

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“Planning is important. Before I do a piece, I have to know what I want to create to plan how to create it. Past experience helps a lot and always keeping notes of every piece I make has become a great reference guide.

From my notes I can see what happened when and under what temperatures, especially if I want to repeat a design.”

To start the fusing process, all the layers to be used for creating the design must first be washed. Every layer must be dust free and fingerprint free as this will show clearly if not removed. The different layers are then fused together into one solid flat panel. The entire design may be fused two or three times to get the desired look. When everything has been fused together, the panel has to be slumped if a curved shape is wanted. Slumping requires the panel to be balanced on top of a mold and heated inside the kiln at a lower temperature than the fusing temperature. Slumping will not change or move any of the layers. Once the design has become a solid panel, it stays that way.

“There is always something new to try,” Cheryl says, “like a new shape or different temperature. If I repeat a vase shape, for instance, just a change in the temperature will give a new outcome. Some of my artwork, like the handkerchief vase, has to stay in the kiln till it has cooled to 150°F. This takes a long time, but it is always fun to see what it will look like when it comes out. I am at the mercy of these vases though. They do what they want to do in the kiln. They may stretch all the way down, or not, but that is part of the excitement.”

Left: ‘Tranquility’ Table – Asian inspired table hosts the tranquility symbol suspended as if floating above the embossed lotus flower below. Approx. 22” in diameter.

Artwork © Cheryl McFadden

Top Left: ‘Constellation’ – Owl panel done in multiple layers of fused glass, using a variety of iridescent and dichroic glass which comes alive depending on the lighting conditions and the viewers’ angle. Approx. 3’ x 5’.

Top Right: ‘Okanagan Pictograph Pendant Lights’ – pendants approx. 10” x 14” each.

Bottom Left: ‘Okanagan Pictograph Chandelier’ – Okanagan pictographs suspended upon 2 layers of fused glass with gold and bronze mica powders fused between the layers.

Bottom Right: ‘Vision’ Bowl – The inspiration for this piece came from Okanagan pictographs, used by Okanagan First Nations people for story telling and/or remembering dreams and visions Approx. 20” in diameter. This piece was donated to Okanagan Symphony Midusmmer Gala Event.

All Artwork © Cheryl McFadden.

Some of the creations made by Cheryl include free standing sculptures, bowls, plates and vases. She also creates larger architectural fused glass, including large wall murals, room dividers, kitchen backsplashes, cabinet doors and windows.

Many of the pieces Cheryl creates often include metal components such as copper, silver, palladium, gold or mica inclusions. By adding mica powders between layers, either through dusting or airbrush it on, a thin appearance of gold dust is created. This enhances the overall design in a soft and subtle way.

“When I first discovered how to fuse glass, it was difficult to find information on how to do this successfully,” Cheryl remembers. “People have been fusing glass for 1000’s of years, it is not a new art, but hardly anyone wanted to share the information. Even today not many people do this in Canada. In the US glass art is more advanced and information is more readily available. In my case, I just bought my own kiln and through trial and error taught myself.”

Creating art is a never-ending journey and this journey is part of the fun of enjoying it while you are at it.

Cheryl McFadden can be contacted by email at cheryl@artcglass.com More images of artwork can be viewed on her website at www.artcglass.com All images in this articles supplied by Cheryl Mcfadden.

Previous Page: ‘Unfurl’ – Site-specific sculpture for architecturally designed private home. Collaboration. Three irregular shaped fused glass ‘sails’ suspended by cables. Various sizes ranging from 2’ x 3’ to 3’ x 4’.

Design, concept and metal treatment by Renita Kraubner. Stainless steel fabrication and installation by Jeff Baubin.

Right: ’Private Commission Detail’ – three panels approx. 28” x 60” each.

Installed as interior windows.

All Artwork © Cheryl McFadden

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Janey Volden remembering the people and adventures of Kenya Love is universal. We all know that. It is when the love story becomes multi-cultural, interweaves a First World lifestyle with one from the Third World, and stretches from Canada all the way to Kenya, that is when it becomes truly captivating. Add the innocence of teenagers and the dire straits of water shortage, and you have a great story. Author Janey Volden from Okanagan Falls, takes us on a spellbinding trip in “Gabbra’s Song”.

Set in the nomadic North East of Kenya and the bustling city of Vancouver, Canada, in “Gabbra’s Song” two teenage girls share their experiences in two enormously diverse cultures.

Riley Forbes is the main character in the book. She travels with her father to North East Kenya where he promptly leaves her with

friends in a Borana village while he continues on his journey for another two weeks.

Fortunately Riley’s best friend Gabbra, is the daughter of the village chief. To cope with living in the African village, Gabbra teaches Riley the ways of a Borana tribeswoman. Riley has to eat strange food, wear odd clothes, and sleep on the ground. At first these challenges are tough to cope with for the spoilt young Canadian girl, but she manages quickly.

For Riley, part of the appeal of living in the Borana village is a young man called Nagya, Gabbra’s brother and the chief’s son. Nagya is a strong, handsome warrior and a bittersweet relationship develops between the two of them.

Will this relationship succeed? Will their cultural differences drive them apart?

As the story unfolds, we discover the nomadic lifestyle of the Borana, their strong family values, and the constant threat of invasion they are exposed to. In that part of Africa camels and the access to fresh water are major essentials for any village to survive.

These are also the reasons the Somali bandits, called the Shifta, raid the villages. It so happens

that Gabbra’s village gets attacked while Riley was staying there.

“It’s Nagya, warning us the bandits are approaching the manyatta. Now let’s go,” she urged.

Following Gabbra quietly out of the hut, I saw spears glinting in the moonlight as one by one the Borana warriors, together with several older tribesmen, jogged swiftly to join Nagya on the hill.

Always seeming to be in control, Gabbra led the sleepy children, mothers with babies on their backs and the elderly men and women quietly to a big pile of dry thorn bushes. She wound a large cloth around her hand and, pulling the thorns to one side, took her people down a narrow tunnel into a twelve-foot-square area.

Feeling frightened and uneasy in this depressing pit, I stumbled blindly, moving my hands along the side of a damp, dirt wall until I found an empty spot and sat down. It was humid and claustrophobic down there, with an odour of musty old potatoes. The smell of rancid milk and pungent body sweat was disgusting.

In the darkness, I heard mothers crooning softly to their whimpering children and the unmistakable sound of babies suckling.

What makes “Gabbra’s Song” such a believable story to read, is the fact that Janey Volden grew up in Kenya. Many of her experiences of living in Africa and going on fascinating safaris, are woven into this book.

Her trip to Kenya’s remote Northern Frontier District, where she met several people of the nomadic Borano tribe, formed the basis of this book.

It was during these trips that the author became aware of the constant drought crisis experienced by the people of Kenya’s north.

Many of the tribes rely on underground wells for their source of water. The fresh water wells are far apart and once a week trains of camels are lead far into the desert to fill up their gourds with fresh water to take back to the villages. Very little has changed since those days.

In the book Riley Forbes, and her friends Gabbra and Nagya, return to Canada.

Once back in Vancouver, Riley decides to create awareness of the dire water shortage in Kenya with fundraising and public speaking. In this way, the author cleverly introduces the plight of the nomadic people in Kenya to her readers.

In addition, Janey Volden also donates a percentage of her book sales to the Ryan’s Well Foundation. This is a Canadian organization that builds or restores wells to provide clean water to communities in developing countries.

See www.ryanswell.ca for more information.

“Gabbra’s Song” is a wonderful story of adventure, cultural diversity, passion and survival. The book is also a huge success with readers from as young as 8 years old to as old as 95. “Gabbra’s Song” is self-published by the author. The first 1000 copies are already sold out with another batch ready to go.

Signed copies of “Gabbra’s Song” can be ordered directly from Janey Volden at janeyvolden@shaw.ca For more information, visit the website www.janeyvolden.com

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Woon-Hing Manning finding luck in everything As an immigrant it takes a long time to find home. This is a struggle that can stay with a person for many years. You cannot go back to your place of birth because your stay in another country has changed you too much. You cannot settle in your new country, because your own ways are too different. Looking for what can be called ‘home’ can be a heartbreaking experience. For Woon-Hing Manning it was the same, until she discovered in a bittersweet way what made all the difference.

Woon-Hing first arrived in Canada as an international art student in 1993. After years and years of working towards her art qualification, Woon-Hing finally finished her studies earlier this year. In fact, it took seventeen years for her to graduate, but when she did, she did well and was even awarded ‘The Most Outstanding Student for 2010’.

All this time Woon-Hing has been searching for the perfect home, somewhere warm and peaceful. This yearning is a strong influence in her art, as seen in the silkscreen printing called ‘No Home is Perfect’, (see image on left). In this piece, images of Hong Kong were dropped into the Chinese character for ‘home’. This character was then superimposed onto a floor plan of a Canadian home.

Cultural differences are another strong influence in Woon-Hing’s art, as seen in her artwork called ‘My Life’ (see below).

Representing her Past, Present and Future, this is a silkscreen mixed-media artwork where memories of her Past is reflected in words printed in gold, the gold representing the golden past, or the old times. Words reflecting the Present time are printed in black on white, representing a period of documents. The Future again is reflected in silver, the unknown, and according to the artist, somehow reminiscent of Star Wars. The Future is also shaded by a thin gauze from which a mask of Woon-Hing’s face is breaking through. This is her attempt at breaking the barriers in her life, such as language for instance.

Left: ‘No Home is Prefect’, the Chinese character for ‘home’ is superimposed onto a floor plan, depicting the desire to find the perfect home in her adopted country. All Artwork © Woon-Hing Manning Below: ‘My Life’, 36” x 72”, showing the three stages of the artist’s life Past, Present and Future.

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Even though she is Chinese, Woon-Hing was raised in Vietnam. She immigrated to Canada and shortly thereafter her parents followed.

For an immigrant family you have the ‘inside’ home filled with your own cultural comforts, and the ‘outside’ home showing your adaptation to your new life. They were surprised to find how warm and friendly everyone was when they first arrived, but it was not until 2007 when they returned from a trip back to Hong Kong, that they could say they were happy here in Canada.

Memories from this past continues to show up in her art. Take ‘Mondrian visits Chinese Opera’, (see image below). In this acrylic painting Woon-Hing experimented with using colour accents on the same colour backgrounds. Yellow beadwork was added to a yellow background, red on red, white on white and blue on blue. Each colour representing a type of person.

Below: ‘Mondrian visits Chinese Opera’, 36” x 36”.

Artwork © Woon-Hing Manning

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Having taken so many years to overcome delays and interruptions with her studies, it was a joyful gift to finally graduate this year.

There was one concern though that shadowed all this joy. For a while Woon-Hing had noticed an unusual cramp under her diaphragm that just would not go away. Eventually she saw her doctor and after weeks of medical tests, he diagnosed the symptoms – a rare case of cholangiocarcinomas. This is better known as bile duct cancer, an illness where bile is drained from the liver into the small intestines.

This diagnosis came on the day of her graduation. Woon-Hing could not spend too much time thinking about all of that, she had her celebration to go to. After all, she had waited 17 years for this day to arrive, she was not going to miss it for anything.

After the graduation, reality sunk in.

Bile duct cancer is incurable. With treatment Woon-Hing has been given about two years to live. Without treatment it is a mere six to eight months. Yet, Woon-Hing remains practical about everything. What treatments are available, how best she can fight this illness, and how to provide for her family, are her main concerns. Giving up has never been, and will never be part of this scenario. If the treatment does not work, it most certainly will not be because Woon-Hing has given up, but rather because technology sucks. This is her approach.

How did all of this happen? That question remains partially unanswered.

Medically it is felt that polluted water contaminated with a certain type of liver fluke, could be the cause of bile duct cancer. Such contamination can

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stay in the system for many years. People who once lived in certain parts of Japan, Korea and Vietnam, are more prone to this illness than others. Woon-Hing lived in Vietnam as a young child. Could this be why?

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“Because of my cancer, I cannot work anymore. Now, finally, I can be a full time artist. I want my art to make people happy and I have so many ideas already I want to pursue.

Whatever the reason, reality cannot be changed, but what can be changed is how to deal with the best and worst scenarios.

“I have not lost my hair with my chemo treatment yet. It looks like I will have hair till the day I die. See, I am still luckier than a whole lot of people.”

Her 85 year-old father who cannot speak English very well, had to find a guardian.

Most of all, Woon-Hing has found what she has been searching for all her life.

Woon-Hing did not want her 14 yearold daughter to have the responsibility of taking care of her grandfather. So a guardian had to be found for her as well.

“My whole life I have spent looking for the perfect home,” she says. “With this cancer I have come to realize that what you need to build a perfect home in a city, are friends around you. I have so many friends here and their support has been so great. I know now my perfect home is right here.”

Documents, passports, life insurance, mortgage, all kinds of paperwork had to be sorted out. Even though 75% of her cancer treatment is covered, she still has to find funding for the other 25%. Yet, with so much to do and not much of a future ahead, Woon-Hing considers herself a very lucky person.

“I am so much luckier than most people,” she says. “I can plan for the people I love and will leave behind.

“I have friends who offered to take care of both my father and my daughter and my daughter has accepted this idea. I met them three years ago when they moved here from Calgary. They speak Chinese, a different dialect, but still, I am lucky to know them.

“I left Vietnam when I was seven yearsold. I am forty seven now. I have been given forty extra years. Now that is being lucky.

“I am lucky that I took out my life insurance four years ago.

How lucky she is to have discovered that.

Woon-Hing Manning can be contacted by email at woon-hing@hotmail.com

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Wendy Penner and her transformation to fine art There was never any question what Wendy Penner would do for a living, only where she would go for her secondary education. Art is who and what she is, and this is how she remembers the story of her transformation from commercial art to fine art.

“I choose commercial art in an attempt to combine what I loved with making money.

The business world needs advertising thus there must be lots of work out there and I needed to make a living.

“I studied both technical and interpretive Illustration at Sheridan College of Applied Arts and Technology and graduated in 1975 in Illustration. I chose the institution wisely as the facility was terrific. So were the instructors who, with their dedication to teaching the foundations of art first and foremost, provided me with the skills I needed to succeed. I am grateful for this choice daily.

“In 1981 I went unannounced to the Vancouver Sun and Province Promotion Department to seek an interview. Upon reviewing my portfolio, the manager, Al McLelland hired me. I started the next day.

“My first job was to Illustrate their new Edith Adam's Cottage Cook Book. This led to 13 wonderful years of commercial art, a great salary, and another cookbook. From Monday to Wednesday the Edith Adam's test Left: ‘Red-tail’, 18” x 24”, oil. This painting was inspired by Harvey Kaquitt’s fabulous headdress when I attended Tribal Days of the T"suu T'ina Nation in June 2009.

Right: ‘Kylie's Harvest’, 8” x 6”, oil.

All artwork © Wendy Penner.

kitchens required testers prior to publishing the recipes in the Food section. I gained 15 pounds eating the likes of Coquille St. Jacques for free, illustrated everything from kitchen gadgets to shrimp, and published everything from posters to coasters.

“Life was hectic and I felt I was not raising my own children; two wonderful boys who were in daycare from 8 am to 6 pm five days per week. So, we decided to move to the Okanagan in 1993 where I opened my own graphic design business. This flourished for ten years. My husband's work took him away from home from three weeks to three months at a time. This left me often on my own with two busy children, working from 9 am to 9pm. It was burning me out.

“In 2008, after 30 years in the commercial art industry, it was time to satisfy my lifelong desire to paint. With some life

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on the design details and I painted three trompe l'oeil windows to help complete the ambiance he desired.

changing events, the blessing and patience of my husband, a solid foundation in drawing and computer skills, and with cyber world's blog movement in full swing; I started a daily painting blog. This challenge of daily painting was great for learning to paint with oils, and yet the small sizes were not daunting for me. I painted mostly from life; plein air and still life, all under 8” x 10” and each completed in 1 to 2 hours. I enjoyed this immensely. Although I do not post daily now, I still keep it up with whatever art endeavours I am pursuing.

“Preparing for this first show was when I came across 9 year old McKenzie when visiting my friend's ranch in Cache Creek. Seeing her on her horse Rambler, I was inspired and compelled to try to capture the feeling of pure joy in her telling eyes (see image on the right).

Not only did this launch me into a western theme for the show, it is a subject area which I continue to enjoy today.

“Enjoying the results of my daily painting, I committed to a solo show in October 2009 in the grooviest coffee shop in Vernon, The Bean Scene Coffee House. This is a familiar venue as I have a bit of history there, being a self-confessed coffee addict and having worked commercially for Phil Lambert the owner. I had produced illustrated travel mugs for the shop, and a printed history of coffee, complete with hand tea-died paper. Also when Phil transformed the back deck into a delightful Mediterranean patio, we collaborated

“Farming and horses are very much a part of my background and the First Nation's history, culture and symbolism are a never ending source of inspiration for my paintings. I produce my very best work to date in a very short time and on a very short deadline. This comes from having more than just a little experience with the stress of deadlines from my commercial background.

“In December 2009 I discovered Livessence, a drawing group operating out of

Left: ‘Linda’, 18” x 22”, oil.

Once a month Livessence has a drawing session dedicated to a sustained pose. This is when I screw up the courage to bring my paint box. Our model held this elegant pose for three 20 minute periods, just enough time to capture the essence of her beauty.

Right: ‘Mackenzie and Rambler’, 42” x 60”, oil.

When doing this painting, I was gripped, inspired and compelled to try to capture the feeling of pure joy in Mackenzie's telling eyes.

Next Page Left: ‘Shae and LittleJoe’, 24” x 36”, oil on linen.

Next Page Right: ‘Wynne's Gift’, 7.25” x 9.75”, oil.

All Artwork © Wendy Penner

the Rotary Centre for the Arts. The amazing

painter must learn to draw before they paint.

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the Rotary Centre for the Arts. The amazing inventory of great models was pure joy for me to discover as my favourite genre is life drawing. These weekly drawing sessions built my confidence back up enough to bring in my paint box and paint from life which yielded great results and was/is such fun. Drawing is such an important part of painting; just as a child must learn to walk before they run, a painter must learn to draw before they paint.

“I choose oils as they offer so much latitude, I can flounder around until I get it right! I love the rich colours and the depth one can achieve because of the inherent qualities of this medium. I use a traditional method, and very much enjoy an alla prima approach. I am a huge fan of Impressionism. In my work I strive for a fresh loose stroke and to capture movement and light as spontaneously and naturally as possible.

“I was thrilled to gain FCA Active Status in November 2009, joined a local chapter, and in 2010 upon first try, successfully entered an FCA show.

“As an illustrator I have used many mediums, whatever was required for the job.

My experience with oils began in Italy in July 2007 where I did my first daily paintings en plein air.

“My next step was, and is, to get a better understanding of the business of fine art.

Although my background is marketing, I did that for my clients, not myself. Now however, I am both the product and the marketer. Just about everything is a distraction from painting, but learning this foreign territory of Fine Art marketing is a job in and of itself.

“My father, an extraordinarily intelligent and successful Engineer once said when observing my work very early on in my career "it is so wonderful that you love what you do". I was surprised to learn that although exceptional in his field in every way, he said "I hate math".

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“From that point on I have never taken my talent for granted and feel fortunate for just exactly what he pointed out. “

Contact information for Wendy Hart Penner E-mail: wmpenner@shaw.ca Blog: http://www.thepainteddiary.com Gallery: http://www.wendyhartpenner.com Art Rocks: http://www.customdesignandtile.com All images supplied by Wendy Penner Left: ‘Brothers’, 30” x 16”, oil. When I was working on this piece it seemed a prophetic statement “brothers - a work in progress” so the title stuck, a combination of my greatest achievements ... my son’s, my art.

Right: ‘Self Portrait’, 6” x 8”, oil.

Below: ‘Garlic”, 10” x 11”, watercolour.

All artwork © Wendy Penner.

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Local Artists’ News

UPCOMING EXHIBITIONS AND ART EVENTS

The Artists of the South Okanagan-Similkameen present “Passion for Painting” at the Tinhorn Creek Winery, #7 Road, just off Hwy 97, south of Oliver, BC. Date: August 28 to September 11th. Open daily from 10:00am to 6:00pm.

The Barbara Harder-Lutz Fundraiser. Join this music, art, silent auction, raffle and bake sale fundraiser to help this artist and pastry chef raise her immigration fees. 348 Lakewood Road, Vernon.

Date: August 22. Time: 3pm. Tel.:250.306 9430.

ArtWalk 2010, Lake Country Community Complex, 10241 Bottomwood Lake Rd, Lake Country, BC. Lake Country ArtWalk showcases original works of art and live performances created by visual and performing artists living in the Okanagan Valley. Date: Saturday & Sunday, September 11 & 12.

Time: 10am-5pm.

Out of Africa, Solo Exhibition by Arlene Howe, New Moon Gallery, 2565 Main Street, Paynters Market, West Kelowna. Tel.: 250.768 6618. Date: September 11 – 18. Reception: September 11, 6:00pm to 9:00pm.

Little Straw Vineyards, 2815 Ourtoland Road, West Kelowna is continuing their series of 10 twoweek art shows featuring a host of local artists throughout the summer till the end of October. Each show will have an opening reception on a Saturday afternoon from 3:30 until 6:00 with the artists in attendance.

THE NARAMATA ARTS STUDIO: Lang Vineyards, Gammon Road, Naramata - from now till early August 2010. The Naramata Arts Studio is currently hanging their original artworks in the tasting room at Lang Vineyards. Call for open hours. 250 496-5987, or visit www.gobc.ca/okanaganart

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

Okanagan Art Works

where we are passionate about art