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Spring National Oil & Acrylic Society International On-Line Exhibition

I am honored to learn that my painting, A Bay View, was accepted in the National Oil & Acrylic Society’s Spring International On-Line Exhibition!

The idea for A Bay View came about one morning at Bay View State Park, part of Washington state’s Puget Sound and the San Juan Islands.  I was on a multi-day drawing and painting trip, observing and appreciating the coastlines, the waves and the trees at different times of day.  On the last morning I returned to the beach and sat on a log, watching as the pale Northwest sky slowly filled with pinks and roses of early dawn. I knew that an idea was born.

Thanks for reading!

A Bay View, 20 x 30

A Bay View, 20 x 30

Clymer Museum & Gallery Solo Exhibition – March 4, 2016

I feel so honored for the opportunity to exhibit at the Clymer Museum & Gallery next month! The title for the show is “From the Headwaters to the Sea.”   The public reception is scheduled for Friday, March 4, 2016, from 5pm-7pm, and  the works will hang for two months, from March 4, 2016 – April 30, 2016.

Clymer Museum & Gallery, 416 North Pearl Street, Ellensburg, WA



Headwaters, 48 x 36

Headwaters, 48 x 36

It’s been a busy last couple of weeks getting the works photographed and framed.  Some people have been asking if the works are for sale – and the answer is yes, all works are for sale, with the exception of two paintings that were borrowed from private collections because they fit the theme of the show.

There are over 30 works in the collection, varying in size from large to small.  I included three field drawings, because, as many of you know, I like to share the process of how I create the final paintings.

painting of krummholz tree by the ocean, beach, sunset, fence, rocks in foreground

Illume, 40 x 30

An excerpt from the Artist Statement for the show –

“…Water represents birth and life, and a river is water’s journey through time. These paintings represent the passage that I took from the headwaters, a place where small streams join and a river is born, to the sea. I visited many mountains and many rivers to capture the essence of the forms that water takes as it flows, pulled by gravity from above. I have roots on both sides of the Cascades, on the dry side and the wet, as the rivers flow westward to the mighty Pacific Ocean…”

Hope to see you there!




Nocturnes at Reinert Fine Art Gallery, Charleston, SC

I am pleased to announce that my nocturnes are available at Reinert Fine Art Gallery in Charleston, South Carolina!    On our recent visit there we took a tour in a horse-drawn carriage through town, learning about the history and visiting the fabulous old neighborhoods that were built in the 1600’s! Charleston was the leading city in the South from the colonial era down to the civil war.  Charleston is one of my favorite places.  I love this town for its friendly people, the fabulous cuisine, and most of all, its celebration of the arts.   I am honored to be working with The Reinert Fine Art Gallery.  Their website is

Blue night landscape painting

Harvest Moon over Mt. Si, 8×12

Nocturne, indirect painting method, memory of trees on ridge with moon light on grass and water

Moonridge, 8 x 10

Painting of oncturne with evergreen hill and pond reflecting moon light

Moon and Pond, 10 x 12

blue night landscape with full moon, mountain

Cloudy Nocturne, 8 x 12

mt rainier at night, blue sky, white mountain, dark trees

Mt Rainier Nocturne Study, 8 x 8


Clymer Museum Juried Show!

winter field, gray sky, creek, distant fir trees, purple mountains

Patterson Creek, 8 x 12

I am pleased to announce that my painting, Patterson Creek, has been accepted into the 2015 West of the Mississippi Juried Show at the Clymer Museum and Gallery in Ellensburg, WA.  I look forward to the opening on Friday, March 6th, to see all of the wonderful landscape paintings on view.  Please join me if you can, it promises to be a wonderful show!

This painting was created from a series of sketches and drawings done on site.   Later, back in the studio, I reference the drawings and my memory to create a series of thumbnail sketches to work out the final composition.   How I remember what I saw has more to do with what I felt when I saw the scene rather than the specific details.  I remember this day last February, and how this particular field had a soul searching quality to it.  I was inspired by the yellow grasses that stretched outward (or inward?) for a long distance, to the place where the land meets the sky.

Telluride Morning

I jumped on the chance to visit Telluride, CO, last summer for a landscape workshop with Deborah Paris.  We drew every day, all day, from sunrise to sunset, breathing in the trees, mountains and very thin air.  One morning I met up with a couple of art buddies to draw the sunrise in the Telluride Valley.  It was interesting to observe how the sage brush and desert loving plants grow just above and right down to the edge of the fertile, green ponds and streams in the valley floor.  This painting, Telluride Morning, is about that edge where the dry meets the wet.

Telluride Valley, charcoal drawing, sage brush, valley floor

Telluride Valley Field Drawing, 8 x 10

Telluride, Valley, sage brush, pond, aspen trees, reflection

Telluride Morning Drawing, 8 x 10

Telluride, CO, valley floor, sage brush, aspen trees, reflection, pond

Telluride Morning, 16 x 23

Deschutes River work

Thanks to everyone who visited my Open Studio during the Snoqualmie River Arts Tour!  We had lots of people here visiting the gallery inside the house and checking out the work going on inside the Treehouse studio.  Many of you were interested in learning more about my process and we discussed how I go about making paintings.  Drawing is a huge part of what I do and I wanted to share some of the work I’m doing down in Eastern Oregon on the Deschutes River.  These are some studies that I’m working on for potential studio paintings.  It can be hot down there with temperatures reaching into the 90’s easily by early afternoon.  I like to get out early, if possible, or later in the evening to stay comfortable while I work.

The first two images are of a downed log from a fire last season.  This is sagebrush country with white oak and juniper trees – high desert it’s called.  First I did a detailed drawing of the log and the next day I came at the same time and did an underpainting. The drawings give me lots of details to help me remember and the underpaintings give me an overall sense of the tonal relationships.  I also take notes in my notebook on color, temperature, weather, time of day and anything else I am experiencing out there, such as wildlife, sounds, etc.  When I revisit the notes back in the studio I am instantly transported back to the place and time – all of which helps evoke the memories that I will draw upon to paint.

Deschutes Log, 8 x 10

Deschutes Log, 8 x 10

Deschutes Log, underpainting, Eagle Creek, rolling hills

Deschutes Log Underpainting, 8 x 10


RainbowBend, Deschutes, underpainting, telephone pole

Rainbow Bend, 8 x 10

RiverTree, drawing, charcoal on toned pape, Deschutes, water

River Tree, 9 x 12,

RiverTree Underpainting, Deschutes, oil on panel, Deschutes

River Tree Underpainting, 8 x 10

Map for Self-Guided Snoqualmie River Arts Tour

Here is the beautiful map for the Snoqualmie River Arts Tour.  I hope you can come out to the Valley on June 21-22 for an exciting self-guided tour of artist studios.  The website for more information is  June 21-22, 10am – 6pm.  You can visit me in my studio and have a look at my work in a gallery on my front porch!  All artwork for sale.








Snoqualmie River Arts Tour

I will be hosting an Open Studio as part of the self-guided tour of the Snoqualmie River Arts Tour.  Fall City Arts is sponsoring this event with help from 4Culture.  Come see my treehouse studio and gallery!

The hours are 10am – 6pm, Saturday and Sunday on June 21 & 22.

Everything you need is on the website,  There is a Googlemap of the studios on the website as well as a gallery of all the artists.

Here is a quote from the Snoqualmie River Arts Tour: “Meet artists in their Open Studios, see the region’s galleries and art-friendly businesses while you enjoy the scenic byways of the Snoqualmie River Valley. This is a unique opportunity to see the creative spaces that produce some of our most accomplished local art. This year the tour lands on the summer solstice, the longest day of the year; So there will be plenty of light to see a wide variety of art.  Plein air paintings, monumental stone carvings, unique metal sculptures––you will encounter a wide variety of quality work on this trail of discovery through one of our region’s most picturesque rural landscapes.”

fir trees, distant mountains, yellow clouds, early evening sunset

Rattlesnake Ridge, 9 x 9

Field drawings from the Kokanee Glacier

I have returned from a trip to the Kokanee Glacier Provincial Park located north of Nelson, B.C, Canada where I spent a week backcountry ski touring.  Our days were spent climbing up the glaciers with our skis and skins and skiing down long, long runs of untracked snow.  The conditions were excellent with varied weather and relatively safe avalanche conditions.  In the evenings I enjoyed the beautiful views outside from the warmth and comfort of the cabin.  Here are a few graphite drawings from my sketchbook:

Kokanee 1, graphite

Kokanee 1, graphite

drawing of trees, hills, snow, lake, hills

Kokanee 2, graphite

drawing, trees, hills, snow

Kokanee 3, graphite





Lolly’s Treehouse Studio

Treehouse in the snow built by Pete Nelson


Here’s a picture of my Fall City studio in the winter.   I walk out here every day to work, drawing and painting fifteen feet off the ground.  During a windstorm it feels like I’m in a boat that’s moored, rocking and swaying against the dock.  When it’s not breezy it’s only noticeable that I’m in a tree if I’m conscious of how special it is – which is pretty much all of the time.

What I’m struggling with is the light inside.  I designed it after a fire lookout, with wrap around windows.  The light comes inside from three directions, the east, north and west –  and that’s not necessarily good.  For painting, northern light is best, so I’m designing window coverings that help me control the high degree of reflective light going on.   Each window covering is a panel that attaches to the interior of the window pane with a spring-loaded curtain rod.  With rods at the top and the bottom of each panel to hold them in place, I can adjust from the top or the bottom, depending on where I want the light entering.  The question of the week is which fabric to use?  I’d love to find a thick linen-colored fabric that blocks the light but is still aesthetically pleasing.  Another option is using black-out fabric – not great to look and kind of plastic-like, but it does the trick.

By the way, if I haven’t mentioned this, my treehouse was built by Pete Nelson, Treehouse Master (as seen on the second season of “Treehouse Master”, the  TV show on Animal Planet).  Pete built this structure as his first Treehouse Workshop in 2002.   His students came from all over the world to take his class; together, they built the platform, the walls, the roof, etc., all in less than a week!  Look in Pete’s book, “Treehouses of the World”, for “Lolly’s Treehouse”, p. 42.   It’s pretty great to make fine art paintings in a rustic tree house!