 My inspiration comes from our natural world. I love to draw my subjects realistically, exploring each animal anatomically and trying to capture their essence with layers of color and value. This process feels meditative as I immerse myself in each subject and try to find their personality and individuality. I am currently working on documenting animals that are threatened by climate change and man’s encroachment in their habitat. I use my drawings to share the beauty of our natural world and promote conservation.   Through the use of color, texture and shape, Laura O’Brien creates complex visual stories that are both whimsical and complex. She has the skill to transport the viewer around the canvas through the use of color, shape and line. O’Brien has mastered the unusual technique of weaving several story lines within one painting creating a work of art that is multifaceted.   I have been a sketcher and painter for my entire life, learning beside my mother as she delved into watercolor painting during my early childhood. I am very much a direct painter: much of the planning and revision happens as I work. My process is loose and intuitive — I invent as much as I observe. My painting practice is about exploration, risk-taking, physical movement, and deep immersion in the process. When I come up for air I am often surprised by the end result. [email protected] http://www.abigailmarble.com   I am inspired my strong compositions and intense color. My subject matter consists of landscapes, still lifes and abstracts. The media I prefer is watercolor, but I work with acrylics and mixed media. In recent years, my subject matter has focused on fruit and vegetables with a dark background, creating a unique and distinctive style. I am a member of the Watercolor Society of Oregon, the Lake Area Artists and The Buffalo Grass Society. I exhibit my work at the Rental Sales Gallery at the Portland Art Museum and the Attic Gallery in Camas, Washington.   Artist’s Statement for Susan Spears, Artist
Some people are driven to paint. I see something beautiful and I have to get it down on a piece of paper and paint. I’ve filled up sketchbook after sketchbook with drawings hoping they become paintings. If I can’t paint I make elaborate drawings in pen and ink. I’m happiest when I’m out painting with my class or with a friend somewhere with a terrific view. Favorite places are somewhere in the Columbia Gorge or up on the side of Mt. Hood. On the Washington side, Catherine Creek State Park is another favorite spot. Watercolor is my favorite medium, but I like to work in all media. I’ve taught my students how to do watercolor and acrylics. We, also, do mixed media. When working outside, I bring along a chair, light metal easel that is adjustable to lie flat and tip up at an angle, a light plastic palette with a simplified group of nine colors using the split primary system, plus, 3 pure secondary colors of orange, purple, and sap green. With those colors I can mix any color bright or dull, that I need for the subject matter. And an umbrella to keep the sun off of my paper. We paint from 9-3pm. That’s just enough time to get the job mostly done. I put on final touches at home. The harmony wheel is my go to method for getting harmony and mood into my paintings I sell my work at my shows and on my website at susanspearsart.com. I can be reached on my website.  “Painting is like air to me. It provides me essential nourishment for my soul. It is through the brush, I remain.”   My art work is all based on sketches from life, and of course I change things a bit when I paint, etch, draw, or do sumi exercises for my practice. My sketch book is where it all begins and my artwork is where the sketches come to life. www.cheneyparr.com [email protected]   Growing up on a Kansas farm, René knew as a child that she would be an artist. Her paintings often feature ordinary creatures, like the many illustrations of birds and flowers she painted for The Oregonian newspaper in her 25 years as staff artist. She focuses on concepts or feelings which evolve in extraordinary ways from her imagination. It is this journey — the experimental component of her work — that she finds most rewarding. Beginning with unique textural substrates she applies layers of acrylic texture and marbling along with traditional watercolor paint, to produce playful subjects that come alive. Their story leaves enough ambiguity for you to invent the narrative. René has written about her process on her blog and in “The Art Of Paint Marbling”, published by Walter Foster. She teaches classes at her studio northwest of Portland Oregon and across the country, occasionally leading art retreats in exotic locations around the world. "Art making has taught me to see beauty in the raw and imperfect. Taking time to fully appreciate every element connects me to my world. I paint to elicit a feeling, and the experience of sharing my vision with others is profoundly satisfying." René Eisenbart AWS, NWS, WFWS, NWWS, WSO  www.rene-art.com
[email protected] www.instagram.com/rene.experience.art www.facebook.com/rene.eisenbart  Dee has been interested in art for as long as she can remember. She was encouraged by her mother who worked in clay. She loved to draw and create in clay, and was mostly interested in music and art throughout school. 
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