Back Row: Ken Christensen, Larry Kappen, Dennis Curry, Rosanne Seitz

Front Row: Fayrene Parrish, Roxanne Kucera Sachs, Denise Schryver, Shirley Pittman, Marguerite Costigan, Bruce Everett, Nancy Becker, Laurel Sherrie, Dotty Hawthorne, Eileen Pritchard, Anne Laddon (not present)

This year at our annual SLOPE (San Luis Outdoor Painters for the Environment) meeting, we took a photo of our group of wonderful painters and terrific people. Each year we do a show to benefit an environmental organization. This year it will be the Chimineas Ranch Foundation on May 1, 2010. For more information, see our web site www.slopepainters.com.

In spite of the threat of rain, I joined a group of 15 artists at the Visitor Center of Hearst Castle. Friends of Hearst Castle and the YMCA's Centennial Park Office sponsored an ArtReach mentoring program where we spent several hours with middle-school aged students. Sierra Mosley, a talented and enthusiastic 12 year-old, and I set up our art supplies outside as she was excited to try out plein air painting. For two hours we shared the process of pastel painting and she completed a lovely pastel of the castle in the distance with green hills and dramatic clouds.

     I've just returned from a paint-out at the beautiful Chimineas Ranch. This is the third weekend SLOPE (San Luis Outdoor Painters for the Environment) painters have spent an intensive weekend exploring and painting the varied, incredible land at this 30,000 acre ranch adjacent to the Carrizo Plain National Monument. From wildlife to vast vistas to treeless plains to oak covered hills and canyons to rusted old equipment, we've had a feast of painting opportunities. Watch for info about our coming Art Show and Ranch Celebration on May 1, 2010 or check out www.slopepainters.com

Occasionally I come upon a scene that brings out what is essential about the Central Coast of California.  While painting at Hearst Castle for the recent Plein Air Invitational put on by Friends of Hearst Castle, I came upon this amazing old oak tree. I'm sure each twisted branch could tell a story. Realizing the oak must be much older than the castle itself, I decided to paint it in pastel.  I was pleased with the result and the original sold at "Twilight on the Terrace", so I have released an edition of 75. The print is 10 x 22 and is available for $175. Other sizes are available.

My husband and I enjoy visiting our daughter, son-in-law and new grandson living in Tucson, Arizona.  While there I often take time to paint the stunning desert views in the surrounding areas. Recently I was accepted into a lovely gallery, Old Pueblo Frameworks and Gallery. If you are ever in the Tucson area, please stop by and view my plein air paintings. It's located at 1825 E. River Road, Suite 101, (520)529-9677.

Several years ago I painted this pastel of Dona Julia, a woman I met in Cuatro Cruces, Costa Rica. I had worshiped with her in a small village church where my daughter and son-in-law were living as MCC (Menonite Central Committee) service workers.  Upon their return, my daughter and I collaborated on a book, Walk These Stones, Encounters on a Costa Rican Village Road, combining stories and paintings from their experiences.

When a church in our community announced The Beacon Art Show, Creative Expressions of Spirituality, I decided to share this painting as I feel Dona Julia expresses a deep involvement in the worship experience.  The painting can now be seen at the United Methodist Church, 1515 Fredericks, San Luis Obispo

I will be showing a large selection of new work which has not previously been shown at the Gallery at the Network during the months of February and March. Some of the work is from the SLOPE (San Luis Outdoor Painters for the Environment) show with the Friends of the Lighthouse, some from the San Luis Obispo Plein Air Festival and some work from the last six months which has not been shown before.
The show, The Landscape Connection, also includes new work by my partners, Rosanne Sietz and Julie Dunn. They are also celebrating 10 years of successful gallery ownership. I was asked to join them as a partner just a couple of years ago, so cannot claim that distinction. It is a privilege to work with them as they are great to work with, are wonderful artists and have set up a successful business model.
An opening reception will be held during Art After Dark on February 6 from 6-9pm.

I've been thinking about the use of a focal point or center of interest in a painting.  Much has been said about the necessity of a focal point in order to create interest in a work. I feel that as long as there is something to pull your eye into the painting, and then a way to keep your eye moving throughout the painting, you don't necessarily need a focal point. For example in this painting "Morning Light on the Pacific Coast" the bright light on the bushes will draw you into the painting, the coastline will move you back into the painting, the light on the hills will bring your eye up to view the foliage on the top of the hill and the contrasting color of the background hill keep your eye moving back. After pausing on the misty yellow in the sky, the coastline surf brings you back to the foreground bushes.
In painting this, I didn't want any particular feature to capture the viewer's attention, but hope that they experience the overall beauty of standing on the Pacific Coast in the soft light of the morning.
Do you think a stronger "focal point" would add to the painting or is the painting complete with a general theme? Is a focal point necessary?

Several years ago I was asked to write an article for INTERNATIONAL ARTIST Magazine. I spent several months writing and re-writing the article focusing on my underpainting technique in pastel painting, photographing "Vineyard Road" in progressive stages as I painted it, and adding requested pointers. It was a lot of work, but helpful to me to articulate the process that I generally use in creating my pastels. I submitted the article almost three years ago, and was thrilled to finally get to see my article in print in the August/September, 2008, issue of the magazine. They did a wonderful job of laying out the eight page article and reproducing the photos of my paintings.