Giving Gifts — Tis the Season, All Year Round — Dayton’s Project Timothy

Project Timothy is located within the St Vincent de Paul building in Dayton, WA
Project Timothy is located within the St Vincent de Paul building in Dayton, WA

Christmas is the season for giving.

It sounds like a Facebook meme, or the inside of a holiday card, and like most pithy sayings, merely brushes the surface of truth.

In reality, people in need — who truly appreciate a timely gift, given — are around all year. Thankfully for those struggling in Columbia County and Waitsburg, there is Project Timothy, an ecumenical ministry spearheaded by the St Joseph (Dayton) and St Mark (Waitsburg) Catholic parishes, but joined by a number of other churches in the area. It provides emergency housing, rental assistance, help with utilities, food vouchers, bus passes, and more for the nearly 700 families that seek its aid every year.

Project Timothy looks to Christ's example as the one to follow. Jesus and the Little Children by Vogel von Volgelstein
Project Timothy looks to Christ’s example as the one to follow. Jesus and the Little Children by Vogel von Volgelstein

“Project Timothy is unique to Dayton,” says Terri Schlachter, president of the 13-member board of the organization. Opening its doors in 1990,. Project Timothy grew out of the energy and vision of Father Paul Wood, who came to the area from the Brooklyn, New York, Diocese, and was struck by the need to collate the benevolent efforts of the Christian community into one place.

“It’s always been meant to be an ecumenical ministry,” Schlachter says. “It’s not just the Catholic Church; it’s the entire community helping.”

Working in cooperation with religious, private, and public agencies, Project Timothy runs from a designated office space in the St. Vincent de Paul thrift store on Main Street. Volunteers staff the office from noon to 2 p.m., Tuesday through Saturday, and off hours, clients can reach an on-call volunteer by going through the Sheriff’s Department.

Operating with funds donated by individuals, private groups, Catholic Charities of Spokane, and grants, Project Timothy strives to be a physical interpretation of the apostle Paul’s exhortation to Timothy, a young Greek Christian who eventually became a bishop of Ephesus in the first century, A.D.:

“Instruct them to do good, to be rich in good works, and to be generous and ready to share.” (1 Timothy 6:18)

We are called to look out for the most vulnerable in society. Suffer the Little Children by Fritz von Uhde
We are called to look out for the most vulnerable in society. Suffer the Little Children by Fritz von Uhde

“Project Timothy works very hard to be good stewards of the money entrusted to us by our donors and grants to help those in need,” Schlachter says. There’s only so much to go around, the need is great, and it is a delicate balance ensuring that the funds go where they are most and truly needed, while every person who enters the office leaves with their dignity intact.

Volunteers, who undergo 20 hours of training in interviewing clients and familiarizing themselves with the bylaws of the organization, must be discerning and kind, wise and compassionate, able to make intelligent judgments without being judgmental. On the wall is a list of phone numbers of various agencies, resources, and organizations in the area, and before any client leaves, volunteers review additional options available for assistance and referral.

Putting into practice the things we read is a focal point of Project Timothy. Seaside Story by Wenaha Gallery artist Steve Henderson
Putting into practice the things we read, and meeting the needs of the vulnerable, are focal points of Project Timothy. Seaside Story by Wenaha Gallery artist Steve Henderson

As with most giving organizations, Project Timothy finds itself most in demand in the winter months, when higher heating and electrical bills command more of a family’s budget. December’s activities center around Christmas baskets, some 85 boxes which include foods for a holiday dinner such as a ham, vegetables, potatoes, pie, rolls, and canned foods.

“If we have enough donations, we will include Dayton Dollars so families can buy a little something for their children for Christmas,” Schlachter says, adding that vouchers provided for food, clothing, and other essentials stay in the area, benefiting local businesses.

On the opposite side of the calendar, the month of June finds the organization with a request to fund a very specific purpose:

“We have had donations in the summer with the specific request that they go to swim passes.

“This has been a great asset for families as the price for swim passes has gone up. It (swimming) is a great activity for children, but expensive for some families.”

It quickly becomes obvious that Christmas is not the only time of the year for gifts, and quite fortunately, Schlachter observes, the people in the area are conversant with this. The gift of giving runs both ways.

“It is very clearly the Lord’s work, for after 25 years, Project Timothy is still going, even though there have been some real economic down turns in the American Economy.

“Dayton has some very kindhearted people.

“To help someone you know is really in need, it feels great.”

Wenaha GalleryLocated one block away from the Project Timothy office, Wenaha Gallery devotes every January to a food drive supporting the community food bank, one of the organizations to which Project Timothy refers. Each year, people from within and without the community donate hundreds of pounds of food to the effort.

Contact the gallery, located at 219 East Main Street, Dayton, WA, by phone at 509.382.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 6 p.m. from Monday through Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

 

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Life Is a Journey — The Primitive Rock Art Paintings and Sculpture of Monica Stobie

Belle, by Wenaha Gallery artist Monica Stobie.
Belle, by Wenaha Gallery artist Monica Stobie.

Some humans live for many many decades, while others measure their lifespan in moments. But all humans, whether or not they ever physically walk on the earth, leave a footprint. It is part of their journey.

A Little Attitude by Wenaha Gallery artist Monica Stobie.
A Little Attitude by Wenaha Gallery artist Monica Stobie.

For fine artist Monica Stobie, the concept of a journey is simultaneously highly personal and sweepingly universal, embodying the distinctive experience of the individual in concomitance with the lives, stories, and existence of people throughout history. Stobie, whose subject matter — and passion — is rock art, creates pastel, oil, mixed media, collage, and sculpture that draw inspiration from the petroglyphs (pictures carved into rock or stone) and petrographs (pictures drawn or painted on a rock surface) of ancient people. Raised on an apple ranch in the Yakima Valley, Stobie was attracted from a young age to the symbolism and animal imagery of Native American culture, and when, years later, she stumbled upon rock art at a site near the Snake River, she was, as she phrases is, “hooked.”

Cowbird by Wenaha Gallery artist Monica Stobie.
Cowbird by Wenaha Gallery artist Monica Stobie.

“I have traveled extensively, exploring rock art sites, which has given me an unlimited source of inspiration,” Stobie says. “I worked for several weeks one summer documenting rock art sites on private land. Having a Navajo guide provided a unique perspective on these ancient sites. “Hiking through harsh desert conditions gave me an understanding of a much more difficult time of survival for ancient peoples.”

Fly Away by Wenaha Gallery artist Monica Stobie
Fly Away by Wenaha Gallery artist Monica Stobie

Stobie translates this understanding, empathy, and fascination into two- and three-dimensional format, and over a professional art career spanning 30 years, she has evolved her technique and style through exploration of various mediums. “Originally, I worked with paper collage — kind of a paper marquetry –fitting different pieces of paper into a design, much like a puzzle.”

Constant experimentation with papers led to her discovery of Mexican bark cloth, a heavily textured paper made from indigenous tree bark that holds layers of rich pastel colors and texture. The next step was sculpture, in response to requests by various galleries carrying her work, and the most recent path is that of oil and mixed media. Throughout all the variance and experimentation, the research and exploration, however, the crux of the matter, which forms the basis of her pilgrimage through both life and art, remains constant:

“When I look at the journey, the prevailing theme of textures, primitive imagery, and animals are prominent,” Stobie observes. She loves the mystery of it all. Life is, after all, a mystery to and for all of us, with none of us knowing where the next step will lead.

Red Hills by Wenaha Gallery artist Monica Stobie
Red Hills by Wenaha Gallery artist Monica Stobie

In Stobie’s case, art has been a part of her life since early childhood, when she learned under the aegis of her grandmother, a watercolorist.  Early school experiences reinforced a fledgling artistry, when a second-grade teacher praised Stobie’s interpretation of a bird as a sign of outstanding creativity. Adulthood found her graduating from Eastern Washington University with a degree in Art Education, which she put to use for 15 years teaching junior and senior high art in Walla Walla, WA, and Milton-Freewater, OR. Moving to Dayton, WA, coincided with the decision to turn her steps to a new path, one that plumbed the adventures of independent, full time, professional fine art.

Whispers by Wenaha Gallery artist Monica Stobie
Whispers by Wenaha Gallery artist Monica Stobie

“Working in a converted bedroom turned into a studio, I began my trek to carve a place in the art world,” Stobie says.

Given her chosen subject matter, it is ironically appropriate that Stobie chooses the word “carve.” The impact she has made extends far from her Dayton venue, as she shows and sells her work to a diverse and widespread clientele.

“During the span of my career I have shown in galleries, mostly throughout the Northwest but also Wyoming, Colorado, and California. In recent years, fellow artist Jill Ingram and I managed our own gallery in Dayton.”

And now, it’s a new adventure, a new direction on the path as Stobie and her husband prepare to move to the Southwest, using this new home as a base from which to travel.

As with all of life’s experiences, some things change, while others stay the same: in a new home, a new venue, a new adventure, the studio, for now, will start out in the familiar fashion of a converted bedroom. But it’s all part of the adventure. “And so,” Stobie proclaims, “a new journey begins.” Wenaha Gallery

Monica Stobie is the featured Art Event artist at Wenaha Gallery, 219 East Main Street, Dayton, WA from Saturday, August 22 through Saturday, September 19. An Artist’s Reception is scheduled Saturday, August 22, from 1 – 5 p.m. at the gallery, during which time Stobie will be present to meet viewers and talk about her art. Free refreshments are provided.

Contact the gallery by phone at 800.755.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 6 p.m. from Monday through Saturday, and by appointment.

Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

The Things You Find on Church Clean-up Day — A World War I Service Banner

World War I Service Banner preserved and framed through Wenaha Gallery, banner is the property of the First Congregational Church of Dayton WA
The Service Banner from World War I found at the Dayton First Congregational Church. On the left is the banner’s front, featuring the colored stars and symbols; the back, on the right, are hand-sewn name tags corresponding to the symbols on the front

Anyone who has ever participated in church clean-up day knows that the most exciting aspect of the event generally wraps around lunch. But for a group of Congregationalists in Dayton, WA, a find in the attic definitely outshone anything on the dessert table.

It was 2002, and Roslyn Edwards, wife of then-pastor Steve Edwards, was with a group in the attic, tidying up.

World War I Service Banner of First Congregational Church Dayton WA, preserved and framed by Wenaha Gallery
During the measuring process, the Service Banner was gently laid flat across a surface, but the rest of the time, it needed to be hung.

“I don’t know why, but Roslyn for some reason decided to go crawling into the rafters,” Dallas Dickinson, a member of the church and the crew, remembers. “And then she says, here’s a rag. She pulled it out, and it was a banner on a stick.

“We unrolled it. I looked on the back of it and then I said, ‘That’s my great uncle’s name on the back, Charlie Johnson.'”

Other names — on 42 hand-sewn tags — looked familiar to Dickinson. Broughton, Lyman, Boldman, Dumas — she read them out, and within short order the group realized that, whatever they’d found, it definitely wasn’t a rag.

“When I saw the name, Frank Bauers, that was a clue that what we had dated to World War I,” Dickinson says, explaining that Bauers, who died overseas of wounds in 1918, is the military member after which the local American Legion post is named.

The framed service banner, the whole package, was carefully rolled down through Main Street during Dayton, WA''s All Wheels Weekend
The framed service banner, the whole package, was carefully rolled down through Main Street during Dayton, WA”s All Wheels Weekend

What the  group had found was a service flag, a banner (in this case, hand-crafted) that honors family or community members who serve in the armed forces during any period of war or hostilities in which the U.S. is engaged. Such banners consist of a white field with a red border, a blue star representing each service member, and a gold star placed for one who died during service. The banner found at the Congregational church includes one gold star, for Bauers, 38 blue stars, two red crosses (for nurses) and a red triangle (spiritual or recreational service).

Frames for World War I Service Banner owned by First Congregational Church Dayton and framed by Wenaha Gallery
While the service banner weighs practically nothing, two frames, with Optium Museum Acrylic, result in 58 pounds of hanging weight.

“I recognized 20 or so of the 42 names on the back,” Dickinson says, “and I knew the descendants of them, mainly because my family has been here since the 1880s, 1890s. Although I have to admit when I saw the name John Rockhill, I was surprised. I always thought (local Dayton landmark) Rockhill was called that because it was a big rock, but it must have been named after John and his family.”

It was a find indeed, but a perplexing one, because while the group knew they couldn’t put the treasure back where they found it, they weren’t quite sure where to take it next.

“We carefully rolled it back up and consulted with people at the (historical) Depot,” Dickinson remembers. “We ended up keeping it there with their precious things,  folded it properly, and put it in a box with acid free paper. But I always had the idea of preserving it in such a way that we could get it out there, to the community, so that it could be seen.”

Considering that the Service Banner is 46 inches wide by 69 inches high, it is not small piece of conservation acrylic that needs to be measured and cut to fit -- twice -- one for each side.
Considering that the Service Banner is 46 inches wide by 69 inches high, it is not small piece of conservation acrylic that needs to be measured and cut to fit — twice — one for each side.

Dickinson’s idea approached reality this year, as she consulted with Lael Loyd, principal framer at Wenaha Gallery, regarding how feasible — and how much — it would be to frame the flag for both posterity and display. At 46 inches wide by 69 inches high, the banner — which needs to be seen on both sides — is no simple framing job.

Loyd consulted conservationists, designers, contractors, and other framing experts to come up with a plan, while Dickinson wrote letters to as many descendants of the names on the banner that she could find, requesting funds.

“People were really generous,” Dickinson says, “and I was able to raise two thirds of what we needed. The balance came from the Dayton Columbia County Fund, a local organization that supports projects like this.”

During the two hours that the service banner was on outdoor display, during Dayton's All Wheels weekend, two volunteers supported it from both sides. Once the stand has been completed by a local artisan, this will no longer be necessary!
During the two hours that the service banner was on outdoor display, during Dayton’s All Wheels weekend, two volunteers supported it from both sides. Once the stand has been completed by a local artisan, this will no longer be necessary!

Loyd, meanwhile, was trying to figure out a way to hang the flag between two — very large — pieces of Optium Museum Acrylic, which she describes as top in the industry for protection and conservation. But she didn’t want the fabric pressed between the acrylic; she wanted it hanging, as naturally as possible, at the same time ensuring that the textile was sealed and framed for protection.

Added to the challenge is that the banner, while she worked on it, was rarely laid flat, but hung, requiring the (white gloved) hands of two or three assistants. “Everything was pieced together as the banner was standing upright,” Loyd says. “We didn’t want it laying flat with the weight of the acrylic on one side or the other.

“It’s all about preserving for generations to come.”

That it is, and the finished project is slated for a semi-permanent home at American Legion Post 42 museum on Clay Street in Dayton, with Dickinson envisioning it being loaned out to interested parties upon request.

“We want this banner, this piece of history, to be out where the public and community can see it,” Dickinson says.

“By far, it’s the best thing we’ve ever found up in the church attic.”

Wenaha GalleryThe Service Banner of the Dayton First Congregational Church will be on display at Wenaha Gallery from Monday, June 22 through Saturday, July 11.

Contact the gallery by phone at 800.755.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 6 p.m. from Monday through Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

 

The Sensual Flutist — Roger McGee Hand-Carves an Ancient Instrument

Handcarved Eagle Flute by Wenaha Guest Artist Roger McGee.
Handcarved Eagle Flute by Wenaha Guest Artist Roger McGee.

The hauntingly beautiful music of Native American musicians Carlos Nakai and Mary Youngblood is nothing short of sublime. And while neither Grammy Award winner is a resident of Oregon or Washington state, some of the flutes that they have played originated in the studio of Roger McGee, a master flute maker from Joseph, OR.

Egret bronze sculpture by Wenaha Gallery guest artist Roger McGee
Egret bronze sculpture by Wenaha Gallery guest artist Roger McGee

“What a fine and gentle artist this man is,” Youngblood described McGee. “(The flute is) almost Georgia O’Keefish . . . very sensual and so carefully carved.”

McGee, who has created more than 1,000 custom, hand-made flutes, is a professional sculptor of 35 years standing, making his initial mark as an artist of western and wildlife bronzework. As a Vietnam War veteran, he considers it a high honor to have created four monuments placed in the Pacific Northwest, including the Jonathan Wainwright statue at the Veterans Medical Center in Walla Walla, Peo Peo Mox Mox near the Marc Hotel in the same town, and the VFW Globe in Salem, OR.

The path to creating Native American-style flutes, he explains, was a winding one. Like most artists, McGee listens to a variety of music for inspiration while working in his studio.

Detail from hand carved Horsehead Flute by Wenaha Gallery guest artist Roger McGee
Detail from hand carved Horsehead Flute by Wenaha Gallery guest artist Roger McGee

“I was particularly captivated by the haunting sounds of the Native American flute and wanted to learn as much as possible about this small instrument with the powerful voice.

“I was inspired to make a Native flute, and the awesome sound of the flute that I made captured my soul. It has changed my life and given me a new way to express myself with my art.”

Now, in addition to his bronzework, McGee has added the intricate detail of hand making, one at a time, highly individualized Native American flutes, an instrument with a history dating back reportedly 60,000 years (they are said to be the third oldest known musical instrument in the world). McGee creates all artwork, painting, woodwork and sculpture on his flutes free hand, burning the holes in with a hot metal rod.

Not Forgotten Bison bronze sculpture by Wenaha Gallery guest artist Roger McGee
Not Forgotten Bison bronze sculpture by Wenaha Gallery guest artist Roger McGee

“I guess you could say that I follow where the artistic spirits guide me,” McGee says, adding that he not only makes the flutes, but plays them — with two CDs to his credit — as well as teaches others how to do so.

“Over the phone, I taught a Navaho Indian (Fred ‘Yellowknife’ Keams) how to make and play flutes . . . I also taught a Buddhist Monk (Park Jin Hong) from South Korea how to play the flute using Skype and the Internet!” McGee sells his flutes throughout the world, with other noted names who play McGee’s instruments including Grammy Award nominee Peter Phippen and recording artists Robert Mirabal and John Two-Hawks.

Inlaid shells, buffalo teeth, carved totems, feathers, beads, and paint are all part of the customized creations, with themes ranging from rattlesnakes and scorpions to horses and bears. In 2013, McGee won the Best Cultural Heritage Award at the Wallowa Valley Festival of the Arts for his Stone Crushed Inlayed American Flute, and in past years, his work has captured Directors Choice awards.

Detail from White Canoe hand carved flute by Wenaha Gallery guest artist Roger McGee
Detail from White Canoe hand carved flute by Wenaha Gallery guest artist Roger McGee

As beautiful as the flutes are to look upon, however, their ultimate test takes place in the playing, and McGee’s numerous clients have much to say about the creator, and what he creates.

“The beauty and soulful sincerity of this amazing instrument is only surpassed by the incredible artist who created it,” one musician writes on McGee’s website.

“The tone is amazing,” another fan said, describing how her husband, not knowing that she was playing her newly-purchased instrument, marveled at how much she had improved. “The flute made the sound jump a quantum leap — I sure wasn’t doing anything else much differently. The flute’s voice is just awesome.”

In his spare time, which he somehow finds despite a fulltime art schedule side-by-side with that of his wife, cut paper artist Cheri McGee, Roger has lately taken on refurbishing a totem pole, which when repaired, will return to the Creating Memories Camp for Disabled Children in Joseph. At the moment, the pole is in pieces as McGee fixes broken parts, fills cracks, sands, paints, and reassembles.

It’s all part of following that artistic muse, one that entered his life when he was the youngest of nine children growing up in the deep South, always using his hands to make things.

“It was easier to make myself a toy than it was to wait to get a store-bought one,” McGee remembers. “I have been very blessed!”

Wenaha GalleryRoger and Cheri McGee are the featured artists at Wenaha Gallery’s Art Event from Monday, May 18 through Saturday, June 27, at Wenaha Gallery, 219 East Main Street, Dayton, WA. There is a reception for both artists on Saturday, May 23 from 10:30 a.m. (immediately after the town Memorial Day parade) until 2:30 p.m. Roger will play the flute during the reception. Free refreshments are provided.

Contact the gallery by phone at 800.755.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 6 p.m. from Monday through Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

Honoring an Ingenious People – The Palus Museum Celebrates the Heritage of the Palouse Indians

 

Palus Museum historical site in Dayton WA showcasing the Palouse Indians Lewis and Clark and the pioneering homesteaders
A large painting of Palouse Falls, surrounded by displays of artifacts, greets visitors as the enter the Palus Museum

We live in an area rich with history, steeped with the life stories of brave, hardworking people.

Frequently, those of us who reside in the West now associate those brave, hardworking people with the pioneers, many of whom did not make it here without losing someone along the way. But history goes back further than that, and before there were pioneers, there were brave, hardworking people who eventually lost a way of life: the Cayuse, the Nez Perce, the Umatilla, and the Palouse.

Palus Museum historical site in Dayton WA showcasing the Palouse Indians Lewis and Clark and the pioneering homesteaders
A thoughtful coyote and bronzework take viewers to a different place and time at the Palus Museum.

It is for this reason — that life changes, and we do not want to obscure or forget the past, and we wish to bring honor to those who live in the present — that a group of local people in Dayton joined together to create the Blue Mountain Heritage Society in 1999, with a focal interest to engage the public in the rich and diverse regional history of Columbia County and its environs. And one of principal people in this rich history are the Palouse Indians.

A small tribe in Southeastern Washington and Northern Idaho that was culturally related to the Nez Perce, the Palouse (or Palus) “were a very smart people and a very strong people,” according to Rose Engelbrite, one of the founding members of the society and the manager of the Palus Museum in Dayton.

“The things they had to make and do just in order to survive were very involved, from making shoes and arrowheads to gathering food.”

A hand woven basket, a baby carrier, and a trunk dating from 1812 are a link to the past at the Palus Museum.
A hand woven basket, a baby carrier, and a trunk dating from 1812 are a link to the past at the Palus Museum.

The museum, which possesses an unpretentious exterior that belies the treasures within, is home to numerous and diverse artifacts, from beadwork to handspun rope, bone hairpieces, clothing, hand crafted tools, a medicine bag, and — the foundation upon which the collection was started — arrowheads gleaned from the area by local resident Wayne Casseday.

“Collecting artifacts was a hobby of his, and he wanted other people to see them,” Engelbrite explains. “He asked us if we would be interested to set up a place where these could be shown and not be stored away out of sight.”

Palus Museum historical site in Dayton WA showcasing the Palouse Indians Lewis and Clark and the pioneering homesteaders
From the outside, Palus Museum gives no clue to the historical treasures within.

The arrowheads are all colors and sizes, painstakingly and skillfully crafted for their specific purpose, testament to the artistry and personality of their makers. One of Engelbrites favorite artifacts, however, looks like a long, slim rock, about the size of a small foot, and slightly curved, just like a foot. This is no accident, she says, but further evidence of the Palouse Indians’ astute resourcefulness.

“It’s a last,” she explains, “which is an object that shoemakers build their shoes around. Back then (the 1800s, and earlier) many shoes did not have a right shoe and a left shoe, but it was the same shape for both feet.

Barbed Wire at the Palus Museum
Who would guess that there could be so many varieties of barbed wire?

“The Palouse Indians used this last which has a light curve at the top, so they were able to make one shoe, a right one, and then flip over the last and make a left one.

“As I say, they were an ingenious people.”

The Palouse were noted horse breeders and traders — the Appaloosa, with its distinctive spotted coat, drawing its name from that of the tribe. Numbering around 1,600 during the expedition of Lewis and Clark, the Palouse tribe migrated between Palouse Falls in the winter, where the fishing was plenty, to the Dayton area in the summer, where they collected berries.

But as we know, with the advent of explorers, trappers, and pioneers from the east, this way of life drastically changed, and two cultures clashed until the Palouse, dwindling in size, no longer roamed the land they once lived. The museum itself addresses the issue, with exhibits featuring relics from both the Lewis and Clark Expedition and the pioneering homesteaders.

Set next to a woven cooking basket made from cedar root and cedar root skin is a small, handmade trunk, consisting of rawhide and fur over wood and lined with newspaper dated 1812. An annex to the museum houses the homestead room, with butter churns, washboards, a cast iron wood stove and an impressive display of the many styles of barbed wire used for fencing.

Most of the historical items are local, donated by families of the area, interested in the historical society’s mission and eager to contribute so that the past, though it is in the past, will have its place in the present.

“This is the history of the area in which we live,” Engelbrite says, “and it is a part of all our heritage.”

Wenaha GalleryThe Palus Museum, at 426 E. Main, is located two blocks from Wenaha Gallery in Dayton, WA, and is well worth a visit to view. Admission to the museum is free, with donations gratefully accepted. The museum is open Fridays and Saturday from 1 to 4 p.m. For more information, contact Rose at 509.337.8875, or contact the historical society through its Facebook Page.

Contact the gallery by phone at 800.755.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 6 p.m. from Monday through Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

Expressions in Espresso — The Coffee Art, and More, of Paul Henderson

Dawn's Jade Glow by Paul Henderson, guest artist at Wenaha Gallery.
Dawn’s Jade Glow by Paul Henderson, guest artist at Wenaha Gallery.

Very few of us, after watching a movie, embark upon a yearlong project of intense and highly disciplined creativity, but fine artist Paul Henderson of Yakima, WA, finds insight in uncommon places.

“My artistic interests are wide and varied,” the painter says. “I love the Northwest wilderness and wildlife, but I also enjoy world history, cultures, and geography; therefore I call myself the ‘Northwest Artist with an International Touch.'”

Coffee is the medium of choice in Paul Henderson's Coffee Capital, Seattle painting.
Coffee is the medium of choice in Paul Henderson’s Coffee Capital, Seattle painting.

Inspired by the film “Julie and Julia,” in which blogger Julie Powell challenges herself to cook, within one year, all 524 recipes in famed chef Julia Child’s first book, Henderson embarked upon his “Modern and Experimental Series,” with the intent of creating two paintings per week for 52 weeks.

The spirit of the project never stopped, and while Henderson fell just short of 104 paintings (he completed 90), he continued the challenge, and in the five years since then has been finessing the sheer art of experimentation:

“I decided to not limit myself to detail but to do any style or subject from abstract to detail, to fantasy, to loose style, and to just experiment,” Henderson says.

“This has literally set my creative juices on fire, and I will continue even more creative techniques and mixed media. I love to try different methods; it keeps me fresh and invigorated.”

Color Storm by Paul Henderson, guest artist at Wenaha Gallery.
Color Storm by Paul Henderson, guest artist at Wenaha Gallery.

Some of those methods involve fiberglass taping mesh, highly textured papers, netting, plastic, or styrofoam from packing boxes which Henderson attaches to the canvas, conveying a 3-D effect to a two-dimensional substrate. Another innovation revolves around something most of us have in our kitchen cupboards — coffee — to give new perspective upon the medium of watercolor.

“In 1986, after my then five-year-old daughter accidentally splashed coffee over one of my sketches, voila! Espresso art was born,” Henderson remembers. “At that time, I became known as the ‘original fine art coffee painter,’ and my story appeared in newspapers and TV all around the Northwest.”

Planetory by Paul Henderson, guest artist at Wenaha Gallery.
Planetory by Paul Henderson, guest artist at Wenaha Gallery.

Henderson’s coffee paintings — which use both regular and decaf, and whatever brand of coffee he happens to be drinking at that time — remain consistently popular, capturing Americana themes including both wildlife and western. He has shown at grand openings of many Nordstrom coffee bars as well as at Starbucks, and he offers both originals and prints through his studio and at local coffee bars.

Henderson’s philosophy of art, in short, can be expressed in one simple sentence:

Don’t limit yourself.

“I’ve drawn since I could walk,” Henderson says, “and I’ve been painting for 42 years.”

With a skill repertoire that ranges from highly detailed, almost photo-representational wildlife to dreamily hued abstract, Henderson is not circumscribed by any subject matter, and not only does he create Native American art as well as planetary fantasy, he also incorporates the two. In the same manner, his floral and landscape representational works dance in a background of abstract. It is all part of the spirit of exploration and adventure, an insistence upon not being boxed in, nor expecting his viewer to be so.

Forest Glow by Paul Henderson, Wenaha Gallery guest artist.
Forest Glow by Paul Henderson, Wenaha Gallery guest artist.

“I am free to create anything, to experiment and have fun along with the learning,” Henderson explains. “Art really comes from within the artist and expresses it in the physical.”

Henderson has exhibited in shows and galleries throughout the west, including Reno, Nevada, Hawaii, and California, and at one point was contacted by a gallery in Hawaii asking if he would paint a falcon to be presented at a private showing for the king of Saudi Arabia.

Autumn Glow by Paul Henderson, Wenaha Gallery guest artist.
Autumn Glow by Paul Henderson, Wenaha Gallery guest artist.

He has studied under Don Crook, affectionately known as the “Rockwell of Western Art,” and attended workshops by pastel and portraiture artist Daniel Green. His learning, his creating, his innovation and research — including classes on animal anatomy and taxidermy to give him a better understanding of his subject matter — have revolved around a schedule that involves full-time employment in a different arena than art. After hours, it’s time to create.

“My studio is in my home — I use one bedroom, half of the family room, and store in the garage — I also blitz on large projects in the garage where I take the cars out and go at it.”

There is a reason that the movie, “Julie and Julia,” resonated so much with Henderson — he really does approach life with an international flair.

Wenaha GalleryPaul Henderson is the featured artist at Wenaha Gallery’s Art Event from Saturday, April 4 through Saturday May 2, at Wenaha Gallery, 219 East Main Street, Dayton, WA. There is an artist’s reception April 4, from 1-4 p.m. Free refreshments will be served, and Paul plans to create one of his coffee paintings during the reception.

Contact the gallery by phone at 800.755.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 6 p.m. from Monday through Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.

Celebrating the Extraordinary of Ordinary — Anne Bullock’s Raku, Stoneware, Pottery and Multi-Media Art

 

Ring Handled Vessel, pottery sculpture by artist Anne Bullock at Wenaha Gallery.
Ring Handled Vessel, pottery sculpture by artist Anne Bullock at Wenaha Gallery.

Woven baskets and clay pots — these humble vessels have been used by ordinary people throughout history. And although they have been and still are a major factor in the daily lives of many, humble vessels are frequently overlooked and discounted in the worlds of both academia and fine art.

Corn Box potter sculpture by Anne Bullock at Wenaha Gallery
Corn Box potter sculpture by Anne Bullock at Wenaha Gallery

It is the rare, sensitive eye that sees the value of the prosaic, and Anne  Bullock, a Walla Walla mixed media artist who, until her death in 2014, celebrated the history and culture of the Plateau people, recognized and respected the expertise and creativity of Pacific Northwest, Native American artisans.

“Anne always worked from a place of deep spiritual meaning,” her husband, David Bullock, remembers. “She found meaningful inspiration in the way these skilled designers used materials at hand in environmentally sound ways to create beauty as well as function.”

Anne’s interest in indigenous baskets took her throughout the region, as she explored the exhibits of the Wanapum Heritage Center Museum, Maryhill Museum, The Columbia Gorge Discovery Center, Sacajawea State Park, Tamastslikt Cultural Institute, The Northwest Museum of Art and Culture,  the Fort Walla Walla Museum, and numerous other historical locations.

Blue Vase pottery sculpture by Anne Bullock at Wenaha Gallery
Blue Vase pottery sculpture by Anne Bullock at Wenaha Gallery

“Vessels are a metaphor for my life and work,” Anne said in her artist statement. “I’m impressed with how early Native American Indian artisans worked with indigenous ‘of the earth’ materials. The gifts of the earth were revered; only what was needed was taken.”

In the spirit of the people she admired and honored, Anne worked in multiple mediums, both two- and three-dimensional, primarily in pottery, but her skills, like her interests, extended a wide range.

“She worked with charcoal, colored pencil, pastel, acrylics, and mixed media assemblage,” David says. “She also augmented her art with work in bamboo, wood, stone, wool, and paper.”

Untitled pottery sculpture by Anne Bullock at Wenaha Gallery
Untitled pottery sculpture by Anne Bullock at Wenaha Gallery

A most outstanding piece, remembered by artist friend and curator of Anne’s work Colleen Sargen, is “Earth, Wheat, Fire,” consisting of 36 tiles which needed to be precisely placed at the former Willow Gallery in Walla Walla, WA, during Anne’s Interwoven Exhibition there in 2010.

“She impressed wheat, other flora objects to honor the earth, bark of trees lost in the Walla Walla wind storm of 2007, and specific items such as sand dollars carefully placed, to honor individuals dear to her who have passed on,” Sargen says.

Adding especial interest to the installation was that the tiles were still being created during the week that Sargen was installing the show. “Because the tiles were still smoldering in the fire pit, the fire needing to extinguish naturally, we waited, realizing it would be the last piece installed!” Sargen recalls. But the wait was worth it.

Plateau Series Relief on Panel by Anne Bullock at Wenaha Gallery
Plateau Series Relief on Panel by Anne Bullock at Wenaha Gallery

“It is a stunning work, and Anne’s wish was that it be placed in a health care facility.”

These wishes are completely in line with who Anne was, Sargen continues, describing her friend and colleague as “so very tender hearted, it seemed that she herself suffered for the pain of others and actively took steps in daily life to ease pain and bring peace.” One means by which Anne accomplished this was through the March of Peace events that she organized in 2008, involving community members in the creation of small, clay “pinch pots” that were placed in an outdoor art installation at the Walla Walla Foundry’s sculpture garden.

David explains, “Anne sought every opportunity to involve community in her art, in ways such as attaching prayers to her bamboo prayer walls, tying personal mementos to a community memory strand, and even using puzzle pieces from second-hand puzzles to make vessels.”

Throughout Anne Bullock’s life, and during the 38 years she worked and created in Walla Walla, community was a driving factor. Whether that community consisted of the town in which she was living, or the memories of the people who had lived in the area centuries beforehand, she devoted her energy, her skill, and her art to acknowledging and honoring the contributions of ordinary, every day people:

“I am compelled to tie, bind, glue, blend, melt, carve, coil, weave, overlap or somehow piece together media in any way materials allow or dictate,” Anne’s artist statement outlines her deep-set beliefs.

“Integrating materials through these processes gives voice to my themes of honoring the earth, its resources, and inhabitants.”

Wenaha GalleryAnne Bullock’s collection of two- and three-dimensional work is the Art Event: Pacific Northwest feature at Wenaha Gallery from February 23, 2015 through March 21, 2015 at Wenaha Gallery’s historic Dayton, WA location, 219 East Main Street.

“Anne had a special connection with the Wenaha Gallery for many years, and I hope this showing of her work here can honor that connection and provide her community of friends the opportunity to remember and appreciate her creative endeavors.” — David Bullock

Contact the gallery by phone at 800.755.2124 or e-mail art@wenaha.com. Gallery hours are 9 a.m. to 6 p.m. from Monday through Saturday, and by appointment. Visit the Wenaha Gallery website online at www.wenaha.com.

Wenaha Gallery is your destination location for Greenwich Workshop Fine Art Prints, professional customized framing, and original fine art paintings and sculpture by notable Pacific Northwest artists.   Books, gifts, note cards, jigsaw puzzles, and more are also available. Visit at 219 East Main, Dayton, WA.

This article was written by Carolyn Henderson.