This exhibition of original transparent watercolors by local artist Kay Barnes is a show rich in color and textures and subject matter. Kay tries to look at each project she wishes to paint and decides on an approach based on the subject’s very unique qualities. Sometime the background is washed in first, other times it is the final touch.
Kay says,” I let the subject dictate the approach. Light is the focus and the foundation for the art. Without light there is no contrast, no color, and no vision. Without light there are no shadows, depth and dimension. This is the primary element that takes the ordinary and makes it extraordinary. Color is a way of imbuing art with more interest and life.”
Kay uses her masterful skills to translate her vision into a unique original piece of art that touches the viewer.
This exhibit will display a cross section of her recent work that covers a broad array of landscapes, florals, still lifes and a wide range of approaches to painting in this challenging medium.
During the last decade, Kay has developed a special approach to painting in this flexible medium of watercolor that allows her to create textures and movement in a semi abstract image. She then further refines this abstraction to allow a realistic image to emerge. One of these images has been selected for publication in a prestigious art book which showcases the top 100 contemporary watercolor artists. Splash 13, Alternative Approaches, by Rachel Ruben Wolf (editor of American Artist Magazine) is the thirteenth in the series which began in 1991. Splash books contain carefully chosen works gleaned from thousands of entries from all over the world submitted annually. This book is to be released in the summer of 2012.
You will find Kay’s paintings at the Kaewyn Gallery on Main Street in Bothell. Her solo exhibition will open with an artist’s reception from 5-8 p.m. on Thursday, April 13.
You can see Kay’s work and get more information on her teaching schedule at kaybarnes.com.
Winn and Jason Griffin enjoy another meal at Qdoba Mexican Grill. Photo by Deborah Stone.
Two and a half years ago, Winn Griffin was introduced to Qdoba Mexican Grill in Woodinville via a friend.
He liked the food so much he brought back his family, wife Donna, son Jason and daughter Jerramie Joy, who also gave the restaurant an enthusiastic two thumbs up.
Since then, Griffin has visited the local restaurant nearly 400 times, usually in the company of his son Jason.
He always orders the same dish, the gumbo, which he describes as a cross between tortilla soup and the fixings for a “naked” burrito.
“I love it because it tastes really good, really fresh,” says Griffin. “But, it’s also one of the few dishes out there that I can order that doesn’t raise my blood sugar.” He explains: “I am an adult diabetic and like most diabetics I have problems with carbohydrates. I can’t eat the burrito wrap or the rice, so with the gumbo I can order extra black beans with the chicken and they add Pico de Gallo, some cheese and cilantro and it’s perfect for me.”
Griffin frequents the Qdoba in Woodinville five out of seven days a week, coming in late in the afternoon for an early dinner.
It’s become his routine and he often spends an hour or two in the establishment after eating his meal.
“I read stuff on the computer and catch up on my email,” he comments. “I’m a publisher. I run Harmon Press, so I use the time to do some research.”
Griffin’s son Jason, who consistently dines at the restaurant with his father, also utilizes the time for his work as a blogger.
He is a creature of habit, too, ordering the gumbo just like Dad. “I really like the dish,” he says. “It’s filling, low-carb, healthy and reasonably priced. I never get tired of it. Plus, I can get free refills on the iced tea, which is really nice.”
He adds, “Everyone here is very friendly and the service is good.”
The staff at the local Qdoba knows the Woodinville men well and as soon as they see them, they begin preparing their orders.
General Manager Armando Resendiz, who has been at the Woodinville location for the past six years, was not really surprised to learn that the Griffins had made almost 400 visits to his restaurant.
“They’re here a lot,” he remarks, “which makes me very happy. It tells me that my staff and I are doing a good job. It’s great to have such loyal customers and we have a number of them, but I know for sure that the Griffins are at the top.”
Resendiz has helped to make the Qdoba in Woodinville a welcoming place.
He strongly believes in making Qdoba a part of the community.
After every WHS football home game, for example, the restaurant serves the entire team and its coaches a free meal.
This has been going on for the past six years. Additionally, he gives free drinks to all WHS students when they purchase a food item and show their school I.D.
“It’s a way to support the kids,” he says. “We participate in a variety of ways to show we care. I see it as a way to give back to this community, which has always been good to us.”
Seattle Art Museum’s “Gauguin & Polynesia: An Elusive Paradise” is the talk of the town.
It’s been dazzling visitors since it opened last month to rave reviews.
The exhibit, which will only be shown in Seattle and Copenhagen, is the result of efforts began years ago under former SAM director Mimi Gates. And it’s been well worth the wait.
Gauguin, who was a leading Post-Impressionist in the late 19th century, is best known for the art he created while living on the French colony of Tahiti.
His bold, bright colored paintings were inspired by the sights and people of Polynesia, as well as by their artifacts, which he first saw at the Paris World Fair in 1889.
It was a sculpture from Easter Island, in particular, that piqued his curiosity and intrigued him because of its enigmatic and spookily powerful essence.
Tahiti represented the Promised Land to Gauguin, a man with a restless soul and a perennial case of wanderlust, who yearned to live in an exotic, untouched paradise, far from the conventions of French society.
He found the island landscape and golden light enchanting and was fascinated by the local cultures, though he was surprised and disappointed to find the colony unfortunately altered by Western influence.
SAM’s exhibit contains nearly 60 pieces by Gauguin, including paintings, sculpture and works on paper, as well as an equal number of Polynesian artifacts that reveal the nature of the exchanges of Pacific Island Peoples with Europeans during the nineteenth century.
The exhibition is actually two shows in one, but the best way to look at is from a unifying, blended perspective that encompasses both, allowing one to gain greater insight into the relationship between Gauguin’s work and the traditional Polynesian pieces.
By placing the art alongside the artifacts, we are given a lens through which Gauguin viewed his surroundings.
Art and culture seamlessly merge, resulting in an exhibit with enhanced meaning and ethnographical richness.
There are numerous highlights of the show. The famed painting “Tahitian Woman with a Flower,” for example, is a compelling portrait of a young woman in Western attire. We are drawn to her beauty, which seems to defy the dowdiness of her missionary style dress — an influence from the Christian missionaries who imposed their views of modesty on the Islanders.
In “Women of Tahiti,” another well-known work, two women sit side by side on the sand. They are looking away, one downwards, the other staring at something off to her left.
There is an aura of melancholy exuding from them.
By evading our gaze, they elude our understanding and we are left wondering what they are thinking. This sense of mystery is prominent within many of Gauguin’s paintings and it continues to increase in depth over the span of his career. One of the artist’s most sensational images is “The Royal End,” which was inspired by the death of Tahiti’s King Pomare V in 1891.
The focus of the painting is a severed head resting on a platter in a room decorated with Polynesian artifacts.
In reality, there was never any ritualistic display of the king’s head. Gauguin, who viewed the death as a symbolic loss to Tahitian culture, imagined a scene that did not exist, incorporating into it his captivation with the fate of the biblical John the Baptist.
“The Sacred Mountain” is another eye-catching piece with its brilliant colors and seemingly bucolic scene. Here, Gauguin evokes a place of worship in a mountainous landscape setting. The foreground is a heap of flowers, perhaps offerings to the gods, but some appear as if they would be prickly and sharp to the touch.
Behind them is a wooden fence with small skulls. A primrose yellow hillside commands the viewer’s attention.
The yellow, according to some interpretations, could be feathers, which symbolize royalty in the Tahitian culture. Galleries alternate between compilations of Gauguin’s work and clusters of exquisitely carved Polynesian ancestor figures, headdresses, weapons, paddles and ornaments. Many of the objects have elaborate patterns on them and the illustrations of body tattoos are exceptional.
The pieces convey a strong sense of movement and radiate energy and vitality. Their influence on Gauguin becomes increasingly obvious as you go deeper into the exhibit and see greater incorporation of motifs from cultural items in the artist’s work.
One gallery,of note, is devoted solely to Gauguin’s woodcuts, which detail his account of his time in Tahiti. The technique used expresses his desire for a more primitive expression.
Gauguin eventually ended up in the Marquesas Islands, leaving Tahiti behind in search of a purer cultural environment.
He is buried there, ironically in the same Catholic cemetery he unwittingly painted in one of his final works, “Women and a White Horse.”
“Gauguin & Polynesia: An Elusive Paradise” runs through April 29th at Seattle Art Museum.
For more information: (206) 654-3100 or www.seattleartmuseum.org.
From colonial times until Prohibition, hard cider was the beverage of choice in the United States. Records from 17th century Massachusetts indicate that yearly consumption approached 50 gallons per man, woman and child.Now you can learn about the entire process Saturday, March 24, from 10 a.m. to 3 p.m. for Hard Cider Making & Orcharding with Gary Moulton at Ed’s Apples, 13420 339th Ave SE just off SR 2 in Sultan.
You’ll learn how to grow and maintain your own cider orchard as well as learn the steps necessary to create a quality hard cider.
Cost for the workshop is $70 per person and includes a catered box lunch. To register, visit Brown Paper Tickets at http://www.brownpapertickets.com/event/210015 or download the form at www.snohomish.wsu.edu/ag/workshops/HardCider2012.pdf and mail with your check.
Woodinville resident Jaymes Fleming was recently selected to compete in the upcoming 40th Annual International Sheet Metal Competition in Las Vegas.
This is the local man’s second trip to the event, which is hosted by the International Training Institute (ITI) for the unionized sheet metal and air conditioning industry. He is one of the top 12 sheet metal detailers in the country, a ranking determined via scores on an arduous test administered prior to the international competition.
Other finalists hail from Hawaii, Michigan, Utah, California, Illinois, Oregon, Ohio, Oklahoma, Kansas and New York.
As a sheet metal detailer, Fleming designs complicated, behind-the-walls systems in buildings.
Using the Benchmark building information modeling software, he works to ensure every piece, length of HVAC ductwork and fitting is built to exact measurements and standards.
Fleming was drawn to the profession early on after being introduced to it by his step-dad, an architectural sheet metal worker.
After high school, he enrolled in an apprenticeship program where he learned about the different aspects of the trade.
“I liked the challenge of being a detailer,” says Fleming. “It’s like doing an adult puzzle.”
The local man, a 1993 Bothell High grad, has been a detailer for the past 14 years. He is the principal consultant for RYNOTEK, a division of Fleming Consulting Services Inc.
Currently, he is working on a project for the Boeing 777 jet airliner.
Fleming is excited to return to the Annual International Sheet Metal Competition and says, “It’s great to be a part of the top 12 again and it will be interesting to see what ITI’s Benchmark staff put together this year.”
He adds, “I really wanted to win last time,” he comments. “The prize was a fully loaded truck. This year, it’s a new Harley Davidson.”
Fleming explains that he competes for the challenge and a chance to win the grand prize, but that he also participates in the event because it’s a great networking opportunity for him.
The competition, which takes place over two 8-hour days, is extremely challenging, according to Fleming.
He says, “You don’t know exactly what you’ll be doing until you get there and so you really can’t expect anything going in, other than the fact it’ll be difficult.”
He adds, “Each contestant gets a 3-D work station and you’re given a set of plans for an HVAC system and directions as to what to do. The plans are different on each day — completely different projects. You’re judged on things like accuracy and feasibility to build. Any one thing you do or don’t do can affect your score.”
To keep on top of his game, Fleming constantly studies software changes to determine if there are methods he can change to improve efficiency.
He also tries to stay current on building codes. “It’s important for me to keep up on what’s happening in the industry as much as possible,” he comments. “But, it’s hard to do this when you’re working on a job, so in between projects is the best time for me to get caught up.” The local man is also a part-time instructor at the Western Washington Local #66 Sheet Metal Joint Apprenticeship Training Committee.