Monthly Archives: September 2015

Successful Summer Art Camp Program

Summer Art Camp reached new heights of enrollment in 2015.  With 87 students attending twelve classes, the 13th Annual Summer Art Camp was a hub of activity at the Cannon Beach Community Church over the week of July 13.
This year, in addition to an amazing line-up of classes, we were fortunate to have a sneak peek at a new product called Fort Boards invented by August Graube, the son of art camp instructor, Ireta Sitts-Graube.  Fort Boards are a system of interlocking panels that can be used to build pretty much any type structure you can imagine, from rockets and delivery trucks to oversized sea creatures and tunnels.  Students had a blast playing in the structures and reconfiguring the shapes to their own imaging.
Once everyone got the wiggles out playing with Fort Boards, students settled in to create some fabulous art work that wowed parents and stunned our adult students at the abilities they discovered.  Creative Kid Explorers for ages 3-5 had an undersea adventure and created fun octopi and ocean scenes while 5-8 year olds travelled to the far reaches of the galaxy to design Space Creatures with Watercolor.  As usual, Kids Yoga was downward-dog room only.  Every morning, howling coyotes would compete with a chorus of hammers in Jewelry Design, where special words of Hope and Love were being pounded into the copper charms.  Students in Watercolor Techniques for ages ten to adult finished the week with portfolios of new work that incorporated a variety of methods for achieving special effects in painting.
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Our afternoon class, Painting with Pastels was bursting at the seams with students learning the 7 elements of art.  How many can you name?  This group created landscapes, visited an art gallery, and made T-shirts.  The ever-popular Canvas Creations was indoor and outdoor, working on a variety of projects using pre-stretched canvases as well as canvas fabric as a backdrop for their creations.  Sketch Book Making incorporated a variety of fun techniques, learning ancient Japanese bookbinding methods and using bubble solution to make decorative paper for their covers.  Down the hall in Beautiful Surfaces, students were painting from tin  cans with dry pigment and applying layers of melted beeswax before using heat guns and blow torches to “set” their paintings.  Students created a still life with fruits and vegetables, a scene with small houses, and incorporated live flower petals into an arrangement to be preserved in the wax.  CBAA Board Member and landscape designer, Beth Holland, brought a variety of  specimens with vibrant colors from her private garden to share with students to use in their projects.  Getting to interact with the diverse patterns of the flowers inspired students  to create a variety of works that resembled mandalas.
Several three-day workshops rounded out the week, with a morning Printmaking class that incorporated use of a printing press.  This large machine enabled students to make copies of collages they assembled on paper before running them through the press.  Students in World Art Adventure let their imaginations travel to ancient ruins and studied world alphabets to render  surreal yet familiar compositions.  Blueprint to Cyanotypes harnessed the power of summer sun to make beautiful blue and white prints of collected leaves and flowers as well as a t-shirt project that was a huge success with students.
Dates are set for next year, so don’t miss the fun and save the date for July 11-15, 2016!  Join us in Cannon Beach to expand your creative horizon.

Call For Work

“Raining Cats and Dogs” 

Cannon Beach Gallery’s 29th Annual Miniatures Show

"Milo", etching by Paul Miller

“Milo”, etching by Paul Miller

Best in Show Award $100

People’s Choice Award $100

We are seeking submissions for our 29th annual miniatures show in November. The theme “Raining Cats and Dogs” is in keeping with the Stormy Weather Arts Festival taking place in Cannon Beach the weekend on the show’s opening reception.

The theme can be interpreted freely, but work must be no more than 6 x 6 inches. Each artist may submit up to four works. All work must be available for sale, and exhibition ready. Work should be delivered to Cannon Beach Gallery, 1064 S. Hemlock Street, Cannon Beach on November 3rd and artists should plan to pick up any unselected work the following day.

The show will be selected by Cannon Beach’s new Program Director, Jane Brumfield. Jane has worked in the visual arts for almost thirty years; in England curating exhibition spaces for museum galleries in Sussex and Kent, and as Exhibition’s Officer for the Crafts Council in London; and in the US as a gallery owner in Boise, Idaho before taking this position at CBAA.

The exhibition will open with a reception on Saturday, November 7, 5pm – 7pm, and there will be a Sunday Morning light breakfast, with pastries and mimosas, at which the Best in Show and People’s Choice Awards will be announced.


Terms and Conditions 10-16-2015

Important Dates

Submission:                                          November 3, 10am – 4pm

Collection of unselected work:            November 4, noon – 4pm

Show dates:                                          November 6 – December 6

Reception:                               Saturday, November 7, 5pm – 7pm

Artist’s Breakfast & Awards: Sunday, November 8, 10am – 11am

Collection of unsold work:                  December 7th, 10am – 4pm



Honoring the Life of Earthen Materials: Ceramics By Richard Rowland

October 2 – November 1
Artist Reception: October 3, 5 – 7pm

Richard Rowland at work in his studio

Richard Rowland at work in his studio

Cannon Beach Art Gallery’s October exhibition showcases the ceramics of Richard Rowland. Every material Richard Rowland selects has its own unique character that creates an ecological and emotional perspective. In the holistic process of finding, collecting, mixing and firing these raw materials, he watches their evolution into abstracted new forms.

Visual art is a form of communication giving the artist another language to express their sense of the world. While this is true of Richard Rowland’s ceramics, it is not the whole truth. His work is more about the integration of art with nature, with life and the world; the balance of the manmade and natural world. Balance is key in Rowland’s work; balance in his thrown and cast forms; balance between the controlled and accidental elements, the planned and chance. Even his home and studio, set in woodland just outside Astoria, is a careful balance between the requirements of safe and comfortable living and work accommodation and the outside world.

He says, “Even though these experiences are recreated in the art, the art also creates my experience of the world. In a more elemental way though, interacting directly with raw, unrefined earthen materials with all one’s senses is a primary experience, eliciting a sense of transcendence and dynamic existence that makes one feel truly alive. When you physically touch a material for even a moment, you begin to understand its character and uniqueness that makes it interesting and after using it often it becomes familiar. However, when mixing it with another material or more, then a new extraordinary transformation can happen.”    

Rowland’s is of Hawaiian heritage and feels an empathetic connection with indigenous peoples and their sense of place. He has collaborated in, and initiated projects with artists from the Aboriginal, Maori and Hawaiian communities at his “Dragon Kiln” in Oregon. He understands the respect given by these visiting artists for the local native indigenous Chinook peoples and facilitated their meeting. These rich cultural exchanges feed into Rowland’s own work, just as every life experience makes us who we are.

Rowland explains how, “Inside the deepest collaboration of experience and ideas I always find an environment beyond my conceptual understanding, so rely more on empathy, intuition, and physical interaction to guide me. Most importantly I listen to the voice of my kūpuna (ancestors) to anchor me in the right place for purposeful, authentic interaction that can help me make meaningful choices and strengthen my veneration for the organically, creative abstracted process.”

Richard Rowland at the Dragon Kiln

Richard Rowland at the Dragon Kiln

Richard Rowland at the Dragon Kiln

Richard Rowland at the Dragon Kiln

Rowland fires most of his work in an anagama (large wood-fired hillside kiln). He is currently building a new kiln and explained to me that the angle of the kiln must shadow the incline of the earth. When I asked if this was important to the kiln’s function, or just a beautifully poetic concept, he replied that it was, of course, both. The ritual could not be separated from the making. And.. the five to seven day firings of this large, whale shaped, kiln is indeed a ceremonial act of creation. The volcanic heat, flying ash and fire craft marks on the surface of the clay, which he describes as, “bringing to life an unpredictable, emotional quality and natural spirit to the work. The community (including the wind and the rain) firing the kiln brings a collective energy and multi-layered perspective that adds to the intensity of the experience.”

Rowland tells of how every piece, “tells its own story about that creative firing process and, like an artifact, holds traces of a longer geological history connecting us to bigger mysteries and leading to emergent realities. In the anagama the fire creates the spirit of the work by integrating the work in a natural way by taking any certainty out of it and especially making the emotional quality of the work more collective. The whole process is labor intensive, challenging and extremely humbling.”

Richard Rowland, Anagama fired ceramic

Richard Rowland, Anagama fired ceramic

When discussing the display of the works in this show, Rowland explained how he hoped that each individual work could find and command a space that would promote engagement and evoke a genuine response that would be personal and intimate. Yet, he hoped that the depth of that experience, and the work’s connection to the natural world would conjure a sense of immenseness. In addition to these fine art pieces the exhibition will also include functional ware, which the artist values with equal importance. The holding of a cup or bowl made by an artist from materials drawn from the earth is an interaction with art at its simplest level and a poignant illustration of how art is integration into our daily lives.

This exhibition was made possible with funding the James F. & Marion L. Miller Foundation and exhibit sponsor, Lum’s Auto Center. The gallery is open Wednesday-Monday, 10am – 4pm.