Help us tell the History of Art and Artists on Stanwood-Camano Island

Stanwood-Camano has long been a community of artists: from native artists carved totems and making functional art, to a short-lived artist colony established in 1910 on the south end of Camano, to early Camano artists, to the birth of art organizations, to the Camano Art Association’s studio tour, to the many talented Stanwood High School graduates who have gone on to noteworthy careers in the arts, to the dream of the Meyer Art Center, we have a rich history of art and artists to tell.  As far as I know that story has never been told in its entirety.

You can help us tell it! 

On Saturday, August 29, during the Meyer Art Festival, the doors of the old furniture store where the future Meyer Art Center will be built will be opened. In the Media Room, Meyer Art Center Executive Director, Jason Dorsey and Lael Williams, are creating a living breathing history of art in Stanwood-Camano. We need your help. 

A timeline with a sketch of that art history will circle the walls. We need you to add to it, names and historical events to fill it out. For example, we would like to list some of the exceptional artist and graphic designers who have come through Stanwood High School. We invite you to come and help us add to this beginning sketch. This history will also trace the Stanwood Hardward Store that was gifted to be the place of the future Meyer Art Center.

History of Art & Artists and Hardware Store by the Decades

Pre-1900’s Indigenous Art 

For thousands of years, Camano Island has been the traditional territory of Coast Salish Indigenous peoples. The island was historically inhabited and utilized by several distinct tribal groups primarily the Kikiallus, Lower Skagit, and Snohomish tribes. 

The island’s rich shorelines and deep forests were utilized for seasonal encampments, clamming, and hunting. Following the signing of the 1855 Treaty of Point Elliott, many of the descendants of these original inhabitants relocated to nearby reservations. Today, present day descendants and members of these tribes are enrolled in the Swinomish Indian Tribal Community and the Tulalip Tribes, both of which still hold sovereign treaty rights and maintain deep cultural connections to the area’s waters and lands. 

The Stanwood area has been home to the Coast Salish Stillaguamish people for thousands of years, centered on the lower Stillaguamish River watershed, with a historic village at the present site of downtown Stanwood. The people relied heavily on the abundant salmon, wildlife, and cedar of the Stillaguamish River basin. Present day downtown Stanwood was home to a large Stillaguamish village featuring extensive potlatch houses under the leadership of Chief Zis-aba. Nearby areas like Kayak Point served as fertile fishing grounds that sustained multiple indigenous settlements.

1900s 

In the 1900s, the Stanwood and Camano area focused on pioneer survival, logging, and farming over fine art. However, a vibrant local culture emerged through community performance and entertainment. Grand gathering spaces opened and early creative movements took root, setting the stage for the region to later become a haven for artists. The Stanwood Opera House opened in 1902 in west Stanwood. This hall hosted traveling theater companies, musical concerts, lectures, and local plays. Local spaces like the Peoples Union Hall hosted dances, musical acts, and festive community gatherings. 

• In 1903, the Stanwood Hardware Company, which began on the wharf by Melton A Goodykuntz, moved into this newly constructed building. In 1906, the Stanwood Hardware Co. was sold to Wellington B. Davis following the sudden death in 1905 of the prominent Peter Leque who was President of the original Stanwood Hardware.  Wellington Davis was a real estate agent and one of the town “fathers.” He was involved in the schools, city council, and was director of the First National Bank at the time of Stanwood’s incorporation in 1903. 

1910s

In the 1910s, the Stanwood-Camano area transitioned from a rugged logging frontier into a small farming community. The Folly Theater opened in 1912 at the corner of 270th Street NW and 102nd Avenue NW, bringing new visual entertainment and moving pictures to growing audiences in Stanwood. Large-ticket traveling Chautauqua educational and cultural tent shows made summer stops in the Stanwood area offering lectures, music, and performance arts to the rural community. The late 1910s saw the paving and construction of Stanwood’s historic brick main street (270th St NW), setting the stage for the permanent commercial and community buildings that later housed local culture. The 1910s also marked the inception of the artist community on Camano with the establishment of Waupello.  

• In 1910, Charles Eugene Banks, editor and drama critic for the Seattle Post-Intelligencer, formed an artist colony called Waupello on 200 acres on the south end of Camano Island. Banks sought innovators of all talents— “musicians, authors, workers in gold and silver… Jewelers, pottery makers, embroiderers, weavers of lace…. All we ask,” said Banks, “is that the individual work out his or her ideas skillfully.”  By June 1910, many house tents had been built and permanent cabins were under construction. Plans for a central meeting hall were also in the works. Tillers of the soil would produce flora and foodstuffs for the colony and since roads were nonexistent, they would build an “artistic” motor-boat to reach the mainland. ”We are to do everything,” said Banks, “from making butter to painting pictures.” Sadly, Waupello did not thrive for reasons left unanswered if not easily imagined: personal disagreements, logistical problems of supplying the isolated colony to name two. 

1920s 

In the 1920s, the Stanwood and Camano Island area transitioned from a heavy timber and logging economy into small farms and early vacation spots. The last old-growth trees on Camano Island were logged out by 1922. A massive 1,200-year-old fir log, felled locally in 1928, was later preserved as a monument to the region’s massive timber epoch. As the big timber vanished, property owners like Norman Bates began platting land (such as Sunnyshore Acres) on Camano Island, setting the stage for the cabin culture and resorts that would attract regional visitors and later inspire generations of Pacific Northwest landscape artists.  

While a formal, organized fine art scene did not yet exist locally, the era experienced vibrant shifts in community entertainment, local architecture, and regional culture. The Ideal Movie Theater opened in west Stanwood in 1920. In 1929, it famously showed the town’s first “talking movie” to a packed house. Stages at local community gathering spaces— such as the historic Stanwood Opera House (now part of the Stanwood Area Historical Society)—hosted local plays, school programs, and vaudeville acts. 

• In 1926, Stanwood Hardware owner Wellington Davis retired. The business was sold to Mount Vernon hardware businessman William Rafter who named it Rafter & Co. It became known as the Stanwood Hardware Company again when Samuel “Dick” and Gertrude Pusey became owners. Dick Pusey worked for Rafter, became the manager of the Stanwood store, and purchased the store in 1937. The purchase was celebrated with a grant reopening sale. It later became known as the Stanwood Hardware & Furniture Company. 

1930s 

In the 1930s, Stanwood and Camano Island residents focused on surviving the Great Depression through agriculture and logging rather than developing a formal local art scene. While nearby Whidbey Island and regional hubs saw artist colonies, visual arts in Stanwood-Camano were largely grassroots, featuring community-driven celebrations like the Stanwood Jubilee where residents designed elaborate handmade floats and displays along the historic downtown brick street. The local Odd Fellows Hall (now the Floyd Norgaard Cultural Center) transitioned away from hosting live theater and community performances as the Great Depression strained local budgets, eventually being repurposed for hardware storage.  

• In 1930, Gertrude Winnifred Gear Beal married Samuel Richardson ( S.R.) Pusey Jr. in Burlington (Skagit County). Gertrude Gear Pusey grew up in Burlington Washington. Her father, Lester Gear, and mother, Winnifred (Winnie), came from Wisconsin to Skagit County to homestead. Samuel Pusey Sr., Dick Pusey’s father, brought the family to Anacortes from Delaware sometime before 1920. He is first listed as a “millrite” in a lumber mill and later worked as the contractor “who had charge of the improvements at East Stanwood’s Lincoln High School” in 1928. His son, Samuel (Dick), worked, then managed the Rafter’s Hardware in Burlington for several years until Rafter purchased a second store in Stanwood and Dick Pusey moved to Stanwood After a few difficult Depression years, Stanwood Hardware celebrated his grand reopening in 1937. Mr. and Mrs. Pusey operated the business selling the popular Monarch Ranges (wood cookstoves). 

1940s 

In the 1940s, the Stanwood-Camano area did not have a formal or organized local fine art scene. Instead, the community focused on agriculture, logging, and the wartime economy. Local creative expression was tied to community celebrations, like the annual Harvest Jubilee parade, rather than formal galleries or dedicated art associations. 

The popular annual Harvest Jubilee parade and street festival stopped in 1942 because of World War II. However, movie theaters like the local theater on Main Street (later named the Colonial Theatre) remained active, showing films through the war years. Local granges, such as the South Camano Grange, brought residents together for community projects rather than art programs. 

• In 1946, Thomas “Doc” and Sayre Dodgson, and their four children, moved to a 30-acre farm on southwest Camano Island. Doc purchased three 10-acre plots as part of Sunnyshore Estates. In 1969, he gave one of those plots to his daughter, Ann, and son-in-law, Jack Dorsey, where the Dorsey family of artists would flourish.  

1950s 

In the 1950s, the Stanwood-Camano art scene began to take root with the arrival of pioneer artists and the founding of the area’s first dedicated community art hub, laying the groundwork for the region’s later identity as an artistic haven.  

• In 1952, Stanwood Hardware owner Dick Pusey invested in a major re-modeling project. He installed double strength glass windows along the front, and a wooden platform that had to be replaced every few years. He installed plate glass and concrete platform front and back, restored the foundations and put on the then-popular asbestos shakes. In 1952, he still carried fireplace grates as well as Franklin stoves and oil heaters, tools, and handled orders from catalogs for dinettes and upholstered furniture, washers and dryers, Kelvinator and Gibson refrigerators, freezers and ranges, along with Sunbeam small appliances.  

• In 1953, Fanny Y Cory, renowned cartoonist and illustrator, moved from Montana to Camano Island to be closer to her daughter, Sayre Dodgson. From her home across the street from Doc’s farm, she sent “Little Miss Muffet” and “Sonnysayings” to King Feature Syndicate to be published in newspapers across the nation.   

• In 1957, painter Frances Trusdell opened the Camano Art Center in west Stanwood (inside the historic S.A. Thompson House, now known as the Stanwood House). She organized the first outdoor “Twin City Arts and Crafts Exhibit” on her property, drawing an estimated 1,000 visitors and featuring local awards and portraits for children. These grassroots efforts by early local painters and instructors helped spark a short-lived Twin Arts and Crafts Club, creating early public engagement with the arts before the major studio tours and non-profits of later decades. 

1960s 

In the 1960s, the Stanwood-Camano art scene centered around grassroots community exhibits. Frances Trusdell ran the S.A. Thompson House as a local art hub and central gathering place for regional painters and crafters. She organized popular outdoor “Twin City Arts and Crafts Exhibits” that drew massive crowds before slowing down near the end of the decade. Annual yard and community art shows drew up to 1,000 visitors, featuring painting awards and live artist demonstrations. 

• In 1969, Jack and Ann and their son, Jason Dorsey, moved to Camano as “pioneer artists.” Jack converted an old fox shed into his studio and launched his career becoming a legendary northwest artist.  

• In 1969, acclaimed artist Wes Broten moved to Camano. Wes served as a mentor to area artists. 

1970s 

In the 1970s, the Stanwood and Camano Island area became an important birthplace for the Pacific Northwest studio glass movement. The most significant art event of the decade was the founding of the world-renowned Pilchuck Glass School just outside Stanwood in the forested foothills. Pilchuck put the rural Stanwood region on the international fine-art map, transforming glass from a craft medium into a vehicle for large-scale avant-garde sculpture. The excitement surrounding Pilchuck rippled into local communities, inspiring regional interest in specialized crafts. Adult education and night classes — such as stained glass workshops at Stanwood High School launched in the late 1970s — sparked long-term creative careers for local residents, helping build Camano Island’s enduring reputation as a haven for independent makers and studio artists. 

• In 1970, the Stanwood Hardware and Furniture business was sold to Mr. and Mrs. Merwin Wilcoxen though the building was still owned by the Pusey Family.  The furniture business evolved into the business now known as Stanwood Camano Home Center. The store closed in 2020. It is the grandchildren of Dick and Gertrude Pusey who recognized the building’s historic value and donated the property to  SCAAC, now the Meyer Art Center.  

• In 1971, famed glass artist Dale Chihuly, alongside local arts patrons Anne Gould Hauberg and John H. Hauberg, established Pilchuck on a 54-acre parcel within a 15,000-acre tree farm in the Stanwood area. Pilchuck Glass School started as a rustic summer workshop operating out of tents and simple wooden structures built by artists. The experimental, collaborative environment drew international artists and forever linked the Stanwood region to the global history of glass art. 

• In 1976, Jack Archibald moved to Camano Island. In the late 1970s, Jack signed up for a stained glass night class at Stanwood High School. He needed windows for a house he bought on Camano Island. That night sparked a 40-year career as a stained glass artist. “I was totally hooked on glass, and never went back to the class,” he said. Jack’s career begins as a noteworthy stained glass artist. 

• In 1979, a destructive studio fire launched Jack Gunter on a cross country move from New England to Camano Island with a truck, a dog, and the clothes on his back. A self-taught artist, filmmaker, and author, Jack’s creative output from his Camano studio would be voluminous. 

1980s 

In the 1980s, the Stanwood-Camano area focused more on preserving its pioneer and Scandinavian heritage than on a formal contemporary art scene. While local creative families, like the Dorsey family, continued painting on Camano Island, organized public art groups, major galleries, and the famous studio tours did not emerge until the 1990s. However, one art group was started in the 1980s, the Roaming Artists plein air group.  

• In 1986, the plein air group “Roving Artists” formed. A few years later, they changed their name to “Roaming Artists.” They established their annual rhythm of painting together outdoors in the lovely days of summer and hosting a show and sale on Labor Day Weekend.  

• From 1981 to 1984, Donna Lee Orr (Bradley) hosted an art gallery next to Seattle First National Bank with about sixty artists on consignment, including Wes Broten. 

• In 1984, Camano-based metal sculptor and artist Rick Wesley opened his welding and fabrication shop, WesWeld. He expanded his welding skills by training at the Gitanmaax School of Northwest Art at Ksan and the Freda Diesing School of Northwest Coast Art. 
• Gaylynn Beuthien, (BFA, M.Ed) moved to Camano in 1988 and has been active as an artist, teacher and arts advocate. Volunteering for the area’s 1st Afternoon of Art, and CAA’s mentorship program at the H.S., Teaching K-12 Art at Stilly Valley School, former Art Teacher at SMS & PSMS, now art teaching all ages for MAC while serving on our Board and Programming Committee. Along with many of our youth classes and events, she’s been offering her popular Mindful Reflection Thru Art class going on four years, as featured on a commercial for Providence Swedish!  

1990s 

In the 1990s, the Stanwood and Camano Island area turned into a lively creative hub. There was what might be described as a (good) explosion of creativity! Local artists started coffee shop gatherings, formed formal guilds, launched major public art and annual festivals, and laid the groundwork for the famous regional studio tours. In the early 1990s, local painters and creators began meeting regularly at the Snow Goose Bookstore to share ideas and discuss art. Energized by small pop-up shows, these creators officially formed the Stanwood Camano Arts Guild in late 1993 to support local painters and makers. In 1999, the Camano Art Association was formed out of the popular studio tour. 

• Sal Hutson launched Souvenirs of the Soul Gallery in downtown Stanwood. In 1999, Hutson and two other local gallery owners founded an artist tour that led to the creation of the Camano Arts Association.   

• 1990, Karla Matzke artist, sculptor, and cultural entrepreneur moved to Camano Island. She becomes a force in the art economy. Karla and Jack Gunter established “History of the World” Gallery; she is a founding member of the Camano Art Association (CAA) and Studio Tour, owner of Matzke Gallery and Sculpture Park, and commission participant and then board member of the Stanwood-Camano Art Advocacy Commission (SCAAC).  

• 1991, master gardener Betty and John Dorotik moved to Camano Island. Betty took art classes and fellin love with painting birds. Her home and garden became a must-see on the Camano Art Association’s (CAA) Studio Tour, and she serves in leadership roles in CAA including as the current board chair.  

• 1993, Stanwood Camano Art Guild (SCAG) formed as an all-volunteer, non-profit organization dedicated to promoting local artists and visual arts. SCAG became one of the vibrant Stanwood-Camano art organizations, hosting the popular Art by the Bay show and operating A Guilded Gallery in East Old Downtown from 2013-2023. Located across from the train station on Main Street, this hybrid co-op and traditional gallery provided a physical retail space and community class venue.  

• In July 1994, the Guild hosted its very first Art by the Bay festival at the Utsalady Grocery Store with 23 local artists, kicking off a long-running community tradition. 

• 1996, Marc Boutte, blown-glass artist, and a graduate of Penland School of Crafts at the Louisiana State University and the Pilchuck Glass School moved to Camano and started his glass studio.  

• 1998, John Ebner, admired and collected Pacific Northwest watercolorist, moved to Camano Island. John helped launch the Camano Art Association’s popular Studio Tour.  

• 1998, glassblowing artist Mark Ellinger, well-known for his innovative uses of color and Art Nouveau-inspired designs, started Glass Quest out of his studio in Stanwood where he and his son, Marcus, create hand-blown glass art.  

• 1998, the Visitor Center and Sculpture Park was created by Jack Gunter, Karla Matzke, Paula Rey, Debbie Rhodes, David Maritz, Marc Boutte, Jan Pipes, Mike Nicholas, Carol Hall, Jackie Stanfield, Rik Allen, and Jack Archibald. 

• 1998, Kevin Plambeck, CTE director, asked Gail Merrick to develop a Graphic Arts program at Stanwood High School in the fall of 1998. Gail taught introduction to Graphic Arts 1, Graphic Arts 2, and Advanced Placement AP Studio Art. She organized a National Art Honor Society and partnership with Camano Art Association to bring professional artists in to meet and critique art students. She worked as Scholastic Art Awards co-director through The Schack Art Center in Everett. She retired after twenty years in June 2018. Gail loved teaching and is still so proud of the wonderful students she had the privilege to know. 

• 1999, the Camano Art Association (CAA) grew out of the wildly successful grassroots Camano Island Studio Tour, which was started by local gallery owners and artists. Following the immediate success of the tour, the participating artists officially formed the non-profit Camano Arts Association to continue and expand the studio tour as well as other initiatives.  

2000s  

In the 2000s, the Stanwood and Camano Island area saw a major grassroots boom in its visual arts community. Driven by the success of the Camano Island Studio Tour—which started in 1999 and incorporated as a non-profit in the early 2000s—local galleries, studio spaces, and independent artists collaborated to transform the region into a vibrant rural art colony. 

• 2000, glassblowing artist Stan O’Neil started O’Neil’s Arts Hand Blown Glass on Camano Island. Specializing in custom hand-blown and sculpted glass, Stan creates colorful work that ranges from vases and vessels to large-scale garden art is a highly anticipated fixture in the local art scene. 

• 2001, Roger and Opal Cocke moved to Camano Island from Southern California to join the vibrant local art scene, where Roger creates ceramic art and Opal focuses on fabric arts. 

• 2002, the ‘UNCLAD’ fine art exhibition, created by Camano Island artist Gayle Picken, runs for sixteen consecutive years at the Gallery by the Bay in Stanwood and features work from over ninety North American artists.  

• 2002, native Seattleite and modern contemporary artist Dotti Burton moved to Camano. 

• 2002, Chaim and Yonnah Ben Levy, established Stanwood House, which becomes a dynamic art and ceramic studio with a kiln for students, studios for Chaim and Yonnah, and a gallery featuring their separate and joint artworks, books, and other creative projects.  

• 2002, Glass artist Lee Beitz moved to Camano and establishes his studio where he works with glass, ceramics and wood.  

• 2003, Susan Cohen Thompson and her husband Clay, moved to Camano Island from Massachusetts, and settled on a home nestled among towering Douglas Fir and cedar trees near Camano Island State Park. Her ceramic and painting studios are popular stops on CAA’s Studio Tour. Susan and Clay’s major gift in 2024 to the Stanwood-Camano Art Advocacy Commission provided significant momentum in the launch of the Capital Campaign and a legacy to the next generation of artists.  

• 2004, renowned ceramic artist Marguerite Goff relocated to Camano Island from Massachusetts and joins the Camano Arts Association. Prior to her move, she had already been a full-time potter for decades and operated Pleasant Ridge Pottery. 

• 2007, master weaver Kathy Edelman Hutchinson’s handweaving studio began participating in CAA’s studio tour. 

• 2008, Karla Matke started Matzke Fine Art Gallery and Sculpture Park, becoming known as Stanwood-Camano’s premier gallery and sculpture park.  

• 2009, Northwest artist and master teacher John Ringen moved to the south end of Camano Island with his wife Vicki. John paints daily from his studio looking across Port Susan to Tulalip and the Cascades beyond. Vicky served on the board of the Camano Arts Association when the board develops its three-year vision and strategic plan.  

2010s 

In the 2010s, the Stanwood and Camano Island area grew as a rural creative hub. The decade featured expanding local studio tours, vibrant community guild exhibitions at the Floyd Norgaard Cultural Center, and the 2017 launch of the Stanwood Camano Arts Advocacy Commission (SCAAC) to unite regional creators. The annual Camano Island Studio Tour expanded its reach, connecting independent island artists with mainland visitors in downtown Stanwood. Groups like the Stanwood Camano Arts Guild hosted popular spring shows and seasonal exhibits. The regional treasure hunt, Glass Quest, launched. Venues like the Matzke Fine Art Gallery and Sculpture Park and local historic schoolhouses provided year-round showcases for regional sculptors, painters, and mixed-media artists.  

• 2015, Watercolor artist Nicki Wight moved to Camano Island. After retiring as a graphic designer, she transitioned to painting and became an active member of the local arts community, opening her studio for the Camano Island Studio Tour.  

• 2015, Barcelona native and fused-glass artist Dolors Ruscha (of Accents in Glass) established her studio on Camano Island. After studying art at the Praff Fine Arts Center in Seattle and training at the Pilchuck Glass School, she creates her Camano Island gallery and studio. 

• 2017, David A. Cassera, the son of late painter and president of the Washington Society of Landscape Painters, G.D. Cassera and the owner of two Pacific Northwest gallery locations (Vancouver, B.C. and La Conner, WA), and who is an international specialist in the traditional arts of Africa, Oceania, and the Americas, opened Que Sera Gallery in Camano Commons Marketplace Loft.  

• 2016, Sunnyshore Studio opened across the street from the original Jack and Ann Dorsey homestead. Its mission is to showcase the Dorsey family of artists and to share beauty through art, books, and film.  

• 2016, Camano Island artist John Hadley, Jr. became a full-time resident of Camano. Before moving to the area and joining the Camano Arts Association, he had a 50-year career as an architect and real estate professional, studying at Dartmouth College and the USC School of Architecture.  

• 2017, Nationally recognized artist Shogo Oto moved to Camano Island and established his Tireman studio that specializes in branding, large-scale murals, design, custom illustration, and more.  

• 2017, the board of the Camano Art Association met at Sunnyshore Studio to create a three-year vision and strategic plan. One initiative of that plan was to build a partnership between art organizations, local businesses, and civic and educational institutions to make Stanwood-Camano a center and destination for art. A grassroots group began to meet monthly at Stanwood City Hall to forge that partnership, eventually naming themselves the Stanwood-Camano Art Advocacy Commission (SCAAC). 

• 2019, nationally acclaimed acrylic artist Jed Dorsey moved to Camano Island and established Dorsey Fine Art Studio in the Loft at Camano Commons. In 2019, he launched Acrylic University, an online art community and teaching platform, which now has 3,000 members from around the world.  

2020s 

In the 2020s, the Stanwood and Camano Island art scene shifted heavily toward public-private revitalization partnerships, new advocacy groups, and community-centric spaces. Key highlights include the formation of the Stanwood Camano Arts Advocacy Commission (SCAAC), plans for the new Meyer Art Center, public art installations at local parks, and the resilience of traditional studio tours and grassroots art organizations like CAA, SCAG and Roaming Artists. Of immense cultural and regional importance was the gift from the Pusey family of the old hardware and furniture store, three million dollars of seed money for a capital campaign to build an art center, and two-million dollars for an endowment to help fund the ongoing operations of the art center.  Heartfelt thanks to Carrie Richardson and the Meyer Family Foundation for their generous gift that will build community by art. 

• 2020, award winning pastel artist Barbara Noonan relocated to Camano Island from the Boston, Massachusetts area. She became a regular exhibitor at Matzke Fine Art Gallery.  

• 2020, Steve and Tiami Hogberg moved to Camano. Retired from successful careers, they took up painting and got involved with the Camano Art Association. They represent all those who take up painting as their passion.  

• 2020-2022, The Gift from Carrie Richardson, granddaughter of the Pusey family, owners for decades of hardware store, and the Meyer Family made an art center a reality. Between August 2020 and May 2021, Carrie Richardson donated $94,565 for operations under the fiscal sponsorship of the Community Foundation of Snohomish County. In October 2021, Carrie donated $100,000 towards operations. In December 2021, the Meyer Family Foundation donated $2,100,000 for the endowed fund. The Community Foundation of Snohomish County (CF-SC) acted as fiscal sponsor until June 2022, when the operating funds remaining were transferred to the Stanwood-Camano Art Advocacy Commission. The Building Gift Agreement was signed and property was transferred on August 19, 2022. Capital money was given via the CF-SC in a series of gifts between October 2021 and December 2022. CF-SC transferred capital Funds to SCAAC on January 1, 2023.