On Saturday, March 9th, Sunnyshore Studio celebrated the art and legacy of five of Washington’s “vintage” watercolorists. Enjoy this photo journey of the day we shared together.
As usual, Jenny Dorsey did a great job is hanging the show and creating a beautiful and hospitable space.
Saturday morning before the show was beautiful, sunny and still. The “calm before the show.”
A few artists and guest trickled in before noon. It was lots of fun to listen to 2019 Vintage artists Nancy Fulton and Jerry Stitt share stories with Dad.
Another highlight for me (Jason) was an old friend from Stanwood High School, Paris Rutledge stopped by in his limo. He owns a limo service based in Tacoma, and had stopped by Jack Gunter’s studio on Camano and then stoped at Sunnyshore to say hi. This was the first time we’ve had a limo at the Studio.
Things were pretty slow in the morning and early afternoon, but the really picked up a little bit before the reception which began at 3:00pm.
It got so slow that Jackie got a free art lesson from master Jerry Stitt! How cool is that.
Then all of a sudden the studio filled up and we ran out of parking!
It was wonderful to see the artists mingling with their fans, collectors, patrons, family members and friends.
I introduced the artists and shared some stories about them. Some of them, like Sandy and Nancy, I knew from 1992. Dad said a few words too.
All five of our 2018 vintage artists came back for the show. It was incredible to them all together under one roof. What talent, but also humility!
After the Gallery closed at 5:00pm, Jenny hosted dinner for the artists and their significant other. It was a special evening of feasting.
What an honor it is for us to celebrate these artists, to showcase their art, and to collect their stories for future generations!
If you are interested in seeing the 2019 Vintage show we will be open on Saturdays, March 16, 23 and 30, 10am-5pm. You are also welcome to call me, Jason Dorsey, to arrange for a viewing by appointment.
Jerry Stitt’s paintings captivate. They hover on the watercolor paper, even dance. In their presence you know that you are in the presence of a master. They touch you at a deep, emotional level.
Jerry Stitt was born to be an artist, but it took many years before he took the plunge. He grew up in Seattle on Queen Anne Hill. There was seven children in the family. Jerry had three brothers and three sisters. He was right in the middle. “We had a great life,” he says. As a youngster Jerry saw pictures in his head, and like a lot of children, he had to paint them; but we was really serious about painting, even from a young age.
The family lived a block away from the grade school. Jerry went to Queen Anne High School. He had to walk a mile and a half every day, and he was always late getting there. “That’s alright,” he remembers, “I enjoyed the walk all the way to the school because I’d see all these buildings and all kinds of stuff that I would want to paint and draw.”
Jerry remembers everything he’s seen since he was about six years old. He doesn’t need to look at anything to draw or paint it because he holds it in his memory. He recalls not just the images themselves but the emotions of those images too, say for example, a building in the snow or a road in the heat of summer. He remembers his dog named Prince who loved to go walking with Jerry: “He was a collie, a beautiful collie dog, and he would go everywhere with me.”
After high school Jerry worked a number of jobs, while going to art school when he could. “I did everything,” Jerry says. He was a stage hand for the Seattle Opera House for five years. He enjoyed that because he not only met a lot of celebrities from all over the world, but saw how the stage was created for a particular scene, like the cabin in Fiddler on the Roof. Without knowing it, he was picking up art and design skills. He drove a taxi cab for four years; two years during the day and two years during the night. “Believe me, there’s a difference,” Jerry notes.
He worked for the Parks Department of the City of Seattle for nine years, stationed at the Woodland Park Zoo. There he became a journeyman plumber after three and a half years of training. He spent a year and a half in the carpenter shop, learning how to build stuff. But his favorite was working in the paint shop for about four years. That’s what he loved. He painted all the life boats for the summer season, and did a lot of lettering. “That was a lot of fun work for me,” he states. He also painted many Park and City of Seattle buildings. One building stands out.
Jerry was sent to paint the Elephant House at the Zoo. He put the five-gallon buckets of paint and all his gear in his truck and drove to the Elephant House. He came to the field where the elephant was, and the great big tall building that he was to paint. And there in the field was the elephant, and a hippopotamus too. The hippo was a good distance away and looking at him. “He was facing me, and he’s a big animal.” Jerry recalls. Jerry felt comfortable with the distance between them, so he grabbed his paint buckets, set them down over the fence, and climbed over the fence. He started to carry the buckets over to the building when “the hippo came running full bore at me, and in between me and him was this pond. He leaped in the pond and he was so big and fat that he bounced out of the water. And he was coming out of the water and I grabbed those paint buckets just in time and got them over the fence, and I leaped over the fence just as he got there,” Jerry tells.
Jerry thought to himself, “what an aggressive animal.” The Hippo moved back to where he had started, so Jerry went back over the fence. He eyeballed the hippo and thought to himself, “Well, I have to paint this building” so he bravely set out. He says, “I put the paint buckets over the fence and here he comes again, barreling right at me.” This went on a couple of times. Finally, Jerry told one of the zoo keepers about the hippo attacking him and asked what he should do. Eventually they figured out that when the zoo keepers feed the hippos they use the same paint cans from the paint shop, filling them with lettuce and other food that the hippo ate. When Jerry had put his paint cans over the fence, the hippo thought it was dinner. That was just one adventure of many that Jerry had working at the zoo for those nine years.
Jerry married Sharon Hyde, whose had a son named Rick who would become a gifted artist himself. Jerry and Sharon had three kids of their own: Ronnie, Rhonda and Christian. They were together for about ten years. Jerry’s second marriage was to Deanne Lemley, who is an outstanding artist herself.
PATH INTO ART
Jerry was inspired to take the plunge into art by a painter on television, who moved his brush effortlessly across the page. He was twenty-seven. During these years of raising a family and working for the City, Jerry took art classes at night, because he worked during the day, and had a family. He loved going to classes at Cornish Art School and another college on Capital Hill. He studied under a great art teacher whose name was Fred Marshall. Fred was an illustrator for the Seattle Times newspaper for twenty five years. “He helped me a lot because he could that I was ahead of the other people in the class,” Jerry remembers. Jerry took a shine to watercolor right away. “Yeah, those were the good ole days,” he says.
Eventually Jerry decided art was what he wanted to do with his life. “It always came down to my art, that was what I wanted to do,” Jerry says. He knew he had to make a living at it. So he started teaching watercolor painting classes. He’d work his day job, then get a studio in the evening where he’d teach his classes; then it was back to work at the city job he had during the day.
Thankfully, art allowed for him to integrate work with his family. He was able to bring his oldest son along with him to art classes. They’d travel to art classes in different cities and out in the country. Jerry remembers that the country folk would sometimes trade him vegetables and other stuff they had made for tuition for his classes. They had a good time together, and his son learned a lot too. ”I taught him how to draw. He became a great painter,” Jerry says.
Jerry taught for the University of Washington for five years, and for the University of Puget Sound too. The University of Washington would send him on assignments to bring “culture to the outside world” as they put it. They sent him to all kinds of different places around Washington State, as well as Alaska and down to California. “I went everywhere, for a week at a time,” he says.
Jerry loved teaching. He did his my homework and knew what he was talking about, and how to put art lessons is simple, memorable phrases like this one: “art is like golf, the winner is the one with the fewest strokes.” He had an acute memory, had years of architecture and design under his belt, and had the magic of being able to pull off a sparkling, even stunning watercolor with a class of students looking on. He always did a demonstration painting in his watercolor classes. They inspired the students, and Jerry would get inspired in the moment too.
Jerry has studied with such masters as Fred Marshall (AWS), Rex Brandt, Robert E. Wood (AWS), Christopher Schink and John Ringen. Regarding John he says,“I learned so much from John. He was a great painter. And he had a great sense of humor. He was fun to be around.”
Perhaps Jerry was most impacted by the Russian artist, Sergei Bongart. “He was a genius painter, the best,” Jerry says. Sergei told his students the story of how he got out of Russia. He and a friend wanted so badly to get to the United States that they walked from their hometown in Russia 2,000 miles to the German border. He and his friend walked day and night 2,000 miles to get to the German border. They walked day and night, and had to remain hidden as best they could. They found farms to stay on and would dig potatoes for food. Finally Sergei came to the Russian-German border. At the gate stood a border guard. And down the road towards him came rumbling a Soviet Truck with some soldiers in it. Sergei knew they would apprehend him. But so determined to leave Russia and go to the United States he was that he risked his life. “I’d rather die than go back to Russia”, he thought. So he walked through the gate. He waited to get shot. His pace hastened as he went through; he kept waiting for the guard to cock the pistol and shoot him in the back. He walked faster and faster. Still he didn’t hear the clicking of the magazine. Sergei got into Germany, and somehow got on a freighter that brought him to the United States. He made his way from New York to Memphis, Tennessee.
“He was one of my all-time great painter teachers,” is the way Jerry concludes the story. Those who know Jerry’s art affirm that he has some of the genius painter in himself, just like Sergei Bongart his mentor.
JOYS AND STRUGGLES AS AN ARTIST
Jerry take art and painting very seriously. He just stayed with it, and he learned from everybody he could. Art can be a solitary vocation, but in it Jerry found camaraderie. He joined the Puget Sound Group of Northwest Painters, who had a reputation for high quality art above all else. They were great guys and gifted artists that he had looked up to. Jerry looked forward to all those meetings and soon became President of the group. “I was among all those other big guns,” he says.
Jerry had significant success in his art career. He became a signature member of the prestigious American Watercolor Society (AWS), based in New York, in a notable way. To become a member an artist has to enter only one painting in their once-a-year national show, and you have to get accepted into that AWS three years in a ten-year span. “Well I entered it three years, and got in every year,” Jerry says with well-deserved pride. Jerry became a signature member of AWS, and as a result can sign AWS after his name. “That was quite an honor,” he says.
Jerry is also a signature member of the National Watercolor Society (NWS) as well as many of the other big watercolor societies like the San Diego Watercolor Society, the Missouri Watercolor Society and the Northwest Watercolor Society, which he served in the past as president.
But art wasn’t all the easy street for Jerry. One of the things struggles that he faced was in dealing with galleries. “I went in with my eyes wide open, [assuming] that they’re all reputable, and honorable. Most of them were, but not all. They would sell your paintings, and the rent would be due the next day, and they would say, ‘we’ll catch up to you,’. I ended up paying the rent for their gallery to stay open and didn’t get paid,” Jerry recalls. As other artists have learned, galleries tend to take a pretty good commission, usually at least 33% of sales.
Still Jerry was very fortunate. People liked his paintings and he made a very good living. He was able to make a full-time living through his art. He got a studio with artist Bill Rees in Redmond. They shared that studio for eleven years. Jerry taught classes at his studio, and he and Bill painted there every day. While they painted they talked about the old times. Sometimes they would see would have friends from the Puget Sound Group of Northwest Painters stop by.
My dad, Jack Dorsey, who was a member of the Puget Sound Group of Northwest Painters, tells the story of how he stopped by their studio in Redmond around 1979. Dad had worked as a full-time artist for the past ten years (1969-1979). He told them that he had just taken a job at Boeing. He remembers Bill Rees saying, “too bad.”
The reason Jerry paints is that it’s an emotional thing. His watercolors are infused with emotion. “It’s just something you know how to do, it’s very easy, at least for me it was and is.” Jerry knows this is not the case for all students of watercolor. He remembers that he would get a lot of students in his classes and they would think that art is about getting every little detail right, and there wasn’t any emotional content in their work. Jerry would tell them to put their heart into it, to paint with feeling. “If you’re painting a trail or a road, and it’s horizontal, paint what it’s doing. Paint horizontally, with big brushstrokes. If it’s a building, paint vertically. If it’s a figure, give it a gesture. When you’re painting feel what you are painting. Get involved with it,” He says. Jerry knows that not everybody has that intuitive nature about them. They think painting is recreating a photograph. For Jerry, this is the wrong approach, “A painter, you’re emotionally involved with the painting. You feel everything you’re doing.”
Jerry has painted in all mediums. He started out in watercolor with Fred Marshall, and watercolor stuck. What was hard about mastering watercolor for Jerry is that you only have one shot at it. If you did a watercolor, and you had something in it that was wrong, and you tried to fix it, it would look like you fixed it. You have to “paint the thing like you own it”, Jerry says. “You have to get really involved with the painting. That’s the way I paint. I get so involved. I can feel everything I’m doing, whether it’s a dirt road or a shingle on a roof, or a gesture of a figure, whatever something is doing, that’s exactly the way I feel about it. Whatever I’m painting, I paint what it’s doing. And it paints itself. It just paints itself, if you paint what things are doing.”
Jerry has an impressive resume. His web page tells: “He was a United States Navy combat artist, has paintings in the Pentagon, in the private collections of King Gustav of Sweden and the King of Saudi Arabia. His work is in the collections of Alaska Airlines, J P Morgan Chase Bank, Boeing Company, and Foss Tug Company.”
Jerry doesn’t need to stand on his resume. His work speaks for itself. I have found Jerry Stitt originals and prints in many homes of artists and art lovers throughout the northwest. And when I do I always stop in awe and wonder, even enchantment, wondering how he did it. I have learned that for Jerry it is much more than a matter of technical skill, it is a matter of the heart! He paints with and through his emotions.You don’t have to be art critic to know, or maybe it would be better to say “to feel”, that in the presence of Jerry Stitt’s paintings, you have encountered
VINTAGE WATERCOLORISTS OF WASHINGTON SHOW
You can see Jerry’s paintings, and the paintings of five other vintage watercolor artists, at Sunnyshore Studio’s upcoming Vintage Watercolorists of Washington Show.
Opens Saturday, March 9, 2019m 10am-5pm
Meet the Artist Reception, Saturday, March 9, 3-5pm
Also Saturdays, March 16, 23 and 30, 10am-5pm
Sunnyshore Studio wants to thank the Jack Dorsey family for sponsoring the show, and the Northwest Watercolor Society for partnering with us in celebrating the life and legacy of vintage watercolorists of WA.
Sandy Langford grew up on Queen Anne Hill, Seattle. Her early inspiration for painting was her sister who was six years older than Sandy. Sandy would watch over her shoulder as she drew horses. I would say, “wow, that looks like fun.” Sandy believes that she fell in love with art not because she herself was especially gifted in art, but because of her sister’s artistic gift.
Her parents encouraged her in art in an indirect way too, through their support of her siblings proclivities. Wanting to encourage Sandy’s older sister in her artistic development, the family toured the Seattle Art Museum many a Sunday. Wanting to encourage Sandy’s older brother in his engineering bent, every summer when they drove to California they stopped at all the bridges along the way, taking pictures of them. Sandy laughs and says, “by the time I came along, they were done.” Still these early immersions in art and man-made objects against the backdrop of nature, undoubtedly registered in Sandy’s heart and mind.
As Sandy found her own way, she took as much art as I could take at school. At Queen Anne High School, her art teacher, Ms. Sears, was very strong on rules. She taught her students how to stretch the paper on a board, wet it, then wait a day for it to dry. Sandy remember, “then you had one shot at getting the sky right. Otherwise you started over again.” In later years, when Sandy found Arches watercolor paper it opened up new possibilities. Unlike the thin watercolor paper they used in art class, it was so hardy. If you didn’t like one area, you could scrub it out with a toothbrush. If you wanted to change a painting you could soak it in the bathtub. “It’s so tough and versatile,” Sandy comments. Under Ms. Sears tutelage, the restrictions of watercolor were emphasized, not it’s freedom. Sandy would discover that later.
After high school, Sandy attended Seattle Pacific College for two years. They didn’t have much art school at the time. So she transferred to the University of Washington where she graduated with a degree in art. She enjoyed the variety of art classes she took there, even though she didn’t click with the political bent of one of her teachers. She took some watercolor classes there; she loved the wood class, and working with throwing clay pots on the wheel, and taking sculpture from George Tsutakawa. For Sandy it was a real neat all-around experience.
Even though she majored in art, Sandy did not aspire to make a living through art. For Sandy, art was more something that she wanted to have as a part of her whole life through. Perhaps in the back of her mind she may have figured that she would get married, and wouldn’t have to make a living through art. She did meet a young man, an engineer named Fred. They got married and made their home in Redmond, WA. There Sandy settled in as a housewife, and soon mom of their two daughters which has now grown to two awesome son-in-laws and three grandsons.
PATH INTO ART
Sandy’s path into watercolor is through community. As a mom, she was busy raising her kids. While she dabbled in stained glass and pottery, but they were only hobbies; her energies were given to her family. As her children left home, she could have become lonely and aimless. But she didn’t for this is when her passion for art was rekindled.
Sandy was forty-seven, when she signed up for a class from Jeanne Marie Price in Bellevue. Jeanne was good at teaching adults because they’re restricted and scared, in contrast to kids who are so free and will fill the whole page with color. Sandy had a positive experience with her. Not only did she teach her students how to paint watercolor a freer way, but in a very short time she helped them display and sell their art in Bellevue at the senior center. At the first sale, Sandy sold three out of five paintings. She said to herself, “I want to do this the rest of my life.” Sandy isn’t sure if the turning point for her was that someone else liked her work, or that she just loved doing it. She does know that from that point on, she painted every moment she could. It was her passion. “I would get up in the morning and before I ate breakfast, or got dressed, I was painting,” she reflects. “I want that passion again. But life gets in the way.”
One friend that Sandy made in that first class was Sonja Ravet. Sandy and Sonja were really good at mentoring each other. At the time, they were both painting flowers. But they did them very differently. Sonja went on to teach art classes herself. Sandy did teach one class, but it was a long way north, and she didn’t get home till 11pm at night, exhausted. She realized that teaching isn’t her thing; she’s better with one on one friendships or smaller communities. Sandy’s passion for art was rekindled in community, and it was nourished by the rich artistic community in the Puget Sound region.
COMMUNITY OF ARTISTS
Sandy’s story is woven into the threads of the incredibly rich watercolor community in Washington. She’s taken classes from artists outside the Puget Sound region, like Gerald Brommer, who is from Carmel, CA. Sandy liked his work and when she met him she was thrilled that his personality matched his art. But for the most part, her instructors and artistic friends read like a veritable Who’s Who of Washington watercolorists.
Sandy likes to take classes from people whose artwork she loves. She’s taken a couple of classes in Coupeville. One of those was taught by Glen Oberg. Sandy remembers the class had a great time painting outside every day and that it was packed with really good artists: John Ringen, himself a watercolor legend and a lifelong friend of Glen; Marty Rogers who became a beloved friend of Sandy; and Nancy Fulton, Glen Oberg’s cousin.
She took a week-long class taught by Jerry Stitt on Camano Island. This was amazing for her because as a child, from 6 months to 18 years, her family came to Camano every August for one or two weeks at Madrona Beach Resort on the West side of the Island. At the end of the holiday, when the kids piled into the back seat to go home to Seattle, there would be a tear in Sandy’s eyes. So the class tied together two of Sandy’s loves: for painting and Camano. The class painted at many of the same places Sandy remembered as a child. In that class, Sandy also met April Nelson, daughter of northwest artist Jack Dorsey, and she became a precious art friend.
A number of art communities have nourished Sandy in her art journey. Sandy got involved in Art League North. They met at the Fire Station Mount Vernon. After the official meeting they would go out to lunch afterwards. This is where her friendship with Marty Rogers deepened. Marty’s husband Earl Jorgensen was a part of that group. So were Glen Oberg and Nancy Fulton. She remembers “magic moments” painting plein air with them. That was her first artist group.
Sandy also was also part of a wonderful critique group with Betty Dorotik. Members of this group grew together, ate together, and enjoyed each other’s company. All Bellevue gals, they now live on Camano Island, Whidbey Island, Idaho, and Montana, with one, Pia Messina, passing on. She remembers those as being “rich times.”
Another small community is a couple of friends who have been painting weekly for over twenty years. Sandy and Genny Rees began painting on Mercer Island in the late 1990’s. When the first building that they met in got torn down, they moved to the community center. Sandy says that she and Genny had become so close that they were going to meet or else. A few years later Seiko Konya come along. Sandy remembers that Seiko was obviously gifted with painting, but was kind of struggling with painting flowers and backgrounds. “And then she subtly did this little portrait and our mouths just dropped open,” Sandy remembers. “The portraits are so easy for her to do. Particularly if she does family.” Sandy and Genny encouraged her to try for a show. Seiko entered a painting of a violinist in the Northwest Watercolor Society show. So the first time of trying, Seiko got in the show, got an award, and sold the painting. Seiko was off and running.
Like Seiko, Sandy has been encouraged by the community of artists. Being in this community is very humbling for her because she sees their paintings, and aspires to paint like that. But Sandy realizes that each artist comes with their own inward voice, a style that will be their painting voice. It’s going to be different for every person. “I can’t paint like Seiko. I can’t do those portraits,” she points out. But she feels very lucky about the friendships that she’s made through art. So much of her artistic journey has been about the friendships she’s made and being around artists outside of just painting. “There’s something very common in all of us,” Sandy says, “we love the beauty around us, we have much in common in how we see life and what’s really important to you. We’re not really money grabbers. If we had to pay to paint, we would do that.
JOYS AND STRUGGLES OF ART
For Sandy, the joys came so much at first. “You were taking a while piece of paper, and then there’s a flower (painted on it) and I was thinking, ‘Boy, I’m pretty good.’ She continues, “You start out by being amazed at what you can do. And the longer you are at it, the more you ask of yourself, the harder it becomes. I would want to be painting better at this time than I am.” Sandy points out that though artists usually paint alone, “We can’t live as a recluse. We’ve got to be engaged in life to be painting life.” So while Sandy doesn’t like to be interrupted when she’s painting, she knows that’s unrealistic when you have children and grandchildren.
Sandy has set up a small studio in their home, just off the dining room. It’s part of the house, not an isolated room. The studio has windows on two sides, and so has wonderful light. Sandy has finally gotten shades for the windows so that she can close it off at night, keep it cool in the summer and warm in the winter. Sandy’s studio – a designated place to paint next to the kitchen/dining room, the hub of the home – ties together two of her passions: her people and her painting. But how to hold the two together is a conundrum for Sandy.
Sandy loves how with watercolor you can be painting and your brush runs through a a little puddle of water and the paint color just – woosh – magically and spontaneously color the clear water and spread over the paper. She is fascinated by how you can paint layer upon layer of watercolor, letting the transparent colors build on each other.
When Sandy paints flowers she would put in a wash of a little yellow, then red. From the outset the painting had a glow and this became a kind of trademark. Her friends would walk into a gallery and see a painting and know it was her work before they saw her name on the painting. Sandy remembers being struck by how you can erase the pencil marks from watercolor paper after you paint on it. She likes Arches Watercolor paper, and is loyal to Windsor Newton paints. She enjoys how it takes very little for an artist to go off to class or paint with friends: “When I go off to class I have to have paper, paints and brushes. That’s it. It’s pretty simple.”
She also knows that watercolor is not easy. You have to keep yourself going, keep growing, keep learning. There’s always the danger of getting the painting to tight. You have to know when to walk away from a painting and try a new subject matter. You need to know when to push yourself and try something uncomfortable, or meet a new teacher along the way. For example, she’ll take a class from Eric Weigart, when she has to “loosen up” her paintings.
Watercolor is a challenging medium. But less challenging when the artist is walking with the encouragement and wisdom of the community of artists.
LESSONS ALONG THE WAY
A wise old artist, Chuck Webster, once told Sandy that she would have to do her painting by herself. “That’s where you’re going to do your successful painting,” he said. Then added, “make sure once a week you’re in community.” Sandy has taken his guidance seriously. She paints in her studio and each week tries to connect with other artists on a weekly basis, whether through a class or the small communities of artists she is involved in.
She took one class from Gerald Brommer on integrating collage and acrylic in a more abstract way. She remembers that he was a phenomenal teacher, but was actually more impressed by the fact that even though he was in his 70’s, had recently had a hip replacement, and was jurying the Northwest Watercolor Society show, and was out every night, he was still so energetic. Sandy asked herself, “where did he get his energy?” And she concluded, “from painting.”
Many of the lessons we learn in the context of community is not so much what people say, but it is how people live.
When asked about her legacy, Sandy is very humble. She hopes her family enjoys her paintings. She laughs and says her art legacy is very simple: “just anything other than they used the painting in the birdcage.” She would like to hear from the grandchild saying, “I loved it when she painted me playing baseball.” She adds that when an artist gets rid of a piece of work, we don’t know if it’s treasured. “Every once-in-a-while I’ll hear from a person who bought a painting long ago and they’ll say, ‘Oh we love our painting.’” That means a lot to her.
Sandy remembers how once a lady came into the “Art Barn” hosted by Art League North at the Tulip Festival. She wanted Sandy to match her bedspread, and the painting was going to go over the bed. Sandy chuckles and points out that “It was a nightmare…you don’t want that.” But still she did it. And it was worth it! This woman and her husband have since bought 6 paintings. They have visited Sandy and Fred, and send Christmas cards every year. They have become part of Sandy’s artistic community too!
Sandy is just satisfied “If she’s given any joy along the way.”
This article has been especially fun since I got to know Sandy all the way back in 1992-1993. Jenny and I were married in June of 1992. We spent the following year living on Camano Island where I served a one year pastoral internship at Camano Chapel. During this time I got involved in a watercolor class that was taught at the senior center on Camano Island through Skagit Valley College. Part way through the year our teacher left, and I assumed the role of teaching the class in her place. One of the students was Nancy Axell, who was featured in our 2018 Vintage Show. Another was Sandy Langford who is, of course, in the 2019 show. This was a very fruitful year of painting for me. I entered a number of national and international shows and got accepted in many, and even won a few prizes. At that time I even considered going into art as a career. In the end, I decided to put my paintbrushes away and finished up my seminary studies and went into full-time ministry. What a joy it has been, in returning to Washington State, and living in Redmond, to reconnect with Sandy and to be neighbors. And what a joy it is to feature her beautiful artwork in our Vintage show.
Author: Jason Dorsey
2019 VINTAGE WATERCOLORISTS OF WASHINGTON
Saturdays, March 9, 16, 23 and 30, 10am-5pm
Artist Reception: March 9, 3-5pm
At Sunnyshore Studio: 2803 SE Camano Drive, Camano Island, WA
In honor of the patriarch of our family of artists, Jack Dorsey, Sunnyshore Studio is thrilled to to showcase the artwork and share the stories of five of Washington’s VINTAGE watercolor artists.
This is the second of five Vintage art shows to celebrate artists who have contributed to the legacy of watercolor painting in Washington State.
We can’t wait to share their stories and their breathtaking watercolors with you! The show opens on Saturday, March 9th, 10am-5pm, with a meet the artist reception from 3-5pm. It and runs on three consecutive Saturdays: March 16th, 23rd, and 30th, 10-5pm.
Enjoy a little taste of their art through the personalized posters that we made for the show.
Since this is the Jack Dorsey Invitational, we are also thrilled to showcase some of Jack’s paintings as well. Here is his poster.
Again in 2019 we are partnering with the Northwest Watercolor Society (NWWS), one of the premier watercolor societies in the US, on the vintage show. We are super thankful for their support. You can learn more about NWWS here: https://www.nwws.org