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Here, the water holds its depth while those shapes drift overhead, unmoored and going somewhere I can't name https://jgartgallery.com/artwork/serendipity-5-by-parvin/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/parvin-serendepity5/full.jpg Serendipity #5 by Parvin - Watercolor Watercolor pigment bleeds across paper in Parvin's Serendipity #5, creating soft-edged forms that emerge through controlled accident rather than deliberate mark-making. https://jgartgallery.com/artwork/mist/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/parvin-mist/full.jpg Mist by Parvin - Oil on Canvas Oil on canvas, 24 × 18 in. Parvin's Mist employs thinned paint and gestural brushwork to suggest atmospheric dissolution without recourse to representational clarity. https://jgartgallery.com/artwork/serendipity-9/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/parvin-serendepity9/full.jpg Serendipity #9 by Parvin - Oil on Canvas Oil on canvas, 18 × 18 in. Serendipity #9 registers as layered translucent veils, where color relationships shift across the picture plane through optical superposition. https://jgartgallery.com/artwork/stockfarm-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/parvin-stockfarm-2/full.jpg Stockfarm #2 by Parvin - Oil on Canvas Oil on canvas. Parvin's Stockfarm #2 confronts vernacular rural imagery with densely built brushwork, structural complexity that resists simple documentary reading. https://jgartgallery.com/artwork/wild-flowers/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/parvin-wild-flowers/full.jpg Wild Flowers by Parvin - Oil on Canvas Oil on canvas. Wild Flowers deploys saturated ochres, greens, reds with loose gestural application—botanical subject matter subordinated to pure chromatic investigation. https://jgartgallery.com/artwork/arc-of-peace/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/arc-of-peace/full.jpg Arc of Peace by Lorri Acott - Bronze Sculpture Bronze sculpture. Patinated surface catches ambient light as Acott's form modulates between figural suggestion and abstraction, soliciting sustained optical attention. https://jgartgallery.com/artwork/assessment-of-risk/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lac-assessment-of-risk-scaled-e1753379032793/full.jpg Assessment of Risk by Lorri Acott - Bronze Sculpture Bronze sculpture. Assessment of Risk demonstrates Acott's modeling precision—surface planes shift subtly, generating volumetric complexity without decorative excess. https://jgartgallery.com/artwork/heavy-heart-13-of-49/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/heavy-heart-13-of-49/full.png Heavy Heart #13 of #49 by Lorri Acott - Sculpture, Mixed Media Mixed media sculpture. Heavy Heart #13 of #49 combines disparate materials—found objects, cast elements—into an assertive physical presence that resists easy interpretive closure. https://jgartgallery.com/artwork/peace/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/peace/full.jpg Peace by Lorri Acott - Bronze sculpture with polychromatic enamel or patina accents Bronze form enclosed in itself, its surface treated with polychromatic patina—blues and greens pooling in recesses. The color is applied, not inherent, marking the sculpture as object rather than monu https://jgartgallery.com/artwork/what-the-world-needs-now/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/what-the-world-needs-now/full.jpg What the World Needs Now by Lorri Acott - Bronze sculpture with mixed media Acott's bronze with mixed-media inserts reads as aggressive in scale. The mixed elements disrupt the surface continuity, forcing the viewer's eye to catalog the additions rather than absorb the whole. https://jgartgallery.com/artwork/bull-and-bear/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wam-bull-and-bear/full.jpg Bull and Bear by Will Armstrong - Mixed Media on Paper Armstrong's mixed-media hand-embellished work pairs gestural ink with collaged elements, charting market forces through figural abstraction. The bulls and bears emerge from layered mark-making—neither https://jgartgallery.com/artwork/put-some-distance/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wam-put-some-distance/full.jpg Put Some Distance by Will Armstrong - Mixed Media Collage with Acrylic Paint and Ink Acrylic paint and ink collaged on canvas, Armstrong constructs psychological distance through spatial fragmentation. Figures occupy disconnected zones, the composition suggesting separation as composi https://jgartgallery.com/artwork/scratching-circles-50/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wam-scratching-circles/full.jpg Scratching Circles (/50) by Will Armstrong - Mixed Media, Ink and Hand-Coloring on Paper Armstrong traces overlapping circles in ink and hand-coloring, indexing crowded space through gestural accumulation. The marks compress figures into near-illegibility—technique foregrounded over legib https://jgartgallery.com/artwork/street-fight/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wam-steet-fight/full.jpg Street Fight by Will Armstrong - Mixed Media Mixed media on paper rendering conflict through tangled gesture and fractured composition. Armstrong refuses clarity; figures dissolve into competing mark-systems, where violence registers as formal d https://jgartgallery.com/artwork/the-record-store-vinyl-village/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wam-the-record-store-vinyl-village/full.jpg The Record Store; Vinyl Village by Will Armstrong - Mixed Media Collage Hand-embellished collage on canvas sourcing vinyl culture through layered typography and image fragments. Armstrong archives record-store nostalgia without sanctifying it—deadpan assembly meets gestur https://jgartgallery.com/artwork/wild-horses/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wam-wild-horses/full.jpg Wild Horses by Will Armstrong - Ink and Watercolor on Paper Armstrong layers ink and watercolor to render wild horses in loose, gestural marks. The paper's white ground activates the composition, creating spatial ambiguity between figure and field. https://jgartgallery.com/artwork/alpenglow/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-alpenglow/full.jpg Alpenglow by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Mountain subjects treated in Borcherding's deconstructed style — broken color in organized blocks, the surface reading as simultaneous abstraction and landscape. Featured in Southwe https://jgartgallery.com/artwork/beach-eye-view/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-beach-eye-view/full.jpg Beach Eye View by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. A low-angle coastal subject in Borcherding's deconstructed style — broken color organized into blocks across the canvas, the Pacific Northwest coastal light translated through her a https://jgartgallery.com/artwork/beyond-the-pond/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/beyound-the-pond/full.jpg Beyond The Pond by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Borcherding's deconstructed landscape style applies broken color in organized blocks — the pond subject viewed beyond the immediate foreground, the deconstructed approach giving the https://jgartgallery.com/artwork/bloedel-green/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-bloedel-green/full.jpg Bloedel Green by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Borcherding paints a view from the Bloedel Reserve — Bainbridge Island's 140-acre forest garden — through her deconstructed approach: broken color organized into blocks that read th https://jgartgallery.com/artwork/eagle-harbour/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-eagle-harbour/full.jpg Eagle Harbour by Brooke Borcherding - Acrylic on Canvas Borcherding works in acrylic, building Eagle Harbour's harbor geometry through stacked horizontal bands. Color shifts between warm and cool registers structure the composition more than illusionistic https://jgartgallery.com/artwork/ferry-land-no-4/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-ferry-land-no-4/full.jpg Ferry Land No.4 by Brooke Borcherding - Acrylic on Canvas Borcherding layers translucent acrylic washes to suggest ferry routes and tidal patterns. The composition suspends geometric forms in shallow space, avoiding narrative while maintaining a sense of pas https://jgartgallery.com/artwork/floating-shapes/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/floating-shapes/full.jpg Floating Shapes by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Borcherding builds abstract landscape surfaces in acrylic, the deconstructed color blocks creating the slight pixelated structure she has developed over a decade of plein air practi https://jgartgallery.com/artwork/illuminate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-illuminate/full.jpg Illuminate by Brooke Borcherding - Acrylic on Canvas Acrylic paint pooled and glazed creates luminance without relying on light effects. Forms suggest interiors of paper or fabric, folded and compressed into a tightly cropped field. https://jgartgallery.com/artwork/kaleidoscopic-canopy/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-kaleidoscopic-canopy/full.jpg Kaleidoscopic Canopy by Brooke Borcherding - Acrylic on Canvas “Kaleidoscopic Canopy” by Brooke Borcherding. As the eye moves across the canvas, it’s drawn to the energetic dance of colors, with saturated yellow, deep orange, and rich red hues swirling together i https://jgartgallery.com/artwork/koi-polloi/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-koi-polloi/full.jpg Koi Polloi by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Borcherding's Koi Polloi applies her deconstructed style to water subjects — koi in water translated through broken color, the reflective and refractive qualities of the pool's surf https://jgartgallery.com/artwork/lake-union-morning-3-plein-air/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-lake-union-morning-3/full.jpg Lake Union Morning 3 (Plein Air) by Brooke Borcherding - Acrylic on Canvas Plein-air acrylic renders Lake Union's light through broken color and rapid notation. Borcherding treats sky and water as compositional equals, neither dominant, both contingent. https://jgartgallery.com/artwork/let-light-flow/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/let-light-flow/full.jpg Let Light Flow by Brooke Borcherding - Acrylic on Canvas As the eye moves across the canvas, it’s drawn to the swirling stream that winds its way through the composition, leaving a trail of turquoise and orange hues in its wake. The overall mood is one of u https://jgartgallery.com/artwork/light-on-the-lake/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-light-on-the-lake/full.jpg Light On the Lake by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Borcherding's water subjects in the deconstructed style apply broken color to the specific quality of light on water — the surface organized in blocks that hold both the color of th https://jgartgallery.com/artwork/marina-beach-park-plein-air/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-marina-beach-park/full.jpg Marina Beach Park (Plein Air) by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas, painted en plein air at Marina Beach Park in Edmonds. Borcherding's broken color approach renders the coastal scene — beached boats, cliffs, the shifting northwest light — through a https://jgartgallery.com/artwork/mutiny-bay/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-mutiny-bay/full.jpg Mutiny Bay by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Mutiny Bay on the west side of Whidbey Island — Borcherding works the long horizontal expanse of water through deliberate bands of color, flattening depth into surface. The composit https://jgartgallery.com/artwork/needle-in-square/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-needle-in-square/full.jpg Needle in Square by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. The Seattle skyline in Borcherding's deconstructed style — the Space Needle and surrounding forms rendered in broken color blocks, the city's geometry translated through her approac https://jgartgallery.com/artwork/peak-through/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-peak-through/full.jpg Peak Through by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Borcherding's deconstructed approach applied to the act of looking through — a gap in foliage or architecture, the view revealed through a partial frame. Broken color in organized b https://jgartgallery.com/artwork/pieces-of-dwelling/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-pieces-of-dwelling/full.jpg Pieces of Dwelling by Brooke Borcherding - Mixed Media Collage Acrylic on canvas. Borcherding's architectural and domestic subjects apply the same deconstructed approach she uses for landscape — broken color in organized blocks, the surface reading as both observ https://jgartgallery.com/artwork/prismatic-path/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-prismatic-path/full.jpg Prismatic Path by Brooke Borcherding - Acrylic on Canvas This compelling work invites viewers into a meditative space where perception itself becomes fluid and alive. Brooke Borcherding’s artistic practice explores the intersection of abstraction and intuit https://jgartgallery.com/artwork/road-to-home-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-road-to-home-2/full.jpg Road to Home 2 by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. A rural road subject in Borcherding's deconstructed style — the familiar landscape rendered in organized broken color, the pixelated quality of her blocks giving the composition a d https://jgartgallery.com/artwork/standing-with-the-trees/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-standing-with-the-trees/full.jpg Standing With The Trees by Brooke Borcherding - Acrylic on Canvas The saturated colors, including deep purple, saturated green, bright yellow, rich blue, and warm orange, evoke a sense of dynamism and movement, drawing the eye upward through the vertical forms that https://jgartgallery.com/artwork/succulent-essence/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-succulent-essence/full.jpg Succulent Essence by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Borcherding's succulent subjects apply her deconstructed style to botanical close-up — the dense, geometric structure of succulent plants directly suited to her broken color approac https://jgartgallery.com/artwork/urban-essence/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-urban-essence/full.jpg Urban Essence by Brooke Borcherding - Mixed Media, Digital Collage Urban fragments—building facades, street signs, architectural details—collide and overlap in digital collage, their edges sometimes hard-cut, sometimes dissolved. The composition refuses coherent pers https://jgartgallery.com/artwork/center-for-wooden-boats-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bb-wooden-boats/full.jpg Center For Wooden Boats by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Borcherding's Center for Wooden Boats subject applies the deconstructed style to Seattle maritime culture — the particular forms of wooden vessels and dockside structures organized https://jgartgallery.com/artwork/rainy-pass/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rainy-pass-currier/full.jpg Rainy Pass by Alfred Currier - Oil on Canvas Mountain terrain composed through layered oil strokes that build spatial recession without atmospheric perspective. Currier uses color modulation and directional marks to suggest passage and topograph https://jgartgallery.com/artwork/el-iris/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ac-el-iris/full.jpg El Iris by Alfred Currier - Oil on Canvas Currier's oil technique layering ochres and greens constructs a rural vista through atmospheric perspective. The composition recedes steadily, though the foreground remains deliberately shallow—a rest https://jgartgallery.com/artwork/flatbed/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/flatbed/full.jpg Flatbed by Alfred Currier - Oil on Canvas A flatbed truck rendered in oil with deliberate structural clarity. Currier treats the industrial subject without irony or romance, letting the geometry of the vehicle dominate the modest composition. https://jgartgallery.com/artwork/flower-gathering-2025/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ac-flower-gathering-2025/full.jpg Flower Gathering by Alfred Currier - Oil on Canvas Oil paint applied in loose, directional strokes traces figures moving through a garden space. Currier prioritizes gesture over detail, allowing the act of gathering to emerge through color and movemen https://jgartgallery.com/artwork/harvest/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ac-harvet/full.jpg Harvest by Alfred Currier - Oil on Canvas Harvest employs warm earth tones and thick impasto to render agricultural labor. The composition compresses figures and landscape into a densely worked surface that resists legibility—visual complexit https://jgartgallery.com/artwork/marie/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ac-marie/full.jpg Marie by Alfred Currier - Oil on Canvas Oil on canvas presents a portrait study with muted palette and direct address. Currier avoids psychological projection, letting physiognomy and light modeling carry the work's modest claim on attentio https://jgartgallery.com/artwork/much-to-raven/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ac-much-to-raven/full.jpg Much To Raven by Alfred Currier - Oil on Canvas Dense oil layering establishes shadowed form emerging from dark ground. Currier's surface texture builds tactilely, though the subject remains deliberately obscured—mystery generated through occlusion https://jgartgallery.com/artwork/nooksack-falls/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ac-nooksack-falls/full.jpg Nooksack Falls by Alfred Currier - Oil on Canvas Oil rendering of water in motion through landscape. Currier's brushwork follows the falls' vertical rush while anchoring the composition with solid landmass. The technique respects observed natural fa https://jgartgallery.com/artwork/what-now/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ac-what-now/full.jpg What Now by Alfred Currier - Oil on Canvas Urgent gestural marks build surface tension in this oil study. Currier applies paint thickly in places, scrubbing it thin in others, creating visual friction that resists easy reading. https://jgartgallery.com/artwork/cat-with-butterflies/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rd-cat-withj-butterflies/full.jpg Cat with Butterflies by Raenell Doyle - Oil on Canvas Doyle's cat sits amid fluttering insects in oil, the composition caught between stillness and motion. Her painting technique balances tight figuration against looser atmospheric handling around the ma https://jgartgallery.com/artwork/champagne-grapes-with-mountain-view/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rd-champagne-grapes-with-mountain-view/full.jpg Champagne Grapes With Mountain View by Raenell Doyle - Oil on Canvas Foreground grapes rendered in careful detail yield to gestural mountain passage in Doyle's oil. The painting's tension lies in this shift from still-life precision to landscape abbreviation. https://jgartgallery.com/artwork/forget-me-not/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rd-forget-me-not-2/full.jpg Forget Me Not by Raenell Doyle - Oil on Canvas Doyle builds depth through oil's translucent glazing, layering pale florals against darker grounds. The composition resists narrative—these forget-me-nots remain botanically specific yet emotionally o https://jgartgallery.com/artwork/owl-and-roses/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rd-owl-and-roses/full.jpg Owl and Roses by Raenell Doyle - Oil on Canvas Oil paint rendered with tight precision: an owl perches among roses in shallow pictorial space. Doyle treats the bird as still life object rather than character, flattening sentimentality through form https://jgartgallery.com/artwork/through-the-window/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rd-through-the-window/full.jpg Through The Window by Raenell Doyle - Oil on Canvas Doyle's oil technique emphasizes the window frame as compositional device—interior light against exterior shadow. The painting acknowledges its own artifice: looking through glass becomes looking at p https://jgartgallery.com/artwork/anything-something-and-everything/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/dd-anything-something-and-everything/full.png Anything, Something and Everything by Denise Duong - Mixed Media on Canvas Duong layers acrylic, collage, and gestural mark-making into an agitated surface. The title promises totality; the work resists it—fragmented, incompletely resolved, insisting on contradiction over sy https://jgartgallery.com/artwork/give-me-a-minute/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/dd-give-me-a-minute/full.jpg Give Me a Minute by Denise Duong - Mixed Media Mixed media collage compressed into framed format. Duong juxtaposes material scraps and printed language. The imperative title clashes with the work's visual impatience—demanding attention while refus https://jgartgallery.com/artwork/remind-me-how-to-live/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/dd-remind-me-how-to-live/full.jpg Remind Me How To Live by Denise Duong - Mixed Media on Canvas Duong builds thick, gestural surfaces through acrylic and mixed media, white marks scarring darker grounds. Reinvention here reads as physical struggle—layers obscuring rather than clarifying beneath. https://jgartgallery.com/artwork/take-me-away/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/dd-take-me-away/full.jpg Take Me Away by Denise Duong - Acrylic on Canvas Acrylic paint applied in discrete, modulated strata—Duong builds form through color variation rather than tonal modeling. The composition hovers between abstraction and landscape, committing fully to https://jgartgallery.com/artwork/unfathomed/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/dd-unfathomed/full.png Unfathomed by Denise Duong - Mixed Media on Canvas Mixed media: Duong encrusts canvas with material and pigment, obscuring legibility deliberately. Depth operates tactilely, not optically—the surface refuses entry, remains unknowable. https://jgartgallery.com/artwork/balancing-bear/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/balancing-bear/full.jpg Balancing Bear by Barbara Duzan - Bronze Sculpture Duzan's bear sits upright on haunches, weight distributed across cast bronze, front paws raised. The sculpture negotiates monumentality through restraint—animal anatomy rendered without sentimentality https://jgartgallery.com/artwork/black-backed-stilt/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-black-backed-stilt/full.jpg Black Backed Stilt by Barbara Duzan - Bronze Sculpture Impossibly thin legs support an alert stilt, cast in bronze with minimal modeling. Duzan achieves tension through radical attenuation, the bird poised between fragility and poise. https://jgartgallery.com/artwork/carmen-elata/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-carmen-elata-2/full.png Carmen Elata by Barbara Duzan - Mixed Media - Textile, Ceramic, and Natural Materials Mixed-media assemblage combining ceramic, textile, and natural materials into a vertical form. Duzan layered contrasting surfaces—glazed clay against fiber—creating visual and tactile friction. https://jgartgallery.com/artwork/flopsy-lop-eared-bunny/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-flopsy-lop-eared-bunny-2/full.jpg Flopsy, Lop Eared Bunny by Barbara Duzan - Bronze Sculpture Bronze bunny with characteristic lop ears, modeled in compact form. Duzan renders anatomical specificity—muscle, fur texture—through precise casting without anthropomorphism. https://jgartgallery.com/artwork/ground-squirrel/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/mark-b-gardner/full.jpg Ground Squirrel by Barbara Duzan - Bronze Cast Sculpture Small bronze squirrel in seated position, weight forward. Duzan's casting emphasizes skeletal structure and alert posture, the animal rendered with spare, observational clarity. https://jgartgallery.com/artwork/herbivore/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-7/full.jpg Herbivore by Barbara Duzan - Mixed Media - Beadwork and Textile on Sculptural Form Beadwork and textile adhere to sculptural armature in dense patterning. Duzan fuses fiber techniques with three-dimensional form, creating surface complexity that resists single viewpoint. https://jgartgallery.com/artwork/kingfisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-kingfisher/full.jpg Kingfisher by Barbara Duzan - Ceramic Sculpture Ceramic kingfisher, glazed and fired. Duzan models the bird's compact form with attention to species-specific proportions—curved beak, cocked head—rendered in unglazed clay detail. https://jgartgallery.com/artwork/little-egret/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-little-egret/full.jpg Little Egret by Barbara Duzan - Bronze Sculpture Bronze egret stands vertical, legs extended. Duzan articulates delicate posture through elongated proportions and careful weight distribution, the bird caught in characteristic stillness. https://jgartgallery.com/artwork/nest-with-eggs/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-nest-with-eggs/full.jpg Nest with Eggs by Barbara Duzan - Mixed Media - Ceramic/Clay with Patina Spheres Ceramic and patina spheres nest in clay forms suggesting eggs held in organic embrace. Duzan's hand-built vessels employ surface oxidation to create weathered specificity—absence of polish underscores https://jgartgallery.com/artwork/pearl/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-pearl/full.jpg Pearl by Barbara Duzan - Ceramic Sculpture A ceramic sphere sits low and off-center, its glazed surface catching light unevenly. The form reads simultaneously as pearl and egg, its modest scale forcing intimacy rather than grandeur. https://jgartgallery.com/artwork/prairie-queen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-prairie-queen2/full.jpg Prairie Queen by Barbara Duzan - Mixed Media - Beadwork and Embroidery on Sculptural Form Beaded and embroidered forms crown a sculptural armature, layering textile excess onto three-dimensional structure. The ornament refuses elegance—instead it accumulates, insists, occupies space like a https://jgartgallery.com/artwork/pygmy-owl/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-pygmy-owl/full.jpg Pygmy Owl by Barbara Duzan - Bronze Sculpture Bronze cast lean and alert, the owl's musculature reads through its patina. Duzan's armature leaves no soft edges; predatory focus articulates through deliberately spare modeling. https://jgartgallery.com/artwork/quail-family/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-quail-family/full.jpg Quail Family by Barbara Duzan - Bronze Sculpture Three bronze bodies cluster without sentimentality—mother and chicks rendered as sculptural facts rather than sentiment. The patina browns create tonal modulation across feathered surface detail. https://jgartgallery.com/artwork/snoozing-golden/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bd-snoozing-golden/full.jpg Snoozing Golden by Barbara Duzan - Bronze Sculpture A compact bronze mass settles into repose, its internal weight palpable. Duzan's modeling suggests actual sleep—muscles released, weight distributed into gravity without resistance or grace. https://jgartgallery.com/artwork/wren-party/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/4-5h-x-7w-x-7d-available-2200-five-wrens-in-a-nest/full.jpg Wren Party by Barbara Duzan - Bronze Sculpture Five bronzes gather at varying heights, their individual patinas creating visual rhythm across the ensemble. Duzan constructs congregation through spatial arrangement rather than narrative gesture. https://jgartgallery.com/artwork/a-peaceful-place/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-8/full.jpg A Peaceful Place by Amy Ferron - Acrylic on Canvas Acrylic paint builds opacity across canvas depicting fish and kelp in muted greens and whites. Ferron flattens depth—underwater forms press against picture plane without illusionistic recession. https://jgartgallery.com/artwork/at-night-we-believe/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/af-at-night-we-believe-2/full.jpg At Night We Believe by Amy Ferron - Acrylic on Canvas Ferron's acrylic painting uses pale ochre and deep indigo to establish night as a spatial condition rather than mood. The composition pivots between opacity and translucence, letting ground show throu https://jgartgallery.com/artwork/autumnal-blooms/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-9/full.jpg Autumnal Blooms by Amy Ferron - Acrylic on Wood Acrylic on wood panel creates a brittle surface where autumnal reds and yellows sit atop dark underpainting. Ferron applies pigment thinly in places, densely in others, producing an effect of botanica https://jgartgallery.com/artwork/holdfast-to-your-dreams/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/af-holdfast-to-your-dreams/full.jpg Holdfast To Your Dreams by Amy Ferron - Acrylic on Canvas Dense acrylic layering produces an underwater visual field where figure and ground collapse. Ferron builds depth through overlapped forms in blues and greens; the composition reads as kinetic despite https://jgartgallery.com/artwork/live-by-the-current/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/aflive-by-the-current/full.jpg Live By The Current by Amy Ferron - Acrylic on Canvas Mixed media on wood establishes current as both visual and literal phenomenon. Directional mark-making propels the viewer's gaze across the horizontal format; Ferron resists atmospheric softening, kee https://jgartgallery.com/artwork/moving-to-invisible/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/af-moving-to-invisible/full.jpg Moving To Invisible by Amy Ferron - Mixed Media - Collage with Paint and Map Elements Collage fuses mapped territories with gestural painting, creating spatial contradiction. Ferron layers cartographic elements beneath acrylic marks, suggesting navigation as both literal and psychic ac https://jgartgallery.com/artwork/the-earth-laughs-flowers/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/af-the-earth-laughs-flowers/full.jpg The Earth Laughs Flowers by Amy Ferron - Acrylic on Canvas Ferron deploys acrylic in high saturation—reds, magentas, chrome yellows—against black grounds. The floral forms read as assertion rather than decoration; densely packed blooms compete for canvas spac https://jgartgallery.com/artwork/the-night-embraces-everything/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/af-the-night-embraces-everything/full.jpg The Night Embraces Everything by Amy Ferron - Digital Illustration The digital illustration employs fine line work to model volumetric space within darkness. Ferron uses contrast to suggest embrace as physical phenomenon—bodies compressed by nocturnal density rather https://jgartgallery.com/artwork/the-wind-cries/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/af-the-wind-cries/full.jpg The Wind Cries by Amy Ferron - Mixed Media on Canvas Mixed media combines acrylic, collage, and textural elements on canvas. Ferron builds surface incident through material opposition: smooth paint against torn paper, matte against gloss. The work deman https://jgartgallery.com/artwork/tidal-dreams/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-10/full.jpg Tidal Dreams by Amy Ferron - Mixed Media - Acrylic and Watercolor on Paper Ferron layers acrylic and watercolor on paper to construct a tidal landscape where wash and opacity negotiate space. The composition hovers between representation and abstraction, coastline dissolving https://jgartgallery.com/artwork/under-a-silver-sun/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-11/1024.jpg Under A Silver Sun by Amy Ferron - Acrylic on Canvas Acrylic paint scraped and blended across canvas creates atmospheric depth through ochre and gray registers. A sun-like form sits muted against sky, rendered with restraint rather than declaration. https://jgartgallery.com/artwork/walking-by-moonlight/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-12/full.jpg Walking By Moonlight by Amy Ferron - Acrylic on Canvas A figure moves through acrylic-rendered darkness, moonlight suggested through tonal contrast rather than explicit highlight. Ferron uses wet-into-wet technique to soften edges, making the nocturnal sc https://jgartgallery.com/artwork/acre/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-acre/full.jpg Acre by Brian Fisher - Mixed Media on Paper Fisher combines monotype with collaged paper elements to construct a fragmented landscape. The print's gestural marks anchor against geometric collage pieces, creating productive tension between accid https://jgartgallery.com/artwork/aletheia-and-bedtime-story/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-aletheia-and-bedtime-story-2/full.jpg Aletheia and Bedtime Story by Brian Fisher - Mixed Media Multiple media—paint, paper, possibly photograph—collide without resolving into coherence. The layering resists easy legibility, forcing the viewer to parse competing visual systems rather than absorb https://jgartgallery.com/artwork/angel-of-communication/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-angel-of-communication/full.jpg Angel of Communication by Brian Fisher - Mixed Media with Textured Pattern Application Textured pattern application—possibly relief, stencil, or impasto—builds a form from accumulated surface marks. The figure emerges through density of handling rather than figurative clarity, tactile a https://jgartgallery.com/artwork/angel-of-conception/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-angel-of-conception/full.jpg Angel of Conception by Brian Fisher - Acrylic on Canvas Acrylic paint modulates between warm and cool tones, defining a figure through chromatic shift rather than line. The composition occupies the threshold between figuration and abstraction without resol https://jgartgallery.com/artwork/angel-of-strength/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-angel-of-strength/full.jpg Angel of Strength by Brian Fisher - Mixed Media - Acrylic Paint with Textured Mosaic Pattern Fisher applies textured mosaic patterns—possibly built-up acrylic or mixed media—to create form through accumulated surface. Bold geometric shapes assert presence, though patterning occasionally compr https://jgartgallery.com/artwork/baalbek/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-baalbek/full.jpg Baalbek by Brian Fisher - Acrylic on Canvas Fisher builds Baalbek through layered monotype and collage, ancient architectural fragments fractured across the surface. Acrylic underlayers anchor torn paper elements—a palimpsest method that treats https://jgartgallery.com/artwork/canopus/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-canopus/full.jpg Canopus by Brian Fisher - Mixed Media - Collage with Circular Elements Gold leaf interrupts monotype-printed circles in Canopus, creating sharp tonal ruptures. Fisher's collage method uses precious material to disrupt rather than embellish, forcing the eye to register ma https://jgartgallery.com/artwork/daphne/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-daphne/full.jpg Daphne by Brian Fisher - Acrylic on Canvas Acrylic on canvas, Daphne employs thick impasto and architectural geometry to construct the figure. Fisher's mark-making reads as deliberate, almost austere—restraint operating against mythological su https://jgartgallery.com/artwork/djinn-in-the-jardiniere/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-djinn-in-the-jardiniere/full.jpg Djinn in the Jardinière by Brian Fisher - Mixed Media Monotype on panel allows Fisher to exploit the medium's singular registration. Gestural marks bleed unpredictably, while geometric scaffolding holds compositional tension—chance and control in deliber https://jgartgallery.com/artwork/enkydu/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-enkydu/full.jpg Enkydu by Brian Fisher - Mixed Media on Textile Textile ground absorbs Fisher's mark-making—acrylic, ink, collage elements merge into fabric weave. The work refuses conventional figure-ground hierarchy; surface becomes activated, tactile space rath https://jgartgallery.com/artwork/gilgamesh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-gilgamesh/full.jpg Gilgamesh by Brian Fisher - Mixed Media on Fabric Fabric absorbs and reflects Fisher's acrylic application, creating material heterogeneity. Layered elements—paint, collaged forms—sit on cloth ground with no unified illusionistic space, treating text https://jgartgallery.com/artwork/jericho/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-jericho/full.jpg Jericho by Brian Fisher - Giclee Print Giclee reproduction of monotype and collage works. Fisher's original layering—torn paper, printed elements—translates through digital process, raising questions about originality and reproduction with https://jgartgallery.com/artwork/metatron/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-metatron/full.jpg Metatron by Brian Fisher - Acrylic on Canvas Acrylic on canvas employs geometric armatures and precise linear drawing. Fisher constructs sacred geometry through formal reduction—circles, angles—without mystical rhetoric, letting architectural sy https://jgartgallery.com/artwork/mind-walk/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-mind-walk/full.jpg Mind Walk by Brian Fisher - Woodcut or Linocut Print Fisher's woodcut employs bold relief carving and layered inking to create passages of dense black against untouched paper. The composition moves laterally across the plane, suggesting psychological te https://jgartgallery.com/artwork/natures-priest/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-natures-priest/full.jpg Natures Priest by Brian Fisher - Acrylic on Canvas Acrylic on canvas with gestural brushwork and ochre-earth tones dominating the surface. Fisher applies paint in loose, overlapping strata, allowing underlying layers to peek through. The work sits bet https://jgartgallery.com/artwork/nineveh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-nineveh/full.jpg Nineveh by Brian Fisher - Mixed Media Monotype collage combining printed forms with torn and adhered elements. Rust and sepia tones predominate; Fisher's mark-making reads as both intentional and accidental. The surface accumulates histor https://jgartgallery.com/artwork/palmyra/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-palmyra/full.jpg Palmyra by Brian Fisher - Giclee Print Monotype print collage heightened with 24k gold leaf. Fisher anchors precious metal within gritty, weathered grounds—a deliberate tension. The gilding emphasizes particular passages without redemption https://jgartgallery.com/artwork/persepolis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-persepolis/full.jpg Persepolis by Brian Fisher - Giclee Print Monotype collage where Fisher builds imagery through overprinting and material addition. Earthy pigments and muted tones resist sentimentality. The composition fractures intentionally, suggesting arch https://jgartgallery.com/artwork/sardis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-sardis/full.jpg Sardis by Brian Fisher - Acrylic on Canvas Acrylic on canvas rendered through additive and subtractive methods. Fisher scrapes, layers, and leaves voids. Warm browns and blacks dominate; the surface reads as both object and ruin, formal and hi https://jgartgallery.com/artwork/shahdad/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-shahdad/full.jpg Shahdad by Brian Fisher - Giclee Print Monotype collage employing mixed papers and translucent overlays. Fisher's palette—ochre, rust, charcoal—suggests archaeological time. Composition fragments across the picture plane without hierarchy; https://jgartgallery.com/artwork/sky-gods-over-babylon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-sky-gods-over-babylon/full.jpg Sky Gods Over Babylon by Brian Fisher - Mixed Media on Paper with Gold Leaf Mixed media assemblage: rust, vintage linen, acrylic, mounted on wood. Fisher treats materials as equally weighted—metal oxidation, textile decay, paint gesture operate simultaneously. The surface rea https://jgartgallery.com/artwork/the-bull-of-heaven/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-the-bull-of-heaven/full.jpg The Bull of Heaven by Brian Fisher - Mixed Media on Paper Fisher layers monotype and collage with mythological subject matter, the bull rendered in gestural mark-making across paper. Technique meets narrative: animal form emerges from accumulated marks rathe https://jgartgallery.com/artwork/the-pearl-divers/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-pearl-divers/full.jpg The Pearl Divers by Brian Fisher - Mixed Media - Marker and Paint on Patterned Textile Marker and paint applied to patterned textile ground create visual friction between industrial surface and figural elements. Fisher's divers materialize through color modulation and line work against https://jgartgallery.com/artwork/thonis-heracleion/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-thonis-heracleion/thumb.jpg Thonis Heracleion by Brian Fisher - Mixed Media on Canvas Monotype and collage construct an archaeological site as palimpsest. Fisher builds the drowned city through layered printing and assembled elements, treating the canvas as excavation rather than suppo https://jgartgallery.com/artwork/troy/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-troy/full.jpg Troy by Brian Fisher - Acrylic on Canvas Gold leaf intervention punctuates acrylic-monotype collage of the classical city. Fisher's shallow space accommodates metal plane alongside painted form, material hierarchy emphasizing historical accu https://jgartgallery.com/artwork/twin-djinn/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-twin-djinn/full.jpg Twin Djinn by Brian Fisher - Digital Print / Giclee Print Monotype on panel generates atmospheric density through ink manipulation. Figure emerges from tonal gradation, the supernatural subject rendered through printmaking's fluid translucencies. https://jgartgallery.com/artwork/yerevan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bf-yerevan/thumb.jpg Yerevan by Brian Fisher - Giclee Print Monotype-collage construction maps another ancient site through layered printing and assembled forms. Fisher treats the elongated format as historical chronicle—city as artifact of accumulated surface https://jgartgallery.com/artwork/a-beautiful-blue-morning/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-a-beautiful-blue-morning/full.jpg A Beautiful Blue Morning by Kathe Fraga - Mixed Media on Canvas I began with worn, pale surfaces — that soft blue-gray ground that feels like a wall that has held many mornings — then worked the chrysanthemums and koi through the center as though they'd always bel https://jgartgallery.com/artwork/a-celebration-of-spring-1/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kfa-celebration-of-spring-1/full.jpg A Celebration of Spring #1 by Kathe Fraga - Antiqued Fresco on Birch Panel I work worn surfaces and distressed textures into something soft and familiar — here, white blooms scatter across a blush ground that carries the patina of time, layered with gold at the borders and d https://jgartgallery.com/artwork/a-study-in-color/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-a-study-in-color/full.jpg A Study in Color by Kathe Fraga - Mixed Media on Canvas I build these surfaces the way time builds a wall — worn texture and stamped rose motifs pressed into the ground, then interrupted by a mint green block, a navy band, a scatter of cut shapes in turquo https://jgartgallery.com/artwork/afternoon-in-the-garden/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-afternoon-in-the-garden/full.jpg Afternoon In The Garden by Kathe Fraga - Mixed Media on Canvas I build my surfaces in layers — worn, weathered, familiar — and then I interrupt them with something unexpected. Here, the aqua center holds its quiet, while the deep crimson panels push forward with https://jgartgallery.com/artwork/alices-bedroom-wall-ii/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-alices-bedroom-wall-ii/full.jpg Alice’s bedroom Wall II by Kathe Fraga - Mixed Media on Wood Panel I work into worn, weathered surfaces — layered texture that feels as though it has accrued over many generations — then let a single figure emerge from that patina: a teal rabbit, still and watchful, https://jgartgallery.com/artwork/and-here-there-was-you/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-and-here-there-was-you/full.jpg And Here There Was You by Kathe Fraga - Mixed Media, Acrylic and Found Objects on Canvas I built this on worn, familiar ground — layers of pattern, botanicals, and a peacock moving through a jewel-toned garden of orange, red, and teal blooms — then let a bold swath of deeply textured red https://jgartgallery.com/artwork/and-then-there-was-you/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kfand-then-there-was-you-2/full.jpg And Then There Was You | & || by Kathe Fraga - Mixed Media I build these two panels the way time builds a wall — layer upon layer of worn texture and gilded surface, the gold leaf and teal upper fields holding the quiet memory of old Chinoiserie. Then the cri https://jgartgallery.com/artwork/beloved/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-beloved/full.jpg Beloved by Kathe Fraga - Antiqued Fresco on Birch Panel The worn, sage-ground surface of this piece carries all the quiet weight of something passed down through generations — hydrangeas, dark foliage, red berries, and hovering butterflies layered into a s https://jgartgallery.com/artwork/birdsong/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-birdsong/full.jpg Birdsong by Kathe Fraga - Mixed Media on Canvas I build the surface layer by layer — worn textures and distressed grounds carrying the weight of time — then let a wash of aqua sweep through, cool and unexpected against the deep reds and magentas of https://jgartgallery.com/artwork/cherry-blossom/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-cherry-blossom/full.jpg Cherry Blossom by Kathe Fraga - Mixed Media on Paper I build the ground first — worn sage, soft blue, faded red layered until the surface feels as though time itself has passed through it. Then the blossoms come, pale pink and drifting, and a single hum https://jgartgallery.com/artwork/dark-red-velvet-and-the-flicker-of-candles/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-dark-red-velvet-and-the-flicker-of-candles/full.jpg Dark Red Velvet And The Flicker Of Candles by Kathe Fraga - Mixed Media on Wood Panels I work into worn, layered surfaces — and here the ground burns deep crimson, like velvet warmed by candlelight, aged and rich with time. Two long-tailed birds rest among pink and white blossoms on dar https://jgartgallery.com/artwork/garden-dance/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-garden-dance/full.jpg Garden Dance by Kathe Fraga - Mixed Media on Paper I work into worn, familiar surfaces — layered textures that feel as though they've aged across many generations — then I interrupt them with something modern and unexpected. In Garden Dance, scattered https://jgartgallery.com/artwork/heartfelt-i-ii/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-heartfelt-i-ii/full.jpg Heartfelt I & II by Kathe Fraga - Acrylic on Wood Panel I build these paired doors from layers of worn, pale sage — surfaces that feel as though seasons of weather have softened them into something remembered rather than seen. Then the blossoms arrive: red https://jgartgallery.com/artwork/in-the-garden-at-midnight-the-candles-flicker-and-glow-i-ii/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-13/full.jpg In The Garden At Midnight The Candles Flicker And Glow I & II by Kathe Fraga - Mixed Media on Canvas Across these two panels, I've layered worn, weathered surfaces — that frescoed, antiqued ground I return to again and again — then interrupted the quiet with a deep, charged blue and the sudden red of https://jgartgallery.com/artwork/in-the-moment/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-in-the-moment/full.jpg In The Moment by Kathe Fraga - Watercolor on Paper I work into worn, distressed surfaces — here, dark gnarled branches carry their coral and pink blossoms across a soft celadon ground, the edges aging and decaying the way old walls do, as though many https://jgartgallery.com/artwork/in-the-moment-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-in-the-moment-12/full.jpg In The Moment | & || by Kathe Fraga - Mixed Media on Panel I work into a weathered gray-white ground — worn, layered, familiar — letting dark vines and leafwork drift alongside clusters of red and pink blooms, as though the surface itself has accumulated thes https://jgartgallery.com/artwork/just-for-you/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-just-for-you/full.jpg Just For You by Kathe Fraga - Mixed Media on Canvas I build my grounds from worn surfaces and distressed textures — soft, familiar, like a wall that has held memory for generations. Here, a bouquet of peonies, white blossoms, and warm amber blooms rise https://jgartgallery.com/artwork/love-notes/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-love-notes/full.jpg Love Notes by Kathe Fraga - Mixed Media on Wood Panel I build my worn, layered ground first — distressed textures that feel as though they have passed through many hands across many years — then let that bold field of orange-red erupt through, modern and https://jgartgallery.com/artwork/love-poem/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-love-poem/full.jpg Love Poem by Kathe Fraga - Mixed Media on Canvas I built this surface the way time builds a wall — worn layers of teal and gold leaf laid down first, then the red blooms and scattered brushstrokes rising through, soft and familiar. At the center I s https://jgartgallery.com/artwork/love-stories/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-love-stories/full.jpg Love Stories by Kathe Fraga - Mixed Media on Panel I worked the panel in layers — distressed gold and rose, worn down until the surface holds something of every generation that might have passed before it. Then the two birds, facing each other across https://jgartgallery.com/artwork/magical-garden/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-magical-garden/full.jpg Magical Garden by Kathe Fraga - Mixed Media on Canvas I build the ground first — worn layers of gold, crimson, and deep teal worked into the surface through brushwork, scraping, and the slow accretion of time, the way a Parisian wall collects generations https://jgartgallery.com/artwork/midnight-magic/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-midnight-magic/full.jpg Midnight Magic by Kathe Fraga - Mixed Media on Canvas I build my surfaces the way time builds its own — worn, layered, weighted with the patina of another era — and then I interrupt all of that quiet age with something unexpected. Here, cherry blossoms r https://jgartgallery.com/artwork/midnight-silk-kimono/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-midnight-silk-kimono/full.jpg Midnight Silk Kimono by Kathe Fraga - Antiqued Fresco on Birch Panel I work into worn, antiqued layers — cobalt and navy building the kind of depth that feels pulled from another era, a wall that has held a thousand quiet evenings. Then I let the peonies and blossoms c https://jgartgallery.com/artwork/moonlight-song/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-moonlight-song/full.jpg Moonlight Song by Kathe Fraga - Mixed Media I work worn surfaces and distressed textures into something soft and familiar — layers of gold leaf, pattern, and vintage botanicals accreting like time itself. Then I draw two teal lovebirds toward e https://jgartgallery.com/artwork/moonlit-dream/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-moonlit-dream/full.jpg Moonlit Dream by Kathe Fraga - Mixed Media on Canvas I work into worn, layered surfaces — the kind that feel as though many hands have touched them across generations — and then I interrupt that quiet decay with something bold and unexpected. Here, casc https://jgartgallery.com/artwork/our-love-stories/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-our-love-stories/full.jpg Our Love Stories by Kathe Fraga - Mixed Media on Canvas I build my grounds the way time itself works — layering worn, weathered surfaces until something soft and familiar settles in. Here, across this tall canvas, I let cascading blooms and branching stems https://jgartgallery.com/artwork/paris-bouquet/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-paris-bouquet/full.jpg Paris Bouquet by Kathe Fraga - Antiqued Fresco on Birch Panel I build this bouquet the way time builds a wall — layer over layer, roses and lilies emerging from a ground already worn and gilded at its edges. The magenta field behind them is my bold, modern inter https://jgartgallery.com/artwork/paris-court-triptych/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-14/full.jpg Paris Court (Triptych) by Kathe Fraga - Lacquerware with Hand-Painted Decoration I build these three panels the way time builds a wall — layer by layer, the deep teal ground weathered back until the white blossoms and pale botanicals feel as though they've always been there. Then https://jgartgallery.com/artwork/pink-afternoon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-pink-afternoon/full.jpg Pink Afternoon by Kathe Fraga - Antiqued Fresco on Birch Panel I begin with the worn, the layered — a frescoed surface on birch panel that feels as though time itself has moved through it, leaving traces of cobalt, red, and pale turquoise beneath a soft, transluc https://jgartgallery.com/artwork/pink-kimono-red-perfume/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-pink-kimono-red-perfume/full.jpg Pink Kimono, Red Perfume by Kathe Fraga - Mixed Media on Canvas I work into worn, distressed surfaces, building the kind of texture that feels as though many hands — many generations — have passed through. Here, peonies and chrysanthemums drift across a pale mint https://jgartgallery.com/artwork/rose-et-rouge/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-rose-et-rouge/full.jpg Rose Et Rouge by Kathe Fraga - Mixed Media on Panel I build up the surface of Rose Et Rouge the way time builds up a wall — layers of worn, scraped paint and botanical pattern until something soft and familiar settles in. Then the coral-red ground push https://jgartgallery.com/artwork/roses-are-red/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-roses-are-red/full.jpg Roses Are Red by Kathe Fraga - Mixed Media on Panel I build each panel from worn, distressed layers — a ground that feels like it has aged through many hands before mine. Then I let the deep crimson rise, bold and unabashedly modern, while cream and go https://jgartgallery.com/artwork/that-sweet-moment-in-the-garden/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-that-sweet-moment-in-the-garden/1024.jpg That Sweet Moment In The Garden by Kathe Fraga - Antiqued Fresco on Canvas I build the ground first — worn, weathered, aged at the edges until the canvas holds the weight of time itself. Then the dark, gnarled branches wind through, carrying their pink and white blossoms, an https://jgartgallery.com/artwork/the-flirtation/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-the-flirtation/1024.jpg The Flirtation by Kathe Fraga - Mixed Media on Paper I work worn surfaces and distressed textures into something soft and familiar — here, two long-tailed birds face each other on flowering branches, pink butterflies drifting between them against a mute https://jgartgallery.com/artwork/the-joy-of-you/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-the-joy-of-you/768.jpg The Joy of You by Kathe Fraga - Mixed Media on Wood Panel The Joy of You finds two swallows turning toward each other mid-flight, their dark wings caught in a moment that feels both ancient and immediate. I've built the ground in worn, layered texture — the https://jgartgallery.com/artwork/the-scent-of-wild-flowers-a-soft-summer-breeze/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-the-scent-of-wild-flowers-a-soft-summer-breeze/1024.jpg The Scent of Wild Flowers, A Soft Summer Breeze by Kathe Fraga - Mixed Media on Paper I work into worn surfaces and distressed textures — here, a pale aqua ground aged with staining and darkened edges, as though it has passed through many hands over many years. Then the gnarled branch https://jgartgallery.com/artwork/toujours/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-toujours/768.jpg Toujours by Kathe Fraga - Mixed Media on Canvas I work into worn, rust-gold surfaces — layered, distressed, carrying the weight of time the way an old Parisian wall does — then interrupt that weathered ground with bands of turquoise and orange-red, https://jgartgallery.com/artwork/when-i-found-you/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-when-i-found-you/full.jpg When I Found You by Kathe Fraga - Mixed Media I work into worn, familiar surfaces — layers of pattern and botanicals that feel as though they've gathered quietly over many generations — and then I add the unexpected: here, a soft salmon edge that https://jgartgallery.com/artwork/when-we-first-met/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-when-we-first-met/768.jpg When We First Met by Kathe Fraga - Mixed Media on Panel I layered worn, weathered textures into a surface that feels accrued over many generations — then swept in that deep, unapologetic red, the bold and modern note that pulls everything forward. Two swal https://jgartgallery.com/artwork/wild-heart/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kf-wild-heart/full.jpg Wild Heart by Kathe Fraga - Acrylic on Canvas I build the ground with worn, rose-warmed layers — that soft, familiar weight of surfaces that feel as though time itself has moved through them — then let the teal vase arrive as the bold, modern int https://jgartgallery.com/artwork/raven-brings-the-light/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bfr-raven-brings-light/full.jpg Raven Brings the Light by Britt Freda - Mixed Media on Paper — Watercolor, Graphite, and Gold Leaf A raven at full wingspan against a field that holds both light and dark — the bird rendered with Freda’s characteristic precision, every feather placed with the patience of someone who has spent years https://jgartgallery.com/artwork/a-feather-in-my-cap/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-a-feather-in-my-cap/full.jpg A Feather In My Cap by Ilene Gienger Stanfield by Ilene Gienger-Stanfield - Oil on Canvas Stanfield's oil portrait renders facial structure through precise tonal modeling and reserved palette. Compositional frontality and direct gaze establish psychological presence without idealization. https://jgartgallery.com/artwork/belle-of-the-ball/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-belle-of-the-ball/full.jpg Belle of the Ball by Ilene Gienger Stanfield by Ilene Gienger-Stanfield - Oil on Canvas Stanfield applies oil in layered glazes, building form through translucent color shifts rather than line. The figure emerges from warm undertones, posed with deliberate restraint against neutral groun https://jgartgallery.com/artwork/chat-room/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-chat-room/full.jpg Chat Room by Ilene Gienger Stanfield by Ilene Gienger-Stanfield - Pastel on Paper Pastel strokes remain visible, their chalky drag across paper surface creating texture that mirrors psychological distance. The composition suggests presence through absence, built from careful negati https://jgartgallery.com/artwork/compassion/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-compassion/full.jpg Compassion by Ilene Gienger Stanfield by Ilene Gienger-Stanfield - Oil on Canvas Oil pigment accumulates in gestural marks, ochres and siennas modulating across the canvas. Form takes shape through temperature contrast—warm registers against cooler veils—rather than descriptive de https://jgartgallery.com/artwork/door-1-or-door-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-door-1-or-door-2/full.jpg Door #1 or Door #2 by Ilene Gienger Stanfield - Oil on Canvas Two portal forms anchor the composition in formal geometry, rendered in oil with soft edge handling. The painting suspends decision rather than resolving it, presenting visual architecture of ambiguit https://jgartgallery.com/artwork/full-moon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-full-moon/full.jpg Full Moon by Ilene Gienger Stanfield - Oil on Canvas Stanfield uses oil to activate nocturnal space through chromatic opposition—cool silhouettes against warm sky. Light and shadow operate as compositional elements, not atmospheric effect. https://jgartgallery.com/artwork/intermission/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-intermission/full.jpg Intermission by Ilene Gienger Stanfield - Oil on Canvas Oil paint sits in deliberate patches, withholding complete description. A figure occupies interval between action and stillness, rendered through restrained tonal range and simplified form. https://jgartgallery.com/artwork/meditative/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2677/full.avif Meditative by Ilene Gienger Stanfield - Oil on Canvas Muted earth tones dominate the canvas, applied with soft blending that flattens spatial recession. The work prioritizes psychological state over visual incident through chromatic restraint. https://jgartgallery.com/artwork/morning/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-morning/full.jpg Morning by Ilene Gienger Stanfield - Oil on Canvas Early light enters the composition as pale tonality across canvas. Stanfield builds the scene through restricted palette and loose brushwork, suggesting awakening through formal means. https://jgartgallery.com/artwork/mutual/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-mutual/full.jpg Mutual by Ilene Gienger Stanfield - Oil on Canvas Stanfield deploys complementary hues in aggressive juxtaposition, their optical collision producing palpable tension across the canvas. The paint surface registers this chromatic conflict with physica https://jgartgallery.com/artwork/red-shadow/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-red-shadow/full.jpg Red Shadow by Ilene Gienger Stanfield - Oil on Canvas A dark silhouette anchors compositional space while surrounding color bleeds and pools. Stanfield articulates presence through strategic void—what remains unstated carries weight. https://jgartgallery.com/artwork/sibling/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-sibling-2/full.jpg Sibling by Ilene Gienger Stanfield - Oil on Canvas Soft pastel on panel renders two adjacent forms with delicate gradation and minimal modeling. The work's intimacy derives from restraint rather than elaboration. https://jgartgallery.com/artwork/sweet-peas/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-sweet-peas/full.jpg Sweet Peas by Ilene Gienger Stanfield - Oil on Canvas Floral subject receives treatment through layered brushwork and selective color saturation. The framed oil explores botanical form as vehicle for formal composition. https://jgartgallery.com/artwork/the-gift/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-the-gift/full.jpg The Gift by Ilene Gienger Stanfield - Oil on Canvas Stanfield builds figural presence through tonal modulation and selective highlight. The paint handling oscillates between deliberate mark-making and atmospheric dissolve. https://jgartgallery.com/artwork/trust/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/igs-trust/full.jpg Trust by Ilene Gienger Stanfield - Oil on Canvas Muted chromatic range and soft edge create spatial ambiguity. Stanfield constructs psychological state through color temperature and surface recession rather than linear perspective. https://jgartgallery.com/artwork/whistlers-sister/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2678/full.avif Whistler’s Sister by Ilene Gienger Stanfield - Oil on Canvas The portrait employs restrained palette and attentive regard for psychological particularity. Stanfield renders contemplative presence through precise tonal gradation. https://jgartgallery.com/artwork/blurred-horizons/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tg-blurred-horizons/full.jpg Blurred Horizons by Theresa Gray - Oil on Canvas Gray dissolves landscape structure through strategic defocus and atmospheric layering. Horizon line dissolves as a conceptual boundary, space read through color temperature alone. https://jgartgallery.com/artwork/glimpse-coyote/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/glimpse-coyote/full.jpg Glimpse | Coyote | by Theresa Gray - Oil on Canvas Oil on canvas. Gray's coyote emerges through direct brushwork, the animal's head tilted in watchful stance. Ochre and umber modeling defines musculature; the eye glints with unblinking regard. https://jgartgallery.com/artwork/glimpse-coyote-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tg-glimpse-coyote2/full.jpg Glimpse | Coyote by Theresa Gray - Mixed Media on Paper Mixed media on paper. Layered paper fragments and oil create surface density around the coyote form. Gray builds the animal through accumulated mark-making—gestural and material opacity competing for https://jgartgallery.com/artwork/glimpse-owl/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tg-glimpse-owl-2/full.jpg Glimpse | Owl || by Theresa Gray - Oil on Canvas Oil on canvas. The owl's face dominates in tight framing, pupils fixed frontally. Gray renders feather texture through stippled and dragged pigment; atmospheric warm tones recede behind the bird's con https://jgartgallery.com/artwork/mesa-sea-i-two/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tg-mesa-sea-i-two/full.jpg Mesa Sea I Two by Theresa Gray - Oil on Canvas Oil on canvas. Horizontal bands of ochre, cerulean, and gray suggest coastal space through atmospheric perspective. The composition operates as pure landscape abstraction—horizon dissolved into color https://jgartgallery.com/artwork/restorative-sequence-i-one/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tg-restorative-sequence/full.jpg Restorative Sequence I One by Theresa Gray - Oil on Canvas Oil on canvas. Warm earth pigments—raw sienna, burnt umber—establish a restrained palette. Gray's soft blending and tonal modulation suggest interior quiet without narrative incident. https://jgartgallery.com/artwork/windswept-i-and-windswept-ii-by-theresa-gray/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tg-windswept-i-and-windswept-ii/full.jpg Windswept I and Windswept II by Theresa Gray - Oil on Canvas Oil on canvas diptych. Gray's paired compositions employ diagonal compositional thrust, with gestural brushstrokes suggesting wind-stressed landscape forms. Repetition and variation structure the form https://jgartgallery.com/artwork/reverence-i-shining-outward-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tg-reverence-shining-outward/full.jpg Reverence I Shining Outward by Theresa Gray - Oil on Canvas Oil on canvas. Light-value pigments create glowing passages against darker surround. Gray's scumbled and glazed application produces lit effect through technique—not metaphysical claim. https://jgartgallery.com/artwork/wolf-iii/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tg-wolf-iii/full.jpg Wolf III by Theresa Gray - Oil on Canvas Oil on canvas. The wolf's musculature emerges through directional brushwork and tonal modeling. Gray's third iteration of the subject refines form through accumulated technical decision-making. https://jgartgallery.com/artwork/central-park/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/gg-central-park/full.jpg Central Park by Gary Groves - Woodcut I carved these bare trees branch by branch, working the fine detail until the tangle of dark trunks and reaching limbs started to flatten into something closer to pattern than portrait — yet you still https://jgartgallery.com/artwork/perch-4-20/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/gg-perch-4-20/full.jpg Perch #4/20 by Gary Groves - Woodcut or Engraving A woodcut or engraving where a single form—bird or perch—emerges from negative space through carved lines. Restraint becomes the subject: what's removed matters as much as what remains. https://jgartgallery.com/artwork/shadows-and-leaves/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/gg-shadows-and-leaves/full.jpg Shadows and Leaves by Gary Groves - Photography I'm drawn to the way shadow and leaf-cover press against each other until the line between them almost disappears. The steps hold their shape in the lower corner while everything above pulls toward pa https://jgartgallery.com/artwork/togetherness-3-15-by-gary-groves/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/gg-ogetherness-3-15/full.jpg Togetherness # 3/15 by Gary Groves - Woodblock Print I carve fine detail into the block to build up the tonal variation — each stone in here required its own attention, its own small decisions. I was drawn to how these pebbles press together, and I foll https://jgartgallery.com/artwork/downtown-tofino-airstream/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tg-img-1845/full.jpg Downtown Tofino Airstream by Taralee Guild - Digital Painting Guild's digital painting opposes a streamlined Airstream trailer against urban decay. The anachronism—gleaming vintage against rough contemporary architecture—generates its own friction. https://jgartgallery.com/artwork/forest-daybreak/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1850/full.jpg Forest Daybreak by Taralee Guild - Oil on Canvas Oil on canvas tracking light's passage through overlapping foliage. Guild builds the canopy through layered brushwork that preserves the medium's opaque, gestural quality. https://jgartgallery.com/artwork/golden-vw-westfalia-under-stars/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1851/full.jpg Golden VW Westfalia Under Stars by Taralee Guild - Acrylic on Canvas Acrylic rendering of a VW Westfalia under night sky. Guild deploys saturated color to locate the vehicle within nostalgia, the brushwork direct and declarative. https://jgartgallery.com/artwork/homemade-trailer-and-bomb-riding-pin-up/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1852/full.jpg Homemade Trailer and Bomb Riding Pin Up by Taralee Guild - Acrylic on Airstream Trailer Guild painted directly onto an Airstream trailer's aluminum surface, converting functional object into canvas. The gesture merges kitsch subject with serious material intervention. https://jgartgallery.com/artwork/paris-cathedral/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1855/full.jpg Paris Cathedral by Taralee Guild - Giclee Print Giclee print. Cathedral stonework rendered in ochre and shadow with precise linear perspective. Guild's architectural study treats geometric planes with restrained tonality, letting structure speak wi https://jgartgallery.com/artwork/salt-spring-walk/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1856/full.jpg Salt Spring Walk by Taralee Guild - Acrylic on Canvas Acrylic on canvas. Salt Spring landscape constructed through layered washes and dry brushwork. Guild charts topography and atmospheric recession with formal restraint, eschewing narrative for chromati https://jgartgallery.com/artwork/skyward-apparitions/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1857/full.jpg Skyward Apparitions by Taralee Guild - Acrylic on Canvas Acrylic on canvas. Northern lights rendered as striated bands of green and violet above dark forest silhouettes. Guild deploys horizontal registers to compress atmospheric depth into shallow pictorial https://jgartgallery.com/artwork/sleepy-spartanettes/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0768/full.jpg Sleepy Spartanettes by Taralee Guild - Acrylic on Canvas Acrylic on canvas. Interior scene with reclining figures in muted earth tones. Guild's flattened perspective and soft-edged forms suggest repose through compositional stillness rather than narrative d https://jgartgallery.com/artwork/storied-cedar/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1861/full.jpg Storied Cedar by Taralee Guild - Acrylic on Canvas Acrylic on canvas. Weathered cedar trunk occupies the plane with sculptural weight. Guild's impasto and earth pigments register the wood's surface deterioration through texture and chromatic variation https://jgartgallery.com/artwork/the-path-along-duck-creek/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0766/full.jpg The Path Along Duck Creek by Taralee Guild - Digital Painting / Giclee Print Digital painting, giclee print. Forest path articulated through graduated values and atmospheric perspective. Dappled light effect achieved via layered translucency; composition recedes symmetrically https://jgartgallery.com/artwork/wizard-tree/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1864/full.jpg Wizard Tree byTaralee Guild by Taralee Guild - Oil on Canvas Oil on canvas. Gnarled tree rendered with densely worked impasto; dark earth tones modulated by ochre highlights. Guild's expressive brushwork emphasizes organic form over picturesque sentiment. https://jgartgallery.com/artwork/cosmos/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1878/full.jpg Cosmos by Elizabeth Hilton - Mixed Media - Watercolor and Collage on Newspaper Mixed media—watercolor and collage on newspaper. Hilton synthesizes gestural washes with torn paper fragments in overlapping planes. Collage substrate remains visible, creating visual tension between https://jgartgallery.com/artwork/a-watched-pot/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1882/full.jpg A Watched Pot by Pam Ingalls - Oil on Canvas Ingalls builds this interior through warm ochres and muted umbers, the oil paint applied in deliberate layers that suggest domestic stillness. A kettle sits centered, rendered with precise attention t https://jgartgallery.com/artwork/cozy-corner/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1883/full.jpg Cozy Corner by Pam Ingalls - Oil on Canvas Rich sienna and burnt orange dominate this corner study, where Ingalls uses impasto selectively to model fabric folds and wood grain. The composition crowds the picture plane, collapsing depth through https://jgartgallery.com/artwork/from-behind-the-blue-bar/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0241/full.jpg From Behind The Blue Bar by Pam Ingalls - Oil on Canvas A bartender's view rendered in cool blues and silhouetted forms; Ingalls employs tonal contrast and loose brushwork in the background to push spatial recession. The figure emerges solid against atmosp https://jgartgallery.com/artwork/i-am-calling-you/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1885/full.jpg I Am Calling You by Pam Ingalls - Oil on Canvas Oil on board, small scale. Ingalls works with restrained palette here, geometric forms suggested through dark outlines and minimal modeling, the composition frontal and direct. https://jgartgallery.com/artwork/in-sink/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1886/full.jpg In Sink by Pam Ingalls - Oil on Canvas Ingalls stages kitchen plumbing through bold chromatic contrasts—deep blues against warm neutrals. The paint handling shifts between precise edges and gestural marks, playing domestic routine against https://jgartgallery.com/artwork/looming/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0209/full.jpg Looming by Pam Ingalls - Oil on Canvas Mountain forms loom through atmospheric perspective achieved via thinned pigment and muted greens. Ingalls constructs recession through layered glazes, the peaks emerging as solid darks against lighte https://jgartgallery.com/artwork/marmalade-clotted-cream/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1888-2/full.jpg Marmalade & Clotted Cream by Pam Ingalls - Oil on Canvas Ingalls arranges jam jar and cream pot with still-life precision, modeling forms through warm yellows and cool shadows. Oil paint handles the ceramic surface texture through fine glazing and highlight https://jgartgallery.com/artwork/on-fisher-pond/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1889/full.jpg On Fisher Pond by Pam Ingalls - Oil on Canvas Oil on board, horizontal format. Water and shoreline rendered through simplified tonal masses; Ingalls suggests reflection and depth via color temperature shifts rather than linear perspective. https://jgartgallery.com/artwork/peak-experience/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-9863/full.jpg Peak Experience by Pam Ingalls - Oil on Canvas Mountain landscape rendered through varied atmospheric glazes and impasto; Ingalls builds depth via shifting ochres and blues, the peak emerging as formal punctuation rather than transcendence. https://jgartgallery.com/artwork/perches/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1891-2/full.jpg Perches by Pam Ingalls - Oil on Canvas Feathered brushwork articulates avian weight and balance—directional marks follow skeletal structure. Oil paint pooled and dragged suggests settling motion without sentimentality. https://jgartgallery.com/artwork/portals/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1892-2/full.jpg Portals by Pam Ingalls - Oil on Canvas Five-by-twelve-inch oil on board: geometric forms suggest architectural or psychological thresholds. Austere palette of ochre, umber, white—spare composition emphasizes edge and recession. https://jgartgallery.com/artwork/quartet/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1893-2/full.jpg Quartet by Pam Ingalls - Oil on Canvas Four figures arranged in tonal progression across canvas. Ingalls deploys analogous color harmonies—reds modulating to oranges and browns—with scumbled surface texture throughout. https://jgartgallery.com/artwork/shave-and-a-haircut/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1894/full.jpg Shave And A Haircut by Pam Ingalls - Oil on Canvas Barbershop signage and period detail rendered in mid-value oils with deliberate compositional staging. Nostalgia emerges through subject matter itself, not through sentimental treatment. https://jgartgallery.com/artwork/shimmerings/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1895-2/full.jpg Shimmerings by Pam Ingalls - Oil on Canvas Oil paint worked wet-into-wet and dragged creates optical tremor across surface. Light registers through color temperature shifts—warm and cool passages fragmenting form. https://jgartgallery.com/artwork/the-usual-suspects/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1896-3/full.jpg The Usual Suspects by Pam Ingalls - Oil on Canvas Figural arrangement relies on compositional stacking and tonal recurrence. Oil glazes layer selectively; intrigue functions through formal tension, not narrative suggestion. https://jgartgallery.com/artwork/abra-cadbra/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1933/full.jpg Abra Cadbra by Peter Juvonen - Acrylic on Linen Acrylic on linen. A surreal stack — a cow's head supporting a magician's hat, a rabbit emerging from the hat. Juvonen builds the image through gestural mark-making and chromatic accident, the impossib https://jgartgallery.com/artwork/adolescent-immortality/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1934/full.jpg Adolescent Immortality by Peter Juvonen - Acrylic on Linen Juvonen layers opaque and translucent oil pigment to pit adolescent figuration against murky grounds, the brushwork alternating between declarative strokes and dissolved edges to suggest psychological https://jgartgallery.com/artwork/after-the-rain/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1935/full.jpg After the Rain by Peter Juvonen - Acrylic on Linen Wet-on-wet technique dissolves forms through veils of gray and ochre; moisture itself becomes the subject as light emerges from chromatic density rather than pigment removal. https://jgartgallery.com/artwork/after-the-storm/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1936/full.jpg After The Storm by Peter Juvonen - Acrylic on Linen Juvonen applies impasto acrylic paint in directional sweeps across the upper register, the sky rendered in churned grays and blacks that dwarf the landscape below through scale and tonal aggression. https://jgartgallery.com/artwork/arctic-spirits/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1937/full.jpg Arctic Spirits by Peter Juvonen - Watercolor on Paper Watercolor glazes build translucent layers of blue and violet; Juvonen uses paper's white ground strategically, allowing luminosity to emerge from negative space rather than applied pigment. https://jgartgallery.com/artwork/close-friends/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1938/full.jpg Close Friends by Peter Juvonen - Acrylic on Linen Two figures occupy shallow pictorial space, rendered in warm ochres and siennas; Juvonen's restricted palette and frontal positioning flatten intimacy into formal adjacency rather than psychological p https://jgartgallery.com/artwork/delicate-balance/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1939/full.jpg Delicate Balance by Peter Juvonen - Acrylic on Linen Acrylic paint divides the canvas into opposing chromatic and formal zones—warm against cool, gestural against geometric. The compositional rupture resists resolution. https://jgartgallery.com/artwork/fireworks-in-the-harbor/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1940/full.jpg Fireworks in The Harbor by Peter Juvonen - Acrylic on Linen Acrylic on linen. Explosions of pigment rendered in impasto yellows and whites sit atop the darker ground of harbor and sky. Juvonen treats fireworks as optical collision rather than atmospheric event https://jgartgallery.com/artwork/friends/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1941/full.jpg Friends by Peter Juvonen - Acrylic on Linen Modulated oil glazes establish three-quarter poses; Juvonen's palette—ochres, burnt umbers, cool grays—privileges tonal relation over chromatic statement, proximity of color determining psychological https://jgartgallery.com/artwork/golden-cloud/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1942/full.jpg Golden Cloud by Peter Juvonen - Acrylic on Linen Juvonen layers thin glazes of ochre and gray to suggest atmospheric dissolution. The composition hovers between representation and abstraction, with brushwork that dissolves form into light. https://jgartgallery.com/artwork/good-fortune/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1943/full.jpg Good Fortune by Peter Juvonen - Acrylic on Linen Warm ochres and burnt siennas dominate the surface, applied in broad gestural sweeps. Juvonen's handling suggests optimism through color saturation rather than narrative detail. https://jgartgallery.com/artwork/grace-and-power/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1944/full.jpg Grace And Power by Peter Juvonen - Acrylic on Linen Gestural marks—confident yet delicate—move across the canvas in counterpoint. Juvonen balances thick impasto against thinned passages, creating visual tension between restraint and assertion. https://jgartgallery.com/artwork/happness/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1945/full.jpg Happness by Peter Juvonen - Acrylic on Linen Juvonen uses complementary color relationships—yellows against purples, reds against greens—that vibrate without muddying. The compositions resist sentimentality through chromatic rigor. https://jgartgallery.com/artwork/happy-feet/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/happy-feet/full.jpg Happy Feet by Peter Juvonen - Acrylic on Linen Acrylic on linen. The polar bear and penguin of the title — pulled loosely from the animated film — animate the surface through rapid, playful brushstrokes in warm and cool hues. Juvonen lets the figu https://jgartgallery.com/artwork/little-angel/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1947/full.jpg Little Angel by Peter Juvonen - Acrylic on Linen Acrylic on linen. A small figure — the 'little angel' of the title — perches atop a hippopotamus. Juvonen reduces facial features to essential planes; the angel earns her position through compositiona https://jgartgallery.com/artwork/living-under-water/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1948/full.jpg Living Under Water by Peter Juvonen - Acrylic on Canvas Acrylic on linen. Thin translucent washes build the spatial depth of an underwater scene. Juvonen suspends forms — both abstract and suggestive — in chromatic modulation, their position floating rathe https://jgartgallery.com/artwork/monkey-and-her-cat/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1961/full.jpg Monkey And Her Cat by Peter Juvonen - Acrylic on Linen Juvonen's dual subjects occupy distinct chromatic zones—warm tones for the monkey, cooler accents for the cat. The oil handling emphasizes observed gesture over anthropomorphic sentiment. https://jgartgallery.com/artwork/on-the-lamb/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1962/full.jpg On the Lamb by Peter Juvonen - Acrylic on Linen Acrylic on linen. The title puns: 'on the lam' as escape, 'on the lamb' as literal. Juvonen paints a figure performing a handstand on a sheep's back — the gestural brushwork moves with deliberate fric https://jgartgallery.com/artwork/orange-sunset/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1963/full.jpg Orange Sunset by Peter Juvonen - Acrylic on Linen Horizontal bands of orange and warm yellow establish atmospheric recession in this acrylic sunset. Juvonen's color relationships suggest depth without illusionistic detail. https://jgartgallery.com/artwork/pink-sunset/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1964/full.jpg Pink Sunset by Peter Juvonen - Acrylic on Linen Pink tones modulate across the composition's upper register, shifting toward cooler hues below. The acrylic's flat application resists conventional depth cues. https://jgartgallery.com/artwork/rocky-bullwinkle/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1965/full.jpg Rocky & Bullwinkle by Peter Juvonen - Acrylic on Linen Dense brushwork in warm chromatics animates the picture plane. Juvonen's paint handling flattens cartoon iconography into architectural forms of color. https://jgartgallery.com/artwork/sacred-cow/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1966/full.jpg Sacred Cow by Peter Juvonen - Acrylic on Linen Ochre and umber establish a monochromatic register punctuated by darker accents. Sacred subject matter receives treatment through direct pigment application, without sentimentality. https://jgartgallery.com/artwork/ships-of-sky/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1967/full.jpg Ships of Sky by Peter Juvonen - Acrylic on Linen Acrylic on linen. Juvonen layers translucent glazes to build atmospheric depth across the composition. Vessel-like forms emerge from and dissolve back into the sky — the ships read as both presence an https://jgartgallery.com/artwork/storm-clouds-over-the-islands/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0539-2/full.jpg Storm Clouds Over The Islands by Peter Juvonen - Acrylic on Linen Acrylic on linen. Churning cloud formations occupy most of the canvas above the low horizon line of the islands below. Juvonen's gray-and-white palette pushes meteorological weight to the foreground; https://jgartgallery.com/artwork/storm-off-shore/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1986/full.jpg Storm off Shore by Peter Juvonen - Acrylic on Linen Acrylic pigment applied in broad, gestural strokes depicts stormy offshore conditions. The composition privileges weather's visual drama over settled landscape description. https://jgartgallery.com/artwork/stormy-isle/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1987/full.jpg Stormy Isle by Peter Juvonen - Acrylic on Linen Acrylic on canvas depicting turbulent skies and rocky coastline. Juvonen's brushwork moves between gestural swells and defined landforms, the composition tilted to suggest instability. Storm light bre https://jgartgallery.com/artwork/sunset-on-sunday/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1988/full.jpg Sunset On Sunday by Peter Juvonen - Acrylic on Linen Acrylic paint layered to show the specific moment when daylight thins to amber. Juvonen works with translucent glazes over solid underpainting, the canvas divided between warm foreground and cooling s https://jgartgallery.com/artwork/sunset-over-the-city/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/sunset-over-the-city/full.jpg Sunset Over The City by Peter Juvonen - Acrylic on Linen Horizontal oil study in warm palette—crimsons and ambers bleeding into ochres. Juvonen's technique emphasizes atmospheric dissolution rather than form; the city becomes silhouette, secondary to light' https://jgartgallery.com/artwork/symphonic/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pj-symphonic/full.jpg Symphonic by Peter Juvonen - Acrylic on Linen Non-representational oil composition balancing gestural mark-making against geometric structure. Juvonen constructs a field where color intervals and brushstroke direction create rhythmic tension with https://jgartgallery.com/artwork/the-laughing-elephant/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1991/full.jpg The Laughing Elephant by Peter Juvonen - Acrylic on Linen Acrylic painting figuring an elephant rendered with gestural energy. Juvonen's line-work emphasizes animal musculature; warm ochres and siennas ground the image in naturalism while expressive facture https://jgartgallery.com/artwork/the-stop/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1992/full.jpg The Stop by Peter Juvonen - Acrylic on Linen Urban streetscape in muted grays and ochres. Juvonen uses near-monochromatic restraint to emphasize geometric planes—receding architecture, the painted surface itself becomes the subject. Stillness em https://jgartgallery.com/artwork/water-fall/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1993/full.jpg Water Fall by Peter Juvonen - Acrylic on Linen Oil rendering of flowing water through gestural brushwork. Juvonen varies mark-making to suggest movement—directional strokes, opacity shifts, color modulation from white to blue-gray. The cascade rea https://jgartgallery.com/artwork/words-on-a-line/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1994/full.webp Words On A Line by Peter Juvonen - Acrylic on Canvas Acrylic abstracting text fragments into visual marks. Juvonen's technique obscures letterforms through layering and gestural overpainting, converting language into pure mark-making where legibility di https://jgartgallery.com/artwork/american-love/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1997/full.webp American Love by Jay Kelly - Mixed Media, Collage Torn paper fragments—legible scraps of text, color fields—arranged beneath resin's glossy seal on panel. Kelly's collage operates as visual palimpsest, where material accumulation and surface finish f https://jgartgallery.com/artwork/and-exploration/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0567/full.webp And Exploration by Jay Kelly - Mixed Media Vintage paper scraps under resin create layered, almost archaeological surface. The work's title suggests process over destination; Kelly treats collage as investigation into how disparate materials c https://jgartgallery.com/artwork/from-near-and-far-6-25/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1999/full.jpg From Near and Far (6/25) by Jay Kelly - Mixed Media Collage Resin-encased paper collage on panel, numbered within an edition. Serial numbering signals reproducibility; beneath the transparent skin, torn fragments maintain individual character despite mechanica https://jgartgallery.com/artwork/in-every-detail-25-25/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2001/full.webp In Every Detail (25/25) by Jay Kelly - Mixed Media Collage Digital print transferred to aluminum and sealed behind plexi—a facsimile of collage's handmade precedent. Technical reproduction flattens texture into image, raising questions about originality acros https://jgartgallery.com/artwork/in-the-west/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2002/full.webp In the West by Jay Kelly - Mixed Media Collage with Photography and Digital Art Paper and photograph merge under resin gloss. The collision of analogue fragments with photographic index produces composite surfaces where scale, depth, and temporal registers coexist without resolut https://jgartgallery.com/artwork/its-in-the-detail-25/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0691/full.webp It’s In the Detail (/25) by Jay Kelly - Digital Art, Giclee Print Numbered print of collaged paper fragments sealed behind plexi. Repetition and variation structure the work; Kelly's attention to compositional detail compensates for mechanical reproduction's inevita https://jgartgallery.com/artwork/the-brilliant/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2005/full.webp The Brilliant by Jay Kelly - Mixed Media Collage Compact square composition of torn paper under resin finish. Formal constraint intensifies the visual density; color relationships and fragmented forms demand close viewing despite modest dimensions. https://jgartgallery.com/artwork/the-perfect-day/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2006/full.webp The Perfect Day by Jay Kelly - Mixed Media - Collage with Acrylic and Newspaper Newspaper and acrylic join torn paper in collage assembly. Typography and printed image become raw material; layering establishes spatial depth while maintaining the work's inherent flatness as wall-b https://jgartgallery.com/artwork/vacation-plans-1-25/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2007/full.webp Vacation Plans (1/25) by Jay Kelly - Mixed Media - Collage with Newspaper and Paint Kelly layers digital printing on aluminum beneath plexi, creating a shallow-depth surface that flattens vacation imagery into graphic planes. The 45 x 56.25 format extends horizontally, mimicking post https://jgartgallery.com/artwork/vitality/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0626/full.webp Vitality by Jay Kelly - Photography Torn paper fragments embedded under resin on panel create dimensional relief—a collage method that traps materials mid-decay. The square format (48 x 48) contains scattered compositional energy, with https://jgartgallery.com/artwork/from-the-lodge-25/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2010/full.jpg From the Lodge (/25) by Jay Kelly - Mixed Media Collage Le Van assembles vintage torn paper into a horizontal composition (36 x 54) where fragmentary sources—magazine, newsprint, ephemera—retain readable traces. The collage method foregrounds material hist https://jgartgallery.com/artwork/along-the-river/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2031/full.webp Along The River by Susan Le Van - Mixed Media Le Van's mixed media work deploys layered mark-making across abstracted landscape formats. Ink and pigment interact across paper surfaces, generating optical vibration through chromatic adjacency and https://jgartgallery.com/artwork/bear-with-salmon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2032/full.webp Bear with Salmon by Susan Le Van - Mixed Media on Paper Le Van renders animal form through accumulated paint and ink application on paper. The bear-salmon pairing suggests predatory encounter; technique emphasizes surface texture and gestural urgency rathe https://jgartgallery.com/artwork/green-bear/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2033/full.webp Green Bear by Susan Le Van - Mixed Media on Paper Mixed-media layering on paper produces a green-field composition where animal form emerges through translucent glazes and opaque marks. The technique prioritizes material visibility—visible brushwork https://jgartgallery.com/artwork/panther/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2034/full.webp Panther by Susan Le Van - Mixed Media Le Van builds the panther through accumulated ink, paint, and collage elements on paper, emphasizing predatory silhouette against gestural background marks. Surface activity—drips, smudges, linear acc https://jgartgallery.com/artwork/tabby-and-yellow-dog/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2035/full.webp Tabby and Yellow Dog by Susan Le Van - Mixed Media (Paint, Ink, Collage on Paper) Paint, ink, and collage create layered animal presences on paper where tabby cat and yellow dog occupy shared pictorial space. Technical layering produces visual tension between discrete figures; mate https://jgartgallery.com/artwork/contemplation/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2036/full.jpg Contemplation by Stephen MacFarlane - Mixed Media on Paper MacFarlane layers monotype with charcoal and gesso, building up translucent fields and gestural marks across narrow paper. The composition hovers between abstraction and landscape, its shallow depth a https://jgartgallery.com/artwork/dreams-in-a-landscape/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0242/full.jpg Dreams In A LandScape by Stephen MacFarlane - Mixed Media on Canvas Monotype with charcoal on canvas produces spectral landforms—blurred horizons and dark passages that suggest terrain without naming it. The process-driven technique leaves visible traces of removal an https://jgartgallery.com/artwork/level-horizon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/level-horizon/full.jpg Level Horizon by Stephen MacFarlane - Oil on Canvas Oil paint describes a flattened horizon where sky and water merge in muted tones. The composition privileges stillness; minimal incident creates a study in chromatic restraint and linear structure. https://jgartgallery.com/artwork/rider/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2039/full.jpg Rider by Stephen MacFarlane - Screenprint Monotype with charcoal consolidates a figural motif—a rider rendered through layered darks and scraped highlights. The technique's resistance to precision yields gestural urgency. https://jgartgallery.com/artwork/the-knights-next-move/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2040/full.jpg The Knight’s Next Move by Stephen MacFarlane - Mixed Media on Canvas Charcoal and gesso act against monotype's fluidity here, inscribing a chess narrative into abstraction. MacFarlane compounds media to create spatial ambiguity—is this game abstract or legible? https://jgartgallery.com/artwork/visionary/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/visionary/full.jpg Visionary by Stephen MacFarlane - Mixed Media on Canvas Monotype receives charcoal and gesso applications that build opacity and surface texture. The work oscillates between painterly gesture and printmaking's mechanical trace. https://jgartgallery.com/artwork/at-night-diptych/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2045-2/full.jpg At Night (Diptych) by Julie Anne Mann - Walnut burl, Etched silver leaf Mann's diptych uses photographic documentation of nocturnal conditions—contrast-rich blacks and grays suggesting partial visibility. Two panels address what remains hidden in darkness. https://jgartgallery.com/artwork/beach-walk/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2046/full.jpg Beach Walk by Julie Anne Mann - Found object (Salish Coast), Sea glass, Cement Bronze casts footprint impressions, translating ephemeral sand marks into permanent form. Stone base anchors the work's paradox: sculpture as record of what erases itself. https://jgartgallery.com/artwork/eclipse/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2047/full.jpg Eclipse by Julie Anne Mann - Deer antler, charcoal, Silver leaf, Cradled wood panel Mann's oil rendering of celestial convergence organizes the composition around a darkened disk, surrounding corona rendered in ochre and gray. Gestural brushwork intensifies toward the edges, where wa https://jgartgallery.com/artwork/ellipse/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2048/full.jpg Ellipse by Julie Anne Mann - Wasp nest, Acrylic, Cradled wood panel Ellipse emerges through layered charcoal and oil on canvas, where gestural marks accumulate into abstract form. The surface oscillates between opacity and translucence, material competing with mark. https://jgartgallery.com/artwork/emergence/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2049/full.jpg Emergence by Julie Anne Mann - Wasp nest, Acrylic on Cradled wood panel Mixed media on panel builds through charcoal and acrylic in dense, overlapping strokes. The work resists legibility—form suggests emergence without declaring subject, texture asserting presence over n https://jgartgallery.com/artwork/fort-ward/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2051/full.jpg Fort Ward by Julie Anne Mann - Oil on Cradled wood panel Oil on canvas articulates Fort Ward's architecture through directional brushwork that models form without dissolving it. Light and shadow negotiate across weathered surfaces; the painting maintains st https://jgartgallery.com/artwork/meridian/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jam-meridian/full.jpg Meridian by Julie Anne Mann - Wasp nest, Acrylic, Cradled wood panel Textured materials on canvas create a surface that demands close attention. Layered substrates—paint, collage elements, sculptural addition—generate spatial compression; the work functions as object r https://jgartgallery.com/artwork/shift/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jam-shift/full.jpg Shift by Julie Anne Mann - Wasp nest, Acrylic, Cradled wood panel Mixed media on canvas accumulates through competing materials: acrylic, ink, possibly collage elements. Opacity and transparency jostle across the surface; Mann constructs visual incident through mate https://jgartgallery.com/artwork/the-devils-sun/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jam-the-devils-sun/full.jpg The Devil’s Sun by Julie Anne Mann - Ink on Paper Bold gestural ink marks establish figure and ground simultaneously on paper. The work trades precision for energy; thin and thick lines negotiate paradox without resolution—severity punctuated by unex https://jgartgallery.com/artwork/the-twins-2-pieces/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jam-the-twins-2-pieces/full.jpg The Twins (2 Pieces) by Julie Anne Mann - Graphite Drawing Two graphite figures occupy separate panels with equal formal attention. Linear precision defines physiognomy and anatomy; the diptych format positions comparison as content, similarity and difference https://jgartgallery.com/artwork/traveler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jam-traveler-2/full.jpg Traveler by Julie Anne Mann - Pencil Drawing on Paper Mann's pencil lines accumulate with deliberate hesitation across paper, building form through accumulated mark-making rather than tonal modeling. Restraint becomes the subject. https://jgartgallery.com/artwork/barn-owl/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/fm-barn-owl/full.jpg Barn Owl by Fumi Matsumoto - Ink and Watercolor on Paper Matsumoto layers ink and graphite to suggest the barn owl's nocturnal presence—feathering rendered through cross-hatching and diluted wash, precision meeting atmospheric suggestion. https://jgartgallery.com/artwork/golden-eye/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/fm-golden-eye/full.jpg Golden Eye by Fumi Matsumoto - Woodblock Print on Paper A lino-cut monoprint on teabag paper yields soft-edged forms; the duck's eye rendered as a dark accent against warm, absorbent ground. Printmaking's inherent imprecision becomes the work's strategy. https://jgartgallery.com/artwork/magpie-and-ferns/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/fm-magpie-and-ferns-2/full.jpg Magpie and Ferns by Fumi Matsumoto - Woodblock Print Gel plate and linocut techniques converge in this monoprint. Magpie and fern fronds assert themselves through bold positive forms against negative space, gestural yet structured. https://jgartgallery.com/artwork/owl/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/fm-owl/full.jpg Owl by Fumi Matsumoto - Pen and Ink on Paper Ink pen and graphite delineate the owl's anatomical specificity—feather pattern, orbital sockets—with botanical precision. The line itself carries meaning. https://jgartgallery.com/artwork/beach-mirror/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-beach-mirror/full.jpg Beach Mirror by Andy McConnell - Red Cedar Burl, Painted Red Cedar, Mirrored Glass A wall sculpture in red cedar burl with painted red cedar and mirrored glass. McConnell stains and polishes the cedar to achieve depth of color — no charring, no burning. The mirrored glass elements r https://jgartgallery.com/artwork/fusion/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-fusion1/full.jpg Fusion by Andy McConnell - Stained Red Cedar Stained red cedar. McConnell achieves the dark definition through staining and polishing, not charring or burning. The carved volumes in Fusion hold their shapes precisely because the material is dens https://jgartgallery.com/artwork/just-peachy/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-just-peachy/full.jpg Just Peachy by Andy McConnell - Recycled Red Cedar House Siding, Acrylic Paint Just Peachy is built from recycled red cedar house siding and finished with acrylic paint. McConnell's black finish is achieved through staining and polishing — the same trade-craft that runs through https://jgartgallery.com/artwork/one-of-a-kind/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-one-of-a-kind/full.jpg One Of A Kind by Andy McConnell - Painted and Stained Douglas Fir, Hemlock One of a Kind works in painted and stained Douglas fir and hemlock — construction-grade material elevated by the specificity of the finish. McConnell stains and polishes to get the depth of color. The https://jgartgallery.com/artwork/portal-series-1/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-portal-series-1/full.jpg Portal (Series) 1 by Andy McConnell - Acrylic on Canvas Vertical fir grain establishes a visual substrate; ecopoxy resin layers atop it, creating translucent depth. The material's own wood grain becomes compositional element rather than support, collapsing https://jgartgallery.com/artwork/portal-series-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-portal-series-2/full.jpg Portal (Series) 2 by Andy McConnell - Acrylic on Wood Panel Ecopoxy on grained fir establishes a gloss skin over wood's linear texture. McConnell treats the panel surface as field where painted marks negotiate with the substrate's directional pull. https://jgartgallery.com/artwork/portal-series-3/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-portal-series-3/full.jpg Portal (Series) 3 by Andy McConnell - Oil on Wood Panel Oil paint on ecopoxy-sealed fir creates chromatic density against the wood's inherent linearity. The resin ground refuses absorbency; paint sits atop, establishing optical friction between media and s https://jgartgallery.com/artwork/portal-series-4/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-portal-series-4/full.jpg Portal (Series) 4 by Andy McConnell - Acrylic on Wood Panel Ecopoxy and vertical grain fir establish the work's structural armature. The series continues McConnell's investigation of material opacity and the space between painted surface and wood substrate. https://jgartgallery.com/artwork/portal-series-5/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-portal-series-5/full.jpg Portal (Series) 5 by Andy McConnell - Douglas Fir, Ecopoxy (Soy-Based Resin), Acrylic Paint Douglas fir, soy-based Ecopoxy resin, acrylic paint. Portal 5 is one of McConnell's seven portal panels — each built around the same aperture form, each with different resin color and grain character. https://jgartgallery.com/artwork/portal-series-6/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-portal-series-6/full.jpg Portal (Series) 6 by Andy McConnell - Mixed Media - Wood Oil on the sealed fir panel sustains chromatic saturation through ecopoxy's protective gloss. Paint articulates against wood grain's visual insistence; neither suppresses the other. https://jgartgallery.com/artwork/portal-series-7/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-portal-series-7/full.jpg Portal (Series) 7 by Andy McConnell - Mixed Media, Acrylic on Wood Panel with Three-Dimensional Relief Acrylic, fir, and ecopoxy build outward via dimensional relief. McConnell layers materials to create sectional complexity—the work projects beyond its frame, asserting sculptural presence. https://jgartgallery.com/artwork/reflections-on-the-moon-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-16/full.jpg Reflections On The Moon 2 by Andy McConnell - Recycled Red Cedar House Siding and Trim, Ecopoxy, Acrylic Paint Recycled red cedar house siding and trim with Ecopoxy resin and acrylic paint. The large circular disc — half carved wood, half resin embedded with pearl-white particles in a spiral pattern — reads li https://jgartgallery.com/artwork/reflections-on-the-sun-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-21/full.jpg Reflections On The Sun 2 by Andy McConnell - Recycled Red Cedar House Siding and Trim, Ecopoxy, Acrylic Paint Recycled red cedar house siding and trim, Ecopoxy resin, acrylic paint. The domed hemisphere is a bowl of warm amber resin with orange, red, and gold particles suspended throughout — a solar surface. https://jgartgallery.com/artwork/wind-on-water-clovis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-wind-on-water-clovis/full.jpg Wind on Water (Clovis) by Andy McConnell - Red Cedar Burl Red cedar burl. Wind on Water is a smaller piece in McConnell's current inventory — burl scale is intimate, the finish is stain and polish. No charring. $1,200. https://jgartgallery.com/artwork/balancing-act-4/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/balancing-act-4/1024.jpg Balancing Act 4 by Andy McConnell - Ink and Colored Pencil on Paper Ink pools and colored pencil hatching compete across paper in loose compositional balance. McConnell layers translucent and opaque marks; the drawing refuses unified perspective, instead fragmenting a https://jgartgallery.com/artwork/above-the-horizon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tm-above-the-horizon/full.jpg Above The Horizon by Tim McMeans - Mixed Media on Canvas McMeans applies gestural marks—drips, scrubbing, linear incidents—atop layered ground. The painting's upper register loosens into abstraction while lower passages maintain figural suggestion, creating https://jgartgallery.com/artwork/anticipation/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tm-anticipation/full.jpg Anticipation by Tim McMeans - Mixed Media McMeans builds tension through material accumulation: wet media bleeds into dry, translucent washes meet opaque passages. Compositional pause emerges from technical hesitation rather than thematic pau https://jgartgallery.com/artwork/in-the-wind/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tm-in-the-wind/full.jpg In The Wind by Tim McMeans - Mixed Media on Wood Panel Weathered wood panel shows uneven light absorption across applied layers, the surface registering time through accumulated texture and material decay. McMeans builds spatial depth through abraded grou https://jgartgallery.com/artwork/ins-and-outs/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tm-ins-and-outs/full.jpg Ins And Outs by Tim McMeans - Mixed Media - Etching/Engraving with Screenprint or Linocut Woodcut relief prints anchor collaged acrylic ink marks on paper. The artist orchestrates positive and negative space through printmaking's inherent binary, then disrupts that order with gestural inte https://jgartgallery.com/artwork/mystery-to-explore/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tm-mystery-to-explore/full.jpg Mystery To Explore by Tim McMeans - Etching and Mixed Media Smoke-stained paper collaged onto wood support; acrylic and ink layer atop etched marks. McMeans uses oxidation and carbon deposit as formal elements, charring the surface to generate tonal variation. https://jgartgallery.com/artwork/resonance/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tm-resonance/full.jpg Resonance by Tim McMeans - Mixed Media - Ink Drawing with Acrylic or Gouache Woodcut relief prints receive collaged acrylic ink applications on paper. The linear language of carved blocks meets painterly gesture, creating friction between the planographic and the gestural mark https://jgartgallery.com/artwork/still-around/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tm-still-around/full.jpg Still Around by Tim McMeans - Etching and Watercolor Acrylic ink overlays woodcut relief prints on paper. McMeans treats printmaking's mechanical precision as substrate, then deposits subsequent marks to complicate the grid's rigid logic. https://jgartgallery.com/artwork/the-ripples-of-a-memory/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tm-the-ripples-of-a-memory/full.jpg The Ripples Of A Memory by Tim McMeans - Mixed Media on Panel Layered mixed media on panel; translucent planes of material create shallow pictorial space through occlusion rather than perspective. Fragmented impressions surface and recede within the accumulated https://jgartgallery.com/artwork/the-way-it-flows/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-25/full.jpg The Way It Flows by Tim McMeans - Mixed Media on Tile Smoke-treated paper mounted on wood; acrylic and ink activate the stained surface. Carbonized deposits create tonal depth; applied marks respond to rather than ignore the ground's contingent marks. https://jgartgallery.com/artwork/thoughts-run-deep/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tmthoughts-run-deep/1024.jpg Thoughts Run Deep by Tim McMeans - Ink on Paper Acrylic ink and smoked paper on wood; the artist employs carbon deposit and controlled staining as compositional tools. Linear marks register against charred grounds, setting velocity against resistan https://jgartgallery.com/artwork/was-there/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/tm-was-there/full.jpg Was There by Tim McMeans - Mixed Media on Circular Panel McMeans constructs a Great Blue Heron from layered mixed media on circular support, the composition's radial geometry emphasizing the bird's arrested stance. Gestural marks and material accumulation s https://jgartgallery.com/artwork/ecola-point-2024/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-ecola-point-2024-2/full.jpg Ecola Point, 2024 by Lisa McShane - Oil on Canvas McShane's oil handling registers the Pacific Northwest coast through a palette of grays and greens, the brushwork directional and assured. Atmospheric density emerges from tonal modulation rather than https://jgartgallery.com/artwork/flooded-river/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-flooded-river-2/full.jpg Flooded River by Lisa McShane - Oil on Canvas Turbulent water occupies the canvas through impastoed oil application, the artist's gestural brushwork indexing motion without dissolving form. The technique foregrounds the act of painting itself. https://jgartgallery.com/artwork/foggy-delta/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-foggy-delta/full.jpg Foggy Delta by Lisa McShane - Oil on Canvas Fog and water merge through sfumato-like transitions in oil, the atmospheric effect achieved through careful tonal gradation. Spatial recession flattens toward the picture plane, resisting depth. https://jgartgallery.com/artwork/island-edge/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-sland-edge/full.jpg Island Edge by Lisa McShane - Oil on Canvas The coastline emerges through deliberate oil strokes—economical, direct. McShane's handling refuses sentimentality, letting rocky edge and water meet without mediation. https://jgartgallery.com/artwork/january-6th/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-january-6th/full.jpg January 6th by Lisa McShane - Oil on Canvas Light and landscape intersect through oil's chromatic range, the title's historical reference undercut by the painting's formal restraint. Figuration remains secondary to atmospheric condition. https://jgartgallery.com/artwork/reflections-on-the-point/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-reflections-on-the-point/full.jpg Reflections on The Point by Lisa McShane - Oil on Canvas Reflective surface activates the composition, doubled forms creating shallow pictorial space. Oil's working properties—its resistance, its gloss—participate in representing water's optical properties. https://jgartgallery.com/artwork/on-samish-bay-on-front/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-on-samish-bay-on-front/full.jpg On Samish Bay, On Front by Lisa McShane - Oil on Canvas On linen panel, McShane addresses Samish Bay through a restrained palette. The modest scale concentrates viewing, the oil technique applying paint with deliberate economy. https://jgartgallery.com/artwork/river-of-no-return/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-river-of-no-return/full.jpg River of No Return by Lisa McShane - Oil on Canvas McShane renders mountain terrain through layered oil paint, constructing depth via chromatic shift from warm foreground to cool distance. The river cuts through composition with gestural immediacy, as https://jgartgallery.com/artwork/samish-pattys-view/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-samish-pattys-view/full.jpg Samish: Patty’s View by Lisa McShane - Oil on Canvas Water and sky merge through tonal modulation in McShane's oil work, with barely differentiated horizontals creating spatial ambiguity. The view registers as atmospheric interval rather than topographi https://jgartgallery.com/artwork/silver-point-in-the-wind-2024/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-silver-point-in-the-wind-2024/full.jpg Silver Point In The Wind, 2024 by Lisa McShane - Oil on Canvas McShane's painterly handling—thick impasto describing wind-bent vegetation—prioritizes tactile surface over illusionistic depth. The composition tilts between abstraction and landscape observation. https://jgartgallery.com/artwork/west-on-the-nooksack/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lm-west-on-the-nooksack/full.jpg West On The Nooksack by Lisa McShane - Oil on Canvas McShane treats the Pacific coastline through restricted palette and horizontal banding, where atmospheric conditions determine form. Restraint structures the scene against romantic convention. https://jgartgallery.com/artwork/copper-pipe-and-meter/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pp-copper-pipe-and-meter/full.jpg Copper Pipe and Meter by Paul Polson - Oil on Canvas Polson's thick paint application activates industrial detritus—copper pipe, meter—as textural event. Utilitarian objects yield to formal properties: surface, gesture, tonal incident. https://jgartgallery.com/artwork/hood-canal-bridge/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pp-hood-canal-bridge/full.jpg Hood Canal Bridge by Paul Polson - Oil on Canvas The bridge's steel geometry anchors Polson's composition within atmospheric wash of grays. Architectural precision balances painterly dissolution, neither dominating. https://jgartgallery.com/artwork/hood-canal-bridge-east-end/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pphood-canal-bridge-east-end/full.jpg Hood Canal Bridge East End by Paul Polson - Oil on Canvas Polson constructs the bridge's eastern approach through atmospheric perspective and careful value gradation in oil. Structural form emerges from—rather than against—meteorological conditions. https://jgartgallery.com/artwork/hood-head-hood-canal/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pp-hood-head-hood-canal/full.jpg Hood Head, Hood Canal by Paul Polson - Oil on Canvas Polson's Hood Head registers as tonal study: land mass distinguished from water and sky through nuanced ochre and blue-gray modulations. Form emerges through chromatic relationship. https://jgartgallery.com/artwork/manzanita-beach/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pp-manzanita-beach/full.jpg Manzanita Beach by Paul Polson - Oil on Canvas Polson builds Manzanita Beach through layered oil paint, sand and sea rendered in restrained ochres and grays. The composition brackets space between foreground and horizon with architectural precisio https://jgartgallery.com/artwork/pipe-and-meter/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pp-pipe-and-meter/full.jpg Pipe and Meter by Paul Polson - Oil on Canvas Industrial forms—pipe, meter, corrosion—emerge through oil glazes and impasto. Polson treats utilitarian objects with the same formal attention typically reserved for landscape, finding geometry in de https://jgartgallery.com/artwork/saddle-mountain/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pp-saddle-mountain/full.jpg Saddle Mountain by Paul Polson - Oil on Canvas Saddle Mountain's silhouette dominates through warm foreground tones pushing against cooler distant ridges. Polson's brushwork moves from gestural to precise, articulating geological mass across the c https://jgartgallery.com/artwork/three-sisters-oregon-coast/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pp-three-sisters-oregon-coast-2/full.jpg Three Sisters’ Oregon Coast by Paul Polson - Oil on Canvas Three Sisters resolves into view through thick paint application and tonal contrast. Polson orchestrates atmospheric perspective via warm-to-cool shifts, the coastal rock formations asserting weight a https://jgartgallery.com/artwork/view-from-ecola/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pp-view-from-ecola/full.jpg View From Ecola by Paul Polson - Oil on Canvas Ecola's vista unfolds through direct observation translated into oil—cliffs, water, vegetation occupying distinct chromatic bands. Polson's handling remains descriptive rather than romantic, trusting https://jgartgallery.com/artwork/bale-ready/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/nealphilpott-bale-ready-oil-26x40-framed/full.jpg Bale Ready by Neal Philpott - Oil on Canvas Philpott renders hay bale and rural setting through deliberate brushwork and local color. The composition treats agricultural labor without sentimentality, finding quiet formal order in fieldwork. https://jgartgallery.com/artwork/bigger-blooms/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/np-bigger-blooms/full.jpg Bigger Blooms by Neal Philpott - Oil on Canvas Floral forms expand across Philpott's canvas in saturated hues and thick impasto. The painter builds blooms through direct color application, scale overwhelming domestic expectation of flower painting https://jgartgallery.com/artwork/drive-sentinels/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/np-drive-sentinels/full.jpg Drive Sentinels by Neal Philpott - Oil on Canvas Philpott positions sentinel forms against a receding landscape, deploying thick impasto and restrained ochre tonalities to suggest watchful presence without sentimentality. https://jgartgallery.com/artwork/easy-way-out/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/np-easy-way-out/full.jpg Easy Way Out by Neal Philpott - Oil on Canvas A figure or form dissolves into scraped and thinned pigment, suggesting capitulation through technique itself. Philpott's restraint—what remains unsaid—generates the work's tension. https://jgartgallery.com/artwork/forested/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/np-forested/full.jpg Forested by Neal Philpott - Oil on Canvas Dense layering of greens and umbers creates optical compression; individual trees dissolve into a thickly worked surface where form and abstraction compete. https://jgartgallery.com/artwork/gorge-autumn/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/np-gorge-autumn/full.jpg Gorge Autumn by Neal Philpott - Oil on Canvas Autumn hues—sienna, burnt orange—fragment across the canvas in a gorge-like recession. Philpott's directional brushstrokes suggest seasonal transition as formal intervention. https://jgartgallery.com/artwork/pasture-twins/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/nealphilpott-shadowtwin-oil-20x40/full.jpg Pasture Twins by Neal Philpott - Oil on Canvas Two standing figures occupy Philpott's canvas via loose brushwork and ochre tonality, spatial proximity suggests conversation or mutual regard; paint handling prioritizes atmospheric envelope over ana https://jgartgallery.com/artwork/river-days/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-26/full.jpg River Days by Neal Philpott - Oil on Canvas Oil painting constructs alpine watercourse through layered glaze and scumbled highlights. Water's movement traced via directional brushstrokes; surrounding geology rendered in cooler, recessive greens https://jgartgallery.com/artwork/river-solace/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/np-river-solace/full.jpg River Solace by Neal Philpott - Oil on Canvas River depicted as restful horizontal anchor through soft ochre and blue-green modulation. Philpott's oil technique softens edges, atmospheric perspective pushing vegetation into haze; quietude achieve https://jgartgallery.com/artwork/secret-creek/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/np-secret-creek/full.jpg Secret Creek by Neal Philpott - Oil on Canvas Creek rendered through negative space and reflected light rather than descriptive detail. Oil paint's translucency suggests water's movement; surrounding forest compressed into dark green impasto crea https://jgartgallery.com/artwork/solid-gold/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/solid-gold-20x40/full.jpg Solid Gold by Neal Philpott - Oil on Canvas Oil study emphasizing warm spectrum—golds, warm grays, ochres—built through selective underpainting and glazing. Light appears structural rather than atmospheric, anchoring composition through chromat https://jgartgallery.com/artwork/splayed-shadow/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/np-splayed-shadow/full.jpg Splayed Shadow by Neal Philpott - Oil on Canvas Philpott renders shadow as three-dimensional form through oil impasto, where chiaroscuro establishes sculptural volume. Light and dark zones negotiate spatial depth across the canvas surface. https://jgartgallery.com/artwork/turning-into-gold/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/npturning-into-gold/full.jpg Turning Into Gold by Neal Philpott - Oil on Canvas Water's surface reflects and refracts light across Philpott's canvas in broken strokes of cadmium and umber. Oxidation processes—literal and pictorial—animate the composition's upper registers. https://jgartgallery.com/artwork/garden-party/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kr-garden-party/full.jpg Garden Party by Krista Reuter - Mixed Media - Paper Cutout with Paint on Canvas Reuter layers torn paper cutouts against painted canvas, creating relief forms that cast actual shadows. The hand-torn edges register human gesture against geometric composition. https://jgartgallery.com/artwork/harlequin_repositioned/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kr-harlequin/full.jpg Harlequin_Repositioned by Krista Reuter - Mixed Media - Paper, Collage, and Embossing Embossed paper, collage fragments, and die-cut geometries establish a tactile surface that demands close viewing. Reuter's harlequin motif fractures across dimensional substrates. https://jgartgallery.com/artwork/peaceful-passages-i/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kr-peaceful-passages-i/full.jpg Peaceful Passages I by Krista Reuter - Mixed Media - Watercolor with collage and dimensional paper elements Watercolor washes pool beneath collaged paper elements and dimensional card stock rises. Reuter orchestrates translucency against opaque form in shallow pictorial space. https://jgartgallery.com/artwork/power-in-the-pause-2024/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kr-power-in-the-pause-2024/full.jpg Power In The Pause, 2024 by Krista Reuter - Mixed Media - Layered Paper or Card Stock Stacked card stock casts graduated shadows across the work's surface. Negative space between layers becomes as compositional as the material itself. https://jgartgallery.com/artwork/some-like-it-hot/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kr-some-like-it-hot-2/full.jpg Some Like It Hot by Krista Reuter - Mixed Media on Paper Mixed media elements—paint, collage, possibly text—activate the paper ground through chromatic intensity and textural variation. Reuter constructs perceptual collision through layered surfaces. https://jgartgallery.com/artwork/siblings-lower-garden-borders-wetlands/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pr-siblings-lower-garden-borders-wetlands/full.jpg Siblings” Lower Garden, Borders Wetlands by Patty Rogers - Watercolor on Paper Watercolor washes dissolve into soft edges across wetland borders, their diffusion creating spatial recession without defined form. Rogers allows pigment to pool and bleed, letting accident determine https://jgartgallery.com/artwork/emerging-behavior/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pr-emerging-behavior/full.jpg Emerging Behavior by Patty Rogers - Mixed Media on Paper Mixed media surfaces collide—raised textures, embedded materials, layered planes—each element asserting its own spatial claim. The composition resists visual hierarchy, demanding sustained attention a https://jgartgallery.com/artwork/homushiku/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pr-homushiku/full.jpg Homushiku by Patty Rogers - Mixed Media - Collage, Watercolor, and Ink on Paper Collage fragments intersect with watercolor washes and ink marks, their opacity and transparency creating shallow depth. Rogers builds meaning through material juxtaposition rather than representation https://jgartgallery.com/artwork/the-kotodama-of-now/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pr-the-kotodama-of-now/full.jpg The Kotodama of Now by Patty Rogers - Mixed Media - Collage with Watercolor and Ink Layered collage elements—paper scraps, gestural marks—accumulate with deliberate compositional tension. Mixed media surfaces register both as physical objects and philosophical propositions about lang https://jgartgallery.com/artwork/abundant-life/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-abundant-life/full.jpg Abundant Life by Anne Schreivogl - Acrylic on Canvas Acrylic pigment applied with gestural directness across canvas, colors asserting themselves through opacity. Schreivogl builds compositional density through layered application and chromatic adjacency https://jgartgallery.com/artwork/bedtime-stories/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-bedtime-stories/full.jpg Bedtime Stories by Anne Schreivogl - Acrylic on Canvas Acrylic strokes move across modest canvas dimensions with rhythmic repetition. Color and mark-making carry narrative weight, suggesting narrative through abstraction rather than literal imagery. https://jgartgallery.com/artwork/curious/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-curious/full.jpg Curious by Anne Schreivogl - Acrylic on Canvas Acrylic on canvas in intimate scale. Schreivogl's brushwork registers individual gestures; compositional economy focuses attention through selective color and spatial arrangement. https://jgartgallery.com/artwork/into-the-field-of-sunflowers-by-anne-schreivogl/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-nto-the-field-of-sunflowers/full.jpg Into The Field of Sunflowers by Anne Schreivogl - Oil on Canvas Oil paint rendered with saturated yellows and greens constructs botanical density through layered impasto. Schreivogl builds floral profusion through chromatic intensity and textured surface applicati https://jgartgallery.com/artwork/pine-grosbeak/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-pine-grosbeak/full.jpg Pine Grosbeak by Anne Schreivogl - Acrylic on Canvas Schreivogl renders the pine grosbeak in acrylic with precise attention to plumage structure and conical bill form. The bird sits frontal against neutral ground, its body composed through layered trans https://jgartgallery.com/artwork/playing-chicken/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-playing-chicken/full.jpg Playing Chicken by Anne Schreivogl - Mixed Media on Canvas Mixed media on canvas allows Schreivogl to pit disparate mark-making techniques against each other—gestural passages jostle against geometric restraint. The title's casual anxiety unsettles any visual https://jgartgallery.com/artwork/rest-stop-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-rest-stop/full.jpg Rest Stop by Anne Schreivogl - Acrylic on Canvas Acrylic paint builds atmospheric depth in this composition of pause and transit. Schreivogl's palette—earth tones beneath cooler intervals—suggests neither landscape nor interior but rather a threshol https://jgartgallery.com/artwork/rufous-hummingbird/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-rufous-hummingbird/full.jpg Rufous Hummingbird by Anne Schreivogl - Acrylic on Canvas The rufous hummingbird emerges through acrylic's direct opacity, its iridescent throat patch achieved via pigment layering rather than illusionistic gloss. Compact five-inch canvas intensifies the bir https://jgartgallery.com/artwork/so-innocent/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-so-innocent/full.jpg So Innocent by Anne Schreivogl - Oil on Canvas Oil paint's slow drying permits Schreivogl to soften edges and model form through atmospheric perspective. Youth registers as formal ambiguity: sketchy brushwork and tonal restraint resist narrative c https://jgartgallery.com/artwork/sweet-nectar/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-sweet-nectar/full.jpg Sweet Nectar by Anne Schreivogl - Oil on Canvas Oil application moves across botanical detail with controlled precision, building luminosity through layered translucence. Schreivogl's technique emphasizes structural veining and spatial recession wi https://jgartgallery.com/artwork/unruffled/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-unruffled/full.jpg Unruffled by Anne Schreivogl - Acrylic on Canvas Acrylic's matte surface produces optical flatness that contradicts the painting's contemplative title. Schreivogl's restrained palette and deliberate brushwork create visual stillness through formal r https://jgartgallery.com/artwork/wetlands/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/as-wetlands/full.jpg Wetlands by Anne Schreivogl - Oil on Canvas Oil paint's fluid capacity serves Schreivogl's rendering of wetland ecology—water reflects sky through broken color and horizontal rhythms. Compositional balance emerges from asymmetrical vegetation a https://jgartgallery.com/artwork/blue-house-on-the-horizon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-blue-house-on-the-horizon/full.jpg Blue House on the Horizon by Marketa Sivek - Oil on Canvas Sivek positions a blue house against a horizon line rendered in thin glazes of ochre and umber, the structure itself built from compact brushstrokes that flatten form into near-abstraction. The compos https://jgartgallery.com/artwork/early-dusk-on-the-blue-horizon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-early-dusk-on-the-blue-horizon/full.jpg Early Dusk on the Blue Horizon by Marketa Sivek - Oil on Canvas A horizontal band of cobalt blue dominates the upper register while the foreground dissolves into warm grays and purples. Sivek works wet-into-wet to blur the transition between earth and sky, dissolv https://jgartgallery.com/artwork/happy-barn-night-in-beautiful-fields/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-happy-barn-night-in-beautiful-fields/full.jpg Happy Barn, NIght in Beautiful Fields by Marketa Sivek - Oil on Canvas A barn rendered in cadmium red sits isolated against fields of ocher and burnt sienna, its geometry assertive against softer ground planes. Night sky indicated through dark chromatic shifts rather tha https://jgartgallery.com/artwork/in-golden-fields-blue-barn-crescent-moon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-in-golden-fields-blue-barn-crescent-moon/full.jpg In Golden Fields Blue Barn Crescent Moon by Marketa Sivek - Oil on Canvas Golden fields dominate the lower two-thirds in loose impasto, while a blue barn occupies the middle distance as a compact, shadowed form. A crescent moon punctures the composition with thin titanium w https://jgartgallery.com/artwork/in-golden-fields-home-is-where-the-love-is/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-in-golden-fields-home-is-where-the-love-is/full.jpg In Golden Fields; Home is Where the Love Is by Marketa Sivek - Mixed Media Mixed media surfaces layer oil, acrylic, and collaged elements to create a textured field of golden yellows and deep greens. Sivek constructs domesticity through material accumulation rather than narr https://jgartgallery.com/artwork/leaf-on-the-mountain/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-leaf-on-the-mountain/full.jpg Leaf on the Mountain by Marketa Sivek - Oil on Canvas A single leaf rendered in oxidized yellows and umbers sits elevated against a distant mountain form suggested through tonal compression. Scale becomes ambiguous—the leaf looms or recedes depending on https://jgartgallery.com/artwork/little-red-dress-love/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-little-red-dress-love/full.jpg Little Red Dress Love by Marketa Sivek - Oil on Canvas A dress silhouette appears through layered reds and crimson glazes, its contours emerging from ground rather than applied over it. Form emerges through subtractive technique, the figure absorbed into https://jgartgallery.com/artwork/little-white-dress-love/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-little-white-dress-love/full.jpg Little White Dress (Love) by Marketa Sivek - Acrylic on Canvas Sivek uses acrylic's capacity for rapid layering and erasure to construct a white dress from translucent veils of titanium and zinc whites. The figure remains incomplete, half-suggested through gestur https://jgartgallery.com/artwork/on-top-of-the-highest-mountain-house-with-a-view/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-on-top-of-the-highest-mountain-house-with-a-view/full.jpg On Top of the Highest Mountain, House with a View by Marketa Sivek - Digital Painting Sivek's digital painting employs layered atmospheric perspective to position a solitary structure against receding mountain ridges. The composition treats architecture as punctuation in landscape, ren https://jgartgallery.com/artwork/purple-dusk-with-beautiful-barn/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-purple-dusk-with-beautiful-barn/full.jpg Purple Dusk with Beautiful Barn by Marketa Sivek - Oil on Canvas Oil paint applied in loose, directional strokes constructs a rural building set within purple-tinged dusk. Sivek negotiates atmosphere through chromatic temperature shift, the barn's warm ochre regist https://jgartgallery.com/artwork/stay-til-the-sun-sets/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-stay-til-the-sun-sets-2/full.jpg Stay Til the Sun Sets by Marketa Sivek - Oil on Canvas Sivek employs impasto and glazing to establish spatial recession toward a low horizon. The composition suspends architectural form between foreground and distant light source, orchestrating scale thro https://jgartgallery.com/artwork/under-the-crescent-moon/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-under-the-crescent-moon/full.jpg Under the Crescent Moon by Marketa Sivek - Oil on Canvas Oil on canvas, staged within nocturnal tonality. Sivek activates the crescent moon as compositional anchor, using chiaroscuro to carve volumetric form from surrounding darkness while maintaining spati https://jgartgallery.com/artwork/white-blue-love/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ms-white-blue-love/full.jpg White & Blue, “Love” by Marketa Sivek - Acrylic on Canvas Acrylic works through bold color saturation and gestural mark-making. The blue-white opposition generates optical tension; Sivek titles it with emotional directness while the surface remains formally https://jgartgallery.com/artwork/a-walk-in-the-park/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-a-walk-in-the-park/full.jpg A Walk In The Park by Teresa Smith - Oil on Canvas Smith's oil constructs pastoral space through warm-cool color modulation and broken brushwork. Light fragments across foliage and ground plane, creating perceptual shimmer rather than descriptive natu https://jgartgallery.com/artwork/backlit-firs/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-backlit-firs/full.jpg Backlit Firs by Teresa Smith - Oil on Canvas Oil on board plays backlighting as formal strategy: silhouetted conifer forms receive rim illumination, establishing shallow spatial planes through tonal compression and outline emphasis. https://jgartgallery.com/artwork/baker-reflected/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-baker-reflected-2/full.jpg Baker Reflected by Teresa Smith - Oil on Canvas Smith's oil painting stages reflection as compositional device, doubling and destabilizing form through water's surface. The reflected subject maintains painterly integrity despite its optical transfo https://jgartgallery.com/artwork/cathedral-18/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-cathedral-18/full.jpg Cathedral 18 by Teresa Smith - Oil on Canvas Smith constructs "Cathedral 18" through stacked architectural forms rendered in oil, their geometries both austere and weightless. Verticality dominates the composition—columns, arches, vaults—each pl https://jgartgallery.com/artwork/cliff-side/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-cliff-side/full.jpg Cliff Side by Teresa Smith - Oil on Canvas "Cliff Side" presents a precipice in oil, its rocky face described through impasto application and tonal gradation. Smith positions the viewer at the edge, the composition tilting slightly, making pro https://jgartgallery.com/artwork/dream-up/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-dream-up/full.jpg Dream Up by Teresa Smith - Oil on Canvas In "Dream Up," Smith deploys soft-focus abstraction—oil pigment pooled and blended across canvas in warm hues. The image hovers between landscape and non-objective painting, form dissolving into color https://jgartgallery.com/artwork/forest-canopy/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-forest-canopy/full.jpg Forest Canopy by Teresa Smith - Oil on Canvas "Forest Canopy" uses overlapping planes of green and ochre in oil, depicting dense woodland through layered opacity. Light filters as thin passages between thickly applied pigment, suggesting depth th https://jgartgallery.com/artwork/forest-hike/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-forest-hike/full.jpg Forest Hike by Teresa Smith - Oil on Canvas Smith's "Forest Hike" articulates a path through woodland via oil on canvas, the trail rendered as tonal recession. Foreground undergrowth contrasts with distant tree masses, creating spatial legibili https://jgartgallery.com/artwork/forest-light/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-forest-light/full.jpg Forest Light by Teresa Smith - Oil on Canvas "Forest Light" depicts sunlit woodland interior through warm yellows and cool greens applied in oil. Smith's brushwork separates illuminated foliage from shadowed trunks, emphasizing the optical fact https://jgartgallery.com/artwork/last-of-the-color/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-last-of-the-color/full.jpg Last Of The Color by Teresa Smith - Oil on Canvas "Last Of The Color" renders autumnal vegetation in oil, its palette shifting from orange-reds to browns and grays. Smith's handling shows wet-on-wet blending alongside crisp linear passages, registeri https://jgartgallery.com/artwork/mountainside/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-mountainside/full.jpg Mountainside by Teresa Smith - Oil on Canvas Smith's "Mountainside" balances atmospheric perspective with tactile oil handling. The distant peak softens into hazy blue-gray while foreground slopes retain assertive brushwork and warmer tonality, https://jgartgallery.com/artwork/mt-baker/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-mt-baker/full.jpg Mt. Baker by Teresa Smith - Oil on Canvas Smith layers opaque oil across canvas to render Mt. Baker's angular slopes in muted ochres and grays. The composition flattens atmospheric depth, pushing peak and foreground into tense coexistence. https://jgartgallery.com/artwork/salish-sea/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-salish-sea/full.jpg Salish Sea by Teresa Smith - Oil on Canvas Horizontal brushwork models the Salish Sea's surface as overlapping bands of teal and silver-gray. Smith's impasto suggests water's reflective instability without describing it literally. https://jgartgallery.com/artwork/seasons-quadriptych/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-seasons-quadriptych/full.jpg Seasons (Quadriptych) by Teresa Smith - Oil on Canvas Four panels stage seasonal progression through shifts in color saturation and gestural mark-making. The quadriptych format enforces comparison across subtle shifts in Smith's brushwork and tonal range https://jgartgallery.com/artwork/snow-day/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-snow-day/full.jpg Snow Day by Teresa Smith - Oil on Canvas Fallen snow compresses the landscape into near-monochrome. Smith uses thin glazes of white and pale blue over darker underpainting to establish recession through material restraint. https://jgartgallery.com/artwork/spirit-within/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ts-spirit-within/full.jpg Spirit Within by Teresa Smith - Oil on Canvas Dense impasto and warm ochre-reds dominate the composition's center, surrounding forms rendered in cooler violets. Figuration emerges from Smith's deliberate accumulation of oil paint. https://jgartgallery.com/artwork/winter-colors/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-32/full.jpg Winter Colors by Teresa Smith - Oil on Canvas Muted burgundies and silvery greens describe a winter landscape with restrained palette. Smith's measured brushwork avoids drama, instead building form through sustained tonal variation. https://jgartgallery.com/artwork/yellow-island/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-31/full.jpg Yellow Island by Teresa Smith - Oil on Canvas Warm yellow oxide and cadmium tones structure this island scene, held by cool shadow passages. Smith's direct oil application registers the landscape as constructed through chromatic contrast. https://jgartgallery.com/artwork/bainbridge-vineyards/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/at-bainbridge-winery-oil-275/full.jpg Bainbridge Vineyards by Pamela Wachtler - Oil on Canvas I painted this small canvas as a kind of quiet offering — a garden path at Bainbridge Vineyards, sunflowers catching the warmth of the day, a red barn settled among the evergreens beyond. These are th https://jgartgallery.com/artwork/blue-skies-ahead-bloedel-reserve/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pw-blue-skies-ahead-bloedel-reserve/full.jpg Blue Skies Ahead (Bloedel Reserve) by Pamela Wachtler - Oil on Canvas I painted this sky because I needed it — that open, unhurried light breaking through cloud above the Reserve's meadow and treeline, small birds drifting at the edge of the frame. From the very beginni https://jgartgallery.com/artwork/citizens-of-sweetness/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pw-citizens-of-sweetness-2/full.jpg Citizens Of Sweetness by Pamela Wachtler - Hand-colored etching or engraving I work the plate carefully, then return with color — these flowering clusters, the bumblebee finding its way among the blossoms, the birds tracing quiet arcs above. These are the small citizens of a w https://jgartgallery.com/artwork/cormorant-waiting/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pw-cormorant-waiting/full.jpg Cormorant Waiting by Pamela Wachtler - Hand-colored Monotype I find the cormorant in the in-between moments — still on a post, on a rock, simply waiting. In this hand-colored monotype, I worked the fern impressions into the background as a kind of quiet shelter https://jgartgallery.com/artwork/harbor-morn/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pw-harbor-morn-2/full.jpg Harbor Morn by Pamela Wachtler - Watercolor I painted this quiet morning to hold what I find most grounding — the tree line along the harbor at first light, birds settling into the upper sky, the whole scene softened into muted greens and mauve https://jgartgallery.com/artwork/junco-watching/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pw-junco-watching/full.jpg Junco Watching by Pamela Wachtler - Mixed Media on Canvas I work layers of fern and stem into the textured surface — rust, olive, the quiet brown of forest floor — and at the center, a small junco rests, still and watchful. These are the creatures that share https://jgartgallery.com/artwork/luna/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pw-luna/full.jpg Luna by Pamela Wachtler - Monotype I made this at night, in my mind and on the plate — the moon holding its place above the treeline, that pale band of shore or snow quieting everything beneath it. This is the respite I keep returning https://jgartgallery.com/artwork/perched-on-eagle-harbor/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pw-perched-on-eagle-harbor/full.jpg Perched on Eagle Harbor by Pamela Wachtler - Oil on Canvas I work small here — four inches wide — because Eagle Harbor asks for stillness, not scale. Three birds hold the old pilings like sentinels over the pale water, the tree line behind them soft with the https://jgartgallery.com/artwork/backlight-with-teal-shadows/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-backlight-with-teal-shadows/full.jpg Backlight With Teal Shadows by Carole Wade - Acrylic on Panel Acrylic on panel, 18 x 18 x 2 in. Wade deploys teal shadows as compositional anchor, modeling volumetric forms through high-key tonality and directional light. The shallow relief creates optical tensi https://jgartgallery.com/artwork/backyard-at-the-barn/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-backyard-at-the-barn/full.jpg Backyard At The Barn by Carole Wade - Oil on Canvas Oil on canvas. Wade positions the barn structure within warm afternoon light, using ochre and amber ochre to establish spatial recession. Gestural brushwork across foreground vegetation contrasts with https://jgartgallery.com/artwork/dead-end/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-dead-end/full.jpg Dead End by Carole Wade - Oil on Canvas Oil on canvas. Bleached winter palette—whites, grays, burnt sienna—articulates rural abandonment. Wade's handling remains precise in architectural detail while allowing surrounding landscape to dissol https://jgartgallery.com/artwork/eagle-memoir/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-eagle-memoir/full.jpg Eagle Memoir by Carole Wade - Oil on Canvas Wade deploys thick impasto and ochre-dominant palette to render an eagle perched on a ski lift cable. The bird's feathered form emerges through gestural brushwork, set against spare, high-altitude spa https://jgartgallery.com/artwork/five-oh-one/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-five-oh-one/full.jpg Five Oh One by Carole Wade - Acrylic on Canvas Acrylic layers build a fragmented urban intersection—blues, reds, yellows colliding across the canvas in angular, staccato marks. Wade's gestural marks register as notation for city movement rather th https://jgartgallery.com/artwork/garden-cafe/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-garden-cafe/full.jpg Garden Café by Carole Wade - Oil on Canvas Café interior rendered through layered glazes: ochres and siennas describe dappled afternoon light on wood surfaces. Wade's oil technique allows translucent color to accumulate gradually, creating atm https://jgartgallery.com/artwork/great-spirits/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-great-spirits/full.jpg Great Spirits by Carole Wade - Acrylic on Canvas Horizontal landscape composition in acrylics: mountains meet valley through Wade's thinned brushstrokes that blur figuration and abstraction. The painting holds landscape's specificity while dismantli https://jgartgallery.com/artwork/harvest-2024/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-harvest-2024/full.jpg Harvest, 2024 by Carole Wade - Oil on Canvas Vineyard laborers rendered as clustered forms amid rows of green-gold vines. Wade's oil paint renders tactile vine foliage through thick, directional strokes; figures merge with vegetation, emphasizin https://jgartgallery.com/artwork/mcpolin-barn-in-the-winter/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-mcpolin-barn-in-the-winter/full.jpg McPolin Barn in the Winter by Carole Wade - Oil on Canvas Red barn structure anchors snow-covered terrain through bold chromatic contrast. Oil paint's thickness defines architectural geometry against simplified surrounding planes; Wade's palette—deep reds ag https://jgartgallery.com/artwork/ride-in-the-trees/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-ride-in-the-trees/full.jpg Ride In The Trees by Carole Wade - Oil on Canvas Dense woodland rendered through layered oil glazes: greens, browns, and ochres build shadowed interior space. Wade's obscuring technique fragments the rider-on-horse motif into near-abstract form, pri https://jgartgallery.com/artwork/st-marys-with-drifts/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-carole-wade/full.jpg St. Mary’s with Drifts by Carole Wade - Giclee Print Church architecture stabilizes giclee composition where snow accumulates as white paint passages against pale grounds. Wade's printmaking medium permits fine detail in weathered stone surfaces while m https://jgartgallery.com/artwork/three-aboard/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-three-aboard-2/full.jpg Three Aboard by Carole Wade - Acrylic on Panel Wade layers acrylic on panel with a tightened composition of three figures, their forms simplified into planar shapes that read as both representation and abstraction. The shallow space compresses bod https://jgartgallery.com/artwork/three-riders/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-three-riders/full.jpg Three Riders by Carole Wade - Acrylic on Panel Three equestrian figures occupy a squared panel in acrylic, their silhouettes flattened and rhythmically repeated. Wade treats horseback riders as formal repeating units rather than narrative subjects https://jgartgallery.com/artwork/triple-in-the-pink/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cw-triple-in-the-pink/full.jpg Triple in the Pink by Carole Wade - Acrylic on Panel Acrylic on panel renders a winter landscape through hot pink tonalities that subvert naturalism. Wade's color choices push toward artifice, treating winter's supposed bleakness through chromatic inten https://jgartgallery.com/artwork/a-place-to-relax/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/a-place-to-relax-9x12-gouache-500-24/full.jpg A Place To Relax by Jane Wallis - Varnished Gouache on Bristol Varnished gouache on bristol creates a matte-then-glossy surface, depicting an interior scene. Wallis applies gouache's opacity to construct discrete color zones of spatial rest. https://jgartgallery.com/artwork/a-snow-melt-stream-plein-air/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/a-snow-melt-stream-15x19-gouache-1560-cole-alt/full.jpg A Snow Melt Stream (Plein Air) by Jane Wallis - Varnished Gouache on Bristol Oil on Canvas. Wallis paints the Pacific Northwest coast in oil and gouache from direct observation. Wallis paints the Pacific Northwest coast in oil and pastel from direct observation. Distinguished https://jgartgallery.com/artwork/arboretum-walk/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-arboretum-walk-2/full.jpg Arboretum Walk by Jane Wallis - Varnished Gouache on Bristol Oil on Canvas. Wallis paints the Pacific Northwest coast in oil and gouache from direct observation. Wallis paints the Pacific Northwest coast in oil and pastel from direct observation. Distinguished https://jgartgallery.com/artwork/at-the-day-road-pumpkin-patch/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-at-the-day-road-pumpkin-patch-2/full.jpg At the Day Road Pumpkin Patch by Jane Wallis - Varnished Gouache on Bristol Oil on Canvas. Wallis paints the Pacific Northwest coast in oil and gouache from direct observation. Wallis paints the Pacific Northwest coast in oil and pastel from direct observation. Distinguished https://jgartgallery.com/artwork/autumn-on-the-sol-duc/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/autumn-on-the-sol-duc-17x23-gouache-1950c23/full.jpg Autumn On The Sol Duc by Jane Wallis - Varnished Gouache on Bristol Oil on Canvas. Wallis paints the Pacific Northwest coast in oil and gouache from direct observation. Wallis paints the Pacific Northwest coast in oil and pastel from direct observation. Distinguished https://jgartgallery.com/artwork/battle-point-park-pond/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-battle-point-park-pond/full.jpg Battle Point Park Pond by Jane Wallis - Varnished Gouache on Bristol Oil on Canvas. Wallis paints the Pacific Northwest coast in oil and gouache from direct observation. Wallis paints the Pacific Northwest coast in oil and pastel from direct observation. Distinguished https://jgartgallery.com/artwork/cascade-autumn/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cascade-fall-7x9-5/full.jpg Cascade Autumn by Jane Wallis - Varnished Gouache on Bristol Varnished gouache builds autumn foliage in warm ochres and burnt sienna against cooler background tones. The medium's translucency allows underlying layers to show through, creating optical complexity https://jgartgallery.com/artwork/cascade-snowfall/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cascade-snowfall-16x22-gouache-1935c23/full.jpg Cascade Snowfall by Jane Wallis - Varnished Gouache on Bristol Wallis renders snow-laden branches with precise linear marks in varnished gouache, the medium's opacity defining crystalline forms. Winter light emerges through tonal contrast rather than chromatic el https://jgartgallery.com/artwork/docked-at-eagle-harbor/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/docked-at-eagle-harbor-m-10-x10-acrylic-550-24/full.jpg Docked At Eagle Harbor by Jane Wallis - Acrylic on Panel Acrylic on panel allows Wallis to work boats and dock structures with clean edges and matte surfaces. The composition anchors vessels in harbor space without atmospheric softening. https://jgartgallery.com/artwork/docked-during-a-low-fog/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-docked-during-a-low-fog/full.jpg Docked During a Low Fog by Jane Wallis - Varnished Gouache on Bristol Oil on Canvas. Wallis paints the Pacific Northwest coast in oil and gouache from direct observation. Wallis paints the Pacific Northwest coast in oil and pastel from direct observation. Distinguished https://jgartgallery.com/artwork/eagle-harbor-docking/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-eagle-harbor-docking/full.jpg Eagle Harbor Docking by Jane Wallis - Oil on Canvas Oil on canvas depicts the docking scene at larger scale, allowing Wallis to articulate rigging, hull forms, and weathered wood grain with visible brushwork. Spatial recession is constructed through ov https://jgartgallery.com/artwork/fishing-the-cle-elum-river-2023/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/fishing-the-cle-elum-river-7x11/full.jpg Fishing The Cle Elum River, 2023 by Jane Wallis - Varnished Gouache on Bristol Varnished gouache renders the river's movement through directional brushwork and tonal shifts in greens and browns. The medium's quick-drying properties enable layered marks that suggest flowing water https://jgartgallery.com/artwork/green-light/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-green-light/full.jpg Green Light by Jane Wallis - Varnished Gouache on Bristol Oil on Canvas. Wallis paints the Pacific Northwest coast in oil and gouache from direct observation. Wallis paints the Pacific Northwest coast in oil and pastel from direct observation. Distinguished https://jgartgallery.com/artwork/low-tide-near-eagle-harbor/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-low-tide-near-eagle-harbor/full.jpg Low Tide Near Eagle Harbor by Jane Wallis - Oil on Canvas Oil on canvas depicting tidal flats near Eagle Harbor with exposed sand and shallow water. Wallis employs muted earth tones and horizontal brushwork to render the flat expanse, establishing spatial re https://jgartgallery.com/artwork/lower-pond-at-bloedel-reserve/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lower-pond-at-bloedel-reserve-10-x10-acrylic-550-24/full.jpg Lower Pond At Bloedel Reserve by Jane Wallis - Acrylic on Panel Acrylic on panel of a pond within the Bloedel Reserve's cultivated landscape. The artist uses opaque color and deliberate brushstrokes to define reflected trees and water surface, treating the composi https://jgartgallery.com/artwork/middle-pond-at-bloedel-reserve/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/middle-pond-at-bloedel-reserve-9x12-gouache-500-24/full.jpg Middle Pond At Bloedel Reserve by Jane Wallis - Acrylic on Canvas Varnished gouache on Bristol showing another pond interior. Wallis renders vegetation and water with linear precision and layered opaque washes, creating a studied observation of reflected forms and t https://jgartgallery.com/artwork/monroe-spit-from-faye-bainbridge-park/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-monroe-spit-from-faye-bainbridge-park/full.jpg Monroe Spit From Faye Bainbridge Park by Jane Wallis - Varnished Gouache on Bristol Gouache study of Monroe Spit viewed from the park. The artist employs dry brush and thinned washes to suggest shoreline topography and atmospheric haze, privileging tonal modulation over chromatic int https://jgartgallery.com/artwork/morning-at-blakey-harbor/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/view-of-monroe-drive-spit-7-5x10-5-fr9x12-600/full.jpg Morning At Blakey Harbor by Jane Wallis - Varnished Gouache on Bristol Gouache depicting Blakey Harbor in subdued morning light. Wallis builds form through careful tonal transitions and restrained color, with foreground water rendered in thin, directional strokes. https://jgartgallery.com/artwork/mountain-retreat/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/mountain-retreat-7x10/full.jpg Mountain Retreat by Jane Wallis - Varnished Gouache on Bristol Varnished gouache landscape compressed into a small vertical format. Wallis constructs depth through overlapping mountain forms and controlled chromatic variation, the varnish unifying the pigment int https://jgartgallery.com/artwork/overcast-day-at-battle-point-park/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-overcast-day-at-battle-point-park/full.jpg Overcast Day at Battle Point Park by Jane Wallis - Varnished Gouache on Bristol Gouache rendering an overcast condition at Battle Point Park using matte pigment and restrained palette. The composition privileges horizontal divisions and subtle value gradations to convey overcast https://jgartgallery.com/artwork/poulsbo-marina/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-poulsbo-marina/full.jpg Poulsbo Marina by Jane Wallis - Varnished Gouache on Bristol Oil on Canvas. Wallis paints the Pacific Northwest coast in oil and gouache from direct observation. Wallis paints the Pacific Northwest coast in oil and pastel from direct observation. Distinguished https://jgartgallery.com/artwork/rainy-day-on-first-avenue/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-rainy-day-on-first-avenue/full.jpg Rainy Day on First Avenue by Jane Wallis - Oil on Canvas Wallis layers translucent glazes of charcoal and umber across canvas, building atmospheric depth through broken brushwork. Wet pavement reflects fragmented storefronts in subdued ochres and grays, the https://jgartgallery.com/artwork/recovering-wetland/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-recovering-wetland/full.jpg Recovering Wetland by Jane Wallis - Oil on Canvas Wetland restoration unfolds through restrained chromatic range—soft greens modulated with ochre and gray, silvery water rendered in thin, directional strokes. Wallis constructs ecological transition w https://jgartgallery.com/artwork/red-boat-house/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-red-boat-house/full.jpg Red Boat House by Jane Wallis - Oil on Canvas A single structure commands the composition: bold scarlet applied in unmodulated blocks against cooler surrounding tones. Wallis employs chromatic contrast as structural device, the boathouse anchorin https://jgartgallery.com/artwork/red-light/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-red-light/full.jpg Red Light by Jane Wallis - Oil on Canvas Neon-inflected red occupies foreground as geometric incident, modulated through surrounding shadows and warm undertones. Wallis's impasto handling emphasizes surface tension between intense local colo https://jgartgallery.com/artwork/rolling-bay-street/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rolling-bay-street-view-10-x10-acrylic-550-24/full.jpg Rolling Bay Street by Jane Wallis - Acrylic on Panel Acrylic paint allows rapid gestural marks along street planes, establishing rhythm through repeated diagonal strokes. Wallis builds topographic illusion via overlapping washes of ochre, umber, and pal https://jgartgallery.com/artwork/spring-snow-melt/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/spring-snow-melt-7x8-5/full.jpg Spring Snow Melt by Jane Wallis - Varnished Gouache on Bristol Varnished gouache creates luminescent surface as snowmelt flows through landscape. Wallis applies thin, directional washes to suggest water movement and seasonal transition, the medium's inherent tran https://jgartgallery.com/artwork/sunday-port-stop/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/sunday-port-stop-8x9/full.jpg Sunday Port Stop by Jane Wallis - Varnished Gouache on Bristol Varnished gouache permits precise linear description of dock structure and moored vessels against water rendered in cool greens and grays. Wallis maintains architectural clarity while allowing medium' https://jgartgallery.com/artwork/sunny-day-at-the-arboretum/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-sunny-day-at-the-arboretum/full.jpg Sunny Day at the Arboretum by Jane Wallis - Oil on Canvas Oil paint built through layered glazing constructs spatial recession among arboretum plantings. Wallis differentiates atmospheric perspective via warm foreground ochres yielding to cooler distant gree https://jgartgallery.com/artwork/the-wind-is-rising-plein-air-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/the-wind-is-rising-14x18-gouache-1380-cole-2/full.jpg The Wind is Rising (Plein Air) by Jane Wallis - Varnished Gouache on Bristol Wallis applies gouache in quick, directional strokes that track wind's pressure across canvas. The plein air method leaves visible brushwork—pigment thinned and dragged—capturing atmospheric disturban https://jgartgallery.com/artwork/warm-morning-light-at-poulsbo-marina/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jw-warm-morning-light-at-poulsbo-marina/full.jpg Warm Morning Light at Poulsbo Marina by Jane Wallis - Varnished Gouache on Bristol Oil on Canvas. Wallis paints the Pacific Northwest coast in oil and gouache from direct observation. Wallis paints the Pacific Northwest coast in oil and pastel from direct observation. Distinguished https://jgartgallery.com/artwork/a-brief-flurry/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/a-brief-flurry/full.jpg A Brief Flurry by Randena Walsh - Watercolor Walsh's watercolor dissolves forms into suggestion—wet pigment bleeding across paper to suggest snow's momentary presence. The medium's fluidity serves the subject's transience. https://jgartgallery.com/artwork/bog-orchid/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bog-orchid/full.jpg Bog Orchid by Randena Walsh - Watercolor on Paper Walsh renders the orchid's particularities—curved petals, speckled throat—in controlled watercolor washes. The confined composition places the flower against muted ground, emphasizing botanical specif https://jgartgallery.com/artwork/bushtit-2023/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-bushtit-2023/full.jpg Bushtit, 2023 by Randena Walsh - Oil on Canvas Walsh works pastel into the weave, layering chalky pigment for the bushtit's soft plumage and alert posture. The framing preserves the medium's vulnerable surface, its smudged intimacy. https://jgartgallery.com/artwork/bushtit-watercolor-2023/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-bushtit-watercolor-2023/full.jpg Bushtit, Watercolor, 2023 by Randena Walsh - Watercolor on Paper Watercolor allows Walsh to model the bird's form through transparent glazes and reserved paper—white feathers read as absence rather than applied pigment. Detail accumulates gradually. https://jgartgallery.com/artwork/canal-view-in-spring/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-canal-view-in-spring-2/full.jpg Canal View In Spring by Randena Walsh - Oil on Canvas Walsh applies pastel across a larger field, structuring the composition through warm and cool tones rather than linear perspective. Spring's color variation emerges from layered pigment, not descripti https://jgartgallery.com/artwork/cottontail-study-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-cottontail-study-2/full.jpg Cottontail Study #2 by Randena Walsh - Watercolor and pencil on paper Walsh combines watercolor's fluid washes with pencil's linear precision to define the cottontail's form. The hybrid approach balances soft fur suggestion against articulated anatomical structure. https://jgartgallery.com/artwork/creekside-2023/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-creekside-2023/full.jpg Creekside, 2023 by Randena Walsh - Oil on Canvas Oil on canvas depicting a creek landscape with layered brushwork defining water movement and shoreline vegetation. Walsh employs soft earth tones and gestural mark-making to suggest atmospheric depth https://jgartgallery.com/artwork/crossbill-2023/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/crossbill2008/full.jpg Crossbill, 2023 by Randena Walsh - Pastel on Paper Pastel on paper rendering a crossbill in profile. The artist builds form through careful color modulation, with precise hatching establishing feather structure against a spare background. https://jgartgallery.com/artwork/duckabush-river-late-afternoon-2024/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-duckabush-river-late-afternoon-2024/full.jpg Duckabush River-Late Afternoon, 2024 by Randena Walsh - Oil on Canvas Pastel rendering of a river scene at dusk. Walsh layers warm and cool tones to convey light conditions, using directional strokes to guide the eye along water currents and tree lines. https://jgartgallery.com/artwork/gold-creek-falls-2024/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-gold-creek-falls-2024/full.jpg Gold Creek Falls, 2024 by Randena Walsh - Oil on Canvas Soft pastel on paper capturing a waterfall. Tonal contrasts between shadowed rock faces and luminescent water movement create spatial recession through color temperature shifts. https://jgartgallery.com/artwork/grand-fir-trunks/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/grand-fir-trunks-in-spring/full.jpg Grand Fir Trunks by Randena Walsh - Watercolor on Paper Watercolor study of coniferous tree trunks. The medium's translucency emphasizes vertical rhythms and bark texture through controlled washes and reserved white paper. https://jgartgallery.com/artwork/pacific-slope-flycatcher-2023/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-pacific-slope-flycatcher-2023/full.jpg Pacific Slope Flycatcher, 2023 by Randena Walsh - Pastel on Paper Pastel portrait of a Pacific Slope Flycatcher rendered with botanical precision. Fine color gradations model the bird's form; Walsh renders species-specific plumage patterning through layered applicat https://jgartgallery.com/artwork/red-breasted-sapsucker-2023/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-red-breasted-sapsucker-2023/full.jpg Red Breasted Sapsucker, 2023 by Randena Walsh - Pastel on Paper Pastel study of a Red-breasted Sapsucker showing the bird's distinctive markings through deliberate color placement. Walsh constructs volumetric form via subtle value transitions. https://jgartgallery.com/artwork/red-winged-blackbird/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-red-winged-blackbird/full.jpg Red Winged Blackbird by Randena Walsh - Watercolor Watercolor rendering of a Red-winged Blackbird. The artist employs wet-on-wet technique for atmospheric effects while maintaining crisp detail in wing patterning and identifying red shoulder patch. https://jgartgallery.com/artwork/spring-pond-2024/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-spring-pond-2024/full.jpg Spring Pond, 2024 by Randena Walsh - Oil on Canvas Walsh applies soft pastel to paper in layered strokes, building Spring Pond's water surface through modulated greens and blues. The composition suggests reflection and shallow depth through horizontal https://jgartgallery.com/artwork/white-crowned-sparrows/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rw-white-crowned-sparrows/full.jpg White Crowned Sparrows by Randena Walsh - Colored Pencil on Paper Colored pencil permits Walsh precise linework in the sparrows' plumage—crown stripes, throat patches rendered with tight hatching. The technique's inherent brittleness registers each bird's alertness https://jgartgallery.com/artwork/face-the-sun/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-face-the-sun/full.jpg Face The Sun by Robin Weiss - Oil on Canvas Weiss deploys thick impasto across the canvas square, warm ochres and umbers wrestling against cooler accents. The paint's physical buildup insists on surface over representational illusion, the title https://jgartgallery.com/artwork/fish-camp-on-stavis-bay/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-fish-camp-on-stavis-bay/full.jpg Fish Camp on Stavis Bay by Robin Weiss - Oil on Canvas Oil paint articulates the working waterfront through atmospheric perspective—foreground structures darken and solidify while distant shoreline dissolves. Weiss uses glazing and scumbling to render sal https://jgartgallery.com/artwork/gander-care/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-gander-care-2/full.jpg Gander Care by Robin Weiss - Oil on Canvas Panel support allows Weiss precise brushwork in rendering the goose's posture and feather articulation. Warm light models form through controlled tonal gradation, the contained format emphasizing focu https://jgartgallery.com/artwork/garden-poppies/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-garden-poppies/full.jpg Garden Poppies by Robin Weiss - Oil on Canvas Weiss builds the poppies through gestural brushwork and layered color—reds and oranges assert themselves against green stems. Paint application varies between thick impasto flowers and thinner surroun https://jgartgallery.com/artwork/hiking-in-paradise/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-hiking-in-paradise/full.jpg Hiking in Paradise by Robin Weiss - Oil on Canvas Panel painting allows Weiss fluid brushwork across mountain terrain and sky. Tonal modulation—darker foreground advancing against lighter peaks—constructs spatial recession through chromatic restraint https://jgartgallery.com/artwork/hope-springs-eternal/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-hope-springs-eternal/full.jpg Hope Springs Eternal by Robin Weiss - Oil on Canvas Canvas square contains Weiss's oil paint exploration of warm and cool pigment interaction. Layered brushstrokes build form through chromatic relationship rather than linear definition, the title's hop https://jgartgallery.com/artwork/monroe-landing/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-monroe-landing/full.jpg Monroe Landing by Robin Weiss - Oil on Canvas Oil on canvas depicting a landing at Monroe. Weiss uses ochre and umber washes to establish atmospheric depth, the composition anchored by horizontal bands of water and shore. https://jgartgallery.com/artwork/mount-baker-trail/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-mount-baker-trail/full.jpg Mount Baker Trail by Robin Weiss - Oil on Canvas Oil on panel framed. The Mount Baker Trail rendered in muted greens and grays, with impasto highlighting ridgelines. Weiss balances foreground detail against distant mountain silhouette. https://jgartgallery.com/artwork/mount-baker-artists-point/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-mount-baker-artists-point/full.jpg Mount Baker, Artists Point by Robin Weiss - Oil on Canvas Alpine light rendered through high-key palette and thin glazes. Weiss articulates atmospheric perspective via atmospheric haze, the composition emphasizing expansive vista over geological specificity. https://jgartgallery.com/artwork/peninsula-drift/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-peninsula-drift/full.jpg Peninsula Drift by Robin Weiss - Oil on Canvas Horizontal format suggests drifting motion. Oil on canvas employs cool blues and grays in gestural strokes. Water surface fractures light into broken passages of pale yellow and white. https://jgartgallery.com/artwork/sea-sand/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-sea-sand/full.jpg Sea & Sand by Robin Weiss - Oil on Canvas Oil on canvas. Sand rendered through stippled applications; sea suggested by bold directional marks in ultramarine and cobalt. Weiss's palette stays within cooler register, minimizing chromatic contra https://jgartgallery.com/artwork/the-pacific-coast-la-push/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-the-pacific-coast-la-push/full.jpg The Pacific Coast La Push by Robin Weiss - Oil on Canvas Square format contains La Push's rugged coastline. Oil on canvas with textured application emphasizing rocky formations. Weiss restricts palette to grays, blacks, and charcoal, with minimal highlight. https://jgartgallery.com/artwork/tree-light/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-tree-light/full.jpg Tree Light by Robin Weiss - Oil on Canvas Oil on canvas treating dappled light through forest canopy. Weiss applies thin translucent washes over darker ground, creating luminosity through layering rather than surface highlight alone. https://jgartgallery.com/artwork/washington-wetlands/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-washington-wetlands/full.jpg Washington Wetlands by Robin Weiss - Oil on Canvas Oil on panel. Wetland vegetation rendered in muted greens and browns with wet-on-wet technique suggesting moisture. Reflective water described through horizontal strokes of pale gray and white. https://jgartgallery.com/artwork/willow/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rpw-willow/full.jpg Willow by Robin Weiss - Oil on Canvas Weiss applies oil in loose, directional strokes across panel, building the willow's drooping geometry through layered greens and ochres. Plein air immediacy—the painting records a moment's specific li https://jgartgallery.com/artwork/agate-passage/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-agate-passage/full.jpg Agate Passage by Ericka Wolf - Oil on Canvas Wolf combines oil and matte resin on panel to render Agate Passage's water as a flattened, reflective surface. The resin's non-glossy finish deadens expected luminosity, insisting instead on material https://jgartgallery.com/artwork/alki/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-alki/full.jpg Alki by Ericka Wolf - Oil on Canvas Oil on birch panel allows Wolf to exploit the wood's tooth. Alki emerges through compressed horizontal bands—water and shore compressed into near-abstract striation, color modulated rather than modele https://jgartgallery.com/artwork/astronomical-dusk/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-29/full.jpg Astronomical Dusk by Ericka Wolf - Photography Wolf's photograph documents dusk's color shift: violet bleeding into amber at the horizon line. The image forgoes drama for a flat documentary stance, letting atmospheric gradation speak without inter https://jgartgallery.com/artwork/aurora/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-aurora/full.jpg Aurora by Ericka Wolf - Digital Art Oil on birch, Aurora employs high-keyed pigment applied in thin, overlapping glazes. The work achieves luminosity through translucency rather than impasto, color hovering just above the panel's surfac https://jgartgallery.com/artwork/brighton/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-brighton/full.jpg Brighton by Ericka Wolf - Oil on Canvas Wolf's Brighton constructs space through linear perspective marked by horizontal bands of color. Oil on birch allows her to build depth via atmospheric recession—distant forms dissolving into lighter https://jgartgallery.com/artwork/cascade/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-cascade/full.jpg Cascade by Ericka Wolf - Oil on Canvas Cascade uses oil on birch to map water movement through directional mark-making. Whites and greens cascade vertically, their gestural application emphasizing flow without dissolving into abstraction. https://jgartgallery.com/artwork/ferry-crossing/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-ferry-crossing/full.jpg Ferry Crossing by Ericka Wolf - Oil on Canvas Wolf layers oil on birch to capture Ferry Crossing's spatial compression. The painting's square format intensifies the horizontal division between water and sky, flattening perspective into near-heral https://jgartgallery.com/artwork/green-lake/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-green-lake/full.jpg Green Lake by Ericka Wolf - Oil on Canvas Wolf applies oil on birch with gestural immediacy, layering greens and earth tones to suggest lakeside specificity. The square format constrains a landscape into near-abstraction. https://jgartgallery.com/artwork/january-dusk/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-january-dusk/full.jpg January Dusk by Ericka Wolf - Digital Art / Giclee Print Digital rendering translated through giclee printing, where dusk's tonal gradations—slate, amber, deep violet—occupy the space between representation and atmospheric condition. https://jgartgallery.com/artwork/madrona/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-madrona/full.jpg Madrona by Ericka Wolf - Oil on Canvas Oil on birch panel renders the Madrona tree's characteristic form through warm ochres and cool shadows. Wolf's brushwork moves between descriptive and reductive. https://jgartgallery.com/artwork/magic-hour/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-magic-hour/full.jpg Magic Hour by Ericka Wolf - Oil on Canvas A compact oil study articulating light's final moments—golden hour rendered through ochre, sienna, and violet glazes applied in thin, overlapping passages. https://jgartgallery.com/artwork/murden-cove/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-murden-cove/full.jpg Murden Cove by Ericka Wolf - Photography Photograph fixed beneath matte resin surface, creating a translucent skin over the cove's rocky inlet and tidal geometry. Medium emphasizes tactile depth. https://jgartgallery.com/artwork/nautical-dusk/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-30/full.jpg Nautical Dusk by Ericka Wolf - Photography Wolf's photograph holds the dusk threshold where water reflects dimmed sky, forms dissolving into tonal relationships rather than discrete objects. https://jgartgallery.com/artwork/near-civil-dusk/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-near-civil-dusk/full.jpg Near Civil Dusk by Ericka Wolf - Photography Civil twilight's narrow window—approximately 20-30 minutes post-sunset—photographed as a precise optical moment where color drains systematically from the horizon. https://jgartgallery.com/artwork/november-sky/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-november-sky/full.jpg November Sky by Ericka Wolf - Oil on Canvas Oil on canvas. Wolf's atmospheric study of late-autumn light, where overcast sky and water meet in a single pearl-gray field. The horizon line is barely declared. Sold from this exhibition. https://jgartgallery.com/artwork/pink-hour/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-pink-hour/full.jpg Pink Hour by Ericka Wolf - Oil on Canvas Wolf applies oil to birch panel in loose gestural marks, pink and mauve tones layered to suggest atmospheric passage rather than describe it. The small square format contains an almost abstract readin https://jgartgallery.com/artwork/salish-fog/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-salish-fog/full.jpg Salish Fog by Ericka Wolf - Photography Fog obscures the Salish landscape into near-monochromatic bands. Wolf's photograph withholds detail, presenting water and mist as nearly indistinguishable planes that emphasize the photographer's dist https://jgartgallery.com/artwork/solstice/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-solstice-2/full.jpg Solstice by Ericka Wolf - Digital Art / Giclee Print Oil and cold wax combine in a textural field where mark-making dominates over representation. The square canvas becomes a site of material interaction—pigment resisting wax, surface refusing smooth fi https://jgartgallery.com/artwork/sound-seascape/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-sound-seascape/full.jpg Sound Seascape by Ericka Wolf - Oil on Canvas Wave rhythms translate into layered oil paint where horizontal strata accumulate. The canvas oscillates between legible seascape and pure pigment arrangement, neither fully resolving. https://jgartgallery.com/artwork/stay-golden-hour/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-stay-golden-hour/full.jpg Stay Golden Hour by Ericka Wolf - Oil on Canvas Golden-hour light requires here no romantic framing—Wolf's oil handling stays matter-of-fact, applying warm ochres and deep blues across the surface with directness that avoids sentimentality. https://jgartgallery.com/artwork/staylust/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-staylust/full.jpg Staylust by Ericka Wolf - Watercolor or Acrylic on Paper Matte resin seals oil and pigment on birch panel, creating a sealed, nonreflective surface. The small format intensifies the work's inward quality, paint and resin fused into singular materiality. https://jgartgallery.com/artwork/temeraire-shore/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ew-temeraire-shore/full.jpg Temeraire Shore by Ericka Wolf - Oil on Canvas Turbulent dark waters occupy the composition with insistent brushwork. Wolf's oil technique emphasizes surface agitation—paint applied thickly, directionally—where water becomes pretext for chromatic https://jgartgallery.com/artwork/the-source-is-within-you/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rj-the-source-is-within-you/full.jpg The Source Is Within You by Robin Jones - Digital Illustration Digital illustration employs concentric radiating forms around a central figure. Jones uses light gradation and geometric precision to construct an image of emanation, the affirming message legible th https://jgartgallery.com/artwork/like-a-black-chip-out-of-the-water/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rj-like-a-black-chip-out-of-the-water/full.jpg Like A Black Chip Out Of The Water by Robin Jones - Digital Painting Jones layers digital pixels to render water's surface as fragmentary, reflective—a black form emerges from translucent washes of blue and gray, the brushwork loose, gestural, the composition reading a https://jgartgallery.com/artwork/home/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rj-home/full.jpg Home by Robin Jones - Oil on Canvas Oil paint thinned to translucence builds an interior scene of muted ochres and browns. Jones's application is restrained; domestic objects—furniture, doorways—materialize through careful tonal modulat https://jgartgallery.com/artwork/elizabeths-story/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rj-elizabeths-story/full.jpg Elizabeth’s Story by Robin Jones - Acrylic on Canvas High-chroma acrylics—reds, blues, yellows—map a portrait's contours through direct brushwork, the figure compressed against a dark ground. Jones treats paint as material fact, rejecting illusionistic https://jgartgallery.com/artwork/eternity-102/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/sp-eternity-102/full.jpg Eternity #102 by Siddharth Parasnis - Acrylic on Canvas Parasnis applies acrylic in thin, overlapping washes—geometric forms hover against atmospheric fields of pale ochre and white. The composition balances hard-edged composition with soft, diffused color https://jgartgallery.com/artwork/eternity-121/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/sp-eternity-121/full.jpg Eternity #121 by Siddharth Parasnis - Photography Photography documents angular forms—stairs, shadows, architectural planes—rendered in cool grays and blacks. Parasnis privileges compositional rigor; light articulates structure without sentiment. https://jgartgallery.com/artwork/aspen-grove/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2187/full.jpg Aspen Grove by Teresa Smith - Oil on Canvas Smith applies oil with controlled impasto, distinguishing aspen trunks through parallel marks of white and gray against green and purple foliage. The canvas surface acknowledges both representation an https://jgartgallery.com/artwork/bluff-above-the-shore/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2188-2/full.jpg Bluff Above The Shore by Teresa Smith - Oil on Canvas Oil paint articulates rocky formations through tonal shifts—ochre, umber, charcoal—the cliffside modeled volumetrically. Smith's brushwork moves vertically, echoing the landscape's thrust upward; ligh https://jgartgallery.com/artwork/cathedral-grove/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2189/full.jpg Cathedral Grove by Teresa Smith - Oil on Canvas Smith builds a forest interior through layered greens and browns, trunks rendered as vertical accents. The composition reads as shallow, the trees densely packed; light filters through canopy, creatin https://jgartgallery.com/artwork/north-coast/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2190/full.jpg North Coast by Teresa Smith - Oil on Canvas Smith applies oil in directional strokes across canvas, modeling rocky coastline through ochre and slate gradations. Foreground boulders anchor composition while atmospheric perspective dissolves into https://jgartgallery.com/artwork/poppy-iii/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2192/full.jpg Poppy III by Teresa Smith - Oil on Canvas Red petals rendered with thick impasto, yellow center built from pale underlayers. Smith's botanical study privileges tactile surface over botanical accuracy. https://jgartgallery.com/artwork/patos-island/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2191/full.jpg Patos Island by Teresa Smith - Oil on Canvas Oil paint thinned to transparency in sky passages, thickened in foreground rock forms. Smith achieves spatial recession through chromatic temperature shift—warm ochres receding into cool blue-grays. https://jgartgallery.com/artwork/spirits-in-the-trees/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2193/full.jpg Spirit’s In The Trees by Teresa Smith - Oil on Canvas Irregular brushwork fragments the canopy into layered green and yellow passages. Smith constructs dappled effect through juxtaposition rather than optical mixing. https://jgartgallery.com/artwork/sunflower/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2194/full.jpg Sunflower by Teresa Smith - Oil on Canvas Sunflower's disk built from concentric circular strokes in yellow-white. Petals extend outward in tapered marks, stem rendered with single assertive green line. https://jgartgallery.com/artwork/understory/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2195/full.jpg Understory by Teresa Smith - Oil on Canvas Smith reserves brightest values for understory highlights—pale greens and whites cutting through dark green masses. Composition prioritizes depth of field over botanical specificity. https://jgartgallery.com/artwork/winding-up/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2198/full.jpg Winding Up by Teresa Smith - Oil on Canvas Diagonal composition creates motion through directional brushwork and gestural mark-making. Smith's palette—reds, oranges, yellows—intensifies kinetic effect. https://jgartgallery.com/artwork/pool-side-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2202-2/full.jpg Pool Side by Peter Juvonen - Acrylic on Linen Juvonen deploys high-keyed palette across canvas: saturated blues, greens, and flesh tones. Loose brushwork flattens picture plane while architectural elements structure composition. https://jgartgallery.com/artwork/migration/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1655/full.jpg Migration by Peter Juvonen - Acrylic on Linen Juvonen deploys gestural brushwork and layered color to stage movement across the canvas. Forms suggest migration without literalism, their trajectories established through compositional rhythm and to https://jgartgallery.com/artwork/cater-pillar/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1657/full.jpg Cater Pillar by Peter Juvonen - Acrylic on Linen Acrylic paint built thick and directional across the surface records Juvonen's hand in real time. Impasto marks and dragged pigment create spatial compression—figure and ground collapse into material https://jgartgallery.com/artwork/story-told-in-songs-and-scars/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1799-2/full.jpg Story Told In Songs And Scars by Britt Freda - Mixed Media on Canvas Freda integrates collage, watercolor, graphite, and etched text on a surface that accumulates the way memory accumulates: in layers, with earlier marks visible through later ones. The scar tissue in t https://jgartgallery.com/artwork/humpback-music/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1785/full.jpg Humpback Music by Britt Freda - Mixed Media on Paper Twelve by thirty-six inches — the long horizontal format chosen for a subject that moves through depth and distance. Freda builds a mixed-media surface where watercolor washes, printed fragments, and https://jgartgallery.com/artwork/hope-love-all-persons-here/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2073/full.jpg Hope: Love All Persons Here by Britt Freda - Mixed Media on Canvas Text and image held in balance on a 20 × 20 canvas. Freda embeds the affirmation into the surface itself — not as caption but as material, the words present in the paint. The painted passages and the https://jgartgallery.com/artwork/the-bees-knees/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3113/full.jpg The Bees Knees by Britt Freda - Mixed Media on Paper An abstract figure assembled from geometric patterning on a 16 × 16 panel. The title is praise — the mid-century slang for something that cannot be bettered. Freda does not treat the colloquial lightl https://jgartgallery.com/artwork/love-men-in-pink-fibonacci-shirts/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2076/full.jpg Love Men In Pink Fibonacci Shirts by Britt Freda - Oil on Canvas A small oil — figure painting at miniature scale. Freda treats the pink Fibonacci-patterned shirt as architectural armature for color study; the figure recedes into chromatic structure rather than dom https://jgartgallery.com/artwork/life-shrinks-or-expands-in-proportion-to-ones-courage/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2075/full.jpg Life Shrinks or Expands In Proportion to One’s Courage by Britt Freda - Watercolor and Acrylic on Paper Watercolor and acrylic layered on paper, the Anaïs Nin quotation embedded directly into the surface. Freda treats text as compositional element — the letters carry the same chromatic weight as the mar https://jgartgallery.com/artwork/sea-to-sky-by-krista-reuter/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2216/full.jpg Sea to Sky by Krista Reuter - Watercolor on Paper Reuter's watercolor moves through zones of warm and cool hue, the paper's white ground working against wet pigment to create atmospheric recession. The composition suggests landscape without describin https://jgartgallery.com/artwork/balance-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2221/full.jpg Balance by Peter Juvonen - Acrylic on Linen Juvonen employs a restricted palette—ochres, grays, muted blues—layered with deliberate restraint. The composition balances positive and negative space through careful tonal modulation rather than sym https://jgartgallery.com/artwork/morning-fog-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1647/full.jpg Morning Fog by Peter Juvonen - Acrylic on Linen Acrylic paint applied in soft glazes renders atmospheric density without sharp forms. Juvonen's handling suggests fog's opacity while maintaining compositional structure beneath the obscured surface. https://jgartgallery.com/artwork/breeding-ground-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1651/full.jpg Breeding Ground by Peter Juvonen - Acrylic on Linen Gestural marks and organic forms jostle within the frame, their overlapping creating spatial congestion. Juvonen's brushwork suggests growth and competition through formal density rather than narrativ https://jgartgallery.com/artwork/church-window-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2224/full.jpg Church Window by Peter Juvonen - Acrylic on Linen Light and dark passages define architectural planes rendered in acrylic. Juvonen's geometric composition uses the window motif to structure tonal relationships across the canvas surface. https://jgartgallery.com/artwork/regeneration-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1656/full.jpg Regeneration by Peter Juvonen - Mixed Media, Oil and Acrylic on Canvas Mixed media layering—oil and acrylic—creates textural variety across the canvas. Organic forms emerge through accumulated marks; Juvonen's technique emphasizes material process over illustrative inten https://jgartgallery.com/artwork/succession-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1653-2/full.jpg Succession by Peter Juvonen - Acrylic on Linen Acrylic paint marks build in deliberate sequence across the canvas, each gesture weighted within an underlying grid structure. Succession unfolds through formal arrangement rather than narrative progr https://jgartgallery.com/artwork/above-the-pool-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2257/full.jpg Above The Pool by Peter Juvonen - Acrylic on Linen Acrylic paint renders water's reflective quality through carefully calibrated tonal shifts. Juvonen's handling registers the surface's capacity to mirror light while maintaining painterly presence. https://jgartgallery.com/artwork/freedom-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2254/full.jpg Freedom by Peter Juvonen - Acrylic on Linen Acrylic on canvas. Juvonen employs loose gestural marks and chromatic shifts to suggest spatial liberation without depicting landscape or figure. https://jgartgallery.com/artwork/snow-bound-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2225-2/full.jpg Snow Bound by Peter Juvonen - Acrylic on Linen Acrylic on canvas. White and gray tones build through layered application, creating visual stasis—immobility rendered as formal structure. https://jgartgallery.com/artwork/coexistance-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2260/full.jpg Coexistance by Peter Juvonen - Acrylic on Linen Disparate elements occupy shared pictorial space; visual paradox resolved through careful compositional balance and tonal modulation. https://jgartgallery.com/artwork/stones-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-1648/full.jpg Stones by Peter Juvonen - Acrylic on Linen Muted ochres and umbers, with subtle chromatic variation, establish meditation on geological form and sedimentary time. https://jgartgallery.com/artwork/natural-habitat-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2262/full.jpg Natural Habitat by Peter Juvonen - Acrylic on Linen Juvonen renders natural elements—vegetation, stone, light—through restrained palette and deliberate surface texture. https://jgartgallery.com/artwork/fox-2-15/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/fox-215/full.jpg Fox 2/15 by Peter Juvonen - Digital Painting / 3D Rendering Digital painting/3D rendering. Volumetric form and fur texture rendered with technical precision; animal presence depicted without sentimentality. https://jgartgallery.com/artwork/jack-2-20/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0868/full.jpg Jack 2/20 by Peter Juvonen - Carved Wood with Painted Details Carved wood with painted details. Subtractive sculpture enhanced through chromatic application; figural legibility emerges from wood grain and carved line. https://jgartgallery.com/artwork/ancient-scroll-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2287/full.jpg Ancient Scroll by Peter Juvonen - Acrylic on Linen Surface weathering and accumulated patina represented through craquelure, discoloration, and textural layering—aging as subject and technique. https://jgartgallery.com/artwork/improvisation-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2289/full.jpg Improvisation by Peter Juvonen - Acrylic on Linen Juvonen's acrylic painting employs gestural brushwork and layered pigment to construct an abstract composition. The work prioritizes process over predetermined form, with color relationships and surfa https://jgartgallery.com/artwork/fire-within-by-krista-reuter/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2371/full.jpg Fire Within by Krista Reuter - Mixed Media - Paper or Fiber on Panel Reuter layers paper and fiber on panel, generating surface complexity through material accumulation. Compositional tension emerges from the interplay between translucency, opacity, and dimensional dep https://jgartgallery.com/artwork/shine-your-light-by-krista-reuter/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2364/full.jpg Shine Your Light by Krista Reuter - Mixed Media - Hair/Fibers with Gold Leaf on Paper Gold leaf and fiber combine in Reuter's work, establishing contrasts between reflective metal and matte organic material. The composition privileges textural variation and tactile surface quality. https://jgartgallery.com/artwork/abstract-floral-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2434-2/full.jpg Abstract Floral by Brooke Borcherding - Acrylic on Canvas Borcherding's acrylic painting constructs space through bold color juxtaposition and chromatic saturation. Hue relationships structure form independent of representational constraint. https://jgartgallery.com/artwork/hanging-out-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2435/full.jpg Hanging Out by Brooke Borcherding - Acrylic on Canvas Borcherding's acrylic canvas employs figure-ground relationships and compositional placement to organize the visual field. Form emerges through color interaction and spatial positioning. https://jgartgallery.com/artwork/winding-through-the-forest-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2437-2/full.jpg Winding Through The Forest by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Borcherding’s acrylic practice, Pacific Northwest forest and coastal subjects. Borcherding works in acrylic and acrylic, painting Pacific Northwest landscapes. https://jgartgallery.com/artwork/float-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2439/full.jpg Float by Brooke Borcherding - Acrylic on Canvas Borcherding's acrylic painting constructs weightlessness through layered brushwork and tonal modulation. The canvas demonstrates technical control in rendering atmospheric space, with surfaces that su https://jgartgallery.com/artwork/mandi-gras-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/mandi-gras-juvonen/full.jpg Mandi Gras by Peter Juvonen - Acrylic on Canvas Juvonen's acrylic work addresses Mardi Gras imagery with gestural application. The composition balances representational elements against abstracted color passages, engaging traditional subject throug https://jgartgallery.com/artwork/tracing-the-winged-energy-of-delight-by-janice-tayler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2461/full.jpg Tracing The Winged Energy of Delight by Janice Tayler - Mixed Media on Canvas Tayler's mixed media work employs material complexity to create tension between stasis and movement. The artist accumulates surface layers to generate spatial ambiguity, resisting singular interpretiv https://jgartgallery.com/artwork/under-dipped-currents-by-janice-tayler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2460/full.jpg Under Dipped Currents by Janice Tayler - Mixed Media Tayler combines disparate materials to establish submerged spatial conditions. The work's technical execution emphasizes process-driven mark-making, constructing depth through material interaction rat https://jgartgallery.com/artwork/passageways-parted-by-janice-tayler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2463/full.jpg Passageways Parted by Janice Tayler - Mixed Media on Canvas Tayler's mixed media construction fragments space through layered intervention. The work employs material juxtaposition to generate visual friction, challenging coherent spatial reading while maintain https://jgartgallery.com/artwork/threaded-remnants-by-janice-tayler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2462/full.jpg Threaded Remnants by Janice Tayler - Mixed Media on Canvas Tayler assembles textile and mixed media elements into fragmented configurations. The work's material residue suggests historical accretion, constructing meaning through accumulated surface rather tha https://jgartgallery.com/artwork/blackbird-bakery-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2480/full.jpg Blackbird Bakery by Brooke Borcherding - Acrylic on Canvas Acrylic on canvas. Blackbird Bakery on Winslow Way — a Bainbridge Island institution — rendered through Borcherding's plein-air practice. The storefront's architecture and the figures around it are pu https://jgartgallery.com/artwork/transcendental-meditation-by-tim-mcmeans/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2490/full.jpg Transcendental Meditation by Tim McMeans - Watercolor and Ink on Paper McMeans layers watercolor and ink across paper in gestural marks that suggest meditation's internal focus without depicting it literally. The composition balances transparent washes against deliberate https://jgartgallery.com/artwork/into-the-mountain-by-tim-mcmeans/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2489/full.jpg Into The Mountain by Tim McMeans - Watercolor and Ink on Paper Mountain imagery emerges through McMeans's combination of watercolor, ink, and paper. Gestural marks accumulate to suggest topography and atmospheric depth, though formal clarity remains secondary to https://jgartgallery.com/artwork/a-swift-and-flowing-renewal/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2488/full.jpg A Swift and Flowing Renewal by Tim McMeans - Mixed Media - Watercolor, Ink, and Collage on Paper McMeans combines watercolor, ink, and collaged paper fragments to construct layered surfaces with apparent movement. The mixed media approach emphasizes material heterogeneity over seamless integratio https://jgartgallery.com/artwork/river-of-time-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2511/full.jpg River of Time by Tamera Abaté - Encaustic on Wood Panel I work into the unknown here — beeswax, damar resin, and pigment fused layer by layer with the torch, and what arose was this spare horizon: the scatter of marks above, the swirl of movement below. Wh https://jgartgallery.com/artwork/verde-river-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2512/full.jpg Verde River by Tamera Abaté - Encaustic on Wood Panel I work into the unknown — beeswax, damar resin, and pigment fused with a propane torch, layer by layer, until something true emerges. Here I'm watching where one field of color meets another: that oli https://jgartgallery.com/artwork/honey-creek-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2513/full.jpg Honey Creek by Tamera Abaté - Encaustic on Wood Panel I work into the unknown here — beeswax, damar resin, and pigment fused with the torch until the heat decides where the amber settles and where the white drifts across it. That thin dark line is where https://jgartgallery.com/artwork/life-currents-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2514/full.jpg Life Currents by Tamera Abaté - Encaustic on Wood Panel Where one field of color meets another, something shifts — and that's where I work. Here the wax and torch moved into the unknown, light blue riding those horizontal lines above while the lower water https://jgartgallery.com/artwork/alpenglow-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2515/full.jpg Alpenglow by Tamera Abaté - Encaustic on Wood Panel I work into the unknown here — rose and gold and cream running vertical, the wax deciding where it settles as the torch moves through. I'm always adding new layers, then reaching down, smoothing the h https://jgartgallery.com/artwork/slate-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2516-2/full.jpg Slate by Tamera Abaté - Encaustic on Wood Panel I work into the unknown here — beeswax, damar resin, and pigment fused with a propane torch, layer by layer, until the wax finds its own way down the panel. The white rises thick off the slate and gra https://jgartgallery.com/artwork/to-the-sky-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2521/full.jpg To The Sky by Tamera Abaté - Encaustic on Wood Panel An encaustic panel where the vertical movement comes not from composition but from material: the wax carries upward through layers of pale blue and white, the heat-driven passes pulling colour through https://jgartgallery.com/artwork/milk-moon-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2520/full.jpg Milk Moon by Tamera Abaté - Encaustic on Panel I work in whites and off-whites here — the wax pooling and trailing downward, the torch pulling it into ridges and soft circular formations I couldn't fully anticipate. Where one pale field meets anot https://jgartgallery.com/artwork/speak-from-the-heart-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2519/full.jpg Speak From The Heart by Tamera Abaté - Encaustic on Panel I work into the unknown here — beeswax, damar resin, and pigment built up and fused with the torch until that bold red-orange band simply arrived, holding the pale rose field above it and the gray-bla https://jgartgallery.com/artwork/living-in-peace-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2518/full.jpg Living In Peace by Tamera Abaté - Encaustic on Panel I worked into the unknown here — letting the liquid wax and heat decide where the silver, white, and black would fall, those vertical drips and streaks rising like rain tracing a surface. Below, a qui https://jgartgallery.com/artwork/sanctuary-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ta-img-2517/full.jpg Sanctuary by Tamera Abaté - Encaustic on Panel I work into the unknown here — vertical lines of white and deep green rising through the wax, shapes that arrived in the spontaneous dance of liquid encaustic and torch-heat rather than through any fi https://jgartgallery.com/artwork/there-will-be-time-by-tim-mcmeans/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2524/full.jpg There Will Be Time by Tim McMeans - Mixed Media - Ink and Collage McMeans combines ink and collage on treated paper, integrating disparate materials into unified compositional structure. The work establishes temporal complexity through material layering and surface https://jgartgallery.com/artwork/rising-moving-by-tim-mcmeans/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2523/full.jpg Rising, Moving by Tim McMeans - Pen and Watercolor on Paper Pen and watercolor on paper generate linear and chromatic interaction. McMeans constructs movement through directional mark-making and wash application, sustaining visual tension between precise and f https://jgartgallery.com/artwork/poppy-by-tamera-albte/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2527/full.webp Poppy by Tamera Abaté - Encaustic on Wood Panel I work into the unknown here — beeswax, damar resin, and pigment fused layer by layer with the torch, each pass of heat deciding where color settles and where it gives way. There are fields of color m https://jgartgallery.com/artwork/only-can-set-my-heart-on-fire-by-ross-collado/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-2025-10-02-at-1-48-35-pm/full.jpg Only You Can Set My Heart on Fire by Ross Collado - Mixed Media on Canvas I walk into a creative tunnel of exploding colors and ideas, and this is where that tunnel opened up — sky above, something burning in it, and below, a dense geometry of forms pressing together the wa https://jgartgallery.com/artwork/circles-by-elizabeth-hilton/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2562/full.jpg Circles by Elizabeth Hilton - Mixed Media on Paper Hilton negotiates the space between geometric constraint and gestural intervention. Mixed media elements—drawing, paint, collage—establish a field where systematic ordering meets chance operations, ne https://jgartgallery.com/artwork/aces-high-by-annie-hooker/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-20250531-113312675-hdr-original-2/full.jpg Aces High by Annie Hooker - Acrylic on Paper Hooker employs acrylic's quick-drying properties to build layered passages of cards and gambling imagery. The work harnesses American iconography without sentiment, treating subject matter as structur https://jgartgallery.com/artwork/monolith/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-20250531-113107246-original/full.jpg Monolith by Annie Hooker - Oil on Canvas This oil painting constructs a singular vertical form through dense application and tonal modulation. The work's architectural presence operates through material weight and chromatic subtlety rather t https://jgartgallery.com/artwork/barns-and-outbuildings/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-20250531-113528855-original/full.jpg Barns and Outbuildings by The Provenance Collection - Oil on Canvas The painting treats rural structures as volumes defined by weathering and light. Oil paint's slow working time enables careful tonal transitions, establishing architecture's spatial authority through https://jgartgallery.com/artwork/barns-and-outbuildings-ii-by-deborah-brinckerhoff/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-7623/full.avif Barns and Outbuildings II by Deborah Hake Brinckerhoff - Oil on Canvas Brinckelhoff's oil paintings document deterioration—peeling paint, warped boards—as structural fact. The work resists nostalgia, instead registering material decline as visual information with archite https://jgartgallery.com/artwork/september-traces-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2687/full.jpg September Traces by Pamela Wachtler - Etching or Engraving with Hand Coloring I etched these traces of a late-summer forest — the hare pausing at the base of the old trunk, looking up into the canopy — because these are the quiet moments I want to leave behind, a legacy of the https://jgartgallery.com/artwork/moon-on-the-rise-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-0338/full.jpg Moon On The Rise by Pamela Wachtler - Colored Pencil on Paper I work in these quiet hours — moonrise over still water, the evergreens holding their dark shapes at the edge — because this is where I find the hope I want to leave behind. The light lifts off the wa https://jgartgallery.com/artwork/rich-passage-overlook-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2690/full.jpg Rich Passage Overlook by Pamela Wachtler - Oil on Canvas I painted this from the overlook where Rich Passage opens before you — that particular hour when the water holds the last of the golden light and the sky still can't decide between day and night. The https://jgartgallery.com/artwork/raven-cairn-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/raven-cairn-duzan/full.jpg Raven Cairn by Barbara Duzan - Bronze Sculpture Duzan's bronze constructs sculptural form from stacked, abstracted volumes. The work balances geometric and organic references, with patinated surface demonstrating material specificity—form emerges f https://jgartgallery.com/artwork/heron-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/heron-2/full.avif Heron by Barbara Duzan - Bronze and Mixed Metal Sculpture Bronze and mixed metal combine in a vertical figural study. Duzan negotiates material difference within an unified compositional scheme, using contrasting metal surfaces to articulate anatomical and s https://jgartgallery.com/artwork/birdsong-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/birdsong-2/full.avif Birdsong by Barbara Duzan - Bronze sculpture with patina Patinated bronze responds to time and oxidation, its surface treating material decay as aesthetic fact. Duzan's sculptural language addresses form through accretion, with patina integral to the work's https://jgartgallery.com/artwork/balancing-act-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/balancing-act-duzan/full.jpg Balancing Act by Barbara Duzan - Bronze Cast Sculpture Cast bronze operates across three dimensions in compact scale. Duzan's compositional strategy negotiates balance through formal tension—the work's title functions as conceptual counterpoint to its phy https://jgartgallery.com/artwork/african-queen-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/african-queen/full.avif African Queen by Barbara Duzan - Mixed Media Sculpture - Resin, Beads, Sequins, and Found Objects Duzan layers resin, beads, sequins, and found detritus into a sculptural figure whose surface teems with accumulated ornament. The work trades restraint for visual saturation, constructing identity th https://jgartgallery.com/artwork/bambino-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bambino-duzan/full.png Bambino by Barbara Duzan - Watercolor on Paper Duzan's watercolor depicts a child's form with deliberate wash work and pigment bleeding. The technique prioritizes spontaneity over detail, allowing chromatic diffusion to suggest rather than define https://jgartgallery.com/artwork/bandit-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bandit-duzan/full.png Bandit by Barbara Duzan - Beadwork and Mixed Media with Wood Duzan orchestrates beadwork and mixed media elements across a wooden support. The piece employs surface pattern and dimensional texture to construct its subject through accumulated ornamental gesture. https://jgartgallery.com/artwork/__trashed/ 2026-06-29 monthly 0.8 https://jgartgallery.com/artwork/adonis-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/artwork/asterion-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/labyrinth-fisher/full.webp Labyrinth by Brian Fisher - Woodcut Print Fisher's woodcut harnesses linear density and pattern repetition inherent to the medium. The print demonstrates the process's technical demands—gouging, registration, pressure—as formal constraint. https://jgartgallery.com/artwork/jason-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2786/full.webp Jason by Brian Fisher - Acrylic on Brick Fisher applies acrylic pigment to brick surface, accepting the substrate's absorbency and texture. The work acknowledges its unconventional support as integral to the painting's materiality. https://jgartgallery.com/artwork/janus-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/janus-fisher/full.webp Janus by Brian Fisher - Steel Sculpture Fisher's steel sculpture articulates the bipartite figure through welded and bolted construction. The material's inherent weight and industrial processes become the work's primary formal vocabulary. https://jgartgallery.com/artwork/hyperion-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/hyperion-fisher/full.webp Hyperion by Brian Fisher - Steel or Metal Sculpture Fisher's Hyperion occupies space with sculptural authority. Steel form asserts itself through geometric precision and material weight, demanding acknowledgment of its constructed presence without orna https://jgartgallery.com/artwork/centaur-libation-bowl-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/centaur-libation-bowl-fisher/full.webp Centaur Libation Bowl by Brian Fisher - Mixed Media Sculpture - Metal and Ceramic Metal and ceramic converge to render mythological narrative as object. Fisher's hybrid approach treats classical subject matter through material contrast—the union of rigid and fired clay establishes https://jgartgallery.com/artwork/susa-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2794/full.webp Susa by Brian Fisher - Metal Sculpture Steel surface becomes active ground for reflected light. Fisher manipulates material properties to produce optical variation across form, where reflectivity functions as sculptural element rather than https://jgartgallery.com/artwork/faunus-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/faunus-fisher/full.webp Faunus by Brian Fisher - Silhouette/Cut Paper or Digital Print Silhouette operates through radical reduction. Fisher's two-dimensional approach extracts essential contours from classical subject, achieving representational clarity through elimination—the method's https://jgartgallery.com/artwork/hylas-and-hercules-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/hylas-and-hercules-fisher/full.webp Hylas And Hercules by Brian Fisher - Paper Cut or Silhouette Cutting precision transforms narrative into outline. Fisher's technique renders Hylas and Hercules as definitive profile, where classical content depends entirely on contour recognition and viewer kno https://jgartgallery.com/artwork/the-trojan-horse-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2796/full.webp The Trojan Horse by Brian Fisher - Silhouette Cut-out or Paper Cut Art Paper cut technique generates paradox: monumental subject rendered through material fragility. Fisher's Trojan Horse exists as absence—negative space contains narrative weight while silhouette remains https://jgartgallery.com/artwork/satyr-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2793/full.webp Satyr by Brian Fisher - Bronze Sculpture Steel and gold flake powder coat produce surface differentiation on figural form. Fisher's Satyr combines material specificity with pedestal placement, establishing sculpture as object for formal exam https://jgartgallery.com/artwork/byzantium-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2775/full.webp Byzantium by Brian Fisher - Metal Sculpture on Wood Base Steel structure mounted on wood base creates material dialogue. Fisher's Byzantium uses gold flake coating to modulate surface, while pedestal elevation enforces viewing distance and formal autonomy f https://jgartgallery.com/artwork/kronos-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2791/full.webp Kronos by Brian Fisher - Metal Sculpture with Wood Base Fisher's steel sculpture references classical mythology through abstracted form. Gold flake powder coat creates surface variation across the welded structure, anchored to a wooden base. The work sits https://jgartgallery.com/artwork/jason-and-chiron-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2780/full.webp Jason And Chiron by Brian Fisher - Acrylic on Canvas Fisher's acrylic painting engages the Greek narrative of Jason and Chiron through layered gestural marks. The composition balances figural suggestion with painterly abstraction, using color temperatur https://jgartgallery.com/artwork/mnemosyne-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2772/full.webp Mnemosyne by Brian Fisher - Acrylic on Canvas Mnemosyne constructs its composition through accumulated acrylic layers that obscure as much as reveal. Fisher builds opacity and transparency in calculated sequence, creating visual complexity that m https://jgartgallery.com/artwork/find-me-dionysus-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/find-me-dionysus-by-brian-fisher/full.webp Find Me Dionysus by Brian Fisher - Acrylic on Canvas Classical iconography meets contemporary abstraction in this acrylic work. Fisher's handling of color and form fragments the mythological subject, requiring active decoding from the viewer. The painti https://jgartgallery.com/artwork/temple-of-the-wind-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2795/full.webp Temple Of The Wind by Brian Fisher - Mixed Media on Paper Mixed media on paper allows Fisher to combine drawing, painting, and collage elements. The work's title suggests landscape, though the composition remains primarily non-representational. Formal elemen https://jgartgallery.com/artwork/labyrinth-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/labyrinth-fisher/full.webp Labyrinth by Brian Fisher - Giclee Print This monotype print exists as a single impression, its title referencing mythological complexity. Fisher's printmaking technique produces areas of precise mark-making alongside gestural passages, crea https://jgartgallery.com/artwork/prayer-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/prayer-before-battle-fisher/full.webp Prayer ( Before Battle) by Brian Fisher - Linocut Print or Block Print Linocut's demand for decisive mark-making shapes Fisher's approach. Each incised line produces a permanent, unrevisable mark. The print's title evokes narrative anticipation, though the abstract compo https://jgartgallery.com/artwork/prepare-for-battle-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/prepare-for-battle-fisher/full.webp Prepare (For Battle) by Brian Fisher - Acrylic on Canvas Fisher applies acrylic with directness, allowing the medium's opacity and fluidity to determine surface quality. Gestural brushwork and deliberate color choices create psychological intensity without https://jgartgallery.com/artwork/kalais-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2787/full.webp Kalais by Brian Fisher - Acrylic on Canvas Fisher's monotype presents a mythological figure rendered in acrylic with restrained color and deliberate mark-making. The small-scale work relies on compositional clarity rather than decorative flour https://jgartgallery.com/artwork/zetes-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2797/full.webp Zetes by Brian Fisher - Acrylic on Canvas A companion piece to Kalais, this monotype applies consistent formal rigor to its subject matter. Fisher's approach favors legible imagery over atmospheric effects across the modest dimensions. https://jgartgallery.com/artwork/medusa-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2792/full.webp Medusa by Brian Fisher - Acrylic on Canvas Scaled larger than its companion prints, Fisher's Medusa deploys acrylic with attention to linear structure and spatial definition. The monotype technique permits controlled repetition within singular https://jgartgallery.com/artwork/conversation-with-myself-by-lorri-acott/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/conversation-with-myself-acott/full.jpg Conversation With Myself by Lorri Acott - Bronze Sculpture Acott's bronze abstracts the human form into angular, interlocking planes. The work's tension derives from geometric compression rather than illusionistic modeling, presenting internal states through https://jgartgallery.com/artwork/spirit-of-renewal-by-lorri-acott/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3103/full.jpg Sm Spirit Of Renewal by Lorri Acott - Bronze sculpture with resin butterflies Burnished bronze surfaces contrast sharply with resin butterfly appendages in this hybrid sculpture. The juxtaposition reads as deliberate rather than decorative, suggesting transformation through mat https://jgartgallery.com/artwork/fearless-by-lorri-acott/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/fearless-acott/full.jpg Fearless by Lorri Acott - Bronze Sculpture Cast bronze configured in an upright, confrontational stance. Acott's formal vocabulary here prioritizes structural integrity and weight distribution, avoiding sentimental gesture in favor of sculptur https://jgartgallery.com/artwork/mothers-day-by-lorri-acott/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/mother/full.jpg Mother’s Day by Lorri Acott - Digital Art, 3D Rendering A digital rendering exploring maternal imagery through three-dimensional modeling. The work employs representational clarity and soft tonal gradations across its virtual space, staging recognizable fo https://jgartgallery.com/artwork/moto-guzzi-by-taralee-guild/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/moto-guzzi-guild/full.jpg Moto Guzzi by Taralee Guild - Watercolor on Paper Guild's watercolor treatment of a Moto Guzzi balances fluid washes against sharply rendered mechanical forms. The motorcycle emerges through layered pigment, its streamlined geometry contrasting with https://jgartgallery.com/artwork/coffee-break-by-ilene-gienger-stanfield/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3092/full.jpg Coffee Break by Ilene Gienger-Stanfield - Oil on Canvas Gienger-Stanfield's interior depicts a figure amid domestic objects rendered in warm ochres and siennas. The composition privileges spatial depth and material surfaces—walls, furnishings, clothing—ove https://jgartgallery.com/artwork/bather-by-ilene-gienger-stanfield/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3093/full.jpg Bather by Ilene Gienger-Stanfield - Oil on Canvas A single seated figure occupies this tightly framed composition. Gienger-Stanfield employs muted earth tones and controlled brushwork to define form, with emphasis on the body's weight and the figure' https://jgartgallery.com/artwork/tangles-by-ilene-gienger-stanfield/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3280/full.jpg Tangles by Ilene Gienger-Stanfield by Ilene Gienger- Stanfield - Oil on Canvas Linear and organic marks intersect across a horizontal format. The painting treats abstraction and representation as adjacent concerns, layering gestural marks to suggest movement without committing t https://jgartgallery.com/artwork/bespoke-by-pam-ingalls/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3265/full.jpg Bespoke by Pam Ingalls - Oil on Canvas Ingalls builds surface through accumulated impasto, creating tactile variation that complicates the work's formal organization. Precision and material excess coexist, generating visual tension between https://jgartgallery.com/artwork/waiting-dreams-by-pam-ingalls/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3266/full.jpg Waiting Dreams by Pam Ingalls - Oil on Canvas A restrained palette and careful tonal modulation structure this introspective composition. Ingalls' approach privileges psychological distance and contemplative mood over decorative incident. https://jgartgallery.com/artwork/rising-by-pam-ingalls/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3267/full.jpg Rising by Pam Ingalls - Oil on Canvas Diagonal and rising forms direct compositional movement through an abstracted space. Ingalls employs value gradations and layered passages to create depth, emphasizing structure over symbolic content. https://jgartgallery.com/artwork/savory-setting-by-pam-ingalls/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3270/full.jpg Savory Setting by Pam Ingalls - Oil on Canvas Domestic subject matter rendered in warm earth tones and atmospheric modeling. Ingalls treats interior space as a formal problem—light, shadow, and texture subordinate anecdotal detail. https://jgartgallery.com/artwork/spring-barn-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3309/full.jpg Spring Barn by Robin Weiss - Oil on Canvas Weiss renders a rural structure with deliberate brushwork, the barn's weathered form articulated through warm ochres and grays. Spring light modulates the composition, defining architectural planes wi https://jgartgallery.com/artwork/pumpkin-truck-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3308/full.jpg Pumpkin Truck by Robin Weiss - Oil on Canvas A vintage truck laden with pumpkins occupies the canvas with straightforward compositional logic. Weiss balances narrative subject matter with formal restraint, letting texture and color weight carry https://jgartgallery.com/artwork/morning-walk-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3306/full.jpg Morning Walk by Robin Weiss - Oil on Canvas A solitary figure traverses the composition with understated presence. Weiss establishes spatial recession through atmospheric perspective, grounding the figure in observed light and shadow rather tha https://jgartgallery.com/artwork/sea-stack-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3305/full.jpg Sea Stack by Robin Weiss - Oil on Canvas Coastal geology rendered with geological precision. The sea stack's vertical thrust is tempered by Weiss's measured handling of stone texture and marine light. Oil on canvas. (Sold) https://jgartgallery.com/artwork/the-ellie-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3303-2/full.avif The Ellie by Robin Weiss - Oil on Canvas A vessel study executed in controlled tonality. Weiss treats the subject with technical accuracy, deploying color relationships to establish form and spatial positioning within the pictorial field. Oi https://jgartgallery.com/artwork/kingston-marina-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3302/full.jpg Kingston Marina by Robin Weiss - Oil on Canvas Marina infrastructure—docks, moorings, water—composed with geometric clarity. Weiss negotiates the potential picturesque through disciplined structure and restrained palette application. Oil on canvas https://jgartgallery.com/artwork/fall-chestnut-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3301/full.jpg Fall Chestnut by Robin Weiss - Oil on Canvas An autumn landscape addressed through warm chromatic intervals. Weiss's horizontal format accommodates expansive spatial recession while the chestnut tree anchors the middle ground with structural cla https://jgartgallery.com/artwork/yellow-house-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3283-12431/full.avif Yellow House by Robin Weiss - Oil on Canvas Architectural subject painted with attention to surface articulation and light differentiation. The yellow house gains presence through Weiss's precise brushwork and tonal modulation across the elonga https://jgartgallery.com/artwork/a-good-walk-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3282/full.jpg A Good Walk by Robin Weiss - Oil on Canvas Weiss employs restrained brushwork to construct a modest landscape vista. The horizontal format elongates space through subtle tonal modulation. Oil paint application remains controlled, avoiding dram https://jgartgallery.com/artwork/eglon-beach-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3281/full.jpg Eglon Beach by Robin Weiss - Oil on Canvas A coastal scene rendered with deliberate restraint. Weiss orchestrates spatial recession through atmospheric perspective rather than linear convention. The narrow vertical proportions compress foregro https://jgartgallery.com/artwork/sounds-of-silence-by-amy-ferron/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2663/full.jpg Sounds of Silence by Amy Ferron - Mixed Media on Canvas Ferron layers diverse materials to construct a statement on absence and quiet. Mixed media collage resists easy legibility, instead building meaning through accumulated textural surfaces. The square f https://jgartgallery.com/artwork/hope-floats-by-amy-ferron/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2665/full.jpg Hope Floats by Amy Ferron - Acrylic on Canvas Acrylic surface work demonstrates Ferron's interest in layering and obscuration. Gestural marks and compositional geometry negotiate between control and accident. Color relationships remain muted, emp https://jgartgallery.com/artwork/dont-fence-me-in-by-amy-ferron/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2666/full.jpg Don’t Fence Me In by Amy Ferron - Mixed Media on Canvas Ferron's mixed-media approach fragments visual narrative through collage and overpainting. Restrictive boundaries suggested by the title remain visually complex. Material accumulation creates spatial https://jgartgallery.com/artwork/theres-no-sun-up-in-the-sky-by-amy-ferron/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2667-2/full.avif There’s No Sun Up In The Sky by Amy Ferron - Oil on Canvas Ferron addresses darkness and absence through painted surface. Oil and mixed materials build atmospheric density. The work resists illustration of its literary reference, instead constructing visual e https://jgartgallery.com/artwork/the-moon-is-a-loyal-companion-by-amy-ferron/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3320/full.jpg The Moon Is A Loyal Companion by Amy Ferron - Acrylic on Canvas Collage materials and acrylic construct a celestial theme without sentimentality. Ferron orchestrates found and painted elements across horizontal proportions. The rectangular format elongates visual https://jgartgallery.com/artwork/powdered-with-stars-by-amy-ferron/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3323/full.jpg Powdered With Stars by Amy Ferron - Mixed Media on Canvas Ferron combines collage materials and paint to address stellar imagery through abstraction. Textural accumulation dominates over linear representation. The square format contains visual incident witho https://jgartgallery.com/artwork/moon-glow-by-amy-ferron/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3326/full.jpg Moon Glow by Amy Ferron - Acrylic on Canvas Ferron employs acrylic on canvas to render lunar effects through layered application and tonal modulation. The work demonstrates technical control in capturing light's interaction with surface, though https://jgartgallery.com/artwork/interlude-by-randena-walsh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2368/full.jpg Interlude by Randena Walsh - Pastel on Paper Walsh's pastel work presents a compositional pause—landscape reduced to essential forms. The medium's inherent softness registers as formal restraint rather than atmospheric suggestion, with color rel https://jgartgallery.com/artwork/forest-edge-fall-by-randena-walsh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2369/full.jpg Forest Edge – Fall by Randena Walsh - Oil on Canvas Working in oil on canvas, Walsh addresses seasonal transition through chromatic shifts and gestural mark-making. The autumnal palette functions structurally, organizing pictorial space with deliberate https://jgartgallery.com/artwork/winter-afternoon-by-randena-walsh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-2370/full.jpg Winter Afternoon by Randena Walsh - Pastel on Paper This pastel composition balances warm and cool tonalities within a compressed format. Walsh's handling demonstrates technical competence, though the work prioritizes atmospheric suggestion over formal https://jgartgallery.com/artwork/view-from-the-boat-by-ericka-wolf/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/view-from-the-boat-wolf/full.jpg View From The Boat by Ericka Wolf - Oil on Canvas Wolf's oil on birch panel presents a frontal maritime view with measured perspective. The approach privileges clarity over illusion, with color deployed functionally to delineate spatial zones and est https://jgartgallery.com/artwork/tern-and-ferns-by-fumi-matsumoto/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3313/full.jpg Tern And Ferns by Fumi Matsumoto - Mixed Media on Canvas Matsumoto combines gel plate and linoprint monotype techniques to layer organic forms with deliberate precision. The mixed-media approach generates surface complexity while maintaining legible composi https://jgartgallery.com/artwork/rooster-and-ferns-by-fumi-matsumoto/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3314/full.jpg Rooster And Ferns by Fumi Matsumoto - Mixed Media on Paper - Ink Drawing with Watercolor Wash Gel plate and linoprint monotype, enhanced with ink and watercolor wash, create layered organic imagery. The work demonstrates technical proficiency in printmaking processes, though the layering appro https://jgartgallery.com/artwork/pink-cloud-by-ericka-wolf/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3334/full.jpg Pink Cloud by Ericka Wolf - Watercolor on Paper Wolf applies watercolor technique to paper with controlled atmospheric effects. The work relies on tonal gradation and transparent washes to suggest atmospheric conditions, maintaining compositional c https://jgartgallery.com/artwork/flight-502-by-ericka-wolf/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3337/full.jpg Flight 502 by Ericka Wolf - Oil on Canvas Wolf's oil painting employs gestural brushwork and layered tonal shifts to construct aerial perspective. The composition balances figural clarity against atmospheric abstraction, negotiating space thr https://jgartgallery.com/artwork/clovos-by-ericka-wolf/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3338/full.jpg Clovos by Ericka Wolf - Oil on Canvas Wolf builds surface density through impasto and glazing techniques, creating textural incident across the canvas. The work demonstrates sustained formal investigation into color relationships and mate https://jgartgallery.com/artwork/esprite-by-julie-anne-mann/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3353/full.jpg Esprite by Julie Anne Mann - Mixed Media on Wood Panel Mann combines walnut veneer with silver leaf on wood panel, establishing visual tension between natural material warmth and metallic reflection. The work engages modernist reduction while acknowledgin https://jgartgallery.com/artwork/wren-watching-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wren-watching-wachtler/full.jpg Wren Watching by Pamela Wachtler - Mixed Media, Collage with Textured Elements I worked into this small piece the kind of quiet the island offers if you simply stop — a wren holding still among leaf prints and branching forms, the world reduced to what matters. The collage and t https://jgartgallery.com/artwork/heron-waiting-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3390/full.jpg Heron Waiting by Pamela Wachtler - Hand-colored Monotype I work in the quiet space where stillness becomes its own kind of shelter. In this hand-colored monotype, I've placed the heron at rest — patient against deep teal and blue-green — beside the slow geo https://jgartgallery.com/artwork/icon-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3386/full.jpg Icon by Pamela Wachtler - Oil on Canvas I painted this small canvas in the quiet of winter — two pine trunks standing in the foreground while the moon holds its place above the snow-covered peaks, half-drawn behind cloud. For me, nature at https://jgartgallery.com/artwork/the-moon-is-a-loyal-companion/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3344-2/full.avif The Moon Is A Loyal Companion by Amy Ferron - Acrylic on Canvas Ferron constructs a nocturnal landscape through acrylic and collage, assembling scraps and painted passages into a composition centered on lunar imagery. The work operates as an exercise in material j https://jgartgallery.com/artwork/sounds-of-silence-by-amy-ferron-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/img-3429/full.jpg Sounds Of Silence by Amy Ferron - Mixed Media on Canvas Mixed media layers create textural density across this modest canvas. Ferron employs paint, collage, and perhaps photographic or printed elements, building surface complexity without resolving them in https://jgartgallery.com/artwork/nude-with-two-picasso-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/nude-with-two-picasso-by-peter-juvonen-2/full.jpg Nude With Two Picasso by Peter Juvonen - Acrylic on Linen Juvonen's acrylic work references Picasso's formal vocabulary while depicting a reclining figure. The title's specificity—'Two Picasso'—suggests irony or homage; the execution prioritizes draftsmanshi https://jgartgallery.com/artwork/long-toed-salamanders-studies-by-randena-walsh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/long-toed-salamanders-studies-walsh/full.jpg Long Toed Salamanders Studies by Randena Walsh - Watercolor on Paper Walsh's watercolor studies document salamander anatomy with naturalist precision. The series approaches zoological illustration through color notation and anatomical observation, treating each specime https://jgartgallery.com/artwork/expecting-by-britt-freda/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/expecting-by-britt-freda/full.avif Expecting by Britt Freda - Mixed Media on Paper — Watercolor and Graphite A single oyster shell studied with patient attention to its ridge lines, its closure, the way a closed shell holds everything in. Freda works at 8 × 8 inches — small enough that the image fills the pa https://jgartgallery.com/artwork/open-kiss-by-britt-freda/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/open-kiss-by-britt-freda-2/full.jpg Open Kiss by Britt Freda - Graphite and watercolor on paper Graphite drawing under watercolor wash. An oyster shell study at intimate scale — the title 'Open Kiss' is metaphorical, the parted halves of the shell reading as a closed-then-open gesture. Freda's n https://jgartgallery.com/artwork/held-by-you-by-britt-freda/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/held-by-you-by-britt-freda/full.avif Held By You by Britt Freda - Mixed Media on Paper — Watercolor, Graphite, and Gold Leaf Two oyster shells in close contact — the phrase ‘held by you’ answering what the shells do to each other and to the water. Freda works in watercolor and graphite on archival paper, the surface built u https://jgartgallery.com/artwork/inside-by-britt-freda/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/inside-by-britt-freda/full.avif Inside by Britt Freda - Mixed Media on Paper — Watercolor, Graphite, and Gold Leaf An oyster shell opened — the interior visible, the nacre at close range. Freda treats the shell’s interior as a landscape: varied in light, structured in its surface, the colour shifting from grey-gre https://jgartgallery.com/artwork/untitled-triptych-by-elizabeth-hilton/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/screenshot-33/full.avif Untitled (Triptych) by Elizabeth Hilton - Mixed Media Collage on Canvas Hilton's three-panel collage employs layered paper and painted elements across equal square formats. The triptych structure suggests narrative progression while resisting linear reading, instead empha https://jgartgallery.com/artwork/kitty-by-elizabeth-hilton/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/kitty-by-elizabeth-hilton-2/full.png Kitty by Elizabeth Hilton - Mixed Media Collage on Canvas Mixed media collage on canvas. Hilton's portrait builds the cat's volume from layered paper and paint, the texture itself registering fur's specific density. Sold from this exhibition. https://jgartgallery.com/artwork/wren-bell-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wren-bell-by-barbara-duzan/full.jpg Wren Bell by Barbara Duzan - Bronze Sculpture Duzan's compact bronze casting presents simplified avian form. The sculpture achieves economy through reduction, avoiding naturalistic detail in favor of schematic reduction to essential structural ge https://jgartgallery.com/artwork/mouse-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/mouse-by-barbara-duzan/full.jpg Mouse by Barbara Duzan - 3D Sculpture, Digital Rendering Digital rendering accompanies traditional bronze casting in this small-scale work. The dual presentation—analog sculptural object and digital simulation—complicates questions of authenticity and repro https://jgartgallery.com/artwork/mouse-on-wheat-stem-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/mouse-on-wheat-stem-by-barbara-duzan/full.jpg Mouse On Wheat Stem by Barbara Duzan - Bronze sculpture Duzan positions a bronze rodent along a stem at modest scale. The work's illusionistic naturalism operates in tension with its monochromatic material specificity, neither fully committing to represent https://jgartgallery.com/artwork/winter-wren-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/winter-wren-by-barbara-duzan/full.jpg Winter Wren by Barbara Duzan - Bronze Sculpture Duzan's bronze condenses anatomical precision into a diminutive form—feathers articulated, posture tensed. The work demonstrates how scale reduction can intensify rather than diminish presence, render https://jgartgallery.com/artwork/gardeners-friend-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/gardeners-friend-by-barbara-duzan/full.png Gardener’s Friend by Barbara Duzan - Bronze and Wood Sculpture Bronze and wood converge in Duzan's examination of human and natural collaboration. The material juxtaposition—metal's rigidity against wood's organic grain—establishes conceptual friction, questionin https://jgartgallery.com/artwork/hummingbird-bell-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/hummingbird-bell-duzan/full.jpg Hummingbird Bell by Barbara Duzan - Bronze Sculpture Duzan transforms functional form into sculptural study. The bell's bronze casting privileges the bird's kinetic potential—wings positioned mid-motion—while the modest dimensions encourage intimate vie https://jgartgallery.com/artwork/netsuke-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/netsuke-by-barbara-duzan/full.avif Netsuke by Barbara Duzan - Ceramic or Terracotta Sculpture Duzan's netsuke references historical miniature traditions while working in ceramic. The compressed scale necessitates deliberate formal choices: each curve and hollow registers as deliberate marking https://jgartgallery.com/artwork/netsuke-by-barbara-duzan-2/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/netsuke-by-barbara-duzan-2/full.avif Netsuke by Barbara Duzan - Bronze Sculpture This bronze iteration sustains netsuke's miniaturist tradition. Duzan maintains compositional density despite dimensional constraints, employing patination and surface variation to complicate the obje https://jgartgallery.com/artwork/beautiful-morning-by-kathe-fraga/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/beautiful-morning-by-kathe-fraga/full.jpg Beautiful Morning by Kathe Fraga - Mixed Media on Paper/Board I build this on worn, familiar ground — the layered, antiqued surface I return to again and again — then interrupt it with a sweep of deep crimson, dense with blossoms, orange-curling vines, and a tea https://jgartgallery.com/artwork/island-marina-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/island-marina-by-brooke-borcherding-2/full.jpg Island Marina by Brooke Borcherding - Acrylic on Canvas Borcherding's acrylic rendering of a marina employs gestural brushwork to articulate the interplay between water and wooden structures. The composition balances atmospheric effects with material speci https://jgartgallery.com/artwork/emerging-again-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/emerging-again-by-brooke-borcherding/full.jpg Emerging Again by Brooke Borcherding - Acrylic on Canvas This oil canvas deploys compositional layering to explore states of transition. Borcherding manipulates color and form to suggest emergence as both physical and psychological process, avoiding rhetori https://jgartgallery.com/artwork/flowers-from-florence-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/flowers-from-florence-by-brooke-borcherding/full.jpg Flowers From Florence by Brooke Borcherding - Acrylic on Canvas Florentine flora populate the canvas through Borcherding's controlled yet energetic application of acrylic paint. The work negotiates between botanical observation and abstraction, with careful attent https://jgartgallery.com/artwork/light-in-the-garden-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/light-in-the-garden-by-brooke-borcherding-2/full.jpg Light In The Garden by Brooke Borcherding - Acrylic on Canvas Borcherding's garden scene employs warm tonality and diffused light effects achieved through layered acrylic application. The composition structures foreground and background through color modulation https://jgartgallery.com/artwork/oasis-in-the-woods-by-teresa-smith/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/oasis-in-the-woods-by-teresa-smith-2/full.jpg Oasis In The Woods by Teresa Smith - Oil on Canvas Smith constructs a wooded interior through oil paint's capacity for atmospheric depth. The composition balances dense vegetation with spatial openings, using cool and warm passages to establish spatia https://jgartgallery.com/artwork/color-along-the-creek-by-teresa-smith/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/color-along-the-creek-by-teresa-smith/full.jpg Color Along The Creek by Teresa Smith - Oil on Canvas Water and surrounding landscape merge in Smith's oil work through careful tonal gradation. The painting negotiates between representational specificity and abstract color field, with movement generate https://jgartgallery.com/artwork/watershed-moment-by-stephen-macfarlane/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/watershed-moment-by-stephen-macfarlane-2/full.jpg Watershed Moment by Stephen MacFarlane - Mixed Media on Canvas MacFarlane's monotype employs mixed media to create an unique print. The work's singular status (1/1) emphasizes the artist's direct engagement with surface and material, generating texture through th https://jgartgallery.com/artwork/out-of-a-clear-blue-sky-by-stephen-macfarlane/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/out-of-a-clear-blue-sky-by-stephen-macfarlane-2/full.jpg Out Of A Clear Blue Sky by Stephen MacFarlane - Mixed Media on Canvas This monotype print combines mixed media techniques to produce atmospheric effects. MacFarlane's one-off approach to the medium allows for gestural mark-making that emphasizes process over predetermin https://jgartgallery.com/artwork/a-blush-of-roses-by-kathe-fraga/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/a-blush-of-roses-by-kathe-fraga/full.jpg A Blush Of Roses by Kathe Fraga - Watercolor on Paper I layer worn, rose-warm grounds the way old walls accumulate memory — then let the blooms rise loosely, petal by petal, until that flat band of deeper pink cuts across the top: the bold modern stroke https://jgartgallery.com/artwork/gathering-by-julie-anne-mann/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/gathering-by-julie-anne-mann-2/full.jpg Gathering by Julie Anne Mann - Wasp nest, Acrylic, Cradled wood panel Mann layers disparate materials across canvas in deliberate conversation. The accumulation produces meaning through material specificity rather than illusionistic representation, forcing consideration https://jgartgallery.com/artwork/light-through-chopaka-by-lisa-mcshane/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/light-through-chopaka-by-lisa-mcshane-2/full.jpg Light Through Chopaka by Lisa McShane - Oil on Canvas McShane's landscape negotiates the tension between observed phenomenon and painterly surface. Oil handling registers the passage of light through landscape as a problem of color, value, and brushwork https://jgartgallery.com/artwork/remember-this-too-by-lisa-mcshane/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/remember-this-too-by-lisa-mcshane-2/full.jpg Remember This Too by Lisa McShane - Acrylic on Canvas The title inflects McShane's acrylic treatment of terrain as temporal: grandeur persists, yet something insists on its fragility. Formal compression and restraint in palette suggest a landscape viewed https://jgartgallery.com/artwork/blue-moon-rising-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/blue-moon-rising-by-peter-juvonen/full.jpg Blue Moon Rising by Peter Juvonen - Acrylic on Linen Juvonen's nocturnal scene deploys oil's capacity for atmospheric depth. Moonlight becomes structural problem—how to articulate illumination without sentimentality. The composition prioritizes tonal re https://jgartgallery.com/artwork/the-vikings-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/the-vikings-by-peter-juvonen-2/full.jpg The Vikings by Peter Juvonen - Acrylic on Linen Juvonen positions his subject frontally, asserting presence through scale and paint handling rather than compositional drama. The Vikings stakes claims through technical command of oil—surface texture https://jgartgallery.com/artwork/early-summer-on-the-elwa-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/early-summer-on-the-elwa-by-jane-wallis/full.jpg Early Summer On The Elwa by Jane Wallis - Oil on Canvas Wallis treats water as pictorial challenge: how to render fluidity convincingly within oil's material constraints. The composition privileges intimate spatial relationships over expansive vista, colla https://jgartgallery.com/artwork/mt-shuksan-from-artists-point-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/mt-shuksan-from-artists-point-by-jane-wallis/full.jpg Mt Shuksan From Artist’s Point by Jane Wallis - Oil on Canvas Wallis constructs Mt. Shuksan through deliberate brushwork, layering pigment to establish spatial recession. The mountain's forms assert themselves against surrounding atmosphere, grounded in observed https://jgartgallery.com/artwork/alices-window-by-pam-ingalls/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/alices-window-by-pam-ingalls/full.jpg Alice’s Window by Pam Ingalls - Oil on Canvas Ingalls employs window framing as compositional device, staging interior space with controlled tonal modulation. Light enters strategically, structuring the room's volume through warm and cool passage https://jgartgallery.com/artwork/quiet-splashes-by-pam-ingalls/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/quiet-splashes-by-pam-ingalls-2/full.jpg Quiet Splashes by Pam Ingalls - Oil on Canvas Water surfaces receive Ingalls's attention to refracted color and reflected forms. The painting eschews atmospheric effects, instead building visual complexity through direct observation of ripple pat https://jgartgallery.com/artwork/liquid-light-by-pam-ingalls/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/liquid-light-by-pam-ingalls-2/full.jpg Liquid Light by Pam Ingalls - Oil on Canvas Ingalls constructs optical depth through glazed layers, allowing underlayers to inflect surface color. The technique foregrounds material process—how oil paint's transparency generates visual complexi https://jgartgallery.com/artwork/island-evening-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/island-evening-by-pamela-wachtler/full.jpg Island Evening by Pamela Wachtler - Oil on Canvas I painted this quiet edge of the island — where the trees part just enough to let the evening harbor through — as a place to rest the mind. The warm light settling into the sky, the still water beyond https://jgartgallery.com/artwork/the-one-i-love-by-lorri-acott/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/the-one-i-love-by-lorri-acott/full.webp The One That I Love by Lorri Acott - Bronze Sculpture Acott models form through bronze's reflective surface, allowing light play across figural surfaces. The sculpture's abstraction positions human subject as architectural problem rather than narrative v https://jgartgallery.com/artwork/late-afternoon-bath-by-peter-juvonen/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/late-afternoon-bath-by-peter-juvonen/full.jpg Late Afternoon Bath by Peter Juvonen - Acrylic on Linen Juvonen's acrylic painting stages an intimate domestic scene with deliberate compositional restraint. The handling of light across the figure and surrounding space demonstrates technical control, thou https://jgartgallery.com/artwork/the-stories-we-will-tell-by-ross-collado/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/the-stories-we-will-tell-by-ross-collado/full.jpg The Stories We Will Tell by Ross Collado - Acrylic and Mixed Media on Canvas These scattered shapes — the small house, the circles, the rectangles drifting across the canvas — are intuitive and emotive marks that arrived without a plan, each one a fragment of something felt ra https://jgartgallery.com/artwork/but-wheres-home-by-ross-collado/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/but-wheres-home-by-ross-collado/full.jpg But Where’s Home by Ross Collado - Acrylic and Mixed Media on Canvas I keep asking myself where home actually is — and this piece holds that question without answering it. I worked horizontal bands of sky and water across the canvas, then let a dark silhouette push int https://jgartgallery.com/artwork/springtime-in-paris-by-kathe-fraga/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/springtime-in-paris-by-kathe-fraga/full.jpg Springtime in Paris by Kathe Fraga - Mixed Media on Wood Panel I build the ground beneath a painting the way time builds a wall — worn layers of pattern and patina, soft and familiar. Here, a weathered cream panel holds a hummingbird poised among small flame-colo https://jgartgallery.com/artwork/lamour-by-kathe-fraga/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/lamour-by-kathe-fraga/full.jpg L’amour by Kathe Fraga - Mixed Media on Canvas I build the ground first — deep crimson layered until it feels worn, like a wall that has held a thousand whispered secrets. Then the teal bird arrives, loose and gestural against that weathered field https://jgartgallery.com/artwork/together-dreams-by-kathe-fraga/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/together-dreams-by-kathe-fraga/full.jpg Together Dreams by Kathe Fraga - Mixed Media on Canvas I build these surfaces the way time itself builds — worn textures and distressed layers that feel soft and familiar, like something that has evolved over many generations. Here, two Chinoiserie lovebi https://jgartgallery.com/artwork/pagoda-pink-ii-by-kathe-fraga/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/pagoda-pink-ii-by-kathe-fraga/full.jpg Pagoda Pink II by Kathe Fraga - Antiqued Fresco on Canvas I build up the surface in layers — worn, weathered, antiqued — until the ground carries the feeling of something that has traveled through time. Then the blossoms come: white and pale pink, cascading https://jgartgallery.com/artwork/touch-n-go-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/touch-n-go-by-barbara-duzan/full.jpg Touch N Go by Barbara Duzan - Bronze Sculpture Duzan's bronze edition piece explores figure and gesture through sculptural form. The work demonstrates solid casting technique and proportional consideration, though its formal innovation and spatial https://jgartgallery.com/artwork/winter-wren-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/winter-wren-by-pamela-wachtler/full.jpg Winter Wren by Pamela Wachtler - Woodcut Print I carved this small wren into the block the way I think about all the creatures we rarely pause to notice — as a reminder that the natural world is still here, offering a moment of quiet amid everythi https://jgartgallery.com/artwork/25-mph-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/25-mph-by-pamela-wachtler/full.jpg 25 MPH by Pamela Wachtler - Watercolor I painted this on a day when the wind was doing the talking — those trees leaning hard, the birds scattered across a mauve and gray sky, everything caught mid-motion. This is the kind of moment I retu https://jgartgallery.com/artwork/in-flight-snow-geese-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/in-flight-snow-geese-by-pamela-wachtler/full.jpg In Flight (Snow Geese) by Pamela Wachtler - Watercolor on Paper These are the creatures we seldom see — passing through, brief and white against the quiet of the sky. I painted them as I find hope in nature: not in the grand gesture, but in the glimpsed moment of https://jgartgallery.com/artwork/hope-forever-springs-by-pamela-wachtler/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/hope-forever-springs-by-pamela-wachtler/full.jpg Hope Forever Springs by Pamela Wachtler - Etching or Engraving I work into these bare, twisted branches and layered hills not to record a winter scene but to hold the hope I find there — the birds settling, the sky shifting, the world quietly continuing. This is https://jgartgallery.com/artwork/beach-crow-2-by-brooke-borcherding/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/beach-crow-2-by-brooke-borcherding/full.jpg Beach Crow 2 by Brooke Borcherding - Acrylic on Canvas Borcherding's crow anchors a monochromatic composition against beach tonalities. Acrylic's quick-drying properties enable layered application. The large format enforces confrontational viewing; the bi https://jgartgallery.com/artwork/sandpipers-by-britt-freda/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/sandpipers-by-britt-freda/full.jpg Sandpipers by Britt Freda - Mixed Media on Paper — Watercolor, Graphite, and Gold Leaf Sandpipers at the waterline — three birds at work in the zone where the wave has just receded, their plumage rendered in ochre, cream, and warm grey with the precision of an illustrator who has looked https://jgartgallery.com/artwork/yellow-rumped-warbler-by-randena-walsh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/yellow-rumped-warbler-by-randena-walsh/full.jpg Yellow-Rumped Warbler by Randena Walsh - Watercolor and Ink on Paper Walsh renders this warbler with precise watercolor washes and ink line work, rendering the bird's distinctive yellow rump markings through disciplined layering. The composition balances ornithological https://jgartgallery.com/artwork/golden-crowned-sparrow-3-by-randena-walsh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/golden-crowned-sparrow-3-by-randena-walsh/full.jpg Golden-Crowned Sparrow 3 by Randena Walsh - Watercolor on Paper Using watercolor, Walsh delineates the sparrow's crowned head pattern with controlled brushwork. The artist maintains chromatic subtlety while establishing the bird's anatomical specificity through se https://jgartgallery.com/artwork/bushtit-2-by-randena-walsh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bushtit-2-by-randena-walsh/full.jpg Bushtit 2 by Randena Walsh - Watercolor on Paper Walsh's watercolor study of the bushtit employs economical brushstrokes to suggest form and plumage. The work demonstrates technical control in rendering small-scale avian subjects without overstateme https://jgartgallery.com/artwork/night-flight-by-randena-walsh/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/night-flight-by-randena-walsh/full.jpg Night Flight by Randena Walsh - Mixed Media (Watercolor, Collage, and Ink on Paper) Combining watercolor, collage, and ink, Walsh constructs a nocturnal composition through layered materials. The mixed-media approach creates spatial ambiguity and compositional tension appropriate to https://jgartgallery.com/artwork/the-ferryman-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/the-ferryman-by-brian-fisher/full.jpg The Ferryman by Brian Fisher - Mixed Media with Gold Leaf on Paper Fisher employs monotype printing with 24-karat gold leaf in this elongated vertical format. The inclusion of precious metal functions as both material assertion and compositional element within the pr https://jgartgallery.com/artwork/invictus-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/invictus-by-brian-fisher/full.jpg Invictus by Brian Fisher - Mixed Media with Gold Leaf and Acrylic This mixed-media work incorporates gold leaf and acrylic alongside its textual element. Fisher's layering of material and language creates visual density, though the conceptual framework strains benea https://jgartgallery.com/artwork/sellarse-jay-by-elizabeth-hilton/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/sellarse-jay-by-elizabeth-hilton/full.jpg Sellarse Jay by Elizabeth Hilton - Mixed Media (Collage, Drawing, and Watercolor on Vintage Paper) Hilton constructs the jay through collage, drawing, and watercolor applied to vintage paper support. The material choice—aged paper—functions as both substrate and conceptual partner in this composite https://jgartgallery.com/artwork/offshore-unrest-by-ericka-wolf/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/offshore-unrest-by-ericka-wolf/full.jpg Offshore Unrest by Ericka Wolf - Oil on Canvas Wolf applies oil paint to canvas in a composition charged with gestural energy. The work employs chromatic friction and loose brushwork to generate formal unease, though clarity occasionally falters i https://jgartgallery.com/artwork/sea-of-clouds-by-ericka-wolf/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/sea-of-clouds-by-ericka-wolf/full.jpg Sea Of Clouds by Ericka Wolf - Oil on Canvas Wolf's oil on panel depicts clouds rendered as material substance, their weight and volume asserting themselves against the canvas. The palette favors restraint—muted grays and whites—allowing formal https://jgartgallery.com/artwork/day-sailer-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/day-sailer-by-robin-weiss/full.jpg Day Sailer by Robin Weiss - Oil on Canvas Weiss constructs a horizontal composition that privileges the relationship between vessel and water. The brushwork remains controlled, the color palette limited, the focus sharply on the sailboat's fo https://jgartgallery.com/artwork/great-blue-by-robin-weiss/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/great-blue-by-robin-weiss/full.jpg Great Blue by Robin Weiss - Oil on Canvas A lateral landscape emphasizing water's planar qualities. Weiss's technique shows deliberate restraint—the great blue functions structurally rather than emotionally, anchoring the composition through https://jgartgallery.com/artwork/nosey-neighbor-by-barbara-duzan/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/nosey-neighbor-by-barbara-duzan/full.jpg Nosey Neighbor by Barbara Duzan - Beadwork, Mixed Media with Embroidery Duzan's mixed-media work merges beadwork with embroidery into a surface that demands tactile consideration. The title introduces genre—portraiture or domestic observation—though the technique itself r https://jgartgallery.com/artwork/boat-reflections-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/boat-reflections-by-jane-wallis/full.jpg Boat Reflections, Ucluelet Harbor by Jane Wallis - Oil on Canvas Wallis addresses the technical problem of rendering reflection across a modest canvas. The composition splits between water and vessel, each claiming equal pictorial weight. Color serves structural ra https://jgartgallery.com/artwork/poulsbo-morning-at-the-dock-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/poulsbo-morning-at-the-dock-by-jane-wallis/full.jpg Poulsbo Morning At The Dock by Jane Wallis - Oil on Canvas Wallis negotiates the plein-air tradition through careful tonal work. The harbor scene organizes itself around the transition from mist to visibility, yet the technique remains grounded in observed li https://jgartgallery.com/artwork/wooden-sailboat-exhibit-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wooden-sailboat-exhibit-by-jane-wallis/full.jpg Wooden Sailboat Exhibit by Jane Wallis - Oil on Canvas The sailboat functions as subject and formal device simultaneously. Wallis's composition uses the vessel's geometry to structure space, while color relationships maintain visual clarity across the squ https://jgartgallery.com/artwork/docked-at-port-angeles-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/docked-at-port-angeles-by-jane-wallis/full.jpg Docked At Port Angeles by Jane Wallis - Oil on Canvas A modest square format containing harbor specificity. Wallis keeps chromatic range narrow, allowing compositional relationships to carry the work. The docked position emphasizes stillness over narrati https://jgartgallery.com/artwork/harbor-day-afternoon-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/harbor-day-afternoon-by-jane-wallis/full.jpg Harbor Day Afternoon by Jane Wallis - Oil on Canvas Oil on canvas, 9 x 12 in. Wallis works the harbor light at the hour when the water turns to silver and the boats become silhouettes against it. Plein-air discipline carried into a studio finish. https://jgartgallery.com/artwork/torfino-harbor-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/torfino-harbor-by-jane-wallis/full.jpg Torfino Harbor by Jane Wallis - Oil on Canvas Oil on canvas, 12 x 16 in. A coastal motif from Vancouver Island painted with Wallis's habitual restraint - the palette held to grays, whites, and a single warm note where land meets sky. https://jgartgallery.com/artwork/low-tide-beach-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/low-tide-beach-by-jane-wallis/full.jpg Low Tide Beach by Jane Wallis - Varnished Gouache on Bristol Gouache, 8 x 9.5 in. The wet sand reflects the sky in narrow registers; Wallis treats the foreground tidal flat as a horizontal mirror, painting both surfaces with the same matte deliberation. https://jgartgallery.com/artwork/coastal-surf-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/coastal-surf-by-jane-wallis/full.jpg Coastal Surf by Jane Wallis - Varnished Gouache on Bristol Gouache, 7 x 10 in. Wallis paints the surf's white edge as a soft band rather than a sharp line, the foam dissolving into the gray-green field of water. Restraint as method. https://jgartgallery.com/artwork/docked-at-laconner-by-jane-wallis/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/docked-at-laconner-by-jane-wallis/full.jpg Docked At LaConner by Jane Wallis - Varnished Gouache on Bristol Gouache, 9 x 12 in. Working boats at rest in LaConner, Washington. Wallis builds the composition from masts and reflections - the verticals of the boats answered by their own wavering shadows in the w https://jgartgallery.com/artwork/love-tapestry-by-kathe-fraga/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/love-tapestry-by-kathe-fraga/full.jpg Love Tapestry by Kathe Fraga - Mixed Media on Paper/Canvas I build my nature narratives in layers — worn surfaces and distressed textures that feel as though many generations have passed through them, each leaving something of their own. Here, botanicals and https://jgartgallery.com/artwork/compass-by-denise-duong/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/compass-by-denise-duong/full.jpg Compass by Denise Duong - Mixed Media (Watercolor, Ink, and Pen on Paper) Denise Duong's Compass engages multiple sensory registers through sophisticated mixed media layering—watercolor, ink, and pen creating complex visual and tactile surfaces. The artist's technique build https://jgartgallery.com/artwork/waiting-for-the-world-to-turnthe-glistening-by-amy-ferron/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/waiting-for-the-world-to-turnthe-glistening-by-amy-ferron/full.jpg Waiting For The World To Turn (The Glistening) by Amy Ferron - Acrylic on Canvas <span data-slate-node="text">Amy Ferron </span> <span data-slate-node="text" data-slate-fragment="JTVCJTdCJTIydHlwZSUyMiUzQSUyMnRlbXBsYXRlX2RvY3VtZW50JTIyJTJDJTIyY2hpbGRyZW4lMjIlM0ElNUIlN0IlMjJ0eXBlJT https://jgartgallery.com/artwork/sonnet-1-by-lorri-acott/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/sonnet-1-by-lorri-acott/full.jpg Sonnet 1 by Lorri Acott - Mixed Media on Canvas Acrylic on cradled wood, 11 x 14 in. Acott's painted surface here departs from her sculptural figures - a small-scale piece built from layered marks, color washes meeting line. Sonnet as a form that c https://jgartgallery.com/artwork/on-the-next-wind-by-tim-mcmeans/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/on-the-next-wind-by-tim-mcmeans/full.jpg On The Next Wind by Tim McMeans - Mixed Media - Watercolor and Ink on Collaged Paper Mixed media - watercolor and ink on collaged paper. McMeans's habitual layering: a ground worked in transparent washes, ink drawings traced over the top. Sold from this exhibition. https://jgartgallery.com/artwork/song-of-the-swainsons-thrush-ll-by-brian-fisher/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/song-of-the-swainsons-thrush-ll-by-brian-fisher/full.jpg Song of the Swainsons Thrush ll by Brian Fisher - Woodcut Print Brian Fisher Song of the Swainson’s Thrush ll Linoleum-Cut Monoprint 20 x 27.25 in https://jgartgallery.com/artwork/hold-that-thought-by-andy-mcconnell/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/amc-2026-1/full.jpg Hold That Thought by Andy McConnell - Red Cedar Burl, California Redwood Carved cedar with pigment — a 2026 work where the carving is the drawing. Decisions made with the gouge remain visible; the tool path is the composition. McConnell builds from salvaged structural ceda https://jgartgallery.com/artwork/carbon-record-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-carbon-record/full.jpg Carbon Record by Maria Cristalli - Forged steel, vertical elements, wood circle Forged iron — the title names both material and method: carbon is what the fire leaves in the metal, and record is what the hammer leaves in the carbon. The surface holds the sequence of its own makin https://jgartgallery.com/artwork/germination-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-germination/full.jpg Germination by Maria Cristalli - Forged Steel Forged steel, 16 inches in diameter — a circular form where the hammer marks trace the process of something becoming itself. The round format refuses a fixed orientation; the piece works in any direct https://jgartgallery.com/artwork/abide-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-abide/full.jpg Abide by Maria Cristalli - Forged Steel Forged steel at 4.5 feet — a vertical form that earns its title by remaining upright. The scale is bodily. The material at this height carries different physical authority than a piece held in the han https://jgartgallery.com/artwork/still-standing-by-jill-kyong/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jill-kyong-still-standing/full.jpg Still Standing by Jill Kyong - Wood relief — mixed woods with paint Wood relief — mixed woods, paint applied in specific fields. The title is declarative: the piece announces a condition of survival. Grain reads through the paint; the wood's history is present beneath https://jgartgallery.com/artwork/square-stones-by-jill-kyong/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/jill-kyong-square-stones/full.jpg Square Stones by Jill Kyong - Alder, Maple, Baltic Birch, Oak — Osmo Top Oil Satin, paint Alder, maple, Baltic birch, and oak — four woods selected for distinct grain and tone, assembled into a 30 × 30 × 3 inch relief finished with Osmo satin oil. The square format holds the geological log https://jgartgallery.com/artwork/iron-sun-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-iron-sun/full.jpg Iron Sun by Maria Cristalli - Forged steel, patinated, radiating textured elements A rusted circle with radiating textured pieces. Heat, force, and oxidation held together in a solar form — the material's own alchemy made visible. https://jgartgallery.com/artwork/fracture-and-alignment-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-fracture-and-alignment/full.jpg Fracture and Alignment by Maria Cristalli - Forged steel, three columnar basalt forms Three forged columnar basalt pieces arranged in formal tension. The title holds the paradox: what breaks open also lines up. https://jgartgallery.com/artwork/standing-with-the-moon-ii-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-standing-with-the-moon-ii/full.jpg Standing with the Moon II by Maria Cristalli - Forged steel, gold leaf A tall floor piece with gold leaf. Scale and material together — iron reaching, touched with gold. https://jgartgallery.com/artwork/after-burn-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-after-burn/full.jpg After Burn by Maria Cristalli - Forged steel, vertical elements, gold bits Wall piece with vertical forged elements and gold bits. The gold reads as heat memory — what the fire left. https://jgartgallery.com/artwork/inner-flame-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-inner-flame/full.jpg Inner Flame by Maria Cristalli - Steel panels, bronze center Steel panels with a bronze center. Two metals, one form — the warmer material held inside the harder one. https://jgartgallery.com/artwork/cinder-spine-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-cinder-spine/full.jpg Cinder Spine by Maria Cristalli - Forged steel, vertical elements A vertical wall piece built from forged elements. Tall and narrow — the spine is the logic. https://jgartgallery.com/artwork/cinder-relic-by-maria-cristalli/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/maria-cristalli-cinder-relic/full.jpg Cinder Relic by Maria Cristalli - Mixed media A vertical wall piece in mixed media. Thin and precise, the piece holds more than its depth suggests. https://jgartgallery.com/artwork/the-kiss-geoduck-shells-by-britt-freda/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/the-kiss-geoduck-shells-by-lisa-mcshane-2/full.jpg The Kiss (Geoduck Shells) by Britt Freda - Mixed Media on Paper - Watercolor, Ink, and Gold Leaf Two geoduck shells in close contact — the largest work in Freda’s group at JG at 50 × 30 inches. The shells are rendered with the full attention of her endangered species practice: watercolor and ink https://jgartgallery.com/artwork/it-gets-better-it-always-does-by-ross-collado/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/it-gets-better-it-always-does-by-ross-collado/full.jpg It Gets Better, It Always Does by Ross Collado - Mixed media on canvas The title is a promise made in paint. Deep water, a rust horizon, the surface below worked until it holds both weight and light. Collado paints the inside of a feeling — this one is the one that comes https://jgartgallery.com/artwork/silences-so-deep-by-ross-collado/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/silences-so-deep-by-ross-collado/full.jpg Silences So Deep by Ross Collado - Mixed media on canvas I walked into this one not knowing where it would take me — an abstracted melding of skyscape and cityscape where the silence isn't empty, it's heavy. The big move here was letting that dark mid-secti https://jgartgallery.com/artwork/and-the-world-was-all-around-us-by-ross-collado/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/and-the-world-was-all-around-us-by-ross-collado/full.jpg And the World Was All Around Us by Ross Collado - Mixed media on canvas I walk into this through feeling, not planning — the sky pressing down warm and close, the water holding those small dark shapes like memories I can't quite name. The big move here was that teal-black https://jgartgallery.com/artwork/stories-we-tell-ourselves-by-ross-collado/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/stories-we-tell-ourselves-by-ross-collado/full.jpg Stories We Tell Ourselves by Ross Collado - Mixed media on canvas Hard-edged shapes above a worked horizon — some grounded, some lifting. Collado paints the conversation between what we plant and what floats free. This one does not resolve it, and that is why it hol https://jgartgallery.com/artwork/feelings-dont-die-by-ross-collado/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/feelings-dont-die-by-ross-collado/full.jpg Feelings Don't Die by Ross Collado - Mixed media on wood panel These figures came from somewhere I couldn't plan — rust, orange, red pushing against gray and blue, each form barely holding its shape before dissolving into the brushwork below. Making this was not https://jgartgallery.com/artwork/you-belong-here-now-by-ross-collado/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/you-belong-here-now-by-ross-collado/full.jpg You Belong Here Now by Ross Collado - Mixed media on wood panel This is one of those intense moments where I let the canvas ask the question I couldn't always ask myself — do I belong here? I work the wetland open, sky pressing wide against the earth, those flashe https://jgartgallery.com/artwork/bright-spark-amber-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bright-spark-amber-by-tamera-abate/full.jpg Bright Spark: Amber by Tamera Abaté - Encaustic on Wood Panel I work into the unknown — beeswax, damar resin, and amber pigment fused with a propane torch, layer by layer until the wax decides where color settles. Here, a solid field of gold holds the horizon li https://jgartgallery.com/artwork/bright-spark-teal-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bright-spark-teal-by-tamera-abate/full.jpg Bright Spark: Teal by Tamera Abaté - Encaustic on Wood Panel Teal veins run through a white field above a solid teal band, the wax broken open by heat into a network of cells. The process takes her curiosity into the unknown — the fire decides the final form. https://jgartgallery.com/artwork/bright-spark-crimson-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bright-spark-crimson-by-tamera-abate/full.jpg Bright Spark: Crimson by Tamera Abaté - Encaustic on Wood Panel Crimson through crackled white, above deep red — layers of beeswax and pigment fused until they are no longer separate things. The energy of the making is still visible in the surface. https://jgartgallery.com/artwork/bright-spark-chartreuse-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/bright-spark-chartreuse-by-tamera-abate/full.jpg Bright Spark: Chartreuse by Tamera Abaté - Encaustic on Wood Panel I work into the unknown — beeswax, damar resin, and pigment fused with a propane torch — and this piece held me at that edge where one color meets another. The chartreuse field below and the loose web https://jgartgallery.com/artwork/spark-of-life-teal-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/spark-of-life-teal-by-tamera-abate/full.jpg Spark of Life: Teal by Tamera Abaté - Encaustic on Wood Panel Teal-ringed cells across a worked white ground — organic in the way a field in winter is organic: patterned, alive, following its own logic. The title names what the surface is doing. https://jgartgallery.com/artwork/spark-of-life-crimson-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/spark-of-life-crimson-by-tamera-abate/full.jpg Spark of Life: Crimson by Tamera Abaté - Encaustic on Wood Panel I work into the unknown here — crimson arriving as scatter and dot across a white field, each mark placed by the spontaneous dance of liquid wax and heat. That gray-blue below holds its own quiet, smo https://jgartgallery.com/artwork/spark-of-life-amber-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/spark-of-life-amber-by-tamera-abate/full.jpg Spark of Life: Amber by Tamera Abaté - Encaustic on Wood Panel Amber spots across white above a slate band — warmth built into the panel layer by layer until it belonged there. Not applied. Accumulated. https://jgartgallery.com/artwork/spark-of-life-green-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/spark-of-life-green-by-tamera-abate/full.jpg Spark of Life: Green by Tamera Abaté - Encaustic on Wood Panel Green cells on white, each one fused and held at its own depth. The series name is not metaphor — the marks behave the way living things do, finding their place within a field. https://jgartgallery.com/artwork/mermaid-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/mermaid-by-tamera-abate/full.jpg Mermaid by Tamera Abaté - Encaustic on Wood Panel I worked into the unknown here — beeswax, damar resin, and pigment fused layer by layer until white spiraled out across a muted blue-gray field, the torch deciding where each line branched and each dr https://jgartgallery.com/artwork/mocha-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/mocha-by-tamera-abate/full.jpg Mocha by Tamera Abaté - Encaustic on Wood Panel I work into the unknown with each layer — here, the wax and heat pulled these white lines and spirals up out of the dark, tracing something like a field or a current, where one tone meets another. I k https://jgartgallery.com/artwork/matcha-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/matcha-by-tamera-abate/full.jpg Matcha by Tamera Abaté - Encaustic on Wood Panel I worked into the unknown here — green and white wax moving across the panel in branching lines and looping pools, the torch pulling liquid encaustic wherever it chose to settle. Layer over layer, I w https://jgartgallery.com/artwork/chai-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/chai-by-tamera-abate/full.jpg Chai by Tamera Abaté - Encaustic on Wood Panel I work into the unknown with each layer of wax — here, the heat pulled white through that warm amber ground in looping, wandering lines I couldn't have drawn by hand. Small droplets settled where they https://jgartgallery.com/artwork/limerick-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/limerick-by-tamera-abate/full.jpg Limerick by Tamera Abaté - Encaustic on Wood Panel Green and white pulled downward in vertical rivulets — the wax following gravity while it was still molten, then caught by the torch. The panel holds the instant the pour became permanent. https://jgartgallery.com/artwork/butter-woods-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/butter-woods-by-tamera-abate/full.jpg Butter Woods by Tamera Abaté - Encaustic on Wood Panel I work into the unknown here — golden ochre and dark reddish-brown meeting white in thin, irregular streaks as the wax moves downward, the torch deciding where each line settles. The surface holds wha https://jgartgallery.com/artwork/starlit-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/starlit-by-tamera-abate/full.jpg Starlit by Tamera Abaté - Encaustic on Wood Panel I work into the unknown with each layer — here, the wax moved downward in white streaks and dark poolings I couldn't fully predict or contain. Where one color meets another, that boundary holds everyt https://jgartgallery.com/artwork/ideas-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/ideas-by-tamera-abate/full.jpg Ideas by Tamera Abaté - Encaustic on Wood Panel White wax maps a gray ground into irregular living fields — a web that is also a record of curiosity following its path through the unknown. Every line was raised, cooled, and decided to stay. https://jgartgallery.com/artwork/diablo-lake-overlook-by-julie-devine/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/diablo-lake-overlook-by-julie-devine/full.jpg Diablo Lake Overlook by Julie Devine - Oil on Canvas Diablo Lake’s turquoise is not reproduced here — it is argued for. Devine paints from the overlook rather than of it, the water’s impossible color made more so, the surrounding ridgelines pushed into https://jgartgallery.com/artwork/cascades-glow-with-larches-by-julie-devine/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/cascades-glow-with-larches-by-julie-devine/full.jpg Cascades Glow With Larches by Julie Devine - Oil on Canvas I'm after the moment when the larches ignite — that surge of yellow-green against the cool weight of the peaks behind them. The palette knife lets me move quickly, the way light moves, laying warm san https://jgartgallery.com/artwork/little-diablo-in-green-by-julie-devine/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/little-diablo-in-green-by-julie-devine/full.jpg Little Diablo in Green by Julie Devine - Oil on Canvas I wanted to hold the particular quality of light that turns sky to mint above the Cascades — cool, still, charged with altitude. Working with the knife, I built the rocky ridges in near-dark foregroun https://jgartgallery.com/artwork/spring-verbascum-by-julie-devine/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/spring-verbascum-by-julie-devine/full.jpg Spring Verbascum by Julie Devine - Oil on Canvas I work into this piece the way I step into a field just as the season turns — the light shifting, the air carrying something new. The palette knife lets me move quickly, layering lavender, ochre, and https://jgartgallery.com/artwork/nude-verbascum-by-julie-devine/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/nude-verbascum-by-julie-devine/full.jpg Nude Verbascum by Julie Devine - Oil on Canvas I work into the Verbascum series the way I work into any landscape — chasing light, temperature, the feeling of air moving through form. Here I let the palette knife build layer over layer, warm pinks https://jgartgallery.com/artwork/summer-plum-verbascum-by-julie-devine/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/summer-plum-verbascum-by-julie-devine/full.jpg Summer Plum Verbascum by Julie Devine - Oil on Canvas I work into the atmosphere of a place — the heat, the light, the way summer air presses close. Here, I let warm golds, creams, and plum tones build across the surface with palette-knife immediacy, eac https://jgartgallery.com/artwork/knowledge-of-the-spirit-by-andy-mcconnell/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/knowledge-of-the-spirit-by-andy-mcconnell/full.jpg Knowledge Of The Spirit (Thank you, Hilma Af Klint) by Andy McConnell - Cedar Burl, California Redwood, Recycled Cedar House Siding, Soy-Based Resin McConnell’s most material-complex work at JG: cedar burl, California redwood, recycled cedar house siding, and soy-based resin held together as a single object at 42 × 22.25 × 3.5 inches. The dedicati https://jgartgallery.com/artwork/breath-of-fresh-air-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610142722_img_0134.jpeg Breath of Fresh Air by Tamera Abaté - Encaustic on Wood Panel I work into the unknown — building layer after layer of beeswax, damar resin, and pigment on birch panel, then letting the propane torch decide where the wax moves. Here, those vertical streaks arose https://jgartgallery.com/artwork/free-spirits-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610142533_img_1815.jpeg Free Spirits by Tamera Abaté - Encaustic on Wood Panel I work in layers — beeswax, damar resin, and pigment fused with a propane torch — always moving into the unknown, where the heat decides how each color settles. In Free Spirits, the wax fell into vert https://jgartgallery.com/artwork/aspen-stack-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610135747_img_3236.jpeg Aspen Stack by Tamera Abaté - Encaustic on Wood Panel I build this one in a narrow vertical stack — gray and cream, layer pressed against layer, the wax holding every pit and bubble the torch left behind. I'm noticing where one tone meets another, how th https://jgartgallery.com/artwork/swirl-stack-1-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610140108_img_3213.jpeg Swirl Stack 1 by Tamera Abaté - Encaustic on Wood Panel I work into the unknown with each layer — beeswax, damar resin, and pigment fused with the torch, and the heat decides where the white settles against the aqua, where it pools thick or thins to near-t https://jgartgallery.com/artwork/swirl-stack-2-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610140243_img_3181.jpeg Swirl Stack 2 by Tamera Abaté - Encaustic on Wood Panel I work into the unknown — and here the wax moved in sweeping loops and scattered drops across a gray field, settling exactly where it chose. I was noticing where one tone meets another, smoothing out https://jgartgallery.com/artwork/swirl-stack-3-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610140627_img_3166.jpeg Swirl Stack 3 by Tamera Abaté - Encaustic on Wood Panel I work into the unknown here — beeswax, damar resin, and pigment fused with a propane torch, layer built on layer until the white rises out of the blue-gray ground in arcs, streaks, and scattered dots https://jgartgallery.com/artwork/spice-river-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610140756_img_3090.jpeg Spice River by Tamera Abaté - Encaustic on Wood Panel I work into the unknown here — beeswax, damar resin, and pigment fused with heat, letting the torch decide where those white flecks drift and settle across the amber field. Where one color meets anoth https://jgartgallery.com/artwork/let-it-go-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610140928_img_3087.jpeg Let It Go by Tamera Abaté - Encaustic on Wood Panel I work into the unknown with each layer of wax — fusing beeswax, damar resin, and pigment with the torch, then reaching down to excavate what's underneath. Here, I found myself noticing where that pal https://jgartgallery.com/artwork/fresh-start-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610141557_img_1038.jpeg Fresh Start by Tamera Abaté - Encaustic on Wood Panel I work into the unknown with each layer — beeswax, damar resin, pigment, and the torch — and here the wax found rain: white streaks running down through cool grey-blue, the surface itself becoming wea https://jgartgallery.com/artwork/diamond-river-by-tamera-abate/ 2026-06-29 monthly 0.8 https://jgartgallery.com/_data/artist-submissions/images/tamera-abate/20260610144243_img_1105.jpeg Diamond River by Tamera Abaté - Encaustic on Wood Panel I work into the unknown — beeswax, damar resin, and pigment fused layer by layer with the torch, letting the heat decide where color settles and where it lifts. In Diamond River, I was noticing where https://jgartgallery.com/artwork/3-sheep-by-wendy-armstrong/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wendy-armstrong-3-sheep/full.jpg 3 Sheep by Wendy Armstrong - Painting I've always found animals worth slowing down for — they're just going about their lives, unbothered. These three sheep hold their ground the same way they would on the island, present and unhurried. T https://jgartgallery.com/artwork/tilz-truck-by-wendy-armstrong/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wendy-armstrong-tilz-truck/full.jpg Tilz Truck by Wendy Armstrong - Painting The Tilz Truck has been part of the island's working life long enough to earn its own name, and that kind of truck earns a painting. I come back to it because old working things carry their history on https://jgartgallery.com/artwork/bainbridge-garden-truck-by-wendy-armstrong/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wendy-armstrong-bainbridge-garden-truck/full.jpg Bainbridge Garden Truck by Wendy Armstrong - Painting I've painted this truck the way I know it: not as a relic, but as something still in use, still part of the rhythm of island life. A garden truck carries the work of a place in its bed and its dents, https://jgartgallery.com/artwork/alcuss-shadow-by-wendy-armstrong/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/wendy-armstrong-alcuss-shadow/full.jpg Alcus's Shadow by Wendy Armstrong - Painting Alcus is a particular cat, the kind that claims a room, and the shadow that follows is every bit as present as the animal itself. I find that pairing honest: the solid and the cast, two versions of th https://jgartgallery.com/artwork/the-smoke-tree-by-paula-griff/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/the-smoke-tree-by-paula-griff/full.jpg The Smoke Tree by Paula Griff - Oil on Canvas I work into the autumn color until the tree itself seems to pulse — those saturated reds and oranges pushing against deep green and pale ochre, a cool sky holding everything in quiet tension. En plein https://jgartgallery.com/artwork/the-smoke-tree-graphite-by-paula-griff/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/the-smoke-tree-graphite-by-paula-griff/full.jpg The Smoke Tree by Paula Griff - Graphite on Paper Even stripped of color, this smoke tree holds its own kind of richness — I find the grays deepening, the whites opening up, the whole form alive with movement in the marks. I sketch this close to home https://jgartgallery.com/artwork/japanese-maple-trees-by-paula-griff/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/japanese-maple-trees-by-paula-griff/full.jpg Japanese Maple Trees by Paula Griff - Oil on Canvas These maples speak to me every autumn — I work into the color with bold, gestural strokes, letting crimson and coral and deep rose build texture across the canvas until the branches find their own spr https://jgartgallery.com/artwork/rich-passage-by-paula-griff/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rich-passage-by-paula-griff/full.jpg Rich Passage by Paula Griff - Oil on Canvas The water shows itself just beyond the tree line — that familiar slip of Rich Passage visible through conifers and ochre undergrowth, the way I've known it from home. I sketched this place en plein ai https://jgartgallery.com/artwork/rich-passage-graphite-by-paula-griff/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/rich-passage-graphite-by-paula-griff/full.jpg Rich Passage by Paula Griff - Graphite on Paper I sketch en plein air first — working through the composition in quick studies, letting each shift in horizon or viewing angle tell me where the water and the hillside want to settle. In this graphite https://jgartgallery.com/artwork/autumn-trees-by-paula-griff/ 2026-06-29 monthly 0.8 https://jgartgallery.com/media/autumn-trees-by-paula-griff/full.jpg Autumn Trees by Paula Griff - Oil on Canvas I sketched this place in the thick of autumn, when color comes on so boldly it almost argues with you — that orange-red maple refusing to be quiet, the chartreuse beside it, the deep burgundy pressing