Inspired by the Methow

Its history, weather, landscape and wildlife, among other things

By Marcy Stamper - Methow Valley News

“What I come away with from this show is the richness and variety of visual experiences in the valley and how people respond to that,” said Michael Caldwell, co-curator of the “Inspired by the Methow” exhibit at Confluence Gallery.

Caldwell and co-curator Laura Karcher wanted the exhibit to feature exclusively artists from the Methow, all addressing local themes or using local materials. “The only restriction was that the work had to be about the valley – they couldn’t go to Omak,” said Caldwell.

“Inspired by the Methow” is on view from Jan. 7 through Feb. 18, with an opening reception on Saturday (Jan. 7) from 4 to 8 p.m.

Artists were encouraged to depict a favorite spot or to team up with the Methow Conservancy to depict property protected by a conservation easement, said Caldwell.

As would be expected, many artists were inspired to depict landscapes, which they captured in different seasons and moods. Some of the work, however, is quite abstract or sculptural, using found objects or suggested by the natural or built environment.

Most artists seemed attracted to the spectacular colors of fall, said Caldwell, but others exploited the stark contrasts of winter or the golden nuances of summer, which enabled them to focus more closely on the subtleties of texture, color and value.

“All artists created an object that transcends the identity of the materials, which is what art is – the manipulation of stuff,” said Caldwell.

Beyond the changing seasons, the weather itself becomes a subject, in the isolated rainstorm depicted by Laurie Fry or the dramatically ragged clouds in Gary Harper’s black-and-white photograph. Matt Firth also uses the graphic simplicity of black and white to accent the contour of snow and ridgelines.

Photographer Mary Kiesau was also enticed by the winter landscape, which she captures with slanting shadows and rocks disguised as soft pillows by the snow.

There are a few animals in these landscapes – an owl, bones and frogs by Caryl Campbell, fish by Robert Nelson, and cows in Mary Lou McCollum’s two small paintings.

There is also the imprint of humans on the landscape, whether in a tractor and plowed fields, the architecture of barns or the geometric pattern of hay bales. Paula Christen painted a serene watercolor of a lone figure fishing on a misty day.

Acrylic painter Kayla Darch often works from historic photographs, many in the collection of the Shafer Museum. In this show she is exhibiting a painting of two women wading through a frothy stream in their long white dresses, rendered in a beautiful, impressionistic style.

A few of the interpretations are more abstract, including Donna Keyser’s reflections of trees overlaid on submerged river rocks and what she calls “Dream House,” with raking shafts of light, shadows and ghostly figures.

Photographer Aristides Pappidas worked on a riparian easement, using a mirror to capture a distinctive image of the larger landscape.

With their tight cropping and velvety textured trees, Marilyn O’Callaghan’s autumn paintings also become somewhat abstract. Laura Ruud employs a degree of abstraction to render flowers, trees and rays of sun in luminous stained glass.

Among the three-dimensional objects are Dick Roberts’ handsome wooden goblet and a mug with a twisting handle.

Terry Hunt’s metal assemblages have lacy edges and surprisingly delicate perforated bits set among the industrial discards. Hunt also created a sculpture using a hollow, lozenge-shaped piece of wood.

Landscapes by Cheryl Wrangle, Sue Marracci and Kathy Meyers will evoke the experience of being in a meadow or overlooking the valley. “Overall, there is an empathetic reaction, the sense that ‘I’ve been there,’” said Caldwell. “People enjoy trying to figure out where the scene is.”