I discovered printmaking in 1991 while finishing my BA in another subject. I was immediately hooked on this creative medium. It was over many semesters at the local community college that I learned the technical aspects of printmaking and developed my own artistic expression.
Now I love creating monotypes, unique, one-of-a-kind prints, hand-pulled on a manual printing press. My style ranges from precise to abstract, often hinting at writing forms and incorporating linocuts that I hand carve. I enjoy the hands-on, contemplative work, the surprise of pulling a new print, the reward of seeing effort, experience and creativity unite.
I have shown at Sandstone Gallery Laguna for over ten years, and at the Festival of Arts in Laguna for seven years. Western Art and Architecture magazine honored me with a two-page spread in 2015. My unique prints have also appeared in several textbooks and on CD covers.
My artist-husband Hyatt and I share our home studio in Dana Point, as well as five adult children, their spouses, and sixteen amazing grandchildren.
Lynn Welker is a mixed water media painter who invents abstracted landscapes combining elements from the past and present. Through the spontaneous use of texture and color she leads the viewer on a seductive path of discovery.
As a former resource specialist with N-MUSD designing educational materials, Welker continues to be driven by the need to innovate. Without a preconceived notion of how a painting will look, she allows her imagery to gradually emerge. She paints intuitively, looking beyond the surface, reaching deeper, exploring the effects of erosion, sedimentation, weather and the passing of time
Growing up in Ohio, Lynn fondly remembers the freedom to explore nature in nearby woods and farmlands. After earning her BFA, BS and MA, this connection to the natural world has remained a primary inspiration. Moving to California expanded her artistic expression to include western landscapes. From desert vistas, to seaside villages, Welker emphasizes the structural geometry of and within an invented backdrop.
Lynn was honored with a 12-page article in Spring 2017 Acrylic Artist Magazine. Her art has been featured in magazines and books as well as local and international juried exhibitions. She is a member of the International Society of Experimental Artists, a Signature Member of National Watercolor Society and Juried Member of Watercolor West.
Blending the familiar with the unexpected, Welker shifts importance, if only briefly, from a world of technology to one that reconnects people to the richness of the land and its communities.
The beauty of the universe extends far beyond what one sees in a photograph of the heavens. The emotions associated with the vast incomprehensibility of the cosmos are captured by Sunny in her latest exhibition, "Cosmic Dreams." Feelings flow without restraint as we experience her dancing of colors, the expanse of eternity, and the perfect union of chaos and order.
Korean-born artist Ann Kim studied abstract painting techniques with her mentor, Tae Ho Kang. Ann participated in group lessons and shows. Her skills as an artist continued to grow, and she found ways to work with color and layer paint, as well as work with mixed media.
Ann Kim finds inspiration in nature. She likes the way color and texture work in a natural element, and how you can see layer after layer of beauty if you look closely enough. To her, art is like life. Sometimes, it is bright, colorful, and happy, and sometimes it is dark and deep. We each have multiple layers of emotion, and when mixed together, they form a rich picture. Her paintings combine varying colors of the spectrum to reflect her own personal philosophy about life.
The individuals who buy Ann Kim's work say they can actually feel the paintings. They are struck by the amount of emotion contained in each piece of her work.
I think of the process of painting as an activity in meditative expression. When it works, the lines, shapes, texture and light become the media that capture an emotional state of mind on canvas. As forms and colors connect and become something that could be a figure or an object, they create a new pivot point for the story to unfold. I’ve been using a process where I follow the cues that emerge in the art to dictate what comes next. It sounds simple, but it’s far easier said than done.
Something I’m learning in life is that there’s such a thing as trying too hard. Sometimes the more we want things to be a certain way, the bigger the obstructions we place in the path to that destination. So I try harder in a different way. I try harder to let go… of fear, judgment and doubt. I remind myself that my art is a medium for telling a visual story. The freer I can become, the further out of that controlled comfort zone I can venture, and the truer the art becomes as a reflection of the journey in my mind.
And sometimes I regress and wonder, is this a formula for producing the type of art I want to produce? And then I remind myself, for me as an artist, the answer is not actually about removing the obstructions, but rather realizing that the destination is unknown and that’s the way it should be.
The physical process of painting, the manipulation of the paint, the diversity of the Media and what surfaces on the canvas fascinates me. I start blindly to cover my board and then proceed to the destruction of my work in order to narrow down my subject and leave it to one's interpretation. I like to establish a long lasting relationship with my paintings, revisiting them over and over until I feel it is done………. My subjects are a close up of my daily observations from my surroundings.
Aimee Bonham's artwork is formalistic in approach. Organic line and color in her works are formal elements composed according to aesthetic principles – rather than as the visual representation of sociopolitical realities or philosophical theories. Her work is composed in a sensuous manner to express a mystic realm of line and color. She chooses to simplify imagery and to create abstractions of the natural world. There is no specific endpoint at the beginning of a piece; nevertheless, a color palette or tonality may guide the painting to evoke a desired feeling or emotion. Blind contour drawings in wax pencil layered with thin or thick layers of empasto oil paint "push and pull" the viewer through the work creating movement which is the pulse of nature.