Andrew and Roccos work will

be displayed in Wells Gray

Gallery for the month of July.
They will also receive a basket
of art supplies and an Arts
Council membership.
Submissions to North
Thompson Arts Councils
Elementary Art Contest were
displayed outside of Interior
Whitewater Rafting and the
Wells Gray Information Ce-
tre on back-to-back week-
ends. The public was encour-
aged to vote for their favour-
ite submission . It was tough
competition this year, but
here are the results!
Elementary Art Contest Winners
Wells Gray Park Fun: Wildcrafting
Wild crafting is the art of
gathering and using wild
plants. It includes ethnobota-
ny the study and storytelling
of the plants used throughout
history for food, medicines,
building and crafting.
Come on a stroll around the
Upper Clearwater Hall
grounds with long-time local
herbalist Sharon Neufeld .
Learn about and experience
the use of many local plants.
Bring a lunch and water and
dress for the weather. There
will be bugs! On this fun day
we will eat wild foods, make a
bug spray and ointment with
what we gather.
www.wellsgraypark.info
Wells Gray Artist Society & Gallery
June 25, 2014 Volume 1, Issue 4
Art Splash
On The Horizon:
Gerda Faber & Howard
Mitchell, Night Market,
June 26
Legion Summer Saturday
Barbeque: July 5
Arts Alive at the Farmers
Market June 28
Canada Day, at Dutch Lake
Beach, July 1
Rolla Olak and his All-Star
Band, Serenity Performing
Arts Centre, July 10
Prairie Dance Club, Sereni-
ty Performing Arts Centre,
July 12
Inside this issue:
Norma Watt INSPIRED
BY Emily Carr 2
New member: Fran
McRae 2
Technical Notes
3
Young Artist: Andrew
3
New Member:
NEST Timbercraft 3
NEW in the Gallery this
Month 4
Andrew, Grade 3, Raft River Elementary School
Rocco, Grade 4, Raft River Elementary
School
Talented local youth display art-
work at Farmers Market and Info
Centre Grand Opening
I saw my first painting by Emily
Carr while I was studying artists
like Picasso and Cezanne. Emily
Carr literally blew me away. As I
learned more about her struggle
for recognition, both as an artist
and as a female artist, I became
a fan.

Emily Carr (December 13,
1871 March 2, 1945) is one
of Canadas most iconic artists.
A painter and a writer,
the subject matter that
seemed to most inspire
her was the verdant land-
scape of coastal BC and
First Nations people and
their culture. Carr was
the second-youngest of
nine children born to
traditional English parents
in Victoria, BC. Her artistic
interests were encouraged, but
she did not pursue art serious-
ly until after her parents
deaths.
Carr attended the San Francis-
co Art Institute from 1890-
1892. She went on to study at
the Westminster School of Art
in London in 1899 and trav-
elled to an art colony in St.
Ives, Cornwall. In 1905 Carr
moved to Vancouver and took
a teaching position at the
Ladies Art Club. Her behav-
iour was considered rude
amongst her students and after
students and she retained the
position for less than one
month.
Throughout her career, Carr
often made sketching and
painting trips to First Nations
villages on the west coast of
Vancouver Island. She trav-
elled to France where she was
influenced and inspired by the
vibrant and luscious work of
the post-impressionists and
fauvists. For much of her ca-
reer, Carr was unable to earn a
living as an artist. In order to
sustain herself, she ran a
boarding home called the
House of All Sorts for 20
years on Simcoe Street in Vic-
toria.
After meeting Carr in 1927 at
the exhibition on West Coast
aboriginal art at the National
Gallery the Group of Seven
became an important support
to Carr as an artist. You are
one of us, Lawren Harris
told her, drawing Carr
out of a long period of
artistic isolation. Carr is
known best for her paint-
ing. She was one of the
first Canadian artists to
let go of the pastel style
of traditional European
landscape painting and
boldly attempt to capture the
essence and spirit of the Cana-
dian landscape.
In Emily Carrs own words:
I sat staring, staring, staring -
half lost, learning a new lan-
guage or rather the same lan-
guage in a different dialect. So
still were the big woods where
I sat, sound might not yet have
been born.
at age 2. As she grew, so did
her art from doodling and
scribbling into sketching and oil
painting. Although she never
saw her dad paint, she eventu-
ally inherited his paints which
are now petrified in their origi-
nal tubes.
Married with four children she
was widowed suddenly when
her husband was killed in a car
accident. Nine years later she
met someone else and married
Fran was born in Winnipeg in
1927 and moved to Chilliwack
again, adding six more children
to her family.
After her aging mother passed
away, the family moved to
Avola, then sixteen years later
to Clearwater. Fran continued
learning paper tole, water col-
our painting, acrylic painting
and completed many sketches
of old landmark buildings, now
gone. The natural beauty of
the local landscape inspires her
as well as portrait sketching.
Norma Watt INSPIRED by Emily Carr
New Member: Fran McRae
So still were the
big woods where I
sat, sound might
not yet have been
born.
Page 2
Art Splash
Big Raven, 1931
The word print is often used
incorrectly to describe a me-
chanical reproduction of an
original piece of art created for
commercial gain. While repro-
ductions allow the average
person to hang a Picasso or a
Rembrandt on their wall, a
reproduction is not an invest-
ment in the traditional sense.
It is not worth more than the
paper on which it is printed.
A print, is the product of a
printmaking process created by
an individual artist. Often art-
ists create a series of almost
identical images, but each one
is created by hand and is inher-
ently unique.
Printmaking is the process by
which an artist creates an im-
age to which ink can be ap-
plied. The image and ink act as
a matrix for printing, usually on
paper. Many different methods
of printmaking allow for a wide
variety of visual results: etch-
ing, woodcut, linocut, lithogra-
phy, silkscreen, monotype and
digital.





Technical Notes: Print vs Reproduction
New Member: NEST Timbercraft, Dan & Kim Muddiman
Page 3
Volume 1, Issue 4
Wells Gray Young Artist: Andrew
Andrew would
love to see other
kids buying his
mice to use as a
Bad Day Mouse
erwise be waste) in smaller
items accessible to a wider
audience. The wood for these
Furniture, cutting boards,
home dcor: this line of
unique and durable timber
furniture and home accents is
the work of Dan and Kim
Muddiman, who own and
operate a timberframing busi-
ness in Clearwater, BC.
The products evolved from a
desire to put the trim-ends
and off-cuts from the timber-
framing shop to a higher use
capturing the inherent beauty
of this wood (that would oth-
products is sourced
exclusively from BC,
with the vast majority
coming from standing
dead trees salvaged
from the North
Thompson valley.
The clean lined and
contemporary design
of the furniture and
accessories comple-
ments the fundamental appeal
of the wood itself the results
are one-of-a-kind!
see other kids buying his mice
to use as a Bad Day Mouse. If
they were having a bad day,
they would look at my mouse
and it would cheer them up!
Our youngest member, An-
drew, makes little clay mice
and other figures out of poly-
mer clay to display and sell in
Wells Gray Gallery. He molds
the clay with his hands and
finishes each figure with tools
a skill he learned from his
mom.
He finds molding the faces of
the mice to be the hardest
part. Andrew would love to
Tsunami, 1831
Katsushika Hokusai
Artist pulling a Lithographic
Print

16 Eden Road
Clearwater BC
V0E 1N0

Gallery Coordinator:
Sara Bromley
Phone: 250-674-0002

E-mail:
Wells Gray Gallery was opened June 2012 by a small group of artists and artisans wanting to contrib-
ute to the development of local arts and culture opportunities. Run by members of Wells Gray Art-
ist Society (WGAS), incorporated as a not-for-profit BC society in March 2014, the gallery continues
to operate seasonally from May-October and December. Wells Gray Gallery features the work of
several local artists: pottery, painting, photography, art cards, woodwork, home dcor, textiles and
much more. In addition to providing a gallery venue for the community, WGAS co-hosts community
events (the Night Market and Winter Market) and coordinates workshops, artist demonstrations and
other special events. Members of WGAS display and sell their work through the Gallery.
Wells Gray Artist Society isnt just for artists! The society welcomes support from champions of the
arts through volunteerism (in the gallery or behind the scenes), In Kind donations, and financial spon-
sorship.
For more information about Membership/Sponsorship contact Sara Bromley @ 250-674-0002
Wells Gray Gallery is located in the lower level of Wells Gray Information Centre at the intersec-
tion of highway 5 and Clearwater Valley Road.
Wells Gray Artist Society& Gallery
In art, the hand can never execute anything higher than
the heart can imagine

h
NEW in the Gallery this Month
Sara Bromley, wooden signs
WE RE ON THE WE B!
EXAMPLE .COM
416 Eden Road
Clearwater BC
V0E 1N0
Gallery & Membership
Coordinator:
Sara Bromley
Phone: 250-674-0002

E-mail:
wellsgraygallery@gmail.com
Wells Gray Artist
Society & Gallery
True art is
characterized by an
irresistible urge in the
creative artist

Albert Einstein
WELLSGRAYGALLERY. CA
Art Splash is edited by
Charlene Lau. To submit
content to this free arts
and culture circular
please email:

charlenelaustudios@gmail.com
Charlene Lau, wall mounted vase Lynda Ludbrook, travelling doll
Our Young Artists display