2007 Ones to Watch
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Instructors and competition jurors’ comment on their nominees’ work.
Church Bell (watercolor on paper, 15×20) by Sally H. Lambrecht
“Sally’s work to me is all about wonderful simple shapes, strong values and innovative color. Her involvement with light and shadow and working in a series has produced a body of work that tells of her desire to grow, invent and build on previous paintings. Her work is full of the love of flowing paint and letting the pigments do what watercolor does best: surprise and enchant.” —Jean Grastorf
Stair Shadows (watercolor and ink on paper, 28×20) by Peggy Morgan Stenmark
“Peggy is a committed painter devoting herself to a life in art. She continues to push herself and grow and has developed a personal style. Gem-like color and rhythmic, geometric abstract patterns, as well as her personal approach to tempera-ink resist, make her work distinctive.” —Stephen Quiller
The Dock (acrylic on canvas, 30×36) by Suzann Marchin
“Suzann is an intuitive painter. Suzann takes time to push, add, subtract and hone her paintings to reflect an internal vision, and she doesn’t stop until she arrives at the image she feels finally realized. Suzann’s work is reductive and quietly beautiful, there’s authenticity in her content and she strives to reach the high standard she sets for herself.” —Katherine Chang Liu
Vessell Series—Tome II (acrylic and mulberry paper on masonite, 36×48) by Joyce “Kate” Stratton
New Bern, North Carolina
“Kate is a hard-working and dedicated artist in her 10th year as a full-time artist. She continues to stretch and push for her own language in her very poetic and poignant paintings. Her paintings are expansive with emotional depth. Kate works so hard and is so consistent in the high quality of her efforts, that I believe she’s destined to gain even wider recognition for her work.” —Katherine Chang Liu
Dance of the Sea Oats (watercolor on paper, 20×29) by Nancy Crawford
“Nancy’s paintings reflect the Florida environment—grasses beautifully detailed in quiet colors. They draw one into their calm, cool, quiet places. Elegantly designed and skillfully painted, they reflect the painter’s interest in the beauty of her surroundings, calling attention to the simplest of nature’s gifts.” —Jean Grastorf
Summer Wonder (watercolor on paper, 22×30) by Jaimie Cordero
“Jaimie’s work seems so spontaneous, and yet she very seldom ignores the classical ‘rules.’ Her sense of color must be instinctive, and she plays with a wide range of hues and values. I knew Jaimie to be a very busy lady, and found her fun to watch at work … a lot of thinking, a lot of doing to make the pieces come out right.” —Pat San Soucie
October Canyon (watercolor on paper, 21×14) by Robin Purcell
“What impresses me about Robin’s work is that within the narrow scope of her chosen subject she develops the full range of compositional possibilities. She’s able to express the quality of light and the colors of the seasonal landscape into her seemingly casual puddles of color.” —Carolyn Lord
Columbia Ice Field (watercolor and ink on paper, 34×26?) by Zhong-Sheng Hao
“Mr. Hao is a master with a sound traditional brush painting background, and after his arrival in the United States, he extended his expertise into very personal expressionistic ink paintings. He has a strong following, teaching both in China and on the West Coast.” —Katherine Chang Liu
Sunny Morning (watercolor on paper, 13×19) by Al Albrektson
“I juried the 2004 Rhode Island Watercolor Society national exhibition, which is where I saw Al’s work for the first time—and chose it for the top award. A couple of things made his work stand out from the rest: very strong design; clear, crisp brilliant color; first-class values; outstanding application of paint; and very professional presentation of completed work. I have one of Al’s watercolors hanging on my wall and I never tire of looking at it. I see something new in it every day.” —Frank Francese
Attention Span (watercolor, acrylic and watercolor crayon on illustration board, 30×20) by Carol Frye
“Carol’s paintings have great surfaces and texture. It’s hard not to reach out to feel their rich patina. Her color is rich whatever it is—subtle grays or vibrant reds. It’s exciting to view her very personal and creative body of work.” —Jean Grastorf
Order the December 2007 issue of Watercolor Magic here.
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