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Cover Image: Mahalo Dr. Mac, Suzanne Accetta, watercolor Copyright 2026 Center for the Arts Evergreen All rights reserved. No part of this publication may be reproduced or transmitted by electronic, mechanical, photocopying, recording or otherwise - without prior permission. P.O. Box 2737, Evergreen, CO 80437 | 31880 Rocky Village Drive, Evergreen, CO 80439 | (303) 674-0056

EVERGREENARTS.ORG

September 10 - October 17, 2026

INTRODUCTION SARA MILLER EXEC UT I VE DI RECTO R, C E N TE R FO R TH E ARTS EV ERGREEN

Center for the Arts Evergreen (CAE) is honored to welcome artists and visitors to the 53rd Annual Rocky Mountain National Watermedia exhibition. For more than half a century, this exhibition has celebrated the remarkable possibilities of watermedia while building a lasting community around the artists who continue to move the medium forward. We remain deeply grateful to the founders whose vision began this tradition in 1974. This is my seventh RMNW exhibition since joining CAE in 2020, and the experience still feels new each year. Every exhibition brings its own voice and energy into our gallery. The artwork changes, the artists change, and the conversations sparked by the work change. What remains constant is the extraordinary level of artistry that defines this show. We are thrilled to welcome Keiko Tanabe as this year’s juror. I have long admired the confidence and freedom in Keiko’s work. Her paintings feel both spontaneous and intentional, capturing the atmosphere of a place without explaining every detail. Through expressive brushwork and beautiful restraint, she reminds us how much emotion can live within a single moment. Keiko, thank you for sharing your perspective with us and for taking such thoughtful care in selecting this year’s exhibition. To every artist who submitted work, thank you for trusting CAE with your art. Your creativity and professionalism make RMNW a destination for watermedia artists and patrons from Colorado and far beyond. I am also deeply grateful to CAE’s Director of Exhibitions, Chris Stevens. His artistic eye, commitment to the participating artists, and countless hours of work shape every aspect of this exhibition. Thank you as well to the RMNW committee. Your generous contribution of time and your belief in this show allow its legacy to continue. This exhibition is made possible through the meaningful support of The Maule Charitable Fund in honor of Joan S. Maule and LIV Sotheby’s International Realty. We are also grateful to the Scientific and Cultural Facilities District for its continued investment in arts and culture throughout our region. Finally, thank you to the CAE Board of Directors and our dedicated staff. Your work creates the welcoming home in which exhibitions like RMNW can inspire and bring people together. It is a privilege to celebrate another year of this exceptional exhibition with all of you. With gratitude, Sara Miller Executive Director

2 02 6 R O CKY MOU NTA I N N ATIO N A L WATE R M E D IA CO M M ITT E E Sara Miller, Executive Director Chris Stevens, Director of Exhibitions Celia Sladek, Co-Chair Cathy Jones, Co-Chair Jenny Wilson, Secretary Csilla Florida, Member

Tom Goldberg, Member Terri Haight, Member Annabelle Lee, Member Eric Maule, Member Carol Newsom, Member Patricia Wafer, Member 1

ABOUT THE JUROR K E I K O TA N A B E 20 26 R O CKY M O U N TA I N N ATI O N A L WATE RM EDIA JUROR Keiko was born in Kyoto, Japan. As a child growing up in an art-loving family, she always enjoyed drawing and painting and won many awards in children’s art contests. However, art was not her chosen field of study later on. She earned a B.A. in intercultural communication (International Christian University, Tokyo, Japan) and a M.A. in international education (UCLA, California). She then worked in international relations positions in a Japanese government trade organization in Tokyo, at a large law firm in San Francisco and at a private consulting firm in San Diego. For decades, she has traveled extensively, mainly in European countries, Asia and North America. Through all these years, Keiko knew there was in her heart the growing desire to someday become an artist. That, fueled by her love of travel and strong interest in other cultures, eventually found its way out in 2003. After learning basic drawing and watercolor painting skills at a local community school in San Diego, she took on her first project as an artist together with her father, a renowned scholar of French literature in Japan. Through the Azure Sea and Sky of Provence: A Tribute to Her Joie de Vivre (Kosei Publishing, Osaka, Japan) was published in August, 2003, authored by her father and illustrated by Keiko. From then on, she intensely taught herself to be fluent in watercolor painting, just as one would do to master a foreign language. Mostly self-taught, Keiko embarked on a professional art career in 2005 and started exhibiting publicly. Since that year her paintings have been juried into many exhibitions across the Americas and in Asia and Europe. Her work has been purchased by private and corporate collectors from all around the world. She also had her paintings published in leading art magazines in the U.S., Europe and Japan. Additionally, her art has been enjoyed by many in nine self-published books as well as on four DVDs that have been produced to date. She’s also a sought-after workshop instructor. Since 2011, she has been invited to and completed successfully hundreds of workshops and numerous live demonstrations around the world. She has served as a juror in a number of art exhibitions including but not limited to major watercolor/watermedia shows around the world such as the National Watercolor Society, the Watercolor USA Honor Society, the Transparent Watercolor Society of America, the Watercolor West, Splash 22, the International Watercolour Masters, and many regional or state-wide watercolor societies and art associations such as the San Diego Museum of Art Artists Guild. In 2015 she was named an official Ambassador for Winsor & Newton. In 2018, she was appointed to the advisory board of the American Watercolor Weekly. In 2018 and 2019, she was invited to be a faculty member for the Plein Air Convention & Expo, the world’s largest plein-air painting event. Since 2021, she has been an Official Savoir-Faire, Sennelier, Cretacolor, Fabriano & Raphael Advocate. In 2022 Keiko was appointed an Escoda International Brand Ambassador. Keiko currently lives in San Diego, California.

Keiko Tanabe, Pauma Valley, watercolor

AWA R D S AWA RD

SPONSOR(S) CASH AWARDS

Best of Show: Joan S. Maule Award

The Maule Charitable Foundation

1st Place: Rocky Mountain National Watermedia Signature Member Award

RMNW Signature Members

2nd Place: Center for the Arts Evergreen Board of Directors Award

Bill & Debbie Atwood, Riley Boone, Jodi Clark, Joe Glasmire, Cathy & Rick Jones, Annabelle Lee, Jenna McMenaman, Jamie Richards, Bryant Robert, Celia & John Sladek, Ann Stumpf, and Jeff Tannenbaum

3rd Place: Jesse & Liz Walker Award of Distinction

Jesse & Liz Walker

Patricia Rucker Award for Best Abstract

Patricia Rucker

CAE Artist Award

Tom Goldberg

Alex C. Eggers Memorial Award

Peggy & Peter Eggers

Painted Palette Tours Award

Painted Palette Tours

Rome Chelsi Award

Rome Chelsi

Davidson Insurance Award

Davidson Insurance

ME R CHANDISE AWARDS Blick Art Materials Award

Dick Blick

Golden Artist Colors Award

Golden Artist Colors

M. Graham & Co. Watercolors Award

M. Graham & Co.

Foothills Creator Membership Award

Foothills Art Center

CAE Artist Membership Award

Center for the Arts Evergreen

PURCHASE AWARDS The Miriam R. Levine Award for Creative Expression

Law Office of Richard A. Levine, PC

2026 Purchase Award

Anonymous

T H A NK YOU TO OUR IN-KIND DONORS: Adobe Creek Framing, Nellybelle General Store, and the Friendship Bridge volunteers

S U Z A N N E A C C E T TA BIRMIN GH AM, AL

MAHALO DR. MAC / 18.75 x 12.5 / WATERCOLOR

This painting features my friend Dr. Mac Arnold, a legendary blues musician and one of my favorite people. His remarkable career includes performing on the Quincy Jones–written theme for the television series Sanford and Son and playing alongside blues and soul greats such as B.B. King, James Brown, and Muddy Waters. When he is not making music, Mac lives and works on his organic farm in Pelzer, South Carolina. Even at 84, he continues to perform with his band, Plate Full O’ Blues, sharing his talent and passion with audiences throughout the region. I have painted Mac many times and always enjoy capturing his warmth, wit, humor, and enduring spirit. Through this portrait, I hoped to celebrate not only his musical legacy but also the character and vitality that make him such a memorable and inspiring person.

KRISTI ARZOLA ER IE, CO

THE PEACE BETWEEN SHADOWS / 22 x 30 / WATERCOLOR

This painting celebrates the challenge of capturing light and the rich textures found in nature. It serves as a gentle reminder to slow down, notice the beauty that’s easy to overlook, and reconnect with what matters most. May The Peace Between Shadows offer a moment of calm and a sense of peace to all who pause to enjoy it.

LAUREL ASTOR BOULDE R , CO

WILD ROSES ON PARTICLE BOARD / 11 x 14 / ACRYLIC

Wild roses picked by the creek; The gift of a blue vase; The whimsical nature of particle board; Perfect combination for a fun day of painting. “The earth laughs in flowers.” ~ Ralph Waldo Emerson

NANCY BARCH C LIF TON HEIG HTS, PA

SEMI CIRCULAR / 16 x 14 / MIXED M EDIA

I am an urbanite right down to my color palette. I suppose that’s why I’m drawn to bright black, vivid gray and browns. My early training in commercial art has given me a strong sense of design, and that’s really what drives my paintings.

ANDREW BARKER BOULDE R , CO

ASCENSION / 30 x 22 / WATERCOLOR

The osprey, a large bird of prey that dives for its quarry, has always fascinated me. Their sheer power to pull clear of the water while carrying a struggling fish — often a large one — is a remarkable feat. They have excellent eyesight, which lets them spot prey beneath the surface even while hovering at high elevations. These birds can be found worldwide and can hunt in virtually any body of water. I chose a more red coloration on this one, and the fish it has caught is a Colorado River cutthroat trout. The background landscape features are modeled after sketches and photos I took in Canyonlands, Utah. I used granulating pigments and salt for the water and sky textures, while the details in the bird and fish were done primarily wet-on-dry to capture finer details.

K I M B E R LY B O W E N PA R KER , CO

REGAL / 36 x 36 / ACRYLIC

Painting allows me to explore and offer a different vision of contemporary western and wildlife art. With acrylic paint and a large palette of warm earthtone colors, I enjoy adding a modern twist to all my subjects: the energy of bold strokes, impressionistic and abstract scenes mixed with a touch of realism. I find this version captures a non-traditional attitude, creating a new-west style. By combining these methods along with unfinished edges, I believe this generates imagination and a conversation for all audiences.

C I N DY B R A B EC - K I N G PA LISADE , CO

CIDER AND SAUCE DAY / 22 x 30 / WATERCOLOR

Cider and Sauce Day is a watercolor celebrating a favorite rainy fall day. Apples, pears and bottles with a low backlight are some of my favorite subject matter. The dark shadows of the apples are intentionally void of dimension to enhance the weight of the mood and draw attention to the light areas, reds, and details in the background. The complex rainy window effect was created first by using small impressionistic strokes while painting around all the white droplets, working in one color area at a time.

ANDREW BUSCH A RVA DA , CO

SOMEWHERE SHINING AND UNEXPECTED / 36 x 48 / ACRYLIC

A storm gathers over the high country, clouds rising in great towers. Violet and iron-gray fill the sky while distant ridges fade into blue. Sunlight breaks through in scattered bands, touching the open land below. Title by poet Mary Oliver. I’m less interested in describing a place fully than in how much can be felt with very little. Through building and scraping back layers with a palette knife, I follow the painting as it begins to find itself. It’s a process of looking for something that feels true rather than exact. What remains is an invitation—a place for the viewer to step in and find their own way through. I think of the work like a visual poetry stanza: something that holds a moment in a concentrated way while leaving space around it. The meaning changes with attention—through standing still long enough for the land to speak.

KEN CALL NORTH B R O O K, I L

PEÑA PALACE FLAMENCO / 22 x 28 / WATERCOLOR

Starting in art school and all through my early years as an illustrator I was encouraged to paint in many different mediums and styles. I tried them all but, in the end, I settled on watercolor. The spontaneity and flow just fit my personality and style. What I look for and strive to achieve can only be expressed in this wonderful medium. One of the things asked of the artists is to define what inspires them to do what they do. After giving it some thought, the one thing that comes to mind before anything else is the play of sunlight, indoors or out, which defines and creates a mood.

D AV I D C A R S O N BOU L D ER , CO

GUANAJUATO / 30 x 22 / WATERCOLOR

Guanajuato, Mexico, is a historic town jammed onto the steep sides of a deep valley. Much of the old city is made up of stairs and narrow alleyways, stitching a way through neighborhoods largely inaccessible to cars. Here there is a crude grittiness existing alongside such lush beauty, and always there is a sense of mystery waiting along each winding stairway or behind every wall. I took the photograph used for this painting while standing on a metal stair hanging high up off the side of this building. There, sitting below me was an intimate neighborhood with its winding alleyway, which then vanished into unseen spaces. I was taken with the brilliant light and rich colors receding into deep shadows. Across the valley, vibrantly colored homes stacked on top of each other. This painting is an attempt to capture my fascination with this unique city.

SUSAN DREY RA PID C I T Y, S D

MIDNIGHT DANCE / 11 x 15 / WAT ERCOLOR

This is about one of those magical moments that happens late at night when maybe a little too much alcohol has been consumed. Inhibitions are down and people are openly engaged with one another. These two women who have just made a drinking bet and you can see and feel their rebellion. There is a strong sense of womanhood between the two with maybe a little bit of lust as well. I tried to enhance the atmosphere with the use of moody colors and high contrast. I love the night scenes of Hopper and Lautrec and tried to capture some of those same feelings.

ZHENG FENG RA D FOR D, VA

WINTER / 24 x 32 / WATERCOLOR

I am living surrounded by farmland. It’s beautiful in the winter and I always look forward to painting it. Winter used a lot of water at first and I love the watermarks that happened…

TOM FRANCESCONI H OME WO O D, I L

ALL TIED UP AT THE MOMENT / 11 x 17 / WATERCOLOR, GOUACHE

I came upon these boats in the picturesque harbor town of Racisce, on the Croatian island of Korcula. The light and shadow pattern, along with the parade of color, presented a compelling scene. I saw the boats as an interesting arrangement of repeating shapes. As the boats were bobbing in the water, it occurred to me that I was looking at a pageantry on full display. Captivated by the allure, and filled with inspiration, painting these boats was never in question.

J O N AT H A N F R A N K MOA B, U T

FLOATING IN THE CLEAR LIGHT OF A NEW DAY / 14 x 29.5 / WATERCOLOR, INK

Floating In the Clear Light of a New Day is part of the Floating series, where all my source photos are obtained with the use of a drone. I’ve always been fascinated by ravens, and the way they play and fall just beyond the edge of the cliffs and I wanted to see and paint the world from their point of view. For me this painting exemplifies the feeling of soaring above the cliffs and canyons of the Green River in the desert of Southern Utah at dawn.

JANE FRITZ LAS VEGAS , N M

ACROSS THE FJORD / 21 x 14 / WATERCOLOR

Across the Fjord is an intimate look at a rocky shoreline in Norway and the view across the fjord.

GERALD FRITZLER MESA , CO

MORNING IN THE GONDOLA YARD / 14 x 19 / WATERCOLOR

This scene in watercolor is from one of my painting trips to Venice, Italy. It captures the master gondola builder Nevis Tramontin working in his gondola garage on a couple of his highly sought after gondola’s. Nevis and his son Roberto are gondola builders, and by the verdict of Venetian nautical historians, they are the best and among the last of a vanishing breed. Nevis said, “The best age for a gondola is seven years. Then she is like a woman of 35: polished, well curved and settled into herself.” This man’s knowledge continues today as his son and family members work to preserve this historic boat building legacy!

STEPHANIE GOLDMAN SA N D I EGO, CA

DNA, REACHING FOR THE DIVINE / 22 x 30 / WATERCOLOR

The archetypal man reaches toward the essence of life, as if drawing near to a sacred code that unites divinity and mortality. Created with traditional watermedia, the painting builds transparent layers of color and depth through wet-on-wet and wet-on-dry techniques. Pigments blend organically, forming a luminous field that evokes the intricate structure of DNA. Some passages remain translucent, allowing underlying hues to glow through, like hidden codes within us. The work becomes a meditative visual dialogue, bridging the material and the spiritual, and honoring the mystery at the heart of life.

R A N DY H A L E D ENVER , CO

PORTO ALLEY PASSAGEWAY / 16 x 12 / WATERCOLOR

The vibrant city center of Porto, Portugal, is a labyrinth of narrow passageways and alleys. Since the city sits on steep hillsides, all roads eventually wind their way down to the crowded quay fronting Portugal’s Douro River. Shadow-shrouded alleyways bustle with tourists exploring shops and cafes while providing welcome shelter from intense mid-day sun. Strong light, shadow, and energy within those narrow canyons seemed a worthy subject to be captured in this plein air painting!

MIKE HENRY PORT H U R O N , M I

FROZEN RIO / 10 x 14 / WATERCOLOR

I consider Creede, Colorado, to be my second home. I spend the month of August there, hiking and painting in the San Juan Mountains. During the winter months, I’ll try to get out there for a few weeks to cross-country ski. It can get very cold, but I’ve noticed even in January the sunny afternoons are warm and inviting. This view from a bridge over the Rio Grande River allowed me to capture that warmth alongside some cold, open water. This warm-cool contrast is a favorite tool of mine for creating depth. It also allows the viewer to engage in more than one sense when standing in front of this painting—feeling warmth near the banks of a frozen Rio Grande.

O L G A & A L E K S E Y I VA N O V EV ER G R EEN, CO

WHITE IRIS / 40 x 40 / TEMPERA

Painting a calm evening by a pond filled with bright irises captures a quiet, glowing world. The setting sun paints the soft water with warm gold shades. Tall green iris leaves and bold petals stand out against the gentle shadows of the fading day. Irises stand tall, like brushes dipped in the evening glow. And like a little diamond between purple irises we see a beautiful white one…

GARY JOHNSON FAYET T E VI L L E , AR

MIDNIGHT TOAST / 21 x 15 / WATERCOLOR

My watercolor explores the quiet poetry of everyday objects through the use of color, transparency, and light. Those bottles and glasses, although familiar, become less about function and more about presence with simplified forms in an arrangement of tall verticals and simple curves. The layers of blue and violet create a cool atmosphere while the warm orange accents provide the offsetting balance. Rather than pursuing photo realism, my painting takes advantage of watercolor—allowing pigments to bloom, edges to soften and reflections to dissolve into abstraction. My hope is for the viewer to spend time lingering in the beauty of the ordinary.

RICK JOHNSON M cCOOK, NE

MYSTIC RIVER BEND / 28 x 32 / WATERCOLOR

Mystic River Bend is a luminous watercolor landscape that captures the quiet magic of nature through abstraction and color. A winding river curves gracefully through the center of the composition, drawing the eye into a dreamlike scene where reality and imagination blend together. The river’s reflective surface shimmers with layered washes of Naples golden- yellow, violet-cobalt, silver-blue, and Alizarin Crimson creating a sense of movement and tranquility. The overall effect of Mystic River Bend is both peaceful and captivating—a celebration of color, movement, and the mysterious beauty found in nature’s curves and contours. The painting evokes a sense of wonder, as though the river is leading toward a hidden place just beyond the horizon.

S H E L LY J O H N S O N BOISE, I D

THE POSER / 18 x 14 / WATERCOLOR

The Poser was inspired by photographs I took at Centennial Marsh near Fairfield, Idaho. I visit Centennial Marsh every year in May to photograph the camas bloom and the abundance of migrating birds. The yellowheaded blackbirds are clearly heard, but mostly hidden within the reeds and impossible to photograph. This year, one blackbird perched on the branch of a tree right in front of me, demanded my attention, and struck multiple poses for my camera. His pose and his beautiful coordinating backdrop were the inspiration for this watercolor painting.

MARK KIRSCHBAUM EV ER G R EEN, CO

BLACKWATER REFLECTION / 17 x 28 / ACRYLIC

Blackwater is a condition in wetlands and rivers that drain wetlands due to the presence of tannic and humic acids. The dark color absorbs light making the surface remarkably reflective. The painting was inspired by numerous visits to wetlands, especially the high mountain fens of Colorado.

LY N N E K R O L L PA RKL AN D, FL

HAPPENIN GS / 15 x 21 / WATERMEDIA

Happenings is a meditation on consciousness—how order, memory, and identity emerge from an overwhelming field of experience where architecture, music, and light coexist. The movement from darker blues around the edges toward the luminous white center suggests revelation rather than chaos as though something is coming into being. The white passages don’t simply separate forms—they seem to dissolve them symbolizing consciousness, spirit, revelation and the unknown. Circles, Cycles, and Perspective are symbols suggesting cycles of life and transformation, planets or celestial bodies, windows or portals into different states of awareness, lenses through which reality is interpreted. The numerous layered veils of transparent watercolor reveal that nothing exists independently, every mark interacts with older marks beneath it. Layered with patterns and symbols, metaphor and archetypes I unite often-disparate worlds into new relationships— compositions and artworks that reveal the interconnectedness of nature, life, spirit and time.

CHRIS KRUPINSKI DOW N INGTOWN, PA

DOTS / 30 x 22 / TRANSPARENT WATERCOLOR

I strive to maintain a contemporary feel while borrowing from the traditions of Dutch still life and American realism. Rather than arranging the fruit symmetrically, I’ve created an informal moment—as if someone has just set down the bowl and a handful of blackberries have rolled across the cloth. That sense of spontaneity keeps the painting alive.

AARON LADE COLO RADO S P R I N G S , CO

LONG RIDE / 13 x 21 / ACRYLIC

Long Ride was created, among other works, while working on animal studies. I started with the sky—as I often do—because skies are powerful at setting a painting’s emotional tone. The brushwork remains intentionally loose, where suggestion carries as much weight as detail. Rather than depicting another standing horse, I placed this one on its side. A subtle hint of red near the muzzle raises questions without answering them. Is the horse simply exhausted after a long journey, or is something more final taking place? I wanted the painting to exist in that uncertainty—inviting viewers to bring their own experience to the scene. Sometimes the unknown is more compelling than the answer.

L I N DA LO ES C H E N BASA LT, CO

DAWN ON THE PASS / 18 x 24 / ACRYLIC

No matter the day, month or season, time spent on Independence Pass will take your breath away. There is such a variety of ways to view the pass. Its wildflowers, streams and waterfalls, wide vistas, hair pin turns, massive rock walls and more are all exceptional. For this painting, I chose a close and detailed image of a rock wall. The angled line defines its power and strength. I’m challenging the viewer to focus on the cracks and crevices first, before seeing the delicacy of the Aspens and foliage in the view that lays beyond. That’s what happens when I am hiking. I must see what’s over that hill, so I keep going (the viewer keeps looking). As for my style of painting, I like to see soft edges within strong shapes. My palette for this piece is muted and earthy as it was that morning on Independence Pass.

LEE MACLEOD SA NTA FE , N M

BACK COUNTRY / 8 x 10 / WATERCOLOR, GOUACHE

Back Country was painted near Leadville, Colorado. There was a fair amount of artistic license taken in this piece as the actual road was asphalt. I wanted to depict it as a dirt road, which I felt was in keeping with the idea of the back country of Colorado. My wife’s family were longtime residents of Colorado and both my daughters live in the state, so we have all spent time in the mountains.

B R I A N M A LY HEL ENA , MT

AT THE BEACH / 20 x 16 / ACRYLIC

I moved to Salem, Oregon, in 2006 after getting fed up with my job and in pursuit of salmon and steelhead fishing. The fishing didn’t pan out, but the beauty of the Oregon coast was a thing to behold. Having spent all of my adult life in the Rocky Mountains, the ocean and adjoining coastline were fascinating. I don’t recall exactly which area this beach view is from, but I really enjoyed painting it. I definitely used techniques and materials that were outside my experience to create the look I wanted.

SUSAN MARION FLORIS SAN T, CO

DANCER IN WHITE DRESS / 22 x 28 / WATERCOLOR

This painting was inspired by a photograph I took at an annual inter-tribal powwow in Colorado Springs. An elder woman was alone in the wide, empty Dance Circle, telling a traditional Native story through dance and gestures, accompanied only by a group of drummers. My intention was to portray the beauty of the dancer’s regalia and movements, rather than a portrait of an individual. I chose a simple composition and dark background to convey a sense of timelessness, to complement the timelessness of the story she told. This painting was done from the heart, with deep respect for Native American culture, especially powwow traditions.

NICOLA MASON C INCINNATI, OH

MAN HANDS / 16 x 16 / WATERCOLOR, GOUACHE, PENCIL

Man Hands came about intuitively, the figures gradually emerging from layers upon layers of ink, watercolor, gouache, and Caran d’Ache pencil. My method is to complicate, complicate, complicate, and then simplify. I start with scribbling—using a Pilot Precise V5 fine-point pen (which has water-soluble ink that smears wonderfully) and/or ArtGraf tailor-shape discs, which come in various colors that you can thin/spread or allow to dry into areas of saturated chroma. I go over these scribbles with washes of watercolor, again varying the saturation, both blending and leaving some areas unblended. I often create works that speak to the dynamic between individuals or among groups of people. In some of these paintings, the figures are at odds. Here, the couple is in accord.

J E S S I C A M C C OY CLA RE M O N T, CA

ROOM WITH BOYS / 14 x 17 / WATERCOLOR

My paintings have always been about private space, one’s home. These works have depicted personal objects; documenting things held, kept and collected, landmarks in a life lived. I now have two sons and I have been swallowed up. The spaces and items that held so much of myself have been infiltrated and disrupted. Modern feminist motherhood disrupts everything we know about gender and power. Historically, representations of motherhood have been created by men; only recently have women artists been complicating and revealing inimical truths about the institutional idea of motherhood. The best artworks are the most empirical, so my current work probes a personal experience of motherhood, exploring themes of possession, covetousness and shame. The paintings are composed using collage, which allows for a degree of realism in the image; it also becomes a means for collecting publicity images, transforming the space into something both enviable and temporal. The paintings are fantasy territories permeated by actuality.

WAY N E M C K I N Z I E C EDA R ED G E, CO

UNDER THAT CLUMP OF TREES OVER ON THE RIDGE / 24 x 36 / ACRYLIC

It is a late afternoon in October just west of Cedaredge, Colorado. Standing on the edge of a ridge that drops steeply down to Ward Creek, which runs about 500 ft below. The view is unobstructed for miles. Across the valley are the foothills of the Grand Mesa. The sun reaches a point just before it sets where the world around is suddenly backlit. The entire day is set aglow.

S U S A N M O N TA G U E FORT CO L L I N S , CO

SUNDAY IN LA CRUZ / 17 x 15.25 / WATERCOLOR

Upon a recent trip to Mexico, I met a local baker selling her goods on the beach of La Cruz. I was drawn to her softness, strength and calm demeanor. In trying to capture her essence, I painted many delicate layers of color while keeping the piece fresh and luminous. The simple background lets the subject’s expression take center stage. I wanted the piece to feel calm, honest and approachable. It’s a quiet portrait that encourages viewers to connect with her in their own way.

P AT M O S E U K CONCOR D, CA

WORDS MEAN EVERYTHING / 20 x 20 / ACRYLIC, MIXED MEDIA

Mark making is a large part of my painting process. I don’t use a brush that much anymore, so my go to tools are discarded credit cards, various palette knives and whatever I can find that will make a unique mark. I first start out applying the gesso on rag board, moving the gesso around carving marks and writing into it. Then the painting process begins, adding in lines and multiple thin layers (called glazes) of acrylic paint creating shapes and defining a composition. Line is important to me in creating an emotion and familiarity; it could be defining a shape or a sense of order, tension and chaos. There has been too much name calling these days, so I created a jumble of letters on rice paper resembling how letters define words that can be positive or negative in a society.

S O M N AT H M U K H E R J E E GREEN WO O D VI L LAG E , CO

AJJI / 18 x 14 / WATERCOLOR

Ajji, meaning “grandmother” or “mother” in Marathi, is a watercolor portrait created on handmade paper. The work captures the quiet strength of an elderly Indian woman whose face bears the marks of a life filled with hardships, resilience, and love. Her expression reflects not only the weight of lived experiences but also an enduring sense of hope that shines through her eyes. The vibrant colors celebrate the richness of Indian culture, where color is more than decoration—it is an expression of identity, emotion, and spirit. The colorful sari symbolizes dignity, optimism, and the transformative power of tradition, reminding us that beauty and hope can coexist with struggle. Through Ajji, I pay tribute to the countless women whose silent resilience shapes families, communities, and generations, leaving behind a legacy of strength, compassion, and unwavering grace.

JIM NEIBERGER HIGHLAN DS RA NCH, CO

CATCH AND RELEASE CUTTHROAT TROUT / 21 x 29 / WATERM EDIA

This painting celebrates the remarkable beauty and vitality of a native cutthroat trout in its natural environment. Rather than portraying the fish as a trophy, I wanted to capture a fleeting moment of connection between angler, water, and wildlife. The swirling reflections, flowing current, and vibrant colors transform the stream into an active participant, emphasizing the movement and energy that surround the fish. The brilliant golds, reds, and subtle markings of the trout contrast with the cool blues of the water, highlighting both its strength and its vulnerability. Every ripple, reflection, and texture is an invitation to slow down and appreciate details that are often overlooked. My hope is that viewers experience not only the excitement of the catch but also a renewed respect for the wild places that sustain these extraordinary creatures and the unforgettable moments they provide.

T E D N U T TA L L TEMPE , AZ

BOYACA / 9.5 x 15 / WATERCOLOR

In the summer of 2024 I traveled to South America for a three month sabbatical of sorts to live in the small city of Duitama, in the Boyaca Department of Colombia. It was a chance to get away for a bit, experience a different culture and enjoy some isolated painting and writing time. The experience was life changing. Sitting in the city square on the morning of Colombia’s Independence Day Celebration I observed groups of young people dressed in uniform preparing for a commemorative parade. I sat in my chair, just 15 yards away and in a magic moment, this young lady turned toward me long enough for me to take two quick pictures with my phone. It was one of the most indelible experiences of my stay.

KAREN ROMANI GLEN CA R BON, IL

ABUNDANCE OF BLOSSOMS / 15 x 15 / WATERCOLOR

My work is representational, the more detailed, the better. I’m mostly drawn to botanical art, but allowing my interpretation of what I see to take precedence. Vivid color and contrast are the main things I aim for, along with value. I want my paintings to jump off the page and for people to say, "Wow," when they see them.

MARIA RUGGIERO ANN A R B O R , MI

SOMETHING WITH TEETH / 22 x 15 / WATERCOLOR

My paintings are most closely associated with still life and botanical genres, although there are often elements of surrealism woven into familiar or expected imagery. The subject matter of Something With Teeth is certainly concerned with beautiful botanical forms as well as formal considerations of color, design, light and pattern. Also, as with many of my compositions, the imagery in this painting has been manipulated and slightly distorted in order to combine objects and environments from different times, places and perspectives. In Something With Teeth, lush, densely growing orchids are embedded with subtle images of cat teeth in order to create some dissonance within the composition; in some ways, the teeth relate to thorns, but are less passive, contradicting, somewhat, the fragility of the flowers.

DONNA RUSS EN G L EWOOD, CO

FEEDING DUCKS AT TOMMY DAVIS POND / 15 x 11 / WATERCOLOR

While walking around a neighborhood pond, I spotted these two exquisite girls from a distance, feeding the ducks and geese. When I cropped my photo, I was taken by the composition formed by their beautiful braids, the shadows cast by their earrings, and their subtly different orientation and attitude. I tried to capture the golden light on their hair and faces and surrounding fields.

KITTY SCHROEDER CINCIN N AT I , O H

THAT PINK ROCK IN GOLDEN RIVER / 9 x 12 / MIXED MEDIA

When I first saw that pink rock in the middle of the Golden River, it captured me. I squeezed into a precarious space on the rocky bank among other Plein Air Convention painters. I loved how the beautiful rock was staunchly redirecting the on-rushing current and connecting the anthropomorphic rocky layers on the near shore across to the wild strip of ground on the other side. For me it was the embodiment of time’s effect on life and what lies just beneath the surface silently directing appearance and action. My goal was to capture the natural force of the plunging water, underlayers, and eddies. As with most of my works, it took painting layers over time.

JERRY SMITH C RAW FOR D SVIL L E, IN

PIER GROUP / 22 x 28 / WATERCOLOR

Pier Group is my rendition of a coastline view on Monhegan Island. I was especially intrigued by the effects of morning light on the subtle grays and weathered textures of the area. The medium is transparent watercolor.

THOMAS SORRELL SYLVA N I A, O H

RANGE ROVERS / 17 x 13 / WATERCOLOR

Painting is my way to translate observations, experiences and feelings about a subject into a tangible representation that not only can be shared with others, but also used personally to make sense of the world. From the time I first saw an American bison I was fascinated by these majestic animals: their profound cultural and spiritual significance among Native American tribes, as a symbol of resilience and as an icon of the American landscape. This painting attempts to capture a sense of their grandeur and the vast herds that once roamed the range of the American West. My choice for the painting substrate was Yupo, a synthetic paper with a slick, nonabsorbent surface that promotes the flow and arbitrary mixing of paint. This property imparts vitality and texture to the image, from the shaggy coats of the magnificent creatures to the watery reflections and contours of the distant mountains.

JEFF STODDARD RYE, CO

UNION PACIFIC YARD IN GRAND JUNCTION / 14 x 20 / WATERCOLOR

This scene intrigues me: first, because of the organic, graceful curves of steel tracks in the Grand Junction switchyard; and second, because of the rich, rust patina of the rails contrasted with the bright yellow of the Union Pacific locomotives. The painting calls for a high level of detail, but I wanted to maintain a loose, musical style, allowing the paint to flow. My favorite passage in the painting is not the locomotives, or the sweeping tracks, but the rendering of the monument canyons in the background. They rather painted themselves... I merely supplied a bit of color and a brush-full of water.

M I C H A E L TA N G LOS AN GE L ES , CA

NYC: MORNING LIGHT / 22 x 30 / WATERCOLOR

The watercolor, NYC: Morning Light is from a photograph that I took while I was on sabbatical from Loyola Marymount University. My recent work concerns the interplay of light and reflection. I chose to go to New York to contrast the urban landscape with that of Southern California. The two cities are vastly different, as there is very little light in Manhattan because the city is made up of skyscrapers. I was lucky to find this little diner bathed in the light of the sun, one early morning.

P A U L VA L D E Z PA R KER , CO

SOLACE FOR THE SOUL / 28 x 22 / WATERCOLOR

A lone figure in a cowboy hat walks a desert path, walking stick in hand, beneath towering canyon walls streaked in multiple layers of color. I called this one Solace for the Soul—there's a stillness to it, the kind of quiet you only find walking alone in a canyon. The rock face dominates the top half of the painting, built up in loose washes that catch the light unevenly, like the stone has weathered a thousand storms. Below, a dense band of green and gold brush lines a hidden creek, with water just visible in a few quiet breaks between the foliage. Touches of magenta and lavender push through the greenery, keeping the palette from settling into just earth tones. The path curves warmly through the foreground, leading the eye back to the figure, small against all that rock—alone, but not lonely.

L I Z WA L K E R BEAV E RTO N , O R

MOONSTRUCK #3 / 13 x 19 / ACRYLIC MARBLING

Many of my paintings begin on paper that I’ve previously marbled (using acrylic paints dropped into a tray of water thickened with carrageenan). Using a stylus, I comb the paint in the tray to create a distinct pattern that I then transfer the painted pattern onto watercolor paper. The paper’s marbled pattern and colors reminded me of craters of the moon, so I decided to make that the theme of this painting. I imagined a group of women gazing at the moon in wonder, so I sketched them in. Composition is important in every painting I do, so I overlapped the figures (variation and repetition) and added another circular “moon” to balance out the piece. The story I tried to convey in Moonstruck is one that celebrates friendship and unity in a quiet and meditative setting.

M A R K WAT S O N TU CS ON, A Z

THE TASTE OF SUMMER / 20 x 20 / ACRYLIC

The Taste of Summer celebrates the fleeting intensity of childhood—the instinct to embrace the world with curiosity before self-consciousness takes hold. At once exuberant and contemplative, this painting reminds us that our most profound joy often resides in life’s simplest pleasures. It is both a celebration of youth and a meditation on the bittersweet taste of long-gone memories.

G AY L E W E I S F I E L D RA NCH O S DE TAO S, N M

AFTERNOON GLOW / 15.5 x 19.5 / WATERCOLOR

Living and painting in Taos, New Mexico, I am continually inspired by the quiet beauty of the high desert and the changing light that transforms familiar landscapes into something extraordinary. Afternoon Glow captures a fleeting moment when the low sun washes the land in rich, warm colors to contrast with the radiant clarity of the light. Watercolor is the perfect medium for expressing this balance, allowing transparent layers to create atmosphere. I wanted to reflect the feeling of standing in the stillness of an afternoon in the rugged beauty, reflecting.

K AY L E I G H W O O D WA R D RO SEVIL L E, CA

BILLINGS / 24 x 30 / ACRYLIC

My current creative trajectory began in my undergraduate studies as an exploration into the portraiture of wildlife, where my intent was to draw attention to their strength and resilience, as well as the land they live on. I strive to portray all of my subjects with accuracy and realism while often allowing the colors and backgrounds to lean into abstraction. During my formative years as an art student, I developed a fascination and a passion for wildlife, conservation, humanity’s impact on ecosystems, and especially endangered species. I have a great respect for North America’s wilderness and my appreciation has driven me to capture its soul through my work. My inspiration for creating all of my work comes from a very spiritual place, and ultimately, I want to pay homage to the majesty of creation.

XIAOCHANG ZHANG SA N RAM O N , CA

BUSTLING / 30 x 22 / WATERCOLOR

I pay more attention to the people in the city, running around for life. There are hopes and disappointments every day, but the life has to go on day by day.

WA R R E N Z I M M E R EV ER G R EEN, CO

RED TAILS NEAR TINAJA / 36 x 36 / ACRYLIC

Tinaja mountain is an extinct volcano core and a prominent 7,801-foot peak located southeast of Raton, New Mexico. Situated on a large mesa, surrounded by grasslands, it is a fertile hunting ground for the many red tail hawks often seen in the area.

ROCKY MOUNTAIN NATIONAL WATERMEDIA SOCIETY Center for the Arts Evergreen maintains the roster of the prestigious Rocky Mountain National Watermedia Society membership. RMNWS includes Signature Members and Honorary Juror Members. Signature Members have been selected at least four times for the RMNW exhibition since its inception in 1974. These artists have earned the right to add RMNW after their signatures. All jurors become Honorary Members of the RMNWS, although many of them have earned Signature status as well.

HONORARY JUROR MEMBERS

2026

KEIKO TANABE

1999

BURTON SILVERMAN

2025

STEVE TRACY

1998

SONDRA FRECKELTON

2024

MARY WHYTE

1997

PAT SAN SOUCIE & ELLEN MURRAY

2023

KEN & STEPHANIE GOLDMAN

1996

ROB ERDLE & DEAN MITCHELL

2022

SOON Y. WARREN

1995

ELIZABETH YAROSZ & GLENN BRADSHAW

2021

STEVE GRIGGS

1994

MARY TODD BEAM & CHARLES LE CLAIR

2020

LINDA DALY BAKER

1993

JANET FISH

2019

STERLING EDWARDS

1992

ALEXANDER GUTHRIE & KATHLEEN KUCHAR

2018

MARY ANN BECKWITH

1991

WARREN TAYLOR & NANCI BLAIR CLOSSON

2017

STEPHEN QUILLER

1990

MARILYN PHILLIS & MARBURY HILL BROWN

2016

KATHERINE CHANG LIU

1989

ROLLAND GOLDEN & EDWARD REEP

2015

MARK MEHAFFEY

1988

IRVING SHAPIRO & LEE WEXLER

2014

LINDA DOLL

1987

JEANNE DOBIE & ALEX POWERS

2013

WILLIAM “SKIP” LAWRENCE

1986

AL BROUILLETTE & FRAN LARSEN

2012

CAROL BARNES

1985

EDMOND FITZGERALD & E.J. VELARDI, JR.

2011

CHENG-KHEE CHEE

1984

KATHERINE CHANG LIU & FRANK WEBB

2010

JUDY MORRIS

1983

MILES G. BATT, SR. & VIRGINIA COBB

2009

STEPHEN QUILLER

1982

ALEXANDER NEPOTE & LARRY WEBSTER

2008

DONNA WATSON

1981

SYLVIA GLASS & ROBERT VICKREY

2007

CARLA O’ CONNOR

1980

MILLARD SHEETS & DORIS WHITE

2006

GEORGE JAMES

1979

GLENN BRADSHAW & SERGE HOLLERBACH

2005

H.C. DODD

1978

GERALD BROMMER & RUTH WYNN

2004

JOHN SALMINEN

1977

CLAUDE CRONEY & MORRIS SHUBIN

2003

HAROLD GREGO, PHD

1976

CHEN CHI & TOM HILL

2002

LOUISE CADILLAC

1975

EDWARD BETTS & CHARLES REID

2001

KATHERINE CHANG LIU

1974

JOHN C. PELLEW & LEE WEISS

2000

DON NICE

MEMBERSHIP S I G N AT U R E M E M B E R S H I P * = RMNW Society Members with paintings in the 2026 exhibition ** = New RMNW Society Members Bold = RMNW Society Members who contributed to the 2026 RMNW Signature Member Award

Dona Abbott

Marilynne Bradley

Nina Cravens-Fry

Patricia Abraham

Glenn Bradshaw

Rita Crooks

Kent Addison

Mary Alice Braukman

Elaine Daily-Birnbaum

Melissa Adkison

Gerald Brommer

Carl Dalio

Gloria Miller Allen

Al Brouillette

Ratindra Das

Wilmer Anderson

Carrie Burns Brown

Dean Davis

Catherine Anderson

Marbury Hill Brown

Molly Davis

Sue Archer

Peggy Brown

Patricia Deadman

Jan Archuleta

Bill Bryant

Gail Delger

Ruth Armitage

Tanis Bula

Betty DeMaree

Sara Aslakson

Charlie (Charles) S. Burk

Rita Derjue

Denise Athanas

Basil Burke

Marilynn DerWenskus

Anne Bagby

Mike Burns

Henry Dickens

Nancy Baldrica

Dan Burt

Missie Dickens

Nancy Barch *

Karen B. Butler

Vera M. Dickerson

John Barnard

Nel Dorn Byrd

Pat Dispenziere

Carole Barnes

Louise Cadillac

H.C. Dodd

Andrew Barton

Barbara Cain

George Dombek

Miles G. Batt, Sr.

Joseph Cain

Carolyn Dubuque

Penny Bunn Becker

Mark Cardoza

Pauline Eaton

Joe Beckner

Phil Chalk

Toni Elkins

Sandra Beebe

Cheng-Khee Chee

Rob Erdle

Edith Bergstrom

Leslie Cheney-Parr

Manette Fairmont

Judi Betts

Chen Chi

Mell Feltman

Robert Biancalana

Virginia Cobb

Z.L. Feng *

Virginia Blackstock

Judi Coffey

Lorriane Fetzer

Joseph Bohler

Jean Cole

LeRoy Fink

Marilyn Sears Bourbon

Rachel B. Collins

Dorothy Foster

Jerry Bowman

Mari M. Conneen

Pat Fostvedt

Donna Boyd

Pat Cook

Ellen Fountain

Judy Boyd

Laurel Covington-Vogl

Tom Francesconi * 59

Scott Fraser

Jim Hutton

Carolyn Latanision

Joseph Fretz

Olga & Aleksey Ivanov *

Jan Ledbetter

Karen Frey

Bill James

Linda Lee

Gerald Fritzler *

George James

Ara (Barabara) Leites

Pam Furumo

John James

Whitney Leland

Jean K. Gill

Kathleen Jardine

Bonnie Lhotka

Rolland Golden

Lisa Jefferson

Guy Lipscomb

Stephanie Goldman *

Robert Johansen

Gregory Litinsky

Peter Gooch

Ann Johnson

Katherine Chang Liu

Jean Grastorf

Elizabeth Johnson

Nancy Livesay

B. Green

Aletha Jones

Annell Livingston

Greta Greenfield

Claudia Hamlin Jones

Linda Loeschen *

Elina Gregory-Goodrum

Donald G. Jones

Carol Lopatin

Steve Griggs

Steven Jordan

Carolyn Lord

Elizabeth Groves

Jerry Kalback

Susan Luzier-Kamen

Alexander Gutherie

Selina Karim

Mary Britten Lynch

Pamela Hake

Barbara Kastner

Sandra Mac Diarmid

Randy Hale * **

Naum Katsenelson

David Neil Mack

Diane Halley

Arthur Kaye

Joe Manning

Janice C Hanson

Sophia Kearns

Marilyn Markowitz

Lynne Hardwick

Kathryn Ellen Kelso

Carolyn Martyn

Patricia Harrington

Joy Keown

Georgia Mason

Elaine Harvey

Julie Kirkland

Anne Massie

Noriko Hasegawa

Barbara Tobin Klema

Maxine Masterfield

Phyllis Hellier

Dee Knott

Sibylla Mathews

Lori Hess

Karen Knutson

Marion McCall

Anne Hightower-Patterson

Barbara Kowalski

Joan McConnell

Marilyn Hill

Margaret Graham Kranking

Mark McDermott

Susan Hinton

Priscilla Krejci

Joseph McGinnis

Ruth Ellen Hoag

Lynne Kroll *

John McIver

Diane Hodel

Chris Krupinski *

Joan McKasson

Elaine Holien

Kathleen Kuchar

Mark Mehaffey

Serge Hollerbach

John Kwok

Phil Metzger

Pat Holscher

Melanie Lacki

Morris Meyer

Carolyn Hoyle

Evelyn Lombardi Lail

Louise Miller

Carol Hubbard

Robbie Laird

Reita Walker Miller

Adele Huestis

Frank LaLumia

Barbara Millican

Marie Huggin

Kathleen Lanzoni

Dean Mitchell

Sandra Humphries

Fran Larsen

Wendell Mohr

Charlotte Huntley

Michael Lasuchin

Susan Montague *

Roxanne Moore

Mary Jane Schmidt

Ernest J. Velardi

Sybil Moschetti

Carol Ann Schrader

Robert Vickrey

Pat Moseuk *

Ann Schuh

Teryl Speers Viner

Connie Murray

Francine Schut

Myrna Wacknov

Carol Newsom

Barry Scott

Liz Walker *

Beverly Nichols

Darcy Scott

Soon Y. Warren

r. mike nichols

Jerry Seagle

Chavanthop Noi Watanakul

JoAnne Nixon

Diane Shabino

Louise Waters

Semiramis Novak

Marge Shepherd

Lorraine Watry

Charles Novich

Mark Silvers

Donna Watson

Barbara Olsen

Duncan Simmons

Frank Webb

Catherine P. O’Neill

Jean Slobodin

Larry Webster

Thomas Owen

Jerry & Lucinda Smith *

Kevin Weckbach

Doug Pasek

Joel Smith

Jean Weiner

Brian Paulsen

James Soares

Lee Weiss

Arleta Pech

Mel Stabin

Cindy Welch

Ann Pember

Electra Stamelos

E. Gordon West

Harold Petersen

Nancy Stark

Jean Wetzler

Marilyn Hughey Phillis

Pat Stelter

David Wicks

Carole Pickle

Peggy Morgan Stenmark

Dianne Widom

Ann Pierce

Gari Stephenson

Jane Wikstrand

Jim Pittman

Penny Stewart

Joyce Williams

Carlton Plummer

Howard Stirn

Donald Willis

Karen Poulson

E. Jane Stoddard

Ruth Windsor-Mann

Alex Powers

Carla Stoltzfus

Anita Winter

Stephen Quiller

Hazel Stone

Sue Wise

Helen Ragheb

Dan Stouffer

Pat Wolf

Marjorie Rauch

Betsy Dillard Stroud

Edwin Wordell

Linda Renaud

Dashuai Sun

Elizabeth Ann Yarosz-Ash

Pat Reynolds

Nancy Meadows Taylor

Keiko Yasuoka

Peggy Reynolds

Warren Taylor

Barbara Yoerg

Megan Ripke

Thomas Thiery

Gene Youngmann

Marlin Rotach

Rhett Thurman

Peggy Flora Zalucha

Sandra Saitto

Elizabeth Thurow

Al Zerries

John Salminen

Roberta M. Tiemann

Warren Zimmer *

Patricia San Soucie

James Toogood

Don Sayers

Lois Salmon Toole

Sandra Schaffer

Brenda Turner

Michael Schlicting

Phoebe Tyson

Diane Schmidt

Don Van Horn 61

SPONSORS for the Arts Evergreen wishes to thank our Board members, sponsors, donors, T H AN K Center friends for providing more than $20,000 in support of the 2026 Rocky Mountain YOU and National Watermedia exhibition.

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