MARCH 2026
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Artists Examine Nature, Spirituality, and Belonging in “Sacred”
Featured Stories
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n the quiet of winter, when daylight lingers softly and the natural world feels hushed, art has a way of blooming with particular intensity. At AMcE Creative Arts, that bloom takes shape in Sacred– five women artists exhibitLaura ing personal Marie reflections on the sublime, a Rivera group exhibition that gathers five artists from the Pacific Northwest and beyond in a timely meditation on awe, connection, and shared humanity. On view through March 15, 2026, at 612 19th Ave E, Sacred invites viewers into spaces of wonder at a moment when reflection feels especially necessary. Founded in 2021 by A. McLean Emenegger, AMcE Creative Arts has quickly established itself as a dynamic space for contemporary West Coast artists. McLean’s deep art world background — from her early work in museums and galleries in Southern California and her career as an arts writer and educator — is evident in the careful orchestration of this exhibition. Her commitment to artist advocacy and thoughtful programming permeates the gallery’s ethos.
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Artists, Niki Keenan and Kendra Larson, pause in quiet conversation before Tree of Knowledge (2025), Larson’s luminous 45 x 65 in. watercolor on paper — a work that invites reflection on landscape, memory, and the layered ways we see and understand the natural world. Sacred features Holly Hudson, Niki Keenan, Kendra Larson, Christine Nguyen, and Io Palmer. Across wall reliefs, ceramics, painting, mixed media, and photo-based
processes, the artists explore themes of belonging, spirituality, ecology, mythology, and transcendence.
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The Thing About Friendship . . .
H
ave you ever admired a painting so much that it inspires you to do something? Something you’ve put off for, say, a hundred years; knowing how long a century can be? I know a writer can romantiMary Lou cize certain Sanelli events, but Falling that’s how Awake a painting at the Bainbridge Island Museum of Art affected me, like I
suddenly understood everything there is to understand, and at this particular time in American history, understanding everything is not easy. The name of the painting, by Linda Okazake, is Letter to Frida. Three simple words. But they tell an intricate story. Frida (Frida Kahlo) and Linda (the artist) are connected by a red heartstring―visibly, not figuratively―and there is so much happening between them, and so many names for it: trust, faith, affection, courage. The beauty of it stunned me. And it’s funny because I nearly walked past the museum that day. I was running late starting the dinner I wanted to make for my friend,
Trude. But when I reached the museum, I thought, I’ll just go in for a minute. That minute turned into an hour. And the stuffed pasta shells I’d wanted to make became a quiche I had time to make. I have a special fondness for the Orientation Gallery at B.I.M.A. where I read from one of my books during the pandemic when things loosened up a bit. It was a crazy time to launch anything, so I am beholden to the museum. For life. But my favorite space is upstairs where Letter to Frida hung. And that painting, those women! They pushed me with a
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