Submitted by Ron Kop, art collector/writerrkop.1@juno.com
© Copyright
William Richard Doherty, b.1928 -
Style: realistic painter, muralist, illustrator
Mediums: oils, watercolors, pen and ink, colored pencil, etching
Subject matter: tends toward western regionalism, wildlife, landscapes, and historical themes.
William Richard Doherty’s subjects generally depict the American west, often exploring the inevitable conflicts and contrasts of the changing times: the encroachment of fences, machines, and urban sprawl. He works in a realistic manner presenting his subjects as he sees them, relying on the inherent ruggedness and beauty of the landscape and the wide-open spaces, allowing his subjects to speak for themselves without being romanticized or exaggerated.
It was Doherty’s love of the outdoors, working cattle, hunting, camping, and the wonder of the natural world itself that ultimately became the major theme of his experience and expression. Although he’s known throughout Western Colorado as a muralist, illustrator, print maker, and the creator of pen and ink and colored pencil drawings, the majority of Doherty’s work can be found in his oils, watercolors, pastels and miniatures.
W.R. Doherty was born in New York City in 1928, started drawing before he began school, and was painting in oils at the age of 15. He left home at 16, traveled upstate and worked as a farm hand on a dairy farm. As he grew older he worked at various jobs and did a stint in the Army as a medic. He later finished his high school requirements, and then went on to study animal husbandry at a state agricultural college before returning to work as a dairyman. In the early 1950s he decided to travel west to learn the skills of a cowboy, spending several years working on different cattle ranches in Wyoming, North Dakota and Colorado.
During his wanderings, Doherty drew and painted what he was doing and seeing – the work and lifestyle of a western rancher and cowpuncher. Throughout his travels Doherty recorded on canvas and paper the life he loves from the interplay of his experience, memories and imagination.
While working on a ranch in Norwood, CO, an opportunity for developing his talent opened up, and the small community hired him as the school’s art teacher. This change in paths led to a return to college where he eventually received a master’s degree in art, allowing him to pursue a full-time teaching career.
In 1969, he accepted a teaching position at Delta High School where he taught art until he retired in 1988. Throughout his teaching years Doherty sought his own creative exploits through public and private commissions, exhibits and sales.
A few of the special projects Doherty has accomplished includes designing the City of Delta’s 1976 Bicentennial Time Capsule monument; designed the 1982 Delta Commemorative coin; illustrated a book about Delta titled “The First 100 Years,” written by D.V. Doherty; and also painted the city’s first mural in1987, “Delta County Ark,” a 16-foot by 70-foot depiction of local wildlife. Several additional murals followed throughout Delta County as well as a number of other Western Colorado cities and towns. In addition, Doherty completed two books of drawings titled “Pen and Ink Thru Fort Uncompahgre,” and “Pen and Ink Thru The San Miguel Basin.” He also illustrated a book of western poetry in 1993, written by Gene Johenning of Garden City, NY.
From time to time Doherty’s pen and inks could be found in local newspapers illustrating court proceedings of various criminal trials. In the early 1970s, Doherty was instrumental in forming the Delta Fine Arts organization, a group whose purpose is to bring together local artists to educate the public and exhibit their work.
In 1971, Doherty entered and won an award for a painting he submitted in the Ninth Annual Benedictine Art Awards, a competition inspired by the art collection on permanent display at the Benedictine Abbey in Fecamp, France. His painting remained on exhibit in New York City at the gallery of the Manufacturers Hanover Trust Bank on Madison Avenue for several weeks.
His many awards and one-man shows are too numerous to mention, but Doherty’s work at various times could be found throughout Western Colorado galleries, including: The Finishing Touch, Delta; the Frameworks Gallery, Grand Junction; Around the Corner Gallery, Montrose, CO; Bridge Street Gallery, Hotchkiss, CO; Dulces Fine Arts, Cheyenne, WY; Horsethief Canyon Gallery, Grand Junction, CO; Best of the West, Montrose, CO; and the Appleshed Gallery, Cedaredge, CO.
Doherty has also exhibited at the Fall Arts Exhibit, Glenwood Springs, CO; Edge of the Cedars, Cedaredge, CO; Delta Fine Arts, Delta, CO; The Finishing Touch Miniature Show, Delta; Black Canyon Art Show, Hotchkiss, CO; Brush and Palette, Grand Junction, CO; Seven State Regional, Cheyenne, WY; Old Pass Gallery, Raton, NM; Montrose Fine Arts, Montrose, CO; Archer Concept Group, Denver; and the Colorado State Fair, Pueblo.
Artist’s Statement: “My work is concerned with what I know or have experienced. As a young man I worked on several ranches as a cowhand, and to this day I am an avid outdoorsman. This is why I choose to express myself with modern western and wildlife subjects. The western theme of my work allows me to paint my varied interests: people, animals, landscapes, still lifes and ranch life in general. Many of my paintings are concerned with the changing times and situations in the west today. They are not meant to be judgmental or to influence, but are created to make the viewers aware. Let them interpret the message as they wish.”
Doherty earned a B.A. degree in fine art from Western State College at Gunnison, CO, and an M.A. from the University of Northern Colorado at Greeley. After retiring from teaching art in public high school, he continues to teach college-level art courses and community adult classes and workshops.
Sources: Delta County Independent; Greeley Tribune; Grand Junction Daily Sentinel; W.R. Doherty brochure; portfolio with news clippings; and personal interviews with the artist, Oct. 2009.
Daphna Russell
Submitted by Ron Kop, writer, art collector, and friend of the artist.
Daphna Russell, b. 1935 - )
Sculptor: clay, cast paper, stone, bronze, raku; watercolor
Mediums: clay, glazes, bronze, stone, wood and paper
Styles: abstract
Daphna Russell is an influential sculptor and teacher known for the creation of stylized animals such as horses, buffalo, pigs, sheep and llamas. Her subjects are transformed from clay (some of which are produced in bronze) in an abstract style. The essence of her chosen mediums is virtually coaxed from the raw material, and the interplay between viewer and finished sculpture is one of emotion and intrigue: the interaction first precipitated by sight – then touch.
By facilitation of mass and structure, Russell shapes the slabs of water-based clays into powerful and sometimes whimsical animals; delicate angels ready to take flight, and haunting images of people at work or their voices lifted in song. Often captured in movement, her highly original compositions stand at half-stride or at play, depicting her animals with perked-up ears, a raised neck or leg. The Artisans of Colorado has reviewed her three-dimensional pieces as placing a heavy emphasis on the relationship of formal elements. Whereas Russell’s uncompromising glazes have been described as innovative, often experimental and avant-gard, where texture and crackling are as important as hue and color.
Her primary media are water based and oil based clay, however, she also works in wax, wood and stone. More often she utilizes watercolor to make drawings and figure sketches, preliminary to larger sculptures.
Russell talked about her style during an interview while taking a break from her studio routine. “I am known for making, or creating animals which are stylized by the use of abstracting the forms,” she says.
“Then I reconstruct those using geometric shapes and biomorphic masses to describe and construct their underlying structure. The basic design, while still describing the animal, combines with the composition to create the meaning lying under the surface,” she adds.
There is a much deeper understanding she wishes to convey, however, particularly in her roll as instructor. “The real meaning of the object then becomes apparent, be it power, whimsy, contemplation, fear, joy and so on. I very much desire that patrons, other appreciators and students would come to this understanding which would help them with their education, enlightenment and secure feelings about the visual arts.”
Born in 1935, Russell grew up in a rural environment near Tyler, TX, and as a child observed the movements and shapes of the farm animals she cared for. While those early observations may reflect her art today, Russell would realize more challenging artistic opportunities when her family left Texas and moved to Sarasota, FL. As she grew into adulthood, Russell pursued her art more seriously. She sketched and painted copies from the casts of Greek and Roman statuary while in Sarasota at the John and Mabel Ringling Museum of Art. Not only was she viewing and studying the original works in their baroque museum, Russell also began to paint on site at the winter quarters of the Ringling Brothers, Barnum and Bailey Circus facilities.
At this stage in her development – perhaps unconsciously – Russell began to distinguish between the classic and baroque styles, styles she later utilized as the open and closed compositional elements of her subjects. Because of her love of horses, Russell also took up riding classes and equitation, as well as participating in horsemanship competitions.
While in her 20s and 30s, Russell had the opportunity to work for the Ringling as a tour guide and curator for museum patrons. During that time she traveled to Paris, Italy, Greece and the Greek islands where she observed the Mediterranean culture as well as the works of art these countries contributed. Later she visited the British Isles, The Royal Academy and the museums of Bath. Subsequently she returned to Italy to work and study art at the La Meridiana International School of Ceramics. Here she also shared her proficiency in raku as well as demonstrated her own techniques in sculpture.
Commenting on the skill she obtained while abroad, Russell emphasized “these repeated experiences reinforced my classical education by viewing actual works of art ‘in the flesh.’”
But it was Russell’s own distinct style she wanted to develop and explore beyond the classical or realistic representations of three-dimensional art. She would go on to describe her subject (i.e. horse) in terms of geometric and biomorphic shapes which seamlessly reflect the characteristic moods and specific actions of the horse. “In other words, I represent what I see as essence of horse rather than trying to copy all of the details which make up the subject,” she explained.
“Hence, I am presenting the viewer with content which might be described as power, whimsy, fear, pleasure and so on, which is made up of line, mass, composition, and subject to convey the abstract content.”
Russell works and teaches sculpting classes out of her studio in the western Colorado town of Cedaredge, located in the foothills of the Rocky Mountains. To the observer she can frequently be found with her hands immersed in clay, or plucking a newly fired raku piece from an outdoor kiln. From time to time, however, she’s also taken up the role of political activist. She believes the First Amendment should not only protect the written word, but also the creations of artists. When these rights were recently challenged within the community, Russell took a firm stand and supported the Constitutional right of artists to portray the subject matter he or she chooses to display in public buildings. Russell is also active in the local art scene and is a member of several organizations, including: Delta Fine Arts (a group dedicated to art education); Hotchkiss Fine Arts, The Creamery Art Center in Hotchkiss, CO; and the Western Colorado Center for the Arts in Grand Junction, CO.
More importantly perhaps, it is the knowledge and experience she’s gained throughout her career that she hopes to impart to her pupils. Whenever she teaches, she uses water-based clay so that her students (who are usually adults) can have at least one finished product at the end of the course. All the while she will lecture while demonstrating her techniques and creative processes: “I am a sculptor; I could not copy nor stay within the lines, but I could produce original works of art, talk about its history, the way it was made and aesthetics,” she says.
Although Russell is often identified as an academic, it is widely known she is a natural in handling clay, loosing herself in developing a new piece. It seems obvious to the viewer she derives more pleasure from a hands-on approach rather than just talking about her work: “I enjoy the medium of (water based) clay because of the immediacy inherent in it. One, I can pull, fold it into planes, and a sculpture develops almost on its own,” she observes.
“However, I also sculpt in oil based clay which allows me to produce larger objects with armatures which stand on their own. Then I take them to the foundry to be cast.”
Bronze casting is an often misunderstood process, and Russell is quick to correct any misguided assumptions. She points out that a cast is first made at the foundry from one of her chosen sculptures, and the cast then filled with wax. She works closely with the foundry workers throughout the entire procedure.
“I participate in the wax-chasing-wax (technique) and choosing the patina and the application of them,” she clarifies. “The bronze work lends itself to a sturdy structure and the possibility of being extended into cantilevered projections, and is therefore suitable for enduring monuments.”
In dealing with water-based clay, the artist first dries and then fires the objects. They are then given a finish with stains and glazes, sometimes using a process called raku. “These objects are completely one of a kind, unique and fresh,” Russell explained.
When invited to do a quick draw competition sponsored by the Museum of the University of Wyoming in Laramie, Russell was commissioned to execute a buffalo for the Chairman of the museum’s board of directors. The cities of Montrose and Delta, CO, have purchased her work where they are currently on display in outdoor venues. Her work is held in many private collections throughout the United States as well as abroad.
Russell has taken two workshops from internationally recognized sculptor Lincoln Fox, an artist known for his monumental installations. She has also taken classes at the Sarasota Art Center, Sarasota, FL; studied at the La Meridiana in Certaldo, Italy; and also took a sculpture class at the Scottsdale School of Fine Arts in Scottsdale, AZ, just to name a few of the many advanced courses she’s taken throughout her career.
Daphna Russell studied sculpture and art history at the College of William and Mary, Williamsburg, VA; she received a teaching certificate from North Texas State University, Denton, TX; received her B.A. in art history and sculpture from Colorado College; and achieved an M.A. in art history and sculpture from Texas Women’s University, Denton, TX.
Russell worked as acting Curator of Education at the John and Mabel Ringling Museum of Art, Sarasota, FL; Curator of Educational Services at the Wichita Art Museum, Wichita, KS; Curator of Community Services at Dayton Art Museum, Dayton, OH; and consultant in the arts to various school systems as well as the E.B. Crocker Gallery in Sacramento, CA.
Russell has exhibited at the Ann Darling Studio in Sarasota, FL; Es Posible in Scottsdale, AZ; The Creamery Arts Center in Hotchkiss, CO; the Apple Shed Gallery in Cedaredge, CO; the Old Pueblo Art Gallery in Tucson, AZ; the Coldwater Gallery in Ridgway, CO; the Schiesser Gallery in Steamboat Springs, CO.
Russell has also exhibited at the Colorado Center for Arts in Grand Junction, CO; Around the Corner Gallery, Montrose; CO; the Loveland Sculpture Invitational, Loveland, CO; the Denver Art Gallery, Denver, CO; Old Pueblo Art Gallery, Pueblo, CO; Deselms Fine Art Gallery, Cheyenne, WY; PAX Public Art Experience, Montrose, CO; Delta Public Arts Project, Delta, CO; the Canaan Gallery, Southglenn Mall, CO; Sculpture Walk, Souix Falls, SD; and the Bemidji Sculpture Walk in Bemidji, MN.
Sources: Artist’s brochure; personal portfolio and news clips; Delta County Independent; Montrose Daily Press; Grand Junction Daily Sentinel; Littleton Independent; personal interview with the artist at the Daphna Russell Studio, Cedaredge, CO, Nov. 2009.
Hazel Monzingo, b.1940 -)
Painter/sketch artist
Mediums: pastel, pencil drawing
Styles: romantic realism, expressionistic naturalism
Subject matter: western, western regionalism, horses/animals, landscapes, and still life
Hazel Monzingo is known for her western landscapes, animal portraits (particularly horses) and still life images, created with pastels on paper in a difficult-to-define style resembling romantic realism – or in her words – expressionistic naturalism. Her landscapes, for example, seem to invite the observer, and that invitation often triggers a familiarity or longing, and a sudden response wells up from within that says: “Yes, I was there.”
If it isn’t familiar, then certainly Monzingo’s art can stimulate a desire to know more, to see more, fusing an instant and intimate bond between subject and viewer. Her creative ability moves beyond objective reality while at the same time inserting an atmosphere that reaches out to the mind’s eye. The observer may sense additional elements other than what’s depicted in her compositions, where that something extra is suggested or implied, allowing further exploration on a deeper level.
When taken as a whole, one senses a laid-back maturity in Monzingo’s subjects, and yet she reveals a tension in her compositions that she exploits with delicate compassion. Her depictions of workhorses are often seen eagerly pulling as a team; a lone tree on a hillside may struggle to survive in a harsh environment; a rock in mid stream exposed to constant turbulence remains solidly fixed in place; the erosive power of wind and water is on display as it carves out deep, red-rock canyons; or an arroyo is seen inflicting scars upon a desert-floor landscape. All allegorical subjects perhaps, but her focus remains important nonetheless as she expresses her artistry through a narrative about the natural forces that surrounds us.
In a recent interview, Monzingo answered a question about her choice of pastel as a favored medium, saying that she takes her art quite seriously, and offered to assist the visitor in better understanding her style.
“I take an expressionistic approach, and not a photographic one,” she explained. “As soon as I found the medium of pastel it set me free – no more confinement. Oil (painting) has its form and conventions, but with pastels you can see it and immediately create what you see. With pastels you really have time to see what you’re looking at, and I can then translate that to paper.”
She emphasized that each piece starts in the abstract, to balance the shapes and values. At this stage she then decides whether to complete the image by adding realistic details. “The heart of the artist is manifested on paper,” she said, adding, “An artist’s painting is a conversation in art form rather than with words.”
Monzingo lives in Austin, CO., and works exclusively in pastels. Most of the scenes she paints are of landscapes found in western Colorado, the heart of the Rocky Mountains. She has an attachment to her paintings and thinks of them as her family and friends. One of her pastels, called “Memories,” is a picture of her grandparents on their wedding day. Two years later her grandmother was widowed when her husband was killed in an accident. When Monzingo made a painting of the wedding photo, she added the scene of her grandmother’s lamp, some Chinese dinnerware and a love letter.
A traditional painter, Monzingo captures the local scenery around her home. From her backyard she has spectacular views of the San Juan Mountains to the south, the Grand Mesa to the north, and Mt. Lamborn and the West Elk Mountains to the east. Here she can set up her easel in the upright position “and slightly tilted forward” to facilitate the application of the pastel sticks.
She said the particular paper she uses has a rough texture with a tooth that traps the medium in the dips and valleys of the surface; while the color of the paper is generally fixed, it adds to the overall effect. Pastel sticks of various colors are used to make a painting, Monzingo explained, and oftentimes one color is overlaid on another to create a certain effect, shading or value.
Monzingo’s confidence is not only reflected in her finished compositions, but the creative transference starts immediately whenever she touches a coloring stick to the textured surface.
“I can paint anything, but it’s more of a challenge to paint in pastel because I heard it was a difficult medium. In oils you can mix the problem away (with color). But in pastels it makes you think and it draws you out, simply because it’s difficult.”
Hazel Monzingo was born in 1940 in the rural environment of Spanish Fork, Utah, taking care of the animals on her family’s farm. By the age of nine she was already drawing pictures of horses and other animals, and submitted several pencil sketches to the Utah Farmer magazine. They not only accepted her drawings, but also paid her a dollar for every one of the equine sketches they published. While in high school she continued to draw and won several countywide awards for young artists two years in a row.
After graduation from high school, Monzingo married, raised a family, and lived and worked in Arizona, Texas and New Mexico, all the while drawing and painting in both watercolor and oils the scenes of the rural ranch life around her. She got her first set of pastels while living in Texas, but Monzingo explained she never used them much until she returned to a ranch in New Mexico. It was here that she started to take her art more seriously. Although she had to drive 90 miles to get to art class, Monzingo began taking lessons from noted oil painter Don Ray. She soon discovered, however, that wet oil on canvas didn’t mix well with the dusty roads, and she switched from oils to pastels full time.
Monzingo moved back to Colorado permanently which she said made a big difference in her life. She left ranching and farming behind and started taking art classes at Mesa State College in Grand Junction with Charles Hardy, becoming more familiar with pastels as a creative medium. At this time she also worked with Tom Stubbs, and also observed the compositional arrangements illustrated by Daniel Sprick. Monzingo also took workshops from other noted artists such as Lorenzo Chavez, Albert Handell, Duane Wakeham and others. She also began expanding her subject matter by including landscapes, still life and portraits. Eventually she felt comfortable enough with the medium to enter local exhibitions, and success soon followed, encouraging her to enter her work on a national level as well.
In the 1990s, Monzingo joined forces with another artist to form a statewide pastel society. Today there are over 200 members of the Pastel Society of Colorado from around the state and the U.S. She has served as the group’s vice president and editor of their newsletter. Monzingo is a signature member of four national pastel organizations: the Northwest Pastel Society, the Pastel Society of New Mexico, the Pastel Society of the West Coast and the Pastel Society of Colorado. Monzingo’s first accepted national show was at the Salmagundi All Media Show in New York City.
As previously mentioned, she is a standing member of several pastel societies and has been accepted to exhibit her work throughout the U.S. as a juried pastel artist. Successfully achieving a signature membership in any of these societies can be quite difficult, Monzingo said. The Pastel Society of New Mexico, for example, requires members to first accumulate a number of points, where 12 points ensures membership. Points are awarded based on how the artist finished placing in any given exhibition or show, where five points are given for first place, four points for second, and so on.
Today Monzingo paints animals, people or landscapes on commission. One commission she completed recently was of a large landscape for the Grafton School in Utah. Although she doesn’t do demos, Monzingo does on occasion give private lessons.
Throughout, she has completed a number of commissions and sold her work around the United States and Ireland. Her pastels can be found in corporate holdings as well as many private collections.
Monzingo conducted a workshop recently with artists George Collision and Dan Logé at the Art Center in Grand Junction, CO. where they answered questions about pastel painting and the various mediums used to express the artist’s vision. Afterwards, they did brief critiques of the participant’s works. Monzingo’s work is well represented by the Creamery Art Center in Hotchkiss, CO.
Artist’s Statement: “I live in a region with views so glorious I feel compelled to paint them so I can share them with others. The pastel medium is perfect for me because of its immediacy in capturing the moment, and the beauty of the scene. . . . You are so alone when you create, yet creativity is a spiritual thing for me.”
Sources: The International Artist, Oct.-Nov. 2004 issue; The Creamery Art Center of Hotchkiss, Co. newsletter and Web page; from correspondence written by the artist; personal interview with the artist, Dec. 2009
Carol Ann Rasmussen
Carol Ann Rasmussen, b.1941 -
Sculptor/painter/folk artist, colorist
Mediums: clay, glazes, alcohol ink wash
Styles: stylized realism, humoristic and surreal fantasy
Sculptor Carol Ann Rasmussen is known for creating recognizable subjects stylized through the use of repetitive patterns, constructing unique forms based on nature. She has learned to convey the essence of form through use of powerful shapes, contrasting colors, with unexpected twists, that unify the composition. Her sculpture is known for a series of dogs, fish and birds, whereas her paintings tend toward surreal landscapes, occasionally interspersed with fanciful botanicals. The paintings reveal jewel-like colors of high intensity which have been washed on to a specially glossed matrix material upon which the alcohol inks flow into one another. Rasmussen is a pioneer in this art form.
Rasmussen can be described as an artist heavily influenced by travel. She was born in Missoula, Montana in 1941, and left home at the age of 18, spending the next two years exploring the cosmopolitan atmosphere of San Francisco, CA. She moved back to Montana and married Dave Rasmussen, a mining engineer. Carol Ann and Dave started a family in Butte.
Carol Ann soon followed her husband and his work to South America. After working for two years in Chile, they returned to the U.S. and settled on an Indian Reservation near Laguna, NM, where they lived for the next seven years. It was here that Rasmussen became interested in art – folk art in particular – being attracted by her environment and the native people’s culture. Her handcrafted arts became a local hit, and the Smithsonian requested one of her modified patterns be displayed in the national museum.
The Rasmussen family later moved to Carlsbad where Carol Ann studied various arts and gave lectures at the New Mexico State University branch on the psychology of color. Other moves followed to Colorado and Virginia, and then to Las Vegas, Nevada. It was here she was first introduced to clay and studied under Tom Coleman for the next six years while developing her interests in glazes and formulating her own coloring styles. Coleman and his work had a major influence in her life. In a personal interview, Rasmussen commented on his teaching philosophy: “Tom taught me to be self-expressive – and I am able to do that without a lot of formal training.”
In 2004, she and her husband settled in the mountains of western Colorado. Since that time she’s increased her studies in clay sculpting under the tutelage of Daphna Russell at her studio in the small town of Cedaredge. “I was at home with color,” she says. “I was always looking for my niche. The art world is the place where I fit. I belong here.”
While living in Cedaredge, Rasmussen developed her own methods of ink painting; a type of alcohol wash and overlay of colored inks that respond in unusual patterns on specially treated paper. In her artist’s brochure, she points out that “color has always been my passion whether I am making sculpture or pottery in clay, or painting in alcohol inks. Alcohol inks have given me another avenue for introducing an array of color in a two dimensional form of art.”
Rasmussen has displayed her work at the Coleman Studio in Las Vegas, NV and at the Foothills Art Center in Golden, CO. She was also juried into the Contemporary Clay Biennial 2008 Exhibit at the Art Center in Grand Junction, CO. In regional art exhibits, Carol Ann’s art pieces have won a number of awards and received critical acclaim.
In her artist’s brochure, Rasmussen writes: “My feelings are externalized in the making of works of art that express my joy of using color and/or humor as a vehicle to enjoy the best parts of my day. I first experienced this joy of color in a class at the University of Montana with Rudy Audio, mixing the pigments on my palette, realizing there are no limits to the experience of color. Later I found expression in the chemistry of glazes and texture working with clay. I celebrate my life in making art.”
Carol Ann Rasmussen’s work is currently on exhibit at The Stonehenge, in Georgetown, CO; Around the Corner in Montrose, CO, and The Creamery Art Center, Hotchkiss, CO.
Sources: Personal interview at the artist’ studio in Cedaredge, CO, on 28/10/09, and from the artist’s own brochure titled: Carol Ann Rasmussen: clay and fine art
by Ron Kop
Thanks , Ron .... this took alot of work on your part and alot of talent on the part of the featured artists of Delta County !
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