My good Friend Elio's Workshops for 2011 Around Portland Oregon

Little Art - Big Music at Rip Caswell Gallery in Troutdale

Color and aroma, wine and style magazine article

Experience Michael Orwick’s Art

by colorandaroma

Experience Michael Orwick's Art in Color and Aroma

“My new series is based more on grounded realism and local settings. I allow my passion for nature and the way I feel, or at times how I wish the place made me feel, to work its way into the painting. It is not enough for me to just record what I see and pass it along. I love the poetic, expressive side of creating. I love to merge experience, shared sentiment, creativity and a feeling of place.”   

 

 Beautiful Consensus

“I can really see a direction emerging in my style; and the voice of my work is really coming into fruition.  Living in Oregon has always been a gift, surrounded by so much inspiration and beautiful scenery. I’m really focusing on conveying the unique atmosphere and light we get here. I’m always so intrigued by how normal seemingly mundane things can appear extraordinary when lit just so.”

Jenny Lake Canoes

“The painting above is from a photo I took on Father’s Day last year just before going on the boat tour at Jenny Lake. I received the tour as a gift from my wife and our four-year-old daughter. The weather was cold and often stormy and we camped part of the trip in the snow.  I tried to capture the cool light and turmoil of the constantly changing weather in the reflected clouds and thick active paint.”

Homeward Bound

“I’m not after a strict adherence to details. I would rather my paintings hint at mood through atmospheric brush work and serene colors.” 

Tres Folium

 “I wanted to do animation or comic books when I was a kid. The desire to tell the complete story rather than only a portion of it led me to paint on my own.”

 Shy Deere

“I like reacting and responding with those who are watching me. It creates a relationship with the piece and with the people who are observing. When I’m doing plein air painting, I’m really responding to the moment. When I’m painting in the studio, I have more time to contemplate and paint the fuller story.”

 Golden Vines

“The California Impressionists have influenced me quite a bit, and that interest led me to the Barbizon school.”  

 Sharing Shade Upon Us

“For my next group of paintings, it would be interesting to explore more about why art and wine go so nicely together. It may be something to do with refined tastes or the appreciation for things that go above and beyond the ordinary; or the fact that both give a chance to step back even just for a small amount of time and enjoy something that speaks to beauty, earth and hard work. Wine like art is different for each of us and it allows for so much personal interpretation brought from our own experiences.  A good wine should tell a story of the soil, the weather and the winemaker; just like a painting speaks about the artist, the event being depicted and the medium being used.”

www.michaelorwick.com

Thank you Michael!

colorandaroma

farm paintings

"Love at first sight," does not apply solely to romantic love

Thank you to Andrea Mace at the Cannon Beach Citizen for such a great article.

http://cannonbeachcitizen.com/index.asp

The expression, "Love at first sight," does not apply solely to romantic love, according to well known painter and illustrator, Michael Orwick. In Orwick's experience, art patrons fall in love with paintings in a similar fashion, feeling an almost visceral connection with certain work.  The formal components that come together in a final painting and cause this magnetic draw to a particular painting will be the focus for Orwicks next painting workshop. http://michaelorwick.com/workshops

     “When a painting from across the room has a magnetic draw, almost like falling in love at first site, this initial impact is most often caused by design and the values or lights and darks in the painting’” Orwick explained.

    “As you wander closer to investigate, it is the colors and temperatures that come into play more. As you get closer yet, wanting to learn more, the brush work comes into action,” Orwick continued. “Many of my students want to first learn brush work, but they are approaching the image making process in reverse, the details may sell the painting, but it is the big picture things that are the real strength and initial cause of the love affair,” Orwick said.

     The weekend long oil painting workshop entitled, Strengthen your Visual Sensitivity and Creative Visual Language, will be taught by Orwick on March 26, 27 and 28 at the Cannon Beach Chamber of Commerce.  The workshop is designed to explore the fundamental reasons behind a painting's success while artists create their own masterpiece under the tutelage of a well established painter.     

   Orwick compared the process of learning how to paint to playing the piano, “No one expects to be able to play music and successfully relate their ideas the first time or even tenth time they try to play.  It takes time and learning the basics.” 

    When he teaches, Orwick believes in stressing the classic fundamentals of design and composition over a narcissistic exercise in self-expression. Often, people overlook the formal training of such modern masters as Picasso or Kandinsky, and want to jump right to the point where they can express themselves without the constraints of learning such basics as how to mix colors to make a complimentary palette or how to render light and shadow to create form.

    “Painting is hard, and all I try to do is make it easier and more fun by helping people learn how to hold a brush and what the paint is capable of when used in an educated way systematic way.  The SELF Expression comes naturally with time and as we get more comfortable with the tools,” Orwick explained.    

   In his experience as an artist, it is a true compliment when a viewer gets so close to a painting that they are nearly kissing it. 

    “That is when the viewer is trying to figure out the what’s and how’s of the mysterious pull the painting has,” Orwick said.  “Then, as they step back and shake their heads in a silent bewilderment they wonder, ‘How do these loose brushstrokes that appear so fragmented come together from just a foot or two back?’  And the answer to that are the big picture things, like design and values.”

  Orwick majored in Illustration at Pacific Northwest College of Art, where he discovered that oil painting and the method of working from dark to light meshes with how he processes visual information.

    "When I'm not illustrating books, I still find my whimsical images and my landscapes to be very illustrative. I love creating art that invites you on a journey, in which you're invited to form a story and explore your world within," Orwick said.

    In his workshops, Orwick takes a hands-on approach, encouraging a lively dialogue amongst his students and making use of step-by-step demonstrations to teach technique and the interrelated components of value, shape and color in oil painting.  Students will also learn how to work with a limited palette to achieve dynamic effects in their compositions.

    Born in Astoria, Oregon in 1975, Orwick has been around the coast all of his life.  Still, he is in awe of the mighty Pacific Ocean and the magestic coast line.  “I feel like I’m still learning how to see like an “Artist” as my eyes become more sensitive and I learn what questions to ask about the beautiful scenes laid out in front of me,”  Orwick said.

  "My daughter has also done so much to help me remember all the simple and utterly perfect childhood joys that can be found by looking through new eyes.  We collect shells, look at the tidal pools, find salamanders in the near by forests and make moss covered fairy homes at the bases of trees," Orwick added. 

    Orwick loves to come to Cannon Beach with his family to walk on the beach, explore the galleries, and eat chowder.  But he also loves to paint, or to take reference photos when the wind threatens to blow his canvas away.

    Those interested in more information about Michael Orwick's Cannon Beach Oil Painting Workshop should contact Dragonfire Gallery on the web at www.dragonfirestudio.com or by phone at 503 436 1533.  Tuition is $250 for all three days and a special reception; for those in town for less time there is an open option of $100 per day.

    In addition, Orwick is extending an open invitation to workshop participants to paint Haystack Rock directly from nature, Plein Air style,  before and after class, weather permitting. 

www.michaelorwick.com 

--
Andrea Mace

cute paintingsdance prints
dance prints
dance greeting cards

strengthen visual sensitivity and creative visual language three-day workshop Article in the Cannon Beach Gazette

Michael Orwick 

This three-day workshop promises to strengthen visual sensitivity and creative visual language through the medium of oil paint.

"Haystack Rock"

by Theresa Myers

Whether you're completely new to painting or an old hand at the canvas, Michael Orwick's oil painting workshop from March 26 to 28 at the Chamber Community Hall promises to be rejuvenating, fun, and just the break needed to launch into summer with creativity and positive energy.

Orwick, whose work is on display at the Dragonfire Gallery in Cannon Beach, said he knew he was an artist even as a young boy.

"My family was totally supportive," he said. "My dad is a doctor, so for awhile I thought maybe that is the direction I should go. But my parents gave me total support for following a career in art."

That career began as a children's book illustrator, focusing on whimsical scenes. But in the past few years, Orwick has found his true love and artistic calling in landscapes.

"The California Impressionists have influenced me quite a bit," he said. "And that interest led me to the Barbizon school."

The early 19th-century Barbizon school movement emphasized realism and the play of light and dark. Its influence can be seen in several of Orwick's recent works, including the painting of Haystack Rock he did for the 2009 Stormy Weather Quick Draw contest. He admits this classical, representational style may not be in vogue everywhere, but because the style is classic, "these paintings can fit into any setting," said Orwick. "If it's a modern room setting or classic beach cottage, a good landscape can fit the space."

Orwick does paint in plein air, but more often works from photographs. He is also not afraid to add elements to the image that may not be in the original scene.

"I believe in doing what the painting needs," he explained. "For me, painting is telling a story. Even if I'm working in plein air, I will add a figure to the scene if that is what it needs to tell the story."

Orwick also believes in starting each work from the basics.
"If a painting is not going well, it's almost always because I haven't paid attention to the fundamentals," said Orwick.
The fundamentals of landscape will be the focus of Orwick's March workshop, starting with an overview of light and dark values on the canvas, then color composition and "temperature." Students will learn about mixing colors from a limited palette to achieve dynamic light and shadow effects with lively color and harmony.

"The last part of a good painting is the texture," said Orwick. "The brush strokes, the finishing lines. Those are the elements that go down last, but they make the painting unique and put the artist's signature style on it."

Orwick says he is looking forward to the workshop. He and his wife, Gabriella, and their 5-year-old daughter, Elena Grace, are frequent visitors to Cannon Beach and the couple have a cottage in town.

"Elena shares the studio with me," he said with a laugh. "She has her 'gallery' at grandma's house."

"I love to teach art," continued Orwick, who currently teaches a class at Clark College in Vancouver, Wash. "I use a limited palette in my classes and keep it pretty simple. But that's how I paint, too. I generally use a small number of brushes and keep plenty of paper towels on hand. Because I keep it simple, participants in the workshop can expect to finish a painting over the course of the three days."

Orwick emphasized that a person does not need to be "artistic" or "gifted" to enjoy painting, or even to be good at it. "Anyone can learn to paint," he said. "It's all about learning the fundamentals and telling a story."

Orwick's paintings have been in galleries in Cannon Beach for the past eight years and are currently in the Dragonfire Gallery. He also has work in galleries in Lincoln City and Seattle.

To obtain more information about Michael Orwick, visit his Web site at michaelorwick.com. To register for the workshop and obtain a supply list, contact the Dragonfire Gallery at (503) 436-1533.

Tuition for all three days is $250, which includes an early evening reception on March 27 at Dragonfire Gallery. The workshop schedule is March 26 through 28, from 10 a.m. to 4 p.m. each day.

The Police Report, The Novel, and The Poem

by Keith Bond This article is by Keith Bond, Regular contributing writer for FineArtViews. You should submit an article and share your views as a guest author by clicking here.

Suppose a crime happened in your city or town. Three people write about it.

First is a police officer who responded to the incident. The officer writes in exacting detail everything that happened. Nothing is left out. It is a completely thorough and meticulous report. But reading it is very cumbersome and tedious. It puts you to sleep on about page one.

The second writer is a novelist who is able to explain the same event in an exciting way. The novelist’s version is enthralling and captivating. The details are controlled so that you read them only when necessary. They are carefully composed to lead you over and under, in and around the events. The author creates a narrative to tell the story. You find the read thoroughly enjoyable and suspenseful. It is a page-turner. You cannot put the book down, because you need to know what happens next. Hours go by and you find that you read all night to finish the book. The twists and turns kept you guessing, but in the end you really weren’t prepared for what really happened. It caught you by surprise. You wonder why you didn’t see it before – the butler really did do it!

Yes, the novel would be much more exciting to read than a police report. But once you have read it, what then? Would you read it again? Perhaps in a few years.

Both Paintings By Michael Orwick

www.MichaelOrwick.com

The third writer is a poet. What would his/her version read like? Likely, it would give you only the most essential details. But the poet would also leave much to the imagination. The poet captures the feeling or mood of the events. Rather than telling you what everything means, the poet would subtly point you in the general direction, but you would be faced with the task of coming to your own conclusions. Each time you read it, you find new things hidden in the words. You think the poem means one thing one time you read it and something entirely different the next time. Thus, you never tire of reading it.

It is the same with art. Three people paint the same subject, but in very different ways (actually, the possibilities are far more than three, but for the analogy’s sake, we’ll keep it simple). What kind of artist are you? Do you tell your viewers everything in such exacting detail that they are bored out of their mind? Are you a story teller? Do you create wonderful narratives in your art? Is it exciting to view the first time, but there is little to bring the viewers back time and again? Or are you the poetic artist who merely implies themes and allows the viewers to interpret the art in his or her own way? Do they come back time and again to view the painting because it keeps drawing them in, revealing more to them each time?

Before I go further, I must clarify what I mean by these different classifications.

The Police Report

I am not picking on the highly detailed artists here. I have seen highly detailed works that are very poetic. Though the analogy is built around recording every last detail, it is really about not knowing how to edit and compose. This is the artist who cannot decide which details are important and which are not. This is also the artist who can’t arrange the details in a compelling way. This artist simply records things just as they are. A police report has no emotion. It is simply an outline of facts and events, regardless of whether the work is done in photorealism or impressionism or abstraction.

The Novel

I don’t use the term narrative in the typical sense. We all have seen those works of art which depict a story – a narrative. But even these can be done poetically. I am talking about the method of painting, not the subject (I hope it’s not too confusing). Do you lead your viewers through your painting in a controlled way? Do you keep the painting exciting and enthralling at every turn, but in the end, the viewer comes to the point that you wish them to get to? This is a novel in this analogy.

Poetry

Or do you simply create a painting in which the viewer gets a gist of what your intent is, but it is left open to them to interpret? Do you put in only the most important details and leave the rest out? Do you imply rather than explain? Do you search for new ways of expressing the old ideas? Do you say so much with each passage, that more is revealed each time your work is viewed? Are the works felt?

What kind of art do you create? What kind of art do you want to create?

Best Wishes,

Keith Bond

PS This analogy was derived from a vague recollection of one I heard years ago, so I can’t take total credit. The artist who told it to me claimed that it was John Singer Sargent who came up with it. I have never confirmed that. If you happen to know, share it with us.

---------------------------------------------- This article appears courtesy of FineArtViews by Canvoo, a free email newsletter about art, marketing, inspiration and fine living for artists, collectors and galleries (and anyone else who loves art). This article originally appeared at: http://clintwatson.net/blog/16298/the-police-report-the-novel-and-the-poem For a complimentary subscription, visit: http://www.fineartviews.com

the exuberant love and determination it takes to be good at the painting thing

"Towards Heaven" (Black branches climb white bark towards heaven-Bobby Frost) 10x57 Oils on Wood

"Cool White Aspen" 18x24 oils on Panel

Whew!
Hello Friends,

I have been having such an amazing brain crushingly good time traveling, learning and of course painting. I just finished up the Fantastic Elio Camacho workshop in the Gorge. We painted from sun up to sundown -no joke(see example below), and learned so much about seeing and finding color.

The biggest thing I learned or was reminded of was the exuberant love and determination it takes to be good at this painting thing. That was what I picked up from Scott Christensen's workshop also. These guys are so focused and work so hard and love every minute of it. I think I work hard, but let me tell you my standards have been raised through the roof. During both work shops I would just fall into bed each night exhausted from all the hard work and art's education over load, but many nights I couldn't sleep because my mind was still racing with all the new information and the shear excitement of all the possibilities.

Landscape painted Plein Air, alla prima-"Sunrise at the Oregon Gorge View From Vista House" 16x20 oils on Panel
Same Day July 18 2008

Landscape painted Plein Air, alla Prima-"sunset at the Oregon Gorge View From Vista House" 10x20 oils on Panel

It has been crammed into us that we have to give up so much for our art, but these two artists showed that art gives back 10 fold if we are willing to put forth the all the effort.

Scott has an amazing house, property and studio and unbelievable fame, Elio gets to travel sharing/teaching people about what he loves. And they are both great and very generous guys and a real pleasure to be around, the joy they feel from what they do is truly contagious.

I'll talk more in my blog down the road about more specific things I learned and post some of the paintings I did.

http://www.blog.eliocamacho.com/
http://www.christensenstudio.com

www.michaelorwick.com

All the best,
Michael Orwick

Orwick Arts

http://michaelorwick.blogspot.com/

I have some of the new plein air work on my web site http://www.michaelorwick.com/

Landscape Painting Show May 24 Artists' Reception in Lincoln City from 2-4 and another in Pacific City from 5-7 Show May 24 through June 15.

First off I have a new revamped web-site at the same URL http://www.michaelorwick.com/


Secondly the more pertinent information as m any of you are heading out this long weekend.
I'm honored to be participating in Freed Galleries 2008 Landscape Show May 24 through June 15.
May 24 Artists' Reception in Lincoln City from 2-4 and another in Pacific City from 5-7 (I have a bunch of new paintings in both beautiful locations) This is just one more great excuse to head out to the Oregon Coast this Holiday Weekend. It would be fantastic to see many of you at either one or both shows.

For Additional Information: http://www.freedgallery.com/
The Freed Gallery - 6119 SW Hwy 101, Lincoln City, OR 97367 541-994-5600 E-Mail: mailto:info@freedgallery.com%20or Pacific city location
The Freed Gallery - 34950 Brooten Road, Pacific City, Or 97135 Pacific City (503) 965-6070 pcinfo@freedgallery.com

predicted job growth for artists, designers and illustrators

Here is some comforting news for all of us paint pushers.

According to CNN, there is predicted job growth for artists, designers and illustrators.
http://www.cnn.com/2008/LIVING/worklife/02/20/cb.top.jobs.top.industries/
These jobs will experience strong growth and be in great demand for the next decade, according to the Bureau of Labor Statistics (BLS).
Art and design
1. Multimedia artists and animators

Projected growth by 2016: 26 percent
2. Interior designers

Projected growth by 2016: 19 percent
3. Fine artists, including painters, sculptors and illustrators

Projected growth by 2016: 10 percent
4. Graphic designers

Projected growth by 2016: 10 percent
5. Art directors

Projected growth by 2016: 9 percent
Note to Parents: The big money in the future seems to be in
Information technology.
2. Computer applications software engineers

Projected growth by 2016: 45 percent

Median annual salary: $79,780
4. Computer systems software engineers

Projected growth by 2016: 28 percent

Median annual salary: $85,370
free salary data based on government data Department of Labor's America's Career InfoNet,
http://www.acinet.org/acinet/
Note to my Computer Geek friends: we artist now know how much you make and we think it is a great time to buy some art.

All the best,

Michael Orwick
http://www.michaelorwick.com/

http://michaelorwick.blogspot.com/

my new store http://stores.ebay.com/Michael-Orwick-Arts

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With new ones about every other week

Rright click your mouse on the image you want and choose use as background, and Boom! magica, you have a shiny new Michael Orwick Arts "Neverwhere Vineyards" or "The Offering" image of your very own for use on your computer.

All the best,

Michael Orwick

http://michaelorwick.blogspot.com/

my new store, http://stores.ebay.com/Michael-Orwick-arts

My art hints at a story and then invites you to finish the narrative. My style has been called Inspired Expressionism, which combines impressionistic brush strokes and a touch of realism to create the atmosphere and lighting woven into my work.

The easiest way to see my work is at http://www.michaelorwick.com/

Gallery staff should feel a genuine fascination for what you do

I have gotten what looks to be very good news!
Lee Freed of the Freed Galleries likes my work and I am now doing two different series for them for upcoming representation. With that in mind I have posted the following essay/blog and the online discussion. Thanks again to all of you for your support and help as I continue to search for one or two new galleries to start showing my work in 2008.

You’re In a Gallery: Now What?
By Paul Dorrell Author of “Living the Artist’s Life”

http://pauldorrell.com/blog/2008/01/04/friday-tips-so-now-youre-in-a-gallery/
http://pauldorrell.com/blog
Firstly, I don’t feel you should expect miracles. Give the dealer time to work the market, and find out which of your styles sells best. If she makes suggestions about how to make your work more salable, listen to her—assuming that she knows her business, and you respect her. If she’s urging a subtle change, play with it, see if it inspires you. When you work with your dealer in a spirit of cooperation, and when that dealer has talents similar to those of a skilled book editor, the results are almost always good. This does not mean, however, that the more shallow aspects of the art market should dictate how you work. If you allow that to happen, you’ll wind up creating work that lacks soul, integrity and passion. Always stay true to your vision, and always work within the guiding parameters of your intuition. If you let other people sway you too far with well intentioned suggestions, you’ll get off the track of your own instincts, which will lead down a very dissatisfying road. In the end, only you can know what it is you want, or need, to create. No one else can fulfill this role for you, and no one else should.
Passion By this I don’t mean yours, but the gallery’s for your work. Maybe they’ll call it enthusiasm, appreciation, or sheer love. However it’s termed, the gallery staff should feel a genuine fascination for what you do. Why? Because collectors will sense their passion, and in turn become infected with it. This will lead to sales, and a broadening reputation. Available at Dragon Fire Gallery 503 436 1533 Adversely, if the staff are indifferent to your work or, worse, blasé, this too will be sensed by potential collectors. The next thing you know, you’ll become one of those non-selling artists whose pieces are ignored, then begin collecting dust, then are relegated to a back corner or shelved in the storage racks. There is also the possibility that, no matter how impassioned the staff are, and no matter how hard they work, your stuff simply won’t sell. It could be you’re in the wrong gallery, the wrong region, or it could be that no one has an answer for this unfortunate, but all too common, failing. Nobody can really predict the art market, just as no one can really predict that other market based at the corner of Broad and Wall Streets. Even so, the combination of a gallery’s energy, and your mastery, will normally bring good results. Try to ensure that each gallery you work with functions on this basis. If, after all good efforts, the work still isn’t selling, always be willing to try another gallery. Each of my more successful artists has had to do this.
Paul,

From Michael Orwick
Dear Paul,Great article and perfect timing as I have just picked up two new galleries by the same owner. She looked through my portfolio and picked her favorite ones and we began to formulate ideas from there in what direction or subject we could most effectively focus on for her galleries.

In regards to the galleries I show at currently:
I have found that when I tell a background story about a painting to the sales staff or get to know the staff when possible on a personal level. They then gladly pass on that feeling to the viewers, people like to feel like they can get an idea of the artist behind the work. I give them a Bio with a few odd or funny things about my up bringing as well as an artist statement that explains my art theory and what I striving towards.

I have had the same problem of representing two styles because of my background in illustration and a large body of more whimsical images. I have two galleries that show a bit of both but we keep it separate as to not confuse anyone, but for the most part we have learned what sells what I can produce best most consistently and what I enjoy...Landscapes with an illustrative quality or sort of a highbred of my work.

All the best,
Michael Orwick

From Paul Dorrell
Michael, Good point about background. My staff is informed of same, because clients–or potential clients–value that. Doesn’t matter what part of the country you live in, this holds true for all collectors. And there are few things more gratifying in this biz than taking a beginning collector, and helping them become an passionate about your artists. Where before they may have assigned that passion to BMWs, they now assign it to artists of their region. This is a great thing, whether you live in San Diego or Birmingham.

From Alyson B. Stanfield http://www.artbizblog.com/
"You're an artist and artists make art. When they're not making art, artists think about making art. Artists talk about making art. Artists read about making art. Artists must make art in order to feel whole. Without the art, you are miserable and are without a career. Without your devotion to the rituals surrounding making art, your art suffers."


All the best,
Michael Orwick
www.michaelorwick.com
Orwick Arts

http://michaelorwick.blogspot.com/

Artist of the Month at the LookingtoDraw.com by Michael J. Barnes

Since this is the premier of The ILTD Blog Featured "Artist of the Month," I was hoping to find a talented and gifted artist to kick-off this feature. Upon viewing Michael Orwick's artwork on his website, I knew right away he would be the perfect choice. I enjoyed viewing his artwork. I could absolutely see a story in each piece.

The ILTD Blog - http://lookingtodraw.com/blog

Artist of the Month — January 2008.
Posted by Michael J. Barnes. Category Artist of the Month.Bookmark this post. Follow any comments here with the RSS feed for this post.
Michael Orwick and daughter Elena.
Artist Michael Orwick Combines Pictorial Storytelling With A Hauntingly Familiar World.“There is a reason we are drawn toward beauty, it is the language of God and nature. To me there is nothing more provocative than beauty, it inspires deep reflection and motivates me to create,” says Oregon artist Michael Orwick. “I mix from a primary color palette, painting wet into wet and with layers, to both reveal and hide what lies behind; in this way I entice you into the painting. I love it when people share the feeling and stories my paintings evoked.”Michael Orwick is an award-winning artist who utilizes strong lights and darks, along with a simple color pallette, to create unique tales where the viewer infers distinctive yet universal stories.
Born in 1975, Orwick spent his childhood in the Pacific Northwest. His parents moved quite often throughout Oregon and Idaho. Very early it was discovered that he had dyslexia. Michael had a hard time in school, so he turned to pictures to help him understand the written word and help him communicate with others.
“Sokolblosser Vineyard”30″x40″.
“School was difficult, but in hindsight this was one of many blessings that have led and helped shape my artful existence. I was also lucky to grow up surrounded by beautiful creeks and evergreen wilderness, and within a family that loved to travel, encouraged curiosity and following one’s heart. And my heart has always told me to create,” says Orwick.
Michael is an award winning artist. In 2004, he was awarded first place in Duirwaigh Gallery’s Emerging Artist Competition. He was also listed in Epilogue’s “New Masters of Science Fiction and Fantasy” publication in 2004 and 2005.

“His skill as a landscape artist creates compelling views of our world that move beyond time and place –full environments for your mind to explore, your senses to imagine… places as mysterious as Oregon’s craggy coast, as unpredictable as a glacial view of Mount Hood, or as serene as an Oregon waterfall. His works can remind us of Remington in his most enamored moments with the majestic West or of the Impressionists as he paints a dance of light on a pond or snow,” says Cannon Beach, OR studio Dragonfire Gallery.Michael resides just outside of Portland Oregon perfectly placed between the coast and the mountains. When not painting, Michael spends much of his time exploring the trails and playing at the beach with his wife Gabriela and daughter and their silly red dog Shamy.
“Penguin Wings”
For more information about Michael Orwick and his art, view his website at http://www.michaelorwick.com/, or his blog at http://michaelorwick.blogspot.com/. You can also purchase his artwork at his website or through his store site at http://stores.ebay.com/Michael-Orwick-Arts.

Thanks again for your participation, and good luck with all your endeavors. Hopefully, we can keep up a line of communication between us.

Michael J. Barnes