Before it advertised Braum’s Milk, this little building advertised the Townley Milk Company and housed what might be the smallest store in all of Oklahoma City, selling, well, mostly beer.

Built in 1963, the design of the Founders Tower was and is now a favorite well known landmark on the NW quadrant of Oklahoma City. It was first offices anchored by a bank and now luxury condo’s and apartments.

Image Credits

All Images Are © DARRELL SMITH

Guest Artist Bio
Darrell T. Smith

Darrell T. Smith is a real estate broker, writer and artist from Oklahoma City. He has written and published many short stories (including Life As a Human) and is the illustrator and publisher of the Big Branson Coloring Book.

Website: Darrell T Smith Art & Design
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trapped in visible form 35 x 42 oil on paper 2016

Everything begins as thought then manifests as a physical reality. We are not going to fix our world without healing the patterns of thought that are driving the world into its present state. By delving beneath the turbulence of thoughts we can uncover in ourselves “something” that we begin to realize lies behind all the discursiveness, changes, and deaths of the world.

seen the moment you look 23 x 24 oil on paper 2016

The paper, like our memories will age, become fragile, be affected by light yet will remain as those things we search for and cherish possibly in the attic or basement, an archeological site or a memory, much like in our lives. It’s ordinary insignificant quality becomes special.

the owner of chaos is thought 38 x 39 oil on paper 2016

Touched in any way there’s a response; a fingerprint, wrinkle, rip, drip or tear, which then becomes texture and language, traces of process and practice as echoes or footprints challenging our conditioned response to things worn, torn, old wrinkled or ripped as good or bad, acceptable or not acceptable; challenging our dualistic way of seeing the world.

Image Credits

All Images Are © Hildy Maze

Hildy Maze Artist Bio Hildy Maze is an American artist with Turkish, Russian, Austrian heritage. Born in Brooklyn,NY she received a BFA from Pratt Institute. For many years Hildy lived and worked in her loft in Tribeca, NYC before moving to East Hampton,NY where she currently works and lives. Her work is influenced by her 25 year study and practice of Tibetan Buddhist meditation involving the recognition of the intrinsic  nature of mind. Hildy’s work visually plays with how we obscure our recognition of this clear,empty awareness of mind. The provocative titles help to create an attentive environment. Ms.Maze has exhibited her work through the U.S. including NYC, Long Island City, Brooklyn, California, Beijing, China, Cologne,Germany. She has won numerous awards and is in several private collections in the U.S, Europe, and Asia.

Blog / Website: Hildy Maze

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What was Once a Home (South Throop Street), 17″ x 25.5″, Carbon pencil on toned paper, 2015

I am not an expert on economics, sociology, or housing. I’ve never envisioned myself as playing a great role in social activism. I have not been directly, personally affected by the foreclosure crisis. I just see a crisis, one where people in power have taken advantage of everyday, hard-working people. And I have chosen the unique language that I’ve developed and kept with me throughout my life, the language of painting and drawing, to dive into and explore this issue.

What was Once a Home (West 70th Place), 8″ x 10″, Carbon pencil on toned paper, 2014

 As I saw these houses, I couldn’t help but feel a strong tug of emotion, and through these works, I’m trying to pass on that emotional tug. I believe each house in all of it’s detail represents an untold story, a struggle, a disappointment, and a drama that deserves to be looked at, thought about, and talked about, and felt.

What was Once a Home (South Carpenter Street), 13″ x 24″, Carbon pencil on toned paper, 2015

Image Credits

All Images Are © Jennifer Cronin

Jennifer Cronin Artist Bio

Jennifer Cronin is a Chicago-based artist, born and raised in Oak Lawn, Illinois. She attended the University of Illinois at Urbana-Champaign, where she earned a dual BFA in painting and art education. As the capstone of her education, she studied painting at Camberwell College of Art in London, completing her education in 2009. Since graduating, Cronin has become known for combining an uncanny realism with psychological depth to create large paintings that capture extraordinary encounters amidst the backdrop of ordinary, everyday life. Currently, Cronin is working on a series of drawings documenting foreclosed homes in Chicago. These houses, once filled with life and warmth, are shown as striking shadows of their former selves both stark and stunning in their detail and mood.

Cronin has exhibited widely in the Chicago area, as well as nationally and internationally. She has had solo exhibitions at 33 Contemporary Gallery and Elephant Room Gallery, among other galleries. She has been featured in many publications, including New American Paintings, and has earned numerous awards for her work, including Best in Show at the Buchanan Center for the Arts show America: Now and Here juried by Eric Fischl. She continues to work in her studio in Chicago.

Blog / Website: JenniferCronin.com

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City in Holland – Ink and Watercolour on paper, 60x80cm, 2015

City in Holland shows an imagery though realistic impression of a city that could have existed somewhere in Holland. Most buildings and street/canal layout are based on Amsterdam but other cities also provided some inspiration.

Manhattan Sunlight – Ink and Watercolour on paper, 56x45cm, 2014

Drawn from memory, an impression of the Broadway Madison square area on Manhattan. The fanciful 19th century architecture and abstract play of light and shade caught my imagination and resulted in this drawing.

Spaccanapoli, the old heart of Naples – Ink and Watercolour on paper, 30x40cm, 2014

This drawing attempts to capture the excitement and ancient character of Naples, one Italy’s oldest cities.

Image Credits

All Images Are © Stefan Bleekrode

Stefan Bleekrode Artist Bio

Stefan Bleekrode (1986), a self taught artist who works and lives in Holland but travels far and wide in search of inspiration for his drawings and paintings. A brief trip to Paris at the age of ten encouraged him to actually express his fascination with architecture in small pencil drawings which over the years became half year exercises in patience and craftsmanship. After several successful shows in Switzerland & Holland he teamed up in 2014 with one of Hollands top gallerists. See this link: http://www.kunstexpert.com/

Blog / Website: Stefan Bleekrode

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Kimono © Shay Bredimus

A few years later I had a near death experience where i was stuck by a car while walking my bike through my school crosswalk. This accident was the catalyst that solidified my life as an artist. I was only ten years old and had essentially hit the reset button. Visual art from that point on was my primary mode of expression.

Study for Indelible © Shay Bredimus

A few years later I began to tattoo, and take whatever art classes I could. Life drawing, and more specifically quick pose gesture drawing, is what i gravitated towards. I used wax crayon on newsprint, but the newsprint wasn’t archival so I had to try and find an alternative surface with the same attributes . This is what led me to start drawing on plastic drafting film. The surface was smooth like newsprint, but it was even better. This plastic, unlike canvas or paper, is semi-translucent, which means I can draw on both sides and achieve atmospheric perspectives.

Constellation of Ships © Shay Bredimus

I had tattoo ink available in the studio, so one day I decided to add it to my wax crayon drawings – the combination of wet and dry mediums is the reason why I call my artwork “Brush Drawings”.

Ebbing Tide © Shay Bredimus

The aesthetic qualities of these brush drawings show my influences of gesture drawing , tattooing and my love of academic portraiture.

Planet Juno (Mirror) © Shay Bredimus

In my most recent body of work “cartomancy”, I attempt to personify constellations and celestial bodies with the female form, much like Alphonse Mucha’s personifications of the seasons.

These cards are part a playable deck that I have re-imagined and interpreted with my own pictographs and portraits.

Image Credits

All Images Are © Shay Bredimus

Shay Bredimus Artist Bio

A figurative painter and renowned tattoo artist, Bredimus employs languid and gestural marks using tattoo ink on drafting film to portray spontaneous and personal moments of his models. His classical training in portraiture is evident, to which he has added aesthetic influences from Japanese tattoo and Ukiyo-e prints.

A survivor of a traumatic brain injury that occurred at age ten Bredimus relates, “After the accident visual language became my first language and primary mode of expression, solidifying my life in the visual arts”.

Shay Bredimus earned an MFA in 2008 from the Laguna College of Art and Design in Laguna, California and a BFA in painting from Emily Carr University in Vancouver, Canada in 2004. He has studied under mentors F. Scott Hess and Wes Christensen, among others. His work was featured in two solo exhibitions at Koplin Del Rio, in Culver City California where he is represented. Shay has earned critical praise from Artweek and Inked magazine.

Websites: ShayBredimus.com & OuterLimitsTattoo.com

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LIFE 101 Dave / Hand crafted paper, charcoal, permanent marker / measures 42″ X 54″ © Andrew Myers

I am best known for my time-intensive screw pieces and continually push boundaries and search for unconventional new subjects and mediums. Therefore my work spans a large variety of genres and mediums which include sculpture, painting and sketching.

Close up’s / screw portraits / measuring 12″ X 12″ © Andrew Myers

Each and every day I endeavour to create better art than I did the day before.  My roles as father and friend combines with countless hours spent in my studio in a dreamlike state where time neither begins or ends. 

Fading Thoughts / screw portrait / measuring 36″ X 60″ © Andrew Myers

Fulfillment for me is the art of knowing I am dedicated to attaining perfection, however I know it can never be reached.

Image Credits

All Images Are © Andrew Myers

ANDREW MYERS ARTIST BIO

Andrew Myers was born in Braunshweig, Germany, and raised in Ciudad Real, Spain. He now resides in Laguna Beach, California, where he has lived since attending the Laguna College of Art and Design (formerly the Art Institute of Southern California). The first time he set foot in the classroom, he was amazed to see students depicting live nude models in clay; a seemingly archaic art form he had only seen in books.

Blog / Website: Andrew Myers Art

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#1 © Steve Rose: Ink on Paper 22″ x 30″

In some cases as in the Mexican Day of the Dead the symbol of the skull and skeleton can be seen as a beginning and not an end and as rebirth and the continued cycle of life.

#2 © Steve Rose: Dry Point Etching 12″ x 30″

The images I create are not intentionally morbid but are attempts at acceptance of impermanence and a coming to terms with mortality and personal experience of grappling with such universal and monumental moments. Life is both beautiful and brutal often at the same time.

#3 © Steve Rose: Encaustic on Panel 8″ x 10″

Image Credits

All Images Are © Steve Rose

Steve Rose Artist Bio

Steve Rose is a graduate of OCAD with a major in drawing and painting. He has exhibited his work extensively and has a diverse background as an artist/educator.

Steve has taught at a number colleges and art centers around the world and his work is collected in private and corporate international collections.

Blog / Website: Steve Rose Visual Artist

The Birth of Colour © Lisa Kirk – Pencil Crayon on Paper, 8” x 11”

In my late 20’s I found myself in Art Galleries in Europe and something cracked open. A creative seed, a yearning, a drawing forth…and I secretly sketched in my journal even though I had no idea how to draw. I just needed to.

When I returned home, I drew mandalas in a little journal.( I did not know what mandalas were except a circle.) Everyday I doodled whatever shapes, colours, images that I wanted inside the circle with my lovely prismacolour pencil crayons. Here, I first discovered the wisdom and connection of our bodies to the creative process. I became pregnant and one day I looked back over my drawings. I could clearly see the day I had conceived our first child. Further into my pregnancy, I was taking a pottery workshop and we were glazing and doing designs on the clay. I kept doing these triangular shapes with a circle in them. My teacher said, I bet you are having a boy because that is a very ancient male symbol. In my mandalas, I had been drawing them there too. Some months later I gave birth to my son, Dylan.

Shifting © Lisa Kirk – Acrylic on Wood Panel, 24” x 24”

This finally led me to a workshop with the wonderful Vancouver artist, Gordon Smith, on Cortes Island where we were now living. At this point, I had ventured into one watercolour class and really did not have a clue but I loved the way the Colours played with each other. During our first day with Gordon, he came over to me and gently suggested I look at Emily Carr and her use of colour….the earth tones. He declared mine “licorice allsorts-kind-of-colour” and suggested I try painting like Emily. I loved her work and her use of the earthy colours so I gave it my best go. But it was like trying to put on a pair of pants that are too small; it just did not fit for me.  It was very uncomfortable.

The next morning, as I was getting ready to paint, Gordon quietly came over to me and said, “Yesterday, I made a mistake. You are a Colourist. Go back to painting with your Colours.” He then showed me books of artists like David Hockney that are Colourists and inspired me to follow my heart and feel good about my “licorice allsorts” Colours.

Listen, Listen, The Little Bird Whispers © Lisa Kirk – Mixed Media on Wood Panel, 14” x 18″

I will never forget that lesson he taught me- to follow what “fits” for me as an artist in my own heart.  And, as a person or teacher, never be afraid to realise you have made a mistake and say so.  Even though I was a newbie painter at that point, he did not treat me any different than those who were in the workshop with years of experience. He made me feel unique and like a “real” artist by giving me the title “Colourist”. That speaks to the generosity of his spirit as a person and teacher. At the end of the workshop, he even gave us all prints of his work. I was pregnant at the time, so he gave me two-one for the baby-to-be as well!

The Tree of Life, © Lisa Kirk – Pen and Ink on Paper, 8″ x 11″

My next lesson in learning to trust my own inner artist came when I took a series of drawing classes with Elena Wheeler on Cortes. This is where I fell in love with Line. I fell in love with solid graphite pencils and charcoal and the beauty and simplicity of line, the shades of black, white and grey….and drawing out from within. Here, I learned to find and follow the way of my LineThis is where I decided I wanted to be an artist. After 29 yrs, I had  found a place I could call my own. I had come home. Although I did not know it at the time, this was very healing for me on many levels.

I will be forever grateful to Elena for her open way of teaching. She taught me that there are many ways to do one thing and there are lots of different ways to “look” and “observe”. I guess you could say, she taught me how to see. She taught me that my line did not have to look like everyone else’s. That each of us are different and that is beautiful in its own way. And to this day, I pass that wisdom along to the kids and adults I teach.  To trust our inner Line, our own inner drawing forth and allow it, not block it.

How I Found “The Way of the Brush”:  PART 2 :  Creativity as a Guiding Light

Image Credits
Images © Lisa Kirk
Bio Photo © Sara Kerr

Lisa Kirk Artist Bio

I grew up in Vancouver and have lived in the Comox Valley since 1992. My wonderful life brings a diverse layer to my art–from nursing in child psychiatry, Playworking at various Children’s Festivals, oyster farming, parenting my now grown children and doing what I love best next to painting–teaching creative process. For me, art is an ongoing exploration and process of listening to my inner guides and responding to my inner and outer worlds. With playful curiosity, I love being open to what new surprise might present itself on the canvas or paper. I can very often be found teaching adults and children in my home studio and school district. Last year, I was very honored to be awarded the Nakeestla Award in the Juried Members Show at Comox Valley Art Gallery as well as being invited to participate in the Sooke Fine Arts Show. I have also received an Award of Excellence for drawing and an Honorable Mention for painting through the Comox Valley Community Arts Council.

Blog / Website: Lisa Kirk Artist & Facilitator

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Alma Rumball at a Young Age

When I first met Alma in 1972, I was about to marry her nephew, Colin Oke. She shared her incredible story of ‘the Hand’ that drew and wrote by itself, separate from her consciousness. Alma told me I was to be the one “divinely inspired to take them to the world”, and I have spent the last 40 years attempting to understand and share her works and her story. This article traces her background history in Muskoka from early settlers to most recent showings around the globe. She can still be seen as a pioneer in this realm of Spirit.

Alma’s paternal grandfather, Charles Rumball, immigrated to Canada from England in 1844. He married Catharine (Kate) Sanders in 1863 at Port Talbot. They lived in Haysville and Petersville (London) until they came to Muskoka in the early 1870’s with Sydney Smith and settled on Mary(‘s) Lake. In Alma’s own words, “He was a man of many artistic gifts, being a first class amateur actor, a rare narrator, a splendid pen and ink cartoonist, and an author of some local repute. These gifts are not much in demand in a pioneer community, and his lack of business ability caused loss of fortune.”

Catharine Rumball is said to have died in childbirth, as was often the fate of pioneering women, but there is no record of that. Charles remarried Florence Moody, who acted as stepmother to the Rumball children, plus her own two. She and two of the children died, sadly, of diptheria in 1887.

Alma’s maternal grandfather was Welshman, William Morgan, who pioneered in Muskoka with his wife, Matilda Wiles. Both the Morgans and the Rumballs knew Sydney Smith previously, and he convinced the families to come to Port Sydney. William became an accomplished architect, cabinet-maker, wood- carver and carpenter. He built and managed the first Sydney Hotel, which served as a resting place for travelers, as they changed from horse- drawn stage to steamer, on the way to Huntsville. It was later destroyed by fire.

The Morgans settled first in the village of Port Sydney and then moved to Newholm. They became the Rumball’s closest neighbours there, as their lands were adjoined. From his home in Newholm Mr. Morgan became the chief craftsman in construction of Deerhurst Inn, Bayview Hotel, and Trinity Anglican Church. His work is featured in the Newholm pulpit, the baptismal font, which was displayed at the Chicago World Fair, and in the wood carving of All Saints Church, Huntsville. His design for the Eiffel Tower was among the top five designs chosen from around the world.

Reg Rumball, Alma’s beloved father, was born in Petersville, Ontario, which is now a part of the city of London, in 1865. When his father, Charles Rumball, began homesteading his 100 acres of virgin crown forest in Brunel Township, he met the Morgan family’s daughter, Frances. Mrs. Morgan continually left food for the plague-stricken Rumball family.

Young Reginald had to work to help provide for the family, so he took a job at 16 years of age, as a cook in Robert Dollar’s logging camp, studying a cookbook by night to gain his first baking skills. He became an accomplished cook throughout his life. He won the heart of Frances Ellen Morgan, and they were married in 1897.

Alma was born in 1902, at Newholm. She was one of five girls, including Gertie Scott, Edna Oke, Jessie Adamson and Gwen Rumball; there was also one brother, Roy. Reg managed the Britannia Hotel on Lake of Bays, from 1905 until 1911.

Guardian of the East © Colin and Wendy Oke’s Collection

Mr. and Mrs. Rumball then started the first Rumball Dairy, later named the Huntsville Dairy, and purchased by W. Horton & Son when Reg retired. They built a cobblestone house on the river at Dairy Lane. Their farm covered the property from the corners of Hwys 11A and 60 , now Rogers Cove Retirement home, to the Hutcheson Memorial Cemetery. Verne Oke later built his home with Edna and two cottages for the maiden aunts, Alma and Gwen, on their family pasture land on Fairy Lake. It was known in the family as ‘the aunt hill’. Okes Grocery store was located where the current Tim Horton’s lies, and the hospital was built on the opposite corner. Reg was a community-minded man and became Reeve of Chaffey Township and a member of Unity Lodge A.F. and A.M.

Alma’s father wanted her to become a school teacher, so she attended Normal School (Teacher’s College) in North Bay in 1923. She lasted only a few years in the rural country schools in Huntsville, as she was suspected of having tuberculosis. She spent three months in a Gravenhurst sanatorium, but never did prove to have TB. When her father died in 1941, she inherited the house on the river, now owned by Dr. Michael and Judith Morison, and she lived there until 1948.

As a child she was always drawing, so she left for Toronto to express her artistic talents. She worked in a ceramics factory, York China, and decorated vases for several years there. The factory was bought by the University of Toronto, and she returned to Huntsville in the early 1950’s. Up until this point she had a relatively normal social life.

Something changed her life forever at this time, and she was never the same again. She became a recluse, not venturing out except for family functions. She never married, nor had a family of her own, to distract her from her soul mission. Around the same time she experienced a vision of Jesus, accompanied by a panther. As she recounts, Jesus spoke to her and commanded her to draw and write in order to help humanity.

Wendy’s Pair 2 © Colin and Wendy Oke’s Collection

She became clairvoyant and clairaudient around her 50th year. She told me she saw other planes of existence and began to communicate with what she called a ‘genius’, a turbaned, spiritual guide, named Aba Pasha. Socrates and other gifted visionaries speak of their genius, or daemon that inspired their greatest works.

At the same time her hand began to choose crayons, pencils and coloured inks as though with a will of its own. She watched as The Hand raced across multiple sheets of paper, leaving intricately detailed and beautiful images, unintended by her own mind. She responded, saying, “I’m as excited to see what The Hand will do as you are. I can’t accept credit for them; you see, I don’t do them.”

It was in the early 1970’s that the spiritual advisor to the Dalai Lama, Kalu Rinpoche, saw the drawings in Toronto. In a private audience, he named and identified seven of twenty shown as Tibetan deities and gods, in proper positions and with appropriate mantels and headdresses. Strange symbols, figures and characters, forming patterns like unknown languages, have captivated experts for decades.

Joan of Arc © Colin and Wendy Oke’s Collection

Sometimes the messages splashed across abstract or geometric drawings. ALMA CAME TO EARTH AS JOAN OF ARC was one. There are several armoured females in the collection.

Strangely, hundreds of pages lay out descriptions of Atlantis, complete with drawings, and warnings for humanity to follow God’s wishes or suffer Atlantis’ fate. She drew scenes in heaven, holy ghosts and fruits of the Tree of Life, each with different healing capabilities.

Alma was a childlike, simple, rural woman who never explored beyond her Christian teachings. She never claimed to understand the process; she simply marveled at the gift she felt was from God. Over the years the drawings have been named by others, as their content becomes more identifiable. Alma suffered a stroke in the early 1970’s, but continued to allow The Hand to express itself. She died in 1980 never really understanding, yet accepting her role in exploring the frontiers of the world of Spirit.

Akashic Record © Colin and Wendy Oke’s Collection

Thirty years have produced showings in Toronto, atop the CN Tower, at the Symposium For Humanity and at York University, custodians of many drawings.

Their curator, Michael Greenwood said he had not seen a more pure case of psychic automatism, a Surrealist term, coined by Andre Breton, since William Blake.

Chilean muralist Carmen Cereceda, assistant to Diego Rivera and housemate to Frida Kahlo, declares there is nothing quite so “purely of Spirit” seen anywhere in the world, to her extensive knowledge. She became the Okes’ mentor and introduced them to both Toronto’s artistic community and its spiritual community, in the 1970’s.

Artists, spiritual teachers, cryptologists and healers have vast and varying commentaries on her contribution to humanity. There are suggestions of energetic healing through meditative exchanges. Alma’s works have been shown in Canada, the United States, Mexico, England and Australia. There is almost always an intense reaction when viewers interact with her artwork. Her works continue to be seen as pioneering in a world so few have explored, even today.

A documentary film, ‘the Alma drawings’, commissioned by Vision TV won the Best Direction, Canadian Spectrum, short to mid-length films at the 2005 International Hot Docs Film Festival, held in Toronto. 

Image Credits

All Images Are © Colin and Wendy Oke’s Collection

Article first published in Muskoka Magazine March/April 2004

Guest Author Biography:

Wendy is married to Alma Rumball’s nephew, Colin; together they have been ‘keepers of the Alma drawings’. Wendy has been a teacher/counselor/therapist/multi-faith minister and journalist, as well as Creative Consultant on the Hot Docs award-winning documentary, ‘The Alma Drawings’.

She is currently presenting workshops comparing Alma’s Atlantis writings and imagery with Edgar Cayce’s readings. She also offers presentations on the Sacred Language of Light, as it relates to Alma’s sacred art.

Re: the Artist Alma Rumball:  Following a vision of Jesus, at age 50, Alma (1902 – 1980) became a clairvoyant recluse, creating intricate, coloured pen and ink drawings. She watched, as “The Hand” drew by itself, unfamiliar forms, separate from her consciousness. Tibetan gods, Joan of Arc figures and tales of Atlantis revealed themselves. They have been called “the Sacred Language of Light, activation drawings, with codes embedded in them for the evolution of humanity at this time.”

Blog / Website:  www.Alma Matters.ca

Color continues to be my nemesis as it requires me to step outside my comfort zone. Imagine that – a comfortable artist!! One of many spiritual teachers once wrote: ‘Confusion is the only suffering. Put your confusion on paper, investigate it, and set yourself free.’ I absolutely loved that. Within the drawing process, I become self-investigating and self-witnessing, hopefully becoming a better me. Am I free? Mostly…the other part continues to engage with myself and others in this wonderful ‘life as a human’ and draw the process out. The titles of my work have become as important to me.  I take inspiration from my fave poets: Mary Oliver, Khalil Gibran, Federico Lorca amongst many other beautiful dreamers or my own ramblings.

When painting, I cut out phrases and add words, sometimes overpainting them to add information not always visible at first glance….sometimes beauty is in the long-reveal.  

‘Lynn Gray’s images are described as fiery ethnic portrait and self-portrait drawings. She feels it is the viewer’s responsibility to complete the drawing through self-reflection and questioning what it means to have and engage in an inclusive community spirit and presence.’

Image Credits

All Images Are © Lynn Gray

Lynn Gray Artist Bio

Lynn is a multi award winning artist (including the prestigious ‘Myfanwy Spencer Pavelic Award’, ‘Best In Show’, ‘Honorable Mentions’, ‘People’s Choice’) whose work is purchased on an international basis.  Her fine & visual art background includes an Associate of Arts in Visual Arts through Camosun College (Victoria, BC – Canada) and Bachelor of Fine Arts & Art History courses at the University of Victoria (Victoria, BC – Canada).

Blog / Website:  tyva-marketing.com

Follow Lynn Gray on: Fine Art America