Gail Severn Gallery

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Gary Komarin

"Blue Scrubbed White"


December 22 - February 2, 2008


Like Jasper Johns and other pioneers of the movement before him, Gary Komarin works intuitively rather that analytically, creating bold works of color, allowing childlike marks to playfully appear and disappear across the canvas.  The canvas itself, often a rough drop cloth stretched on a frame, covered with layers of paint, conveys the essential idea that first and foremost, this painting shows a conspicuous lack of affectation. Sincerity is primal.


Blue Scrubbed White, the title work in the catalogue published by Gail Severn Gallery, alludes to the process that Komarin does so well. The application of paint is almost secondary to its removal, the act of scrubbing away material symbolic of removing embellishment, leaving behind only that which is necessary.  The result is simple beauty.


Gary Komarin has said about his work: “I think of my paintings as pre-linguistic.  Forms travel and co-mingle through time and space, free from tyranny of order and reason.”


Group Show - Featuring new artist Jane Rosen


December 22 - February 2, 2008


Our group show will feature several artists who explore the use of subtly through their linear work. Valerie Hammond uses encaustic and printmaking processes to create layered images that trace a subject’s spirit. Jill Lear’s drawings explore the structural and spatial relationships within nature. This month we will also be featuring our new artist Jane Rosen.


Jane Rosen's paintings and sculptures are mostly of animals she sees daily around her home in Northern California. Her ethereal drawings and organic sculptures evoke feelings of unity and understanding of this relationship between man and environment. She does not see her work as representational, but as portraits of being. She portrays the animal’s existence, their greater sense of being.  Her birds appear subtle and delicate; yet display a natural sense of strength and honor.


Rosen will often pour ink or coffee onto a sheet of paper, then place it outside, where animals may leave tracks upon the surface. She then begins to create the animals existence capturing a moment and identifying a specific space in time. Rosen’s sculptures are more evocative, less precise in her execution of her subject matter.  She uses rough limestone and textured sandstone portraying the animals in an almost contemplative state.


Brad Rude’s sculptures add a sense of whimsy and playfulness to the understanding of animal relationships. His bronze sculptures, which contain random objects and carefully chosen animals, create a story that is unique for each viewer.


Featuring Deborah Oropallo’s new body of work Wild Wild West. In this new work she explores the idea of the West. Her images reflect the notion of the pop west that exists today. Exploring the dichotomy of now and then.

Morgan Brig



November 21 - January 16, 2008

Rana Rochat


November 21 - January 16, 2008


Rochat's new paintings combine lines, rhythms of dots and texture, and brilliant color to create a surface full of energy. Her process of painting with wax and pigment, applied one layer at a time, gives depth and luminosity to her language of mark making. Her paintings have an energy flow that is created through the movements of her lines.

Flora and Fauna V


May 18th - June 26th


Featuring encaustic & mixed media paintings by Christopher Reilly, Michelle Haglund, Lynda Lowe, Michael Gregory, David DeVillier, Kenna Moser, Rene Rickabaugh, and Allison Stewart. Sculpture by David Giese, Will Robinson, Delos van Earl, Jane Rosen and Brad Rude.


Gallery Two presents our tenth annual ‘Spring Landscape’ featuring paintings by James Cook, Theodore Waddell, Divit Cardoza, Michael Gregory and Sheila Gardner.


Gallery Three offers our tenth annual ‘Spring into Contemporary’ exhibition with Gary Komarin, Jun Kaneko, Cole Morgan, Kris Cox, Valerie Hammond and Rana Rochat. Sculpture by Therman Statom, Julie Speidel and Jun Kaneko.


Also continuing ‘Collaborations’ with paintings and sculpture by Hannah Finn and Jeff Uffelman. Gail Severn Gallery is also pleased to present new work on paper by Hung Liu.


Rene Rickabaugh


June 29th - July 31st


These incredibly detailed small-scale, epoxy resin and gouache flowers are splashed with color. Intricate patterns of meticulously applied gouache weave through images of bright flowers. The delicate flowers appear as they are floating within the frame, creating and a very special presentation. The amount of detail found in a postcard size piece is tantamount to that found in many large-scale paintings and with gouache being one of the most difficult mediums, the work becomes greatly impressive. Recognized as one of the finest artists in the Northwest for the last 35 years, Rickabaugh's attention to imaginative detail and design draw the viewer in for an intimate look at his exquisite paintings.

Christopher Reilly and Michelle Haglund



August 31st - October 2nd


Chris Reilly and Michelle Haglund’s newest series portray the cycle of life. Their work depicts natural transformation and evolution. The work often includes seeds, foliage and blossoms referencing the cycles of life depicting growth, life and death. The work is intriguing, yet quiet and peaceful. The pieces exude a sense of mystery creating a thought and image to meditate on or with.


Creating this work by adding and removing layers of encaustic, the surfaces begin on panel and then pastels, watercolor and molten wax to build their incredible paintings. The tactile surfaces are sensual and seductive.

James Cook

Silver Creek


August 31st - October 30th


James Cook paints because he loves it. The smell, texture, and feel of the brush wet from the paint stimulate his hand. His work is impressionistic, however, he provides the viewer with a recognizable reality. His impasto technique creates a surface full of movement and texture. The paintings jump of the canvas, the colors bringing them to life. The details of the image can examined closely and the scene grows increasingly cohesive from afar.


This body of work focuses on “Silver Creek.” He spends time in our area painting the landscape and documenting the incredible weather shifts.

Contemporary Group Show


October 6 - November 14, 2008


Contemporary group exhibition will explore color, surface and technique, featuring Raphaelle Goethals, Marcia Myers and Kris Cox each of whom explore texture and depth in diverse ways. Marcia Myers’ rich, colorful textured frescoes on linen divulge the old techniques of applying stone colored pigments to a plastered surface. Raphaelle Goethals uses encaustics to develop her beautifully organic surfaces, conveying a sense of space, depth and the fundamentality of light. Kris Cox uses a combination of encaustics, wood putty and tribal artifacts to capture a time in history.

Group Landscape Show


October 6 - November 14, 2008


Our group landscape show features Theodore Waddell, Sheila Gardner, James Cook and Michael Gregory. Each of these artists explores change throughout their paintings. Whether it is the changing colors of the seasons or the transformation of our American landscape. Using oil paint as their medium, each artist employs the various techniques associated with oils. Michael Gregory’s photo like paintings portrays the iconic American Farm landscape in a delicate, yet realistic way. Sheila Gardner uses oil to create a surface with many layers, highlighting the local areas mountains, trees and rivers. Theodore Waddell captures movement and form through his application of oils, creating an impressionistic view of the American West. Painting images of horses, cattle and sheep in open fields and against colorful skies, Waddell weaves a western dream.  James Cook’s surfaces are textured by his thick and vigorous use of oil paint, depicting the natural energy of the Idaho environment.

Group Landscape Show


November 21 - December 22, 2008


Our group landscape show features Theodore Waddell, James Cook, Michael Gregory and Laura McPhee.

Contemporary Group Show


November 21 - December 22, 2008


Contemporary group exhibition will include works by Squeak Carnwath, Kris Cox, Woods Davy, Bean Finneran, Raphaelle Goethals, Valerie Hammond, Andrew Harper, Jun Kaneko, Judith Kindler, Gwynn Murrill, Christopher Reilly, Mario Reis, David Secrest and Julie Speidel.


Michael Gregory

Middle of Nowhere


August 25 - September 26, 2008


Michael Gregory's paintings, icons of the American landscape, radiate a contemporary old master look. Painted in many layers of oil on panel, his barns, silos, rancher structures, and prairie houses are quiet but alluring images. These past several years his palette of white, black, and gray held a mere suggestion of warmth added by an undetermined source of light. The buildings were front and center in Gregorys work for the past five years.


In his most recent work, the artists decisions are fueled by a desire to create a shift in visual space in the paintings. His newest works are a step back, a new vista onto the landscape of the west and mid west. There are images of workers in the fields and structures that Gregory chooses to paint - ordinary structures - which announce themselves in the landscape. As in his past paintings, they are the humblest of architectural forms.


Gregory paints structures that are American at heart and could only rise from the American landscape, often the only vertical in sight, cathedral-like in their austerity. As Gregory travels around this country, he is captivated by the "personalities" of structures, many of them barns of infinite variability. The barns, as other Gregory buildings, greet the viewer front and center with power, boldness, and assertiveness, iconic in their frontality. Gregory sets the stage for each structure, sometimes with the suggestion of a landscape: trees, telephone poles, and always with a dramatic sky, charged with mystery. These are not tranquil skies; they are evocative, cloud filled, disquieting ones. The viewer's equilibrium is further challenged by the absence of any mid-ground in the artist's work, thus giving little sense of perspective or scale. While representational, Gregory's paintings are not "true" to the landscape vista he has seen. He transforms the reality of a geometric structure into an icon, a structure that is the focal point, the subject, the object of the painting, and a touchstone to contemplation.


Allison Stewart


August 25 - September 26, 2008


Allison Stewart has gained recognition for her mixed media paintings that express the restless balance between man and nature. Trained as a biologist, Stewart is inspired by landscape imagery, specifically the vanishing Louisiana coastal wetlands. Stewart takes as her subject fragile environments, cycles of life, and evidence of man's mark on nature. She uses layers of color, light, form and texture to address issues of beauty and loss, time and transformation. Residing somewhere between realism and abstraction, the paintings are visual diaries upon which Stewart records her responses to the threatened landscape.


In 1998, Stewart co-founded KID smART, a Louisiana 501.c.3 non-profit organization to teach under resourced children in inner city New Orleans important life lessons through hands on arts activities. Through in-school, after-school and Saturday classes in the visual and performing arts, KID smART provides a safe, nurturing environment for elementary and middle school children to learn life skills that will make them more successful in all walks of life: self esteem, teamwork, creative problem solving and pride of accomplishment.


Allison Stewart has exhibited extensively throughout the United States. Her work is included in many public and corporate collections, a few examples of which are: the US Department of State Art in Embassies Program, the New Orleans Museum of Art, the South Carolina Art Museum, the Pensacola Museum of Art, and the National Museum of Women and the Arts and many more.

Raphaelle Goethals



August 25 - September 26, 2008


Raphaëlle Goethals uses wax and resin in her paintings, which are exploration of light and space. Goethals works are a process of layering, pouring, scraping off, scratching into the surface, effacing, and leaving traces of earlier information.


“The work presented in this exhibition refines and widens my preoccupation with space, depth, and the fundamentality of light. Testifying to my continuing interest in the history of painting and in the point at which language originates, these vast surfaces refer to a Jungian space, a semiotic world, an uncoded, unarticulated space of interpretation. The spaces are not contained, they are fields that might expand indefinitely- yet the discreet presence of the grid anchors us in a present time, a verbal and cultural surimposition.”

Ed Musante


August 25 - September 26, 2008


Ed Musante's small-scale paintings of birds and animals, painted on wood panel or his signature found cigar boxes, are intimate portraits of wildlife. Musante captures the presence of each bird through careful observation and attention to detail. His exquisite paintings incorporate text and pattern from the cigar boxes.

David DeVillier


July 25 - August 18, 2008


David deVillier’s colorful narrative paintings, framed in bold steel frames welded by the artist, are splashed with fanciful images of instruments, birds and women. Within the paintings, you can expect to find anything from a flute perched atop a lone chair, to a multi-colored bird wearing bright red stilettos. deVillier’s imaginative works and titles are satiated with emotionally driven messages while at times being sharply humorous and full of wit. Mysterious and playful paintings created by this nationally recognized artist balance a highly educated background at Yale with an outsider’s aesthetic. Lone women and outrageous birds find themselves on painted stages and in scenes rather than in the typical art-lexicon of foregrounds and backgrounds. The artist’s theatre is full of details and symbols, like a bird morphing into partially human forms that give depth to each unfolding drama. Curious, passionate, and enigmatic – the figures have imaginative stories that play out in front of the viewer. deVillier wants the viewer to take his gift of these complex images and make the stories their own.

Victoria Adams



July 25 - August 18, 2008


Adam's paintings explore landmasses, ponds, and estuaries, and, in this latest body of work, vast stretches of ocean. From the abstract to the referential, Adams' visions are ethereal--an energy field devoid of people and places but with intense figuration of another kind. She layers oil paints, working first with opaque layers and finishing with transparent glazes. She sometimes references her last painting, often working in series. Cloud formations directly seen, photographs, or images from Hudson River School or European painters are sometimes appropriated or quoted--borrowed elements from the past that are recombined and synthesized to create entirely new and contemporary works. The vistas and skies in each painting are fictional, made up from imagination and coalescing in an unplanned way during the painting process. The painted light serves to activate the scene. The land becomes the resting place for a poignant light-and cloud-filled sky. Adams leaves a distant horizon and a narrow strip of land or water that functions as a threshold, holding the viewer at a distance. These vistas are not precise locales. Rather, the horizons are gateways to the faraway, symbols of everything beyond - real or imagined. There is a blurring in the paintings of the spatial boundary between the visible and the unseen environment as well as the temporal boundary between the here and now, merging with what is to be. Standing before these complex skyscapes, the viewer experiences their scale and luminosity. The sky, the horizon and elevated viewpoints from which to gaze up and out are symbols well represented in Western landscape, but first and foremost, for the artist, they are natural symbols. Taken from the essay in the catalog and exhibition "Updraft."

Gary Nisbet



July 25 - August 18, 2008


Gary Nisbet’s current show, "boxed", is a study and reflection of the everyday objects that have been part of his vocabulary for over a decade. He has always been a collector of interesting bits of cultural detritus: bits of broken plaster, fragments of wood molding, rusty kitchen utensils, surf glass, and interesting textiles. Occasionally he would incorporate these items into his work, but mostly he just collected them. Once he encased these little treasures in their painted boxes, they were transformed into strange little icons.


Unlike paintings, the little treasure boxes are meant to be handled and explored from all sides. They’re beautiful and quirky looking at first glance and visitors are eager to handle them and open them up!

Cole Morgan


July 25 - August 18, 2008


Cole finds eloquence in the most banal minutiae, which he then fashions into wildly incongruous cross-cultural associations. In the vernacular of Morgan’s canvases, triangles, pyramids, squiggly cars and balls happily co-exist with X’s and O’s, planets and figures. Not that he sets out to plan these things. He speaks of being “taken" by these objects, adding, “when I’m done ‘exploring’ them, a new one presents itself.”


Cole Morgan’s self-contained, abstract paintings confront our perceptions of reality. It is as if he’s sending us a message: If we look beyond accepted notions of form and function, we might discover a parallel reality amidst the familiar. Morgan’s primary goal is to direct, but never to guide us through constant discovery in his paintings. The tools he employs to “conduct” our eye are as likely to be drawn from classical principles of painting as from the vernacular of the mundane. The cross element or triangle construction, a style derived from 17th-century religious tableaux of the Holy Trinity, provides spatial division in his compositions as he re-configures shapes and objects to a new purpose. But if Morgan ascribes to any religion, it would be the one of “Order”, in which composition is distilled to its barest minimum, where “shapes, textures and colors are refined and concentrated to their most visually descriptive elements. Every square millimeter of canvas is controlled.”


For anyone in search of meaning, Morgan’s obscure notes to himself and primal scratchings are fool’s gold, since value is wholly subjective. Indeed, meaning is an afterthought, because in spite of all the tease, all the titillation of controlled form and classic proportions to direct our gaze, the tour on which this artist takes us is nothing but an elaborate ruse designed to free our imagination. All the self-important scribbles are just that, and meaningless lies, as it did for the Dadaists, only in what we make of Morgan’s clues to the trail of our subconscious.

Therman Statom


June 23 - July 21, 2008


Since Therman Statom worked at Pilchuck in Seattle, Washington in 1971, he has been known as an innovator. Throughout his career, he has pushed the boundaries of his medium - challenging us to look at glass in new and interesting ways. Through extensive research of his subject of choice, Statom creates exquisite and colorful sculptures. After thoroughly studying subjects like ancient Egyptian gardens, Statom lets the subject permeate his work. As a draftsman and a painter, Statom builds architecturally inspired pieces filled with found objects and vibrantly painted images. Ranging from small houses, to wall pieces and large-scale walk through installations, Statom creates sculptures and paintings on and with sheets of flat and blown glass. His work is in such notable collections as: The Detroit Institute of Arts; The High Museum of Art-Atlanta, GA; Los Angeles County Museum of Art; Milwaukee Art Museum; Musee des Arts Decoratifs; Palais du Louvre-Paris, France; Musee de Design et D'Arts; Appliqués/Contemporain, Lausanne, Switzerland; Oakland Museum of Arts and the Renwick Gallery of the Smithsonian's American Art Museum-Washington, DC. Therman's work has been the subject of one-person exhibitions at Museums throughout the world.

Jun Kaneko


June 23 - July 21, 2008


Japanese-American Jun Kaneko is an internationally known master of ceramics. In his massive kilns, he creates his renowned "dangos" (the Japanese word for dumpling), and massive human faces and wall slabs out of clay, finished with beautiful glazes. His painting background is evident in his work, where his monolithic ceramics become three-dimensional, inflated canvases. Working primarily with graphic, yet painterly lines and dots, his rhythmic designs offer palette ranges from black and white dots or stripes, to blues, reds and yellows set against black or white backgrounds. Constructing pieces that weigh, as much as 1,000 lbs, Kaneko's simplified forms and control of the material make the pieces seem effortless. His technical aptitude comes from years of patience and an understanding of the temperamental medium. After construction, his work generally takes four months of drying time and up to a 35-day firing process. At the end of this process - out of a group of 10 pieces Kaneko may only deem two to three to be worthy of his name.


The late Peter Voulkos, Kaneko's professor at the University of California at Berkley and an influential artist in his own right, described Kaneko's work: "His accomplishments are unrivaled in the field of ceramic art. His technical achievements alone have redefined the possibilities the medium has to offer." He then goes on to say, "Kaneko's ceramic works are an amazing synthesis of painting and sculpture. His works are enigmatic and elusive, simultaneously restrained and powerful, Eastern and Western, static and alive, intellectual and playful, technical and innovative."


Kaneko's exhibition history spans over 40 years and is included in many public collections. A few of these collections include: the De Young Museum, Detroit Institute of Art, San Francisco Museum of Fine Art, Honolulu Academy of Art, Oakland Museum, Philadelphia Museum of Art, Smithsonian National Museum of American Art , Wakayama Museum of Modern Art, The National Museum of Art in Osaka, Japan, and The Olympic Museum of Ceramic Sculpture in Athens, Greece.

The Eloquent Flower XII


May 12 - June 23, 2008


The 12th ANNUAL ELOQUENT FLOWER SHOW Christopher Reilly, Michelle Haglund, Valerie Hammond, Andy Harper, Jack Spencer, Judith Kindler, Gary Nisbet, Kenna Moser, Rene Rickabaugh, Sandy Sallin, Morgan Brig, Allison Stewart, David DeVillier, Ron Van Dongen, Michael Gregory, Donald Campbell, Tony Berlant, Lynda Lowe, and Donald and Era Farnsworth. Also exhibiting Brad Rude, David Secrest, Julie Speidel, and Rod Kagan.

Nicole Charbonnet

The West, Then and Now


March 3 - April 11, 2008


Nicole Charbonnet's mixed media paintings, highly esteemed in the contemporary art scene, have texture and depth like rich collage. Images, words and loose washes create multi dimensions. Western imagery and pop culture icons provoke memories of the idealized west. She is mainly using stereotypical images of America, a cowboy, gangster or desert (highway, as a way of exploring our past and present perceptions of (ourselves and others. Which comprises and forms our identity as members of a society, or citizens of a country that once again seems to be in (transition and in the process of redefining its values, agenda and (role in relationships. Her process of painting mimics or simulates the process (of remembering with all its layers and numerous textures. Hopefully, (introducing into this process images that come out of our cultural (memory will result in paintings that will not only serve to illuminate (the past but will also encourage interpretations which function as (starting points themselves. This body of work focuses on the American West.


Recipient of a Pollock-Krasner Foundation Grant, Elizabeth Greenshields Foundation Grant and Artist's Fellowship Foundation Grant.

James Cook

The Landscape


March 3 - April 11, 2008


James Cook's abstract and impressionistic composition and use of light separate his work from traditional landscape artists. Fallen aspen trees reflected in water and rocky hillsides of brilliant expressionistic color unfolds in thick oil paint that morph into clear view. This body of work displays our beautiful surroundings from the Sawtooths to Silver Creek. Upon first encounter, Cook's paintings mesmerize and pull us in. Yet it is through their untiring freshness, each is all the more amazing in their ability to hold our attention that removes the din of contemporary distractions. He awakens an internal dimension taking one aback. Cook, however, is not a propagandist, in that he leaves it to each of us to explore the world as we experience and see it.

Deborah Oropallo


February 2 - February 29, 2008


Deborah Oropallo's show continues in the Viewing Room at the Gail Severn Gallery. Deborah'’s exhibition explores the artistic transition from painting to digital imaging. By incorporating the multimedia of printmaking, photography, digital technology and tapestry, Oropallo brings classical art into the modern realm. Using the costume of the socially powerful: the police and military, and the guise of the socially powerless: the French maid and the Cowgirl, Oropallo’'s feminist twist provokes the institutional roles. Paradoxically demonstrating the woman, as a man, as a whole being, Oropallo shows women radiating a complex yet dominant and quiet strength.

Delos Van Earl

Current Perspective


February 2 - February 29, 2008


Using multiple layers of paint and deconstruction, Delos Van Earl’s paintings/sculptures are an exploration, revealing the transformation from raw material to a multifaceted work of art. After applying each layer of material, he sands, scrubs, and buffs the oil, enamel and mixed media on panel to expose the true surface and process of the piece. His paintings are a reflection of his life. His steel and bronze sculptures are also textured and exposed after weathering an range of techniques. The result for both the paintings and the sculpture are tactile journeys that invite the viewer to reach out and touch their surfaces.



February 2 - February 29, 2008


Christopher Reilly, Michelle Haglund and Raphael Goethals explore the use of encaustics to develop their beautifully organic paintings. Reilly and Haglund paint the nuances of the natural world - including trees, plants, flowers butterflies and birds. Goethals’ takes a more non- objective approach using color and tone to create serene and engaging paintings. All three artist have a the ability to present lush and romantic images that move beyond the everyday.

Theodore Waddel

Quarter Horses and Other Dreams


February 2 - February 29, 2008


Theodore Waddell has been described as an artists – artist. As a rancher, and constant painter, he is inspired by his immediate surroundings. His abstract expressionistic style captures his subject’s natural form and movement with contemporary sparity. Painting impressionistic images of horses, cattle and sheep in open fields and against colorful skies, Waddell weaves a western dream. His works in oil and encaustic on canvas, bronze and wood sculptures, along with graphite and oil on paper engage the viewer to share in the moment and be part of his experience. His passion for animals, including his beloved dogs, emerge from the paintings in a heartfelt burst of color and emotion.


Jan Aronson

While Rome Burns


December 21, 2007 - February 8, 2008


Nationally acclaimed for her paintings that capture nature and abstraction concurrently, Aronson continues to paint stylized studies of leaves, rocks, and water in both oil on canvas, graphite and watercolor on paper. Vital and lurid colors painted with quick, short strokes of paint draw you deep into the grooves of every rock and the crest of every water ripple. Aronson’s paintings are arresting not only for the rich use of color and perspective but for their personal sense of psychological and formal considerations. Her images are alive, moving and suspended in time.

Christopher Reilly / Michelle Haglund



December 21, 2007 - February 8, 2008


Both Chris Reilly and Michelle Haglund’s natural transformation images symbolically represent the eternal cycle of evolution. Reilly’s work incorporates life forms such as the dragonfly as well as seasonal forms such as seeds and budding blossoms to continually remind the viewer of the ever-constant growth stages in life. His current work also delves into the subconscious dream state, blurring meditation and imagination. Tangentially, Michelle Haglund’s encaustic pieces demonstrate the later stages of the life cycle. With the evolvement from bud to withered leaf and from vibrant green to rich reds her works represent the “fall” of life. Both their styles and subject compliment one another to embody the complete cycle of life. Visually, both Haglund’s and Reilly’s pieces suggest sensual qualities by using layer upon layer of wax and watercolor and other mediums to achieve their final visual composition.

Deborah Oropallo

Head to Head


December 21, 2007 - February 8, 2008


Deborah Oropallo's current work explores the artistic transition from painting to digital imaging. By incorporating the multimedia of printmaking, photography and digital technology Oropallo brings classical art into the modern realm. Turning her attention towards the human figure, Oropallo explores the balance of thresholds and challenges the relationships traditionally associated with established social roles. Using the costume of the socially powerful: the police and military, and the guise of the socially powerless: the French maid and the clown, Oropallo's feminist twist provokes the institutional roles. Paradoxically demonstrating the woman, as a man, as a whole being, Oropallo shows women radiating a complex, submissive, yet dominant and quiet strength.

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Gail Severn Gallery