I’ve always thought watercolor is best served in splashy, spontaneous strokes. It yearns to be transparent and luminous. Fluidity is the hallmark of watercolor. But of equal importance is dramatic use of light and shadow. It’s what provides definition, bringing form to life, creating an understated rhythm between the real and imagined. Above all, I like to leave some things undefined just enough for the viewer to bring their own experience into what they see as they interpret my work.

I am a Colorado artist, workshop instructor, signature member, and juror. I’ve had the good fortune of being able to conduct workshops for painters throughout the country.
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My introduction to watercolor came about as an undergraduate art major at Principia College above St. Louis. My mentor and instructor was James Green, an original member of a coterie of notable watercolorists coming out of Chouinard and Art Center in Los Angeles during the early 1930’s. This group of painters were close friends and had great influence upon each other’s work. They included such notable names as Robert Woods, Rex Brandt, Barse Miller, Milford Zornes and Millard Sheets (to name a few). These watercolorists were instrumental in creating a distinct style that has become known as the California school of watercolor. And one can easily recognize their influence in my own artistic work to this day. 

COMICS/GRAPHIC NOVEL MAKING
After retiring in 2015, at a rather young age, he thought about his lifelong passion: Making comics. Growing up in a French colony in South East Asia, he was exposed to all the genres of comics, from American superheroes, to French Bandes Dessinee, and Japanese Manga. Since childhood his dream has always been to create and publish his own comics. By 2023, he has published 5 full graphic novels on-sale worldwide, translated into 6 languages.
This presentation will include: - the history of comics - How we view comics and comics for today’s audience - variety of comics all over the world and - touch on the process of making a comic.
​URBAN SKETCHING
Long before he’s aware of the urban sketching movement, sketching has been his hobby and rewards. He’s been exposed to issues, problems and advantages of urban sketching, the varieties of mediums, subject matters and techniques. He presented and discussed the following in the meeting.

• What is urban sketching, what differentiates urban sketching from painting ·
• What materials to be used in urban sketching
• What are the typical subject matters
• When, where, who to do urban sketching
• The good, bad and the ugly of urban sketching
• Supporting groups, activities, events ·

​Catherine was born in England and studied fine art at Chelsea School of Art and design in London. She was awarded the Stowells Trophy at London’s Royal Academy of Art, in London, and relocated to the U.S. on a scholarship to Cranbrook Art Academy, Michigan. By 1983, her work had been shown at many Detroit area galleries, including a solo show at The Sixth Street Gallery in Royal Oak in collaboration with Detroit poet Chris Tysh. This collaboration culminated in a publication entitled “Coat of Arms”, by Station Hill Press. Her move to New York City was followed by two shows at The Drawing Center in SoHo. She was granted awards by The New York Foundation of The Arts and Materials For The Arts in 1991. Since her move to Los Angeles, her work has been included in exhibitions at the Los Angeles County Museum of Art and The Armand Hammer Museum. She has exhibited her work in England, Iceland, Japan and the United States.