Skip Navigation

© 2019 Kenai Peninsula College. All rights reserved.
University of Alaska Anchorage

Virtual Gary L. Freeburg Gallery

 Welcome to the virtual Gary L. Freeburg Gallery. Our gallery exhibit schedule has transitioned to an online format until circumstances allow our physical gallery schedule to resume. You will find our current gallery exhibit below as well as archives of pervious online exhibits.   

Joe Kashi, Searching for Authenticity


Joe Kashi is a Soldotna, Alaska  trial attorney who received his BS and MS degrees from MIT in 1973. While at MIT, he “casually” studied photography with prominent fine art photographer and Aperture founder Minor White.  He received his JD degree from Georgetown University Law School in 1976 and has practiced law on the Kenai Peninsula since 1977. This show is his twenty-fourth solo gallery exhibit. He particularly thanks his wife, Terese Kashi, Ph.D. for her encouragement as well as Kenai Peninsula College for this exhibit opportunity.

Artist Statement

This exhibit is my first attempt to address a long-standing personal question:  why do some photographs and other visual images linger in our memories, continuing to engage us and resonate emotionally, while other images fade away?  What differentiates straightforward documentation from a “work of art”?  Many would respond to both questions by citing a sense of emotional “authenticity”.

Personally, I believe that to be “authentic”, images in all visual media should emotionally move us by conveying an intuitive sense of “real” experiences, perceptions, and emotions, rather than of contrivance for effect.  Ideally, they allow viewers to vicariously experience some of the image maker’s original experience and reaction to the subject, even if some levels of that initial experience were not then evident when the photograph was taken.  Further, an image with some sense of abstraction, incompleteness, or ambiguity, rather one that’s overly literal or sentimental, gives viewers the space to project their own memories, experiences, and emotions into a receptive image, enhancing impact.

I’ve occasionally seen someone stand before an image for a lengthy time, silently absorbing the experience it evoked.  In one instance, Jim Evenson spent several minutes staring into the fireweed “cotton” photograph that’s part of this exhibit.  For myself in turn, I find that I often return to the Jim Evenson stone lithography print “Off Ninilchik”, part of KPC’s permanent collection.  Looking at Jim’s print of a small commercial fishing boat fighting big seas in Cook Inlet, I continue to viscerally feel the fears and exhilaration of commercial fishermen like Jim fighting to survive in small boats.

The photographs chosen for this exhibit vary visually and in choice of subject.  I hope, though, that they fit together visually while sharing the common thread of evoking a sense of “authenticity”.  To fit my own rough “authenticity” criteria below, I have selected only photographs which I made at least a year ago, which continue to evoke for me a continuing personal attraction, and which have been selected by others for juried shows or curated collections. Thus, you may have seen some of them previously other contexts.

Images are not titled, in order to also the viewer to more personally  experience them.  Some thoughts about practical image-making and curation follow these images.

Joe Kashi, 2021
Soldotna, Alaska

Some Practical Considerations

Although “authenticity” seems difficult to define with any precision and philosophers have debated the concept for centuries, some practical considerations may help when making and curating images.  My take:

  • Does an image initially engage both the maker and viewers visually?
  • Is the image the “strongest way of seeing” a particular subject, i.e., effective composition?
  • Does it evoke the subject’s essential reality, the “rockiness” of the rock, to use Edward Weston’s example? 
  • Does the image share spontaneous and worthwhile perceptions and emotions of a moment captured in time and brought to successful completion, or is it banal, affected, or pretentious?
  • Does an image capture and impart to both its maker and to viewers a vicarious sense that the image truthfully reflects “real” perceptions, experiences and reactions, or does it feel labored, contrived, clichéd, or hollow?  
  • Does the image initially strike an intuitive/emotional resonance with both the maker and at least some viewers? 
  • Does the image still resonate emotionally upon re-viewing months and years later?
  • Put another way, does the image and what it conveys feel honest, genuine, and timeless?
  • Does the image allow viewers room to project their own memories, emotions, and experiences, finding their own meanings?
  • Does the image speak for itself, showing conceptual clarity of vision and of purpose, not needing a lot of words?

Rippled pond with lilly pads

Dark clouds in the sky about a bay, a bit of snow on the ground with foot prints and tire tracks leading the bay

Burned trees set against a fog

a rocky beach beach that leads into a sandy beach the day has fog and is gray. A line of water seems to seperate the rocky and sandy areas

Large rocks in the sand and pebbles at a beach on a gray day with fog

Refection of trees in a small pool of gray sandy/pebble beach

The top of a fireweed stalk that is beginning to go to seed the flowers are gone but the colors remain and the seedy fluff is forming

Shawdow of tree branches on wet concrete

Five people sport fising, they are in dark agiast a light gray background the water is rippling around them

The dark outline of person with a square of light behind themand a white teapot in front of them All seen through ripply glass
Trees and the shadow of trees with light in their center all seen throug
A soft arm chair and a floor lamp barely lit by a beam of light slipping around the edge of a curtain
A table with two chairs, set against a frosty window, the shade half draw the dark outline of a turned off closed sign, the table is set with salt and paper shakers, a small glass dish with suger and artifical sugar, a piller candle and two napkins the view outside is of a dusting of snow covering a green ground, planter, small picket fence and metal chair
The back of a wooden chair set against a cement looking wall a faint shaft of sunlight falls over the top of the chair and is the only light in the room
A small table set for two next to a grosted window with the shadows of trees refecting against the glass and ice




Tedd McDonah


Tedd comes from a small Wisconsin town, but with him comes both a large appetite for creativity and a passion for teaching. Tedd’s academic artistic training came from the University of Wisconsin - LaCrosse, and Arizona State University; BS in Art (’96), and MFA (’01). Tedd’s work speaks of the rural nature of his midwest upbringing, and his appreciation of the outdoors. McDonah’s work features techniques that bridge conventions found within the disciplines of blacksmithing, non-ferrous metalsmithing, and jewelry-making. He currently teaches jewelry and blacksmithing classes at Rowan University in Glassboro, NJ, and Bryn Athyn College in Bryn Athyn, PA, respectively.

Artist Statement

For years now, my artwork has been a working hypothesis to provide a outlet for something that I’ve always had a hard time explaining with words. As a viewer might expect to hear or read: “Tedd McDonah’s work is all about fishing.” However, it is not.

I’ve come to embrace the fact that the impact of my rural upbringing and surroundings will never completely be gone from the place in my psyche from which my ambition and creativity stem. The trees, brush and weeds, the old, rusty, farm equipment that dotted my parents and grandparents property, the neighbors’ dairy farms, the country roads, the small towns, the lakes, the rivers, the bluffs, etc.; the places/locations I played as a child, were my art museums and aesthetic developers. One of my grandfathers, and my dad, were a farmers, trappers, fishermen, and general outdoorsmen, they were fantastic role models to help shape my future. My dad was also a biology teacher, before his untimely death in 1978.

Early on in my student metal working days I thought jewelry making was going to be my future, but then something significant happened - I made a jewelry/fishing lure mash-up as a tongue-incheek, one-off endeavor. I’ve now been following a path that I’d never considered I’d be on. It to bring me back into touch with the desire to experience the outdoors - which, over time, I’d not noticed how much I’d lost touch.

My ‘Lure’ body of work tries to capture qualities of ‘Americana,’ kitsch, outsider / folk art, and craft, that speaks of, or has a very different meaning among those who have an interest in fishing, as well as, to those who do not. At the core of all art, there is a humanistic nerve that drives artists to do what we do. My art explores ideas of: patience, temptation, impulse, the notion of preciousness vs. non preciousness, emotional connectedness, emotional attachment, excitement, disappointment, solitude, skepticism, story telling, teaching, leadership, envy, competition, and friendship.

Tedd McDonah

Various handmade lures

Original Recyclures,

copper and litho-printed steel (tin cans), group sizes vary, individuals 4" X 1" X 1"

Various handmade lures

Twitch 'n' Pause - Jerkbait Survey

turned & pigmented wood, sterling silver, jade, onyx, sizes vary, approx 8" X 2" X 1”

Two handmade lures

Spin 'n' Sputter / Lures

turned dyed woods, jade, sterling silver, copper, sterling silver/copper mokume-gane, copper/nickel/brass mokume-gane, white-tail deer hair, brass, stainless steel, glass beads, Top: 9" X 2" X 1" Bottom: 6" X 3" X 1”

Two handmade lures with metal flowers

Allure(s) / Moku-spoons

copper/nickel/brass mokume-gane, brass/nickel mokume-gane, copper, vitreous enamels, 5" X 1" X 1”

Handmade lure with a flower and white fur

Moke-a-bou / bucktail-style inline spinner

copper/nickel mokume-gane, sterling silver, nickel silver, garnets, marabou, copper, vitreous enamel, 9" X 2" X 2”

John Deere style handmade lure with green fur

JD .30 - .30 / bucktail-style inline spinner

litho-printed steel, copper, brass cartridge, nickel silver, marabou, 9" X 2" X 2”

Handmade striped lure

Twitch 'n' Pause

turned and painted wood, glass eyes, sterling silver, approx 8" X 2" X 1

Red handmade lure

Twitch 'n' Pause / Embarrass Red

turned dyed and pigmented wood, jade, sterling silver, 6" X 2" X 1”

Pink and yellow striped handmade lure

Dirty Cake Crunch Top Water

turned and painted wood, copper, plastic eyes, brass, stainless steel, 10" X 3" X 1”

detail of Dirty Cake Crunch Top

Handmade lure with cameo

Allure / Lake Marm

copper/nickel/brass mokume-gane, sterling silver, simulated cameo,

5" X 1.5" 1.5”

Snoopy themed handmade lure

Original Recyclures / Recyclure

copper, tin can, 4" X 1" X 1”

Juicy Fruit recycled handmade lure

Original Recyclures / Recyclure

copper, tin can, 4" X 1" X 1”

Recycled lure with mermaids

Original Recyclures / Recyclure

copper, tin can, 4" X 1" X 1”

Recycled handmade lure that reads "beer"

Original Recyclures / Recyclure

copper, tin can, 4" X 1" X 1”

Handmade lure with white flowers


copper/nickel/brass mokume-gane, copper, nickel silver, copper, vitreous enamel, peridot, 4" X 1" X 1"

Handmade lure with yellow flower


copper/nickel mokume-gane, copper, vitreous enamel, 6" X 1.5" X 1.5"

Handmade intricate lure with metal spirals and cameo


forged and fabricated sterling silver, simulated cameo, 5" X 1.5" X 1.5"

Jolly Good recycled handmade lure

Jolly Good Recyclure

copper, vintage soda pop can - sour pow'r, 4" X 1" X 1"

Handmade lure made to look like a green and red fish


sterling silver, copper, vitreous enamels, freshwater pearl, 3" X 3" X 1/2"

Handmade lure made to look like a white and gold fish

Bubblegum Shiner

copper/nickel/brass mokume-gane, sterling silver, moonstone, laminated canvas,

4" X 3" X 1/2"

Several enamel lures


copper, vitreous enamels, tin can, 4" x 1" X 1"

Fish with a recycled lure in its mouth

Large Mouth Bass on Salsa Recyclure / Fish taco recipe

copper, salsa jar lid, nature.

Person holding a spotted fish with Embarrass Red Lure

Lunker northern on Embarrass Red

Artist wearing handmade brooch

Artist with brooch. (El Hombre Muertos)


James Viste


James Viste was raised on a farm in Wisconsin. He received a bachelor’s degree from the University of Wisconsin-La Crosse and a master of fine art degree from Cranbrook Academy of Art in Bloomfield Hills, Michigan. He is a nationally known blacksmithing demonstrator and exhibitor and has participated in several national Ironwork Restoration Projects, including at Cranbrook Educational Community, The Charles Lang Freer House and The Detroit Institute of Arts. He has worked for studios in Minnesota, Wisconsin, New Mexico and Michigan. He is currently the Manager of Edgewise Forge LLC in Sturgeon Bay, Wisconsin.

Blades 2012-2021

Knife titled 'Honey Comb'

Honey Comb

pattern welded steel, Schibuichi, plastic, resin

2 x 9 x ½”


Knife titled White Cylinder Pile

White Cylinder Pile

pattern welded steel, Schibuichi, plastic, resin

2 x11 x ½”


Knife titled Baby Cakes

Baby Cakes

pattern welded steel, Schibuichi, plastic, resin

2 x13 x ½”


Knives titled RLR Blades

RLR Blades

pattern welded steel, Schibuichi, blue thread, resin

2 x 12 x ½”


Knife titled Secret Blue

Secret Blue

pattern welded steel, Schibuichi, paper, resin

2 x 9 x ½”


Knife titled White Line NM

White Line NM

pattern welded steel, Schibuichi, plastic, resin

2 x 9 x ½”


Knife titled Credit Due

Credit Due

pattern welded steel, Schibuichi, credit card, resin

2 x 10 x ½”


Knife titled Silver Back

Silver Back

pattern welded steel, Schibuichi, reflective tape, resin

2 x 10 x ½”


Knife titled Green Back 1

Green Back 1

pattern welded steel, Schibuichi, dollar bills, resin

2 x 10 x ½”


Knife titled Lines and Ribbons

Lines and Ribbons

pattern welded steel, Schibuichi, reflective tape, resin

2 x 10 x ½”


Knife titled Lines and X Grinds

Lines and X Grinds

pattern welded steel, Schibuichi, bamboo, resin

2 x 9 x ½”


Knife titled Shavings of Plastico

Shavings of Plastico

pattern welded steel, Schibuichi, plastic, resin

2 x 10 x ½”


Knife titled O-range


pattern welded steel, Schibuichi, plastic netting, resin

2 x 10 x ½”


Knife titled Fordite For A Friend

Fordite For A Friend

pattern welded steel, Schibuichi, fordite

2 x 9 x ½”


Knives titled Glen and Nancy

Glen and Nancy

pattern welded steel, Schibuichi, plastic netting, resin

2 x 10 x ½”


Knife titled Ol'Reliable

Ol’ Reliable

pattern welded steel, Schibuichi, canvas, blue dye, resin

2 x 8.5 x ½”


Knife titled Five


pattern welded steel, Schibuichi, ink on paper, resin

2 x 9 x ½”


Knives titled The Trio

The Trio

pattern welded steel, Schibuichi, plastic netting, thread, resin

2 x 9 x ½”


Knife titled A Couple

A Couple

pattern welded steel, Schibuichi, silk cloth, resin

2 x 11 x ½”


Thomas Chung


Thomas Chung was born in New Jersey and grew up in New York City and Hong Kong. He received his BFA from the San Francisco Art Institute in 2010 and his MFA from the Yale School of Art in 2013. He has participated in numerous group and solo shows throughout the United States. His interdisciplinary work has been featured on PBS and written about in Modern Painters, Art in America and the New Yorker. Chung has lived in Anchorage and has been teaching at the University of Alaska Anchorage for the past six years.

Artist Statement

In the Buddhist Mahayana worldview, anything can teach wisdom. A slug can be a buddha, a sleazy advertisement or black eye can wake you up to the truth.

The name of this exhibition refers to a well-known Zen koan that if you ever meet the Buddha, you should kill him. This refers to the fact that true wisdom arises from within and cannot be taught from another person.

These paintings also represent a visual journey that occurred in tandem with my family rediscovering Buddhism after generations of assimilation and the loss of our cultural heritage through war, xenophobia, and colonization.

Thomas Chung

Photo of art titled Delicate Fingers

“Delicate Fingers” Acrylic and Oil on Canvas 72”x60” 2018

This work represents the colonization and decolonization that has taken place in my family. Before my great grandparents and grandparents immigrated from China to the United States as refugees of war, the process of colonization had already affected my family severely. My great grandmother used to hide her Buddhist devotion from my great grandfather, a Christian minister. She hired neighborhood children to alert her when he was coming so she could hide the Buddha statue. Holding on to Buddhism became impossible once in America. My ancestors assimilated and abandoned our cultural roots because they had no other choice. To fit in they spoke English, wore Western clothes and participated in Western culture. By the time I was born in 1988 barely a Chinese word or story was passed on to me. As assimilation shifts to inclusivity in this country, Buddhism has returned to my entire family one by one and we have begun to heal.

This painting is my take on an American Guan Yin, the Chinese goddess of mercy. My grandmother carried a glass statue of Guan Yin when she immigrated to America. She told me that she never put the statue down the entire voyage, because the fingers were so delicate she was afraid they would break. In this painting I have visually shattered the entire image to represent the period of near total loss of religion and culture in my family.

Photo of art titled Guru Rinpoche

“Guru Rinpoche” Acrylic on Canvas 10”x8”

This painting is my interpretation of Guru Rinpoche, the legendary individual attributed to bringing Buddhism to Tibet. Buddhism was nearly wiped out in India where it originated, but the texts were faithfully protected in Tibet in large part due to his efforts. I believe Buddhism represents a wonderful example of cultural exchange. The imagery of Buddhism shifted as it traveled to different countries and continues to shift and reflect the people devoted to the philosophy.

 My mother was raised Catholic and had to learn Chinese in college. In late life she dedicated her life to Tibetan Buddhism, and I followed her. We are practitioners of the Nyingma School of Tibetan Buddhism. I made this painting for her, of her favorite deity considered to possess a rainbow body. Paintings like this are undoubtedly American permutations of Buddhist imagery. While I obtained permissions from my Tibetan teacher to use the symbols and images found in traditional Tibetan Thangkas, I interpret and fuse the traditional motifs with Western painting gestures such as this rainbow color scheme and use of a sculpture as model.

Photo of art titled Mara

“Mara” Latex Paint on Wood

Dzongsar Jamyang Khyentse Rinpoche once said that loneliness and suffering are a result of positive virtuous actions that have carried over from a past life. The suffering is a blessing because it is the main cause for an individual to wake up to the truth of existence and the world.  One who never suffers is one who is blind and asleep, never having to ask questions or go deeper. One who never suffers is incapable of true compassion or empathy, those emotions require knowledge of suffering. The discontent generated from suffering can be transformed into spiritual fuel in the same way that a lotus grows out of mud. If I was happy all the time, why would I pray? Why would I seek God?

This painting is of the Buddhist embodiment of the forces antagonistic to enlightenment, Mara. Mara was the final obstacle of the Buddha’s enlightenment. The painting also represents the Buddhist worldview that what we encounter outside of us is a result of what is happening in our mind, like the scenes we find ourselves in dreams. Fear outside is merely a reflection of fear from within.

Photo of art titled Grey Rainbows

“Grey Rainbows” Acrylic and Graphite on Wood 16”x12”

I grew up in an almost exclusively white suburb of New Jersey that had an informal ‘Whites Only’ policy well into the 1960’s. My mother realized that growing up in the extreme minority was causing my sisters and me to see ourselves as outsiders, so she moved us to Hong Kong when I was 11. I spent four years in the British colony before it was returned to the Chinese. In New Jersey not being white made me feel like a worthless, undesirable person because of racism on TV and the schoolyard. In Hong Kong not being white made me feel subhuman because the British established themselves as rulers there. When I was a teenager I wanted nothing more than to be white because my race caused me such intense suffering.

I learned about decolonization for the first time when I moved to Alaska six years ago. The idea of elevating non-Western cultures to the same level as the mainstream became the most important idea I had ever heard. It has been transformative to heal my mind, which had absorbed the racism and homophobia I grew up with.

My middle name Pu is the English pronunciation of a Chinese character that means “Oracle”. Pu is also my mother’s maiden name. It is a remnant of my ancestors' role as oracles in China. They threw animal bones into fire and interpreted answers from the divine through the cracks that formed. Pyromancy similarly described took place here in Alaska by the Athabascans.

This self-portrait shows me dressed as I would be if I were to fulfill oracle duties today here in America. It represents the break from Western mainstream culture that had previously filled my mind and colored my identity.

Photo of art titled The Skin Remembers

“The Skin Remembers” Acrylic and Oil on Canvas, Salmon Skin Tanned by the Artist Using Techniques Learned from Athabaskan Artist Joel Isaak at the Alaska Native Heritage Center. 60”x49” 2019

This painting is a meditation on the healing power of traditional knowledge, and an example of my attempt at an ethical incorporation of cultural exchange. The blending of cultural influences in the piece represents a shared heritage of humanity.  Within the salmon skin pouch is a piece of yellow ochre given to me by an Inupiaq Elder in Point Hope used to paint the figure in the painting.

The painting was made in tandem with my Buddhist studies on emptiness. Emptiness includes the concept that nothing in this world is permanent. Everything from our bodies, to the government, to this painting are inseparable from everything else in existence. Nothing exists in isolation, and everything is impermanent like a dream. The teaching is intended to help one let go of ignorant clinging to the self. We don’t feel attached to our dreams at night, we accept that they are temporary and will fade. So too will this waking life.

Photo of art titled Emptiness, Rebirth, and Impermanence

Emptiness, Rebirth, and Impermanence, 2020, Dimensions variable, mixed media

The triptych "Emptiness, Rebirth and Impermanence" are expressions of three core Buddhist concepts.

The first panel on the left is a depiction of emptiness. As I painted it, I began to see my life like a dream at night. This has helped me detach from the anxiety caused by clinging to the self: fear for my safety, fear of losing my loved ones, fear of major illness, and fear of my own death.

The middle panel is my take on the traditional wheel of life seen in East Asian Buddhist art. The painting represents my grappling with the concept of rebirth and reincarnation.  I grew up attending Protestant church every Sunday so the idea of reincarnation is still hard for me to fully accept, but I am getting closer. My mother taught me the Tibetan practice of dream yoga recently which is essentially lucid dreaming as spiritual practice. Part of the practice is being aware of your mind during sleep. Each night I will have a series of dreams in sequence. In some of these dreams I am a little blonde girl, in another I am a duck with sharp teeth. My mind is the cause of the form of these dream births, and their accompanying emotional charge. If reincarnation exists, I believe it functions similarly.

The last panel is a depiction of impermanence. I want my loved ones to be with me forever and for our relationships to never change or go away. I want to keep my job, my health, my beauty and my life forever. Since all of these are futile desires, the consequence of holding onto these thoughts is disappointment and suffering when they eventually end. Even before they end the clinging causes suffering because deep down, we all know we will lose everything eventually. We are changing all the time, with new cells every 7 years, new dreams, new circumstances, challenges and accomplishments. I try to think about this as a positive now: I try to detach my clinging to impossible desires.

When we die, we cannot take our money, or our loved ones. Even when alive we are in a continual state of dying and flux. But what is the alternative? As I painted this triptych I thought about a world where no one suffers or dies, and it simply cannot exist. I teach my drawing students that black only exists if white exists in context.  Life and death, happiness and suffering also exist on an inseparable relative spectrum.

Photo of art titled Portrait of Khentul Rinpoche

Portrait of Khentrul Rinpoche, 2020 30"x20", Acrylic and Oil on Canvas

The Dharma asked me to test the concepts I was taught. I was instructed to dissect the teachings and question them. There is no dogma in Buddhism, to me it has been a generous grandparent whispering the most valuable wisdom in my ears. This painting is about wisdom as an organic force of the universe. In Tibetan Buddhism the endless knot symbolizes the path towards enlightenment: The union of wisdom and compassion. On this path it is helpful to have a teacher.

I am lucky to be part of a lineage unbroken all the way to the Buddha himself. My Tibetan name was given to me by Khentrul Rinpoche when I took my refuge vows, it translates to ‘Awakened One of the Highest Cosmic Truth’. Dharma names like mine are meant to be aspirational. Buddhism has felt like encountering cosmic truth. It has felt like I was bailing water from a sinking ship my entire life until someone told me I could swim.

I didn’t know I had a choice about what thoughts I listened to and followed before I embraced Buddhism. The mind training that Khentrul Rinpoche has given to me has been transformative. I have been taught the tools to tame my mind and will be wrestling this ferocious tiger my entire life.

Photo of mural art from an exhibit in Anchorage
Photo of mural art from an exhibit in Anchorage

Detail Shots from SEED LAB mural project with the Anchorage Museum.

I was the resident artist for the Anchorage Museum’s SEED LAB September 2020. I developed murals emulating stained glass windows to raise awareness about climate change.

When asked to comment on climate change, this is what came to mind: There is no mistake in my personal life that doesn’t have the potential to become wisdom. I am a kinder person for the regret that followed a past of cruelty. I value the things I have broken. I know the depths of my heart when it is aching. I believe that humanity can learn from even our biggest mistakes as well. I went to Hiroshima last year to see how the people of that city overcame an atomic bomb being dropped on them. I was shocked to find that many there are on a mission of peace. The people of Hiroshima know the need for peace because of the disaster they endured. Climate change could be the catalyst for a more respectful and wiser society. I believe life has always been aimed towards wisdom.

In the first panel I painted Buddha smoking a cigarette and uprooting invasive dandelions. I believe Buddha would enjoy the irreverence in my art. I once read the passage that even if you slander the Buddhist texts they will still work for you.

The Pilgrims brought the first dandelions to the New World as food and medicine. The plants represent colonialism to me and can now be found nearly everywhere the West has affected. Last summer I noticed that there were hundreds more dandelions in the bog behind my house than usual. They are invasive species, harmful to local nature. I wondered if I could help as just one person. I began to pick and uproot every dandelion I saw as I walked my dog, and at the end of summer there were none left in those few miles. This gave me hope that maybe one person can help. I want people that see the mural to pick every dandelion they see too.

The other panel was painted as I began to accept the law of karma in all its fullness. It depicts dandelions that have now gone to seed, and the melting Mendenhall Glacier in Juno. Every action has it’s consequence, what consequences do we want for our lives?

Photo of art titled Buddha Backdrop 

“Buddha Backdrop” Acrylic on Canvas 5’x5’ 2020-2021 (In Progress)

This painting will be installed as a permanent mural at the La’i Peace Center on the Hawaiian island of Oahu this year. A golden Buddha statue is being commissioned in Nepal to sit in front of the painting at the Buddhist retreat center.

My artwork can be thought about as meditations or prayers. Each painting in this exhibition was created as I grappled with metaphysical concepts in the Dharma teachings. Concepts such as emptiness, rebirth, karma, and the nature of mind were worked out through every brush stroke and pondered in each unplanned depiction. Dzongsar Jamyang Khyentse Rinpoche has said that the Buddhist path is almost identical to the process of true seeing that an artist must cultivate. The only difference is that a Buddhist must learn not only how to truly see, but also to truly hear, smell, taste, feel, think and act.


Kim Van Someren


Kim Van Someren is the Instructional Technician in Printmaking, Painting + Drawing and Interdisciplinary Visual Arts at the University of Washington. She holds a MFA in Printmaking from the University of Washington (2004) and a BA from the University of Wisconsin-LaCrosse (2002).  She has taught Printmaking at Pratt Fine Arts Center, Kirkland Arts Center, the Frye Art Museum, the Seattle Arts Museum, and University of Washington. Van Someren has exhibited locally and nationally; her work is included in several collections including the New York Public Library, the University of Iowa, the University of Washington and Yale University’s Beinecke Rare Book and Manuscript Library.

Van Someren is represented by J. Rinehart Gallery, Seattle, WA.

Artist Statement

I work from the premise of tradition shaped by play, mother shaped by child, and bone shaped by water; I am always looking to bend that which appears to be stiff. My work is rooted in that which is formidable but I am amused with the idea of transforming this notion into that which is gentle.

My work stems from structures found in farming and forests, worship and spirituality, air and warcraft. These forms are reminiscent of what I saw growing up in Northern rural Wisconsin but are also that which surrounds me in Pacific Northwest. I am interested in the metaphorical gender of structure, and how this can be altered through line, mass, and translucency.

I am also consumed with how mass and weight can be dictated with the direction, density and content of line. The massive forms I depict float and root in empty spaces to allow autonomy within structure while abandoned engineering of forms forces the structures to teeter between reality and fiction. The symbiotic use of hand and machine generated lines question whether or not the building materials are from earth or from engine.

Much of the work I create is done so by exploiting a single yet repetitive line through drawing and printmaking techniques; building processes which take time yet present me with opportunities as both manufacturer and builder. I am drawn to methods such as etching, paper lithography and carbon transfer; processes in which surfaces are meticulously rubbed, rolled, and/or printed with hand and machine pressure. Each of these steps yields intimate moments between printmaker and her paper. It is through this mark-making process and others that initiates a game of rebound and play with an image as my process is dictated by reactions to the outcome of the previous lines and forms made. By resisting the urge to pre-direct a structure’s composition, the forms are set up to transform into counter-weighted towers that float while they are planted, and root as they waft by.

In either case, the structural make-up of the forms insinuates that the delicately lined and layered forms cocoon something else, perhaps something wanting to break free.


Kim Van Someren


Artwork titled "Aider"

Paper lithography, silk tissue, collage, carbon transfer | 22"x 15" | 2020


Kenai Peninsula College Online Exhibition

October 2020


Art image titled Cloaker

Carbon and Paper Lithography on Paper | 17.5" x 11" | 2020

Double Cesser

Art image titled Double Cesser

Paper Lithography, Silk Tissue, Collage and Carbon Transfer on Paper | 22"x 15" | 2020

Double Poler

Art image titled Double Poler

Carbon Transfer on Paper | 15"x 11" | 2020


Art image titled Dozer

Etching, Collage, Drypoint, Porchoir on Paper | 22"x 15" | 2020


Art image titled Foiler

Etching, collage, porchoir on Paper | 18”x 11” | 2019


Art image titled Grainer

Etching, Collage, Porchoir On Paper | 22"x 15" | 2020


Half Stander

Art image titled Half Stander

Carbon and Paper Lithography on Paper | 19"x 11" | 2020


Art image titled Heaver

Paper Lithography, Silk Tissue, Collage and Carbon Transfer on Paper | 2020


Art image titled Hitcher

Paper Lithography, Silk Tissue, Collage and Carbon Transfer on Paper | 22"x 15" | 2020


Art image titled Lilter

Paper Lithography, Silk Tissue, Collage and Carbon Transfer on Paper | 22"x 15" | 2020



Art image titled Melder

Paper Lithography, Silk Tissue, Collage and Carbon Transfer on Paper | 22"x 15" | 2020


Art image titled Muler

Etching, Collage, Porchoir On Paper | 11"x 15" | 2019



Art image titled Porter

Drypoint, Collage On Paper | 22"x 15" | 2019


Art image titled Runger

Drypoint, Collage On Paper | 15"x 11" | 2019


Art image titled Shuffler

Carbon and Paper Lithography on Paper | 19"x 11" | 2020


Art image titled Slifter

Paper Lithography, Silk Tissue, Collage and Carbon Transfer on Paper | 22"x 15" | 2020


Art image titled Spilter

Etching, Collage, Porchoir On Paper | 22"x 15" | 2019


Art image titled Spotter

Carbon and Paper Lithography on Paper | 19"x 11" | 2020


Art image titled Staker

Drypoint, Collage On Paper | 15"x 11" | 2019


Art image titled Sterner

Paper Lithography, Silk Tissue, Collage and Carbon Transfer on Paper | 22"x 15"  | 2020



Art image titled Throbber

Carbon and Paper Lithography on Paper | 19"x 11" | 2020


Art image titled Voider

Carbon and Paper Lithography on Paper | 19"x 11" | 2020



Art image titled Wedder

Carbon on Paper | 15"x 11" | 2020




Luke William Achterberg, MFA


Luke Achterberg grew up in central Wisconsin; the Grandson of welders and the Nephew of automotive customizers. He completed his undergrad at the University of WisconsinLa Crosse. Then studied welding at Western Technical College. He worked as a certified welder and fabricator at a custom job shop before completing his Master of Fine Art degree at the University of Kentucky. He has received awards from the International Sculpture Center in New Jersey and Art-St-Urban in Switzerland. He has had solo exhibitions in New York City, and recently in Columbus, OH. He maintains his own active studio in Onalaska, Wisconsin.

Artist Statement

The work explores relationships between fine art and the subcultures of Americana found in hot-rodding, graffiti, and street art—all of which display extremely high technical values developed outside of academia. I identify with these values and am diligent in my attention to the quality and individuality of each work. While working, I think of the customization process that overturns the standardization of automobile mass production into vehicular uniqueness. I continually play with balance, both physical and aesthetic, creating a visual smoothness or sleekness, what I call “Super Sleek."

Luke William Achterberg, MFA

Painted Steel Scuptor titiled Steller Strock
Steller Stroke 49 by 22 inches, Painted Steel, 2011


Primordial Movement, 84 inches, forged and fabricated steel, 2007

Artist note: Material Gesticulation, and using some of the tech knowledge I had gained in Welding School and the industry combined with blacksmithing experience.

forged and fabricated metal sculpture
forged and fabricated steel sculpture


Balance, 15 feet 6 inches, painted steel, 2008

Artist note: Further refinement of the form to separate masses connected by tendrils.  Metaphor on connections between high art and low art.  Influence from childhood obsession of Extreme Sports, BMX, Skateboarding, Snowboarding and the sensibilities associated with the design incorporated into those products.

painted steel sculpture
Painted steel sculpture


Moving Balance

Artist note: I took this piece down the interstate twice, to a Sculpture Trails Sculpture park outside Bloomington Indiana, until purchase by Wabash Valley College in Illinois

balance sculpture being towed on a trailer
balance sculpture in front of a building


 Crusing Continuity, 118 inches, 2009

Artist note: Based on ideas about automotive pin striping, fenders and chop top rat rods.

Metal sculpture titled crusing continuity
a close up view of a metal sculpture called crusing continuity


 Drag to the Finish, 72 inches, painted steel, 2009

Artist note: Appropriately named because it was the last piece I finished for my MFA show. But also the street culture reference of racing for pink slips. The new Americana, redefining Americana into the contemporary genre where people make themselves inside and outside of the academic sphere.

painted steel sculpture titled drag to the finish

 Period, 16 inches, Painted Ceramic 

Artist note: Everybody in the Graffiti world has their own arrow.

painted ceramic scuplture titled period
a close up of a painted ceramic scuplture titled period


 Aplomb, 87 inches, painted steel, 2008

Artist note: Like the artists that made their mark on the subway trains of New York in the 80s and 90s I’m interested in Art movements inside and outside of academic sphere, and blurring the boundary between the two. This piece was accepted into SculptureWalk Souix Falls and appropriately placed in front of 8th and RR Center (converted rail house) with a still functioning rail yard behind it.

painted still scupture titled Aplomb
Painted steel sculpture from a distance

 Graffiti on the side of a large truck

 Relative, 7 feet 6 inches by 15 feet, painted steel, 2009

Artist note: Seminal work from Grad school that gained note in with the ISC (Explain) Outstanding Student Achievement in Contemporary Sculpture Award. relative explanation, letter R, Michelangelo’s Sistine Chapel, greater and lesser pointing at one another

painted steel scuplture titled relative

 Alternative views of Relative

Artist note:  Couple of alt. views at the Grounds for Sculpture, talk about pilgrimage to NYC. Then, after grad school, COLD!  Applications and the great plot and scheme.  Seize the time you have in your school studio.  Neglect your job, your beer time, your girlfriend/boyfriend; if this is life seize it.

alternative view of "relative" a painted steel sculpture
alternative view of "relative" a painted steel sculpture



Calibration, 16 feet, painted steel, 2012

painted steel sculpture titled Calibraton
alternative view painted steel sculpture calibration



Flux, 15 feet, painted steel, 2015

painted steel sculpture titled flux
alternative view of painted stell sculpture titled flux



Incendiary, 11 feet, Painted Steel, 2016

Sculpture titled Incediary
metal sculpture titled incendiary


Convergence, 65 by 31 inches, painted steel (left) 

Oppositional Defiant, 60 by 30 inches, painted steel (right)

Artist note: The show took me in a direction that I like to refer to as reverse Frank Stella, (he started on the wall and moved to the floor)  where as I did the opposite.  But it gave me more perspective on the low/high ideas that I had started to unravel in my graduate thesis the works picked up more elaboration influence from comic books (hence the thought bubbles)

metal sculpture titled convergence
metal sculpture titled oppositional defiance


Evolution, 17 by 30 by 12, painted ceramic

metal sculpture titled evolution

Correlation, painted steel, 84 by 55 inches, 2017 (left)

Transition, painted stainless steel, 32 by 10 by 12 inches, 2018 (right)

 metal sculpture titled correlation
 metal sulpture titled transition

Solo exhibition at the Sherrie Gallerie, Columbus, OH, 2018

art gallery
art exhibit



Sculpture Garden at the Sherrie Gallerie, Columbus, OH, 2018, solo exhibition

garden gallery with three sculptures
garden gallery with three sculptures


Inchoate, 12 feet, automotive paint on steel, 2018

metal sculpture titled inchoate
metal sculpture titled inchoate


Baculus, 7 feet, automotive paint on steel, 2019

Artist note: Installed on the roof of Monona Terrace, a Frank Lloyd Wright building, Madison Wisconsin.

metal sculpture titled baculus
metal sculpture titled baculus


 Scalar, 7.5 feet, automotive paint on steel, 2020

metal sculpture titled scalar
metal sculpture titled scalar


the making of Scalar

person creating a metal sculpture
progress photo of metal sculpture titled scalar


the making of Scalar continued

progress photo of metal sculpture titled scalar 
progress photo of metal sculpture titled scalar


Digression, 40 by 22 inches, painted steel, 2019, (left)

I Drop, 42 by 22 inches, painted steel,2015, (right)

Artist note:  Lacing on the left, an automotive customization technique. A nod to comic books on the left with thought bubbles.

metal sculpture titled digression
metal sculpture titled I Drop


 Evince, 7 feet,  automotive paint on steel, 2020

Artist note: When I finished stripping the tape, I realized I just made my alma mater sculpture! It’s nickname is the “Wildcat”… go UK!

metal sculpture titled evince
metal sculptue titled evince



 Bedecked Billow, 6.5 feet, 2020

Artist note: Now on view at the Pump House Art Center, La Crosse, WI.

metal sculpture titled bedecked billow
metal sculpture titled bedecked billow




Cambid-J Choy
UAA - Kenai Peninsula Campus
Cambid-J Choy
Associate Professor of Art
(907) 262-0274
Walter E. Ward Building (WWB) 107D




Top ^