Donna Wallace

A native of Kirkland, I consider the Pacific Northwest to be the most wonderful part of the country! Of course I’m biased, but the moderate temperatures, green landscapes, the ability to go from ocean to snow-covered mountains to eastern Washington desert all in the space of an hour or two... well, it suits me, so I’ll always call this place home.

I have loved drawing and painting since I was young, and actually I can’t recall a time when I wasn’t doodling, sketching or drawing little cartoons. Through junior high and high school I was active in art classes, but later in college I was determined to keep my artistic side relegated to hobby status – most likely just a backlash of my parents insisting that my profession should be something in the realm of art! Eventually, though, I happened to take an elective drawing class and was surprised to find that I received real encouragement by those who’s talents I respected. I took a tentative step towards a focus on that area of study, then gained momentum as I realized that I had both a talent and interest in various aspects of art (hmmm, it appears my parents were right!). Going down that path I graduated with a degree in Drawing and Painting, later a degree in Commercial Art, and after working at several design studios I landed at a local software company in the days when it wasn’t required to have any computer skills to get a good job. And so, while my “day job” settled into digital layout (and later software interaction design), I continued painting fine art... sometimes a little... sometimes a lot....

My work today shows my love of drawing, particularly in my floral pieces; more specifically the sense of flowing lines following the motion of hand & arm as they sweep down the page. It is rare that I paint anything without first working out an underdrawing orlater touching colored pencil to paint in order to refine the linear expression. Another recurring theme that I love to explore is the juxtaposition of abstract pattern with very structured, detailed and “realistic” elements or subjects. The interaction and layering of these two opposites fascinates me and lends a depth to the work. I think that this is why I’ve gravitated to the technique of using watercolor on crinkled masa paper: the watercolor will find it’s own way of expressing itself if I relax and don’t try to over-restrain it. The further application of layered paint and colored pencil add tone and detail which is a perfect counterpoint in my eyes for the random backdrop. Whether painting trees, florals or dancing fairies, behind all my work is a combination of playful abstraction, flowing line and finely drawn details.