Originally Published September 9, 2014 | Updated March 13, 2022

Some places are just places. They’re dots on a map to which you can drive, fly or walk. Other places are experiences. Rich and vibrant, they are filled with the essence of souls who came before you. The old souls whose wisdom and skill – whose life – was responsible for the very walls which mark the spot.

The at the is such a place. Here, I can say with utter certainty the spirit of master carver Henry Nolla lives on. You can feel him. His essence is palpable. It’s tangible. It reverberates through the Carving Shed’s wooden walls and sawdust covered floor.

It’s embodied in the handshake of “Feather” George Yearsley – Henry’s mentee and the Inn’s current carver in residence. It’s seen in the tools Henry crafted and the carvings he created. Heck, it’s there in the stories told about his love for taking a dip in the buff.

When you visit the Carving Shed and see the care with which the wood is handled and the respect given to nature’s bounty, it’s difficult not to leave treading a little softer. It’s hard not to walk away breathing a little easier.

Walking up to the Carving Shed for the first time, I approached it like a heavy-footed Westerner – two stomping feet and a clicking camera. I came from the beach: the mussel shell covered, sand sprawling, wave breaking expanse of beauty. Up the small hill I came, squinting in the bright sunlight, even with my glasses.

There, just beyond the shade of the trees, sat George. His leather-tanned skin broke into a plethora of smile wrinkles as I approached. The man didn’t know me from Adam’s off ox, but there he was – with a huge smile on his face, asking me to join him as he soaked up the view.

I introduced myself and he introduced himself. Then he asked me to remove my glasses. He wanted to see my eyes. “That’s where you really get to know someone,” he explained.

It struck me as I left, how all too often we fail to make eye contact. Why does it take going to a place where wifi is non-existent and George’s cell phone is carved in yellow cedar for us to think about how we interact with one another?

And though the Carving Shed is about carving – about wood and how it can be manipulated into beautiful, functional items – it’s also about preserving a time when we talked to one another. It’s about holding onto a craft that celebrates community.

Are you ready to experience the magic at the end of the road?

George is there. He’s at the Carving Shed. Sometimes he’s inside, his hands working with the wood in one continuously smooth motion. Sometimes he’s outside, sitting by the sandy steps. And, sometimes he’s on the beach, throwing the ball for his dog. But he’s always ready to look you in the eye and introduce you to Henry through stories.

Book your ticket to the end of the road.

In a small converted garage, roughly six miles southwest of Friday Harbor, you’ll often find Paula West covered in clay.

A Connecticut native, she came to San Juan Island in 1990 (by way of New Hampshire, California, Oregon, and Canada). It was here that she met her husband, Joe Cooper.

Initially, she only potted part-time. But after laying the groundwork for a full-time business (by joining the Artist Studio Tour and making strong contacts among local residents), she went full-time in 2005.

“The local community has incredibly been supportive, both buying my work and cheering for me. I couldn’t have done it without them.” Today, you’ll find Paula’s plates in use at Friday Harbor House and Duck Soup. But for the full breadth of her work, peruse her website or visit her studio, which is open to the public.

Q: When did you first start throwing pots?

Paula: In high school. We were lucky enough to have a great art teacher who was also a potter and had a studio. He taught ceramics classes and he even took us to his studio. That was my first introduction to the idea that you could make a living doing this. And I just fell in love with it.

But I didn’t start really learning about pottery until college, where I earned my Bachelor of Art from the University of New Hampshire.

Q: Where does your inspiration come from?

Paula: I’m inspired by nature and the outdoors. Art is also a great source of inspiration for me. And I’m passionate about making things that can be used. I think that’s why I’m also drawn to Native American art. They made objects of beauty and used them.

I love that. I love making items that can be incorporated into your everyday life. I think that’s important, to live with things that inspire you. When a bowl can hold something, while also enhancing your surroundings, it can make your life better and help you feel more connected to people and things.

Q: What does it mean when you say you work with rolled slaps of porcelain and stoneware clay?

Paula: Working with slabs means I roll them out in my slab roller, which is like a big pasta maker. I roll the clay into slabs and then cut it into various shapes. I can then shape them in my plaster slump molds. Once the clay gets stiff in the mold, you can pop it out.

I like working in the mold format because the finished piece feels more organic. The clay slumps differently each time, creating a completely unique piece.

From the beginning of my career I’ve worked with porcelain clay. It’s a very fine, smooth, and white. It also translucent when rolled thinly. I love the whiteness and how it takes a glaze, but porcelain is very finicky and can crack easily. You have to learn how to work with it. And even still, you can get pieces that crack.

I just recently started working with stoneware again. It has more ‘grog’ or sand in it. This makes it much courser and easier to push around. It also has a little more integrity than porcelain, making it easier to join things together, like adding a handle to a mug.

Q: Do you have a favorite kind of piece to make?

Paula: That’s a hard question. Each form has its challenges and rewards, so I don’t have a specific piece. Mugs and cups sell well because people use them so much. They are such an intimate object — the way you touch them with your lips and the comfort they offer. That definitely makes them very satisfying to make, but I really love everything.

Special Note: All of Paula’s pieces are dishwasher and microwave safe. She accepts commissions, as long as they’re within her current wheelhouse.

Discover More Artists in the San Juans

Rahman Anderson from Studio 45 Glass

Walking into Studio 45 Glass on Lopez Island is like falling down the rabbit hole with Alice. It’s a world of color, where possibilities are only the beginning and art feels like it is created from thin air.

Dave Ber, San Juan Island Knife Maker

Near the center of San Juan Island, in an area known to some as ‘Hippy Heights’, Dave Ber hand-crafts knives in his 200-square-foot shop.

Wearable Art. Inspired by the Heart.

Home-based in Friday Harbor, Kara Navradszky specializes in wearables— elegant jewelry featuring living florals. Her necklaces, bracelets and crowns are often commisioned to celebrate milestones like weddings and new babies.

Walking into Studio 45 Glass on Lopez Island is like falling down the rabbit hole with Alice. It’s a world of color, where possibilities are only the beginning and art feels like it is created from thin air.

After traveling the world working and studying glass art in Italy, New York and Germany, owner and master glassblower Rahman Anderson returned home to Lopez Island, where he grew up. He wanted to put down roots and settle on his family land where he has now built his own home and grows a garden.

Rahman opened Studio 45 Glass in the heart of Lopez during the summer of 2017. His vision was to continue the lineage of classic Italian glassblowing that he spent the past 25 years learning and practicing. From early years at Pilchuck Glass School in Seattle, Rahman found himself creating lifelong friendships and partnerships, having doors of opportunity opened along the way. He has worked on teams for Bill Morris and Dale Chihuly. Currently, he is creating his own line of work and on Charles Lowrie’s travel team as the lead assistant.

I asked Rahman what his favorite position on the team is. “I have spent the past 25 years being the first assistant on a team, helping create masterpieces, so that is the position I am most comfortable in. Having my own studio has allowed me to be the lead, which is a challenge that I have enjoyed,” he said.

Furnace glassblowing is like a dance. Each person on the team has to make the exact right step at the exact right time and know the leader’s next move even before the leader knows they’re doing it. “A glass team can be so in tune with each other that words aren’t even necessary,” says Rahman. “Trust is key. Charles and I make insane pieces and the only way we can make them is because we know we can trust each other.”

Rahman has opened his doors to visiting artists and created a hub for the arts on Lopez. When opening Studio 45, he looked to the many studios he had worked in. Realizing he could meld together the aspects he liked and avoid the mistakes he’d seen, allowed him to create a world-class studio that would attract renowned artists.

He has also opened the doors to the community, creating custom work for residents and inviting schools to watch demonstrations. Rahman has local apprentices who are stepping into his position, which allows him to lead the team. “Learning from my teachers was one of the greatest gifts of glassblowing. So creating a space where I can share what I have learned, is a way that I can pay it forward and keep the knowledge alive,” Rahman explained.

I had the opportunity to hang at Studio 45 while visiting Lopez with my partner, Charles Lowrie. He was the visiting artist in the month of September 2019. Lopez Island is one of my most favorite places to be on this beautiful earth. I hope to see the arts continuing to enrich our lives for years to come and I cannot wait to step back into the studio’s rainbow or color.

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Near the center of San Juan Island, in an area known to some as ‘Hippy Heights,’ Dave Ber hand-crafts knives in his 200-square-foot shop.

The self-taught knife artisan began honing his craft in 1986. He outfitted his first blade with a simple wood handle. Crude in comparison to his work today, Dave never sold the knife. It wasn’t up to his standards. But the three-incher foreshadowed the elegant designs and exceptionally well-balanced blades he makes today.

Dave’s shop is one of three rustic wood structures on the 2.5-acre perch overlooking San Juan Channel where he lives with his wife, Lina Vander Houwen. It sits at the center of the three buildings, flanked by Linda’s cozy get-away and their home — a beautiful cabin originally constructed in 1988 before they bought the property. “It was just one room when we moved in,” Linda told me as we sat in their toasty living room. “Dave added the loft. The bathroom. This room where we are now. The deck. We just kept expanding as need be.”

Dave and Linda moved to San Juan in 1991 in search of sunshine. Before they retired, the pair spent their summers working in Alaska canning factories. Initially, they wintered in Bellingham. But they tired of the rain and the crowds.

Having begun his knife business on the mainland, Dave continued to spend his winters crafting new blades — just as he does today. “I’ve always made my knives during the winter. Now that means I make them November through June, when the San Juan Island Artists’ Studio Tour takes place,” said Dave.

Originally Dave sold his work at the Alaskan canning factories and trade shows. But now, the Studio Tour is his only scheduled event. “I accept commissioned pieces from time-to-time, but I think one of the things people really like is being able to come and see where and how the knives are being made. That’s a really special part of the tour,” said Dave.

The process is special indeed. It begins with sourcing ancient wood and ancient ivory — the gorgeous natural artifacts that give Dave’s knives such character. Using a variety of hard woods, including Rosewood and Dessert Iron Wood, and ancient ivory, including mammoth and walrus, Dave is able to create his signature colorful look.

“I want my knives to be colorful. Something people will remember. Nothing makes me happier than hearing someone is buying my knife for a specific purpose — whether that’s to put it on display or use it in the field. That’s one of my biggest honors,” Dave said.

He cuts his blades from Damascus steel, primarily using a selection forged with a twisted pattern that’s created by welding layers of steel together. The pattern eventually comes to life when Dave superheats the steal to 1,600 degrees and shocks it in olive oil. Other knife makers will use crude oils, like motor oil, to shock their steel. “I use olive oil because it makes the shop smell like fresh baked cookies,” said Dave. (And who doesn’t love freshly baked cookies?)

Dave makes an average of 35 knives a year, many of which will be on display during the Studio Tour. He can also be reached via: 360.378.7230 / �ڱ𳾲�����������dzٱ𳦳ٱ���

San Juan Island Artists’ Studio Tour

This year’s San Juan Island Artists’ Studio Tour was slated for June 6 and 7 from 10am – 5pm. While the tour won’t be happening as planned,

What makes a farmer trade her pitchfork for a soldering torch? One word: passion. That’s what fuels everything minimalist jewelry artist Jessie Morrow does. And it shows in her work.

But jewelry wasn’t the original plan. An advocate for sustainable agriculture, Jessie moved to Orcas Island in 2006 to work at the Olga Farm. Somewhere between the carrots and the peas, she started envisioning earrings and necklaces.

Initially, she fashioned pieces from hardware parts, wearing them during her island comings and goings. Friends, family, and fellow islanders took notice. “People wanted what I was making, and eventually the business just grew from there,” Jessie told me.

For several years she sold her work at the Orcas Farmers Market and craft fairs along the West Coast. Stores from Brooklyn to Seattle began carrying her collections. But in November of 2017, Jessie took her jewelry business to a whole new level, opening a shop in Orcas Island’s Eastsound.

Her quaint shop, Material Wit, is the real-life embodiment of Jessie’s commitment to beauty, quality, and sustainability. In addition to the shop’s showroom that features her pieces, Jessie carries a carefully curated collection of art and homewares that share her same values.

“Primarily the items are from West Coast artists, but the concept is really about well-made items, created with environmental and social ethics,” she explained. For instance, she carries beautiful bristle brushes from Germany. “They’re not locally produced, but they’re environmentally-friendly and incredibly well-made, which is what we’re all about.”

While Jessie’s main studio is at home, her shop also has a small workspace where you can sometimes see her working. Generally, she creates one major collection a year. But with her second child on the way, she’s put new work on hold.

“Brass is an affordable and durable metal, but some of the production process just isn’t good for the baby,” she explained. The process starts with raw brass that’s then cut, filed, soldered, cleaned, formed, and polished before it ever hits the showroom floor.

But what’s amazing about Jessie’s pieces is how delicate the metal becomes. They are an eye-catching combination of personalities — like a dance between an urban tomboy and a country flower garden. In essence, they are the embodiment of Jessie. They echo her kind wholesomeness and commitment to enhancing the beauty of others.

“I believe jewelry is one of two things. It’s either a way to enhance beauty or it’s a talisman. That’s one of the reasons I really love making earrings. I see someone’s face and a way to complement the beauty that’s already there,” Jessie said.

Each collection is inspired by something different. “It really changes every time,” Jessie said. “I’m often inspired by nature. And obviously it’s beautiful around here, so you see a lot of that in my recent collections that have to do with the ocean and travel.”

Her work is crafted from silver and high polish brass. The brass, in particular, offers a uniquely affordable and stunning finished product. “The brass I use is a red brass, which gives it a warmer tone that looks a lot like gold. It actually has a color match to 14 karat gold when it’s polished,” she explained. Which means, her pieces are as fitting in the countryside as they are on a night about town.

Though Jessie is a self-proclaimed “workaholic,” she still loves to travel with her husband Justin Blevins and their daughter Zoe. And during her free time, she can often be found digging in the dirt, growing much of her family’s fruits and veggies.

NEW RELEASE FROM JESSIE MORROW

The playful statement pieces were inspired by the changing of the seasons. They are lightweight and designed to make the most of those late summer days and wandering crisp autumn afternoons.

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Kara Navradszky was just three-years-old when she made her first piece of living jewelry. Little did she know her passion for daisy chain necklaces would transform into a boutique floral design and jewelry business.

Home-based in Friday Harbor, Her first formal foray into floral jewelry was during high school art class. She learned to make haku hair wreaths — a Hawaiian flower crown.

After earning her Bachelor’s in Anthropology from the University of Washington, Kara continued her floral education. While teaching English in Japan, she also studied Ikebana, the Japanese art of flower arranging.

But the path from flower class to floral jewelry designer wasn’t a direct one. Kara first sailed the Pacific Coast from Seattle to Mexico, became a surf instructor, fell in love, got married, moved to Friday Harbor, and had her first baby. (She and her husband, Emmet Sherwood, are now the proud parents of two adorable toddlers.)

But her artistic enthusiasm for flowers never ceased. In 2015, Kara began making flower crowns for little girls at Roche Harbor. “The problem was, the flowers were so perishable. So, I started researching opportunities for something that was less perishable. That’s when I found succulents,” said Kara.

The succulents were a game changer. Using a non-toxic glue, Kara mounts the plants in a moss bed attached to a piece of jewelry. Her ornate bracelets, necklaces, and crowns are fitted with flowers from Kara’s own garden.

A post shared by (@apothecadesign) on Feb 5, 2018 at 11:49pm PST

Through word-of-mouth and her Instagram account (), pieces are generally commissioned to recognize a milestone, such as a graduation, marriage or new baby. “I love that each piece I create is designed to celebrate an individual. I spend a lot of time thinking about who’s giving the gift and who’s receiving the gift,” Kara explained.

As the name suggests, living jewelry continues to grow. Pieces remain photo ready for roughly two weeks, but can often be worn for up to two months. By that time, the plants outgrow their platform. The jewelry can then become an elegant bedside arrangement. Sections of the succulent can be broken off and replanted. Or the wearable art can be reassembled to create a new piece.

That’s one of the things Kara loves most about her work — it’s lack of permanence. “Flower Art has a fleeting beauty, much like a Buddhist Sand Mandala. It’s meant to be enjoyed in the moment. But what sets living jewelry apart is that each piece has a life of its own,” Kara said.

Making Living Jewelry

Selecting the Flowers

For a commissioned piece, Kara will spend an hour or so selecting flowers — often from her own garden. “I’ll wander through the garden with a big basket, looking at what’s fresh and what speaks to me,” says Kara.

Depending on who is giving and who is getting one of her pieces, Kara may use succulents, fresh flowers or greenery. Or some a combination of all three!

Mounting

The plants are mounted on a piece of jewelry that serves as a wearable foundation. Sometimes this is a dipped silver or brushed brass cuff. Other times it may be a headband or delicate string.

To the jewelry, Kara attaches a boss base. Using a non-toxic glue, she attaches the flowers — carefully nestling the living plants beside one another.

Celebrating

It’s always a celebration to give one of her pieces. This summer, MacKenzie Lommel requested several pieces for a photoshoot to celebrate her final trimester.

Kara joined the beautiful mom-to-be and her family for the shoot, helping to ensure the necklace, flower wreath, and moon-inspired flower arrangement were perfectly placed. San Juan Island-based photographer, Cere Demuth captured MacKenzie and her family on the beach — where they shared intimate moments wading in the water and walking along the shore.

Living Jewelry on Display

This August, you can find Kara and samplings of her work at the . Held at Brickworks Brickworks Plaza in Friday Harbor August 3rd, 10th, 17th, 24th, and 31st.

Check Out Kara’s Work in Person

About Cere Demuth

A practicing psychotherapist and published author, Her work captures the intimate moments and highlight the beautiful Pacific Northwest. Her recently published memoir, The Way We Stay, is an exquisitely told story of heartbreaking love, vulnerability, faith, and healing.

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