Tiffany Hokanson is interested in what happens next.

What happens to a piece of rusted metal after someone decides it is no longer useful? What remains after a building is demolished or a landscape is changed by fire? What can an imperfect surface tell us about where it has been?

And what might something become when you refuse to believe its story is finished?

“I’m typically drawn to materials that have been damaged or cast aside in some way,” Tiffany says. “The work is a way for me to prove that there still is potential in everything.”

That sense of possibility has followed Tiffany throughout a life in art that began when she was just 14.

The Moment It Clicked

Tiffany started working with ceramics in junior high, learning to throw clay on a wheel largely by doing it again and again.

There were mistakes. There was practice. And then there was one particular day when she finally centered the clay.

“The light bulbs went on,” she remembers. “It was just such a beautiful, brilliant moment. One of the most exciting moments in my life.”

Something else clicked too.

“I thought, wow, I’m a maker, like I’m an artist.”

Her parents encouraged her interest and arranged for her to take lessons with local stone sculptor Paula Thone, who also worked in sculptural ceramics.

Tiffany continued that education formally, eventually earning both a Bachelor of Fine Arts and a Master of Fine Arts with a focus on printmaking and ceramics, but her artistic education never really stopped.

In many ways, experimentation has become the foundation of her practice.

Following the Work

Ceramics and printmaking remain central to Tiffany’s work, but over time she has become less interested in staying within the boundaries of a particular medium.

Her work now incorporates metal, paper, found objects, photography and other materials and processes depending upon what the piece calls for.

“ I see the work as always evolving,” she says.

That may explain her attraction to things that already have a history.

Tiffany does not necessarily want pristine material. Rust, wear, damage and imperfections can make an object more interesting because they create a sense of depth. reveal where it hasbeen.

“I want the thing that you’re convinced is useless done because I can pick it up and push it toward create the next iteration or the next part of that story.”

She is not trying to erase the past of those materials. She is allowing that history to transform .

“That story isn't over.”

Art Shaped by Place

Place has always been important to Tiffany.

She grew up in Roseburg in Oregon’s timber country and later lived in Southern Oregon while completing her undergraduate education. She is drawn to rural landscapes and particularly to places that are changing.

During the devastating 2020 wildfire season, she created work connected to the Archie Creek Fire near where she grew up and the Almeda Fire in Southern Oregon. She has also worked at demolition sites, sorting through what remained and reclaiming materials for her art.

Those experiences revealed something about the environments that continually attract her.

“The demolition, the wildfire, the dump, all of those environments are very action heavy, very chaotic,” Tiffany says. “You can go in one day and things look totally different the next day.”

That unpredictability becomes part of the creative process.

A material Tiffany discovers on a particular day might change the direction of a piece. A photograph might become a print. A found object might make an impression in clay and then appear again in another medium.

“I really do like that element of chance,it’s exciting to see what’s going to show up today in the environment.”

Her finished work is largely abstract, allowing viewers to bring their own experiences and interpretations to it. Across mediums, texture and line continually emerge as important elements.

“My surfaces are very active,” she says. “If I were to narrow it down to one or two formal elements that’s always showing up in my work, it’s definitely texture and line.”

Sometimes a Piece Has to Wait

Tiffany’s willingness to let a work evolve can mean waiting until the right answer appears.

While working with a demolition crew, she recovered two pieces of battered steel flashing from an old building. She loved the relationship between them, but something was missing.

They waited.

Then, at a scrapyard, she found two cut I beams.

Suddenly, she knew.

The I beams became bases for the pieces, which Tiffany welded together herself. The completed sculptures eventually appeared in an exhibtiion “Material Matters,” highlighting the significance of material in an artists work.”.

“It’s satisfying to wait and finally see a resolution.’  The story is particularly fitting for an artist who does not believe every creative problem needs an immediate answer.

Artist and Teacher

Today Tiffany is an Assistant Professor of Art and Design at George Fox University, where she teaches ceramics.

Teaching is not separate from her identity as an artist. It is deeply connected to it.

“I wouldn’t be where I’m at if it weren’t for all of the people that were so generous in teaching me,” she says. “And that’s actually why I am a teacher, to pay all of that forward.”

She teaches technique, but she also wants students to understand the less comfortable parts of being an artist: experimentation, rejection, failure, doubt and the discipline required to keep making.

Tiffany does not believe inspiration simply appears.

“I believe that inspiration comes from continually practicing, and for me, it comes from the piece that came before.  My work is always evolving.”

She keeps a sketchbook and journal to capture ideas she can return to when inspiration is harder to find. Most importantly, she tries to maintain momentum.

“Artwork is work.”

It is advice she carries into the classroom and would give to emerging artists as well.

There will be rejection. Things will go wrong. Not everything an artist makes will become the piece they imagined.

Make it anyway.

“A lot of the work that I’ve done was from trying and not doing it right first.”

And perhaps most importantly:

“Believe that you have a unique voice. You have something to bring to this world that no one else has. Your story needs to be told.”

Finding Home in Yamhill County

Tiffany moved to Yamhill County in 2024 to join George Fox University and quickly found connections to the rural Oregon communities that have shaped much of her life.

“I love it here,” she says.

Her colleagues, students, and mentors at George Fox gave her an immediate artistic community. She has since become involved in public art in Newberg and continues to build relationships throughout the county.

In 2026, that circle expanded again when Tiffany was selected as one of the Arts Alliance of Yamhill County and Recology Western Oregon Artists in Residence.

The residency feels remarkably aligned with the  artistic practice Tiffany had spent years developing.

At the Recology transfer station, she is working entirely with reclaimed materials, currently gravitating toward clay, metal and paper. But just as important as what she finds is the unpredictability of finding it.

The landscape changes. Materials move. Something available one day may disappear the next.

For Tiffany, that is not necessarily a problem.

Presence  is part of the work.

The residency has also helped connect her to the community she now calls home.

“I think this residency specifically and the Arts Alliance has helped me meet so many people I never would have met. I’ve been able to explore more of McMinnville that I never would have seen on my own.”

She has also formed a creative connection with fellow 2026 Artist in Residence Chuck Lawrence, whose mechanical ability has become another influence on the practical side of making the work. “This place is home now,” Tiffany says.

There Is Still Potential

Listen to Tiffany talk about discarded materials long enough and it becomes clear that she is not really talking only about objects.

Her philosophy of art is grounded in possibility.

She sees value in experimentation. She teaches students that mistakes are part of becoming better artists. She believes one work leads to another. She finds beauty in materials carrying visible evidence of their past.

And she pushes back against the idea that something imperfect, damaged or unsuccessful has reached the end of its usefulness.

“There’s always hope,” Tiffany says.

Perhaps that is the thread running most clearly through her work.

Not perfection but possibility. 

The willingness to look at something the world has already dismissed and ask a different question: What could happen next?

Jessica Husvar is one of two artists selected for the 2025 Recology+AAYC AIR, a collaboration between Recology Western Oregon and the Arts Alliance of Yamhill County. The program invites artists to reimagine discarded materials and engage with the concept of transformation—both in their art and in their process.

Jessica brings a thoughtful, exploratory energy to this opportunity, blending curiosity with a quiet confidence that comes from creating on her own terms. Whether she's working on a mural, experimenting with new textures, or simply observing the way light falls through trees, her approach is rooted in observation, emotion, and an openness to discovery. In our conversation, Jessica shared her journey into art, her evolving creative style, and the quiet power of making space for beauty on purpose.

Learning by Doing, Growing Through Play

Jessica Husvar didn’t always think of herself as an artist. “All of my friends were more artistic than me,” she recalls. “It really bugged me.” In college, she gave herself a challenge: to practice every day for a year, even if she wasn’t good at it. “Even if I suck at it the entire time,” she remembers thinking, “I’m going to practice and see how far I can get.” What started as an experiment quickly turned into something more.

Jessica began with watercolor animal portraits before expanding to acrylics, murals, and ultimately oil painting, her current favorite. “Oil allows for more 

Jessica Husvar Mural

blending and depth,” she says, “but it really depends on the piece.” For whimsical or illustrative work, she still returns to watercolor; landscapes and more naturalistic pieces tend to find their home in oil.

Her style leans impressionistic, though that, too, is evolving. “I like warmth in paintings, whether that’s from the light source or just the color palette. But I’m trying to move toward being more evocative than realistic.”

Inspired by Nature and New Challenges

Jessica is deeply drawn to the natural world. “Nature scenes definitely draw me the most,” she says. Her travels to the Alaska’s mountains, the Grand Canyon, even local forests inspire her attempts to capture what moved her. Sunsets remain a persistent muse. “That was my main goal when I first started with watercolors: to 

Jessica Husvar - Recology AIR Submission

learn to capture a sunset. Still working on it.”

Other artists also feed her creative curiosity. “When I see something that makes me go ‘Wow, how did they do that?’ I love trying to figure it out.” That sense of experimentation and discovery fuels her practice. “I’m always picking up new tools, new techniques. That’s most of the joy for me.”

From Canvas to Murals to Glass

While much of Jessica’s work is in traditional 2D mediums, she doesn’t limit herself. Her first glass mosaic was created as part of the 2025 Recology Artist-in-Residency—was a leap into the unknown. “It was a total experiment,” she says, “and I’m pretty happy with how it turned out. I want to do more like that.”

Broken glass on the ground reminded her of sea glass. The colors and the way light played across the shards sparked something. “It got the wheels turning.”

Jessica’s creative practice continues to evolve. “I think it’s about becoming more comfortable with the materials and learning the techniques first, then playing with them.” She emphasizes the word play. “Experimental sounds like you’re aiming for a goal. Play is different, it’s about exploring. It’s from the heart.”

Working with Purpose

While Jessica takes on commissions, including pet portraits, house renderings, and murals, she finds particular satisfaction in art with a broader purpose. “I really like doing public-facing art,” she says. “When I create something large-scale for an organization or a community space, it’s incredibly satisfying.”

One of her favorite projects to date was a mural commissioned by the Newell House Museum near Champoeg. “Everyone there was so supportive and kind.  It made the experience even more meaningful.”

She hopes to do more murals and more mixed-media work in the future. “I’m definitely interested in working more with glass,” she says, “and incorporating more 3D elements.”

A New Chapter in the Community

Jessica lives between Newberg and Dundee and is just beginning to connect with the local arts community. Her aunt, active in McMinnville’s cultural circles, encouraged her to apply for the Recology program. “As soon as I read about it, I thought this sounds so cool.”

While new to AAYC, Jessica sees the local art community as a valuable extension of her learning. “This is the first time I’ve been actively involved in an art scene,” she says. “It feels like people are promoting me and that’s new.”

She’s already thinking about what’s next: participating in the Lavender Festival, reaching out to local galleries, and eventually joining the Art Harvest Studio Tour once she has a permanent studio space. “I’m excited to be part of it going forward.”

Advice for Emerging Artists

Jessica’s advice to other emerging artists is simple: “Create the type of art that makes you happy. Don’t focus on what others think.” She emphasizes developing basic skills and trusting your own voice. “Even now, I sometimes feel weird showing people my art. What if they don’t like it? But that’s not the point. It’s about expressing yourself and embracing what you’ve created.”

Art and the Accordion

Outside the studio, Jessica is currently learning to play the accordion—something that might surprise those who know her only through her art.

If her work had a soundtrack, she’d choose “Vincent,” the song about Van Gogh, or the instrumental music from Studio Ghibli films. “It’s beautiful, expressive, and peaceful,” she says, much like her art.

Blaine Niehus is one of two artists selected for the 2025 Recology+AAYC AIR, a collaboration between Recology Western Oregon and the Arts Alliance of Yamhill County. This unique residency provides local artists with 

access to discarded materials from the McMinnville Recycling Center, challenging them to create original artwork that highlights reuse, resourcefulness, and imagination. Blaine’s work reflects his instinctive approach to transforming scrap into expressive, functional pieces—bridging his background in welding with a raw, evolving artistic voice.  I had a chance to catch up with Blaine and explore how a welder with a love for salvaged materials is forging a path as an emerging artist.

Sparking Creativity with Scrap Metal

Blaine Niehus doesn’t consider himself a traditional artist. A full-time welder by trade, he began to recognize his creative instincts through the act of building—both at work and in his garage, where the lines between fabrication and artistry start to blur. Whether it’s repurposing old grinders into lamps or shaping salvaged hardwood into wall-mounted key holders, Blaine finds inspiration in the discarded and unexpected.

“I guess I’m just artsy in a lot of ways,” he says. “I’ve always liked creating things—even back in high school when I painted longboards or messed around with ceramics.”

What draws Blaine in most isn’t perfection or polish, but potential. “You never know what you're going to do until you see it,” he says. “Things are changing and you're like, oh, well maybe this would go better with that.”

The Garage as a Studio

Blaine’s creative space is his garage—a place filled with salvaged tools, forgotten furniture, armor scraps, and future ideas waiting to emerge. He starts most studio days with coffee and silence, standing amid the clutter until something clicks.

“I’ll go in there and just kind of look at things,” he says. “Once I start, it’s hard to stop. You get in the moment, and the hours just go.”

While his process is often spontaneous, Blaine also uses digital tools like Procreate to sketch out ideas. “I’ll draw it and layer it—like this big bent cable I want to use for a lamp. Sometimes I add stuff to the drawing and see how it works. Other times, I just go for it.”

Industrial Influence and a Soft Touch

Blaine’s work leans toward an industrial style, but that’s just the beginning. “I kind 

of like the industrial style,” he says. “I like old things. Cool things. Things with character.”

He’s drawn to oversized, off-scale, cartoon-inspired visuals: “Like Rat Fink kind of stuff—muscle car art. Not to scale. Just super cartoony and exaggerated.”

Still, there’s a softer energy at play. One of his pieces—a barbed wire hat—was wrapped with a delicate bandana. “I might look like a hard-ass,” he laughs, “but I’m kind of a big softie.” That contrast often shows up in his work: tough materials paired with warmth and emotion.

Letting the Materials Lead

One of the most striking discoveries during Blaine’s residency with Recology + AAYC has been an old helmet filled with mismatched armor pieces—knee covers, wrist cuffs, shoulder joints.

“It was too cool to leave behind,” he says. “I was thinking maybe a hanging light or a sculpture. I found it at the bottom of a trash bin. No one else had seen it.”

That sense of excitement drives much of his creative process. “You see something and think, I could do something with that—and then I run with it. I’ve got a garage full of projects that started that way.”

He’s constantly trying new things: mirror etching with diamond bits, epoxy resin furniture, sculptural lamps, and mixed media shadow boxes. “I don’t want to just stick to one thing. I want to try stuff I haven’t done before.”

Finding Pride in the Process

Like many artists, Blaine has wrestled with self-doubt. “I never wanted to give someone a bad tattoo, so I never tried,” he says. “Then one day, I bought a tattoo machine and started on my own legs. And it was like—wow, not bad. I wish I would’ve done it years ago.”

That courage carries into his art, like his first epoxy resin table. “I didn’t know how fast it sets. I had to sand it a bunch of times. But I’m really proud of it—not because it was perfect, but because I didn’t quit. I just kept going.”

YouTube University and Real-Life Mentors

Although Blaine took art classes in high school, most of his creative education has come from hands-on learning and online tutorials. “There’s a video for everything,” he says. “You think you can’t do something, and then you see someone break it down, and it clicks.”

While new to AAYC, he views the local art community as a valuable extension of that learning. “It’d be like a YouTube video, but in person—with feedback and collaboration,” he says. “I’d love to work on a piece with Jessica. We come from different angles, but that’s what makes it interesting.”

A Creative Rhythm

Blaine doesn’t follow rigid plans, but he keeps moving. “If I get stuck, I just start working on something else. I have like the ADHD where I’m kind of doing multiple things at once—like, I’d be like ‘Hey, I’m doing yard work today,’ and next thing you know I’m cleaning the garage and working on projects.”

He often has multiple pieces going at once, many “97 percent done.” Setting deadlines helps keep momentum.

Music plays a key role in his studio sessions. “If I’m really trying to get going, I’ll put on something funky—disco, dance music. But I also listen to rap, country, Sinatra. Depends on the mood.”

Looking Ahead

Blaine isn’t trying to predict the future—but he’s open to it. “I don’t know where I’m going,” he says, “but I know it’s somewhere cool.”

He’s currently fixated on mirrors and etched glass, and dreams of tackling a large-scale river epoxy table someday. “And honestly—I’ve always dreamed of building a house. Maybe with hidden rooms and tunnels,” he adds with a grin. “I don’t know why. Just something I’ve always wanted.”

Words of Advice

Asked what advice he’d give to other emerging artists, Blaine speaks plainly: “Don’t doubt yourself before you even try. That was my biggest hurdle. I was my own worst critic.”

“Even if you mess it up, just do it. You’ll figure it out.”

A Final Note

Whether he’s welding at work, crafting in the garage, or sketching out his next idea, Blaine brings heart and determination to everything he makes.

“I like to put my all into everything,” he says. “Even if it might not show—my heart is in the art.”

Nestled in a converted barn studio in Dundee, Oregon, artist Peter Leighton transforms glass into luminous portraits that evoke emotion, curiosity, and depth, all without a drop of paint. A longtime creative spirit with a professional background in science and nutrition, Peter’s journey into fused glass portraiture has been one of intuition, experimentation, and artistic discovery.

"Photo collection courtesy of Peter Leighton"

As he prepares to open his studio for this year’s Art Harvest Studio Tour, Peter welcomed AAYC for a conversation about his creative process, inspiration, and how art and light have shaped his world.

“I use glass the way others might use paint.”

Peter’s medium is fused glass portraiture. This intricate, layered process involves 

Photo courtesy of Peter Leighton

cutting, outlining, composing, and firing glass to create images that glow with light and personality. Unlike more traditional methods, Peter’s work doesn’t rely on brushes or pigments.

“I create portraiture-type work without paint, using glass and heat to create imagery,” he explains. “I start with a clear sheet of Tecta glass, then use glass paint to outline the image. From there, I place cut or broken pieces of colored glass onto the surface and fuse it all in the kiln.”

The process allows for texture, translucency, and layers of depth. His current kiln can accommodate works up to 30 by 17 inches, which defines the scale of his pieces but not his ambition.

“I’m exploring the idea of collaborating with metal fabricators so I can frame multiple panels together,” he adds. “That could open the door to larger, even outdoor installations. Something sculptural, maybe even for a garden space.”

A Barn Becomes a Studio and a Classroom

Peter’s workspace is located on the second floor of a barn on his property, where he’s built out a full studio. During the Art Harvest Studio Tour, he invites guests inside to see not only finished pieces but works in progress.

“I had people come through last year and was able to show them various stages of the process, what goes into it, how it’s built. I love that part. As a tour patron, I always enjoyed learning about how things are made, so I want to offer that same experience.”

That hands-on sharing, Peter says, is central to his journey not just as an artist but as a communicator and lifelong learner.

The Role of Light, Color, and Spirituality

Peter draws inspiration from both the natural world and the spiritual realm. Buddhas, peaceful figures, 

Photo courtesy of Peter Leighton

and quiet emotional states often find their way into his compositions. Light plays a vital role in how his pieces are perceived.

“The way light passes through the glass, or how it reflects, is part of the art. That’s why I sometimes incorporate lighting or backlighting into my pieces. It enhances the whole experience.”

His recent work includes explorations in quasi-cubism, a style he’s adopted to suit the fluid and unpredictable nature of fused glass.

“You can’t get photorealism with this medium. The glass shifts when it’s fired. Shapes soften, edges move. So, I’ve been inspired by Picasso and others who work in abstraction. That way, I’m not fighting the medium. I’m working with it.”

Art Without Waste

One of the many unexpected beauties of Peter’s practice is its recyclability. “Mistakes” aren’t failures. They’re material.

Photo courtesy of Peter Leighton

“About 25 percent of what I create doesn’t turn out how I envisioned,” he says. “But I don’t throw it away. I’ll cut it down, crush it, or repurpose it into a new piece. Everything can be reused.”

That sustainable cycle aligns with his experimental mindset. Peter doesn’t come from a formal art background and he avoids overly technical instruction in favor of learning by doing.

“I’m more intuitive. I don’t always follow the technical firing schedules. I experiment. I play. And that’s how I learn what’s possible.”

From Business to Glass

Peter is a lifelong creative who discovered his ideal medium only in the past few years. His professional background is in biotechnology and human nutrition. He develops nutraceutical products and natural compounds for health science..

“There’s a fine line between science and art. You’re dealing with systems, variables, and outcomes, but also vision and expression. The logic and creativity are deeply connected.”

Fused glass, for Peter, is where those two forces meet.

Advice to Emerging Artists: Just Try

When asked what advice he’d give to emerging artists, Peter is quick to respond.

“Don’t worry about doing it ‘right.’ Creativity isn’t about perfection. It’s about exploration. I’ve had friends and family say they’re not creative, but once they step into the studio and just try, they realize they are.”

His goal is to help demystify the art-making process and remove the fear many people carry when approaching creativity.

“It’s not about having talent from day one. It’s about showing up, making something, and discovering what’s possible.”

Looking Ahead: More Time, More Art

Now semi-retired, Peter spends around five hours a week in his studio, with plans to increase that as he winds down other professional commitments.

“I’ve got one more business project I’m wrapping up. Once that’s done, I want to spend more time creating and maybe commercialize my work a bit more. Not to make a living, but to help cover supplies.”

Photo courtesy of Peter Leighton

That pragmatic view doesn’t dull the joy he finds in his creative life. With every new piece, Peter refines his voice, explores new forms, and deepens his relationship with the material.

Dreaming of a Broader Art Presence in the Community

As Peter becomes more connected with the local arts community, he envisions expanded opportunities for artists to share their work. Drawing inspiration from his time in California, where art and wine festivals brought people together, he sees potential for similar events in Yamhill County.

“This area is already known for its wine and farm-to-table experiences. I think there’s an opportunity to integrate art into that mix more intentionally,” he says. “It would be great to have more events where local artists, musicians, and food producers can come together to celebrate the creative energy of this region.”

Peter believes that bringing art into public-facing, communal spaces could help deepen appreciation for the talent that exists throughout the area.

Soundtrack to the Studio

When asked whether his art has a soundtrack or if music plays a role in his creative process, Peter paused thoughtfully before answering.

“I don’t have one specific soundtrack,” he said. “But music is definitely part of the atmosphere in my studio. I have a great sound system set up, and depending on the mood, I’ll put on something mellow, maybe some classic rock or classical music.”

He mentioned Radio Paradise as one of his favorite internet stations, especially their mellow mix, which he often streams while working.

“It really depends on the headspace I’m in,” Peter explained. “Sometimes it’s Tom Petty, sometimes it’s something instrumental. Music helps keep me grounded in the rhythm of creating, but it’s more about the feeling than any one artist or song.”

Final Surprise

What often surprises visitors to Peter’s studio is that he’s only been working in fused glass for about five years. Without formal art training, he’s developed a distinctive style through exploration, intuition, and hands-on learning.

His background in science and business didn’t predict this creative turn, but Peter embraced the shift with curiosity and commitment. A chance encounter with stained glass, followed by a workshop inspired by a documentary, opened the door to a completely new form of expression.

“I didn’t grow up making art,” he says. “But once I found this medium, it just made sense.”

Peter’s story is a reminder that creative expression doesn’t require a head start—just a willingness to begin.

Visit Peter Leighton’s studio during this year’s Art Harvest Studio Tour to see his process up close. Learn more about Peter’s work at https://www.buddhajudah.com or by contacting AAYC.

Stay tuned for upcoming AAYC initiatives, and new ways to celebrate artists like Peter throughout our region.