MEMBERSHIP

NWWS Gold Medal Fellowship Members
In 2014, NWWS developed a higher level of signature status, the Gold Medal Fellowship, to encourage Signature members to submit their best work to NWWS exhibitions. Its purpose is to motivate, stimulate, excite and inspire NWWS Signature members in good standing to create and submit award-winning paintings to NWWS exhibitions, promoting further development as artists and helping artists achieve higher status within the Northwest Watercolor Society.

Achieving the Stature of NWWS Gold Medal Fellowship

This highly distinguished status is obtained using a point-based system. An NWWS member must first be a Signature member and then will begin accruing additional points for Gold Medal Fellowship.
Requirements for Gold Medal Fellowship Status:
  • Must first have achieved Signature Status
  • Must accrue 5 award points
  • Must have received at least 3 of those 5 points from the International Open Exhibition.
There is an exception. If a non-Signature member is accepted into either the Annual International Open Exhibition or the Waterworks Unplugged Exhibition and this exhibition completes the Signature membership requirements for him/her AND he/she receives any award in that same exhibition, then those award points will be counted toward Gold Medal Fellowship.
Gaining points is not retroactive. No award points are extended to Signature members from any NWWS Exhibitions held before this program was approved and begun in 2014.
Any awards prior to achieving Signature membership are not counted toward Gold Medal Fellowship unless the award is per the exception noted above.
International Open Exhibition Awards:
First Place
5 points
Second Place
4 points
Third Place
3 points
Other Awards
2 points
Waterworks Unplugged Exhibition Awards:
First Place
3 points
Second Place
2 points
Third Place
1 point
The call letter designation for a Gold Medal Fellowship member will be: NWWS-GMF
NWWS will track Signature members with their points recorded by the NWWS Database Administrator.

Laurie Goldstein Warren
When faced with a blank sheet of watercolor paper, I may revisit a subject I’ve painted before, but choose a whole different method of painting it. For example, if I originally worked with traditional tools, such as brushes, I will repaint the subject with only my mouth atomizer. When you change the techniques used in painting, you not only have to change your tools, but your method of transition through the painting. I find this revitalizes my passion for the subject, makes me think and see it in a whole new light.

Bev Jozwiak
Bev’s current style is the direct result of her own personal journey. Art has been in her life for as long as she can remember. She is the first formally trained artist in her family, but by no means the first artist. Her great aunts, grandmother, aunt and father were painters.
Whether painting in acrylic or watercolor, the goal is the same: to create an impressionistic painting with rich, varied color, good design, great values, a piece that will last by using archival materials. She never wants the viewer to think her paintings look like photographs, but rather to see the brushwork, the love, and energy that goes into each and every piece.
Jozwiak’s skill as a painter has garnered her national acclaim as one of America’s premier painters. Bev has had a plethora of successful one woman shows for prestigious galleries. Her work has been published in magazines: American Art Collector, Watercolor Magic, The Artist, Watercolor Magazine, and International Watercolor Magazine, in books: Art Journey-Animals, Incite, Best of Acrylic, and Splash, Best of watercolor. She is author of the book, Painting Life with Life.
Bev has earned her signature status in AWS, NWS, TWSA, WW, NWWS, and many more.

Carla O'Connor
To say that I was born with a brush in my hand would not be to far from the truth. My mother, Bette Hedblom (1996 AWS Emily Lowe Memorial Award), was an artist herself. She was strong willed, independent, competent and a world traveler. Though a single mother of limited means she made sure that I had the finest art materials from the very beginning. Her company sent her to Europe on a buying trip and I accompanied her at the age of nine. We crossed on the Queen Mary and I painted on location in oil and watercolor in Paris, France and Venice, Italy.
The human form has been the touchstone of my art from my earliest training. I strive to combine the three dimensional figurative form with the two dimensional abstract surround.
My work addresses the passage of time - a response to the internal and external events that change and shape our lives. It has evolved like a continuous spiral, always circling around from inevitable endings to new beginnings and provides me with a visual narrative to express those moments and experiences—both minuscule and monumental. It is my means to communicate a personal vision to the strengths and fragility of life.

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