Romelli in Motion

Patrick Romelli creates oil paintings that reveal an emotional perception of the landscape through broad strokes and color.  His life experiences and intuition for light, hue, and composition create a visual language that captures the spirit and physical beauty of the countryside.  For Romelli, painting is emotional.  It’s not enough to simply copy the subject, but rather through color and boldly textured brushstrokes, he captures the essence of the subject.  

He says, “This inner ‘painting’ is emotional and passionate.  It’s about being able to share what you feel you see, the atmosphere.  It’s the air around the subject.  If I can get the observer to go on that emotional ride with me, I’ve succeeded.”

The power of suggestion is greater than the statement of reality

“First, I find a subject that interests me.  Then I sketch on canvas a comprehensive detail drawing of the subject.  Next, I use an underpainting with color notes to block it in.  Now this is when the painting gets interesting.  I start by painting the atmosphere around the subject with large strokes creating a sense of motion.  Now I’m in the zone.  I continue this until the emotional “inner painting” is no longer valid.  At this point I try to complete the painting in a blur that pulls the subject into and across the canvas.”

Recent Solo Exhibits at Wessel Gallery

Solo Exhibits in Wessel Gallery Foyer

Margaret Mock was our Featured Foyer Artist in November; Don Schuster in December. 

The Crown, Margaret Mock

Margaret captures the detail and emotion of human form in finely worked pencil drawings. After teaching art for thirty years to suburban Cincinnati’s youngest students, “I found myself in retirement inspired to draw and watercolor plein air views of my Mount Adams neighborhood.  It was a big step for me to pursue membership in the Cincinnati Art Club and to come face-to-face with portrait and figure models in the bi-weekly sketch group sessions.  These drawings are from my three-year exploration of the pencil as a medium and my first approach to portraiture.  I have been awarded third place in the 2018 Sketch Group Show and am a featured artist at Upper Eden, a boutique and gallery in Mount Adams. The Cincinnati Art Club has recently accepted me as a Signature Member.”

Gregory Creek, Donald Schuster

Don Schuster brought a chill to his solo exhibit. The pièce de résistance for winter is always snow, and the December Foyer Show has plenty of it. This display proves that snow is not just white but a reflection of everything around it. Don offers a series of winter plein air paintings that explore the beauty and texture of fallen snow covering winter scenes of reflected light. As expected, Gregory Creek is among these compositional wonderlands.

Steve Hart, Fueled by His Experiences from Around the World

By Mandy Putnam, Dragonfly Feature Writer

Sometimes the gift of serendipity changes one’s path. For Steve Hart, his junior year abroad in Paris ignited his passion for art. Studying the works of old masters at the Louvre – free for students on Sundays, visiting the Jeu de Paume Impressionist museum and discovering new artists in the little galleries on the Left Bank awakened Steve’s desire to paint. Standing in front of David’s Coronation of Napoleon, Steve thought, “I want to learn how to do that someday.”

After graduation, Steve bought his first set of oil paints and, like the rest of us, his first attempts didn’t match his plans. Later, another year of teaching in France further fueled his passion to learn how to paint. However, his self-taught efforts while juggling a new career and growing family still fell short of his expectations.  That’s when he enrolled in a class taught by Cincinnati Art Club member Yvette LaFollette Mazza, which began a 20-year process of learning the tools of the trade and gradually perfecting his voice as a gifted painter.

What fascinates Steve and underpins his work is studying cultures and their people around the world.

“To me, art is an expression of the human experience. That’s a very wide definition but I believe that good art expresses more of that human experience. It evokes a reaction from the viewer. I do like to paint human figures, because it’s easier to see the human element.”

At the End of a Day’s Labor, Steve Hart

 “This painting (above) is my favorite. A fisherman in a little town in Spain called Peniscola came in after his day’s work. I took hundreds of photos of fishermen that afternoon and created six paintings from them. One of the reasons I like this one so much is that I feel I captured an existential moment. He’s staring at something, but we don’t know what he’s thinking. It’s as if he’s catching his breath, taking a pause in this workday but we don’t know what’s going on in his mind – is he thinking about dinner, his work, his girlfriend or his life?”

A Louer, Steve Hart (the right panel of a tripyche)

“Since the kids are grown, we’ve been able to return to Paris a few times. The architecture is fascinating. I did a triptych from a recent trip. The middle panel captures a man on the balcony. I like the human element between the architectural paintings. The one on the right (shown above) was very challenging. I love the roundness and the sign that says ‘apartment for rent’ in French that provides a little touch of humanity.”

“About 10 years ago, I joined the Art Club. Initially, I mostly attended Sketch Group, where I escaped from battling computers and their users at work at the end of the day. If not attending Sketch Group, I retreated to my studio in the evening, put on my music and dove into a painting.”

“Now retired, I am almost never without a painting in the works. There is nothing like starting a painting with the anticipation of how great it will become. Then comes the inevitable struggle to make it everything you want it to be. Honestly, I feel as if I always fall short of my ambitious vision, but the process leaves me with the desire to start another one. I’m sure that next one will be that masterpiece!”

Lost in His Overcoat, Waiting, Steve Hart

“The man in the overcoat was derived from a photo that I took in Florence in one of the piazzas. I liked the way he had his legs crossed. I wanted to do a large figure of the whole body.”

In recent years, Steve has enjoyed acclaim for his work – being recognized in Viewpoint five times, receiving awards at the Art Design Consultants’ Art Comes Alive Show and participating in gallery shows.

Steve’s work will be featured at an upcoming show at the Harding Museum in Franklin, Ohio, 302 Park Avenue, with the opening night reception on Friday, February 15th. The show will run on Saturdays through March 9th. Hours are from 1:00 – 4:00 PM.

Michelle Andrews, MD

Finding one’s way to become a painter is always a journey. For Dr. Michelle Andrews, a nationally recognized surgeon, it took a New Year’s Resolution to put her on the journey to become an artist.
Finding one’s way to become a painter is always a journey. For Dr. Michelle Andrews, a nationally recognized surgeon, it took a New Year’s Resolution to put her on the journey to become an artist.

Michelle as an Acclaimed Surgeon … Visualizing Symptoms

surgeon at work
Dr. Andrews looks for the tiniest detail that could impact patient success. Learning to visualize what is in front of her became a basis for her transformation into artist.

Michelle grew up in a small town in Massachusetts where graduated first in her high school class with a love for science and math. After pre-med at University of Massachusetts it was medical school in Philadelphia, residency at Yale, and a fellowship in sports medicine at Cincinnati Sports Medicine and Orthopaedic Center.
She took an academic orthopaedic surgery position at Johns Hopkins and served as Assistant Director of Sports Medicine. She was the first female orthopedic surgeon to be a major league baseball team physician (Baltimore Orioles).
She moved permanently to Cincinnati to build her own surgery practice, operating at many of our local hospitals. Michelle was named one of the top 125 knee surgeons in America. More recently, she served as chief of the medical staff at Jewish Hospital.

Michelle as Art Spectator … Absorbing from the World’s Best Artists

Michell Andrews at Musée d'Orsay
Michelle has studied artists at the world’s best museums, galleries and studios. She sees with the eyes of an observant surgeon.

Art always hovered in the background as she pursued her career. “My favorite underclass subject was Art History. I learned for the first time the importance of light and how a painting came alive when painters controlled the energy and vitality of light. When I was a medical student I was able to take breaks from the intense course load and visit Philadelphia’s art museums. Thomas Eakins’ painting of professor Samuel Gross (The Gross Clinic) was breathtaking and memorable. I began to see subtle relationships between medical problems and their depiction in art … crooked fingers perhaps indicating gout or rheumatologic conditions and yellow skin tones as a sign of underlying liver problems.”

During medical rotations in Boston and San Francisco, she visited museums where she fell in love with Anders Zorn, John Singer Sargent, Antonio Mancini and James Whistler. The Yale University Art Gallery put her inside one of the best collections of American art. The works of Matisse, Picasso, Cezanne, and Gauguin at the Cone Collection in Baltimore further opened her art world. She sat in on demonstrations with renowned painters and got to know them personally. She devoured art books and has built an incredible library of her own art books within her studio. As she moved toward retirement, she was ready to become an artist herself.

Michelle as Artist … Life Lessons Now Pouring onto Canvas

M ANDREWS in Art Studio.jpg
Michelle’s sense of beauty fills the studio in her home, surrounded by books and books about art and artists. When you talk with her about artists, she immediately goes to the shelves and pulls out a book to validate her keen observations.

Today, Michelle’s paintings reflect the style of Chiam Soutine or Alice Neal. She is fresh and dynamic with her brush. She tries to convey what she feels as she watches a chef at work or is energized by beautiful landscape scenes. Her paint flows rapidly and with boldness, approaching an abstract simplification as she depicts the people who come into her life. “I love the human figure. People captivate me and I want to bring them to life. It is about curiosity and bringing a twist of originality all woven together.”
As Michelle looks back at her life journey, art has always been flowing in her blood just as passionately as she has served her patients. All that knowledge now flows out onto her own canvases.

Tahoe, Michelle Andrews.jpg
Tahoe, Michelle Andrews MD

ma 1
Watching, Michelle Andrews MD

Chef Julie Francis, Michelle Andrews.jpg
Chef Julie Francis,             Michelle Andrews MD

Michelle, Andrews, West & So Main St Petersham MASS, 9x12, oil.jpg
Petersham Church, Michelle Andrews MD

St. Andrews Church, Michelle Andrews
St. Andrews Church, Michelle Andrews, MD


Romelli in Motion

Back Stretch, Partick Romelli
Backstretch, Patrick Romelli

Patrick Romelli creates oil paintings that reveal an emotional perception of the landscape through broad strokes and color.  His life experiences and intuition for light hue, and composition create a visual language that captures the spirit and physical beauty of the countryside.  For Romelli, painting is emotional.  It’s not enough to simply copy the subject, but rather through color and boldly textured brushstrokes, he captures the essence of the subject.

He says, “This inner ‘painting’ is emotional and passionate.  It’s about being able to share what you feel you see, the atmosphere.  It’s the air around the subject.  If I can get the observer to go on that emotional ride with me, I’ve succeeded.

The power of suggestion is greater than the statement of reality

“First, I find a subject that interests me.  Then I sketch on canvas a Comprehensive detail drawing of the subject.  Next, I use an under painting with color notes to block it in.  Now this is when the painting gets interesting.  I start by painting the atmosphere around the subject with large strokes creating a sense of motion.  Now I’m in the zone.  I continue this until the emotional “inner painting” is no longer valid.  At this point I try to complete the painting in a blur that pulls the subject into and across the canvas.”

Romelli Motion Sketch

Delta Queen, Patrick Romelli
Delta Queen, Patrick Romelli



Mark Daly Paints Paris

We are all familiar with Mark Daly’s spectacular landscapes and seascapes from New England. They make your mouth water with insightful compositions, exquisite brush strokes and colors that accent it all. But this time, we take a painting excursion with Mark and his wife Gigi to, the City of Love.

Mark and Gigi in Paris

Why Paris? Mark has the answer: “There is so much beauty and active everyday life in Paris. It is a natural haunt for the artist. For a huge period, it was the art center of the world and where Impressionism was born. There is so much great painting material in Paris. Gigi and I were familiar with Paris from previous trips so when we got there, I knew mostly where I wanted to locate my daily workstations.”

Eiffel Tower Clouds
Eiffel Tower Clouds, Mark Daly

“We rented a flat in the Latin Quarter along the Seine. It was a great vantage point from which to walk or I could take the subway to get anywhere I wanted to paint. I painted on location every day—rain or shine.”

“Going deep within a subject enables me to learn the nuances that make a difference in selecting my compositions and executing better paintings.”

For this trip, my key learning was that I need to do more night scenes. We discovered this towards the end of the trip. Paris comes alive at night. The challenge is pacing yourself to have reserve energy for late nights.”

Rainy Day Musee d_Orsay
Rainy Day Musee, d’Orsay, Mark Daly


Pont des Arts

French Waiter (La Palette)
Waiter at La Palette, Mark Daly

Monica Achberger’s Golden Hour


Once the flowers are in full bloom the area becomes a crazy tourist attraction. At first, most people are respectful of your space, as you get the canvas blocked in and your image evolves it is natural for people to be curious and the questions, comments and statements start flying.

Traveling extensively the past few summers, I’ve missed the local sun flowers traditionally blooming at the end of July. This year I was determined to catch the Natorp’s sun flower field in full bloom on the corner of Irwin Simpson Road and Snider Road in Mason, OH.

Arriving in the early morning the sun flower field was bathed in sunlight and literally breathtaking. It was an incredible challenge to try to capture something so iconic and romantically beautiful. The scene is so incredibly filled with the golden yellow of sunflowers blooming that panic sets in, not sure if I have even brought enough yellow paint.

Where to start?  As always, I begin by drawing the scene as this is the fundamental backbone of painting. The sketch gives structure, develops composition and works out design problems before committing to paint on canvas.  Drawing with the paint, I remind myself every day to keep developing my drawing skills especially when working on the figure.

These interruptions can be a distraction to your thoughts and painting process. When this happens, it is easy to lose focus and the painting can become disjointed.  However, this is inevitable and is part of the plein air experience. I remind myself to stay focused and always try to be an ambassador for plein air.

Monica Achberger, Golden Hour, 10x20, oil on wood
Golden Hour, Monica Achberger

Unexpected Treasure

By Margaret Mock,
Signature Artist with Cincinnati Art Club

margaret head shot

I have a group of friends who have visited Stratford, Ontario, for the past 35 years.  They have enjoyed the amazing theatre productions of the Stratford Festival and their annual catered picnic dinners along the Avon River there.  Encouraged to make the trip, my husband and I purchased tickets to four plays, made our reservations at a B&B, and set off for a summer road trip to Canada.

On our first day, as we walked to Stratford’s city center, we made the most significant of discoveries!  This was something that none of our friends had ever come upon in their years of visiting Stratford. When I returned to Cincinnati to rave about our findings, our friends were incredulous.


Entryway into a surprise garden

What drew us in to this encounter, was an amazing garden within an ornate fence.  It surrounded an 1866 saltbox, Greek Revival home that bore the sign, “An Artist’s Cottage.” We discovered upon approaching that it was the home and work space of the artist, Gerard Brender a Brandis.  He invited us in for a morning visit that I will always remember and treasure.  We saw a few of his original oil paintings, sketches and watercolors in a narrow hallway that led to his printmaking studio, and there his story unfolded.

Gerard Brender a Brandis

Gerard Brender a Brandis

After completing his B.A. in Fine Arts History at McMaster University in 1965, Gerard began a career as an artist specializing in wood engraving, working on end-grain blocks of hard wood, with burins.  His work also includes bookbinding, typesetting, papermaking, and spinning/dying/weaving flax.

The former dining room contained his 1865 Albion printing press, a loom, cupboards of materials and a worktable on which sat a tiny block of wood and engraving tools.  It all seemed to be lit only by a nearby window.


A print from one of Brandis’ wood carvings.

The parlor held the treasure trove of his intricate wood engravings.  Framed and unframed, on the walls and in binders, his life’s work was available to view and to purchase.  He brought in a tiny fan to stir the air as we pored over his prints – some black and white, others tinted.  His subjects range from botanicals, still life, old buildings and the musical instruments and flowers mentioned by Shakespeare.  After all, we were in Stratford, but had almost forgotten the purpose to our trip! This pilgrimage to Gerard’s cottage was itself reason enough to cross the border.

And now that we have left the artist’s cottage, so enriched and so overwhelmed by our good fortune, we have had no choice but to share the news of Gerard Brender, a Brandis’ rarefied habitat and his art.  You can learn more at

A Cautious George Bodine

2012-11-11 11.40.14Mood and emotion explode off George Bodine’s paintings. Without a traditional formal art education, he has become one of Cincinnati’s most accomplished artists. He walks in rarified air. His paintings are sold in prestigious galleries across the country. He is an Associate Member of the Cincinnati Art Club. He consistently picks off awards in art competitions. Still he struggles as many of us do with the isolation that comes from painting daily, alone behind an easel. He wonders on occasion if he is even creating art.

He would draw as a kid so when his mother saw one of those “Can You Draw This?” matchbook ads, she encouraged him to take the test. He passed and enrolled to receive their mail order art instruction booklets. It was not a serious commitment that then led to art school. He went to college in Wyoming but dropped out to work in the oil fields. For two years he was a cop. George was into back-packing, archery and bow hunting. He tried underground mining and then he finally gave up the rugged, solitary life to return to college in 1980. Two years later, his life took an unexpected turn.

An Unexpected Turn Upward

Captain George Bodine, Delta Airlines>

George applied to Navy Flight School. Obviously smart, physically fit and with leadership skills, he was just what the Navy was looking for. By 1892 he was accepted into the rigorous path of becoming a jet pilot. After flight school graduation, George was landing F-18 Hornets, landing at night on aircraft carriers. Eventually, he became a Top Gun Adversary Instructor. He left the Navy to join what would be a 23-year career as a pilot for Delta Airlines. Along the way, he passed time drawing and painting just because he enjoyed it.

 George kept drawing and painting and was as happy to be flying across the US and Europe. That led him to visit art museums around the world. He was amazed at how the museums would let him put his nose and eyes within inches of works by the Masters. He could study the colors and the brush strokes. He could step back and see how they merged into a full composition.

Through the 1990s, George kept improving his painting skills.  He mostly created landscapes and cityscapes but was increasingly drawn to depicting the human figure within stories that he conjured up. Virtually self-taught and with no mentors to guide his path, no flight school of art to help him. Yet he continued at a level of success that came so fast and with such success that it is hard for most to explain. His self-taught painterly realism is produced with broad, confident brush strokes. His color palette captures the effects of light, even when in shadow. His compositions often are moody, dark intriguing. With unusual sensitivity, he created paintings of people, often in solitary or lonely settings displayed in a haunting style that flowed out into emotion and a mood that revealed his sensitive nature. He was selling his work everywhere, frequently before the paint was dry.

Once, George Bodine

The Accident and Transition

One of those things that come on you so suddenly that you can’t escape. This time it was a tragic motorcycle accident and a traumatic brain Injury. Recovery took a long time and he could no longer get medical certification to fly. The world was upside down. What had brought him such satisfaction was gone, never to return. He was also without a job although his career as a pilot left him financially secure.

His wife, Susanne guided him, as she often does, to point him into a purposeful transition from pilot-artist to full-time artist. He bought a small building in Newport and gutted it, doing all the rehab work himself, to create his own studio. He re- booted his life as a professional painter.

From where do the stories such as “The Shunned” come?

<painting: The Shunned, George Bodine> Caption:

The Shunned, George Bodine

“I would stare at scenes or objects or a figure for ten minutes or more, trying to discern what to do about them. I do that often … stare at something so long that I can remember it long afterward and put it into a story. I do lots of sketches. A painting might start with a scene of a connecting alley, or St. Mark’s Square, or an object like a cross.

Then I add a story to it as I did when I became fascinated with an Amish hat that led me to paint The Shunned, a painting of a young Amish woman in a barn. The model was my daughter.”

Another Turning Point for George–The Wayne County Plein Air Event

With meteoric success, the pure enjoyment of painting was now tugged by sales and competitions. The joy of painting seemed twisted by the wrong goals. The sensitive soul inside him had to work its way through to an explanation of “why?” that literally took hold of him. He was thinking more and painting less until recently when he simply stopped painting altogether.

Earlier this summer, he was at the Wayne County Plein Air Competition and shared his thoughts of this experience: “Plein air is usually when we paint what is before us”, he explained. “When I finished my painting (“Wayne County Storm”) and stepped back from it, I was shocked. It was unlike anything I had done before. I had no idea how it happened. The colors were different. The scene was so not what was in front of me as is usual when I paint on location. It was imaginary. I questioned if it was even art. The experience was unnerving. How can I paint what I can’t explain?

<painting: Wayne County Storm, George Bodine>

Caption: Wayne County Storm, George Bodine

It’s odd. This was such a great event for me, personally and professionally, yet I was in a place where I could no longer paint. I’m hoping that somehow this struggle over what to do and where to go, ends with something positive as an artist. As I go through this, I’m beginning to understand why a common theme surrounding art history often includes asides about the struggles and demons of the artists themselves. There is a loneliness to the work. I often find myself questioning if it is even important, or if it has any worth. And my work was changing so much that I got to a point where I didn’t know what to do next.”

George kept painting after that event and worked non-stop preparing for a two-man show in Warm Springs. When he finished that show, and looked at his work, he remembered thinking, ‘Now what?’ and things unraveled. He put down his brush.

Susanne again was the grounded one, fully confident he would resolve his larger-than-life questions … “He will paint,” she told him, “because it would be a shame not to. No one should not turn your back on a God-given talent like when you share your talent with others.”

He listens to Susanne because he trusts her. She is focused on him and not on the money or the competitions. He needs to understand the stories he has to tell and how he wants to tell them.

The Good News is that George is Painting Again

George was amid this self-discovery process, one that that many of us go through in our lives. Even George was not sure where all this was headed. He had not held a paint brush for three months, but just as Susanne predicted, he did pick up and paint again in mid-August.

<Painting: That One Day, George Bodine>

Caption: That One Day, George Bodine

He said: “I went to the studio today to try to paint again. It was very tough. I kept sitting there, but eventually began to work again. I think it was a talk I had with Susanne last week and finally I was in the mood to hear it. It came down to that this is my job, it is what I do. Now stop sitting around and get to work.” His return to the easel led to “That One Day” where he recaptured mood on canvas of the tranquility of sitting out there on the beach, watching the waves roll in and contemplating a world bigger than self.

George Attends His First-Ever Art Workshop

<photo of bodine and Xhaouming Wu standing next to each other>

Caption: George and Xhaouming Wu

To help continue working his way through his soul searching, George decided to take his first-ever art instruction by another artist. He travelled to Connecticut to a workshop led by Xhaouming Wu, one of the artists George most admires. He is hoping this experience will not only help him sort out deeper thoughts but by watching Wu run his workshop, George wants next to try teaching his own workshops.  ”

It will be a cautious movement forward, “I am going to be careful going forward in what I paint, and more importantly, why I paint. Like the dragonfly larvae that struggles in a pond to emerge from its watery universe into a winged world of flight and beauty, George is painting again. Quero!

The Watercolorist

Like many of us, Heidi knew early on that she was creative. In her words, “I have always been interested in art. As a child I tried to create things out of just about every material I could find.” That interest never went away. It magnified at Ohio Wesleyan University where she got her BFA and then a master’s in art education from Indiana University.

Heidi Hanssen, Board Member

Her career as an art teacher in public schools was a perfect outlet for her creativity. She studied a variety of media in art classes during the summers while she taught school. and became focused on using the narrative as a theme in her work. While today she concentrates mostly in watercolor, she was at first attracted to sculpture and received a grant from the Ohio Arts Council to study at Penland.

Watercolor entered in her life more seriously after retiring from teaching. She studied watercolor with Ken Buck and a workshop with Mary Whyte that led her into figurative painting—something she still enjoys.

Getting Ready - CopyGetting Ready, Heidi Hanssen

The narrative approach to subject matter has continued from the early days. “Today, I still want to show a moment in time that reveals something about the subject. With my watercolors I can show such moments as the luminosity of daylight or the glow of artificial light on people and objects during the evening. Portraying the feeling of this light in my paintings is a way to evoke the emotions of being in that setting. It is a wonderful way to show my world to the viewer.”

Validation of Heidi’s skill as a watercolorist came from acceptance into the Transparent Watercolor Society International Show twice as well as local shows locally. Just this year, she has shown in the Cincinnati Woman’s Art Exhibit Regional Show, The Barn Cultural Art Center, earned the David Knoll Memorial award for Best Watercolor, participated in the “State of Watercolor”, a group show at the Pike Street Gallery, earned Second Place in the Greater Cincinnati Watercolor Society Annual Exhibit and received an award of excellence at Viewpoint 50.

Autumn Aspen, Heidi Hanssen

Autumn Aspen, Heidi Hanssen

In addition to serving the Cincinnati Art Club of which she is a Signature member, she has a busy retirement serving on the board of a small nonprofit, the Woman’s Art Club, the Greater Cincinnati Watercolor Society, and Ohio Watercolor Society (Signature Member). She and her husband Richard enjoy doing things with family including her four grandsons and they enjoy travel.

“I think the Cincinnati Art Club offers many opportunities to expand friendships with artists. I have met so many wonderful people serving on the board these past two years. I joined the club not knowing anyone! I wanted so much to meet more artists and the club has been a great help to me.”

Singing on the SquareSinging on the Square, Heidi Hanssen

“Serving on the Board as secretary is an honor that I truly love. I am constantly impressed by how much the Board members are willing to do to for the success of the Club. We work from  an agenda that Don Schuster prepares based in part on the minutes of preceding meetings. My job as secretary is to record the meetings as a record of what we agreed during each meeting. Keeping these records serves as the archival history of the Club and they set out the task list of things we need to achieve before the next monthly meeting. I also write the Board Notes as a summary of the meeting for the website. I send out get well cards, thank you notes and letters, sympathy and other notes on behalf of the Club. It is my pleasure to serve this great organization.”

Swamp Stalker - CopySwamp Stalker, Heidi Hanssen