Portfolio of Works

 Lolly's landscape paintings are rooted in a deep connection to the Salish Sea (PNW), where shifting tides, fog, and light shape her sense of place and memory. Working in the tradition of contemporary realism, she distills fleeting moments into layered, atmospheric works that invite stillness and reflection. Her paintings honor both the ecological richness of this vital waterway and the emotional landscapes it inspires.

I am drawn to paint subjects that are bathed in the soft, diffuse light of early dawn or evening twilight. The moods of nature and the spirit of the season are what I strive to create in my landscape paintings. Inspirations include the designs of James McNeil Whistler, and the moody works of George Inness, as well as other artists of the American Tonalism movement. An essential part of my process is working en plein air to paint and draw nature from life. These studies serve as references for later work back in the studio.

Lolly Shera’s Solo Exhibition: At the Still Point: Layers of Light and Atmosphere will be on view at Smith and Vallee Gallery (Bow,WA) from October 30-November 30, 2025, with an opening reception November 1, 3-5pm. Lolly's landscape paintings are rooted in a deep connection to the Salish Sea (PNW), where shifting tides, fog, and light shape her sense of place and memory. Working in the tradition of contemporary realism, she distills fleeting moments into layered, atmospheric works that invite stillness and reflection. Her paintings honor both the ecological richness of this vital waterway and the emotional landscapes it inspires.

My paintings are arranged and composed in the studio from memory and field notes.  They represent a "sense of a place," with the subjective feeling from the field experience woven into the paint. When I am in the high country my whole being comes alive.  I feel a powerful connection to all that nature provides; from the simplest wildflower to the dramatic hanging glaciers and snow fields.

We like to visit the Deschutes River in Eastern Oregon, where the smell of sage and the sound of the millions of gallons of water rushing by define my day.  It is a dry place with large mountain canyons filled with wild horses, big horn sheep and rattlesnakes.  I feel excited to hike and explore but also wary of the wild animals that come to drink at the river.  We have seen cougar, bear, bob cats and possibly a black wolf (which is currently under discussion with Fish & Wildlife). It is one of the last places I know without internet connection, which makes the days and nights much simpler; basically boiled down to the basics.  How good is that?

The twilight hour slips away and the moon begins to rise.  Color fades and edges blur. The spirit of light is veiled in mystery and shadow. George Inness, probably the nineteenth century's most influential American landscape painter, was a premier tonalist, and his moody works were described by Elliott Daingerfield (in 1915) like this: "Surely no painter has ever more perfectly caught the mystery of that light which is of, and yet beyond, the skies!"

I'm a big fan of small paintings!  I like how a big idea can be recorded very quickly.  Working small can be especially helpful if I'm trying to decide which colors to use. Before I launch into a larger painting I may do several studies of the same composition but with different hues. I can set the different versions up side by side and see what works best.  Some days I will wake up to an image burning in my mind's eye and I need to put it down quickly. A small panel limits me on how much detail to put in and it makes me paint with broad brush strokes. This direct painting experience helps to get the big picture down and I can see which elements of the memory are most important.    I also like to paint outdoors with small panels because the light can change so quickly.   When I work on the painting back in the studio it's amazing how much I can recall in terms of the sights, sounds and generalized feeling of the experience.  Acquiring a small painting is a great option for the beginning fine art collector. Enjoy!

Drawing is a language of visual form and it is the basis of my art. There are many types of drawing, each with its own purpose, from a thumbnail sketch to a fully rendered composition. My landscape field drawings are a good example of the variety of different types of drawing. Depending upon my intent, I may choose to gather close, detailed information that I will take back to the studio to use as a reference in a future painting. At other times, I make seek to capture a motif, or idea for a setting for a painting, and record only certain important aspects of the landscape. My notebooks of drawings are filled with images and notes that feed my imagination and help me remember the important elements for later use.