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Today is the LAST day to see SUSURRATIONS with Peg Today is the LAST day to see SUSURRATIONS with Pegan Brooke, Grace Potter, Solange Roberdeau๐ŸŒ€ 

Open 12-5pm, donโ€™t miss out!
Formed from local clay, wood-fired and reduction-c Formed from local clay, wood-fired and reduction-cooled, Grace Potterโ€™s Coast Redwood Vessel emerged through a quiet exchange with its surroundings. 

Photographed here against a charred old-growth stump, the very base of her cabin, the vessel intuitively echoes the trace of where it was formed, holding the rhythms of hand in its surface.

Come experience SUSSURATIONS in its final days, we are open through January 4th โค๏ธ
As we wrap up 2025, we are excited to share new ad As we wrap up 2025, we are excited to share new additions to the Bolinas Museumโ€™s permanent collection, including works by Michael Light, Arline Mathieu, George Scott Miller, Grace Potter, Lordy Rodriguez, and Michelle Yi Martin, along with a painting of Mount Tamalpais attributed to Alfred Villiers Farnsworth. 

These acquisitions mark a meaningful year of growth and reflect our continued commitment to stewarding art with deep ties to Coastal Marin, while fostering dialogue between historic and contemporary artistic practice.

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Image Captions: 
1.Michelle Yi Martin, Two Adders, 2025. Monofilament, paper, and wool. 53 in. ร— 34 in. 
2. Michelle Yi Martin, Two Adders, 2025. Monofilament, paper, and wool. 53 in. ร— 34 in. (detail) 
3. Arline Mathieu, twelve moons: winter, 2023. Pen, ink, and watercolor on paper. 22 ร— 30 in.
4. Grace Potter, Fog Diviner, 2025. Wood-fired stoneware with local clay slip, local clay, Pacific Ocean sea salt, brass chain, and wire. 27 ร— 16 ร— 16 in.
5. Michael Light, Salt Tracks Looking Northeast, Pleistocene Lake Bonneville, Wendover, Utah, 2017. Ultrachrome pigment print on Hahnemรผhle rag paper. 40 ร— 50 in.
6. Lordy Rodriguez, Untitled 805 (Gift Wrap Japan), 2012. Ink on paper. 46 ร— 28 in
7. George Scott Miller, Sketch of Man Fishing off a Dock, 1926. Pencil on paper. 8.5 ร— 6 in.
8. Attributed to Alfred Villiers Farnsworth (1858โ€“1908), Mt. Tamalpais, n.d. Watercolor on paper.
FROM THE ARCHIVES: The Waterhouse-Pepper Family FROM THE ARCHIVES: The Waterhouse-Pepper Family 

The development of downtown Bolinas as we know it today owes much to Nellie and Frank Waterhouse. In 1879 the couple traveled from Sacramento to visit Nellieโ€™s parents, and soon decided to build a home in Bolinas. When no lots were available, they boldly purchased 132 acres of a former dairy ranch owned by J. J. Briones. Surveyor Hiram Austin then carved Brighton Avenue from the corner of Wharf Road through open pasture to the beach, and laid out Terrace, Park, and Canyon Roads. Nellie oversaw the subdivision of the property for housing and named the project Grande Vista.

In the first photograph, taken in 1884, Brighton Avenue appears on the left and Terrace Avenue climbs the hillside. The Waterhouse home stands on the right beside the white dairy buildings. Today, that house sits behind the Bolinas Post Office, which was later constructed by the Waterhouse-Pepper family. The Waterhousesโ€™ daughter, Marin, married Louis Pepper, whose familyโ€™s early homestead is now Gospel Flat Farm.

The house in the left foreground was built by schooner captain Peter Anderson and run by his wife as a popular boarding house for visitors; it continued welcoming guests for decades as the Bolinas Villa. At the time, the landscape was open grassland with few trees until Nellie introduced Monterey cypress, which is now a defining feature of the area.

Before Grande Vista, the flatlands around what is now Bolinas-Stinson School were considered the heart of the growing community. But as full-time residents and weekenders purchased and built homes on the new lots, the Grande Vista area became the anchor of the downtown area we recognize today. In 1898, the Peppers moved the Presbyterian Church from its original location near the school to the corner of Brighton Avenue.

Marinโ€™s nine children and their descendants continued to shape Bolinas for generations. They owned local businesses and constructed seawalls, the Post Office, the Waterhouse Building, St. Aidanโ€™s Church, and many of the houses on Brighton and Terrace avenues.

Photographs courtesy of Bolinas Museum History Archives
Join us tomorrow December 13 at 3pm for an artist Join us tomorrow December 13 at 3pm for an artist talk in the main gallery with Bolinas-based artist Pegan Brooke. Sheโ€™ll share insight into her creative process and the ways her paintings hold the shifting qualities of water through color, light, and repetition.

The conversation offers a closer look at SUSURRATIONS and the meditative approach behind Peganโ€™s work, inviting visitors to consider how movement and perception shape her practice.

Free and open to all. 

Presented alongside SUSURRATIONS, on view through January 4.
๐˜ˆ๐˜ถ๐˜ต๐˜ถ๐˜ฎ๐˜ฏ ๐˜š๐˜ถ๐˜ฎ๐˜ฎ๐˜ข๐˜ณ๐˜บ by Solange Roberdeau (@solange_robe ๐˜ˆ๐˜ถ๐˜ต๐˜ถ๐˜ฎ๐˜ฏ ๐˜š๐˜ถ๐˜ฎ๐˜ฎ๐˜ข๐˜ณ๐˜บ by Solange Roberdeau (@solange_roberdeau)  began during a 2021 residency at the Blunk House in Inverness. Using native beach burr from Greenwood Beach in Elk in Mendocino, dipped in concentrated blue watercolor, the plantโ€™s first casual marks on Somerset paper grew into improvisational landscapes.

First presented at @jbblunkestate, the series unfolds across late summer into fall, named after the Julio Cortรกzar poem that inspired it.

๐˜ˆ๐˜ถ๐˜ต๐˜ถ๐˜ฎ๐˜ฏ ๐˜š๐˜ถ๐˜ฎ๐˜ฎ๐˜ข๐˜ณ๐˜บ is now on view as part of SUSSURATIONS at the Bolinas Museum, alongside works by Grace Potter and Pegan Brooke, on view through January 4.

If you want to see Solangeโ€™s process in action, join us this Sunday, December 7, from 1โ€“3:30 PM for a special walkthrough, a live water activation by @emeliegracepotter , and a hands-on suminagashi demo by @solange_roberdeau
2025 highlights in honor of Giving Tuesday ๐Ÿ’ซ 2025 highlights in honor of Giving Tuesday ๐Ÿ’ซ
Join us on Sunday, December 7, from 1โ€“3:30 PM for Join us on Sunday, December 7, from 1โ€“3:30 PM for a guided walkthrough, a live water activation, and a hands-on suminagashi demonstration with artists Grace Potter (@emeliegracepotter) and Solange Roberdeau (@solange_roberdeau)!

โœจ 1โ€“2 PM โ€“ Walkthrough of SUSSURATIONS

Grace and Solange will lead a shared walkthrough, offering insight into their practices and the exhibitionโ€™s focus on sound, movement, and material resonance.

โœจ 2โ€“2:30 PM โ€“ Live Water Activation with Grace Potter

Grace will guide a focused water-pouring and listening experience, inviting visitors to tune into subtle shifts in rhythm and tone.

โœจ 2:45โ€“3:30 PM โ€“ Suminagashi Demo with Solange Roberdeau

Solange will demonstrate suminagashi, the ancient art of floating ink on water, followed by an opportunity for visitors to create their own marbled print.

Free and open to all. Presented alongside SUSSURATIONS, on view through January 4
As this year draws to a close, we want to extend o As this year draws to a close, we want to extend our heartfelt gratitude to ๐˜†๐—ผ๐˜‚, our Bolinas Museum community.

2025 has been a year of exciting and generative transition, shaped by new leadership, an expanded team and board, and a renewed commitment to honoring the cultural, historical, and creative identities of Bolinas and Coastal Marin.

Your support has been at the center of it all. Because of you, the museum continues to grow with fresh ideas, broader perspectives, and a bold vision for what a community-rooted institution can be. Weโ€™re grateful for the curiosity, care, and enthusiasm you bring to this place.

Thank you for investing in this work, for believing in our mission, and for being an essential part of our journey!
FROM THE ARCHIVES โ€” The Driftwood Sculptor of the FROM THE ARCHIVES โ€” The Driftwood Sculptor of the Mesa

In 1927, artist Frantiska (Franciena) June Terebova arrived in Bolinas with her young daughter and was immediately taken by the wild beauty of the Big Mesa. Born in what was then Czechoslovakia, Terebova studied art in Prague, Sweden, and later in San Francisco after emigrating to the U.S. in the 1920s.
Captivated by the coastal landscape, she purchased land near Agate Beach and began creating a lifeโ€”and artโ€”rooted in place. Working primarily with driftwood gathered from the shore, she became known for her distinctive sculptures and for the extraordinary home she built herself using found and recycled materials.
The five-room house, complete with hand-hewn beams, frescoes, patios, and an art studio, became a local landmark and an early example of handmade, sustainable architecture on the coast.

Known affectionately as Madame Terebova, she exhibited her work throughout the Bay Area and earned widespread recognition for both her art and her self-sufficient way of life.

Learn more in Frantiska Terebova: Early Artist of the Mesa, on view in our History Room through January 4, 2026.
ARTIST SPOTLIGHT: Solange Roberdeau (@solange_robe ARTIST SPOTLIGHT: Solange Roberdeau (@solange_roberdeau) is an artist and educator living and working in Northern California on the edge of the Pacific Ocean. Her work explores perception, the environment, and the interplay between structured forms and organic mark-making, often drawing directly from the landscapes where she lives and works. Through material experimentation and attentive observation, Roberdeau creates immersive experiences that open questions rather than provide answers, inviting viewers into a space of subtle movement and possibility.

Across her practice, Roberdeau seeks to pair ordered forms with organic marks, exploring perceptual movement, material tensions, and the creation of spaces where observation, meditation, and imagination can flourish.

๐—ค: ๐—ช๐—ต๐—ฒ๐—ป ๐—ผ๐—ฟ ๐—ต๐—ผ๐˜„ ๐—ฑ๐—ถ๐—ฑ ๐—ฎ๐—ฟ๐˜ ๐—ฐ๐—ผ๐—บ๐—ฒ ๐—ถ๐—ป๐˜๐—ผ ๐˜†๐—ผ๐˜‚๐—ฟ ๐—น๐—ถ๐—ณ๐—ฒ?
๐—”: Iโ€™ve always lived with creative thinking woven into daily life. Writers, theater people, visual artists, and musicians are part of my family and of the rural, countercultural community where I grew up in Northern California. Exploring new ways to perceive, make, and live - and recognizing the value in that exploration - was, and continues to be, an inherent part of the social fabric around me. I know this sensibility is deeply woven into my artmaking practice in ways even beyond what I can articulate.

๐—ค: ๐—›๐—ผ๐˜„ ๐—ฑ๐—ผ๐—ฒ๐˜€ ๐—ฐ๐—ผ๐—ฎ๐˜€๐˜๐—ฎ๐—น ๐— ๐—ฎ๐—ฟ๐—ถ๐—ป ๐—ผ๐—ฟ ๐˜๐—ต๐—ฒ ๐—•๐—ฎ๐˜† ๐—”๐—ฟ๐—ฒ๐—ฎ ๐—ถ๐—ป๐—ณ๐—น๐˜‚๐—ฒ๐—ป๐—ฐ๐—ฒ ๐˜†๐—ผ๐˜‚ ๐—ฎ๐˜€ ๐—ฎ๐—ป ๐—ฎ๐—ฟ๐˜๐—ถ๐˜€๐˜?
๐—”: I have always loved Bolinas. It feels both different from and familiar to the community where I grew up, shaped by its outlaw spirit, geographical isolation, and the influence of the Pacific. Iโ€™ve long admired the museum, and it feels especially meaningful to be exhibiting there - like serving as a bridge between two eclectic corners of Northern California. Iโ€™m excited about the possibilities of this new chapter of programming and very honored to be part of it.

Solange is represented by @municipalbonds โœจ
ARTIST SPOTLIGHT: Grace Potter (@emeliegracepotter ARTIST SPOTLIGHT: Grace Potter (@emeliegracepotter ) is a ceramic artist working from her studio amidst a coastal redwood forest. She creates sculptural vessels that explore ecology and spiritual inquiry, centering intentional processes and a deep connection to place. Her work is shaped by locally sourced materials, wild clay, ocean salt, and wood for kiln firing, which guide the form, texture, and rhythm of each piece.

Her vessels take on patterns reminiscent of ancient handprints on cave walls, ephemeral traces of life meeting geologic time. Fingermarks accumulate into familiar forms, a pelvic bone, a birdโ€™s beak, a spiral shell, echoing the beings and forces that surround her. Informed by a background in archaeology, Potter imagines rituals around her objects that honor animals, plants, and elemental forces, capturing sensorial moments like the sound of water dripping into a cavernous vessel or recording the passage of time with sand through a ceramic funnel.

๐—ค: ๐—ช๐—ต๐—ฒ๐—ป ๐—ผ๐—ฟ ๐—ต๐—ผ๐˜„ ๐—ฑ๐—ถ๐—ฑ ๐—ฎ๐—ฟ๐˜ ๐—ฐ๐—ผ๐—บ๐—ฒ ๐—ถ๐—ป๐˜๐—ผ ๐˜†๐—ผ๐˜‚๐—ฟ ๐—น๐—ถ๐—ณ๐—ฒ?
๐—”: My mom would say that she first noticed I had a creative streak when I was five years old, after prompting me to draw a dead mouse that our cat brought inside. According to her, I rendered the mouse with startling accuracy. I have no memory of this first moment, but I enjoy the story because I feel my work now is not so different from my earliest artistic experience - like thereโ€™s some kind of core essence in each personโ€™s work that is there from the very start.

๐—ค: ๐——๐—ผ ๐˜†๐—ผ๐˜‚ ๐—ต๐—ฎ๐˜ƒ๐—ฒ ๐—ฎ๐—ป๐˜† ๐—ฟ๐—ถ๐˜๐˜‚๐—ฎ๐—น๐˜€ ๐—ฟ๐—ฒ๐—น๐—ฎ๐˜๐—ฒ๐—ฑ ๐˜๐—ผ ๐˜†๐—ผ๐˜‚๐—ฟ ๐—ฐ๐—ฟ๐—ฒ๐—ฎ๐˜๐—ถ๐˜ƒ๐—ฒ ๐—ฝ๐—ฟ๐—ฎ๐—ฐ๐˜๐—ถ๐—ฐ๐—ฒ?
๐—”: I consider my entire creative practice a kind of ritual. Each body of work is made under particular parameters that carry deeper meaning. For example: using only locally sourced materials and only pinching the clay in particular patterns. The parameters I set for my work are ritualistic in that they are repetitive, intentional, and sacred to me.
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Bolinas, California 94924

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