that place, even if they’ve never been there before. “It feels like you’re a conduit in many ways,” he said. “Most of my research is out by myself and I’m trying to recreate that moment of connection that I expe - rienced. I see this beauty, or I see these amazing things happen, then I try to share that with people who might not ever have a chance to see that.” In fact, the most impactful com - pliment Trevor can receive is when someone says that one of his paint - ings makes them feel like they are in that place with him, experiencing that scene. “It could be somewhere across the world that they’ve never been to, but when they say that, I feel like I’ve done my job,” he said. “That’s exactly what I’m trying to do––create that connection to place.” One of the most fascinating things about the soul connection of art is just
how deep it runs. You know you’ve got something really meaningful when years or even decades later, it continues to light you up, or the idea of parting ways with it is unthinkable “The challenge is when you start to think about getting rid of any of your art, which eventually, many people
So, while it’s hard to know what at - tracts us to a piece of art, there’s often a story deep in the soul that’s waiting to be explored. And that is the beauty of art––it’s an invitation to explore, discov - er and connect with others, with experi - ences, with places, and with the deeper parts of ourselves.
do have to think about,” Glen said. “How do you do that when most everything speaks to you in a cer - tain way? Even a piece that may haven’t noticed in a while, you think, ‘I couldn’t get rid of that, because…’ and then the story comes out.” be in another room that you
"Every piece of art in our house has a story. I can tell you the story of nearly every piece, even after all these years." -Deanna Zylstra
"Majestic", 24"x18", oil & patina on metal, by Trevor Swanson
"Red Alert", 24"x36", watercolor, by Heidi Rosner
Page 10
Issue 5 | Summer/Fall 2026
Made with FlippingBook. PDF to flipbook with ease