7 O regon has never been my home, though I claim 23 years of residence in all three of its Pacific Northwest neighbors. I admire many Oregonians — suffragist Abigail Scott Duniway, chef James Beard, poet Kim Stafford, writer Ursula Le Guin, and essayist Barry Lopez. A student of Northwest Indian tribal and pioneer history, I know the stories of the Klamath, the Coos, and the Nez Perce tribes. But it wasn’t until our partnership with The Ford Family Foundation that I learned to treasure the hearts and vision of Oregon’s contemporary visual and media artists. And what a vision it is. Before 2013, only 13 artists from Oregon had been part of “the gift of time” here. With no statistics about how many applied, it’s hard to say why. Perhaps some applied and weren’t accepted. Perhaps the “I can do it on my own” last-frontier spirit that inhabits many Northwesterners prevailed. Perhaps artists weren’t aware of us or felt residencies weren’t for them. The recognition by The Ford Family Foundation of visual artists in their own Oregon backyard was not just symbolic — it was revolutionary. It has real consequences for the work of every artist in this publication. It has real consequences for every Oregon citizen. We live in a world dictated by product and outcomes. The idea that investing in the creative process of Oregon artists — not just their work but in THEM as individuals — is all too rare. Residencies at both Ucross Foundation and the Djerassi Program broadened the perspectives of both artists and hosts. The collegial experience we provide is a multidirectional creative highway. For 30 uninterrupted days, each of the resident Oregon artists lived in a community of 11 composers, choreographers, playwrights, poets, and filmmakers from across the globe. What happened on the mountain went back home with them. Artists make the world a more vibrant place. They hold a mirror to humanity and reflect the worlds of the past, present, and future. The shared investment in Oregon artists will be returned many times over for decades to come. That’s what happens when artists are trusted. “Home,” writes Oregonian John Daniel, “is not the place we were born. . . but the place where we are — the place we learn to see and listen for and come to know as part of our lives.” If that’s the case, thanks to Oregon artists and The Ford Family Foundation, a little piece of Oregon is home to me now. Margot H. Knight Executive Director Djerassi Resident Artists Program They call it regional, this relevance — The deepest place we have: in this pool forms The model of our land, a lonely one, Responsive to the wind. Everything we own Has brought us here: from here we speak William Stafford, from “Lake Chelan,” 1977