Leo Adams: Ever-changing homescape


By Melissa Labberton

Photos by Sara Gettys

Leo Adams, Yakima’s foremost visual artist, spends almost as much time redecorating his unique home on the Ahtanum Ridge as he does capturing the beauty of the Yakima Valley in his paintings. In fact, it’s difficult separating the talented artist from his house, an amazing amalgam of recycled materials, found objects and a vast array of original art.

Adams grew up on the Yakama Indian Reservation. His late father, cattle rancher Harvey Adams, served as a tribal councilman for 30 years. Adams’ Native American roots have definitely influenced his paintings, especially his stunning landscapes that reflect the colors of Eastern Washington’s desert terrain. That same heritage resonates in the way he accessorizes with indigenous plants, flowers, dried weeds and Native American stone implements. He uses a natural color palette — soothing gray, brown and taupe — for his home’s décor too.[slideshow id=20]

“I’ve always been an artist since I was young,” Adams said. When asked if he ever dared redecorate his family’s home, he said no and quickly added, “When I finally got my own bedroom, I was always rearranging that. I put my own artwork up and recolored the walls.”

Adams credits his Wapato High School art teacher, Roger Berghoff, with teaching him drawing, painting and commercial art, and local artist Charles Smith, who also taught at Wapato High, with opening his mind to more modern, “free-thinking” art. He clearly remembers selling his first painting at age 18: a horse and hound hunting scene, for $150 to a family in the Lower Valley. This marked the beginning of his professional career.

After graduation, Adams studied illustration at the Art Center College of Design in Pasadena, Calif., and the Burnley School (now the Seattle Art Institute), where he focused on fashion illustration. In 1962, through the generosity of the Yakama

Nation, he traveled abroad and spent a year discovering the art and architecture of Europe’s great cities. This amazing trip opened his eyes to the possibilities of a career in visual art and also planted the seed for the kind of house he wanted to build someday.

After returning to the Seattle, Adams launched his painting career in earnest, but the call of Eastern Washington brought him home to Yakima.

In the early ’70s Adams purchased 40 acres along Ahtanum Creek on the northern border of the Yakama Reservation and moved his grandfather’s cabin to the property. He hired V.K. Powell Construction to frame the house and install the electrical wiring and plumbing. Adams was so taken by the size and scale of the great houses he’d seen in Europe that he insisted on high ceilings (10-18 feet), with plenty of room to display his large canvases and a living space that could comfortably accommodate entertaining family and friends. Finishing the interior of the house was up to him, and the process challenged his imagination while sharpening his carpentry skills.

Over the years, Adams’ unquenchable desire to create has spilled over to the ever-evolving interior of the home. Dubbed “The King of Discards” by a 2003 Seattle Times article, Adams just can’t seem to resist fashioning masterpieces from what most people would consider cast-offs only suitable for the landfill.

A perfect example is the exquisite, expensive-looking floral arrangement displayed on the kitchen table. Upon closer inspection it reveals sticks, dried weeds and silk flowers contained in a white enamel washbasin, shot up with bullet holes. Adams found the bowl in a field by his house. With economy and style in mind, he used old Army blankets for the wall coverings of his bedroom, mainly because he liked their subtle color and texture. The dramatic striped walls and elaborate window moldings of his living room mimic the stonework of an Italian villa. He created the effect on the cheap by pickling and staining pieces of plywood for the walls and cleverly arranging 2-by-4s and 2-by-6s to imitate Romanesque moldings.

Adams’ friendship with late Seattle designer Jean Jongeward influenced his love of Asian art, whose Oriental themes are evident in many of his paintings and accessories. His recent acquisition of some cyclone fencing led him to hang it from the ceiling of the living room in the shape of a kimono to make a unique room divider. The dining room’s faux crystal chandelier is nothing more than two 1920s hop baskets tied together and embellished with delicate scalloped circles of paper strung on pieces of string. Also Asian-inspired are the simple, handmade butcher paper lanterns that hang throughout the house.

While Adams continues to work on commissions and frequently shows his work in regional art exhibits, he’s currently focusing on getting his house ready for the Larson Gallery Guild’s Tour of Artists Homes & Studios on May 15. This annual event gives the public a wonderful opportunity to visit Adams’ remarkable house, view his latest paintings and experience his creative genius.


  1. I have been to Leo’s home several times and have always admired his ability to create something beautiful out of just about any old thing the rest of us would toss out. His creativity and energy is truely inspirational.

  2. The Japanese call Leo Adams aesthetic Wabi-Sabi. Generally speaking the understanding of this quintessential wabi-sabi aesthetic escapes the majority of Westerners. It is a comprehensive concept of appreciating and living with a beauty where things are imperfect, impermanent and incomplete. From nothingness back to nothingness which reflects the actual creative and destructive processes of the Universe.
    To enlighten a Westerners understanding , it would be wise to read:
    WABI-SABI by Leonard Koren ISBN 1-880656-12-4

  3. I have known Leo for over 40 years and the best way I can describe his creativity is through his strenght of reinventing himself over and over. Never a dull or repetitive approach to where ever he has lived. He has an eye for grandness with the simplest and most mundane objects which to the average eye would be merely trash. There is never a forced approach to his creation, no matter how elaborate or simple. This in my view is not something you learn, it is a gift which only a handfull are fortunate to have, and Leo is one of them.

  4. Leo is one of my many cousins. Coming from a large famly, we grew up together. I can attest to Leo’s statement that he has been an artist “since he was young”. He has always seemed to see life, it’s objects, and people through creative eyes. I’ve always admired his sensitivity to beauty and accomplishments with his artwork. I don’t know if he recalls painting portraits of my sister. One painting was done as realism and the other more abstract of she and a cat. I’m very proud of Leo.

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