Category Archives: Current Show

Consu Tolosa, Helen Kaufman, Hazel Glass & Rosey Covert

May 31-June 26
Reception: Thursday May 31, 6-9 pm
Artist Talk: June 16 @ 2pm

MAIN GALLERY

Consu Tolosa, mixed media paintings

Consu Tolosa, mixed media paintings

 

Consu Tolosa is a painter of bright and dynamic mixed-media abstracts, exploring and depicting the complexity of emotions contained in human relationships. She has created “Pleasures + Perils” as a visual exploration of relational and emotional landscapes. In this collection Consu uses color and shape to investigate and depict moments of human connection. Each piece a small window to the inside, a visual representation of the connections we make with ourselves, one another and the world around us. Feelings and relationships show up as a range of hues and a variety of brushstrokes converging, conflating, diverging, and rearranging themselves to mirror our internal landscape. Consu originally trained as an Art Therapist and is interested in the relationship between psychological processes and creative expression. Her art practice is fueled by curiosity, experimentation, discovery and the pleasure of the process itself. She born in Uruguay, Consu calls Portland, Oregon her home.

 

 

 

Helen Kaufman, "Curl" carved ceramic

Helen Kaufman, “Curl” carved ceramic

 

Helen Kaufman works in clay and identifies her work as carved ceramic. Helen describes it best, “This latest manifestation is expressed through hours in the studio, sculpting, carving, working intimately with the clay as it hardens and challenges me to bring out more and more of its potential. Upon entering the studio, as I uncover the work from the last session, my mind’s eye sees the next step as I reach for the tool that will define the contour…slowly carving, moving more rapidly as the process takes over and leaves my everyday self behind.  An hour, two or three pass…challenges me to remember to stretch, relax my arm and shoulder, take a break.Each time I begin a new piece by choosing a size and shape of moist clay. My fingers, hands and sponge begin with a shape, line or opening and one motion leads to the next as the clay takes shape and the form emerges from the solid. As the clay dries I use wire sculpting tools to further define the form.  Over time I have experimented with how much clay can be removed from the interior creating a deeply carved, complex three dimensional form.”

 

FEATURRE AREA

Hazel Glass, "Oxidized Copper" hand cut paper

Hazel Glass, “Oxidized Copper” hand cut paper

 

Hazel Glass creates layers of intricately hand cut paper. She discovered paper=cut art, most of what she saw was made out of single sheet of black or white paper. Hazel immediately pushed those boundaries, by using color and multiple layers to create interwoven contrast and compositions with depth. Firmly believing that bigger is not better, she finds both the meticulous technical challenges and resulting delicacy of working small too intriguing to ignore. Using an x-acto blade, she hand cuts each layer separately, building them up from a 2D drawing into intricate bas-relief sculptures. Her inspirations range from the meditative symmetry of illuminated manuscripts and Islamic art, to the organic patterns of nature. From textiles and tiles, to sediment strata, rusted metal and weathered wood grain, Hazel strives to reinvent them with nothing but paper. The results are precious windows into abstract worlds. Whether the palette is vibrant or muted, it is an integral part of the work. And while the design is what Hazel’s art is saying, color is the tone of voice through which each piece speaks.

 

 

 

Rosey Covert, "Fulicrum" woven willow

Rosey Covert, “Fulicrum” woven willow

Rosey Covert weaves willow into what she calls woven sculpture. “My first year weaving I tried everything, any class I could get my hands on, and many different styles of weaving. In my second year of weaving I began to learn to harvest and process different plants.  In the second year of weaving I explored my way past the delicious hunger to try everything while figuring out what I like and don’t like, into an exploration of what it looks like when I weave from my own imagination and wandering. They begin in circles, overlapping and intertwining. They are made of pathways, they feel like rivers to weave. These sculptural pieces, loosely called baskets, are made from red osier dogwood that I harvested from the Hoyt Arboretum in February of this year. Also the ones I’ve been working on this winter are from the trees in my neighborhood, willow from a local farm and red osier, again after the harvest. Playing with lines and shapes in this organic branch twisting way has been dreamy and wild and sometimes frustrating and wonky.”

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MAIN GALLERY (June 30-July 24)

Betsy LeVine "Before Me" oil

Betsy LeVine “Before Me” oil

Betsy LeVine paints in oils on birch panels. Her concept for this show, “Beauty Is Before Me”, concerns flora and mirrors. She carried a small circular pocket mirror and photographed flowers. As she puts it “flowers discovering their own vibrant reflections.” Betsy LeVine uses her attentive brushwork and keen eye for nuances in light and color to celebrate the natural beauty in the world around her. “When I wander through neighborhoods and on trails in the mountains, forests, and deserts, I find my gait slows and my eyes are everrdrawn towards the intricacies in the plant life around me. It is as if the flowers, leaves and the play of sunlight through them are all calling to me, telling me to slow down, to just look ansoak in the bountiful beauty in every moment. It feels like a joyous lifetime responsibility of mine to take on the role of a mirror for the quiet gorgeousness that surrounds us all the time, to not only reflect appreciation back to the planet for these gifts but also to recreate this beauty on a larger scale in hopes that it will allow others into this worthy world. Beauty Is Before Me .therefore, it is also before you.”

Dennis Floyd "Rose Of Conversano" screen print

Dennis Floyd “Rose Of Conversano” screen print

Dennis Floyd is a screen printmaker who’s subject matter is also flowers. Screen prints are also known as silk screens or serigraphs. His colors are vibrant and intense. He works from his original drawings, paintings and compositions. Dennis does a color separation to make a unique color matrix on his screens for each color. Then each color pass is printed by hand on his studio press. To achieve a full color print many colors are screened separately, making the process complex , with rich results. Creating art for Dennis is the metamorphosis from darkness and despair to light and happiness. To quote Dennis “When I’m lost in my world creating art, I’m breathing in deep one of the most precious gifts that life has to offer and I am happy, powerful, invincible! The darkness in me is the farthest that it can be.”

FEATURE AREA (June 30-July 24)

Jeanne Drevas "Bad Sex" skate board/mixed media

Jeanne Drevas “Bad Sex”
skate board/mixed media

Jeanne Drevas creates sculptures out of surprising materials. She gleans materials that are all around her. For this show she has chosen to use skate boards. She loves the distressed graphics, the strength and beauty of skateboards, the life that these decks once provided to skate boarders and now she is seeing just what they offer to her. “Skate boards were something I’d mostly seen at a distance, as they zoomed along under boys (mostly). But I’d seen enough close up to be fascinated by the distressed graphics on the undersides of the decks, the sides that get marred by all the attempts at curbs, stairs, railings and who knows what. I know, why not just paint a piece of flat plywood and cut it up. Maybe I will do that, but that does not have the feel of the immediacy of distressed decks and where they came from, the streets of any town or city.  I’m honoring all those kids who didn’t know they were creating material for my new exploration.” Jeanne was very drawn to the vessel form and that was the first, and most difficult objects she said made. She will also be showing wall assemblages, articulated figures, Miro-like standing sculptures, jewelry, even a wheeled pull toy.

 

Anne Goodrich & Arielle Adkin

Showing in the Main Gallery February 26-March 24
Artists Talk March 14 @2 pm

Anne Goodrich from the series "Leav" ceramic

Anne Goodrich from the series “Leav” ceramic

Anne Goodrich’s title for her ceramic show is ”Leav”.  To quote Anne, “Many times I’ve found that peace in my life comes from letting go.   The act of letting go enables me to reserve energy for new kinds of enjoyment, fulfillment or growth says Anne.  This is concept is true for the tree as well, letting go of leaves enables the tree to store energy, survive the winter and apply that energy toward new growth when spring comes. The color blue dominates this body of work as blue is, for me, the color of leaving.  A leaf brings nourishment to a tree, but when it ceases to be useful the tree simply lets it go.  I think a lot about how simple the tree makes it look, this process of letting go.”   She cuts slabs of clay into leaf shapes and then manipulated them into sculptural abstractions. By twisting and stretching the clay in the patterns of leaf veins the forms became the weathered, dried out, spent leaves of fall rather than spring.”   Organic forms inspire her work, but leaves specifically inspire this body of work.

Arielle Adkin "Cut" mixed media on paper

Arielle Adkin “Cut” mixed media on paper

Arielle Adkin has created a series of paintings/drawings she has entitled “Peony Violence.”  It is a body of work about the convergence between nature’s graceful softness and nature’s violent destruction.  These peonies are about the romance of a bouquet given while the heart bleeds.  A firework exploding as petals fall.  Arielle explains, “Traditionally, I am an oil painter. However, I produced this series in colored pencils and gouache, both light materials, in order to emphasize the delicate quality of these flowers.  My work explores Nature’s ability to evolve in a modern man-made world, with an emphasis on creating a beautiful and palatable aesthetic.

Mike Southern & John Mayo

Showing in the Main Gallery October 30-November 23

Mike Southern "Out after Dark" oil

Mike Southern “Out after Dark” oil

Mike Southern is an painter whose work has evolved from black & white etchings to large full scale oil paintings.  He has also moved from landscape etchings to landscape oils with figurative element. Mike says it best  “The introduction of the figures is a new development but it is part of the same investigation into finding our place within the world.  The old mythology and religious paintings of the Renaissance and Baroque are a huge inspiration for this work.  The figure in the landscape inherently alludes to narrative. I view the characters depicted in this body of work as players in a new mythology.  At their heart, these new images are an attempt to sort through our relationship to the land, to the world and to each other.  That has always been the crux of my art-making.”

 

John Mayo, bronze

John Mayo, bronze

John Mayo works in bronze.  The body of work that he is exploring is partially based on his experience as an artist-in-resident in Western Australia. During that international residency he worked alongside marine archeologists and conservators looking at the wrecks and remnants of Dutch spice traders that tragically wrecked on the west Australian coast in the 1600’s.  “Artifacts held in the sea for 300 years are very powerful to me. They are full of meaning and story but often we can only guess about the very real lives and stories that were fatally intertwined with these objects. Bronze is a powerful material for these sculptures as it is both inherently valuable and the best preserved man-made material in the sea over time.” Some of these bronze sculptures represent fantasy artifacts imbued with a secret story and meaning. In other cases he is exploring the vernacular of ship design and the culture of exploration.

Sidnee Snell & Deborah Unger

Showing in the Main Gallery
July 31-August 26

Sidnee Snell "Waiting" textile/fiber hanging

Sidnee Snell “Waiting” textile/fiber hanging

Sidnee Snell is a textile artist who uses photo manipulation and stitching to create fabric paintings that reflect her diverse interests; lively cityscapes, quiet still lifes and the unexpected beauty found at the intersection where mother nature meets manmade objects. An electrical engineer by training, Sidnee came to art making via the domestic craft of quilt making. Sidnee s larger pieces combine photo manipulation with a unique appliqué technique and a heavily stitched surface. The appliqué process includes manually transferring a computer generated placement and stitching guide to a foundation, then attaching and trimming individual pieces of solid colored, hand dyed fabric to construct the desired imagery for the top. The top is then layered with cotton batting and backing, heavily stitched and washed to produce a highly textured surface. Her smaller pieces utilize photo transfer, manual color enhancement and light stitching. Sidnee explains Photographic images are the basis of my current work. I don t always know what it is about a particular image that draws my attention until I begin to work with it; I only know that it calls. The process of making art is important to a means an end result. I am artist and an engineer. I love playing with my tech tools. At the same time, the tactile nature and physical processes of creating with fiber,dyeing, painting, cutting, and manipulating the textiles inspire me.

Deborah Unger "The Changeling" wood/mixed media

Deborah Unger “The Changeling” wood/mixed media

Deborah Unger‘s sculptures are, at first glance, seemingly simple dolls, but on further examination the carved figures, each set in a special environment or vignette, evoke unsettling, nostalgic and thought provoking emotions. They can be interpreted as ironic, metaphoric or amusing. Unger’s introspective images use metaphor to describe personal and relational conflicts, making them reminiscent of what one might experience in a dream. She carves her figurative sculptures from basswood. As the human figures emerge from the wood; they became the soul inhabitants of their environment. After the carving, she then dresses them in clothes she sews. Using both hand and power tools, the dolllike figures are carved in components in order to accommodate the clothing. They are then dressed and arms or legs attached and the clothing sewn closed. The figures generally exist with or in structures, of which houses are a reoccurring element, employing a hierarchy of scale. Their postures and their trappings tell an intricate and compelling story.