Category Archives: Main Gallery

March is Ceramic Month!

The month of March is ceramic month in Portland when the NCECA conference comes to town. We will be showing the ceramic work of Hsin-Yi Huang in the Main Galler and Lisa Conway, in the Feature Area.  In addition, the Hennig Family will be in the Window Gallery, a pop-up show will be on the back table in the shop back and our our shop will be rejuvenated with new work.

MAIN GALLERY (February 23-March 28)

Hsin-Yi Huang, porcelain

Hsin-Yi Huang, porcelain

Hsin-Yi Huang is a ceramic artists working in porcelain. She has entitled her show “All is Flux”. “All is flux, nothing stays still” is what the Greek philosopher Heraclitus described as the fundamental essence of universe. “We encounter changes in our day-to-day life, our physical appearance, our insights, and relationships with others. In a society where our lives are interconnected, changes brought upon by climate variations, technology innovations, and displacements from wars, can bring on en masse emotions,” explains Huang. ““All is flux” examines the nature of change, how we perceive it, and how we react. Our human experience is the result of our reactions to change accumulated over time.  Each experience is uniquely valuable.” My hope is to seed the possibility of change. The future of ceramic arts has always been in flux. Change is the very essence and raw material for growth. She uses human and plant forms as her means to symbolize notions of beauty, fragility, and growth.  Her intent for this body of work is not to provide answers nor stoke emotions, but rather, to present change as facts. 

 

 

FEATURE AREA (February 23-March 26)

Lisa Conway, earthenware

Lisa Conway, earthenware

Lisa Conway works with hand-built earthenware. By strongly referencing the plant world in her work she hopes to avoid associations to any specific human anatomy. “I choose instead to evoke the subtler emotions and relationships that underlay our bodily responses.” Her latest work is hand-built earthenware, pinched or coiled into shape. She rotates the pieces and flips them upside-down as she builds in order to capture various angles and give her pieces a greater sense of volumetric capacity. The textures in her work are sometimes a natural result of the building process, or sometimes exaggerated in order to bring attention to a particular area or show color-variations within the glaze.  She mix a fair amount of cotton fiber into her clay body, which allows her to continually re-shape the piece during the building process.  This fiber completely burns out during the kiln firing. Conway explains, ”My pieces draw the viewer in to an evocative world of suggestions and questions on the relationships between people and the life force within us all. I want my pieces to remind us of our own bodies, the physical states we experience and how our sense of our own physicality changes in relationship to each other.”

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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.