Category Archives: Past Shows

Here we showcase artists that have shown here at Guardino Gallery.

Day of the Dead (with Mavis Leahy in the Feature Area)

September 28-October 22
We will be celebrating, in the unique Portland style, 11 years of the Day of the Dead group shows at the Gallery. Each year we ask artists to create art (colorful and otherwise) to commemorate our ancestors and departed loved ones, including pets. Over 48 artists will participate. There will be lots to see from paintings, prints, wood, ceramics and more! 

Mavis Leahy will continue the Day of the Dead theme with her show in the Feature Area. She works with fiber & mixed media.

Artists: Dave Benz, Alea Bone, Stephanie Brockway,Tory Brokenshire, Shelly Caldwell, Scot Cameron-Bell, Dayna Collins, Ralph Davis, Jeanne Drevas, Cenya Eichengreen, Jaclyn Evalds, Amy Frazer, Michelle Gallagher, Mar Goman, Denise Graham, Kim Hamblin, Bill Horgos, Rebecca Hubbs, Jackie Hurlbert, Janet Julian, Alicia Justus, Celeste LeBlanc, Wendy Malinow, Virginia McKinney, Sylvia Miller, Lulu Moon Murakami, Tara Murino-Brault, Kim Murton, David Mylin, Amanda Myers, Cathi Newlin, Gail Owen, Dawn Panttaja, Stan Peterson, Kelly Phipps, Marlene Robbins, Frank Salcido , Amy Stoner, Mike Wellins, Anna Wiancko, Robyn Williams, Chayo Wilson, Kate Winfield, Karen Wippich, Samyak Yamauchi & Cathie Joy Young.


Beverly Soasey, Beth Robinson, Scot Cameron-Bell & Sue Thomas

Beverly Soasey "The Prize" Mixed media assemblage

Beverly Soasey “The Prize” Mixed media assemblage

ARTISTS TALK (Saturday, Sept 16 @2 pm)

MAIN GALLERY (August 31 September 26)
Beverly Soaseys art falls in the category of mixed media/assemblage, which for her means, anything goes. There are no boundaries, no formal rules on execution of materials. In a blending of objects and media, assemblage invites exploration and experimentation. It is completely suited to her collective nature, where I can do whatever it takes to express an idea, evoke a mood or convey a concept. My work is a study of textures, patterns and colorthe combination of elements that intrigue and surprise the viewer. This process begins with the search and ends in a story. I love going to that unknown place and surprising myself with the result.Theres always that moment when I know a piece is  finished, but until that moment, I have no clue when it will happen. My studio is overgrown with stuff: hundreds of objects, photos, books, bird wings, scraps of metal and ideas saved in various forms.There are boxes full of secrets and boxes waiting to be filled. Assemblage requires having inspiration and ideas around all of the time, always invading my thoughts.These thoughts and ideas come together in a single statement. Like my obsession for collecting, traveling and exploring, my art becomes a part of that process.   

Beth Robinson "Queen of Empty Coffers" digital collage

Beth Robinson “Queen of Empty Coffers” digital collage

Beth Robinson is an artist, art conservator and conflict resolution specialist. She records the intellectual and emotional responses to the process of bereavement by utilizing letterpress printing techniques, conservation methods, collage, digital imaging and collecting ephemera and paper. This recording of mourning started when she was eight, after her grandfather died unexpectedly. The adults around her were openly heartbroken at his unexpected death. Even in their shock and awkwardness, they had the forethought to provide her with magazines, glue, and adult size scissors to make collages. She learned to be fully present in those sobering moments of youthful innocence about death and refused to lose a sense of wonder. This art practice cultivated an outlet for the unique conflicts change and loss prompt. Over a five-year period starting in 2005, three of her grandparents, her father, youngest brother, and mother died. These consecutive deaths gave a deeper awareness of societies awkward handling and lack of support for grievers with unspeakable emotions. She is an advocate for grieving well through her art and meditation practice by companioning other grievers through the reality of loss.


FEATURE AREA (August 31 September 24)

Scot Cameron-Bell "Vase" ceramic

Scot Cameron-Bell “Vase” ceramic


Scot Cameron-Bell, caramic artist, entitled her show: Vases With The Same DNA. To quote Scot, “Yes, I dream about pots. I still have that anticipation upon entering my studio ready to work. Its all about changing. I continue to explore altering shapes for my vases.  My fat pots became wider. I made tiny vases with very tall handles. Now, I make tall vases with fat handles. I put a lot of consideration into the heavily decorated surfaces of smiling birds in conversation and imaginary flowers to invite the eye to focus on the shape of those vases.” The dynamics in the differences between small and large works lured her to start creating a relationship between her vases. She incorporates a variety of similar surface decorations and colors on large and small vases with the goal of having a family of vases with the same DNA. “Those silly cone shaped handles and feet make an unusual family relationship for every vase.” Scots vases are wheel-thrown, altered, and stretched.

Sue Thomas "Apron" oil

Sue Thomas “Apron” oi


Susan Thomas paints aprons as whimsical creatures flying through the clouds, holding apron strings in friendship, or using their pockets for birds. An antique apron from her Mom with its history of good food started this journey. Her apron paintings show the creative stitching women added to their homely aprons–she used antique aprons from a collector as her models. The brightly colored aprons in oils on canvas or Oregon birch wood carry memories and a bit of Disney

Shannon Weber, Chi Meredith & Michael Kurz

MAIN GALLERY (July 27-August 29)

Shannon Weber "Amulet" Paper, encaustic, hemp, found objects, hag stone

Shannon Weber “Amulet”
Paper, encaustic, hemp, found objects, hag stone



Shannon Weber works in 3D fiber sculpture. Her organic vessels and assemblages use a mixture of techniques from stitching, cold connections, weaving in multiple layers. Shannon sees every material as an option and is fearless about the collection of those materials. “By applying ancient techniques and transitioning to contemporary designs, I can achieve my desired effects by using a mixture of repetitive layers, weaving, stitching, cold connections, painting, and encaustic. These multiple applications make it very easy to blend metal, wire, coastal debris, rubber, and organic materials of all kinds. Each layer of material, mixed with different techniques, begins to build a  structure that gives the objects and vessels their form and opens doors for detailed surface design embellishments. My attraction to working with Fiber is with the options it presents in its ability to shape-shift when using a variety of reclaimed materials and found objects.”   

Chi Meredith "Oval" acrylic painting

Chi Meredith “Oval” acrylic painting




Chi Meredith abstract paintings are developed in layers. She begins a painting by drawing lines and forms with a charcoal pencil directly on the canvas. Next she paints the areas to fill in the design and cover the whole area of the canvas. Then she begins over-painting and scraping the surface, adding texture using lines, dots, and abstract shapes. Meredith uses color to differentiate shapes and areas, and to enhance the image. As she explains “Eventually the surface develops depth, giving glimpses into the previous layers. I am seeking an image that conveys contrast between organic and geometric elements of design.  I want the complexity of the painting to draw the viewer in close. My background in math and science related disciplines has influenced the non-objective direction of my artwork.”


Michael Kurz "Grow Rings" Oil on Panel

Michael Kurz “Grow Rings”
Oil on Panel


FEATURE AREA (July 27-August 27)
Michael Kurz has titled his show “Borders”. He investigates boundaries and markings that divide one space from another. “Within this theme, I am interested in exploring when one thing becomes something else, like how a line on the ground can determine where we can and cannot park and then another line on the ground determines our citizenship.” Kurz explains that his interest in this theme started as a reaction to the border wall proposal in US presidential politics, but he expanded the concept during a flight from Mexico to the US. “I got an aerial view of the land below and I saw this patchwork of farms, residential areas, commercial areas and then I also saw how oceans, rivers, and mountain ranges cut through all of these distinct lines that humans make. It made me want to scrutinize what a border is.” He applies his painterly sense of exploration and improvisation to the work, meandering between abstract and representational painting. A sense of wonder and discovery drive the artist to experiment continuously.

Carolyn Garcia, Deborah Unger & Nadine Gay

MAIN GALLERY (June 29-July 25)

Carolyn Garcia "Before the Fall" acrylic & pencil

Carolyn Garcia “Before the Fall” acrylic & pencil

Carolyn Garcia’s artwork is created with thin layers of acrylic paint, colored pencil and graphite of the hardest lead (9H). To quote Carolyn, “My process is time consuming and often I feel like a jeweler, as I use reading glasses and a magnifying glass to see what I am doing. The work for this show was inspired by the loss of my friend Shannon Kraft to cancer. We met as teenagers and spent every year up to her death exploring the world and enjoying traditions that we created during the 34 years we knew each other. These paintings have brought back memories with more power than merely remembering. Sometimes the recollections have been painful, but other times they have made me laugh out loud. I plan on creating a graphic novel about Shannon, to illustrate the ridiculous joy, difficulty, nuanced strangeness, hard work and love it takes to have a friendship that spans many decades. These paintings would be part of that book.”  

Deborah Unger "Safe from Me" carved wood fabric

Deborah Unger “Safe from Me” carved wood fabric

Deborah Unger creates small-scale figurative sculpture in carved wood and mixed media. The figures are carved out of basswood using both hand and power tools. She then makes patterns for, and sews the clothes in which the figures are dressed. These figures often exist within structures or other environments, which create context. Though undeniably doll-like, they are not about the figures as much as they are about the substance. “The pieces employ metaphor and symbolism to portray relationships and internal conflicts. These are intended to convey a particular feeling or emotion, often fleeting, without any evaluation of it.”  Though the artist admits most of her work is autobiographical, she hopes it is left sufficiently open to interpretation, inviting viewers to identify with it in a personal way through their own past experiences.

FEATURE AREA (June 29-July 23)

Nadine Gay "Dreaming of Me" ceramic & mixed media

Nadine Gay “Dreaming of Me” ceramic & mixed media

Nadine Gay was born in France and came to New York in her early 20’s where she graduated from Pratt Institute. She has worked in a variety of media including clay, painting, and fused glass. Gay has shown in France and in the US and earned several commissions for mural installations and stage sets. In the last couple of years she started to combine ceramic figures with natural and found objects to create assemblages. “This conversation between the materials is deeply satisfying and playful. It is often process- oriented: stories emerge, the child in me delights in what comes to life. My work connects me with a fantasy world, a waking dream-space. Art has never been a luxury for me, but a necessity. It feeds me, it heals, it gives me great joy” explains Nadine.

Dave Benz (Benz & Chang), Tamae Frame & Samyak Yamauchi

MAIN GALLERY (May 25-June27)

Dave Benz "Still Life with poppies" Walnut ink

Dave Benz “Still Life with poppies” Walnut ink

Dave Benz’s primary media for these works is walnut ink, although there are a few experimental watercolor paintings in this mix. At first glance, the haunting paintings of Benz and Chang appear to be vintage sepia photographs. Upon closer examination, they reveal themselves to be walnut ink drawings rendered by hand on watercolor paper. The figurative paintings portray mysterious narratives that are largely left to the imagination of the viewer. An artist and collector of vintage photographs for decades, Benz wondered when his two interests would eventually meet, and was pleased when they finally did. The paintings utilize the image vocabulary of early 20th Century photographs, and reward a second or third look with details that can be easy to miss. The figures with crowns, wings, ghost limbs, lights and shadows are meditations on the topics of spirituality, shifting identity, and transformative experiences. 

Tamae Frame "Coming Into Being" ceramic

Tamae Frame “Coming Into Being” ceramic

Tamae Frame has chosen ceramic arts as her medium. She explains that she is intrigued by a certain degree of unpredictability in the ceramic arts: “the effect of the glaze firing often surpasses my calculation and result. It is my nature to create through touch. I attempt to create vital forms that derive from within my subconscious, which is stimulated by the tactile sensation of the clay.  The world’s sacred arts, especially the old Japanese Buddhist art, has influenced my work. The aspects of the Buddhist statuary fascinate me: the stylized facial and bodily expressions, the faded colors of the original paint, and the natural luster that was caused by being handled since ancient times. These attributes of the statuary appear refined and seem modern to my eyes. My work portrays various spiritual and psychological states. I observe and examine my emotions, moods, feelings, and epiphanies. I use the female figure as my primary subject. My figures are nude, bald, ageless, and not spotlighting any particular race: I aim to transcend the stereotypes of femininity and present the essence of humanity.”

FEATURE AREA (May 25-June 25)

Samyak Yamauchi :Might As Well Dance" acrylic

Samyak Yamauchi :Might As Well Dance” acrylic

Samyak Yamauchi has entitled her paintings for this show “One Step, Two Step”. Samyak says it best, “With every step we take, we move through the story of our lives from birth to death. Every instant of every day, billions of steps are being taken. There are light happy steps, and heavy steps full of sadness. We take automatic, mindless steps that move us from one place to another. Sometimes our steps become a dance. Sometimes we come to a standstill when the unexpected steps into our life. We take figurative steps to meet our goals and get to where and who we want to be in life. We each take millions of steps, and with each step we’re telling a part of our story. When I paint, I go step-by-step. I let the images and their stories emerge from the painting process itself. My first step is to bring an intention to the painting and activate the surface with layers of words, lines and colors. Next, keeping my intention in mind, I look for imagery- usually a person or animal. Then, I work with the negative space to bring out that main image and other things that fit my intention. Somewhere along the line, I let the painting tell its story.”

Mar Goman & Dayna J Collins

Reception: April 27, 6-9 pm

MAIN GALLERY (April 27-May 23)

Mar Goman, appliquéd and stitched handkerchief

Mar Goman, appliquéd and stitched handkerchief

Mar Goman has her own style that comes through with everything she creates.  Mar puts her individual stamp on her “curious art”.  She continues to make art out of just about everything that isn’t still moving and to uses an array of found and recycled objects along with more traditional art supplies. Her materials are, as she says, “anything I can ge my hands on” and the techniques she uses are as varied: she cuts and pastes, stitches, draws, painst, stamps, collects, assembles, binds, wraps, nails, drills and carves. Work in this show will include a grouping of embroidered textile pieces, several button banners, an installation of painted cardboard tubes, an array of painted rocks, a set of fabric scrolls, and some new pieces from the ongoing Pharmacy of the Soul series.  Mar explains “From childhood, I have loved to make things with my hands, and this is my primary art activity–simply making things.”  Her work is often about the interior journey, our invisible wounds, our common humanity, and the process of becoming authentic spiritual human beings. 

FEATURE AREA (April 27-May 21)

Dayna J Collins "Whispered Benediction" oil/cold wax painting

Dayna J Collins “Whispered Benediction” oil/cold wax painting

Dayna J Collins is an abstract painter who loves working with color and texture. Drawing upon the flexibility of working with oil paint mixed with cold wax medium, she is able to create layers of color using palette and putty knives to apply, push, pull, and scrape the layers of paint to reveal and explore the rich complexity of water, land, and sky. Dayna’s fascination with waterlines began as a child. Growing up as the daughter of a river rat on the Columbia River, plus time spent at her grandparent’s beach cabin on the Oregon Coast, she learned to love waterlines at an early age. In the summer of 2014, as she was floating in the Columbia River, she noticed the waterline of a boat.  Dayna was captivated by the beautiful colors and imagined it as an abstract painting. She’s been painting waterlines ever since. She describes waterlines as: “Where water meets an edge. A shoreline. The hull of a ship. The sand. Riverbanks. The sky. In exploring various forms of waterlines, I am especially interested in experimenting with the intersections, where water meets the land. I ask myself: What’s happening at the horizon line? Turbulence or ripples. Calmness or agitation. What’s above, or, what’s below.” 

Gail Owen, Anne Goodrich & Zebith Thalden

Opening Reception: Thursday, March 30, 6-9 pm
Artists Talk: Saturday, April15 @2 pm

MAIN GALLERY (March 30-April 25)

Gail Owen " " reduction relief print with stitching

Gail Owen ” ” reduction relief print with stitching

Gail Owen is a hand pulled print artist specializing in linoleum reduction relief prints.  A reduction print is a multi-color print in which the separate colors are printed from the same block at different stages as it is cut away. Usually, the lightest color of the design is printed first, then the block is “reduced” by carving to the areas which the artist wants to print the second color from, and so forth. The disadvantage of reduction printing as opposed to printing from multiple blocks is that once the first color is printed, the matrix for it is destroyed in the creation of the printing block for the second color. It is impossible to undo mistakes. Gail’s large format prints are a melding of high-art and high-craft techniques.  Each consists of several individually hand-pulled prints stitched together into a large single panel. The workmanship and individual focus of these print ‘editions’ essentially makes them a one-of-a-kind works of art. Gail is inspired by wallpaper designs of William Morris.   

Anne Goodrich "Husk", ceramic

Anne Goodrich “Husk”, ceramic




Anne Goodrich’s ceramic work gives flesh and form to the “living phenomena that I wish to see more clearly. I ponder the organs inside my own body, curious forms swimming deep within the ocean, and microscopic bursts of pollen living in the air. My perception of such images seeps into my artwork and is relayed through the ambiguity of my forms.” The cone shape is often her starting point, or “blank page.”  Each piece begins with this simple, direct, geometric form.  However, the final incarnation of each is guided by all that is alive. Images of living things influence how she bends, stretches, coaxes and presents the clay. “I’m particularly fascinated by ordinary things that are simply out of reach or beyond my immediate gaze.” Some of the textures on her pieces were made with her showing partner Gail Owen’s spent printmaking plates.  

FEATURE AREA (March 30-April 23)

Zebith Thalden "Cecropia Moth" mixed media

Zebith Thalden “Cecropia Moth” mixed media

Zebith Thalden shares her enthusiasm for the world of insects through her artwork. She expresses, “I am in awe of the numerous species of our planet: living, extinct, undiscovered, and yet to evolve. The thought of this expansive enormity is an underlying theme of my paintings and realistic 3-dimensional sculptures.” She presents actual species along side invented ones, leaving it to the viewer to ponder which creatures roam the earth and which do not. The piece shown, titled “Cecropia Moth” includes insects made from paper, forged wire, acrylic paint and Prismacolored pencil. The 2-dimensional background merges her sculptural work with her detail landscape photography. An actual twig is used as a perch. Through this artwork she hopes to, “create conversations, deep engagement with the natural world, a rich celebration of the unknown, and a desire to protect nature’s incredible diversity.”

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.”


WINDOW GALLERY  (February 23-March 26)

Dan Hennig "Raven on a Stool" ceramic

Dan Hennig “Raven on aStool” ceramic

We have highlighted the Hennig family’s ceramic work, Dan & Laurie (father & mother) and Iver & Jennifer (son & daughter-in-law), in the Window Gallery. They have been making pottery for several generations. Their work is largely influenced by characteristics of various life forms, mostly living creatures. This need for creativity landed the animal sculpture on pots; incorporated in such a way that they were part of the function. 

They largely wanted to showcase the pottery designs that were featured in the narrative independent feature film, “Play Faire” directed bytes Guardino, the son of the Guardino Gallery owners. Teo’s movie stars Dan and Laurie Hennig and appearances of Jennifer and Iver Hennig. The movie is a story of a potter and his apprentice that go on a journey of discovery into new ways of creating a living and exploring ceramics as an art form. It was filmed on site at both the Hennig Studios in Boulder Creek. CA and the Northern California Renaissance Fair. The film will be shown as a 2 pm matinee at the Alberta Rose Theater on Saturday, March 25.  The Theater is located accross the street from the Gallery. Tickets can be purchased online, by phone (503.764.4131), or in person at the door. Here is Teo’s website:

Kim Murton, Cathie Joy Young & Devin Bernard


ARTISTS TALK: Saturday, February 11 @2pm

The title that Kim Murton and Cathie Joy Young have chosen for their February show is “Totems and Echoes”.

Kim Murton "Big Scream" ceramic

Kim Murton “Big Scream” ceramic

Kim Murton is a ceramic artist. For this show she wanted to make BIG pieces and then decorate them with pattern and sgraffito. “I like the idea of taking simpler forms and then accenting the shapes with illustrated features. I draw everyday so incorporating 2D designs on a 3D shape is a fun design challenge. I start with sketches but I don’t follow them exactly allowing myself to make decisions as I work. I often see what influenced me after a piece is finished. In this case, working on this body of work started in November, it’s pretty clear that the results of the election seeped into my subconscious in the form of the “Big Scream” piece. I countered this with the “Lotus Head” to try and regain some balance. I am hoping that people experience both humor and outrage when viewing the work.”  


Cathie Joy Young "Fugue" acrylic on wood panel

Cathie Joy Young “Fugue” acrylic on wood panel

Cathie Joy Young paints in acrylic on wood panels. “Figures and animals are symbolic in my work, and I feel like my imagery comes from borrowed memories remembered, not literally, but it is a way I explain it to myself. I’ve had an idea to paint imagined portraits of the ancestors I’ve uncovered thorough my genealogical research, but I am not organized enough to do so. However, the idea of this comes up now and again in these paintings, imagined ancestors and totems to those families I am, or may be, descended from. An echo is time travel. You make a sound in the present that you will hear in the future as the original sound you made becomes the past. My painting “Fugue” makes me think of music and echoes, visually and audibly, and reminds me how everything I do in art echoes something I’ve done with painting previously, or ideas I’ve immersed myself in, books I’ve read, and so on. So in that respect, my paintings have a long past, and a future, as long as they are seen.”



Devin Bernard "Cosmic Circus" painting

Devin Bernard “Cosmic Circus” painting

Devin Bernard’s paintings are concerned with providing a strict order to his compositions.  Colors, textures and form are repeated throughout to keep the eye moving around the picture and to pull the composition together.  “Painting to me is a passion that gives meaning to my life.  It is my way of trying to explore the deepest mysteries:  what we are, how do we know and love each other, and why we even exist at all. My paintings are an expression of what it’s like to be human.  All my pictures contain representations of people because there is no “reality” without a human presence to give meaning to the universe.  These people are anonymous since I’m not interested in representing individuals.  They are, instead, archetypes that express philosophical ideas concerning identity, time, memory and the difficulty that we have in understanding and relating to one another.”

Willamette Tapestry Artists & Patrick George

Main Gallery
Ten artists from Willamette Tapestry Artists will be showing a wide variety of tapestries. Particpating artists: Janet Christensen, Kiki Dembrow, Janet Dorow  Barbara Hitzemann, Sandy Kennard, Kevynne Layne, Natalie Novak, Phoebe McAfee, Terry Olson and Pam Patrie. The group formed from weavers from the Damascus Fiber Arts school. Tapestry is a form of textile art, traditionally woven on both vertical and horizontal looms. Tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike cloth weaving where both the warp and the weft threads may be visible. In tapestry weaving, weft yarns are typically discontinuous; the artisan interlaces the coloured weft back and forth in its own small pattern area to create the image. According to Phoebe McAfee “There are many approaches of techniques to creating a tapestry; traditional European, Aubusson, Navajo.  It is a basic simple method of weaving, but the creativity comes to life in the imagery. ” The contempoart element comes to play in work such as Terry Olson’s piece about her grandparents, “The Milkmaid and the Boss”.  Olson teaches at the Damascus School and is a board member of the American Tapestry Alliance, the largest tapestry organization in America. The Willamette Tapestry Artists seek to promote understanding and appreciation of both the art and craft of contemporary tapestry.

Phoebe McAfee

Phoebe McAfee

Terry L Olson

Terry L Olson

Terry L Olson

Terry L Olson


Kiki Dembrow

Kiki Dembrow

Sandy Kennard

Sandy Kennard

Natalie Novak

Natalie Novak

Babara Hitzemann

Babara Hitzemann


Feature Area

Patrick George “Doric Electrication” intaglio

Patrick George, a printmaker will have intaglio and letterpress prints. His work is influenced by hisbackground in architecture. He traces his inspiration for printmaking back to Parmigianino, the Italian Mannerist painter, whose invention of the technique of etching led him into alchemy.  “I trace my interest in bookmaking back to Vitruvius, whose illustrations in his ten books on architecture have never been seen and so persist through time as enigmas.  I believe in the depth and elusiveness and layering of meaning, and I encourage the viewer to create new interpretations through subtle suggestion and the destabilization of signification.” Patrick is an architect who has practiced printmaking at the Fort Mason Center for Arts & Culture and the University of Pennsylvania, and bookmaking at Sterling Type Foundry and the San Francisco Center for the Book.  He currently works out of his studio in the evening shadow of Mount Tabor with a Sturges etching press and Vandercook proof press.