Monthly Archives: July 2014

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.

William Hernandez & Mary Moore

Showing in the Feature Area
July 31-August 24

William Hernandez “Rose Garden” acrylic on canvas

William Hernandez, a Pervuian painter who trained at Lima’s Escuela Nacional de Bellas Arte, moved to Portland in 2009. His paintings are vibrant and colorful. To quote William,”Art is a journey full of creative and expressive possibilities with one single objective: to be sincere in all that one does. My life is full of color, and I feel the necessity to express that chromatic gamut on the canvas, reinventing and designing my hopes and desires through the figures that I create. My artwork is heavily influenced by urban life; I mix playful, dreamlike figures with vibrant cityscapes. The process involves different graphic techniques and a distinctive line in every figure and urban landscape.” William’s art portrays delicacy and serenity in figurative pieces, soul and color in abstracts. This blending of styles encompasses the feeling of the dreamlike, representational world of my works. His characters are drawn from collections in his imaginary world, and they emerged between a playful atmosphere and a sense sometimes festive, sometimes melancholic and mostly unannounced.

Mary Moore “Figure” ceramic

Mary Moore is an artist working with Stoneware. Each piece is made from a single sheet of clay, then individually formed and fired. The faces and hands are individually sculpted and stained with acrylic paints. The garments are painted with underglazes, giving each a soft matte surface into which patterns are carved using a small needlelike tool. This technique is known as Sgraffito. The combination of these methods serve to compliment and contrast each other in the final form. The artist takes inspiration for her figures from her spiritual upbringing and the religious idols of the Southwest. Her goal for each one is to transform the ordinary into something extraordinary, guided by the assumption that all humans are special and constantly moving towards an augmented awareness of themselves.