William Liu is a watercolorist specializing in Southwest landscape painting. Slot Canyon is the subject for this show. “My family immigrated to the United States and I would be alienated from art for close to half of a century.  But the love to relive hiking in the Southwest eventually brought me back to the original brushes I brought to the US. Painting scenery from slot canyons, arches and geological wonders of the southwest becomes a way for me to indulge in the hikes. These are virtual trips, of course. But selecting the family photos to watercolor and studying the techniques to recreate the picture bring me back every bit of fond memory and joy as the actual hikes.”

Dennis Peterson creates the surprising and intrinsic personalities of aged and decayed wood. The medium is oil on wood. “This work is my interpretation of the internal and external power and diversity that consumes those who enter the untouched influences of nature.” The title of the series is “The Center of Things”  Peterson received his MFA from Portland State University (Oregon Honors Scholarship) and was instructor at PNCA, PSU and PCC.

Wayne Jiang uses an acrylic technique that references old dutch masters, 19th and 20th Century American Realism, and modern documentary photography. The fundamental nature of his aesthetic rests in the use of simple, quiet compositions that visually communicate emotion within the precepts of narrative realism: intimate unusual renderings of ordinary objects, subtle glimpses of everyday life. These images are collectively reflected on stillness, solitude, and mystery; yet with an element of comfort and familiarity. With his restaurant paintings he seeks provide comfort, nostalgia, and cultural identity in relationship to food. “In my effort to bring together traditional and contemporary design practices, I strive to create works of art that retain a timeless quality while incorporating contemporary subject matter.”

Virginia McKinney’s work is hand forged and fabricated steel with earthenware clay. She does all aspects of the process – from the designing of the pieces, to the clay production and all the metal work. “I am inspired and loosely referencing dwelling forms in my work. The home, habitat, abode, residence – more than architectural terms, these forms of shelter and refuge are both personal and universal. I sometimes perch them on pedestals or have them sprouting legs. Adding small openings that appear as windows or doorways, they become animated and take on delightfully odd personalities. I am also fascinated with the ladder as a metaphor for movement and change and frequently use it along with the dwelling forms. The combination of the steel and clay work beautifully together – the textures of the dark hammered steel compliment the warm surfaces of the clay.”

Stan Peterson Stan, a self confessed whittler, finds moments in everyday life which seem to transcend into open ended short stories. The process of chipping away at pieces of basswood allows his mind to wander dow pathways least traveled resulting in wood carved sculptures that are poignant, yet feel like “everything is going to be OK.” Animals are ever-present in Stan’s work and may assume human characteristics. His monkeys seem more than primates, his seagulls wear shoes. Stan has created a version of Chef’s Table with sea gulls, and “The Maitre d’ at the Sea to Table Bistro” is finding a table for a party of penguins. Since taking a paper clay workshop from Rogene, Stan has started using the clay as a sculpting medium for his wall pieces. In a recent collaboration, Stan carved a wooden man in a wide brimmed hat who holds a paper clay heart made by Rogene in his hands.

Rogene Mañas. Drawing upon her background in design and illustration, Rogene creates art with inventive mixed media techniques in a commentary on the current world. From climate change and endangered species, to health issues and human rights, her iconic imagery affirms the power of positive change. In this show, Rogene is sharing work she has been saving for this special time. Rogene’s collection of paper clay art pieces entitled “The Going Away Party” illustrates endangered and threatened animals wearing party hats. Her “Everyday Saints” are a collection of visual affirmations she has created to bring attention to life’s challenges. And her collection of paper clay milagros are asking for miracles needed for healing. The charm and accessibility of her work often has a sharp edge softened with a prayer to counterpoint the daily news.

Mary Lee focuses on abstract painting in encaustic. Words have always been my thing. Reading, writing, editing, printing–all things words. Working in the publishing world: newspapers, magazines, communications, and events brought images into the words, melding photographs with design and color to enhance the textual content.Over the years, as words and images mingled, I have found it clarifying and satisfying to express thoughts and feelings through abstract art. It was a natural transition. My primary art medium is encaustic, where I can layer on colors of wax over wax, scraping back to highlight the shades beneath and adding another coat to enhance the luminosity. Mixed media comes into play as well with image transfers, collage and the incorporation of various found objects.

Karen Thurman works with fiber. Her inspiration comes from the medium itself – the transformation of fiber into felt. Felt lends itself well to color, pattern, shape, whimsy, and humor – all of which she incorporates into herwork to bring some levity into this world. Karen uses both needle felt and wet felt techniques. Karen studied textile design on both coasts before settling back in her native Oregon. Drawing inspiration from old movies, early morning coffee, and her love of nature, Karen’s unique style plays on the inherent qualities of the natural materials she uses. Her style is bold and unique, and involves laying stacks of felt colors and then felting them together.“Felting is my passion, my compulsion and my joy that accompanies me throughout each day. From the beginning, the process of transforming fiber from a beautiful live animal into cloth has struck me as magical. Over the years, that magical process has had its way with me, leading me from hobby to art. Making felt fills me with a sense of accomplishment, and has proven to be a most amenable vehicle for translating inner vision to outer reality.”