We picked April 1 as our official birthday because it seamed just right for the happy lunacy it takes to run and sustain an art gallery. This April 1st will be two years since we cut the red ribbon and opened the doors. Last year we celebrated with an open day, serving refreshments all day and offering a 10% Birthday discount off anything. This year it falls on a Monday, so we are planning a weekend of events through Monday.
On Friday 29th March we will have a reception 6-8pm to open a show that focusses on the happy and bright celebration of life featuring new artist Judith Sander whose work is illustrated above, new painted bas relief carvings by Keaney Rathbun, Keaney's silkscreen prints in our printmaking gallery, and monotypes by Marie Powell.
Keaney Rathbun will also be leading a two-day workshop in painted bas relief carving over Saturday 30 and Sunday 31st March. This can be booked on the website.
On Monday 1 April, we will have a Birthday Breakfast reception and will be offering a 10% Birthday discount all day.
In The Studio
We are on our trip through California on an extensive studio tour, collecting work for the gallery as we go. We will return on March 1st and embark on a big redisplay of the gallery with an opening focussing on ceramic sculpture on March 8th. I'll be updating this blog post with images of the new work as we go.
Just before we set off Julie clement sent us a quick selection of images of some of the work we will be collecting from her (shown below). And we took a delivery of work from Kelsey Bowen from Montana (illustrated above), This will be added to this focus on ceramic sculpture show, along with all the work we collect enroute.
Today we had our fist studio visit with Cary Weigand. She lives and works down a windy, forrested road, on the south Oregon coast. She works in quiet contemplation, combining a love of ceramics with other sculptural and painterly concerns. She refines her imagery with acrylic and oil paint glazes following the initial glazing stages. She also use fragmentation and visible reconstruction to add to an already fragile aesthetic.
"In Their Image" is an exhibition that looks at the positive depiction of women from the view points of self and witness. The exhibition has been curated to introduce the work of Emily McPhie and Michael Southern and includes gallery artists, Mark Andres, Jani Hoberg, Richard Shorten, Michelle Gregor, and Cary Weigand.
Faith, family, self-improvement, hard work and above all… kindness – these are the ingredients that combine to create Emily C. McPhie’s compelling paintings. The daughter of artist James C. Christensen, she is the product of a happy family that encouraged the development of imagination, self-reflection and the pursuit of knowledge. She explains, “In my childhood home, Imagination was touted as the most precious faculty one could foster. I was raised under the influence of my dad’s “Land a little left of reality.” It’s a wonderful place where imagination is king.”
The desire to become an artist was assured by childhood visits to art museums, watching her father work, and early recognition of her work in high school. She graduated from Brigham Young University with a Bachelor of Fine Arts in 2001. She now has her own family and hurriedly interprets the emotions of motherhood and the ever changing relationships with her children. "Translating those thoughts and emotions into images gives me clarity, and I find I want to document them before my perception changes."
Her work uses symbolism and is of the magic realism tradition, but it is also rooted deeply in fundamental shared truths. It explores experience of family, relationships, and establishing ones own persona within the world. Who am I? How do I fit in? What is important to me? She often uses the direct gaze to connect the viewer with the work, which gives us mixed signals of familiarity and separateness. She describes the activity of painting as a necessity. “I need to create, to imagine, and to make intangible and ineffable ideas and experiences touchable, viewable, and beautiful.”
Michael Southern is a Northwest painter and printmaker. Much of his work is about finding our place within the natural world. He is drawn to landscape and the human experience of place. More recently he has introduced the hitherto unseen figure to the landscape, giving them physical presence. Renaissance and Baroque allegory painting has informed his approach, and there is a very definite neoclassical feel about his work.
“The old mythological and religious paintings of the Renaissance and Baroque are a huge inspiration for my latest figurative work. Much of the imagery made during this historical era in the Western world possesses an optimism about humanity that feels lost in the current day. In addition to the usual suspects of Western mythology and religion, I am referencing the mythology and storytelling of indigenous cultures. So many of these current and past civilizations have the earth and nature itself as the centerpiece of human creation and spiritual rebirth. These new allegorical images are not without an agenda. They are offering a way forward and through our current stasis. The characters depicted in this body of work are stage actors in a new mythology.”
As the paintings have evolved the figures have become more prominent within their environment and the narrative traveling a more specific path. He explores the primacy of feminine power, spiritual and corporal identity and ritual adornment. He is aware of issues surrounding the male gaze in contemporary art. His standpoint is to bear witness rather than placing his female protagonists into the role of artist’s muse. The most recent works have been distilled down to a single dominant figure as the largest part of the composition.