Imprint Gallery just celebrated its first Birthday and will be launching new collections of work as part of the Spring Unveiling Festival. On the evening of Friday May 4 there will be a reception to mark a new exhibition of lithographs by Michael Barnes and the unveiling of a new series of etchings by Angela Purviance. The reception will run 6pm – 8pm in the second floor print gallery.
On Saturday May 5 the gallery will reveal a mystery sculpture at 2.40pm as part of the festivals walk of unveilings and remain open through 8pm for the festival’s gallery walk. Be sure to pick up the gallery’s new Spring/Summer collections brochure, featuring new work by Duy Huynh, Beth Bojarski, Mark Winters and Sara Swink.
If you prefer a more participatory experience, the gallery’s studio will be hosting a Polyester Plate Lithography workshop led by Michael Barnes on Friday, and Linocut Drop-ins on the Saturday and Sunday of the festival weekend. For more information about classes go the workshops link above.
A Small Selection of our Exhibiting Artists
The body of work Angela Purviance created at Oregon State University earner her a solo gallery exhibition, and established her as one of the top printmakers in her graduating class. Much of her work deals with themes of vulnerability and the precarious nature of both childhood and our natural environment.
Michael Barnes’ work is a reﬂection of his subconscious. The work often depicts solitary ﬁgures that exist within vacuous environments. These beings are bound in solitude, but tempted and agitated by exterior elements. The artist leaves the translation of these abnormal scenes, and creation of meaning to the individual viewer.
Duy Huynh creates poetic and contemplative paintings drawing inspiration from a variety of storytelling formats including music, movies, and ancient folklore. Born in Vietnam, themes of geographical and cultural displacement are prevalent in Duy’s work. Ethereal characters maintain a serene but precarious balance, often in a surreal or dreamlike setting.
Bojarski’s visual language combines a strong sense of tender narrative with distinctly surreal imagery. Her paintings are tempered with satirical commentary, celebrating individuals with flaws. She plays with the dichotomy between pretty and ugly, and weaves curious tales into the fabric of each composition.
Mark Winter studied auto body repair and owned his own auto body business for several years, before directing his welding skills to what is now his full time career - sculpture. Gathering inspiration from music, dreams, art, and life Mark incorporates scrap metal and recycled parts manipulated into sculptural forms.
Sara Swink makes clay human and animal figures from a psychological stance, her aim to marry intellect, self-knowledge and practicality through her work. These hand-built sculptural works impart ideas through stories, often with a humorous edge.
Morgan Brig’s mixed-media sculptures explore the mysteries of life with a playful and contemplative tone. Drawing on human nature and her daily writings in her journal, she layers themes within the work through symbols, icons, and embedded text. Physically, those layers include etched metal, patinated enamel, ceramic, and found objects.
Maggie Taylor grew up in rural Florida surrounded by cows, alligators and birds. Other influences on her visual language included watching situation comedies and science fiction on television. Taylor has a philosophy degree, and a master's degree in photography. Her digital composites fall somewhere between photography, painting and digital printmaking.
Randy Van Dyck
Inspiration for Randy Van Dyck’s work is drawn from the English language, visually expressing phrases that strike a chord with him, often with some humor. Stylistically, Van Dyck is a realist acknowledging traditional landscape and wildlife painting, but there is a sideways surreal shift that makes these works ‘other worldly’.
John Taylor is a self-taught artist, sculpting intricately detailed ships using scrap wood, and other various discarded ephemera. Based on actual vessels, the handling of materials and surface creates the appearance of decaying artifacts temporarily stopped in time - a documentation of a disappearing history.
Michelle Gregor creates sculpture in high fire ceramic. The heavy physicality, and transformative nature of working in clay becomes an ongoing conversation between artist and material. Through the vehicle of the figure, it is her intention “to articulate something of the precious source that animates us.”
Margaret Keelan’s ceramic sculptures confront issues of mortality, decay, beauty, aging and innocence. They are glazed, stained, fired; then glazed, stained, and fired again. The surface has the look of disintegrating, painted-over weathered wood, which she explains as a metaphor for life being lived, and the process of aging.