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Yoshio Morimoto — colored pencil

The Arts Center Exhibit(s):

• TIME, April 5 - April 27, 2011

Willamette Valley PhotoArts Guild

The PhotoArts Guild was originally formed by five photographers in 1988 who wanted a forum for feedback and critique to encourage their growth as image makers. It became affiliated with the Corvallis Art Center in the early 1990s and currently has over 40 members. 

The purpose of the Willamette Valley PhotoArts Guild (PAG) is to:

• Promote and support fine art photography in the Willamette Valley;
• Provide members with an educational and social environment in which to learn from each other;
• Offer members an opportunity to exhibit their work in galleries and on the Web.
• Encourage the appreciation of photography within the community.

Members Participating in the 2011 Festival of Guilds Holiday Sale and Performance, Nov 2011:

• Bill Laing [website]
• Jack Larson [website]
• John Morris [website]
• John Ritchie [website]
• Dan Wise

Visit Willamette Valley PhotoArts Guild's website.

Willamette Ceramics Guild — Ceramics

Established at the Corvallis Art Center in the early 60’s as the “Clay Clan” the Willamette Ceramics Guild includes a lively clan of 50+ local ceramic artists who support each other and ceramic art in the Mid Willamette Valley. Although most of the guild members have employment outside of ceramics, some work professionally as artists and ceramic instructors at the university, community college, high school and middle schools. Many of the members have their own studios while some work out of the LBCC Benton Center or the OSU Craft Center.

Highly visible within the community, the Willamette Ceramics Guild exhibits and sells their work at the Corvallis Fall Festival, OSU Holiday Market Place and the Spring Garden Festival. The guild spearheads “Empty Bowls” efforts that help raise funds for hunger relief in our area. Some members exhibit and sell their work in galleries and marketplaces regionally and nationally.

Members Participating in the 2011 Festival of Guilds Holiday Sale and Performance, Nov 2011:

• Becky Arthur
• Jeanie Balkin
• Pat Berman [website]
• Leah Bolger
• Kathleen Crochet-Stursa   
• Holly Dubrasich [website]
• Ted  Ernst [website]
• Rhoda Fleischman [website]
• Ginny Gibson [website]
• C. Anthony Gordon [website]
• Annclaire Grieg [website]
• Jeff Gunn [website]
• Marcella Henkels
• Sandy Houtman [website]
• Keith Jewell 
• Becca Lemon [website]
• Barbara Markello [website]
• Susan Pachuta
• Laura Peters [website]
• Sandy Segna 
• Tim Steele [website]

Visit Willamette Ceramics Guild's website.

Walter Barkan

Artist Statement for 'Bird's Dream' for 'Where Birds Dream' Show & Silent Auction, Winter 2010

Mother Nature knows what’s best.
Every bird should have a nest.
But if she moved to Oregon,
She’d never want to live in one
For shelter from the rains that douse,
I’d much rather have a house.

Built of cedar, painted bright,
Hanging at a nice, safe height,
With a simple, clean design,
Just one room would be just fine.
And to make it even neater,
Nearby there would be a feeder.

So buy it! Go on! Do your part.
Do it for the sake of art.

Even if it sounds absurd,
That’s what I’d dream, were I a bird.

Virginia McKinley

'UN-SPEAK-ABLE' Exhibit, March 2011

'Free Range Eggs,' Avery and Strathmore papers, inkjet prints of original drawings and collage, original hand-made paper pop-up mechanism, and a hand-made button of egg-carton material to close the separate folding paper cover for the book.

Tricia Treacy and Ashley John Pigford

'UN-SPEAK-ABLE' Exhibit, March 2011

Tricia Treacy and Ashley John Pigford, 'Lexicology' letterpress cards wrapped in letterpress printed butcher paper

Lexicology is both an artists’ book and an interactive, collaborative performance. The book is an unbound (random-order) collection of letterpress-printed cards, wrapped in butcher paper. The text printed on the cards is excerpted from various children’s books, which serves as a metaphor for the bits of conversation one experiences everyday, and is poetically simplistic in nature. This book was performed in both Philadelphia and New York City during 2010.

Tricia Treacy

'UN-SPEAK-ABLE' Exhibit, March 2011

Tricia Treacy, 'What more to say,' drawing, letterpress

Tina Schrager

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011
• 'Where Birds Dream' Winter Show and Silent Auction, 2010
• 'Shrines & Reliquaries,' Winter Show & Silent Auction, 2009
• 'Layers of Life', 2008
• Around Oregon Annual, 2005
• 'Segmentum,' 2003

Artist's Statement for 'Portals,' Winter Show & Silent Auction, 2011

“MENTAL PORTAL”
Plexiglass, glue, matboard

This project pushed my limits and buttons, and bent my brain!  I set out to use plexiglass to create a crystaline form inspired by the sri yantra, an Indian meditation tool.  But plexiglass is not friendly.  I cut – with hack saws, band saws, table saws; I attached – with pegs, glue, wires; I drilled, snapped, shattered, and started again.  After the fourth manifestation, I stopped.  Here it is.

So, intriguing as the material is, I may never touch it again!  Or I might. . . .

BIOGRAPHY

Tina Schrager was born in New York City, lived in eight states and one foreign country, before finally settling in Northern California for twenty years.

Her first incarnatiion as a Linguist was followed by many years creating Wearable Art. Upon moving to Oregon in 1991, she gave up pins and needles and picked up pencil and paper.  Recently, most of her work is mixed media collage.

Tina Schrager worked as Exhibits Coordinator at the Maude Kerns Art Center in Eugene until she retired to her studio in 2005.

Timothy Laurin

'UN-SPEAK-ABLE' Exhibit, March 2011

'Masc-U-Line,' Photo-transfer Print with Letterpress, Artist book of 8 plates printed on BFK paper.

Ted Ernst — ceramics

The Arts Center Exhibitions:

• 'Extremes,' Corrine Woodman Galleries, Feb-March 2012

Visit Ted Ernst's website.

Tatiana Ginsberg

'UN-SPEAK-ABLE' Exhibit, March 2011

'Kind favor Kind Letter,' Double accordion with handmade paper and thread garland. Text and images are letterpress printed on handmade paper from polymer plates with additional silkscreening.

Tamae Frame

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011

Statement:

I use the female body as a vehicle to convey the inner dimensions of our psyche. I see the sacredness in its curvy lines and voluptuous body, and it is my attempt at expressing the female spirituality and her life force in the world. I am not interested in the accurate depiction of the human anatomy, but instead I show meaning and emotion in the subject by twisting, bending, or exaggerating the posture. Most of my sculptures have peaceful and gentle facial expressions even though their bodies sometimes may suggest struggle or tension -- implying that pain and suffering can’t take away grace. I like to create figurative sculptures using mid-range firing clay, and all of my pieces are fired in my electric kiln at temperatures over 2000 degrees Fahrenheit. The most unpredictable and exciting part of the process is the glaze firing. My combination of the choice of clay and glazes determines the outcome, so I test how a particular clay and glaze combination will work before applying the glaze to the sculpted bisque fired piece. Even if the test result was satisfactory, the final fired pieces coming out of the kiln isn’t always what I may have predicted. When I open the lid of my kiln I have mixed feelings of both anxiety and excitement, hoping that my sculpture had survived the extreme temperatures. Most often the result exceeds my expectations and my pieces are transformed into objects with a life of their own.  

Biography:

Born and raised in Japan, Tamae was a fashion jewelry designer in Tokyo until immigrating to the U.S. in 1992. After attending the metalsmithing workshop in Penland School in North Carolina, she began working as a full---time studio jewelry artist and focused on producing one-of-a-kind jewelry. She exhibited in numerous invitational and juried gallery exhibitions and has had work sold in a number of galleries in the U.S. She also participated in national juried shows such as The American Craft Show, as well as regional juried art fairs. She has received awards for Best Artist in the jewelry category on many different occasions. Her experience in creating art jewelry increased over the years, and she began making figurative jewelry but eventually, she felt the strong need to create figurative objects that weren’t confined to just personal adornment. In 2004 she learned to sculpt in clay at the local college and realized that clay was the best material in which to express her inner feelings. She has never looked back since. Tamae’s figurative sculptures have been in both invitational gallery shows and regional juried exhibitions. She continues to enjoy her journey as an artist and looks forward to each new opportunity to share her work with the world.

Visit Tamae Frame's website.

Suzanne Vilmain

'UN-SPEAK-ABLE' Exhibit, March 2011

'O. Prayer Q. an abecedary,' Letterpress, palimpsest, collage, accordion fold with unique collage on cover and interior wrap pressure print.

Susan Rochester

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011

Statement:

I’ve had a camera around my neck since I was 12 years old. My first darkroom was in the laundry room, with trays across the washer and dryer, and the enlarger propped on the toilet tank. I now work in a purpose-built darkroom, and in alternative, film, and digital processes. I believe the character of each project determines which film and printing formats are best for the images.

This particular series is based upon childhood memories of long automobile trips. Every year my family would travel from our home in Los Angeles to visit my grandparents in Southern Idaho. We would leave in the early morning hours, and drive straight through in one very long day. As the light changed across the basin and range of Nevada, I would imagine the hills to be slumbering beasts, and that our passing would awaken them to gallop alongside us until we outpaced them. In more recent years while saddling my own real-life horse, I was struck by the similarity in form between my horse’s back and the hills across our valley, and from that passing observation this series evolved. Where once I sought horse forms in landscapes, I now seek land forms in horsescapes.

Visit Susan Rochester's website.

Susan Johnson — oilbar

In the past 17 years, Susan Johnson has been exploring the medium of Oilbar. A crayon-like oilpaint sticks made of linseed oil, pigment an wax. Using drawing techniques, layer upon layer is drawn on rag board, producing strong textures, value contrasts and colors. Details are often scratched to the surface. Oilbars can be a frustrating but also rewarding medium.

The Arts Center Exhibitions:

• ‘Portals’—Winter Show & Silent Auction, Nov - Dec 2011
• Inside/Outside, June - July 2010

Statement for 'Portals' Exhibition:

"I take snap shots of scenes that catch my interest and later some become the inspiration for new oil drawings. I photographed this unique path to the beach in June. It was the perfect beginning for creating an image about a portal, a door, an entrance, a passageway.  With the addition of actual doors the artwork became a unique surreal interpretation of a passageway to a special place.

 The painting Pass to the Sea is created on mounted gesso board using oil paint sticks as the drawing material."

Statement for 'Inside/ Outside' Exhibition:

"My Oilbar landscapes form a journal, a personal calligraphy, based on my visual experience of the land that surrounds me - the land at my home and that I experienced during my travels. I live in the hills west of Corvallis surrounded by oaks and firs, deer and wild turkeys. I have also travelled widely throughout the West, the US, and much of the world. Always I am attracted to the natural, rural landscape. Trees, paths, rocks, and moving water speak to me.

Landscape can be more than pretty pictures. They can also express a mood and a personal theme or concern of the artist in addition to revealing the uniqueness of the medium. Using abstracted, simplified images of the land and nature, I have explored several themes including: pathways, the passage of time, and human relationships. Furthermore by placing the focused landscape inside an abstracted window or box, I hope to raise questions in the mind of viewers, encouraging them to stay in the image longer and to think about what is precious in the land or what the image might mean to them."

Biography:

Johnson is living in Corvallis, Oregon and is represented by Waterstone Gallery in Portland, Freed Gallery in Lincoln City and Pegasus Gallery in Corvallis.

Since 1970 my work has been in over 25 juried exhibits, 30 one or two person exhibits, and 31 invitational group exhibits, mostly in the Northwest.  My 1998 solo Exhibit at Waterstone Gallery, Portland was reviewed in the December 1998 issue of Artweek Magazine.  One of my drawings was reproduced for the 2001 OSU Art in Agriculture exhibition poster and later added to their collection.  Another image was selected for the 2002 Corvallis Fall Festival poster. From April 7-June 5, 2008 my landscapes were featured in the Oregon Governor’s office in a show I called Windows into Oregon.

My work has been included in exhibitions at the Corvallis Arts Center, Spokane Annual Juried Art Exhibition, Art in Agriculture, OSU, da Vinci Days, Corvallis; Monarch Contemporary Art Center, Tenino, WA; Oregon State Fair, Fairbanks Gallery, OSU; Guistina Gallery, OSU; Schubert Gallery, Albany OR; Seal Rock Gallery, Oregon; Small Space Gallery, New Haven CT; Memorial Union East Gallery, OSU; Freed Gallery, Lincoln City; Benton County Historical Museum Oregon; Linn-Benton Community College, and Mount Hood Community College.  My work can regularly be seen at Waterstone Gallery in Portland (www.waterstonegallery.com) where I will be the featured artist in April 2012.

I studied art at Connecticut College for Women, University of Washington, University of Oregon, and Oregon State University and have, spent many years as an art instructor for all levels including preschool, elementary, community college and college. I was Executive Director of The Arts Center from 1985-1992 and have been part owner of Waterstone Gallery in Portland since leaving TAC.

Education:

• 1960 BA Degree, visual art major, Connect College, New London
• 1960-61 teachers certification, Southern Connecticut State College, New Haven, CT
• 1962-63 University of Washington, 5th year in fine art & education
• 1964-65 University of Washington, 5th year in art
• 1978 Oregon State University M.Ed. degree in education & fine art

Arts Administration:

• 1985-1993 Executive Director Corvallis Arts Center (now The Arts Center)/ Linn Benton Arts Council
• 2003-04 Benton County Planning Committee to develop the Benton County Cultural Plan for the OR Cultural Trust
• 2004-present Benton County Cultural Coalition

Visit Susan Johnson's website.

Susan Collard

'UN-SPEAK-ABLE' Exhibit, March 2011

'Nested Book,' Wooden book with found hardware, zinc and copper printing plates, collage, and four removable miniature wood and glass board books.

'3 x 3,' Acrylics and mixed media assemblage on birch aircraft plywood and walnut. Board book binding with Japanese repair tissue and Tyvek. Woodburned maple covers.

Sue Noel

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011

Artist's Statement, 'Cat's Portal:'

Art has been a strong side interest all my life.  I have experimented with various media including silk screen printing, tole painting, drawing with pastels, sketching with markers and also designing wooden toys. For the past few years I have been painting with acrylics, often plein air.

For me, painting is a process of sketching, trying various ideas, and then iterating between sketching and painting till I get the look that I want. I often think that I should be able to “see” the final result in my head right at the start. But, it doesn’t work that way. Rather, the painting unfolds with the doing, and the result is often a bit of a surprise when I finally convince myself to “declare” it finished. Like many artists, I struggle with when to stop!

I enjoy taking common objects, like a washing machine, a tea pot or a scraggly tree, and working them into compositions with interesting designs, colors and textures.

“Cat’s Portal,” for instance, began with multiple marker sketches where I tried to portray the idea of a powerful, all seeing, cat’s eye, depicting the cat’s portal to the world. To build up the color and dimensional aspect of the stylized cat face, I applied thick molding paste, and topped it with a series of glazes. I find it fascinating to watch how each glaze layer adds more depth, life and character to the painting.

Steven Addams — mixed media

Artist Statement for 'Deep Sleep' for "Where Birds Dream" Exhibit and Silent Auction, Winter 2010
"My wife Cynthia and I worked out this design together, with some inspiration from Joseph Albers, the colorist."

Biography

Steven Addams grew up in Salem and now lives in Keizer, Oregon. In 1981 he completed a Bachelor’s degree and additional graduate work in fine and applied arts. Always the meticulous craftsman, he has worked in a variety of media throughout his life. His work has been exhibited at the Maryhill Museum of Art in Washington and has been featured in various print media over the past few years.

Steven Abbot — colored pencil

The Arts Center Exhibit(s):

• TIME, April 5 - April 27, 2011

Stephanie Copoulos-Selle

'UN-SPEAK-ABLE' Exhibit, March 2011

'Bad Girls,' Letterpress, Polymer Plates, & Silkscreen.

'Loretta's Acronym Primer,' Letterpress, Polymer Plates.

Siobhan Clancey Burns

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011
• 'Where Birds Dream' Show and Silent Auction, Winter 2010

Artist's Statement, 'Where Water Meets Sky' - 'Portals,' Winter Show & Silent Auction, 2011:

Where the sea and the sky meet there is a portal of synchronicity and chaos; ever changing and inexplicably constant. This piece represents a view, through abstraction, of that transition experiencing the ocean reach to the sky.

Sidnee Snell — fiber

Sidnee Snell is an fiber artist, primarily working in quilts.

Shirley Strub — quilts

Artist's Statement for
'Calculated Result - Mathematical Art,' September 2011:
I have always been fascinated by what appears to be curves made of straight lines. I experimented with graph paper for a ridiculous amount of time, trying a variety of block height to with ratios, until I found the right formula for the sweeping curves I was trying to create. Voila!
My goal is to get bolder with my idea and jump into new projects that will stretch my knowledge and skills. What better excuse is there for experimenting with fibers and threads, painsticks and stamps, buttons and beads, than continuing education! I just hope I can continue to support my ever extending stash…

Artist's Resume:
A lifetime of sewing and a quilt class in the 70’s got me started. After making the usual traditional quilts, I found myself drawn to contemporary and art quilts and “coloring outside the lines.”

Affiliated orgs and galleries:

• Loosely Bound

Visit Shirley Strub's website.

Shelley Socolofsky — fiber

Ms. Socolofsky lives in West Linn, OR and teaches at Oregon College of Art and Craft.

The Arts Center Exhibit(s):

• 'Oregon Weaving: The Tradition Continues,' May - Jun 2011

Visit Shelley Socolofsky's website.

Shelley Fay Smith

I began studying the art of basket weaving in 1981.  A move to the coastal mountains near Alsea Oregon allowed me access to a variety of beautiful natural fibers.  I have spent years working with shape and space; creating vessels, both functional and sculptural.  Weaving brings me great joy.

Shelley Curtis

The Arts Center Exhibit(s):

• 'Portals,' Winter Show & Silent Auction, 2011
• '9th Around Oregon Annual Exhibition,' October, 2011
• Corrine Woodman Gallery solo show, March 2011
• 'Where Birds Dream' Show & Silent Auction, Winter 2010

Artist's Statement, 'The Bower Gate' - 'Portals,' Winter Show & Silent Auction, 2011

The bower gate is a garden entrance shaded by foliage and embellished with climbers and vines that entwine the gate structure seasonally. Going through the gate, and into the bower, is to retreat for reflection and privacy to a place where Nature works her magic restoring balance. Passage through the gate to leave the garden--the bower--is to reenter the world more whole.

Artist Statement for Corrine Woodman Gallery show, March 2011

For Shelley Curtis, relating memory and history to time and place is both fascinating and it sparks her creativity. The basis for Curtis’ art making process comes from lifelong connections in two places, the American West and Midwest. These concepts are built upon imagination and time-based records of fixed moments that persist in an environment of change: home, family, friends, and the sense of place.
Drawing and assemblage are mediums Curtis uses in balance with practicing fine art photography. This particular group of works on paper expresses foundations of everyday life refined to color, line, shape, and texture.
At present Curtis is an art curator at Oregon State University. She divides her time among curatorial responsibilities, photography, and studio art. Curtis exhibits her art nationally and is represented by the Portland Art Museum Rental Sales Gallery. Her art is part of the University of Iowa collections, and many private collections.

- - - - -

Artist Statement for 'Where Birds Dream' Show & Silent Auction, Winter 2010

Birds in and around Corvallis are a great resource for nature study, and they’re fascinating. My neighborhood’s resident birds, and other birds that migrate through the neighborhood seasonally, are tame enough for me to photograph with a view camera. I like studying their behavior and habits. Our year-­-round scrub jays are especially interesting because they are friendly, and my residential lot serves as a nursery for their fledglings. It’s their home after all since they live to be 17 years of age, and I moved here a mere 11 years ago. With nearby natural bird habitats diminishing, we now see more kinds of birds and greater numbers of them.

I keep a supply of water and suet on hand for backyard birds, partly for my own interests in watching and photographing them at close range.

This is my first effort in building a birdhouse. 

Biography

Shelley Curtis was born in Iowa, and just before she began grammar school her family relocated to California. Curtis earned a BFA from Oregon State University. She holds both a MA and a MFA from the University of Iowa where she was awarded a Briggs Scholarship. She is currently an art curator at Oregon State University. Curtis exhibits her work nationally, and is represented by the Portland Art Museum Rental Sales Gallery. Her art is part of the University of Iowa collections, and many private collections.

EDUCATION           

• M.F.A., Photography and Sculpture, University of Iowa, Iowa City, Iowa
• M.A., Photography and Sculpture, University of Iowa, Iowa City, Iowa
• B.F.A., Visual Arts, Oregon State University, Corvallis, Oregon

SELECTED EXHIBITIONS

• Scheduled: Five After Five, Baker City, May 1-31, 2012, Crossroads Carnegie Art Center, Baker City, Oregon. (Regional, juried.)
• Scheduled: The Art of Communication, February 1-March 3, 2012, Mary Lou Zeek Gallery, 335 State Street, Salem, Oregon. (Invitational.)
• Portals: The Winter Show and Auction, November 25-December 24, 2011, The Art Center, Corvallis, Oregon. (Invitational.)
• 9th Around Oregon Annual, October 1-27, 2011, The Art Center, Corvallis, Oregon. (Regional, juried.)
• Collage Invitational, March 28-May 12, 2011, Umpqua Community College, Roseburg, Oregon. (Invitational.)
• Curators’ Holiday, March 7—April 15, 2011, Linn-Benton Community College, Albany, Oregon. (Invitational.)
• Recent Drawings, February 22—March 26, 2011, Corrine Woodman Gallery, The Art Center, Corvallis, Oregon.  (Regional, juried.)
• Wetlands, January through July 2010, Grays Harbor College, Aberdeen, Washington and Water Resources Education Center, Vancouver, Washington. (Invitational.)
• Fall Festival Fine Arts Showcase, September 22—25, 2010, Corvallis Benton County Public Library. (Peer nomination.)
• She Flies With Her Own Wings, February 1 - 27, 2009, Christina Blanchard, curator. Oregon State University, Memorial Union Concourse Gallery, Corvallis, Oregon. (Local, invitational.)
• Sustaining the Spirit of Oregon’s Bounty: Our Fish Story, February 1-March 10, 2009, Robert Bell and Jon Leach, jurors. Oregon State University Giustina Art Gallery, Corvallis, Oregon. Concurrent with featured artist Susan Rudisill, Striking Renderings of Oregon’s Rivers, Mountains, and Valleys. (Regional, juried.)
• New Members Exhibition, June 15- July 15, 2007, Portland Art Museum Rental Sales Gallery, Portland, Oregon. (Regional, juried.)
• The Looking Glass, June 6 – September 15, 2007, Silver Eye Center for Photography, Pittsburgh, Pennsylvania. (Members invitational.)

Shawn Simmons

'UN-SPEAK-ABLE' Exhibit, March 2011

'The Bones of Me,' paper, gauze for binding.

Shannon Rettig

Artist Statement for 'Where Birds Dream' Show & Silent Auction, Winter 2010

I live in Summit, OR on 60 acres. My husband and I are avid gardeners, taking full advantage of the luxury of space, the time retirement affords, and the bountiful manure our horses provide.  We take great pleasure in nature and the outdoors, spending non-garden time walking in the woods with our 4 dogs, skiing, kayaking and rafting, and experiencing the joys of life through the eyes of our 2 year old grandson Jai. 

Several years ago, my husband Ed grew a gourd plant. One lone gourd grew, but after harvesting, mold developed, and into the compost heap it went. Imagine our surprise the following spring when Ed found a beautiful, fully dried gourd living in his compost. Research followed, and soon we became true Gourd Heads. Gourds filled our lives - and our garden and house. Ed grew hundreds of gourds of all sizes and shapes. They were taking over and something needed to be done.

As newly card carrying members of the American Gourd Society, we started to notice how others dealt with the bounty of the harvest. Gourds could be painted, stained, carved, burned, well you name it, it's probably been done to a gourd. We started to amass tools and materials, and the next step of our gourding life began. My art background is in paper arts and textiles, so carving and burning were a bit intimidating at first, but soon I owned and operated a full set of gourding power tools. I began to tackle our back-log of gourds. I find great pleasure in working with the gourds, following the full cycle of their existence from seed to a finished piece of art. Gourds are used all over the world, by many cultures in a variety of ways. I'm inspired by the combination of utility and art, and most of the gourd pieces I create are containers or vessels.

Where do birds dream?  In a nest! I have created a nest from a gourd Ed grew, carving and burning into the gourd. Bird watching has become part of my life in retirement, and I keep a daily visual and written journal of what I see and experience. My gourd nest is from my imagination, inspired by the natural world. If I was a little bird, this is the nest I would build, the place where I would dream.

Sarah Grew — encaustic, mixed media

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011

Artist's Statement, 'Once in a dream...' - 'Portals,' Winter Show & Silent Auction, 2011:

My process of creation is layered: Layers of chance in searching out and collecting images, natural and found materials; layers of color and pattern laid down in seeds, and oil paint; layers of wax with objects and photographs embedded into them. By placing found objects within the context of painting, I re-invent and re-interpret time and place as I create new meaning. Many of the objects, images, and the environments that interest me mark the boundary between being so common that they are forgotten and being iconic relics of the past. My work thus shifts our focus back and forth from the everyday to an unknown history, in a coalescence of time, place, and chance re-contextualized into a whole.

For a number of years encaustic paint has played a central role in my art. On the one hand, wax is a sealant and preservative, stopping the flow of change through time. On the other, it literally and metaphorically clouds our vision, limiting our perception and altering our understanding of time passing. Among the innovations encaustic has allowed me to develop is a unique process of embedding photographs, while one of the challenges of using wax as a structural form is that it introduces an unpredictable element that remains always on the edge of control. Although wax has been used in painting for 2000 years, I cannot predict precisely how the wax will solidify. This constant play of chance is another layer in the serendipity of finding the objects and images I use.

Biography

Sarah Grew has been creating work involving collage, installation, painting, photography and eco or environmental art for over a decade. In search of new materials she has become a beekeeper, studied native plant habitats, and worked as an Artist-in-Residence for a recycling facility.  She has also taught and collaborated on a number of public art projects for schools and worked in the paintings conservation laboratory at the San Francisco Museum of Modern Art. Ms. Grew has traveled widely through Europe, South-east Asia, and parts of Mexico to expand her cultural awareness and enrich her work. Currently she lives in Eugene, Oregon and gathers objects in her own backyard.

Visit Sarah Grew's website.

Sara Swink

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011

Statement:

I make human and animal figures with a psychological stance. Each piece is a container for dreams, fantasies, memories and ideas. Encoded shapes, surfaces, color and facial expression suggest the subtleties and contradictions of what lies just beneath the surface of consciousness. All this is delivered with dash of humor.

The art and dream worlds are interconnected: Both invite the unconscious to become conscious; both rely on a language of symbols open to interpretation, both contain clues about psychological patterns. The receptivity of clay invites this kind of inner exploration and is the perfect vehicle to respond to my longing for symbolic understanding, personal reconciliation and regeneration.

Thus continues a thread of personal narrative that runs through all my ceramics. This has everything to do with my art making process, in which ideas are invited to bubble up from the unconscious, find form in clay, and eventually find understanding through writing and reflection. Though the stories are personal, they are also universal.

My ideas originate from a process methodology that includes collage, doodling on paper and improvising in clay. Most often I coil-build with rough sculpture clays fired to mid-range temperatures. Surface treatments include combinations of cracking slip, oxides, stains and glazes, sometimes finished with gold leaf, waxes and inks.

I have loved clay since childhood, and after leaving it behind for many years, returned first to the potter’s wheel and then to process-oriented sculpture. For a number of years I took private sculpture classes that supported my preference to work with the clay in an introspective way, while at the same time pursuing my academic art education at Foothill College, San Jose State University, and San Francisco State University. I taught at a number of California venues and in my own studio, while participating in regional shows. In 2006, I moved to the Portland area, where I established Clay Circle Studio and continue to show and teach.

I make human and animal forms with a psychological stance, using form, surface, color and facial expression to investigate the imaginal realm of dreams, fantasies and feeling states. The receptivity of clay invites this kind of inner exploration and is the perfect medium to explore the human longing for symbolic understanding and personal regeneration. Most often I coil-build using a gritty, sculpture clay, adding color with layered oxides, underglazes and glazes, and fire to mid-range temperature.

Selected Shows & Awards

• 9th Around Oregon Annual, The Arts Center in Corvallis, juried exhibit, October 2011
• Oregon Clay Sculpture Invitational 2011, Chemeketa Community College, February–March 2011
• Plate It Up 100 Artists Show, Mary Lou Zeek Gallery, February 2011
• Featured artist, Hanson Howard Gallery, August 2010
• Featured artist, Guardino Gallery, November 2009
• Exhibiting Artist, Portland Open Studios, 2006, 2007, 2008, 2009, 2010, 2011
• Oregon Potters Association Ceramic Showcase 2009, Best of Show New Members Award
• Progeny, solo exhibit, Beet Gallery, Portland, March 2009
• Solus (Alone) solo exhibit, Buckley Art Center, January 2009
• Lake Oswego Chronicle Invitational, June 2008
• Mirth, 3-person show, Walters Cultural Center, Hillsboro, June 2008
• Featured Window Artist in Guardino Gallery, Portland, September–October 2007
• Artists Repertory Theatre, group show of Portland Open Studios artists, September–October 2007
• Featured Artist at Guardino Gallery, Portland, May–June, 2007
• Oregon Potters Association Ceramic Showcase 2007, Runner Up for Late in Gallery exhibit; Award of Merit for House of Blues in For the Birds exhibit benefitting Habitat for Humanity
• Beaverton Showcase, February 2007, two entries in juried show; Awarded First Place, Sculpture
• CLAY (re)Emerge 2005, July–August 2005 juried show at Red Ink Gallery, San Francisco; Outstanding Mention Award for Juju Box
• California Clay Competition, April–May 2005 juried show at The Artery in Davis, CA
• CCACA/Bay Area Figurative Sculptors, April–May 2004, ClayBodies group show in Davis, CA
• Visions in Clay 2003 juried show at University of the Pacific, Stockton, CA; 2003
• Orchard Valley Ceramics Arts Guild Show at Hakone Gardens, Saratoga, CA, juried exhibit, 2003
• San Jose Art League From Behind the Mask juried com¬petition & exhibit, March–May 2002
• Brainspace Art Studios, Fairfield, CA, 2001 Gallery Opening, featured artist

Affiliations

• Oregon Potters Association, Pacific Northwest Sculptors

Representation

• Guardino Gallery, Portland
• Hanson Howard Gallery, Ashland
• 9th Street Gallery, Newport
• Oregon College of Art and Craft Retail Gallery, Portland
• Mariposa Gallery, Albuquerque

Publications

• Humor in Craft, 2011

Education

• San Francisco State University: graduate study in ceramics, 04–05
• San Jose State University: Two years Post-Bacccalaureate study in ceramics/Spatial Arts 02–04
• In 2000, a Japan study trip included classes in ceramics, calligraphy and the art of tea
• 1997–2002 Foothill College, UC Santa Cruz Extension, and private classes in ceramics, art history & creative process methodology
• Art History Scholarship Award, Foothill College, June 2002
• BA, Humanities with Art concentration, New College of California, August 2001; thesis “Understanding and Applying the Creative Process in Visual Arts”
• Certificate in Graphic Design & Visual Communication, UC Santa Cruz Extension, 1994
• 1974 to 1977, University of California at Berkeley; major: Urban/Economic Geography

Teaching Experience

• Creative Process for Ceramic Sculpture, Creative Arts Community at Menucha, August 2011
• Creative Process Workshop, PCC Rock Creek ceramics, February 2011
• Creative Process Workshop, Quest Center for Integrative Health, February 2011
• Clay Circle Studio, workshops and weekly studio classes (Sept 2006 to present)
• Instructor, Portland Community College Community Education, Creative Jumpstart, 2007
• Teaching Assistant, UC Santa Cruz Extension, 04-05
• Teaching Assistant, Foothill College Ceramics, Summer 2003
• Teacher, Palo Alto Art Center, 2001–2002: Artist’s Vocabulary: A Creative Process Workshop
• Teacher, Orchard Valley Ceramics Arts Guild, 2002: Creative Process Workshop
• Instructor, New College of California, 2001: Undergraduate Seminar: Exploring with Creative Process
• Teacher, Mendocino Art Center, 2001: Creative Process Workshop

Visit Sara Swink's website.

Sara Swanberg

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011
• 'Where Birds Dream' Winter Show and Silent Auction, 2010

Artist's Statement, 'Portals,' Winter Show & Silent Auction, 2011:

Thoughts of Petra

"Always more comfortable working in 3D, I’ve never been particularly happy facing an empty canvas or blank paper.  So this sculptural abstract painting is about as close as I will get to 2D work.  The bulk of my earlier work that goes back many years has been of hand-built clay and more recently carved or manipulated wood.  

Years ago I thoroughly enjoyed a slide show my brother shared of his trip to Petra in Jordan.  It looks like I’ll finally get there in 2012 so I have been reading a great deal about the site, and the neighboring Wadi Rum area and the Bedouin people who still live there today.  Imagine what it must have been like to be an early explorer walking excitedly (running?) between the rocks toward the ruins at Petra, and experiencing that first unbelievable glimpse of the sunlit Treasury!

Something about the vastness of the desert and its colors and rock formations have grabbed at my soul and mind for some years now.  I constantly read about early desert explorations and keep returning to the hot and dry areas of Africa, the Middle East, the southwest area of the US, and soon the Australian Outback…a far cry from my chosen home and personal hideaway in the cool, wet and mossy Coast Range.  Water and plant life are so scarce in the desert, while in Summit I am embraced by the stuff.  The attachment to and love of these two places seem completely incongruous."

Sara Swanberg, 2011

Sally Ishikawa

Arts Center Exhibits:

• 'Portals,' Winter Show & Silent Auction, 2011
• Sally Ishikawa and Bill Laing, October 4 – Nov 5, 2011

Artist's Statement, 'Portals,' Winter Show & Silent Auction, 2011:

Sally Ishikawa has lived in Oregon for 55 years.  During that time she earned her B.S. in Education and M.A.I.S. in Museum Studies from Oregon State University.  After retirement she began teaching sewing, weaving, and various glass arts at the Oregon State University Craft Center. Her work has been exhibited in many local shows and is held in private collections.   When not working at the Craft Center, Sally can usually be found in her garden or in her studio in Corvallis, Oregon.

Originally motivated by the hand manipulation of organic media, such as making baskets or quilts, the current body of work employs the more “dangerous”, unexpected, less controlled, exhilarating and just plain exciting movement of glass.  Dripping, dropping, pushing, condensing, and melting have replaced deliberate hand movements.  Color now includes the added dimension of light.   Each firing reveals a new prize.

Rosalie Neilson — fiber

Rosalie Neilson lives in Milwaukie, OR and teaches at the Oregon College of Art and Craft.

The Arts Center Exhibit(s):

• 'Oregon Weaving: The Tradition Continues,' May - Jun 2011

Visit Rosalie Neilson's website.

Roni Gross

'UN-SPEAK-ABLE' Exhibit, March 2011

'A Very Valentine,' Letterpress printed from wood type, linoleum, and polymer plates.

'Sayings of the Blind,' Letterpress printed on shikoku paper from polymer plates.

Roberta Lavadour

'UN-SPEAK-ABLE' Exhibit, March 2011

'With the Naked Eye,' Reclaimed photographic slides, Rising Stonehenge Black, accordion bound with custom box. 

'In the Bed That I Made,' Vintage photo album pages bound in a multi-needle Coptic binding with patinaed copper.

Robert Tomlinson

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011- Recipient of Juror's Choice Award

Artist's Statement, '9th Around Oregon Annual Exhibition:'

The two pieces selected for this exhibition are from my “Basin” series, created in 2010 while on an artist’s residency at the Montana Artist Refuge in Basin, Mt.  They are consistent with the materials I have been using since the late 1980’s – oil stick, pastel, chalk, pencil and acrylic paint on paper, each measuring 44” x 30”.

I think many artists and writers would agree that where one works has an effect or influence on the work while it’s being made and that is certainly true for the “Basin” series and me.  Each of the 18 pieces that I created in this series are distinctly unique from each other, which I attribute, in part, to having the luxury of uninterrupted time and studio space in which to concentrate and work.  I also recognize that there is a quiet under current that binds the pieces together, which I attribute to the consistency of a solitary workday and the vast Montana sky (especially at night).

The “Basin” series also became the focal point of a larger ekphrasic exhibition, “Original Weather”, which marries the work with poems by nine Eugene poets (organized by Laura LeHew) and is traveling throughout the Pacific Northwest through 2012.  There is a full color catalog for the exhibit, published by Uttered Chaos press out of Eugene.

Biography:

Robert Tomlinson has been the executive director and curator for four art non-profit organizations:  the San Jose Institute of Contemporary Art, Gallery One Visual Arts Center, Jupiter Arts Center and the Oregon Arts Alliance.  He also had his own contemporary art gallery in New Mexico for 4 years.  He was also the director and organizer for the first two annual citywide exhibitions for the city of Emeryville, selecting and installing works by 120 artists each year.  Collectively, he has curated and installed over 100 exhibitions.
 
Robert is also a professional artist, working in two different mediums; silver gelatin based photographs and mixed media drawings.  He has had 14 solo shows and his work has been selected for over 50 group exhibitions. In 2011 & 2012 he will have solo exhibitions in the following locations:  Carnegie Crossroads Art Center (Baker City, OR), Moses Lake Museum & Art Center (Moses Lake, WA), Newport Visual Arts Center (Newport, OR), Luke’s Frame Shop & Gallery (Portland, OR), Grants Pass Museum of Art (Grants Pass, OR) and Eastern Washington University (Cheney, WA).  Twelve photo-based pieces were recently selected for “Photon Extraordinary at the Springbox Gallery (Portland, OR) and two mixed media drawings were selected for the “Ninth Annual All Around Oregon” exhibition at the Art Center in Corvallis, OR.
 
He has also been an active teacher – designing and implementing an art & architecture curriculum for the first through sixth grades in San Francisco public schools, beginning drawing classes for high school aged students and a middle school art curriculum for the Thorp Unified School District.  He also set-up programs for people with developmental disabilities.  As executive director for the Oregon Arts Alliance he developed and taught a series of workshops based on best business practices for artists called, “The Art Of Doing Business”.

Robert Schlegel

Robert Schlegel is an Oregon painter based in Banks. He received his BA from the Willamette University and his MS from Portland State University.

Schlegel attempts with his work to present his interpretation of the objects and forms found in the environment, especially manmade structures juxtaposed into the landscape. The interaction of shape, contrast and line are what intrigue him and Schlegel attempts to transform these images into the compositions of his paintings. He strives to create work that possesses tension between the representational and the abstract. Schlegel’s work conveys through line, contrast, texture, color and composition his response to the environment and sensitivity to land.

Schlegel paints both in his studio as plein-aire. He completes preliminary sketches in charcoal, pencil and oil pastel and takes reference photographs. Schlegel works in oils and acrylics on paper, panel and canvas.

Schlegel exhibited at The Arts Center before in the Willamette Valley Juried exhibitions prior to 2000, the Around Oregon Annual exhibit in 2009 (received award), donated to the Chocolate Fantasy Oral Art Auction in 2009 and is currently represented in The Arts Center Art Shop.
 

Robert Rowe

'UN-SPEAK-ABLE' Exhibit, March 2011

'….,;?,;'   Letterpress; Rives Lightweight paper, full goatskin binding with leather onlays and leather doublures.  

'WMD,' Letterpress and archival inkjet printing, drumleaf binding, Mohawk Superfine, with black Rives Heavyweight cover.

Robert Fathauer

Artist's Statement for
'Calculated Result - Mathematical Art,' September 2011:
 I'm fascinated by certain aspects of our world, including symmetry, chaos, and infinity. The creation of art inspired by mathematics allows me to explore these topics and leads to designs that I feel are an intriguing blend of complexity and beauty.

On a more philosophical note, if there's anything one can be certain of in this world it's mathematics. It's the one discipline where results can be proven to be true. At the same time, there is great beauty and elegance in mathematics. Conversely, art is the discipline where beauty is the traditional goal, but art also strives to get at deep truths. Both disciplines appeal to me for these reasons, and it seems natural to combine them.

Artist's Resume:

Exhibitions:

• 1995 The Digital Show, AS220 Galleries, Providence, RI
• 1996 9th National Computer Art Invitational, Eastern Washington University, Cheney, WA, and twelve other locations (touring exhibition 1996-1999)
• 1998 Homage to Escher, Escher Centennial Congress, Rome, Italy
• 1999 Art One Gallery, Scottsdale, AZ
• 2001 Bridges 2001 Exhibition of Mathematical Art, Southwestern College, Winfield, KS
• 2002 13th National Computer Art Invitational Exhibition, Eastern Washington University, Cheney, WA
• 2002 Bridges 2002 Exhibition of Mathematical Art, Towson University, Towson, MD
• 2003 SIGGRAPH 2003 Art Gallery, San Diego, CA
• 2004 Joint Mathematics Meetings Exhibition of Mathematical Art, Phoenix, AZ
• 2005 Joint Mathematics Meetings Exhibition of Mathematical Art, Atlanta, GA
• 2005 Renaissance Banff Exhibition of Mathematical Art, The Banff Centre, Banff, Alberta, Canada
• 2006 Joint Mathematics Meetings Exhibition of Mathematical Art, San Antonio, TX
• 2006 Bridges London Exhibition of Mathematical Art, University of London, London, England
• 2007 Joint Mathematics Meetings Exhibition of Mathematical Art, New Orleans, LA
• 2007 Bridges Donostia Exhibition of Mathematical Art, University of the Basque Country, San Sebastian (Donostia), Spain
• 2007 Eureka! Artists Interpret the Laws of Science, San Marcos, TX
• 2008 Joint Mathematics Meetings Exhibition of Mathematical Art, San Diego, CA
• 2008 CalculArt, Dennos Museum Center, Northwestern Michigan College
• 2008 Bridges Leeuwarden Exhibition of Mathematical Art, Stenden University, Leeuwarden, The Netherlands
• 2008 D-ART 2008 online gallery
• 2009 Joint Mathematics Meetings Exhibition of Mathematical Art, Washington, DC
• 2009 Infinite Beauty, Library, Utah Valley University, Orem, UT
• 2009 D-ART 2009 online gallery
• 2009 Bridges Banff Exhibition of Mathematical Art, The Banff Centre, Banff, Alberta, Canada
• 2009 Art from Math / Math as Art, Flaten Art Museum, St. Olaf College, Northfield, MN
• 2009 Symphony & Metaphor, The Gallery of the Common Experience, Texas State University, San Marcos, TX
• 2010 Joint Mathematics Meetings Exhibition of Mathematical Art, San Francisco, CA
• 2010 Pi &pirt - A Celebration of Art and Mathematics, ARTS Space Obispo, San Luis Obispo, CA
• 2010 Bridges Pécs Exhibition of Mathematical Art, Pécs, Hungary

Exhibitons curated by Dr. Fathauer:

• 2001 Bridges 2001 Exhibition of Mathematical Art, Southwestern College, Winfield, KS
• 2004 Joint Mathematics Meetings Exhibition of Mathematical Art, Phoenix, AZ
• 2005 Joint Mathematics Meetings Exhibition of Mathematical Art, Atlanta, GA
• 2005 Renaissance Banff Exhibition of Mathematical Art, The Banff Centre, Banff, Alberta, Canada
• 2006 Joint Mathematics Meetings Exhibition of Mathematical Art, San Antonio, TX
• 2006 Bridges London Exhibition of Mathematical Art, University of London, London, England
• 2007 Joint Mathematics Meetings Exhibition of Mathematical Art, New Orleans, LA
• 2007 Bridges Donostia Exhibition of Mathematical Art, University of the Basque Country, San Sebastian (Donostia), Spain
• 2008 Joint Mathematics Meetings Exhibition of Mathematical Art, San Diego, CA
• 2008 Bridges Leeuwarden Exhibition of Mathematical Art, Stenden University, Leeuwarden, The Netherlands
• 2009 Joint Mathematics Meetings Exhibition of Mathematical Art, Washington, DC
• 2009 Bridges Banff Exhibition of Mathematical Art, The Banff Centre, Banff, Alberta, Canada
• 2010 Joint Mathematics Meetings Exhibition of Mathematical Art, San Francisco, CA
• 2010 Bridges Pécs Exhibition of Mathematical Art, Pécs, Hungary

Selected books:

• Lifelike Tessellations Activity Book (2008)
• Regular Polygon Tessellations Activity Book (2008)
• Designing and Drawing Tessellations (2008)
• Polyhedra Activity Book (2009)
• Geometric Shapes Activity Book (2009)
• Fractal Trees (2010)
• Visit the MartArtFun site for more information about these books.

Selected papers and presentations:

• "Fractal tilings based on kite- and dart-shaped prototiles," Computers and Graphics, April, 2001
• "Some Common Themes in Visual Mathematical Art," Bridges 2001
• "Fractal tilings based on v-shaped prototiles," Computers and Graphics, August, 2002
• "Extending Escher's recognizable-motif tilings to mltiple-solution tilings and fractal tilings," M.C. Escher's Legacy - A Centennial Celebration, edited by D. Schattschneider and M. Emmer, 2003
• "Symmetry in Nature, Art, Mathematics, Science, and Engineering", Pattern and Symmetry, Heard Museum and Arizona State University, April, 2003
• "A survey of recent mathematical art exhibitions", Journal of Mathematics and the Arts, September, 2007
• "Fractal tilings based on dissections of polyominoes, polyhexes, and polyiamonds," Homage to a Pied Piper, edited by Ed Pegg Jr. Alan H. Schoen, and Tom Rodgers, 2009

Visit Robert Fathauer's website.

Robert Calvo

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011

Artist’s Statement:

"As an artist who has taken an experimental approach to materials and techniques, I have enjoyed working upon such disparate projects as large-scale public sculpture, murals, mixed media works and paintings. Born in Galveston,Texas, I studied art at Art Center College in Los Angeles, worked at Graphicstudio in Tampa, Florida and have twice received National Endowment for the Arts Fellowships.

Fascinated with a variety of visual information systems; from charts, maps and cartography; I have developed the symbols, grids, outlines and colors that provide the patterns and styles used in my work.

Color, Shape, Form, Line, Composition,Variety,Texture, Symmetry are all classic, modernist, tools which define and characterize my work and provide visual stimulus."

--R. Calvo

Rob Dudenhoefer — Metal, Jewelry

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011
• 'Where Birds Dream' Show and Silent Auction, Winter 2010

Artist's Statement:

I design and fabricate whimsical sterling silver jewelry.  Inspiration is drawn from children’s drawings as well as experimentation at the jeweler’s bench.  Articulated elements are incorporated into my pieces in order to bring more life to each design.  All designs are fabricated in small batches so that each piece retains individuality and receives full attention from beginning to completion. 

Visit Rob Dudenhoefer's website.

Richard Rollins

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011

Statement:

My work comes out of the totality of my experience and the skills I have acquired.  I see my work as a natural extension of what I know, where I have been and what I have done.

Visit Richard Rollins's website.

Richard Helmick — computer art, math-based art

Artist's Statement for
'Calculated Result - Mathematical Art,' September 2011:
Much of my mathematical art falls in the category of computer graphic generative systems. Multiple drawings can be generated by a single computer program. Variations in drawings are, to varying degrees, unanticipated by me. My programs act as one step of a two-step process known as Stochastic, which requires a random component followed by a selection mechanism. In biology the random component is call a mutation and the selection component is environmental conditions. In my programs a random number generator recursively places random numbers into mathematical formulas contained in the code. I can’t predict what the graphical effect will be so a selection method is needed. My aesthetic judgment acts as the selection mechanism. I run my programs over and over until something is generated that I can work with.

While the computer art movement of the 60s, 70s, and 80s has fallen into the neglected annals of art history, art historians have recently installed at least two exhibitions in an attempt to bring the computer art out of the shadows of art history. I was invited to participate in one of these shows at the Block Museum of Art on the campus of Northwestern University in 2008. It was titled “Imaging by Numbers”. Another exhibition at the de Cordova Museum of Art just outside of Boston in 2011 was titled “Drawing with Code”. Museum curators hoped the show would “shine a new light on a darkened corner of the art historical record”. I and many other early practitioners in the computer art movement followed the lead of the philosopher Max Bense. Professor Benze was infatuated by the intellectual notion that aesthetic objects could be described in the symbolic language of computer code. Furthermore, Bense was intrigued by the relationship between rule-based behavior and randomness. Generative systems were the result.

Computers became partners, of sorts, in the creative process. I was attracted to the computer art movement because of the intellectual weight of Benze and other artists working this vein.

Artists as coders or “algorists” are few and far between these days as commercial digital tools for artists are plentiful. However, one does not have to rely on computers to create mathematical art. Anyone with knowledge of geometry can create wonderful aesthetic objects. I understand that Islamic art has ingenious geometric underpinnings. Also, one can create algorithms that are not couched in computer code. I understand that some of Sol LeWitt’s wall drawings are generated in this way although I suspect LeWitt may have intended to be facetious. LeWitt was part of the Conceptual Art movement existent about the same time as the computer art movement. Conceptual artists believed idea trumped craft, choosing to describe or propose works that were to be crafted by others. Computer artists believed ideas, embedded in code, and then fabricated by machine trumped hand craftsmanship. In both cases, the hand of the artist is not relevant.

Artist's Resume:

Academic Degrees:

• 1964, Master of Fine Arts, Ohio University, Athens Ohio
• 1962, Bachelor of Fine Arts, Ohio University, Athens Ohio

Professional employment:

• Professor Emeritus, University od Missouri
• 5/2004, Visiting professor, Nanjing Art University, China
• 5/2004, Workshop teacher, Shanghai Office or Multi media Design and Application
• 2004-06 Faculty Courtesy Appointment, Art Department, Oregon State University
• Winter 2003, Fall 2002, Fall 2001, Adjunct  Professor (distance) Image Engineering, Pusan National University, S. Korea
• Summer 2002, Adjunct  Professor, Speech Communications, OSU
• Fall 2000, 2001, Visiting Professor, Image Engineering, Pusan National University, S. Korea
• 1991-92, Visiting Professor of Architecture, Texas A&M University

Affiliated orgs and galleries:

• Corvallis Art Guild

Permanent Collections: computer art (math-based art)

• Mary and Leigh Block Museum of Art, Evanston, Ill.
• Bain Associates, Boston
• Missouri State Historical Society, Columbia
• Museum of Art and Archeology, University of Missouri, Columbia
• William Woods University, Fulton, MO

Contact Richard Helmick.

Rich Bergeman — photography

About My Photography
A native of Ohio and an Oregonian since 1976, Rich Bergeman has been a writer, editor and educator during his career, and a fine art photographer for over 25 years.  Using large-format film cameras as well as digital cameras, he looks for inspiration in places where the past lingers within the present. In recent years, he has been chronicling the disappearing traces of Oregon’s bygone days on both sides of the Cascades in a series of related projects—“Tidewaters: Rivers in the Wake of Man:, “East of Eden: Settling the High Desert”; and “Place Names: Vanishing Sites in the Coast Range.” Bergeman’s black-and-white fine art prints are made in the traditional platinum process, one of the most permanent and tonally rich printing media known.  Although Rich also photographs in color (generally for travel and personal use) he seldom exhibits color prints. The three color images in this exhibit are from an excursion to Baker County, Oregon, in 2009 to photograph one of the last operating steam locomotives in the state.

Recent Exhibits
2010, May:  
Corrine Woodman Gallery, The Arts Center, Corvallis, Oregon
“Points of View: Studies in Perspective,” with Charles Search and Walt O’Brien

2010, March:
Upstairs Gallery, Visual Arts Center, Newport, Oregon
“The Place Names Project,” platinum prints

2009, March:
Cultural Arts Center, Hillsboro, Oregon
“Disappearing Oregon,” platinum prints

2008, October:
Pegasus Gallery, Corvallis, Oregon
“Seen Along the Way,” a retrospective of silver and platinum prints

2008, Feb.-Mar:
Jacobs Gallery, Eugene, Oregon
“Telling Stories,” with Paul Neevel

2007, July-Aug:
Florence Events Center, Florence, Oregon
"Tidewaters,” platinum prints

2007, Mar.-Apr.:
DIVA Gallery, Eugene, Oregon
“East of Eden,” platinum prints

Upcoming Exhibits
Oct-Dec. 2010:
OSU Humanities Center (Autzen House), 8th and Jefferson, Corvallis
"The Place Names Project,” platinum prints

Oct-Dec. 2010:
Blackfish Café, Lincoln City, Oregon
“Disappearing Oregon,” platinum prints

Represented by:
Pegasus Gallery, Corvallis, Oregon

Visit Rich Bergeman's website.

Renee Couture

The Arts Center Exhibitions:

• Finger Licking Good: Art About Food, April/May 2012

Visit Renee Couture's website.

Randall L. Milstein — photography

The Arts Center Exhibitions:

• 'Finger Licking Good: Art About Food,' April/May 2012
• 'Portals,' Winter Show & Silent Auction, 2011

Artist's Statement:

I am a scientist, photographer, and performer.  I began taking photographs when I was five years old.  My education:  a degree in fine art photography, followed by several degrees in the physical sciences.  Though I photograph many different subjects, my passion is photographing dancers.  

My photographs appear in group, and solo exhibitions; are represented in government, corporate, and private collections; and appear in numerous publications, books, posters, and advertisements.

All my images are created with Nikon D-SLR digital cameras and Nikkor D and ED AF lenses.  My prints are produced on Epson Professional Exhibition Fiber papers.
Special thanks to Thomas L. Bach, master printer.

Selected Exhibits and Participations:

2011: 

• Portals – The Arts Center, Corvallis, Oregon
• Messengers of the Gods II - Concourse Gallery, Oregon State University
• OSU Faculty and Staff Exhibition - Giustina Gallery, Oregon State University: Vice President’s Choice Award

2010:

• Dance Gallery IV - Majestic Theatre, Corvallis, Oregon
• 8th Annual Around Oregon Exhibition – The Arts Center, Corvallis, Oregon
• Messengers of the Gods - Camerawork Gallery, Portland, Oregon
• Photography and Painting Inspired by the Dancers of the Oregon Ballet Theatre – Portland Center for the Performing Arts, Portland, Oregon

2009:

•  Photo Lucida Portfolio Walk - Portland Art Museum, Portland, Oregon

2007: 

• Capturing Grace - Giustina Gallery, Oregon State University

2005: 

• Dance Gallery III - Concourse Gallery, Oregon State University

2004: 

• Dance Gallery II - Majestic Theatre, Corvallis, Oregon

2003: 

• Dance Gallery I - Bridgeport Gallery, Portland, Oregon

2000 - 2001: 

• Northwestern Michigan College Art Department 50th Anniversary Exhibition – Dennos Museum, Traverse City, Michigan

Visit Randall L. Milstein's website.

Rachel Hibbard

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011

Statement for '9th Around Oregon Annual Exhibition:'

ON THE HOME FRONT                              
place
I cut images loose so that the dark matter of the American Dream is projected back into my domestic space, remixing geographies of home and the frontline. This work stands between the spheres of war reenactment, photojournalism, and surrealist collage. The viewer is as much a subject of this work as the people in the original photograph. I am constructing a new moment closer to the viewer’s and my own, to get at an embodied connection with what is taking place: running, digging, the direction of a gun, a gaze, the exact particulars of an individual’s face. This work grows out of an examination of “struggle” in its personal and historical manifestations. Embedded in all my work is a skirmish between circularity and transformation.
*debt
I am indebted to the artist Martha Roster and generations of photojournalists whose work I am not so much appropriating as registering the impact of. Place and scale are an important aspect of this series, conceptually and formally. Figures in conflict form small tableaux with domestic architecture; referencing the connections and dislocations of life in the 21st century.

Resume:

Education

• MFA    University of Michigan, Ann Arbor, Mich.
• BFA    Pacific Northwest College of Art, Portland, Ore.

Solo Exhibitions

• 2011: meyouus&them, Tacoma Wash.
• 2010: 365 Days, Calendar for a New World, Colorado State University, Fort Collins, Colo.
• 2008: Months of Unequal Lengths, Cascade Gallery, Portland, Ore.
• 2007: Atmosphereum, Nowhere Gallery, Portland, Ore.
• 2006: Selections from 365 Days, Calendar for a New World, Autzen Gallery, Portland, Ore.
• 2004: Reading You, Interstate Firehouse Cultural Center, Portland, Ore.
• 2003: Weather Vanes & Towers, installation, Maryhill Museum of Art, Goldendale, Wash.
• 2002: Under the Rainbow, Portland Community College Sylvania, Northview Gallery, Portland, Ore.
• 2001: Tree of Living Things, Basil Hallward Gallery, Portland, Ore.
• 2001: Solar Field, installation, Maryhill Museum of Art, Goldendale, Wash1999    
• 1999: Games in the Maze, Portland State University, Gallery 299, Portland, Ore.
• 1993: Chicago Cultural Center Gallery, Chicago Cultural Center, Chicago, Ill.
• 1993: Presidential Gallery, University of Michigan, Ann Arbor, Mich.

Collaborations

2006-09    

• Bins Collaborative, an exploration of community and trickle-down economies featuring sculptural installations and video with over 60 interviews, photographic documentation, and more than 15 years of shopping experience. Collaborators: Sean Regan and Cara Tomlinson
• Added Value, Project Space II, Salem, Ore.
• Bin Labs 2 Second Growth, Soil Gallery, Seattle, Wash.
• Things Never Die, Portland Building installation space, Portland, Ore.

Selected Group Exhibitions

• 2007: Geumgang Nature Art Pre-Biennale, Geumgang Nature Park, South Korea
• 2006: BESTIARY, Froelick Gallery, Portland, Ore.
• 2005: artOBJECTS, Portland International Airport, Portland, Ore.
• 2002: Echoing Nature, Oregon College of Arts and Crafts, Portland, Ore.
• 2002: L&B Viewing Room, Portland, Ore.
• 2001: NW Narrative, Portland Institute for Contemporary Art (PICA), Portland, Ore.
• 2001: Air, Orlo exhibition, Portland, Ore.
• 2000: Open Walls, Portland Institute for Contemporary Art (PICA), Portland, Ore.
• 1998: Water and Plastic, Quartersaw Gallery, Portland, Ore.
• 1997: UOU&PSU (University of Ulsan & Portland State University), Ulsan, South Korea
• 1995: Portrait, Elizabeth Leach Gallery, Portland, Ore.
• 1994: Going Going, gone, Art in the Arboretum, Portland, Ore.
• 1994: Prints by Gallery Artists, Betsy Rosenfield Gallery, Chicago, Ill.
• 1993: Spring Group Show, Betsy Rosenfield Gallery, Chicago, Ill.
• 1993: Rachel Hibbard / Eric Thompson, Betsy Rosenfield Gallery, Chicago, Ill.
• 1992: Hyde Park Art Center’s 55th Anniversary Exhibition, Chicago, Ill.
• 1993: Abstract: Chicago, Klein Art Works, Chicago, Ill.
• 1992: Grit and Polish / Art and Space, State of Illinois Gallery, Chicago, Ill.
• 1992: Experimental Drawing Show, Hyde Park Art Center, Chicago, Ill.
• 1992: Revision, Near Northwest Arts Council (NNWAC), Chicago, Ill.
• 1992: Linda Horn / Susan Kraut / Rachel Hibbard, Judith Racht Gallery, Harbert, Mich.
• 1991: Willamette Heights Centennial Exhibit, Montgomery Building, Portland, Ore.
• 1991: Essential Form, Hyde Park Art Center, Chicago, Ill.
• 1990: New Faces, Near Northwest Arts Council (NNWAC), Chicago, Ill.
• 1990: Members Show, Hyde Park Art Center, Chicago, Ill.
• 1988-89: Art and Science, traveling exhibit
• 1988: Hilton Gallery Print Show, Ann Arbor, Mich.
• 1987: Schlesser Gallery, University of Michigan, Ann Arbor, Mich.
• 1986: New Faces, Blackfish Gallery, Portland, Ore.

Collections

• 2005: City of Portland, permanent collection
• 2000: Kristy Edmunds, Portland Institute for Contemporary Art (PICA) founder, private collection
• 1993: Andree Stone, director, Dart Gallery, private collection, Chicago, Ill.
• 1992: Harold L. Klawans, private collection, Chicago, Ill.
• 1992: Greg Night, curator, Chicago Cultural Center, private collection, Chicago, Ill.
• 1992: Frank Paluch, director, Perimeter Gallery, private collection, Chicago, Ill.
• 1989: Gordon W. Gilkey Print Collection, Portland Art Museum, Portland, Ore.
• 1988: Renaissance Center Print Collection, corporate collection, Detroit, Mich.

Awards

• 2003: Project Grant, Regional Art and Culture Council, Portland, Ore.
• 2003: Faculty Development Grant, Portland State University, Portland, Ore.
• 2001: Faculty Development Grant, Portland State University, Portland, Ore.
• 1990: First Prize for Painting, Hyde Park Art Center, Chicago, Ill.
• 1988: University of Michigan, Dean’s Acquisition, Ann Arbor, Mich.
• 1982: Carey Prize for Drawing, Second, Pacific Northwest College of Art, Portland, Ore.
• 1981: Mary L. Peterson Memorial Scholarship, Voorhies Drawing Prize, First Place
• 1980: Doro Haskell Johnson Memorial Scholarship

Catalogues

• 2007: Geumgang Nature Art Pre-Biennale, Geumgang Nature Park, South Korea
• 2006: Overlapping Lines, University of Ulsan, South Korea, and Portland State University, USA
• 2004: Dialogue, University of Ulsan, South Korea, and Portland State University, USA
• 2001: Air, Orlo exhibition, Portland, Ore.
• 2000: 2x2x200 Blackfish Gallery 1979–1999, Blackfish Gallery, Portland, Ore.
• 1997: UOU&PSU (University of Ulsan & Portland State University), faculty exhibition
• 1993: Abstract Chicago, Klein Art Works, Chicago, Ill.
• 1991: Willamette Heights Centennial Exhibit, Portland, Ore.

Artist-Authored Publications

• 2006: Weather Series, Lewis and Clark College
• 2004: Echoing Nature, Oregon College of Arts & Crafts, catalogue
• 2003: Weather, artist’s book, in collaboration with Alon Raab and Mary Sillman
• 1992: Independent Publishers Group (cover illustration and miscellaneous prints)
• 1991: Chicago Rainforest Action Group (poster, flyer & bookmarks)

Curatorial Projects

• 2002: Echoing Nature, Oregon College of Arts & Crafts, Portland, Ore.
• 2002: ON THE ROAD: Bike-based Correspondence Art, Orlo exhibition, Portland, Ore.
• 2001-02: Orlo exhibition committee, Portland, Ore.
• 1997-98: Co-curator / organizer with Hugo Anaya Barba: Going Going Gone

Lectures, Talks

• 2010: Open Engagement, panel member, Collaboration, Portland, Ore.
• 2005: Artist’s Talk, Lewis & Clark College, Portland, Ore.
• 2003: Environmental Art, Panel Member, Lewis & Clark College, Portland, Ore.  
• 2003: Why Paint, overview of my paintings, Pacific Northwest College of Art class
• 2003: Artist’s Talk, Western Oregon University, Monmouth, Ore.
• 2002: Artist’s Talk, Portland Community College Sylvania, Portland, Ore.
• 2002: Organized and designed community mural, Lane Arts Council, Conference Art and Communities lecturer, Eugene, Ore.
• 2001: Artist-consultant, Air, Orlo exhibition, Portland, Ore.
• 1994: Visiting artist, School of the Art Institute of Chicago (faux finishes demonstration), Chicago, Ill.

Selected Professional Experience

• 2009: Visiting faculty, winter quarter, University California at Davis, Davis, Calif.
• 1996-09: Adjunct faculty, Painting, Drawing and Basic Design, Portland State University, Portland, Ore.
• 2002: Visiting artist, thesis critique, Pacific Northwest College of Art, Portland, Ore.
• 2000: Visual Arts Fellowship Panel member, Regional Arts and Cultural Council, Portland, Ore.
• 2000: Artist / consultant, Metro Murals, Portland, Ore.
• 1998: Artist / teacher, Orlo mural, Disappearing Willamette, Portland, Ore.
• 1997: Artist / teacher, Private Industry Council Mural Project, Portland, Ore.
• 1996: Visiting faculty, First Year Program, School of the Art Institute of Chicago, Chicago, Ill.
• 1988-96: Mural renderings and technical assistant, Chicago Architectural Arts, Chicago, Ill.
• 1994: Teacher, Printmaking, Gallery 37 Apprentice Artist Program, Chicago, Ill.
• 1988: Visiting faculty, Basic Design, University of Michigan, Ann Arbor, Mich.
• 1987-88: Teaching assistant, Basic Design, University of Michigan, Ann Arbor, Mich.
• 1987-88: Visiting artist, Printmaking, Metropolitan Learning Center, Portland, Ore.

Prisha Brown

Artist Statement

Prisha Brown is the designer behind Entwine Jewelry. Her creative passion is crocheting fine gauge wire into heirloom quality jewelry. Customers have bought her jewelry for their wedding, anniversary, or as a gift to commemorate a milestone achievement in their life. Despite it's distinct appeal for special occasions, Entwine jewelry is very easily worn every day. Entwine Jewelry is also commonly purchased by art jewelry collectors.

The jewelry line is called Entwine, because quite simply, she entwines each gemstone and pearl into her crochet. Prisha is fascinated by the notion of using ancient textile techniques in a fresh new way. 

Her passion for jewelry design was ignited while studying abroad at Lorenzo De’Medici Art School in Florence, Italy during the summer of 2000. Working as a Textiles Teaching Assistant throughout graduate school taught her the intricacies of fabric structures. She combined classes from the Spokane Art School, the American Jeweler’s Institute, and the Gemological Institute of America into her required graduate courses to create a rich course of study in Jewelry Design. In 2006, she received her Master of Arts degree from WSU.

Since graduation, she has been experimenting with new crochet techniques, selling her work online through her website and galleries, creating commissioned pieces, building her website, and teaching jewelry classes and private lessons. You can find her work in fine art galleries and specialty boutiques throughout the Northwest.

Materials & Process for "Place of Contentment, Refuge, and Beauty," piece for "Where Birds Dream" Show & Silent Auction, Winter 2010

Materials: Industrial Mesh Screening, Copper Wire, .999 Fine Silver Wire, Sterling Silver Snake Chain, Branch Coral, Fired Matte Agate, Freshwater Pearls, Swarovski Crystals, and Faceted Amazonite

Process: Hand formed mesh screen was heat colored with a jeweler's torch, then hand-stitched and crocheted with copper wire to form the birdhouse. 

The separate fine silver, bird's nest pendant is hand crocheted with a circular, single crochet pattern. The beads and pearls were strung onto the spool before crocheting and then entwined within the pendant.

Visit Prisha Brown's website.

Philip Coleman — photography

The Arts Center Exhibits:

• Philip Coleman and Kat Sloma, Corrine Woodman Galleries, April/May 2012
• 'Finger Licking Good: Art About Food,' April/May 2012
• 'Peggy Sharrow and Phil Coleman' Nov 8 - Dec 3, 2011
• 'Joey Azul and Philip Coleman,' Jun 8 to Jul 3, 2010

Artist's Statement for 'Peggy Sharrow and Phil Coleman,' Corrine Woodman Gallery November 8 – Dec 3, 2011:

Rainbows, the refraction of light by water drops, are nature's way of showing us some of light's lovely complexity.  Happily, wonderful arrays of color are common in the world even if they are not real rainbows.  My photographs in this series show some examples of nature's palette.

Artist's Statement for his "Broken Symmetry" series, Corrine Woodman Gallery June 2010:

The inspiration for these images comes from my background as a scientist. In the world of physics, symmetry, perfect and almost perfect, is a key idea. For example, the fact that the sun glowed in the same way yesterday as today, a symmetry in time, is really another way of expressing the conversation of energy. Yet the history of science is full of examples where that conservation of energy, that symmetry in time, seemed wrong. In each case, a closer look let us understand the universe in new ways and see the underlying symmetry intact but with a fresh vision.

The idea behind these images is "broken symmetry." But the images are not about science. They are about things and places seen in two ways, things and places that are at their core the same yet imperfectly symmetric. My intent is to show you a common subject bit from two perspectives such as winter versus summer, or at night versus in daylight, or fast versus slow. My hope is that these alternative views, seen in contrast, seen as almost symmetric, will let you see something new - an unscientific idea that

1 + 1 can be more than 2.

Resume: A physicist by training (B.S. Cal Tec 1966; Ph.D., Univ. of Wisconsin 1971), I began film photography in 1964 and digital photography in 2002. Now semi-retired, my wife and I moved to Philomath in 2002. Since 2008, a few of my images have been shown at The Arts Center, the LaSells Stuart Center, the Corvallis Pegasus and Insight Galleries, and the Emerald Art Center in Springfield.

Affiliated orgs and galleries:

• Photo Arts Guild, Corvallis

Visit Philip Coleman's website.

Peter Meyer — ceramics

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011

Statement:

The primary focus of my ceramic work is in refining the shapes and surfaces in preparation for the actions of the wood fire. I start with a simple shape of pleasing proportion, paying close attention to surface qualities. The proportions of each shape guide the surface and graphic treatments, which include incised lines, inlaid lines or areas of texture or color. Because the wood ash and intense heat combine to create unpredictable effects on the clay, I seek a concise resolution before the fire. Subjecting the work to such natural forces is a given in the ceramic process, but wood firing pushes the possibilities.

Biography:

Peter Meyer received a Bachelor of Fine Arts in Ceramics and Printmaking from The University of South Dakota and a Master of Fine Arts in Ceramics from the University of Oregon. He has traveled extensively in South Dakota, Oregon and Japan, doing workshops and residencies in ceramics, printmaking, photography and drawing. He has taught ceramics, printmaking, concept and figure drawing, 3D design, and figure sculpture at Black Hills State College, the U of O, OSU-Cascades, and Central Oregon Community College (COCC). He is adjunct instructor of ceramics and figure sculpture at COCC.

Last February, as a class exercise, he and his students benefited Greg Mortenson’s Central Asia Institute with a donation of $1800 through the production of tea-cup sets.

Meyer has exhibited extensively in the Northwest, California, and Japan and his work has been featured in Japanese Architecture, Gourmet, 500 Sculptures in Clay, Drawing as Expression, and A World of Art. His work is in numerous public and private collections.
 “Woodfired work has dominated my clay output for several years. It is a labor-intensive practice and I find the community aspect of the entire process, from wood gathering and cutting to the fire itself, very stimulating. This work is distinguished from more traditional wood fired ceramics by my use of simplified, austere shapes with carefully prepared surfaces. I keep the shapes simple to more fully reveal the actions of the flame and ash on the surface. I feel this honors the primacy of the process and the fire. The object becomes a repository of the extensive action of the 100 hour immersion in flame.”

Affiliated organizations and galleries:

• Touchstone Gallery, Yachats, Oregon

Peter Bushell

'UN-SPEAK-ABLE' Exhibit, March 2011

'Series:  whisper, tickle, symphony, applause,' digital offset printing and fine art papers.

Peggy Sharrow — fiber

The Arts Center Exhibits:

• 'Peggy Sharrow and Phil Coleman' Nov 8 - Dec 3, 2011

Statement:

As I continue working in fiber art and exploring different techniques, as well as other mediums, I find I am gaining a better understanding of what makes images interesting  and compelling enough to want to see again and again.  In the embroidered pieces I have worked on use of color and shading, both by picking related values, shades and hues and by laying different colors next to each other.  I have also experimented with "washes" in the form of colored chiffon and other transparent fabrics to provide a background for some of the stitching. I continue to enjoy getting to know each piece through long association with it, while working on it over several weeks to months.

Resume:

Peggy Sharrow has shown her art in various settings around Corvallis since the late 1970's.  In the 1980’s she had work in a wearable art boutique, called Ecru and  in the gift shop at the Corvallis Arts Center; in the in the 80's and 90's Art In The Valley carried her work on consignment.  In 2000 one of her works was accepted into Seeing the Forest; Art About Forests & Forestry put on by Oregon State University. She has shown her work four times in the Corrine Woodman Gallery throughout the years.  The most recent show was October 2009.  Works have also been shown three times at Good Samaritan.  The most recent of these times was July, 2011. She has also contributed works to the Chocolate Fantasy, an annual fundraising event for the Arts Center.

Patricia Berman

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011
• Corrine Woodman Gallery show, March 2011
• 'Where Birds Dream' Show and Silent Auction, Winter 2010

Artist's Statement, 'Portals,' Winter Show & Silent Auction, 2011

'Portals to the Sky: Postcards from the Southwest'

As soon as I heard the theme for this show was “Portals” I knew what image I wanted to create, but not exactly how I’d do it. I’ve made several trips to the desserts of Utah and Colorado in recent years, and am entranced by the frames and windows of open, deep blue sky created by the numerous arches of red rock. The landscape is vast, hard, hot and dry, so unlike our lush green valley. But each arch forms an intimate and unique vista to the enormous beyond: an invitation, or a warning, according to one’s sensibilities.

Working with terra cotta clay, red clay also known as earthenware, only made sense. Color was my big challenge. I’ve been learning to make “terra sigilatta”, a slip of the finest clay particles with stains added, brushed on, burnished, fired to a low temperature, waxed and buffed again. These first “postcards” are a walk through a new door for me, and so they are portals, twice. 

Artist's Statement for Corrine Woodman Gallery show, March 2011

Ceramics Guild member Pat Berman loves faces, gestures, stories, and attitude, and, word play. The sculptures she plans for The Arts Center Corrine Woodman Gallery are about all of these things. Berman says: “If things go as I hope they will, this collection of work will be colorful, evocative, and sometimes whimsical. Of course, these comments are due several months before the show, and there’s much to be done. As I write, several pieces are ready, many are in process, and a few are still in my head. I don’t always think I’m in control of when they emerge, but I’ve told them the schedule! “

Artist Statement for "Where Birds Dream" Show and Silent Auction, Winter 2010

“Feathered Odalisque” is a flight of fantasy, in shameless homage to the 19th century masterpiece, Grande Odalisque, by Jean Auguste Dominique Ingres. An odalisque was a concubine in the imperial harem of the Ottoman sultans, and later became a common fantasy figure in erotic paintings of European artists enamored of the Orient.

There is absolutely nothing politically correct about this piece! My travels to Turkey, including the opulent harem of Topkapi Palace may have had subconscious influence, though I began playing with the concept years ago.   Birds and human women in the same body often occur in my work, and in images from many cultures, traditions and times.  Who among us has never wished for a pair of wings?

Artist Biography

Education: 

• Oberlin College, BA, psychology, 1976
• University of Michigan School of Social Work, MSW, 1979
• Ceramic education: Linn Benton Community College classes;  workshops; Trial and Error

Shows:

• Oregon Potters Association Ceramic Showcase : 2008,2009,2010
• Around Oregon Annual, juried show, Corvallis Arts Center, 2009
• "Painted with Fire" Lake Oswego Festival of the Arts: international juried show of wood fired ceramics, June 2008
• "Half a Million Pots", invitational show, downtown Corvallis venues, April 2008
•  "Made in Oregon", OSU, 2007,  invitational group show
• "Winterlight",  Corvallis Arts Center,  November-December 2007 and 2008, group show and holiday sale
• Corvallis Fall Festival , Willamette Ceramics Guild group sales booth, 2000-2010
• "OSU Holiday Market", Willamette Ceramics Guild booth, OSU, 2006. 2007, 2009
• "Handbuilt by Handwise", Benton County Historical Museum group show
• Corvallis City Hall, solo show, 1998 
• Pegasus Gallery, Corvallis, OR 2008 Holiday shows

See More 

Donterra Gallery, Sisters, OR

Navigator News, Sisters, OR

Corvallis Arts Center ArtShop

Visit Patricia Berman's website.

Pat Courtney Gold — baskets

Artist's Statement for
'Calculated Result - Mathematical Art,' September 2011:
Pat Courtney Gold is a member of the Wasco Nation, Confederated Tribes of Warm Springs, Or, in central Oregon.  Pat’s Wasco basket weaving heritage includes twining, plaiting, and coiling.  She is preserving her Heritage by continuing the art of weaving.
Her baskets can be seen in museums throughout the U.S.
This basket has a cross-warp weave, which strengthens the basket.  The warps are tule, and are twined with cattail leaves.
The basket is a cylinder, the base is a circle, and the warps are crossed at an approximate 45 degree angle to create a series of geometric  images.

Artist's Resume:

• 2007    National Endowment for the Arts Fellowship, Washington DC
• 2007    Featured Basket weaver in PBS series, “Craft in America”, and in Traveling exhibit.
• 2006    Co-producer and director documentary film “Northwest Native Elder Basketweavers, Honoring Our Heritage”; “Northwest Contemporary Basketry”
• 2005    “Changing Hands II, Contemporary Native Art”, Museum of Art and Design, NYC
• 2004    “Art Train, Contemporary Native Art”, Art train travelling throughout the US through 2007.
• 2003    Featured Artist, Oregon Art Beat, OPB, Portland OR
• 2001    Governor’s Arts Award, Salem OR
• Prior to 1999: Invited Artist, Women’s Caucus for Art, Professional trip to China; Artist in Residence, National Museum of American Indians, New York City; “To Honor and Comfort: Native American Quilts”, Smithsonian Museum, New York; Invited Speaker, The International Weaving Conference, Rototura, New Zealand.

Work in collections:

• Oregon: 
  The Governor’s Office, Salem; Portland Art Museum; Oregon Historical Society, Portland, Hallie Ford Museum, Salem, Oregon School (now College) of Art and Craft, Portland, Museum at Warm Springs, High Desert Museum, Bend
• Washington: 
  Maryhill Museum, Goldendale; Seattle Art Museum, Burke Museum, Seattle, Tacoma Art Museum; Clark County Historical Museum, Vancouver
• National:
  Perry Galleries, Alexandria, VA, Lew Allen Gallery, Santa Fe Nm; Smithsonian National Museum of American Indians, Washington DC; Peabody Museum, Harvard University, Cambridge, MA
• International:
  British Museum, London, UK; Hei Tiki Gallery, Rotorua, New Zealand; Royal British Columbia Museum, Victoria, Canada

Visit Pat Courtney Gold's website.

Neebinnaukzhik Southall

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011
• The Annual Ruth and Jim Howland Community OPEN Exhibition 2011
• The Annual Ruth and Jim Howland Community OPEN Exhibition 2010

Artist's Statment, 'Dream Vortex' - 'Portals,' Winter Show & Silent Auction, 2011:

I am part of the Ojibway people, a member of the Chippewas of Rama First Nation, which directly influenced my piece. While considering this show's theme, I thought about the well-known form of the dreamcatcher, which comes from Ojibway culture and has since spread across North America, and how I might reinterpret it. The hole in the center of a dreamcatcher serves as a passageway for good dreams to travel through, while bad dreams are caught in the web. In order to further push the idea of a portal, I extended the form into a wormhole-like shape. My choice in copper colors is a nod to the ancient copper mines worked by Native peoples around Lake Superior and the spiritual significance of copper in Ojibway worldviews (although the wire itself was made in Pakistan and China). The "tail" of the piece emulates a braid of sweetgrass. In a broader sense, all of these cultural cues serve as a connection to the many people related to me, both in the past and present.

Visit Neebinnaukzhik Southall's website.

Nan Weed

The Arts Center Exhibit(s):

• 'Portals,' Winter Show & Silent Auction, 2011
• '9th Around Oregon Annual Exhibition,' October, 2011
• “Where Birds Dream” Themed Exhibit and Silent Auction, November/December 2010

Artist's Statement, 'dream of Rumi' - 'Portals,' Winter Show & Silent Auction, 2011:

     oil/cold wax painting on canvas
     28 x 24 inches

Rumi's words "we are a portal of hope; come as you are" are the inspiration for this painting.

I live in Eugene, show work mainly around the northwest, have worked in graphite and paint for years, love paper and poetry, music and dance, and listening to other creatives talk about their process.

Artist's Statement, '9th Around Oregon Annual Exhibition:'

Some thoughts about the work…

I have worked with graphite for several years now, appreciating both the time and meditative attention necessary to achieve the results for which I strive and the subtlety and qualities of stillness and simplicity which the graphite provides when worked in this way. But I use whatever medium seems most appropriate to the development of any specific imagery and recently have been using more color in some of my work.

My drawings or paintings begin with an idea or image which is then acted upon in an intuitive manner and transformed and expanded in the process of working it. For instance, the Sirius series began when I started learning to recognize stars and constellations in the clear night sky. As the Sirius drawings developed, the figure with winged-no-arms emerged. These drawings explore relationship in its many aspects - joy, expectation, disappointment, pain of separation, pleasure, sources of sustenance, etc.

I am interested in both personal and collective mythology and how they intersect. My work explores the need to create and consider authentic relationship with all beings – animal, human, plant, rocks, and to that end I draw upon my personal experience, travels, and the traditions of many mythologies of the world as source material.  I am inspired by the natural world, by what I read, music, loss of a person/animal/place to which I am attached, or by individual words. A long series of graphite drawings called “Seeking Clarity” developed from a discussion of the idea of fog as metaphor in a book a friend was writing. Almost anything can serve as inspiration. Travel is an especially fertile time, as I am then more open to seeing and experiencing everything in new ways. I also have an interest in creating imagery in response to specific pieces of writing, for instance the Celebration of Poets painting for a book cover, or for specific locations, as in Pearl 2 for the Pearl day spa. These pieces I consider a collaboration, a response to and elaboration of a work or concept initially generated and developed by someone, then incorporated into their initial work in some way. 

Confrontation and contemplation of relationship to place, as an entity in itself, or to another living being, human or animal, arouse feelings in me which I seek to explore in my work. The imagery inspired by these feelings is a commentary on the things themselves, things which are deep in the mystery of life, both personal and communal. My intention is to sanctify these things through careful artistic consideration and the creation of something both worthwhile and beautiful, in the process giving my understanding additional dimension and hopefully allowing room for personal illumination in those who view the work. I consider my work the most successful when it is specific enough to hold my immediate attention but illusive enough to allow for a satisfying contemplation over time.

For me, the process of creating the work is as important as the final product. What the work is about develops and expands with the process of creating it. It can be a slow road, with much backtracking, discovering the path as I go. For me this makes the process elusive, challenging, and often frustrating. But to make what was invisible now visible is an exciting goal.

Visit Nan Weed's website.

Mike E. Walsh

The Arts Center Exhibit(s):

• "Portals" Winter Show & Silent Auction, Winter 2011
• '9th Around Oregon Annual Exhibition,' October, 2011
• "Where Birds Dream" Winter Show and Silent Auction, Winter 2010

Artist Statement for "Portals" Winter Show & Silent Auction, Winter 2011:"

My mixed media assemblage/construction 'A Long Days Journey' (Egyptian Series), 2011, was inspired by my recent travels in the Middle East and Egypt: As well as a memory portal to my service in Vietnam in the 1960s.

     Title: A Long Days Journey, 2011
     Media: construction/assemblage
     Size: 10" x 10" x 5" (wall hung)

We are fascinated and repelled simultaneously by the endless loop of televised imagery and skimpy narration, oiled with the patina of exaggerated patriotism that begins with the dusty, desert-bred bogeyman, travels clean through the bloody wrath of the Old Testament, and ends with those prickly little tingles in the scalp, the moistened eyes, and the grand old flag: everyone declared a “hero” just for showing up: love of country as religious experience.

Artist Statement for “Catacomb” for "Where Birds Dream" Exhibit and Silent Auction, Winter 2010:"

'My bird house construction titled Catacomb, explores the intersection of myth and symbols. Contained as a cultural artifact in a Plexiglas vitrine, my narrative is conversant with mainstream contemporary issues. I have used the house construction in boxed assemblages and site-specific installations: not to represent houses per se but their roles in terms of temples for emotional, political and symbolic personal rituals. Catacomb embodies an entire realm of beginnings, endings and the private world of dream realization.'

'The birdhouse can be an image of safety and protection, to nothing more than a mere facade: representing a bird house with no entry point, I isolate the house with miniature snakes lurking nearby. This juxtaposition suggests vulnerability, instability and isolation: an exploration of humanistic issues, a revaluation of the personal, and experiential. '

Artist's Biography:

Education:

• BS   1965 Western Oregon State University, Monmouth, Oregon.
• PC   1966 Columbia University, New York, New York.
• BFA 1972 University of Oregon.

Recent  Solo Exhibitions (Exhibit record includes 80 solo exhibitions):

• Maude Kerns Art Center, Judging the Heart, site-specific installation, Eugene, Oregon
• Downtown Initiative for the Visual Arts (DIVA), The Declaration of Innocence Before the Tribunal, site-specific installation, Eugene, Oregon
• The Arts Center, Lesson Plan, site-specific installation, Corvallis, Oregon
• Jacobs Gallery, Hult Center for the Performing Arts, Australian Series: Fragile Circles, Eugene, Oregon
• Littman Gallery, Portland State University, Lest We Forget: A Dialogue on AIDS, site-specific installation, Portland, Oregon

Recent Group Exhibitions (Exhibit record includes 344 group exhibitions):

• Jacobs Gallery, Mayor’s Art Show, Eugene, Oregon
• The Arts Center, 7th, 8th, and 9th Around Oregon Annual, Corvallis, Oregon
• 8th and 10th International Shoebox Sculpture Invitational Exhibition, University of Hawaii Art Gallery, Honolulu, Hawaii

Recent Awards:

• Merit Award: The Fate of the Newspaper, Pittock Mansion Gallery, Portland, Oregon
• Merit Award: 7th Around Oregon Annual, The Arts Center, Corvallis, Oregon
• Commission Award: Works: Fragments of the Material Age, permanently installed in the Eugene, Public Library, Eugene, Oregon
• Project Grant: Creative Time, New York, New York
• Regional Initiative Grant: National Endowment for the Arts/Andy Warhol Foundation; and Artist Fellowship, Art Matters Inc. with support from the Rockefeller Foundation, New York, New York.

Selected Public Collections:

• Creative Time, New York, New York; Museum of Art and design, New York, New York
• Museum of Modern Art, New York, New York
• Mississippi Museum of Art, Jackson, Mississippi
• Koahsiung Museum of Art, Koahsiung, Republic of China
• Portland Art Museum, Portland, Oregon
• Hallie Ford Museum of Art, Willamette University, Salem, Oregon
• Jordan Schnitzer Museum of Art, University of Oregon, Eugene, Oregon.

Visit Mike E. Walsh's website.

Melody Cleary — acrylics, watercolors and collage

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011

About the artist

Born and raised in Portland, Oregon, I was an incessant doodler/drawer as a youngster, so visual arts & crafts held great appeal to me. I watched my father who, with his skillful hands and eyes, drew many designs for granite & marble memorials during his long engraving career in Portland. So, at the kitchen table next to him, I drew. A blue ribbon in 6th grade for a life drawing of a teacher was encouragement and my mother enrolled me in drawing & oil painting classes at a local art center during my high school years which culminated in a Best of Show ribbon at my high school art competition. That early motivation inspired me to continue exploring art. As a working adult in small business accounting and motherhood, I moonlighted by taking classes at community college and local art schools in life drawing, palette knife oil painting, watercolor, acrylic and basic design. After early retirement in 2000, I devoted my time to continued media and color exploration with acrylics, watercolors and collage. Melody lives in Beaverton, Oregon.

Artist statement

I convey, through my art, my emotional response to color and design in nature and our world. I love traditional landscape or still life as well as abstract painting or collage and the process of allowing a work to just evolve not knowing where it will end up. Some works on paper find new life and contribute a piece to an abstract collage. Acrylic media is currently predominant in my work due to it's incredible flexibility & quick drying properties. From traditional brush & knife painting to creating acrylic stained & textured tissue paper for collage, I find that going back and forth between two creative methods keeps me intrigued, my work fresh and constantly evolving.

Visit Melody Cleary's website.

Maureen Frank

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011
• “Calculated Results – Mathematical Art”, Sept 2011
• The Annual Ruth and Jim Howland Community OPEN Exhibition, 2010
• The Annual Ruth and Jim Howland Community OPEN Exhibition, 2007

Artist's Statement, 'Dream Portal' - 'Portals,' Winter Show & Silent Auction, 2011:

In Native American culture, people use dream catchers to protect the sleeper from negative dreams. The hole at the center lets in only positive dreams, while the webbing traps all the negative dreams.
I created my own version of a dream catcher using a decorative hoop found in a treasure (thrift) shop and a doily I crocheted for this project. Normally dream catchers have a simple webbing design, I opted to use this handmade doily.
I love dreams. They shed light on many aspects of my conscious and subconscious mind. Analyzing them gives me great insight into my inner world. I appreciate the idea of being protected while I sleep so that only that which benefits me comes through.
I love crocheting doilies. As a kid I watched my grandmother, fascinated as she crocheted one doily after another while rocking away in her favorite rocking chair. I learned to crochet simple projects around 10 and later learned how to make fancy doilies without realizing they were all a prelude to my love of mandalas.
Mandala means circle; whole and complete without beginner or ending. By themselves, they are spiritual portals. Since, 1999 I created over 150 mandalas, all through meditation and as part of my spiritual evolution and growth, and as a way to help others along their spiritual path.
In this piece, I combined my love of mandalas, doilies, and dream catchers to form this one dream portal.
May you always experience happy dreams.

Artist's Statement, “Calculated Results – Mathematical Art”, Sept 2011:

I began creating mandalas in early 1999 after a 10-day trip to Egypt. Through much of that region of the world patterns and symbols decorated just about every structure we visited, whether ancient, old or brand new. My analytical mind loved the geometry of the Islamic art and Egyptian hieroglyphics. Their elegance and symbolic beauty touched my heart and soul deeply.
When I returned home, I began seeing patterns and symbols in everything around me, even in my dreams. I proceeded to translate these patterns and symbols into mandalas. In early 2000 I learned to use meditation as a way to access the deeper meaning of these symmetrical and asymmetrical mandalas, fully exploring their therapeutic and metaphysical natures.
In July 2009 I visited the MC Escher exhibit at the Portland Art Museum (Oregon)...twice.  Seeing MC Escher's Circle Limit IV (Angels & Demons) blew me away.  The graph system he used to help him create it and his subsequent sketches, intrigued me even more.  After several months of research, I created my own graph to use as a guide for creating my own Hyperbolic Tessellation mandalas.

The Process
I free-hand draw my ideas on a piece of tracing paper over my hyperbolic graph.  When I finish the sketch, I then scan it into photoshop.  I import the scanned image into Illustrator where I use my graphics tablet/stylus pen, to free-hand trace over one section of the image.   I take that section and copy/paste it around the circle.  Because the design is free-hand drawn, it becomes a bit of a challenge to line everything up properly since some of the edges can be off just a bit and requires manual adjustments. The whole process takes about 3-4 hours per design.
I know that software applications exist to make this process easier and more precise however I prefer the natural/organic results.

About Hyperbolic Tessellation Mandalas

• A mandala, in Sanskrit, means circle, center, or sometimes sacred circle. Webster’s Dictionary defines it as “a design symbolizing the universe.” Carl Jung calls them "archetypes of wholeness" and used them for his own and his patients therapy.
• A tessellation is a pattern made of identical shapes, where the shapes fit together without any gaps and without overlapping each other.
• Simply put, hyperbolic plane is a flat, 2-dimensional representation of a 3-dimensional object.
• A hyperbolic tessellation uses a tessellation pattern, repeating it over a hyperbolic plane.
• A hyperbolic tessellation mandala uses a tessellation pattern, repeating it around a hyperbolic circle.

“Art for the well-being of your heart, mind, and soul”

Resume:
EXHIBITIONS
2011 - Solo

• July 1-31 - Sunnyside Up Cafe, Corvallis, OR
• October 1 - 31 - Fireworks Restaurant, Corvallis, OR
• December 1 - January 31 - Sacred Heart Medical Center, Springfield, OR

2011 - Juried Group

• September 2-27- “Calculated Results – Mathematical Art”, The Arts Center, Corvallis, OR
• September 23-25 - Corvallis Fall Festival Fine Arts Showcase

2010 - Group

• Community Open - The Arts Center, Corvallis, OR

2009 - Solo

• “All Things Floral”, Corvallis Senior Center, Corvallis, OR
• “Live Painting” ,Book Bin Window Display, Corvallis, OR

2009 - Juried Show

• “Wild Women”, River Gallery, Independence, OR

2009 Group
“Colored Pencil Society of America Portland Chapter Art Show & Sale”, DIVA Gallery, Eugene, OR

• “A Cornucopia of Colored Pencils”, Unitarian Universalist Fellowship Church, Corvallis, OR
• “ARTumn in Corvallis”, Corvallis Association of Independent Artists Group Show, Corvallis, OR

2008 - Solo

• “A Variety Show”, FireWorks Restaurant, Corvallis, OR
• “Mandalas”, Oregon State University Women’s Center, Corvallis OR
• “Using Math to Create Art”, Corvallis Montessori School, Corvallis, OR
• “In the Window”  Footwise Window Display, Corvallis, OR
• “Healing Arts” Samaritan Regional Cancer Center, Corvallis, OR

2008 - Group

• Corvallis Association of Independent Artists Open Studio, Corvallis, OR

2007 - Solo

• Sunnyside Up Cafe, Corvallis, OR
• “Healing Arts’ Samaritan Regional Cancer Center, Corvallis, OR

2007 - Group

• “Colored Pencil Society of America Portland Chapter Art Show & Sale”, Tualatin Heritage Center, Tualatin, OR
• Community Open - The Arts Center, Corvallis, OR

2006 - Juried Show

• “Art as a Catalyst”, The Arts Center, Corvallis, OR

SELF-PUBLISHED COLORING BOOKS

• 10 - Symmetry Mandala Coloring Books
• 5 - Asymmetry Mandala Coloring Books
• 4 - New Coloring Books to be published in 2010

ONLINE PUBLICATIONS

• “Mandala of the Month” Blog   www.MandalaOfTheMonth.com  Free mandala for visitors to download & color
• “Color Online”  www.TheMandalaLady.com/ColorOnline/   Visitors can color latest mandala of the month online
• “Art Progressions” Blog  ArtProgressions.wordpress.com  As I create my art, I update my progress on this blog
• “Let’s Tap into Our Creative Side” Blog TheMandalaLady.wordpress.com/   step-by-step creative activities blog

ILLUSTRATIONS/PUBLICATIONS

• “Soul of the Heart” Book & Meditation CD, Catherine VanWetter  12 different Mandala designs used throughout entire book (2009)
• “Poems that Count”, Linda Varsell Smith,  “Eternal II” and “Angelica” mandalas, front/back covers (2006)
• “Northwest Artists” art collection book, 200+ northwest artists, p. 105 (2005)

COMMUNITY ART PROJECTS 2009

• Intuitive Coloring Mural: As part of da Vinci Days “Geekapaloosa” event, visitors colored random 5” square paper tiles of a 4’x4’  puzzle without knowing in advance the full image.  View it @  www.TheMandalaLady.com/projects/Geek2009.php
• “Big Fish” Tessellation:  local & internet volunteers colored in small paper fish that go together as a large tessellation in the shape of a  large 12’ fish.   View it @ www.TheMandalalady.com/projects/AveImagination2009.php

COMMUNITY ART PROJECT 2008

• “Mandalas In Space” da Vinci Days Avenue of Imagination: 25 local & web volunteers colored a specially created mandala design or created their own, which were then attached to old CDs that hung around a ‘rocket ship’ to look like a ship traveling through a milky way of mandalas   View it @ www.TheMandalaLady.com/projects/AveImagination2008.php

MAIAH CREATIONS STUDIO & SHOPPE

• 12/2006 - 02/2009 - Owned & operated my downtown Corvallis studio/shoppe where I sold my original art, reproductions, coloring books, and greeting cards.
• “Upward Spiral” , Corvallis Gazette-Times, (2007)

TEACHING

• 2010 - Keizer Art Association: Color Pencil Classes.
• 12/2006 - 10/2008 - “Art Funshops”  Offered a variety of art ‘funshops’ at Maiah Creations Studio & Shoppe:  Playing with Color Pencil I, Playing with Color Pencil II, Playing with Markers, Mandala Meditations, Create your Own Mandalas, Playing with Watercolor Pencils

LECTURES

• 2005-2009  “Using Geometry to Make Art”  Annual presentation to Linus Pauling Middle School math students, Corvallis, OR
• 2007 “Using Geometry to Make Art” Philomath High School, Philomath, OR
• 2007 “Using Geometry to Make Art” Ashbrook School, Fifth Grade, Corvallis OR

COMMISSIONS

• “Hippy Shuttle Bus” da Vinci Days Community Art Project marketing materials (2010)
• “Sammie”  da Vinci Days Community Art Project marketing materials (2009)
• Personalized Mandalas:   Water Vessel (2007), Kahuna (2008), True Hearts (2008)
   

Visit Maureen Frank's website.

Martha Wehrle

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011 - Recipient of Juror's Choice Award

Education

• 1983-84 Japanese Ink Painting with Masako Iwasaki, Tokyo, Japan
• 1981 MFA in Painting, Pratt Institute of Art, Brooklyn, NY
• 1975 BS in Art with High Scholarship, Oregon State University

Selected Educational Service

• 1975-2006 Adjunct Professor of Art, Oregon State University

Selected Exhibitions

• 2011 “Earth, Water and Sky”, Martha Wehrle & Antonia Carriere, Crossroads Carnegie Art Center, Baker City, OR
• 2009 7th Around Oregon Annual, juried show, The Arts Center, Corvallis, OR
• 2009 Art About Agriculture, Guistina Art Gallery, LaSells Stewart Center, Corvallis, OR
• 2008 “New Work by Martha Wehrle & Julie Green”, The Arts Center, Corvallis, OR
• 2008 Solo Show, Art in the Governor’s Office, State Capitol, Salem, OR
• 2007 Solo Show, Fairbanks Gallery, Oregon State University Art Department, Corvallis, OR
• 2006 Solo Show, Pegasus Gallery, Corvallis, OR
• 2004 “Shaping Space: Contemporary Sculpture”, Benton County Museum, Philomath, OR
• 2003 Solo Show, Pegasus Gallery, Corvallis, OR
• 1997 “Abstract Concepts”, Maude Kerns, Eugene, OR
• 1996 Solo Show, “Wall Reliefs”, University of Portland, Portland, OR
• 1993 Solo Show, “New Directions - Wall Reliefs”, Fairbanks Gallery, Oregon State University
• 1991 “All Oregon Art Annual”, Oregon State Fair”, Salem, OR
• 1990 “Oregon Biennial Touring Exhibition”, traveled throughout Oregon, (1989-90)
• 1989 Solo Show, “Martha Wehrle; Oils and Pastels”, Salishan Lodge, Gleneden Beach, OR
• 1989 Solo Show, “New Work”, Pegasus Gallery, Corvallis, OR
• 1989 “Oregon Biennial”, Portland Art Museum, Portland, OR
• 1988 “National Invitational Drawing Exhibition”, Santa Rosa Junior College, Santa Rosa, CA
• 1987 “Oregon Biennial”, Portland Art Museum, Portland, OR
• 1986 “Oregon Artists at Expo”, Expo ’86, Vancouver, British Columbia, Canada
• 1986 “New American Talent 1986”, Texas Fine Arts Association, Austin, TX
• 1986 “Sunriver Annual Juried Exhibition of Oregon Art”, Sunriver Lodge, Sunriver, OR
• 1986 “Charcoal/Graphite Drawings”, Two-person show, Umpqua Valley Arts Association, Roseburg, OR
• 1986 “Paintings & Drawings by Paul Gunn & Martha Wehrle”, Humanities Gallery, LBCC, Albany, OR
• 1985 Solo Show, “Drawings”, Guistina Gallery, Oregon State University, Corvallis, OR
• 1985 “Oregon Biennial”, Portland Art Institute, Portland, OR
• 1985 “Juried Exhibition of Paintings & Prints”, Coos Art Museum, Coos Bay, OR
• 1985 “Fall National ‘85”, Cunningham Memorial Art Gallery, Bakersfield, CA
• 1983 “Martha Wehrle and Paul Gunn: Paintings & Drawings”, Fairbanks Hall, Oregon State University, Corvallis, OR
• 1983 “National Drawing ‘83”, Trenton State College, Trenton, NJ
• 1983 “Sunriver Annual Juried Exhibition”, Sunriver Lodge, Sunriver, OR
• 1982 “Big Sky Biennial II”, Idaho State University, Pocatello, ID
• 1981 “Pratt Institute New York Exhibit of Student Work”, Fashion Community 109, Shibuya, Tokyo, Japan
• 1981 “Artquake”, Invitational, U.S. Bank Plaza, Portland, OR

Work in Public Collections

• Valley Library at Oregon State University, Oregon Arts Commission 1% for Art
• Portland Art Museum Collection
• Oregon State University Collection
• University of Oregon Science Complex, Oregon Arts Commission 1% for Art
• Corvallis Public Library, Purchased in honor of outgoing Mayor Charles Vars

Other Selected Recognition

• 2003 Juror’s Choice, “Around Oregon Annual”, ArtCentric/Corvallis Arts Center, Corvallis, OR
• 1996 Second Place Award, “All Oregon Art Annual”, Oregon State Fair, Salem, OR
• 1996 Oregon State University L.L. Stewart Faculty Development Award to study art in Mali, West Africa
• 1995 First Place Award, “Celebration of the Arts/95, State Capitol Building, Salem, OR
• 1994 Oregon State University L.L. Stewart Faculty Development Award to study at in Ivory Coast.
• 1994 First Place Award, “Willamette Valley Juried Show”, Corvallis Arts Center, Corvallis, OR
• 1993 First Place Award, “All Oregon Art Annual”, Oregon State Fair, Salem, OR
• 1992 Women’s Faculty Development Grant, Oregon State University
• 1992 First Place Award, “Celebration of the Arts/92”, State Capitol Building, Salem,OR
• 1986 Featured Artist in Florilegia, A Retrospective of Calyx, A Journal of Art & Literature by Women, Vol. 10,
• 1985 Outstanding Instructor of the Year, Linn-Benton Community College, Albany, OR
• 1976 Featured Artist in Calyx- A Northwest Feminist Review, Vol. 2

Martha Hayden

'UN-SPEAK-ABLE' Exhibit, March 2011

'Coffee Stains,' Accordian fold book. digitally printed on both sides of archival paper made from coffee residue.

Mark Perry

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011

Statement:    

My name is Mark Perry.  I am an artist printmaker working out of my own printmaking studio.  I work mainly in etching, relief, collagraph, woodcut, and intaglio methods.  I am interested in layering, sequencing, variation, and repetition.  Most of my imagery is non-representational with symbolic and recognizable elements involved.  Most of my prints are one of a kind, and all of them are hand printed via a press.  The main theme has been based on “fate,” but that is changing to “surveillance.”

Biography:

Born: August 30, 1976, Oahu, Hawaii
2000: University of Hawaii at Manoa graduate, BFA Printmaking
2001-2008: Inkling Studio member
2008-2011: FM+B Press

Resume:

Education
1997-2000    
BFA Printmaking, University of Hawaii at Manoa.

Exhibitions
2011      

• Love in Print, Bite Studio, Portland, Oregon.
• 24”by36”, Radio Room, Portland, Oregon.
• 24”by36” Panelling, NiteLite, Portland, Oregon.
• Old Work in Frames, Gotham Tavern, Portland, Oregon.
• An Installation of old work, Mag-Big, Portland, Oregon.
• An Installation of old work, Rachel’s Office, Portland, Oregon.
• New Work, and Old Work Rejuvenated, Canby Library, Canby, Oregon.
• Old Work, Fancy Salon, Portland, Oregon.
• “Gonna Find You #2,” Guardino Gallery, Portland, Oregon.
• “Survelliance,” Clackamas Federal Credit Union, Oregon City, Oregon.
• New Work, Good Neighbor Pizza, Portland, Oregon.
• Old Work, Red Magnolia Salon, Portland, Oregon.
• Larger Work, Dannon Theater, Portland, Oregon.
• College Work, Gladstone Pizza, Portland, Oregon.           
• Oregon City, Clackamas Arts Alliance, Oregon City, Oregon.
• 3 New works, Milepost 5, Portland, Oregon.    

2010        

• 6 prints, Goodness Café, Portland, Oregon.
• Print Show, Splendoporium, Portland, Oregon.
• Under $100, #2 Print Shop, Portland, Oregon.
• Craft Fair, Cravedog Gallery, Portland, Oregon.
• Inkling Retrospective, Stonehenge, Portland, Oregon.
• Last Friday, Salty Teacup, Portland, Oregon.
• Transition, Tribute Gallery, Portland, Oregon.
• Food and Art, Benessere Oils and Balsamic Vinegars, Portland, Oregon.
• Liza invite, Cannon Beach Gallery, Cannon Beach, Oregon.
• Slim and Prints, Mode Du Jour, Newberg, Oregon.
• Old Work, Coffee Cat, Newberg, Oregon.
• “Retro,” Aloft Hotel at Cascade Station, Portland, Oregon.
• Cars and Art, Freeman Motor Company, Portland, Oregon.
• “Gonna Find You,” #2, Portland, Oregon.
• Poster Display, White Rabbit Backery, Aurora, Oregon.
• In Pink, Splendoporium, Portland, Oregon.
• Love in Print, Bite Studio, Portland, Oregon.
• New Work, Lower Columbia Community College, Longview, Washington
• Getting Ready, West Linn Library, West Linn, Oregon.
• A Public Hanging, Talisman Gallery, Portland, Oregon.

2009      

• Whenever it comes, Lane Community College, Eugene, Oregon.
• For Sale, Aliviar Coffeehouse, Portland, Oregon.
• Old Work, Oregon First Realty, Portland, Oregon.  
• New Work, Corvallis Arts Center, Corvallis, Oregon.
• New Work, Blackfish fishbowl Gallery, Portland, Oregon.
• New Work, First Congregational Church, Portland, Oregon.
• New Work, Alexander Niemeyer Gallery, Clackamas Community College, Clackamas, Oregon.

2008    

• Old Work, Mocha Momma’s, Milwaukie, Oregon.
• “Panoply,” Bite Studio, Portland, Oregon.
• New Work, Good Neighbor Pizzeria, Portland, Oregon.
• Juried Exhibition, Cannon Beach Gallery, Cannon Beach, Oregon.
• 4 Prints, Gallery Lune, Manzanita, Oregon.
• Juried Exhibition, Cannon Beach Gallery, Cannon Beach, Oregon.
• New Work, Gladstone Coffee, Portland, Oregon.
• “Fate-We Meet,” Launch Pad Gallery, Portland, Oregon.
• Two-Person Show, Guardino Gallery, Portland, Oregon.
• “Fate-Still Trying,” Portland Cats, Portland, Oregon.
• “Fate-Summer Living,” Akasu Hair Studio and Spa, Portland, Oregon.
• Juried Exhibition, Carnegie Art Center Gallery, Portland, Oregon.
• “Love In Print,” Bite Studio, Portland, Oregon.
• Juried Exhibition, Cannon Beach Gallery, Cannon Beach, Oregon.
• “Fate-Taking it in,” Cup and Saucer, Portland, Oregon.
• Emerging Artist’s Group Show, Cannon Beach Gallery, Cannon Beach, Oregon.
• 26th Annual Beaverton Visual Arts Showcase, Beaverton City Library, Beaverton, Oregon.

2007    

• “Fate-Step Back,” Growing Seeds, Portland, Oregon.
• “Fate-First Look,” Capitol Coffee House and Bistro, Portland, Oregon.
• One Night Only, Intown Church, Portland, Oregon.
• Talisman Gallery Juried Group Show, Talisman Gallery, Portland, Oregon.
• Bay Area Artist Association Regional Juried Exhibition, Coos Art Museum, Coos Bay, Oregon.
• Juried Exhibition, Cannon Beach Gallery, Cannon Beach, Oregon.
• “Secrets,” Launch Pad Gallery, Portland, Oregon.
• 1st Anniversary Juried Show, The 100th Monkey Studio, Portland, Oregon.
• Juried Exhibition, Cannon Beach Gallery, Cannon Beach, Oregon.
• Printmaker’s Group Show, Cannon Beach Gallery, Cannon Beach, Oregon.
• Group Show, Basement Gallery, Portland, Oregon.
• Juried Exhibition, Gresham Art Advisory Committee Tenth Annual Juried Exhibit, Gresham, Oregon.
• Juried Exhibition, Cannon Beach Gallery, Cannon Beach, Oregon.

2006    

• Group Show, Grow Gallery, Portland, Oregon.
• Juried Exhibition, Cannon Beach Gallery, Cannon Beach, Oregon.
• “Getting Over,” L and B Restaurant, West Linn, Oregon.
• Selected Shows, Lake Oswego Art Gallery, Lake Oswego, Oregon.
• Juried Exhibition, Cannon Beach, Gallery, Cannon Beach, Oregon.

 2005    

• Two-Person Show, Guardino Gallery, Portland, Oregon.
• “Panes” Ogle Gallery, Portland, Oregon.
• “The Haze,” Laurelthirst, Portland, Oregon.
• “Black and White,” Gallery Sam Adams, Room 220, City Hall, Portland, Oregon.

2004    

• “Little Things 4,” Guardino Gallery, Portland, Oregon.
• Two-Person Show, Guardino Gallery, Portland, Oregon.
• “Static,” Multnomah Arts Center, Center Gallery, Portland, Oregon.
• “On the Wall,” L&B Gallery, Portland, Oregon.

2003    

• Instructor’s Group Show, L&B Gallery, Portland, Oregon.
• “Little Things 3,” Guardino Gallery, Portland, Oregon.
• “Ten Year’s:  One Foot After Another,” Mark Woolley Gallery, Portland, Oregon.
• Two-Person Show, JKS Gallery, Portland, Oregon.
• “Selection and Anomalies,” L&B Gallery, Portland, Oregon.

2002    

• “Little Things 2,” Guardino Gallery, Portland, Oregon.
• Two Person Show, Guardino Gallery, Portland, Oregon.

2001    

• Two-Person Show, Berbati’s Pan, Portland, Oregon.
• “Black/White/Grey Gala Juried Art Show, Keizer Art Association, Keizer, Oregon.
• New and Old Prints, Utrecht, Portland, Oregon.
• Six Works, Frame Central, Gresham, Oregon.

2000    

• “Big Bubble Bonanza,” Class Glass Show, Common’s Gallery, Honolulu, Hawaii.
• “Mentor’s Select Exhibition,” Printmaking Gallery at Louisiana State University, Baton Rouge, Louisiana.
• “Artist’s of Hawaii 2000,” Honolulu Academy of Arts, Honolulu, Hawaii.
• “Pressed and Pulled IX,” Blackbridge Hall Gallery and the Museum and Archives of Georgia Education, Milledgeville, Georgia.
• “Printwork ‘2K,” Barrett Art Center, Poughkeepsie, New York.
• “23rd National Print Biennial 2000,” Silvermine Guild Galleries, New Canaan, Connecticut.
• “Prints 2000,” Academy Arts Center, Honolulu Academy of Arts, Honolulu, Hawaii.
• “College Art,” Windward Mall, Theater Wing, Kaneohe, Hawaii.
• “Honolulu Printmakers 72nd Annual Exhibition, Academy Arts Center, Honolulu Academy of Arts, Honolulu, Hawaii.

 1999    

• “inked,” Common’s Gallery, Honolulu, Hawaii.
• Printmaker’s Group Show, Javarama, Honolulu, Hawaii.
• “small scale sculpture,” Kennedy Theater, Honolulu, Hawaii.
• “College Art,” Windward Mall, Theater Wing, Kaneohe, Hawaii.
• “Honolulu Printmakers 71st Annual Exhibition,” Academy Arts Center, Honolulu Academy of Arts, Honolulu, Hawaii.
• “Vitreous Spectacle,” Gallery Iolani, Windward Community College, Kaneohe, Hawaii.                               

Art-related work experience    

2005-2006    

• Savoy Glass Studios, production artisan
  611 N. Tillamook
  Portland, Oregon 97227
  503-282-5095
  www.savoystudios.com

2005    

• Rose City Awards
  3675 SW Troy St.
  Portland, Oregon 97219
  503-246-7498

2005     

• DC Custom Silkscreening
  4001 N. Interstate Ave.
  Portland, Oregon 97227
  503-288-9434
  www.dcsilkscreening.com

2001-2005    

• Ostrom Glass and Metal Works
  2170 N Lewis St.
  Portland, Oregon 97227
  503-281-6469
  www.ostrom.us

2001-2004    

• Creative Kids and Leon
  3685 SW Cirrus Dr. Building 32 Suite F
  Beaverton, Oregon 97008
  503-222-3506
  www.lb-studios.com

2001    

• Great American Holiday Collectibles
  29507 SW Venezia Lane
  Wilsonville, Oregon 97070
  877-399-3111
  www.gr8american.com

Professional Experience

2000-2008    

• Inkling Studio Printmaker
  3508 SW Corbett Ave
  Portland, Oregon 97239
  503-224-2540

Visit Mark Perry's website.

Mark Beecroft — paper

Artist's Statement for
'Calculated Result - Mathematical Art,' September 2011:
I was keen to work with the imagery from the maps documenting the movement of the volcano clouds (Eyjafjallajokull) as the volcano ash had directly affected me as I was unable to fly to Milan design week as planned. I found these patterns were also relevant as the maps contained grids, which imply a structure and order. By block repeating these grid structures to create patterns I was applying a controlled system to imagery that document an event completely out of control and unpredictable. Having created the patterns from the map I began to experiment with the mathematical modules from Small Stellated Dodecahedron. The resulting piece experiments with reassembling these mathematical modules into new forms and placing them on a patterned background.

Artist's Resume:
Exhibitions
May 2011: Amateras Paper Exhibition, Alley Gallery, Bulgaria
October 2010: Made in Manchester: MA Show, Holden Gallery.
May 2010: The Power of Copying, Xuzhou Museum of Art, China.
May 2006: Art of the Stitch, touring exhibition, RWA Bristol, The HUB Sleaford, Williamson Art Gallery and Museum Birkenhead.
April 2006: Paperworks: Paper Art Now, Bury Art Gallery and Museum.
July 2005: Untitled exhibition, Osteopathic Centre for Children, Ancoats, Manchester.

Education
Sept 2009-Sept 2010: Manchester Metropolitan University, MA Textiles
 (AHRC funded Professional Preparation Masters Scheme)
Sept 2006-June 2007: The University of Bolton, PGCE (Further Adult and Higher Education)
Sept 2002-June 2005: Manchester Metropolitan University, BA(Hons) Embroidery: First Class
Sept 1999-June 2001: South Nottingham College, BTEC National Diploma Design: Distinction

Employment
Sept 2008- Present: Access Summit, Study skills tutor
Sept 2007- Present: Manchester Metropolitan University, Associate Lecturer:  
BA (Hons)Creative Practice, BA(Hons) Embroidery

Visit Mark Beecroft's website.

Mark Allison

The Arts Center Exhibitions:

• Finger Licking Good: Art About Food, April/May 2012

Visit Mark Allison's website.

Marie Kelzer

'UN-SPEAK-ABLE' Exhibit, March 2011

'Questionable Privilege - A Ticker Tape Treatise,' Computer designed and printed by binder on 80lb. cover Neenah paper.  Six signatures sewn on linen tapes and case bound.  Paste paper cover over boards by binder.  Paste Paper Dust Jacket.

'History Repeats:  Word by Word,' Computer printed onto a disbound calendar of pages of days.  Rebound, sewn on linen tapes and case bound.  Paste paper cover by binder over boards with computer printed words.  Hand painted canvas spine piece. 

Mariana Mace — fiber

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011
• 'Calculated Result - Mathematical Art,' Main Gallery, September 2011
• 'Where Birds Dream' Winter Show and Silent Auction, 2010

Artist's Statement, 'words are the keys to the door of my thoughts' - 'Portals,' Winter Show & Silent Auction, 2011:
For almost my entire life, I have been fascinated by using my hands to make things, to put materials together, to interconnect elements. Yarns, beads, fabric pieces, parts of plants – each small stitch, or row, or piece of fabric is much like every other, but, oh,  how they combine to create endless variety!
Working with my hands connects me to family – to the aunt who taught me to knit, the parents who encouraged me to bead, the daughter who wound skeins and balls of yarn for my weaving, and the granddaughters who learn basketry from me. Hand work also connects me to artisans of other times and other cultures.
My academic background is in anthropology, Native American art history, and world textiles. I study the art and fine craft of many cultures in museums, books, and world markets.  My goal is to respectfully use some of their ideas, materials and techniques in my own way, in my own work, creating new art from old traditions.
I enjoy collecting or creating the materials I use, going out in the woods to pull bark from cedar trees and grub in the dirt for spruce root or tules.  The weaving that travels through my loom is inspired by my handspun or hand dyed yarns.
For this show I somehow began to think of the journals I keep and how they are portals into my immediate and distant past, or a to a trip, or an experience.  I thought of them in the same way as my handwork – putting one letter after another to form words, one word with others to form ideas and memories.  I hope someone will use my entry: “The keys to the doors to my thoughts” to open their own doors..

Artist's Statement, 'Calculated Result - Mathematical Art,' September 2011:
Folk traditions of weaving often involve complex but informally learned mathematical concepts. The Soga mat weavers of Uganda work with color, a twill weave structure and alternating color sequences in groups of warps and wefts to produce intricate geometric patterns. Diagonal axes of symmetry, discontinuous lines, toothed squeares all combine to create a viaually stunning work. For this exhibit I designed a woven wall piece using strips of stiffened African print fabric alternating with a deep indigo blue.
As a textile artist I always work with the concept of putting together pieces to create a whole. Baskets, beadwork, quilts all build on interconnection. The geometry of each small stitch, or row, or piece combines in an endless variety.

Artist's Statement,  'Where Birds Dream,' Winter 2010:
I have had a lifelong fascination for using my hands to interconnect elements – parts of plants, yarns, beads, fabric pieces. Each small stitch, or row, or piece is much like every other, but they combine in endless variety.  It is important to create or gather  most of the materials I use.
Working with my hands connects me to family members who taught and learn from me. It also connects me to artisans of other times and other cultures.  I study their art in museums, books, and world markets and respectfully use some of their techniques, in my own way, in my  pieces.
The theme for this show -"Where Birds Dream" - came at a time when climate change, Oregon forests and the spotted owl were once again in the headlines.  Bird houses are the human attempt to provide refuge for wild animals.  They can't really replace the natural settings that support the wellfare of many species.  I was reminded that many birds thrive only in habitats protected from human activity.  If those disappear or are overrun by other displaced animals then there will truly be no vacancy for too many threatened birds.

Artist's Resume:
Mariana Mace is a fiber artist living and working in Corvallis, Oregon. She has a background in anthropology, textiles and Native American art history. Her work in weaving and basketry uses local materials that have been gathered and/or prepared by her combined with ideas from many cultural backgrounds, including her own.
Born in upstate New York and raised in Ohio, she moved to Oregon more than 40 years ago. She has earned two master’s degrees that combine textiles, anthropology, Latin American and Native American art history and museum studies. Her work has been exhibited and collected in the Pacific Northwest, other regions of the United States, Europe and Australia.
Mariana is curator emerita of the Jensen Arctic Museum at Western Oregon University. While in that position, she taught Native American Art History and Museum Studies. She also curated several Arctic art exhibits on the campus and at the Oregon State Capital as well as the Corvallis Arts Center. She co-authored Woven Beauty, an award winning book about the Clark County, Washington Museum’s basket collection. She has written articles on beadwork for the American Indian Art Magazine and Sotheby’s Auction House and on basketry for the National Basketry Organization and the Smithsonian Institution.

Affiliated orgs and galleries:

2011
Oceanic Arts, Newport, OR,

2010
Call and Response: the Conversation Continues, eight member group show, Giustina Gallery, Oregon State University

2009
Nothing New, national juried show, Textile Center, Minneapolis, MN
Call and Response, seven member group show, Giustina Gallery, Oregon State University
Personal Journeys, individual show, Corvallis Arts Center, Corvallis, OR

2008
Intertwined, three person invitational, Benton County Historical Museum
Small Expressions, national juried show, Handweavers Guild of America, Tampa, FL
Living With Beauty, national juried show, Business of Art Center, Manitou Springs, CO
Weaving Wright From the Garden, regional juried and invitational show, Gordon House ( Frank Lloyd Wright), Silverton, OR

2007
Sticks & Stones, group show, DIVA, Eugene, OR
Public Lands/Personal Art, featured artist show, Gallerie Nouveau, Corvallis, OR
Corvallis Community Open, ArtCentric, Corvallis, OR

2006
Corvallis Fall Festival Gallery, invited artist

2004
Trees to Treasures, group exhibit, Footwise Gallery, Corvallis OR
Basketry Reviewed, juried exhibit, Corvallis Art Center/ArtCentric, Corvallis, OR

2003
Around Oregon, juried exhibit, Corvallis Art Center/ArtCentric, Corvallis, OR
Group Show, Footwise Gallery, Corvallis, OR
Corvallis Community Open, Corvallis Art Center/ArtCentric, Corvallis, OR

2000
Hidden Talent, Art by Oregon Museum Professionals, Benton County Historical Museum, Philomath, OR

2001
Group Show, Northwest Basket Weavers Retreat, Pilgrim Firs, WA

2000
Best of Oregon, juried traveling exhibit, Weavers Guilds of Oregon
Corvallis Community Open, Honorable Mention, Corvallis Arts Center/ArtCentric, Corvallis, OR
Empty Vessel, Corvallis Art Center/ArtCentric, Corvallis, OR

1998
Featured Artist, Canby Flock and Fiber, Canby OR
Juried Basket Exhibit, Convergence, Handweavers Guild of America, Portland, OR

1997
Sunburst Gallery Invitational Basketry Show, Lake Chelan, WA

1994
From Many Hands, juried group exhibit, Multnomah Art Center, Portland, OR

Visit Mariana Mace's website.

Margaret Davis

'UN-SPEAK-ABLE' Exhibit, March 2011

'Holiday Book for Scrooges,' Letterpress and stamp on paper, linen thread.

'A Tango with Ataturk,' mixed

Margaret Couch Cogswell

'UN-SPEAK-ABLE' Exhibit, March 2011

'Excessive Talking ,'  mixed media: paper bag, recycled paper, davey board, ink, shellac.

'Bird Brain,' mixed media: book pages, binding wire, gesso, shellac, thread.

Macy Chadwick

'UN-SPEAK-ABLE' Exhibit, March 2011

'Letter by Letter,' letterpress printed with handset type and polymer plates, Mulberry paper treated with persimmon dye, knotted linen threads.

'Connect the Dots,' letterpress printed on Kitakata paper with pressure prints, relief prints, polymer plates, and text handset in Optima.

Luz Marina Ruiz

'UN-SPEAK-ABLE' Exhibit, March 2011

'Concealed,' composed of etchings, collagraphs, woodcuts and an interior light for view the text through the portals.

Liz Hoffman — fiber

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011

Artist Statement, 'Portals,' Winter Show & Silent Auction, 2011:

For me, a portal is a threshold to an adventure. Destination is descriptive of a journey. Calligraphic markings, exotic architecture, mixed media, and travel symbols represent an invitation to move across time and space. Painting, masking, drawing, stenciling, stamping, and machine embroidery and quilting were used to create this portal piece.

Artist Biography:

Fiber has held my curiosity and creative interest for most of my adult life. I enjoy learning about the cultural and historic aspects of textiles through written material as well as hands on activity. Lately I’ve been working with mixed media, blending traditional sewing skills with alternative art techniques. I also find myself drawing on my calligraphy training from many years ago. I’ve learned that life isn’t linear. It is cyclic experience with each cycle providing more depth and clarity. 

Lisa Gronseth

The Arts Center Exhibit(s):

• '9th Around Oregon Annual Exhibition,' October, 2011

Statement:

Lisa Gronseth's paintings examine architecture as a subject in itself, as a social system, and as a lens to focus on other social constructs which are less obviously geometric in their ideological structure. Lisa often makes work about places she has a connection to. Her current work contains images of the United Arab Emirates, where she taught for two years, and of the Pacific Northwest where she currently lives. Her layering and collage processes reflect her subject matter. She paints paper and mylar and cuts and reassembles the pieces to create collage paintings. Her buildings are literally constructed in her collages. Part of her process involves making templates which are both full scale drawings and smaller templates of the various parts. She layers these together to make collaged drawings. In using these materials and methods, Lisa Gronseth answers the modernist call to make process and material clear to the viewer. Her paintings and drawings have a literalness and clarity of process while creating highly illusionistic spaces.

Education:

• Yale University MFA in Painting, 1999
• Cornish College of the Arts, 1995-6
• Reed College, BA, Philosophy, 1996

Exhibitions and Awards:

• March 2012, Hotels I’ve Never Stayed In, Blackfish Gallery, Portland, OR
• January 2012, Under the Influence, Blackfish Gallery, Portland, OR
• March 2011, 24th Annual McNeese Works on Paper, juror: Dan Cameron, Lake Charles, LA
• January 2011, New Members Show, Blackfish Gallery, Portland, OR
• 2010, Small Works Show, Blackfish Gallery, Portland, OR
• 2010, Northwest Modern – The Spirit of Place, juror: Alicia Johnson, Portland, OR
• 2001, Faculty Show, American University in Dubai, Dubai, United Arab Emirates
• 2000, Faculty Show, American University in Dubai, Dubai, United Arab Emirates
• 1999, Liquitex Grant
• 1999, MFA Thesis Show, Yale School of Art, New Haven, CT
• 1998, Returning Student Show, Yale School of Art, New Haven, CT
• 1998, Teaching Assistant Show, Yale School of Art, New Haven, CT
• 1998, Norfolk Art Exhibition, Norfolk, CT
• 1997, Incoming Student Show, Yale School of Art, New Haven, CT
• 1996, Instructor’s Choice, juried show, 2nd prize, Seattle, WA

Teaching:

• Portland State University, 2001-2, 2007-present.
• American University in Dubai, Dubai, United Arab Emirates, 1999-2001
• Yale University School of Art, teaching assistantships, 1998-9

Lectures:

• Art and Identity in a Globalizing World, Portland State University, 2009 – 2001
• The Argument in Art, Waseda University Transnational Program and Portland State University, 2006
• Two Modernisms, Waseda University Transnational Program and Portland State University, 2005

Travel:
I have lived in England, Taiwan, Spain and the United Arab Emirates and have traveled extensively in China, India, Pakistan, Southeast Asia, the Middle East, and Northern Africa.

Visit Lisa Gronseth's website.

Lisa Caballero

After graduating from Yale in 1978 with a Religious Studies degree, Lisa Caballero worked for twelve years as a computer programmer, while painting at night. After moving to New York in 1992 she found the traditional art education she had sought for years:

"I learned of the Boston painter R.H.Ives Gammell, who had died a decade earlier, and I found teachers who had studied with him. Gammell is a significant figure in American Realism, mainly because of his impact as a teacher. He taught a generation of artists in his private atelier, and his legacy can be seen in the spate of independent, non-degree granting ateliers which are revitalizing art education across the country.  As I mature, my dedication to Realism grows. To me, realism is about observing, or attending to a subject. It moves people because it bears witness to the ordinary. It is comforting to realize that somebody else notices, brushstroke by brushstroke, what you notice, and finds it significant.   But my understanding of Realism, and verisimilitude, is broadening. I'm noticing that American Realism seems to be becoming increasingly precise and descriptive, at the expense of the subjective experience of vision. Vision is messy, the world is infinitely complex, and I'm beginning to think that to be true to our experience, Realism should embrace both confusion and ambiguity...that it would be more "realistic" if it did."

Lisa Caballero is living and working in Portland, Oregon, loving the drizzly, grey skies with its soft light.

Visit Lisa Caballero's website.

Linda Kliewer — ceramics

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011

Artist's Statement, 'Portals,' Winter Show & Silent Auction, 2011:

When I was thinking of a portal, my thoughts went towards an opening in a very rough and plain wall in an ancient building in the desert.  Upon entering the doorway (portal) one travelled through a dark cavern and then went towards a light on the other end.  Once through the door, one entered into a jungle paradise with huge flowers and vines.  It represented, to me, leaving a dark, closed part of your life, and re-emerging into a jungle garden of beauty, calm, and contentment.

Statement:

I am a ceramic artist living and working in Battle Ground, Washington who does both hand built and wheel-thrown work. I love gardening and feel a strong connection with nature. My designs reflect plants and flowers, many of which are found in my garden, and are carved, imprinted or added onto the clay when it is still moist. Each design is original and intended to compliment the form of the work. Following the initial firing to dry the clay, the finished pots are then covered with a colored transparent or matt glaze that enhances the design and fired in an electric kiln. My designs are displayed on decorative vessels, sculpture and wall tiles.

Resume

Education:

• Clark Community College, Vancouver, WA (1995-1997)
• Ceramics and Floral Design Programs

Exhibitions:

• Oregon Potter’s Association Showcase, Portland, Oregon
• City of Gresham, 2000 Multi-Media Art Exhibit
• Battle Ground Art Alliance Art Show (Honorable Mention & Third Place Awards)
• Maude Kerns Art Center Juried Show “Potter to Potter” (2004)
• The Wichita National, Wichita, Kansas (2005)
• Sixth Street Gallery, Vancouver, WA, “Ladies Do, Women Don’t” Show (2006)
• Katherine Butler Gallery National Juried Exhibition Invite, Sarasota, FL (2008)
• Lake Oswego Festival of the Arts (2009)
  Honorable mention award – Sculpture Division
• Contemporary Crafts Gallery, Portland, Oregon
  “Big Pots” exhibit as part of the Oregon Potter’s Association
• City of Gresham 2010 Juried Show
• City of Gresham 2010 “Along the Open Road” Show (personal invite)
• First Place Award/Originality Award, Battle Ground Art Alliance Spring Show 2010

Publications:

• Lark Books: 500 Cups (2005)
• Craft Report Magazine, article (2005)
• DIG Magazine (2005)
• Lark Books: 500 Tiles (2008)
• Ceramics Today, by Jeff Synder (2010)

Gallery Representation (current):

• The Art Center Gallery, Corvallis, Oregon

Installation Art:

• Kiwanis Park wall tile mosaic, City of Battle Ground
• Project Manager and Principal Artist (2007)

Visit Linda Kliewer's website.

Linda J. Edwards — painting

The Arts Center Exhibitions:

• 'Portals,' Winter Show & Silent Auction, 2011
• 'Linda Edwards and Jo Warren,' Corrine Woodman Galleries, Aug/Sep 2010

Artist's Statement, 'Corvallis Downtown #3' - 'Portals,' Winter Show & Silent Auction, 2011:

"Making art is essential to my existence. I draw and paint because my life would be very empty without on-going creative activity. Creating an exciting visual image with strong patterns of lights and darks, interesting shapes, and stunning color relationships makes my day. Presenting a concept that inspires me completes the picture.

I taught art for community colleges in northern California for 24 years before moving to Oregon in 2007 to live in CohoEcovillage, a cohousing community.  I continue to teach watercolor classes through Linn-Benton Albany Community Ed. I find teaching art very fulfilling, because it brings me great joy to help people learn skills that enhance their creative endeavors.

Currently the focus of my art is watercolor and oil painting. I have spent many wonderful hours painting on-location and in my studio in both media. I am happy working with most categories of subject matter. I am especially interested in subject matter that challenges the viewer to see the world in an unexpected way."

Linda J. Edwards, October, 2011
 

Artist's Statement, 'Linda Edwards and Jo Warren,' Corrine Woodman Galleries, Aug/Sep 2010:

"I draw and paint because my life would be very empty without on-going creative activity. And my life would be very empty if I could not share this love of art with others. One of the ways I do this is through teaching. I have taught art for community colleges since 2983. I find teachning art very fulfilling, because it brings me great joy to help people learn skills that enahance their creative endevours.

Recently the focus of my art has been watercolor and oil painting. I have spent many wonderful hours painting on location in both media. I alos enjoy working in my studio from my photographs of a variety of subject matter. I like combining images, to create something unexpected. For about a year I have been involved with painting challenges from a blogsite “Different Strokes from Different Folks”. I have joined many others in painting an interpretation of someone elses’s photographs (those of Karin Jurick). As I respond to these photos, I see myself moving in a new direction in my artwork. The style and subject matter of the paintings in the August 2010 Corine Woodman Gallery at The Arts Center reflect this current creative influence in my life.
The opportunities for joy through art are wide open".

Born in San Francisco, Linda Edwards has been involved with art throughout her life. She has a B.A. in Painting from the University of California, Berkeley and an M.A. in Printmaking from San Francisco State university. She recently moved to Corvallis, Oregon to live in Coho Ecovillage, an intentional cohousing community. Prior to her move she lived in Santa Rosa, California and taught drawing and painting at Santa Rosa junior college and Napa Valley College for 24 years. She is currently teaching drawing and watercolor painting for Linn-Benton Community College. Ms Edwards’ artwork appears in collections both in the United States and in Europe including the permanent collection of the Smithsonian Institute in Washington DC.

Corvallis Art Guild member

Visit Linda J. Edwards's website.

Libby Barrett

'UN-SPEAK-ABLE' Exhibit, March 2011

'Censored,' hardware cloth, shredded book.

Leslie Green — ceramics

The Arts Center Exhibit(s):

• Conyne/Green, June 2012
• 'Portals,' Winter Show & Silent Auction, 2011
• 9th Around Oregon Annual Exhibition,' October, 2011

Artist's Statement, 'Cave' - 'Portals,' Winter Show & Silent Auction, 2011:
    
"Cave entrances – portals – led prehistoric humans and wild animals into places of shelter and safety.  Cave walls also provided ancient people with a canvas to express their relationships with the non-human world through art. Looking across a threshold at the depiction of large, vanishing predators, honors both ancient connections and the animals essential to natural ecosystems today."
- Leslie Green, 2011

Artist's Statement, 9th Around Oregon Annual Exhibition,' October, 2011:

Human relationships with large animals – especially predators – have changed dramatically from pre-civilized times to the present.  We have been modern humans for about 100,000 years; most of that time we were dependent on wild animals for our survival.  We were also hunted by predators, and developed much of our intelligence and communication skills to avoid being eaten. The large predators that have survived – most under threat of extinction – assure balanced, healthy ecosystems.  According to recent studies, without these animals, entire animal and plant populations will collapse.  Many are slowly disintegrating already, creating negative consequences for all life – including mankind.

It has been a flash in time, a mere 12,000 years, since the beginning of animal domestication and rise of civilization.  In this short period, our ancient dance with wild animals has been disregarded, repressed and forgotten.  The purpose of my work is to open our eyes to the meaning we once shared with non-human beings.  Through art we can learn to appreciate their “otherness”, thus helping to create aliveness in us by reaffirming our essential connection to nature.  Acknowledging this connection will help us become more adamant defenders of the wild, which ultimately sustains us.

My sculpture attempts to capture an ancient aliveness, an animal essence.  I’m honoring large predators – and other Pleistocene animals -- in non-representational depictions, communicating to the barely conscious understanding held by most modern humans.

Artist's Biography:

My study of ceramics began in 1968 at age 16.  I learned the skill of throwing pottery from mentor Esther James – now 85 -- and continued studying at U.C. Irvine with John Mason and at U.C.L.A., where I received a B.A. in Painting, Sculpture and Graphic Arts.  In 1979, after teaching ceramics for five years and working as a production potter, I established Terraclay Studio in Santa Monica, California, where I designed and produced architectural-scale ceramics for corporations and individuals across the country, including stoneware wall murals, sculpture and large- scaled vessels.  

In 1991 I relocated in Oregon, and began a series of organic-style stoneware wall pieces, indoor fountains and sculpted torso-like vessels.  In 2000 I designed and began production of raku work that continues to sell at galleries including The Real Mother Goose, Earthworks, RiverSea and Artfulhome.com.  I have exhibited work in national ceramic competitions, and various private collections include my art.  I teach raku at Linn-Benton Community College in Corvallis and advanced handbuilding classes in my studio in Philomath.

My current work includes soda and high-fired stoneware sculpture, vessels and wallpieces inspired by Pleistocene cave art, nature and large animals.

Visit Leslie Green's website.

Lauren Ohlgren

The Arts Center Exhibits:

• 'Finger Licking Good: Art About Food,' April/May 2012

Visit Lauren Ohlgren's website.

Laurel Thompson — Painting

Winner of the People's Choice Award in the Ruth and Jim Howland Community OPEN exhibition 2009 at The Arts Center in Corvallis with A Walk in My Town.  She painted a pair of sneakers with detailed landmarks of the town of Corvallis.

Laura Russell

'UN-SPEAK-ABLE' Exhibit, March 2011

'Nocturne,' Archival digital printing on Mohawk Superfine. Tunnel book with detachable cloth-covered, three-panel, wrap-around cover. Clam shell box..

Lane Hall

'UN-SPEAK-ABLE' Exhibit, March 2011

'The Foragers: Mushroom Collecting in a Beech-Maple Forest,' digital print on found and prepared paper, case binding.

'The Flowage Rebellions,' digital print on found and prepared paper, case binding.