Portland Open Studios artists Betsy LeVine and Suzy Kitman, along with previous PDXOS artists Amelia Opie, Anna Magruder, Carlie Leagjeld, Jennifer Feeney, Quin Sweetman, and Shawn Demarest will be participating in “Entitled”, a 26-artist group show at Glyph Cafe in NW Portland. Please join them at the First Thursday opening reception on 10/2 from 5-9pm.
Check out Chas Martin’s blog to see what he’s up to getting ready for Portland Open Studios next month. Chas is Artist #59 on the tour.
Andy Clift’s beautiful ceramic sculptures will be at Pulse Art Gallery, 328 NW Broadway, #117, Portland all of September. The opening reception is tomorrow, September 4. Be sure to stop by if you’re in the area.
Aristotle’s Poetics and The Name of the Rose
by Poppy Dully
My altered books are products of discovery, bringing together books and films. A 1934 edition of Aristotle’s Poetics led me to Umberto Eco’s historical novel The Name of the Rose which led me to the film, The Name of the Rose, directed by Jean-Jacques Annand. I loved the suspense of the novel and the director’s faithful portrayal of 14th century Benedictine monastery life. Using the film as my guide, I created 18 monotypes which briefly tell the story in the novel. I printed the monotypes on the pages of Aristotle’s Poetics which plays a major role in the book and film. The monotypes were glued on an accordion book and mounted in the book’s original cover with dust jacket. There is an appropriate quote in the novel, “books always speak of other books, and every story tells a story that has already been told.” My altered books can be seen at 23 Sandy Gallery, 623 NE 23rd Avenue, Portland, OR 97232, http://www.23sandy.com , on my website, www.poppydully.com, and in my studio during Portland Open Studios.
Donna Cooper, Artist #19, will have her work on display at the Starbucks at SE Milwaukie & Bybee for the full month of September. She is busy putting on the finishing touches to all the pieces she plans to show. Check it out at http://dcooperweaving.com/works-in-progress-july-august/
Portland Open Studios is at Art in the Pearl this weekend.
Come by and see us at booth D12 on 8th Ave just north of Davis (by the Customs House).
We will have artists demoing all three days.
Saturday August 30, 2014
AM Shift 10 AM to 2 PM
Karl Ramentol – Oil
Stan Peterson – Wood Carving
Stephanie Wiarda – Jewelry
PM Shift 2 PM to 6 PM
Karl Kaiser – Encaustic
PM Shore – Acrylic
Samyak Yamauchi – Mixed Media
Sunday August 31, 2014
AM Shift 10 AM to 2 PM
Faie McGuire – Mixed Media
Selene Robinowitz – Acrylic
PM Shift 2 PM to 6 PM
Chris Harmon – Print Making
Babette Harvey – Clay
Poppy Dully – Acrylic, Mixed Media
Monday September1, 2014
AM Shift 10 AM to 2 PM
Beth Yazhari – Fiber, Fabric, Mixed Media
Jennifer Love – Porcelain
Carolyn Drake – Porcelain
PM Shift 2 PM to 5 PM
Chris Kelleher – Acrylic
Christopher Wagner – Wood
Anne Mavor – Encaustic Watercolor
I have been making beaded jewelry for ten years and I love using glass beads. I’ve bought Carli Schultz’s creations many times and so was thrilled when I learned she was teaching bead making at Aquila Glass School. What an opportunity to learn from my favorite glass artist!
See more of her work at http://www.juiceglass.com/
Carli will be opening her studio for Portland Open Studios this fall. I promise you won’t be disappointed when you stop by to see her work.
The class was very hands-on and Carli started at the beginning, with how to turn on the gas. I was a little afraid to do this, because I had a little “incident” with gas when I was 18, but it’s really easy – you just have to learn the rules. She spent a lot of time on safety issues in general, like wearing the goggles, which I really appreciated.
Carli gave us just the right amount of teaching, then left the rest of the time for hands on bead making, with her giving hints and reinforcing the basics. She started by teaching us exactly how to make a bead, and spent time with each of us to make sure we got it right. Half way through the class, Carli did another demonstration and showed us several techniques for embellishing the beads with glass made into dots and stringers.
Aquila is a great place to learn about both fusing glass and torch working. Check out their website at http://www.aquilaglassschool.com/ . One of the great things about taking a class at Aquila is that once you have taken a class you are welcome back there any time to use the studio. They will also cool your beads down and fire them for you.
“Inspired by photos of ancient monuments in Europe and New England, my goal is to express the tender and deep connections between humans and the places and cultures in which they live. In particular, my work is a love affair with the places my family has been connected to over time in an effort to find connection for myself. To reference time passing, I developed a painting technique that blends the fragile transparency of watercolors with the luminosity and depth of encaustic.”
Don’t miss seeing Ann Mavor’s encaustic watercolor paintings from her Mounds and Stones series. They will be included in a three person show at The Art Gallery at Lower Columbia College in Longview, WA. from September 24-October 17, 2014. The other artists are Al Crane and Chia Hui ‘Tracy’ Shen. The reception is Tuesday, September 23, 2014, 4-6 pm.
Artist Beth Yazhari (Artist #96) recently interviewed fellow artist Anne Mavor (Artist #60)
Anne Mavor, who is a talented writer in addition to being a visual artist, is influenced by many diverse sources. Her father, an Astro-Archeologist, was fascinated by ancient stone mounds built by Neolithic and Bronze age cultures, and Anne has painted many images of these Stonehenge-like sites using some of his 40 years worth of research photos as inspiration. Her encaustic watercolor paintings feature transparent layers of color and often have an ethereal watery quality. Anne enjoys the experimental nature of her unique painting process, but she also spends a great deal of her time working on large installations that deal with personal and philosophical themes.
During my interview with Anne, she said of her artistic process, “For me, it’s a lot about heritage and family, and home and place—where do I fit in, where do I belong? Where is my people? Where can I be?”
In her brand new studio, which is adjacent to her home and which she is building in preparation for this year’s Portland Open Studios tour, Anne will be looking for feedback from the public on a prototype of her newest creative endeavor, an installation project called “I Am My White Ancestors: Self-Portraits Through Time.” This will consist of large photos of herself dressed as such ancestors of hers as Eugenia Buchanan (b. 1823), who lived in South Carolina and owned slaves (see photo below).
Anne is trying to figure out what made her own ancestors take part in oppressive systems; she describes her work as “a love affair with the places my family has been connected to in an effort to find connection for myself.”
Portland Open Studios is an opportunity for Anne to share her thought-provoking and beautiful art with others. The goal of her paintings is to “express the tender and deep bonds between humans and place,” and she wants her art to be a catalyst for helping our generation to heal racism and to have a healthy and sustainable relationship with the earth. The opportunity to be one of the first to visit her in her new studio this October should not be missed!
Here’s the second interview, a couple named Lauren and Evan, young collectors and committed Portland Open Studios participants. They have just begun to purchase local work.
Tell me about the first pieces you purchased. Were those from your first year on the tour?
Evan: Those are from the first studio we went to.
And you bought something? Were you planning on that?
Lauren: No. We just picked her out of the calendar. She had some huge pieces, which were really beautiful, but a little outside of our price range. These made us think, we can get something! Let’s get something!
What drew you to them?
Lauren: They are pretty unique. They sort of glow with light. At the time we were living in a house that had lots and lots of blue walls, so when we brought them home they looked really perfect. Just the little slivers of blue picked up on all the colors in the house. I think the paintings just seem sort of magical and wonderful. We’re not too into realism, so I think that was appealing. And they were attainable.
How has your experience been interacting with the artists?
Lauren: For me, it’s interesting to see the different personalities. All these people and they open up their homes to Portland, which is amazing to me. All of them, whether they’re organized or not. I don’t know how on earth I would prepare for open studios if I were an artist.
Evan: It’s nice to get the artists who are personable and will reach out and explain the process. The process and their process. How they conceptualize it and go about doing what they do. Certainly there are items we would never be interested in buying—a gilded sword or a mace—but are just beautiful and amazing. To have people say: I do this and then I do this. Really, that they’re so passionate about it. It’s neat to see that.
Lauren: Because you don’t get that at museums and galleries. If you go to the gallery opening, maybe you can see the artist talking about their stuff. But I love that it’s so unique. There have been very few places where we haven’t had the opportunity for a one-on-one.
Has participating changed your perspective on art?
It makes me appreciate being able to see the open studios more. When we go to museums and things. Its just there’s a booth with a bunch of art in it and you don’t really know how it came to be there or why they’ve chosen these things. I like when you can see things in process. You can see a painting at the beginning and something they’ve finished. The tour personalizes it.
How will you decide what piece you will buy?
Lauren: Part of the great thing about the tour is getting a piece and being able to talk about it. There’s a potter or sculptor in north Portland who collected his mud from very specific places and they all had different looks. When you fired them, they looked totally different. Those stories are the kind of things that are important.
Evan: In the past, we’ve walked into a place, looked around, and starting looking at each other and then looking back at a couple of pieces. For something like fifty bucks, if we like it, let’s get it. For our largest piece, we thought about it for a year. It’s what plops in front of our eyes and grabs our attention.
But the story is important?
Lauren: Yeah. And having a good interaction with the artist. In a situation such as open studios, I can’t see us walking in somewhere, seeing something we thought was cool, and then without talking to anybody, checking the sticker and saying, we’ll just take that. Being able to talk about it is very important. Even if no one ever asks about it.