Artist Statements | 12th Annual Juried Show


Janelle AbbottJanelle Abbott
Compounding traumas demanded a constant state of motion; no room to rest, only work, and work to keep those traumas concealed. Then a light broke through and my work, my art became my healing. Still in motion, weaving, knitting, making, but now building spaces of rest: a chair with a sweater integrated into the frame. A rug with pants woven into the weft. When worn, the body is blessed with the obligation of rest. Crafted from the debris of chaos and trials, my work is both sanctuary and mausoleum.


Ken AllisonKen Allison
Most of my work is photographing ordinary people in public spaces. My subjects are usually not posed and rarely affluent. More than ever now I witness lives in transition. I hope to tell a story about people taking care of each other.


Shelley Spira Burns Shelley Spira Burns
I both improvise and plan, exerting force on the clay, testing the limits of what the material can do while aiming for design integrity. Each piece is hand-coiled – then squeezed, folded, and pushed – transcribing the energy of my hands into its final form: a self-portrait of me, the maker.


Patty CarrollPatty Carroll
The still-life narratives in “Anonymous Women: Domestic Demise” comment on the mania of managing a home. The domestic objects take over, and the woman is overcome by her own possessions, obsessions and tasks, leading to mishaps and mayhem. I create imaginary, humorous worlds in the studio to photograph that critique and satirize claustrophobic expectations of domestic perfection, an unending but frustrating endeavor. As all of us have been stuck inside our homes, the crushing experience of being home is often humorous yet, sadly dreadful.


Launa Changnon
Launa Changnon
My work is motivated by difficult emotions, relationships and humor. Using bold palettes and raw strokes, these works stir, penetrate—inviting the viewer to reflect. These abstractions mirror connection, fluidity and tension; they echo loss, pain and identity. Carrying an emotional depth, the work transforms, establishing emotional connection, contemplation and discourse.


Jo CosmeJo Cosme
Through my work, I provoke conversations on the effects of disaster-capitalism, colonialism and neo-colonialism in Puerto Rico. Wealthier Americans, ignorant of Puerto Rican culture and history, flock to the archipelago as a tropical tax haven, investment opportunity, and Caribbean paradise. Meanwhile, the mass destruction of Hurricane María, economic instability, and lack of resources has caused forced displacement and worsening living conditions. It is unbearable now to live in our own homeland, despite our pride and love for our culture and people.


Renee CoutureRenee Couture
This work investigates my fragile relationship with motherhood. Motherhood has unsettled my solid foundation. I try untangling myself from expectations, and in doing so, I realize the need to re-parent myself as I parent my child. These images show me reaching out to my younger self, trying to engage with young me, and letting myself love myself. The softening of and within myself.


Bryan Florentin
Bryan Florentin

Most of my recent production deals with the indexical and mimetic qualities of photographs and the way in which printed photographs are simultaneously image and object, phenomena emphasized by printing at approximately 1:1 scale. Using W.H.F. Talbot’s 1840s photographs of books and other objects on shelves as a starting point, I load shelves with sometimes disparate objects. The primary criteria are whether certain objects can be wedged into spaces left by other objects, a process that involves an element of chance.


Becky FrehseBecky Frehse
“Rain on the Pond” is part of a series called Tone Poems. They explore different perspectives for viewing still water in landscapes – spaces based both on memory and on observations of ponds and gardens. Horizontal bands of lines suggest musical score lines and function as the underpinning of both representational and invented compositions.


Richard GreeneRichard Greene
A trained classical violinist and Bluegrass Fiddle Master, Richard’s musical career spans more than half a century. All his life he has been obsessed both with music and photography, from violin mastery to the magic of the camera. As a teenager he avidly collected books by recognized masters: Cartier-Bresson, Ansel Adams, Richard Avedon, Edward Weston and many more. He finds that musical and photographic composition are identical, both depend on the artistic placement of available or sometimes imagined elements. His work has been seen in many dozens of exhibitions throughout the U.S. including the Smithsonian National Portrait Gallery.


Jay HandyJay Handy
My work is a blend of present and past, using archival and found photos to conjure the familiar feeling of a faded memory. Through evoking the sense of a lost memory regained, my work emphasizes the universality of different human traits and experiences, like an awkward smile or the desire to see new places, even when the subjects are from a century past.


JW HarringtonJW Harrington
“The Impossibility of Knowing” refers to the strength of memory and imagination, compared to what is “real” or “observed.” In these paintings, a solid shape, figure, or silhouette interacts with its mirrored outline, against a shadowed background. Something that seems substantive is augmented with its mirror, shadow, future, or past. The interplay creates visual dynamism as each shape is pulled in its opposite direction, and interpretive dynamism as each object or figure interacts with its complement.


Sandra JettonSandra Jetton
This image is from my project ‘Crossing The Street’. I am a street photographer. Translation: I am a sneak-thief grabbing small stories one image at a time. I ply my thievery with a camera on the streets on New York City and these images are some of those stories. If you prefer, you can think of them as borrowed – not


Liam JonesLiam Jones
I paint landscapes and suburban settings. They are often images of places I encounter in my community and surrounding areas. Work is acrylic on canvas stretched over panels. I use masking to achieve the desired effects I am seeking to create in each painting.


Erinn KathrynErinn Kathryn
“Collar” is part of a new series called Alter Ego which re-assigns value or purpose to found plastic trash. In creating a series of seven unique replicas of one found object, I consider ideas about consumption, mass-production, life-span, and mortality. “Collar” conjures ancient and classical adornment as worn by goddesses, priestesses, and royalty for protection, fertility, beauty, and ritual. It also implies restraint, subjugation, or enslavement, like prison collars employed by colonial settlers involved in African slave trading.


Shawna KoontzShawna Koontz
These paintings are the long cozy drives with the windows down, high overhangs with a view, winding roads that lead to the sky, going back to the place I first learned to camp or make a snowball: roads lining cliffs without guard rails, angry waves that can pull the world with them, and serene walks on the rock covered coast. Each painting unfolded intuitively – a blend of familiar terrain and invented space – allowing composition, color, light, and experimentation with media to dictate the direction of each piece.


Madeline KozlowskiMadeline Kozlowski
Summer Driving West on Koura is based in reality. At 3:00pm on a summer afternoon, the road, sky, mountain and fields of the island are blurred by the blinding sun. Shapes become images and reflections forcing one’s vision to jump into the realm of the abstract. I used ripped paper and paint to indicate texture and form. Exploration and chance reshaped the painting’s structure and led me from reality to fiction and celebrates the colors of nature altered by light.


Lily Martina LeeLily Martina Lee
By manipulating non-traditional materials with traditional textile processes my work considers human skin as a permeable, sprawling entity. In Putrefaction 1, I use materiality to communicate the loss and retention of identity of human remains during decomposition. The pattern of the woven structure is activated by the putty passing through it while also becoming obscured.


Susan LehmanSusan Lehman
These acrylic collages capture the raw force of Nature found here on the Southern Oregon Coast. The constant movement of wind, waves, clouds, trees and sands are expressed in my abstract landscapes. The ruggedness I am witness to is also a very delicate balance of Nature vs human interference.


Nancy MintzNancy Mintz
In recent work such as “Passenger”, Mintz moves to examine the diversity of natural biological communities, and the processes of growth, decay, and succession. She explores forms of memory: husks, pods, and shells left behind by the relentless fecundity of life. For this work she has chosen lighter materials, especially fine brass wire, which she employs gesturally, like pencil lines. The resulting structures are covered with soft Japanese Gampi paper, forming a tactile surface which is both translucent and reflective, giving the work an ethereal presence.


Eddie ReedEddie Reed
Symbolic representations in my art are appropriated from current media, and the spiritual anthology of indigenous spiritual symbol lore from around the world. The elements I combine together are intended to raise awareness, evoke hope and project determination in the face of the demeaning experiences faced by the poor, the colored diaspora.


Erin RovaloErin Rovalo
I am an emerging artist – I draw inspiration from a career where I have spent many years studying the science behind the patterns of the natural world and their practical applicability to human design. With these recent encaustic works, I am embracing a creative, open exploration of nature’s patterns. Through the encaustic medium, a blend of beeswax and damar resin, these works are a celebration of the natural beauty and rhythm of bio-based materials and effects. The result straddles a space between art and natural artifact and invites the viewer to contemplate both nature’s genius and their own emotional response to its beauty.


Elizabeth RussellElizabeth Russell
In the past and still often today, women have been inundated with a prevailing idea of the ideal feminine figure. This prevalence has led women to unavoidable self-comparisons, and in turn, led my work, endearingly named “Pudgies”, is a response to my own self-comparisons. Through exaggerated postures, lines, and curves, my work sculpturally describes the strength and diversity with which we occupy space. “Pudgies” are surrogates, and through their appreciation, we observe an admiration of figures existing outside of a socially constructed ideal. They are for all of us who have ever felt, even if for only a moment, that our appearance precluded our acceptance.


Michele SabatierMichele Sabatier
These paintings are part of an ongoing series responding to my years living and teaching in the heart of the Mississippi Delta from 2006-2013. The contrast of pure white clouds against the dark skies are a sense-memory of the alluvial fields of the Delta. The Mississippi River metaphorically and literally washes much of the US clean of a history of sin and suffering to create a fertile alluvial plane. These paintings of the Mississippi Delta’s horizons also hold the paradox of the deepest poverty and the richest soil.


Juliet ShenJuliet Shen
Water gives birth to, sustains, and dissolves life. It also embodies the transient chaos that characterizes human existence. These paintings are based on memories of patterns observed in many types of waterways: tidal rivers, glacial melt, wetland margins, ocean beaches. Water moves simultaneously in different directions creating conflict and chaos that ultimately resolves into unity of motion-hinting at how to navigate life.


Jane SpringwaterJane Springwater
In my work, I establish a set of rules that then governs the repetition of hand-drawn marks and gestures. I investigate the potential of these systems to generate intricate patterns and unexpectedly evocative forms. My goal is to slow time for the viewer and encourage extended studies both close up and from afar, in a quest for quietude and contemplation. Emerging is part of my ‘In Motion’ series, in which the gestural repeated marks on the copper plate reflect the repetitive body motion used to create the etching. The resulting work evokes textures and gradients of shadow and light.


Abbey StaceAbbey Stace
These works are investigations into materiality, light and composition as well as the temperature and volume of color. Inspired by natural textures and influenced by minimalist and color field abstraction Stace’s process involves the extensive layering and subsequent sanding or rubbing away of media and paint. These works reflect on the effects of time on matter and explore the potential synergy of oppositional materials. She has exhibited internationally and is part of private collections all over the world.


Winnie van der RijnWinnie van der Rijn
I am a nose to tail (or rather collar to cuff) artist. I want to use all of the scrap I generate. Whilst dismantling the patriarchy one shirt at a time, I have accrued many shirt ‘filets.’ In the “Objectification of the Patriarchy” series, I’ve repurposed the shirt meat by turning the leftovers of the patriarchy into collaged abstract decoration. Trapped. Objectified. Impotent.


Anna Wrede
Anna Wrede of Art Octavating
Soldered brass rod of the same length come together to form a variety of shapes, curves and spheres. This hanging spinning myriad of lines provide the viewer with a multitude of vantage points, ranging from sharp intersections of planes to a sphere like whole.