Custom Framing and Local Fine Artwork in the Heart of Multnomah Village
Right now in the Gallery: art from around the region by Beki Killorin, Sharon Augusta Mitchell, Keaney Rathbun, Barbara Pihos, Tony Turpin, and Ken Elliott, plus Jeanette Nuxoll. Don’t miss this exhibit! Open to the public during regular business hours at Village Frame & Gallery, 7808 SW Capitol Hwy, Portland, OR 97219.
Happy New Year! Since we were all out celebrating last week, Multnomah Village is having “Un-First Friday” this week. It works that same as a regular First Friday, we will be open until 9 p.m. with a new show in the Gallery. Come to the Village for dinner, shopping, and catching up with friends and neighbors.
Village Frame & Gallery will be featuring several artists from around the Pacific Northwest. Hope to see you there!
An ode to the ethereal wonder of mist, this spectacular collaboration is comprised of exquisite images from photographer Russell J. Young accompanied by nuanced poems from seven esteemed Oregon poets. With soft, pale breath, the mist casts an undeniable veil of silence wherever it reaches — from the glassy face of a pond ot the concrete underbelly of a bridge to the towering shoulders of a pine forest. These mist-clad Oregon landscapes and urban moments, along with their poetic responses, evoke the whisper of stillness. This book binds together poetry and photography in a relationship in which one is not excluded from the other, but rather both are met and bound and emerge as a new wholeness — a wholeness seeking that which is hidden in the mist and that which is revealed: silence, memory, breath.
In the Mist Photographer: Russell J. Young
“As the truest society approaches always nearer to solitude, so the most excellent speech finally falls into Silence. Silence is audible to all men, at all times, and in all places. . . . Silence is the universal refuge.”
—Henry David Thoreau, A Week on the Concord and Merrimack
This book is an artists’ collaboration of word and image, quietly multiplying further expression of the profound and fertile silence that Thoreau suggests is, ultimately, the deepest philosophy. Seeking the company of silence, photographer Russell Young spent over 10 years capturing the light and movement of these fleeting landscapes.
Young and the poets of this volume approach the ineffable silences of mist-filled landscapes, places where air and water co-mingle. It is in the mist that the diaphanous veil between silence and sound, death and being, beauty and knowledge, seem most porous, where the possibility of silence and revelation draw near. In Young’s captivating photographs, the water-saturated air itself suggests a quiet introspection; a re-hydration of the self.
Margaret Chula, Cindy Williams Gutiérrez, Diane Holland, Andrea Hollander, Donna Prinzmetal, Penelope Scambly Schott, and Oregon Poet Laureate Paulann Petersen express as much in the silence between their words as with the words themselves, creating delicate containers of the beauty and mystery of a landscape touched by the Pacific Northwest’s rain-softened atmosphere. The lyric poems offer a momentary promise of a lifting of the mist or the nourishing enveloping of a deep fog—in landscape and in the self.
Each of the poems stirs in us the experience of mist and silence, evoking breath, memory, death, story, transition, and mystery–that which Prinzmetal observes is “half-hidden to us,” both visually and emotionally. What Holland describes as “a shimmer of mist . . . a thin indigo line,” Gutiérrez identifies as the “marmoreal breath of the world.” For Chula the mist soothes memory and lays to rest, temporarily, “the fear left behind.”
Working together as a long-standing writing group known as The Portland Pearls, the poets collaborated with Young to respond to and draw inspiration from his evocative photographs. As in the intricate margins of a medieval illuminated manuscript, the words do not “explain” the images, nor do the images “illustrate” the poetry. Instead, in a centuries-old tradition of word and image, the photographs and poetry of this collection amplify each other and invite us as readers and viewers to enter into a near-sacred space.
It is no surprise that Thoreau, one of America’s great nature writers, sought the nexus of landscape, literature, and silence. So too do the photographs and poems of this book offer their spare gestures: our own self speaks to us through these images and poems of insight and heart, leaving room to bring forth our own breath, memory, or experience. Our encounters here within this book can awaken our own receptivity when next we wake to a mist-filled morning. The reader is invited into this space of reflection, a place of mystery captured by Young’s precision, a place where, as Petersen writes:
Silence has opened
its wide bloom.
Meg Roland Professor of English,
Marylhurst University
Every good story starts at the beginning, and the start of Suzanne Vaughan’s tale lies deep within the heart of Auckland City, New Zealand. Even
as a young child, she absorbed and appreciated the intense vibrancy of the landscape, paying close attention to textures, shapes, horizons, and colors. As she evolved into a woman, she brought with her the inspirations of her childhood and stored them away deep in her subconscious, allowing them to simmer and expand. During the years post and prior to her relocation to America, Suzanne Vaughan’s passion for painting ignited. Her recent works, the Portal series and Cityscape series, embody that explosion of color from within and trace her progression through trying times.
Her painting process involves an energetic, flowing, and rhythmic application of paint. In the Portal series, multiple layers of pigments and tinted
glazes are overlaid generating a luminous glow that suspends flicks, drips, and brushstrokes of paint. Her Cityscape and Landscape paintings are treated with the sharp strokes of palette knives to build up heavily pigmented and textural layers that are often scraped to reveal merging and interacting color complexities. There is a degree of intuition involved, an element of surprise, a dynamic interaction with the unfolding images, color, and textural variances.
However, the most important part of the creative process is the way she can fully immerse herself into her works. Art is about creating an alternate world within reality, where the stresses and troubles of the world evaporate, and where there is only room for one thing: art. “I have to do it,” she says, “it is an ingrained and vital part of who I am.”
Portals and Cityscapes by Suzanne Vaughan opens Friday, December 4, 2015, 6 – 9 p.m. at Village Frame and Gallery, 7808 SW Capitol Hwy, Portland, OR 97219. This exhibit is open to the public, at no charge. Can’t make it Friday? Stop by during regular business hours, Tuesday – Saturday
10 am – 6 pm, throughout December.
In the meantime, here’s a sneak peek of this vibrant show:
It’s a feast for the eyes at the Gallery this month!Looking for something to do this week that doesn’t include getting soaked and cold? We suggest soaking in some local art at Village Frame & Gallery, followed by dinner nearby. This month, in the Gallery: Anya Coxworth, Karen Story, Olive Eng, Patricia Giraud, and Violet Blackwood, with Denise Sirchie. The exhibition is free and open to the public during regular business hours, Tuesday – Saturday, 10 am – 6 pm, until the end of November at Village Frame & Gallery, 7808 SW Capitol Hwy, Portland, OR 97219.
Want to know more about these Portland artists? Read on …
Anya Coxworth is a self taught painter born in Flint Michigan in 1971 relocating to Portland Oregon in 1999. Inspired as a child by her artist father she began experimenting with color and lines. Anya has now been painting whimsical portraits, landscapes, and originals for 29 years. She has sold her work locally and internationally for the last 16 yrs. While in Portland she gave a lecture on her work at Portland Community College during the annual Artbeat event in 2006 and has donated pieces to Habitat for Humanity and Oregon Health and Sciences University benefit auctions. The Regional Arts and Culture Council of Portland accepted an original painting of Anya’s for the cities permanent collection. Anya currently resides between Portland and Yamhill Oregon. To view more work visit Anya Coxworth on Facebook and to commission work email her at anyamarie71@gmail.com.
Majoring in printmaking and painting at PNCA in Portland, Oregon, Karen was the recipient of the Louis Bunce Scholarship award, the Printmaking Department scholarship award, and the Local 10 Scholarship award. Her work is owned by the Portland Art Museum and by many private collectors, and can be seen at Alberta Street Gallery (Portland, OR) and RiverSea Gallery (Astoria, OR).
Karen works primarily in encaustic, which guides the artist to work on the canvas in a direct and flexible way. This allows for unexpected changes in composition, form, texture, and color. Layering and removal of layers keeps this process-oriented painting method archealogical in nature, as there is much digging back into and revealing the often forgotten history of the painting. A certain non-attachment to the current phase of the painting develops, and allows for a freedom not experienced in other media.
Born in San Antonio, Texas, Olive Eng’s parents were originally from the Guangzhou province of China. Olive grew up with a unique blend of both eastern and western influences. The family moved to California when she was a teenager. After receiving her Bachelor’s Degree from UCLA and her Master’s Degree from USC, Olive worked for the LA City Schools for 20 years. When it came time to retire, Olive moved north to Portland and moved into the Rose Schnitzer Manor. She began dabbling in painting, taking collage and water color classes at the Multnomah Art Center (MAC). Over time, Olive really began to develop her distinctive style of art using a blend of paint — both acrylic and water color — colored papers, print material and other mixed media.
Olive has shown her work at the Pacific Art Guild in Los Angeles, the Festival for the Arts in Lake Oswego, the Oregon Society of Artists, the Ageless Art Exhibit, part of the Oregon Alliance of Senior and Health services (now LeadingAge Oregon), and in 2011 had her first solo exhibit at Stonehenge Studio in John’s Landing.
The seeds for my imagery were planted long ago. I have always been intrigued by the complexity and immediacy of the natural world. My childhood days were spent outdoors, quietly exploring shallow streams, scooping up tadpoles, and seizing the opportunity to be near any animal but especially horses.
Initially, the horse was chosen as a totem around which the nuances of relationship, trust, vulnerability and stewardship were considered. More recently, I have expanded those themes to include figures in natural environments–drawing upon memories while interpreting the shapes, textures found in the landscape.
I’m fortunate to have spent years in Spain, Paris, Berlin, and Tunisia, as well as traveling over the globe from Africa to Malaysia, Japan, Hawaii, Sri Lanka and India.Also I must give thanks to the fact that I grew up surrounded with good design, from an early age supplied with art materials. My father, John A. Kapel, the renowned designer, would give me advice at times, commenting briefly upon my collages, batiks, mosaics, masks and paintings. I sold my first works of art at ten, four batiks that resembled paintings, and ever since then I’ve been living and breathing art.
Among artists I’ve known in my life, Leonor Fini was most influential. She was my muse when I entered my twenties and started to paint in earnest, turning out dark very colorful semi-abstracts. Many depicted fantastic beings both beautiful and demonic—phantoms from dreams or nightmares
that tempted me, drove me, and pushed me to paint with intensity. Always I was tormented by an occult yet illuminating force—unknown, ephemeral, maybe magnificent, or perhaps fatal like an immense jungle flower concealing a venomous snake.
Other projects included a film in the 80’s that Fassbinder would have directed except for his untimely death, house renovations in styles from rustic to solar to Danish modern, ecological thinning of drought-stricken forest at risk of fire, and raising full-blooded wolves to live in the wilderness. Throughout, I continued my artistic work, moving from drawings and paintings to computer graphics when programs for art first came out.
Recently I spent some years in Tunisia painting on silk and designing clothes. Upon my return to the States, I shifted into photography. At the same time I developed a singular style in photo-montage. Initial works utilized photos from magazines and other publications — then I began to use photos I’d taken, combining work in “photopainting” with computer graphics for special effects.
Currently I work in three related but fairly separate mediums: photo-montage, photography, and a special technique I call “phainting,” creating works both painterly and photographic.
My passion for art was awakened around the age of 9; I attended an art class every Saturday each summer through the age of 14. I was taught the basics: sketching, oil painting, pastels, charcoal, still life and portraiture by an inspiring, memorable teacher. As maturity permitted, a short train ride into Philadelphia allowed me to attend the Philadelphia College of Art. I acquired independence, a taste of city life, but more importantly.new eyes. I believe it was then that I began seeing not the ordinary, but the unique possibilities within simplicity.
After college and several years of traveling, I settled in California. Pottery lured my interest and after 4 years of mastering the wheel, clay and porcelain became my new best friends. Upon marrying and then the birth of my son, my art transitioned once more, this time through a child’s eyes: simplicity in form, with bold, contrasting colors … as innocent and beautiful as a child. A few years later, we migrated north and settled in Portland. Life was sailing along smoothly until an early diagnosis of breast cancer. Lights flashed, sirens screamed, treatments commenced, and realizations surfaced.
Therapy for my soul and mind was found in mosaics. I had always admired the media; my husband supported my interest and insisted I give it a try. Self-taught through the help of books and friends’ advice, I became immersed.
Ten years later, the passion to create and the desire to stay healthy is joined in a marriage of determination. The direction of my art is constantly in motion. The freedom that the media allows is alarming: the reason I love it so. As Ralph Waldo Emerson summarizes: “Artists must be sacrificed to their art. Like bees, they must put their lives into the sting they give.” Bzzzzzzzzzzzz
Gene Flores was born and raised in El Paso, Texas, and earned a BFA from the University of Texas El Paso (UTEP). He also taught basic drawing courses at UTEP and served as the Art Gallery Director. He went on to earn a MA and MFA in Printmaking, with Honors, from the University of Iowa in Iowa City and worked at the Cedar Rapids Museum of Art as a gallery preparator. In 2001, he moved to Portland, Oregon, to teach painting, drawing, and printmaking at Portland Community College and Clackamas Community College. He has been a full-time faculty member at Portland Community College since 2005. Currently, he is Dean of the Visual and Performing Arts and Design division at the Portland Community College Sylvania Campus.
All my works are self-portraits and are greatly influenced by literature, music, politics, religion and everyday activities. My images have been described as humorous, insightful, and disturbing. Viewers often find my work to be thought provoking and challenging. I enjoy challenging viewers and their preconceived notions of what we take for granted. Many of my works are playful thoughts and my reaction of the world around me, with mythological creatures and a combination of human and animal characters (logic and instinct) playing a vital role. I view my works as a window to another world with reoccurring characters and themes that tiptoe between the surreal and absurd. When making art, I play the role of the viewer and try to capture a glimpse into this strange world, a world where anything is possible and where anything can, and often does happen.
See his art, along with work by Denise Sirchie, during regular Gallery hours: Tuesday – Saturday, 10 am – 6 pm, at 7808 SW Capitol Hwy, Portland, OR 97219.
This is a magical, not to be missed, art show. Check this out …
For Denise Sirchie, mosaic is her view of life itself: absent of boundaries, void of restriction, free–the latest evolution in a lifetime of expressing herself through art:
My passion for art was awakened around the age of 9; I attended an art class every Saturday each summer through the age of 14. I was taught the basics: sketching, oil painting, pastels, charcoal, still life and portraiture by an inspiring, memorable teacher. As maturity permitted, a short train ride into Philadelphia allowed me to attend the Philadelphia College of Art. I acquired independence, a taste of city life, but more importantly.new eyes. I believe it was then that I began seeing not the ordinary, but the unique possibilities within simplicity.
After college and several years of traveling, I settled in California. Pottery lured my interest and after 4 years of mastering the wheel, clay and porcelain became my new best friends. Upon marrying and then the birth of my son, my art transitioned once more, this time through a child’s eyes: simplicity in form, with bold, contrasting colors … as innocent and beautiful as a child. A few years later, we migrated north and settled in Portland. Life was sailing along smoothly until an early diagnosis of breast cancer. Lights flashed, sirens screamed, treatments commenced, and realizations surfaced.
Therapy for my soul and mind was found in mosaics. I had always admired the media; my husband supported my interest and insisted I give it a try. Self-taught through the help of books and friends’ advice, I became immersed.
Ten years later, the passion to create and the desire to stay healthy is joined in a marriage of determination. The direction of my art is constantly in motion. The freedom that the media allows is alarming: the reason I love it so. As Ralph Waldo Emerson summarizes: “Artists must be sacrificed to their art. Like bees, they must put their lives into the sting they give.” Bzzzzzzzzzzzz
In addition to the mosaic sculptures that draw so many visitors to Village Frame & Gallery, Denise creates stunning architectural mosaics and other commissioned pieces. Her art is included in the book, Mosaic: Finding Your Own Voice, by Brit Hammer-Dijcks, and she is exhibited throughout the western United States. Denise is a member of the Society of American Mosaic Artists and the Pacific Northwest Sculptors.
Stop by during October–or any time–to see her original artwork in person. In the meantime, here’s a preview of some of her latest works:
Friday, October 2, 2015
6 p.m. – 9 p.m.
Village Frame & Gallery
7808 SW Capitol Hwy
Portland, OR 97219
Open to the public, no charge
Denise Sirchie, Mosaic Artist“Therapy for my soul and mind were found in mosaics. I had always admired the media … self-taught through the help of books and friends’ advice, I became immersed. The freedom that the media allows is alarming: the reason I love it so.”
Gene Flores, Printmaker“All my works are self-portraits and are greatly influenced by literature, music, politics, religion and everyday activities. I view my works as a window to another world with reoccurring characters and themes that tiptoe between the surreal and absurd.”
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Doug Hunt will demonstrate the art app “ArtStudio” on his 4 generation iPad. ArtStudio was developed for painters with a very painterly look, complete with dimensional brush strokes and the real possibility to turn your painting into mud if your not careful, just as in real life painting. It’s very user friendly and any artist would enjoy this handy little app both for doing finished paintings and working out ideas. Demonstrations begin at the top of the each hour, so get here early!
The demonstrations will be held at Village Frame & Gallery, 7808 SW Capitol Hwy, Portland, OR 97219.
P.S. Plan time to see his latest exhibit before or after the demonstration as well. Tradition Meets Digital Art, Paintings by Doug Hunt is open to the public during the month of September at Village Frame & Gallery.
This month we’re showcasing Doug Hunt and his new digital work alongside his traditional oil paintings.
Digital painting provides the artist with a ready canvas wherever he is and the means to bring expressive, affordable artwork to the public. Working with digital tools means suddenly having very few limits to creativity. Artists can create almost any canvas size, use multiple layers, make and customize their own brushes, dip into an endless palette of colors–the options are practically endless.
Stop in and see how a traditional artist is using this new medium to paint beautiful, affordable images. Tradition Meets Digital Art, Paintings by Doug Hunt opens Friday, September 4th at Village Frame and Gallery. We’ll be open that evening from 6 p.m. – 9 pm for First Friday at 7808 SW Capitol Hwy, Portland, OR 97219.
As far back as I can remember (and that’s back further than I can remember now) I’ve always wanted to be an artist. I wanted to be a fine artist even before I knew what fine art was. As a young boy I was inspired by the great masters. Who you wonder? Da Vinci? Rembrandt? Well no, actually it was Walt Disney and “Big Daddy” Ed Roth. I cut my teeth on cartoon characters, hot rod art and psychedelic posters. Even in the military, I took advantage of every artistic opportunity and for a year and a half landed a job where my duties included photography and graphic arts. The other two and a half years wasn’t nearly as fun. It was my first practical experience for a lifetime career in graphic art, fine art and photography.
Commercial art and photography was the easy part, trying to fulfill the fine art dream was a challenge. So the path went like this. Three years at Mt. Hood Community College in Gresham Oregon trying to figure out how to become a working artist… It wasn’t exactly the staple of the daily want ads. A couple of years doing freelance architectural renderings for home planners and 7 years as a part-time instructor at Mt. Hood Community College. In 1982 I took a position as illustrator for the American Military Club System in Wiesbaden Germany. If you’re surprised such a job exists, trust me, so was I! I loved living in Europe and absorbed experiences that would later show up in my work. I loved working for the government somewhat less however, so after a year I came home to resume my freelance career. The majority of my work was detailed illustration work mostly pen and ink. My fine art tended to be looser in an attempt to escape all the precise work I did on a daily bases. In the mid 80’s I began painting with oil pastels and paint sticks. Pens and pencils to paint sticks was a natural transition for me and with that my fine artwork became more impressionistic.
The dream of becoming a fine artist was never far from my mind and in 2001 I found my opportunity. I was picked up by an art rep and started producing 20-30 originals a month for sale nationally. I also got involved in the etching process and was producing hand colored etchings.
Whether working in oils or creating an original print hand pulled from a press, I find great enjoyment in working from my imagination. As I look at my paintings, I have to think that they are influenced by an underlying desire to escape, to be somewhere quiet and unhurried. My favorite pieces are always those that have a sense of calm … just a sunny open space and an inviting path to nowhere in particular.