Clothing Chronicles: Biography in Very Mixed Media

Recent mixed media pieces by Bonnie Meltzer

Beet Gallery
NW 18 and Lovejoy
Portland, Oregon

Now through June 27, 2009
Last day informal artist’s talk Saturday, June 27 at 3:00pm

Below, Packed Clothes, by Bonnie Meltzer.
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In this new body of work, Bonnie Meltzer ponders our connections to clothes in a series of mixed media constructions. Wood cut-outs embellished with found objects, crocheted wire and text are in the shape of garments — a brownie uniform, a prom dress, a band uniform. Another part of this series about clothes takes a new form for the artist: actual articles of clothing — ties, underwear, uniforms, ballet shoes — become part of paintings on canvas. Although some of the pieces use way more paint than she normally does and that eight of the works are on canvas they are still sculptural. The clothing, often rumpled, and found objects add a sculptural quality.

Our memories are jogged by old garments. Conversely, thoughts of the past often lead us to think about what people wore. Personal stories are told with clothes but they are entwined with the era in which we live. In our mind’s eye clothing becomes a visual shorthand to a particular era evoking all the stories — the personal and the values, virtues, customs and even politics of that time period.

Garments came from her own collection but they were offered from friends and family as well. Other Portland Open Studios artists found, lent and gave her clothes to use for this project. Conversations with them brought ideas and other perspectives. She asked Portland Open Studios artist Sabina Haque, “What did you bring from Pakistan when you moved here?” “Everything”, which is evident if you see Sabina’s paintings filled with portraits in traditional dress. In Packed Clothes Meltzer thought about bringing clothes with you when you emigrate and the buying of exotic garments on a trip. Each is filled with emotional baggage.

On the last day of the exhibition she will give a gallery talk. She will weave the stories that inspired these particular works into tales of costume history. And there will be a chance for you to tell your clothes stories.

Read more about this exhibit online at Boom magazine.

For more information about Beet Gallery, see http://www.beetgallery.com.

To learn more about Bonnie Meltzer and her work, see her website at http://www.bonniemeltzer.com.

Making Connections through Portland Open Studios: Marcy Baker and Linda Womack Collaborative Workshop

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Above, a collaborative piece between Marcy Baker and Linda Womack, using the techniques they will be teaching in this two-session workshop.

The seed for Take 2: Monotype & Encaustic was planted when Linda Womack visited Marcy Baker’s studio during Portland Open Studios in October 2008. Linda, an encaustic painter, and Marcy, a monotype printmaker, discovered a mutual love for teaching and interest in combining techniques. It turns out the two processes work beautifully together, and several Take 2: Monotype & Encaustic collaborative workshops are being offered this summer. Both artists will also be participating in Portland Open Studios in October.

Details on the workshops:

Take 2: Monotype & Encaustic

June Workshop
Session 1 with Marcy Baker
Thursday, June 18, 1pm – 4pm or 6pm – 9pm
Session 2 with Linda Womack
Thursday, June 25, 1pm – 4pm

July Workshop
Session 1 with Marcy Baker
Sunday, July 12, 9am – 12pm or 2pm – 5pm
Session 2 with Linda Womack
Sunday, July 19, 2pm – 5pm

August Workshop
Session 1 with Marcy Baker
Thursday, August 13, 1pm – 4pm or 6pm – 9pm
Session 2 with Linda Womack
Thursday, August 20, 6pm – 9pm

Learn how to combine two very different techniques, monotype printmaking and encaustic wax painting, to create unique pieces of art. In this collaborative class you’ll first work with printmaker Marcy Baker to create one-of-a-kind monotypes. Inks are applied to a Plexiglas plate, then transferred to paper with a press. Explore the use of stencils & other tools to build layers of ink on the plate, creating rich imagery & texture. The next session will be with Linda Womack, where you will apply vividly colored wax to your monotypes, allowing you to add pattern and texture to the surface using stencils and embossing techniques. You can also collage with wax instead of glue to incorporate papers, fibers and dried plants to your finished painting. Students will leave class with 2 finished projects. No previous experience is necessary in either technique, just an open mind and a desire to experiment!

Both instructors’ studios are located in southeast Portland. Space is limited to six students with two sessions, three students each at Marcy’s studio and everyone working together in one session at Linda’s studio.

For more information, view images, and register for workshops, visit:

Linda Womack Workshops: http://www.lindawomack.com/books//workshops/t2-monotypes.html

Marcy Baker Workshops: http://www.marcybaker.com/workshops.html

Allen Schmertzler, Susan Gallacher-Turner, Kurumi Ishikawa Conley, and Mark Randall are among the 22 featured artists in the Kingstad Gallery’s newest show, Subject|Object: Hunting, Gathering &Telling Tales.

Below, Susan Gallacher-Turner with her award winning entry.
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The show’s theme speaks to the process of collecting objects, creating order/pattern then creating a story. The diverse show features work from national, regional and local artists in a wide variety of mixed media.

Allen Schmertzler’s powerful political paintings in watercolor and ink won an Honorable Mention. Also honored, Susan Gallacher-Turner’s sculptural mixed media pieces feature copper repousse’ doors, clay figures and original stories. Kurumi Ishikawa Conley’s beautifully colored transparent glass sculptures shimmer in the light. And Mark Randall’s large mixed media work portrays vintage circus performers in almost life size proportions.

These artists and the work of former Portland Studio Tour artists, Becca Bernstein and Lisa Strout are on exhibit until May 30th at

Kingstad Gallery
15450 S.W. Millikan Way
Beaverton, Oregon
Monday through Thursday 9am to 5pm
Friday and Saturday 5:30pm to midnight
Sunday from 10am to 2pm

A special workshop entitled Telling Tales: a mixed media workshop with Susan Gallacher-Turner, will be offered on May 21st from 4-6pm. The public is invited to in this free, hands-on workshop. Bring your favorite non-toxic art supplies and have some fun. Then join the closing reception on Third Thursday, May 21st from 6-9pm.

Below, Allen Schmertzler and his award winning entry Promises.
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To see more of Susan Gallacher-Turner’s work, please visit her website at http://www.susangt.com/; to see more of Allen Schmertzler’s work, visit his website at http://www.allenschmertzler-artist.com/.

In a related story…

Allen Schmertzler’s painting Dance With Your Jailor (acrylic on canvas, see below) won Best of Show at the Kingstad Gallery juried exhibition Art/Peace, Peace/Art which closed on April 5th. But, you have another opportunity to see it, along with two other paintings by Allen at:

Lake Oswego Festival of the Arts, Artist’s Vision Exhibit
2461 Summit Dr
Lake Oswego, Oregon
June 26th – June 28th, 2009

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Museum of Contemporary Craft
Showcases Portland Open Studio Tour Artists
March 3 – April 4, 2009

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Above, the Community Showcase on the second floor of the museum.

Come and marvel at a wood-turned cowboy hat, fused glass, woven and ceramic vessels, a hand-printed art book, knitted wire and bead choker, and sculptures made with aluminum screening, wood, clay and crocheted copper wire at the Museum of Contemporary Craft. This community showcase features just a few of the wide range of talented artists from the 2008 Portland Open Studios Tour.

Over 90 artists were juried into the 2008 Studio Tour which is held on the second and third weekend in October. This unique self-guided tour gives you the opportunity to watch artists at work in their studios. If you’ve ever wondered what it’s like to do a demo for studio or museum visitors, you can ask the artists, like I did.

Here are a few responses from last week’s artists, Wendy Dunder, Bonnie Meltzer, Susan Gallacher-Turner and Careen Stoll.

Wendy, what were your feelings about doing demonstrations during the studio tour and/or at the museum?

“I thought it was a perfect chance to meet my neighbors, who must have been curious about what I was doing.”

Bonnie, do you enjoy demonstrating your art to the public? Why?

“Actions speak louder than words. It is so much easier for some artists to show what they are doing than to tell about it. Although those of you who know me, know I do talk a lot. I find that there is real communication when I demo. More questions than when they are just looking at finished artworks and people are more at ease. It is also easier for me to find which subjects to bring up.”

Careen, how do you decide what kind of demonstration to do? Or what part of what you do as a demo?

“I pick something that is as dramatic as possible without being inaccessible… larger bowls, taller vases. I try to blend the “exciting parts” of seamless pulling with the slow careful decision-making aesthetic decisions like spouts and handles, to give people as accurate a picture of my process as possible.”

Susan, do you find that your demo piece becomes a finished art piece or is it just an example for demonstration purposes?

“Last year, I would’ve said, a demo is just a demo. But since I’ve been doing these demonstrations, all of my ‘demo’ pieces have turned into 2 finished masks, 1 sculpture and a copper repousse’ landscape. I’m amazed at that.”

Any other comments/ideas you’d like share with other artists out there?

Wendy: “I had done a winged man piece that was less than perfect, but that had lots of hours in it. A 10 year old boy really loved it. The price was $60. He asked his mom if he could buy it. She said “You have your Christmas Money.” I sold it to him for $40. And I am sure he has become an artist or at least an art collector.”

Careen: “In a crowd of people watching me, I focus on the kids- “here, do you want to play”, and I hand them a ball of clay.”

Bonnie: “At first I didn’t think anyone would be interested in seeing someone crochet. Boy, was I wrong. They want to touch the wire, touch the pieces. We are so used to our processes we forget that it isn’t second nature to everybody.”

Susan: “I always share the fact that I was fascinated with the hardware store as a kid and I’ve found out many people share that fascination with me.”

This month, you can see some of our artists at work every Saturday from 1-4pm doing demonstrations of fiber, clay, wood and more in The Lab on the second floor of the Museum.

The Museum of Contemporary Craft showcase features 16 artists: Maggie Cassey, Nanette Davis, Wendy Dunder, Nicky Falkenhayn, Susan Gallacher-Turner, Jerry Harris, Gwen Jones, Ken Forcier, David Kerr, Morgan Madison, Bonnie Meltzer, Gene Phillips, Tom Soule, Careen Stoll, Sara Swink, Jan Von Bergen, and Shu-Ju Wang.

The exhibit is open Tuesday-Saturday 11am-6pm through April 4, 2009. For more information about the community showcase program at The Museum of Contemporary Craft visit their website at http://contemporarycrafts.org/programs_community.php.

Below top, Wendy Dunder talks to a museum visitor about her art; bottom: details in the showcase.

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Call to Artists
PORTLAND OPEN STUDIOS
Celebrating 10 Years: 1999 – 2009
Deadline Monday, March 16, 2009

Metro Portland Artists wanted in all media to open their studios to the public on October 10, 11 (east side) and October 17, 18 (west side). Artists may choose to be open one or both weekends. Show your art processes, sell your artwork, build an audience and communicate with the public. Artists are selected for the event by jury and will have an image of their artwork published in the Tour Guide and on the web.

2009 Purchase Prize

To celebrate our 10th Anniversary, Portland Open Studios will be awarding up to $1000 to the City of Portland for the purchase of artwork from one or more of our 2009 artists. Representatives from the Mayor’s office will make the official selections, and City Hall will host an exhibition of the 2009 artists.

New-Applicant Scholarship Opportunity for new 2009 applicants

The scholarship is open to any artist who would be participating for the first time regardless of media, age, and gender. The scholarship waives the $160 jury and participation fees and the winner is awarded an additional $100 stipend. All new applicants are considered for this scholarship.

Emerging Artist Scholarship Opportunity for artists between 20 and 30 years old

Kimberly Gales Emerging Artists Scholarship is awarded to one or two emerging artists every year. The recipient will have all fees waived and receive a $100 stipend.

Information, directions and the online application at http://www.portlandopenstudios.com/apply.html

Deadline for artist’s application and scholarship both: MARCH 16, 2009.

To see what past participating artists have said about the event, read the testimonials from past participants.

By Shu-Ju Wang

Below, Laura Russell at 23 Sandy Gallery during The Quiet Fire, an exhibit of Stewart Harvey’s photographs of Burning Man.

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After hearing through the grapevine that Laura Russell, artist and gallery owner, had been singing the praises of Portland Open Studios, I talked to Laura to find out more.

LR: Portland Open Studios is one of the best things I ever did for my gallery and for my career.

SJW: In what ways?

LR: I was new to Portland, had been here 6 months, maybe 9 months. I didn’t know anyone, didn’t have any contacts. When I participated in Portland Open Studios, 250 people came through my studio in one weekend. Not only did they purchase my artist’s books and photographs, they also signed up for my mailing list, and they’ve been following my career ever since. When the gallery opened, they were also the first people to come to the gallery, and they’ve been coming every month.”

SJW: That’s very organized, to have created a mailing list from your first Portland Open Studios weekend.

LR: Organized to a fault, but it works and I won’t be here today without it. Artists have to find a way to do the business side.

SJW: When did you decide to open a gallery?

LR: I’ve wanted to do it for 10 years. I was inspired by a couple in Denver who owned side-by-side businesses in a cute commercial duplex — Fred’s Barbershop on one side and Ethel’s Beauty Shop on the other. Steve (Laura’s husband) and I were going to be Fred & Ethel, too, with Steve’s commercial real estate business on one side and my art gallery on the other side. Whenever we saw a cute little space, we talked about it. Over the years, it evolved into a dream of a live and work place. After we had been in Portland for 2 years, we started looking around for a potential space, and within a week we found the right place.

SJW: Did you always know it would be a photography gallery because you’re photographer?

LR: I always knew it’d be a combination of photography & bookarts, the two mediums work together really well and I want to go with what I know. The third thing I show twice a year is graphic arts.

SJW: You were featured in the Oregonian A&E section as one of the movers & shakers (”the power 9″) of the Portland photography scene. How do you feel about that? And since you’re relatively new to Portland and the gallery is new, how do you go from being new to being “the power 9″?

LR: That is all about business. I knew I had to work really hard because I’m in an odd location, so PR is important. I’ve spent a huge amount of time on PR for the gallery which has really paid off. DK Row has written about the gallery
several times. A lot of the success is due to a professional approach to PR — be consistent with press releases, make contact with local publications, find out how they like their press releases, find out what types of information they need, and follow through. I worked really hard to establish an identity and to get press for every show; I target marketing efforts carefully and send them to the people who are interested in that particular medium or subject.

SJW: Do you feel more pressure, now that you’ve been named a mover & shaker?

LR: It did make me think a bit more about what I’d do for 2009.

SJW: Given that in a relatively short time in Portland, you’ve achieved an enviable amount of success, do you have any advice to other artists?

LR: They have to realize that they’re in business and treat it as a business to make a living. I took what came out of Portland Open Studios and used it in a lot of different ways. I have a mission to promote book arts, and events like Portland Open Studios really introduce people to book arts. It’s great to sell my own work, to build a customer base in Portland, and to promote book arts. The better people are educated about it, the better the market place will be.

SJW: Anything else?

LR: I’d tell every artist to do Portland Open Studios — it’s good for business and it’s good for ’stroking’, and all artists need both. I’d tell them to get involved, the more involved you are, the more you get out of it. You never know when the contacts you make will come back and help you. Portland Open Studios is one of the best things I’ve done, and one of my favorite events to go to; I try to visit as many artists as I can every year.

To learn more about Laura’s gallery, 23 Sandy, please go to http://23sandy.com/. To see Laura’s artwork, visit her website http://www.laurarussell.net/.

To read DK Row’s piece about the key players in the Portland photography scene, please go to Oregonian’s Visual Arts Blog.

To apply to the 2009 Portland Open Studios, please go to http://www.portlandopenstudios.com/apply.html.

Below, 23 Sandy Gallery, located at 623 NE 23rd Avenue, Portland, Oregon.

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By Susan Gallacher-Turner

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Above, Concourse E at PDX.

As you walk through Portland International Airport, be sure to check out the artOJECTS showcase in Concourse E, you’ll find the sculpture work of two Portland Open Studios artists, Bonnie Meltzer and Carole Murphy.

These two sculptors are featured along with 13 other artists from the Pacific Northwest Sculpture Guild as part of the artOBJECTS program coordinated by The Regional Arts & Culture Council. This program, with rotating exhibits every six months, features small scale three-dimensional artwork in a 40 foot long, floor to ceiling glass case showcasing the diversity of the local and regional art scene.

So next time you’re at PDX, take a side trip to Concourse E and check out the sculpture work of these Portland Open Studio Artists. The exhibit runs through June 2009.

Below, sculptures by Carole Murphy (top) & Bonnie Meltzer.

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Beet Gallery presents Sara Swink’s newest ceramic works in Progeny:

Beet Gallery
1720 NW Lovejoy, Portland
(503) 224-5000

March 5–31, 2009
First Thursday Recption: March 5, 5–9 pm

To see more of Sara’s recent work, please see her blog at http://claycircle.wordpress.com/; her website is at http://claycircle.com. For more information about the exhibit, please see http://www.beetgallery.com/.

AND…

Lucia Douglas Gallery presents Ten Inches by Ten Inches Square, a group show with several Portland Open Studios artists (Kelly Neidig, Theresa Andreas-O’Leary, and Jennifer Mercede):

Lucia Douglas Gallery
1415 13th Street
Bellingham, Washington

March 7-28, 2009
Artist Reception: Saturday March 7, 5-7 pm

For more information, please see Lucia Douglas Gallery website.

Below, Nest, by Sara Swink.

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Congratulations! Bonnie, Christine, Donna, Doug, Kari, Kati, Sunny, Susan and Tien (left to right, starting from top):

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Nine 2008 Portland Open Studios Tour Artists
Featured at the 2009 Beaverton Arts Commission
27th Annual Visual Arts Showcase

From a field of over 600 entries, 9 Portland Open Studios Tour Artists had work chosen for the Beaverton Arts Commission’s 27th Annual Visual Arts Showcase. Opening night on Saturday, February 7th was packed with people viewing the art, sampling chocolate covered strawberries and voting on their favorite pieces for the People’s Choice Award.

Kati Bendig, 1st place winner in the watercolor division, was honored for her painting, “The Old Man”. Juror, Susan McKinnon, commented Bendig’s painting was a “Beautiful handling of the medium. Loose, yet controlled with expression…watercolor at its best.”

Also chosen in the watercolor/painting division were Christine Helton, Donna Sanson, Sunny Smith, and Tien-chu Loh and Kari Dunham. Doug Richardson was chosen for his photograph, “Louvre Lights”. And sculpture division featured the work of Bonnie Meltzer, “Viola as Young Musician” and Susan Gallacher-Turner’s, “Winter/Imbolc”.

In addition, 7 other previous Portland Open Studios Tour Artists were juried into the show including Berle Bledsoe, Pamela Green, Allen Greene, Gretha Lindwood, Pattie Palmer-Baker, Linda Terhark and Liz Walker.

The Annual Visual Arts Showcase has featured the work of local artists since 1984. You can visit the showcase and see the work by Portland Open Studios artists and many others through February 21st at the Beaverton City Library during library hours. The event is free.

Beaverton City Library
12375 SW 5th Ave, Beaverton
Meeting rooms A & B

Sundays 1 to 5 p.m.
Mondays through Thursdays 10 a.m. to 8 p.m.
Fridays and Saturdays 10 a.m. to 5 p.m.

My expectations were low for Portland Open Studios 2008 as the economy was tanking, and one never knows with art sales anyway. My dear friend Tina was here to help, thankfully, because it was a slow morning and gave us a chance to get some clay work going. Later, Tina was a godsend because she can do numbers when things get busy, while I get excited and scatter-brained.

I took advantage of the two-weekend option and was curious to see what kind of attendance we’d have. Day one we ended up having 62 people through, and 17 the second day. I am grateful to neighbor Portland Open Studios artist Ann Munson, who directed many people my way. People did tell me they saw publicity for Portland Open Studios everywhere; one of my images was once again featured in Portland Monthly magazine due to the efforts of Bonnie Meltzer, who does an outstanding job with the PR every year.

Meeting and greeting visitors is always a blast, and people were just lovely. Sales were beyond expectations. Weekend one sales were not that far from the previous year’s. Weekend two brought in another 57 people and a few more sales, bringing my total to about the same as 2007. As a result of Portland Open Studios, I received a commission from one of my patrons. I’ve decided having minimal expectations is a good strategy for me, as is working in clay the whole time, emphasizing connecting with visitors as much as possible, and talking about my classes and workshops. Several people who came through ended up in my January workshop and one person has been in my Saturday classes since October. What a delight to form relationships through art and artmaking!

I tried to price things to sell, especially pieces that had been around for a while, and that which did sell represented a range of sizes and prices that seemed to follow no pattern. The studio felt significantly emptier by the end of the weekend. I love that feeling. This year I also offered cards and prints as an experiment. I sold a few cards and no prints. POS is the perfect laboratory to try new things. I also offered some thrown bowls and hand-built vases and sold a number of each. All in all, the experience was heartwarming and rewarding, and I will certainly apply again next year, trying to let go of any expectations, experimenting with new offerings, and staying open to whatever happens.

By Susan Gallacher-Turner

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Above, installation view of Intersect/Parallel at Walters Cultural Arts Center. Seen are artist’s books by Robert Hanmer, paintings by Roslyn Lindquist, and sculptures by Laura Freeman.

When I think of computers and engineers, I think math and science. But that’s not what Shu-Ju Wang sees, at all. Shu-Ju holds a degree in computer science and worked as a design engineer for over a decade before becoming a full-time working artist. So when she looks at fellow engineers, she sees a group of talented artists, “I consider many of the engineers that I’ve worked with to be true artists in their fields – they are creative problem solvers. And many of them also create visual art of one kind or another.”

Shu-Ju designed television test equipment at Tektronix and chip design tools at Integrated Measurement Systems. It was during this time that she saw the wealth of visual artists among her fellow engineers. Wang understands the value of the arts in this technical field, “I think that having a visual arts background was very helpful when I was doing graphical user interface work. Also, if you have someone on a team who’s able to organize or see the problem/solution a little differently, that’s always a good thing. And, of course, being comfortable with computers is very handy and important nowadays even for visual artists.”

It seemed a natural connection, then, for Wang to bring together five computer engineers/scientists and their art this month in a group exhibit entitled, “Intersect/Parallel at the Walters Cultural Arts Center. The center located in Hillsboro, Oregon seemed just the right spot for the show according to Shu-Ju, “Since the Walters Cultural Arts Center is situated in Hillsboro, the center of the Oregon high tech industry, I thought it would be appropriate to do a show there.”

Featured in this show is photography by Mike Nakamura, book arts by Robert Hanmer, paintings by Roslyn Lindquist, sculpture by Laura Freeman and book arts and paintings by Shu-Ju Wang. You can see the show during gallery hours Monday-Thursday 9am-9pm, Friday 9am-6pm and Saturday 10am-4pm at the Walters Cultural Arts Center 527 East Main Street, Hillsboro, Oregon until January 28, 2009.

You can also read about Shu-Ju’s bookarts project with the elderly on the Oregonian’s Visual Arts blog.

Below, another installation view. Seen are photograph by Mike Nakamura and “pillow books” by Shu-Ju Wang.
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By Susan Gallacher-Turner

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Above, Martha, an artist’s book by Shu-Ju Wang

It all started simply enough. Shu-Ju Wang wanted to find a way to connect with her American mother who suffers from memory loss. As a painter and book artist, she came up with the idea to make art prints with her mother and create a book that connected images and people from the past to the present.

“I used my mom as a model—we would spend two weeks together and make prints, then I would come home and make the book,” Shu-Ju said.

But it didn’t turn out exactly that way. With a grant from the Regional Arts and Culture Council and a little help from friends, Shu-Ju was connected with four elder residents from Rose Schnitzer Manor. Together, they would create the prints, then she would create an artist book for each resident. But when Shu-Ju met the first resident, she realized that the concept for the project and the reality of the process were two very different things.

Shu-Ju describes, “At the beginning, I had a very specific idea. I would explain the project to them and we’d go from there. I really had this backwards.” What Shu-Ju realized was that she had to find out what each resident wanted to do, and let the project go from there. But finding each woman’s specific interest was a bit tricky.

“It’s completely different working with someone you don’t know and trust is a real issue when your memory is failing. You spend a lot of time just trying to establish a relationship with them before you can really get any work done. These are women at all different levels of memory loss. The less they’re able to remember, the harder it is to establish a relationship with them.”

But Shu-Ju persisted and, with patience, a little luck, and help from some relatives, she was able to build trust and find out what each woman really wanted to do. The result was four very different, creative and beautiful art books that relate to personal experiences from each of the women’s lives.

Below, the installation at John Wilson Special Collections, with Shu-Ju behind the glass case.

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Marion loved watercolors. Every day, Marion walked down to the arts and crafts room to admire a particular watercolor hanging on the wall. Observing this, Shu-Ju suggested doing watercolors. Together, they created Marion’s accordion style artist book, with reproductions of her favorite watercolor landscape scene. “I encouraged her to work on something a little different. She would start but as we worked they morphed into the hills, meadow, trees and sunset sky.” Marion would often talk about the big family picnics from her past. This was a clue to Shu-Ju. “So, one day I asked her if the image she was painting was about the family picnics and she said, ‘oh, maybe it is’. That was really an ‘ah ha’ moment.”

Another resident, Martha, loved bright colors, flowers and writing notes to her family and friends. Shu-Ju designed her book to look like envelopes. “All her prints are inserted in the envelopes. She had her fingernails painted in this bright magenta color so her book cover is printed in that color. Her book is very colorful, with lots of flower images, and words that I found so inspiring about her.”

Esther’s book came closest to Shu-Ju’s original concept for the project. “It was a collection of documents and photographs from her life. Her daughter was really interested in this project, too, so each time they would pick and choose what they wanted to include in her book.” Esther also loved playing mahjong. Shu-Ju designed her book to look like a collection of mahjong tiles featuring a winning hand on one side and Esther’s prints on the other side, all tied together with a blue ribbon and ivory mahjong tile beads.

Sheila was a professional printmaker, in her lifetime, using an etching press to create intaglio prints. For her book, Shu-Ju created a cover in a very soft blue-gray color to mirror the look of a used intaglio print plate to hold her portfolio of handmade prints. Shu-Ju says, “She was far along in her memory loss and quite often I had trouble understanding what she was trying to tell me. But in her printmaking and her artwork, she made complete sense. She could talk about value, color, and composition.”

Today, Sheila is still a dedicated art maker. According to Shu-Ju, “Every time I go there, she’s doing collage or sculptures from whatever she can get her hands on. Candy wrappers. Blister packs. Bubble wrap. She built these wonderful sculptures from Styrofoam blocks.”

Four different women in four different stages of memory loss found that their creativity connects them to their family, their favorite pastimes, and their lives both then and now.

This connection of past to present was what Shu-Ju had in mind with project title, “Relay/Replay”. “It was an opportunity for the seniors to ‘relay’ or talk about those moments in their life and ‘replay’ was the opportunity for them to go through their lives again.”

Does relaying their memories into art books help them replay and remember events and people? Shu-Ju doesn’t know but she says, “There’s still a great deal of capacity in people to create.” She also knows they had fun and some, like Marion, got a chance to learn something new.

In addition to producing 20 artist books for each senior, they were given 7 and 13 are part of a rotating exhibit, Shu-Ju had a wooden screen made to hold prints and printing plates from each book. The screens are installed at the manor giving the seniors another way to remember their experience.

Shu-Ju explains, “It’s very rare in an exhibit situation that you get to interact with artist books. I wanted the books to be shown in a way that the seniors could see them easily. I had the idea to make room dividers, like shoji screens. I put the prints from the books in the screens but not in consecutive order. I wanted it to be like a treasure hunt for them. They are installed here at the manor.”

Shu-Ju wants to send collections of the books to medical research libraries specializing in memory loss. Her hope is they will help researchers understand, while memory may be lost, creativity isn’t. She also plans to continue working with seniors producing artist books with her Relay Replay Press.

Below, Shu-Ju and one of the room divider screens installed at Rose Schnitzer Manor.

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To see more of Shu-Ju’s work, go to www.fingerstothebone.com.

To hear a podcast of this interview, go to www.infopods.org.

I Love This Town!

Recent etchings and plein air paintings by Shawn Demarest
 
Portland City Hall
1221 SW 4th Avenue, Room 230
December 2 – 30th

Below, Hot Day on SE 7th, by Shawn Demarest

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The word ‘green‘ is prominent in this year’s Portland Open Studios, a tour of 98 artists’ workplaces throughout metro Portland.

‘Green’ and ‘art’ said in the same sentence usually means the color. Marcy Baker uses a lot of green, gentle new grass green and deep rich pine, in her prints and paintings which are abstractions of her garden and the plants in the backyards of her neighborhood.

Below, Marcy Baker’s work:

These days ‘green‘ means the use of recycled materials. Many of the artists use found objects. Allen Kinast makes one of a kind furniture out of reclaimed lath left over from remodeling sites. He uses the cut narrow pieces of wood both on end and flat for a mosaic-like technique that yields geometric designs that are anything but static. His furniture is a great marriage between function and art. He uses the same techniques to make wall works, from tile sized to those that fit on a whole wall.

Allen Kinast:

What do french fries and ceramics have in common? Sure, you could eat a bowl of fries in a beautiful ceramic bowl thrown by Careen Stoll. But you would be wrong. Stoll uses recycled vegetable oil to fire the kiln that she has built in her backyard to turn raw clay into beautifully colored, elegantly shaped bowls, cups, plates and other utilitarian objects. The technical and physical challenges are numerous in both building the kiln and every time it is fired. She has to be part scientist and part magician to get the desired results in using this unusual fuel. Who said being green or an artist is easy?

Careen Stoll’s work, and her building her kiln:

Tom Soule, another artist on the neighborhood has his studio in a green house, actually gray in color, but has a 3.5 KW solar panel system on the roof that feeds directly into the (PGE) grid. The southward, oriented system has no “dark” periods during the day, and is on a slant with the roof to make its exposure 95% efficient. It has radiant floor heating, a passive solar heat storage in the concrete floor and low E glass on the windows. Don’t neglect Soule’s watercolor and gouache paintings which combine strong color with textured areas to create abstract images suggestive of buildings or geometric structures. His wood sculpture is more organic in form.

Tom Soule’s work and studio:

Whether you go by bicycle, car, bus or walk your own neighborhood you will be transported to the land of imagination, craftsmanship and beauty. Go ahead, paint the town green.

You can watch artists at work in your green neighborhood during Portland Open Studios and other areas throughout the metro area on October 11, 12 and 18, 19. New this year is that many are open both weekends. Check the map and Tour Guide for the complete schedule, then cross the river both weekends. The $15 Tour Guide comes with two tickets, maps, pictures of all artists’ artwork, and contact information (in 2009 calendar format). Children under 18 are free. Available at Art Media, New Seasons, and other stores listed on www.portlandopenstudios.com.

By Morgan Madison

Below, Recording Memory, painted found object on wood, by Bonnie Meltzer.

At the outset of our interview Bonnie warns that she has had a few cups of coffee and might be a little scattered, but to be honest it is quite remarkable that she keeps everything together with all she has going on. Self-described “Portland Open Studios yenta,” Bonnie fulfills a nurturing role as board member and the public relations coordinator. She also designs websites, writes and lectures on art and technology and the use of recycled materials in art and keeps a large garden. Somehow, in the midst of all this she has managed to become an accomplished “very mixed media artist” known for her social commentary and distinct use of recycled materials.

Bonnie was born in New Jersey “with a crochet hook in her hand” and her interest in textiles has remained a constant. It certainly reflects in the way she has woven her passions for art, technology and recycling throughout her life. A visit to her studio quickly reveals this. The large well-lit space just outside the garden in her backyard looks at first like a repository for old hardware that has been cast aside by the march of technology. There are rows of jars with nuts and bolts and snips of things, cans of paint and glue and stacks of keyboards and circuit boards. Immediately one can see her zest for recovering artifacts that would be bound for oblivion. But this is only the beginning.

From these disparate materials Bonnie creates colorful and wonderfully textured compositions. An ordinary bundle of computer wire in her hands becomes a dynamic crocheted textile. Found objects and paint give new life to old books. Maps and globes are layered with metal objects and photographs. More than just beautiful to look at though, the juxtaposition of different elements in Bonnie’s work creates a dialog about current social issues. And this is magnified by the rich irony that she uses the outdated detritus of technology to speak so loudly about timely topics.

Below, Workshirt.

In Workshirt, for example, she has created the classic form of a blue-collar uniform shirt out of wood and maps and covered it with the digital portraits of North Portland residents. The result is a wonderfully layered exploration of the working class past and changing present nature of her own neighborhood. It is, along with much of Bonnie’s work, a foundation for thinking about and exploring community, relationships and even politics.

With a visit to Bonnie Meltzer’s studio one can see first hand the intersection of art and life. Her dynamic and nurturing personality shines through her work. And the value that she places on social awareness and community involvement is apparent in her passion and the subject matter of her art work.

In addition to participating in Portland Open Studios 2008, Bonnie is showing The Altered Book Project, at Albina Community Bank in St. Johns through October 16th.

You can see more of Bonnie’s work at her website http://www.bonniemeltzer.com/.

To learn more about Portland Open Studios, please see http://www.portlandopenstudios.com/.

By Bonnie Meltzer

Several Portland Open Studios artists visited some of the other studios on the tour to document what artists do. Lisa Parsons, a painter and photographer took pictures of the art process. Allen Schmertzler and Deborah Marble drew the artists at work. Here is a small sampling of all the drawings and photos.

Allen Schmertzler is a master craftsman. Whether he uses chalk and conte crayon for quick drawings or acrylic paint for his people filled paintings, he is able to make the people come alive. They aren’t frozen in stop motion, they are still dancing across the page.

Deborah Marble is one of those artists who makes drawing seem easy. With just a few lines she gets everything just right, from body language to the motion of a scene.

Gene Phillips builds sculptural vessels out of flat slabs of clay that are joined together. The result is a happy marriage between rectangular and curvy shapes that are inspired by the human form and plants. He carves the clay before it is fired to create highly textured repeating patterns.

Wendy Dunder creates lighted sculptures that are made with a process akin to paper mache. The shapes have their roots in nature, resembling giant blooms or pods.

Lisa Parsons, who photographed Allen and Gene is a painter who uses bold sharp shapes as a metaphor for the conflicts in the Middle East.

Each of the individual artists has a unique way of working. The beauty of Portland Open Studios is that you can see a pantheon of art diversity in just two weekends.

Below, Allen Schmertzler drawing Gene Phillips at work (photographed by Lisa Parsons):

And the result:

Below, Lisa Parsons’s photograph of Gene at work:

Below, Debbie Marble’s drawing of Wendy Dunder at work:

To find out how to visit 98 artists’ studios over the weekends of Oct 11, 12, 18, and 19, visit www.portlandopenstudios.com.

Portland Open Studios artist, and frequent contributor to this blog, Susan Gallacher-Turner will be showing her sculptures in two exhibits:

Mask Show
Metalurges Gallery
3601 S.E. Division Street, Portland

September 27 through October 31, 2008
Opening Reception: September 26, 5:30 pm

Group exhibit and fundraiser for Tualatin River National Wildlife Refuge
Onda Gallery
220 SW A Street Suite 104, Lake Oswego

October 3 through 27, 2008
Opening Reception: October 3, 6-9pm

Below, Reflection from the Repousse Series, by Susan Gallacher-Turner.

By Susan Gallacher-Turner

Entering Teresa’s living room, it was easy to see her inspiration starts at home. Bookshelves lined the walls filled with an eclectic collection of books on music and musicians like Radio Birdman, Nico, The Velvet Underground and Ramones, comic books and graphic novels as well as science fiction authors like Philip K. Dick and J.G. Ballard. The other walls held CD’s and DVD’s, two guitars, band posters and, of course, beads. There were beads in tubes, tubs and tins in all colors of the rainbow on shelves, the floor and hanging on the walls. Teresa also collects antique beads and African beaded jewelry from estate and garage sales.

Below, Teresa working in her studio.

Although Teresa didn’t get into beads until her mid-twenties, her interest in comic book super heroines and graphic novels goes back to childhood. As a kid, she loved to read Richie Rich and Mad Magazines. According to Teresa, she drew all the time, making her own paper doll clothes and comics, “I was even doing my own graphic novels before I even knew what a graphic novel was and doing my own cartoons.

So it’s no surprise that her seed bead sculptures depict super heroines. And although her current work is comic book inspired, it was her job at a tile factory that got her started in beadwork. She said, “I took home some clay and started making my own ceramic beads and around the same time I finally got my ears pierced so I made my own little earrings.” After that, Teresa was hooked on beads.

At first, she was only interested in chunky, trade beads which she felt had more history and cultural significance. “In the same way we wear a wedding ring to tell that we’re married, there are people who wear beaded adornment that tells others that, I’m ready to marry or I am married and have a son that’s a warrior.” And even in recent times, Teresa sees beads as a way to make a statement, “When Nelson Mandela showed up for his trial wearing western clothes and traditional bead work. It can have a non verbal impact. You wear it and the message gets through. It’s interesting that way.

While working in clay beads, Teresa joined the Portland Bead Society and took a class from Baltimore artist, Joyce Scott. It was in that class Teresa found a way to use beads to tell her own unique stories. Teresa explained, “When I saw Joyces’ work, I instantly saw a connection to the comic book style, the graphic representation that you could do and also the narrative aspect of it. Beads have always been a method for storytelling, so that really grabbed me. And with a two day class from her, you could stay busy for the next ten years with all the information and inspiration. So that got me going in a very fun way. And I guess I took it from there.

There are times when Teresa has a specific concept or character in mind when she starts sculpting one of her unique beaded art pieces. Other times, it’s the process itself that leads her. “Sometimes, I don’t start to get ideas for the piece itself that work until I just start working without specific goals in mind. So it does help to just dive in and let myself get a little bored and try something else, something new.

Teresa’s very first sculpture was a seed bead eyeball complete with optic nerve. Since then, she’s done super women sculptures and seed bead paintings inspired by 60’s comic books as well as jewelry. A recent jewelry piece includes a cryptic note she found at an estate sale. Teresa said, “There’s a story there, so I can laminate and incorporate it in a necklace and you can read it.

Sculpting figures and tapestry-like pictures out of seed beads is an exacting and detailed sewing process. According to Teresa, “You put three beads on, skip three beads and sew through the next three beads about twenty thousand times.

Now her beadwork keeps her so busy with new projects, teaching classes from Seattle, San Luis Obispo to Detroit, she sometimes forgets to water her plants. But it wasn’t always this way. While working at the tile factory, Teresa began exploring how she could make her art, her full-time work. She got books out of the library and took more classes. It was one of those classes that led her closer to her path, “While taking a year long beadwork class that was about the creative process, a bead store owner told me that she was going to expand her business, and I started working for her and was around beads a lot.

That led to working in several bead stores around town, teaching more classes for bead societies and guilds across the country, and showing her work here in town at Beet Gallery as well as in New York and Tokyo. And her exploration of beadwork as an art form just keeps expanding because she believes, “As artists, we push the notions of what is real. We’re making tangible objects, but they come out of our imagination.

When you enter the world of Teresa Sullivan’s imagination, you see real objects sewn seed bead by seed bead representing the power, strength and beauty of women. It is a powerful message for the maker as well as the viewer, and new territory that breaks the old cultural stereotype of beadwork. And Teresa’s glad to be a part of it, “The whole modern bead work genre is so new it’s kind of like the Wild West, unexplored territory, and that’s one thing that I really like about it. There aren’t a whole lot of people representing this science fiction, comics, rock n roll, crazy wild stuff in beads, I’m happy to fill it.

You can watch Teresa sewing seed beads into sculptural superwomen during Portland Open Studios Tour, October 18-19th.

Buy your tour guide from the Portland Open Studios web site or at any Art Media or New Seasons near you.

You can see more of Teresa’s work on her website at http://www.teresasullivanstudio.com, and listen to a podcast interview with Teresa here.

Above, Teresa in her bead filled studio.

By Shu-Ju Wang

Below, panel 4 in the Affirmative Isolation mural from Proto Illuminations series, by Shelley Hershberger.

A self-described depressed-optimist, Shelley Hershberger is analytical, thoughtful, realistic, and yet always passionate and hopeful. You see this in how she lives, what she’s trying to achieve in her life, and in what she paints.

In order to spend more of her time making art, she recently moved into a smaller house with a detached studio. The studio’s uncontaminated gray water goes directly into the garden, and her plants are thriving. As the Portland Open Studios Board Administrator, she actively—and proactively—ensures that we are on the right track to put together successful events for this year and for years to come.

Always concerned about environmental, social, and political issues, she engages the art-loving public through the subject matters that she chooses, but she never hits you over the head with it. You can walk away satisfied at having seen the beautiful imagery and iconography, or you can delve deeper to decipher the mysteries behind the beauty.

While completing her post-bac degree in Fine Art at PSU, Shelley became fascinated by how subtle shifts in line weight, composition or palette can alter the connotations of universal symbols and ancient iconography. She drew upon local historical references and contemporary news images from Iraq to create a series of mixed media works regarding the impact of war on women and children, incorporating visual influences from two contemporary female artists—Shirin Neshat of Iran and Shahzia Sikander of Pakistan. But when the pieces were finished, she started questioning, “Who am I to work with Middle Eastern imagery? What of my own visual heritage; how might I incorporate the iconography of my Northern European ancestry into a contemporary context. But what would that be?

Answer came in the form of an old journal she inherited from her great-great-grandfather, an English physician who, in 1820, had traveled through Wales and written down his observations of that early industrialization period. When Shelley transcribed the journal, she was inspired to connect our individual and shared flickering ancestral memories to the present, through iconography. She studied Northern European artifacts from the first millennium, illuminated manuscripts, and medieval floor tiles for inspiration.

She states, “At first, no matter how I worked with the imagery, the result reminded me of the Crusades. I was disgusted, apologetic. But I was also fascinated and supremely conscious of the connections between the fundamentalist, top-down behavior of those darkened ages with what’s happening in the world today.

Since then, she has been on a gallop, creating work that she’s passionate about; that references our past with our present; that asks, ”How do we illuminate our lives today“, and “Are we making any progress?

Using traditional and her own newly invented icons, she paints, layers, takes away, and layers again, to juxtapose masculine and feminine, ancient and contemporary, rigid and loose, degradation and recovery. Always searching for balance; always looking for ways to counter division with unification, and war with peace.

Starting with simple patterns, her paintings are thought provoking and anything but simple. Just ask her about them when you visit her during Portland Open Studios, and you will see this artist animated and energized by her concerns.

Shelley is also an accomplished printmaker, bringing her painting skills to the printing press in creating monoprints that result from a combination of relief, collographic, non-toxic intaglio and monotype techniques. You can see Shelley’s paintings and prints, and her wonderful studio environment, during both weekends of Portland Open Studios, on October 11, 12, 18, and 19.

To see more of Shelley’s work, go to her web site at http://web.pdx.edu/~hershber/.

Above, a “working” wall in Shelley’s studio.

By Susan Gallacher-Turner

Brenda has been on both sides of Portland Open Studios Tour. First, she was a visitor on the tour, watching artists’ demonstrations in their studios. Now, she’s teaching other artists on the tour how to demonstrate their work to tour visitors.

Below, Brenda doing her “how to demo demo” during a workshop.

For those of you who go on Portland Open Studios Tour, you may not realize all that goes into making it work every year. There are meetings, committees, and assignments that cover legal issues, signage, publicity, website information, graphic art for the tour guide and map, tour guide sales, studio safety, artwork exhibition, and demonstration techniques. Portland Open Studios Tours have been running for a decade, thanks to the expertise and dedication of artists like Brenda.

As part of my cluster group, I met Brenda at the very first meeting. Her calm professional attitude mixed with her contagious enthusiasm, really got me excited about being part of 2008 Portland Open Studios Tour. I got the chance to ask Brenda how she went from visitor to tutor and here are her answers.

Q. Why did you decide to go on the studio tour the first time?

A. I heard about Portland Open Studios from a friend who told me that all the artists are working in their studios. I was very curious to see how other artists’ created their own work and how they worked in their studios. I was also interested in seeing what caliber of art we had in Portland. It was the connection that I needed because I am so isolated in my own workspace/studio.

Q. When was that?

A. I believe my first trip out to Portland Open Studios was in 1999 or 2000.

Q. Can you remember specific artists/studios that you visited that inspired you?

A. I heard about Kitty Wallis, so she was a definite stop. Her workspace and intimate studio setting as well as her love of teaching while she was demonstrating her work was very inspiring. I loved the colors of her work and wild mark-making! She had a sign-up sheet for those who were interested in taking a workshop from her, so I signed up!

I also remember visiting Kimberly Gales, Gene Gill, Pam Green, Dawn Phelps McConnell as well as a few ceramicists, glass blowers and collage artists. Sometimes I’d make it to a studio that was just a few doors down from one I had visited and found something that was truly unique. Each artist was very unique from the other. All inspiring!

Q. Over the years, what volunteer jobs have you done for Portland Open Studios and what, if anything, have they taught you?

A. I’ve held many volunteer jobs with Portland Open Studios. My first was Volunteer Tracking. I was asked to talk to the artists in the workshop about volunteering, and I didn’t know what to say. I’ve also sold Tour Guides at events, and done the Demo on how to demo for the August workshops. I’ve also been doing the pre-press sales and I get a kick out of that job. I learned that I’m good with sales. It’s fun to call and talk to the patrons, especially after a few years, now they know my voice and my name.

Q. Tell me about the benefits of Portland Open Studio for the artist before and after the event.

A. A huge benefit to Portland Open Studios is the networking with other artists and getting inside the art community. One of the biggest benefits I’ve had is through the pre-press sales. Through that, I’ve met and spoken with art gallery owners and art organization leaders educating them on the event. From this, my name is recognized or at least they’ve heard of me. As an artist, this is a big part of marketing my own work.

I’ve formed friendships with other artists through this organization that have lasted over the years. These artists also know other artists, and before you know it, you have networked with dozens of artists in very little time. Because of the friendships I’ve made, I’ve gotten many other opportunities. We’ve hung our shows together, shared information about the community, helped each other when in need, creating critique groups, gathering for paint-outs, the list goes on.

Q. You’ve gone from tour visitor to tutoring artists who are new to the tour…how did you get from there to here?

A. I guess I’ve gone from being a visitor to tutor pretty quickly, but it didn’t happen overnight! This only happened because I said yes to the opportunity. Over the course of my 4 previous Open Studios, I’ve shared how I paint to the visiting public. This easily transitions to teaching artists on how to demonstrate their work. I’ve tried out a few different ways on how to demonstrate, as well as viewing the artists in the tour who are demonstrating, and learning what worked and, what doesn’t! There are some truly exciting demonstrating artists out there.

Q. What advice would you give artists who are considering applying to Portland Open Studios for next year?

A. If you’re considering being an Open Studio artist, ask yourself these questions: What can you give back? Do you consider yourself to be a professional artist, or want to be? What makes your work special and can you share that with others?

You can see Brenda at work in her studio during the Portland Open Studios Tour this year October 11, 12 or 18 and 19 by picking up a Tour Guide at many retail locations around the Portland metro area and any Art Media or New Seasons. See Portland Open Studios for a complete list of retail locations.

Visit Brenda Boylan’s website at www.brendaboylan.com.

Above, Brenda doing a demo for visitors in her studio.