I’msopleasedtopublishoureighth issue.Throughapandemic,wild weatherevents,andpoliticalturmoil wehavebeenfulfillingourmissionto boostPacificNorthwestartistsand writers,whethertheyarejuststarting outorarewell-establishedintheir disciplines.Overthepastthreeyears, Subjectivhasfeatured170different contributors.WiththisissueI’mhappy tobejoininginandsharingmyown art.
Many,manythankstoeveryonewho hassupportedthejournalbysending inyourwork,yourdonations,andyour wordsofencouragement.I’mvery proudofwhatwe’veaccomplished together.
RiisGriffen October2022
CurrentlyIuse“TheSocialFabric: sculptureabouttimelyissuesthat usestextilesasmetaphorand medium.”SometimesIuse“Politely Political”or“VeryMixedMedia.”
Canyoutellusaboutyourprocess?
Iamgoingtoframemyanswers throughthelensoftwoprojects,one thatwasamarathonandanother thatwasasprint.
Themarathonwasalongdeliberative, complicatedproject. TikkunOlamMendingtheSocialFabric finally openedinOctober2021atthe OregonJewishMuseumafteryearsof thinking,planning,makinganda Coviddelay.Theinteractive installationguidedbytheJewish principleof“TikkunOlam,”which means“repairtheworld,"gave museum-goersopportunitiestofix tears,holes,andripsinasymbolic socialfabricmadefromagiant parachutesuspendedfromtheceiling. In2017Igottheideatomakethe interactiveinstallation.Thenextfew yearswerefilledwithresearch,testing
BonnieMeltzerinfrontof Tikkun Olam-MendingtheSocial Fabric.Sheiswearingadress madefromaparachutewhich washalfthesizeoftheonein theexhibition.(Allphotos courtesyoftheartist.)
ideasandmaterials,gathering materials,makingthecomponents, andplanningtheMendingBees.
Thelongprojectgotevenlonger becausetheeventsof2020and2021 gotcrazierandcrazierandmore distressing.Atthebeginning,the installationwasgoingtobemostly aboutvoting.WitheachdayIwould hearorreadaboutanewtraumathat Ijusthadtoinclude.Firstitwas
immigration,thenCovid,then protests.Ihadtoshutoff.
ThisisthelongestprojectIevermade. Iwalkedatightropetokeepmyvision andbeagoodcitizen.Atwhatpoint didIhavetostopinputandjustgetit done?Whatgotmethroughwas saying,“Thisisamarathon.”Iworked steadilyalmosteverydayfrom November2019toOctober2021,but notalldayandnotfrantically.
TikkunOlam-MendingtheSocialFabric
Thesprintwas“Goasfastasyoucan andgetitdoneinsixweeks.”Each artistparticipatingin ExquisiteGorge2: Fiber atMaryhillMuseumwasasked tomakeasculpturalfiberportraitof asectionoftheColumbiaRiver.This shouldhavebeenamarathon,andit
wasformostoftheartists,butforme itwasafaster-than-fastdash.
TwoyearsagoIwasinvitedtobepart of ExquisiteGorge2 butIwasbusy making TikkunOlam.Sadly,Ihadto decline.ButIwasre-invitedonMay3, 2022becausetheexhibitwas postponeduntilthisyearandanartist droppedout.ThedownsidewasthatI hadonlysixweekstocompleteabig complicatedsculpture(sixfeetwide, sevenfeethigh,fourfeetdeep).My sculpture, Section9:Power,firsthad tobepickedupinlateJuneforasolo exhibitionatTamastsliktCultural InstituteinPendleton.
OnAugust6,2022allthesections cametogetheratMaryhillMuseumto forma66footlongsculpture.One problemwasthatmysectionstarted atArlington,Oregon,200milesfrom myhomeinPortlandandendedat HatRockParknearUmatilla,59miles further.Onatwo-dayexploratorytrip inMayIhadtodecidewhatIwas goingtodo.InthecarIdecidedmy emphasiswouldbeongenerating power.Ihadnotimetoponder alternativesolutions,doresearch,or makedrawings.Ijusthadmillionsof photos.Ihadtostartcrocheting,stick withmyfirstideaandbeginwith materialsIalreadyhad.Ifinishedit beforethetruckcametotakeitaway --byjustacoupleofhours!Iworked everyday,allthelongday,andyes, towardtheendandmaybethe middle,too,frantically.
Meltzer’s Section9:Power ofthe ExquisiteGorge projectat TamastsliktCulturalInstituteinPendletonOregonwhereitwas exhibitedbeforeitwenttoMaryhillMuseum.Crochetedfishingline andwirewithbeads,computercords,plastic,antiquememorycore.
Doyouhaveafavoritetoolor techniquethatseemstobringyour worktolife?Howdoyoumove forwardwhenyougetstuck?
Inmymindthesetwoquestionscome together.Iworktwoways.Oftenan ideapopsintomyheadwhole.I sketchit,researchthedetails,then makeit.Or,justasoftenIgointothe studiowithnoideaandplaywithmy favoritethings—coloredwire,fishing line,foundobjects,beads,andmy crochethooks—toseewhat develops.
WhenImade TikkunOlam Iwasat theedgeofmycomfortzone—andI won’ttellyouwhichside.GoodthingI hadthatextrayear!Iammostlya wireandfishinglinecrocheter. Crochetbuildsstructureandpattern. Embroideryissurfaceapplication.I learnedtoembroiderandappliqué whenIwasalittlegirlbuthardlyused itinmywork.Ihavehorrible handwritingandwasnogoodat letteringincollege.NotonlydidIhave toteachmyselfhowtoembroiderina waythatwasn’toverlylaboriousbutit hadtobeveryreadableandbeautiful text.Sooooothereweremanyhours oftests.
Ialsohadnoexperienceworkingwith agiant20footroundpieceoffabric, aparachute.ThePortlandJewish Museumwasclosedinwinterand spring2021.LuckyformeJudy
Margles,thedirector,letmeusethe galleryofthefutureinstallationto determinehowtheheckIwouldhang aparachutesoitlookedgoodinthe 18footby16footgallerythatwas only9feethigh..OH,anditalsohad tohaveroomforthemendersand othervisitorstomoveabout.
Wefigureditalloutbutwhenwetried toputmollyboltsintheceilingcenter, wefoundpipesrightunderthe sheetrockwhereweneededhooks. Backtothedrawingboard.The
solutionwasaredropehungacross theceilingthreadedthroughboltswe couldattach.Thecenterofthe parachutehungfromtherope.Itwas moregracefulandhadmorepizzazz thanmyoriginalidea.
HowIworkedmaking Section9: Power for ExquisiteGorge2 was exactlytheoppositeofhowImade andplannedTikkunOlam.Inthe beginningIusedmaterialsIhadon handbecauseorderingwouldhave delayedmystarttime.Ijumpedin headfirstandstartedcrocheting,my mostcomfortabletechnique.Ibegan bymakingsimpleshapesIcouldput togetherasaplandeveloped.Atthat pointIwasdoingnothinking,just threadingbeautifulbigglassbeadsI hadonhand,thencrochetingthem. AsIworked,thedesigngotclearer.
Thereweresomerulesand restrictionsthatcamewithworking onthe ExquisiteGorge project.All11 artistshadtoworkwithinthegiven woodenstructure.TheColumbiaRiver ineachpiecehadtobeacertainsize ataprescribedplaceontheedgesof thestructurewheretheymetthe previousandnextsections.Allthe sectionshadtowithstandbeing outsideinEasternWashington’shot, dry,verywindyweather.Hooray,my stylesolvedtheseweatherproblems withouthavingtoactivelysolvethem. Windpassesrightthroughtheholes ofcrochetedfabric.Fishinglineis
TikkunOlam: Closeupofa handkerchiefthathasa sentenceMeltzerwrote.
madetobeoutintheweather.Very durablebeadsaddedweight, definition,beauty,andsparkle.
Whatareyoureadingatthe moment?Doeswhateveryou’re readingeverfinditswayintoyour art?
Ilovedoingresearchforprojects, especiallyontheweb.Theinternet wasmadeforme!Twoyearsbefore makingthefirststitchon TikkunOlam —MendingtheSocialFabric Istarted listeningforthephrase“socialfabric.” Itwaseverywhere.Iscouredbooks andtheinternetlookingforquotes andreadingsusingtextileterms, metaphors,andidiomsthatwould givemeinspiration.Ibuiltadatabase fromsearchesofwordslikemending, thread,garment,weaving,knit,patch, moralfiber,stitchandsew.Textile wordshelpexplaineveryaspectoflife andhavesinceancienttimeswhen theThreeFatesusedthreadto symbolizelife’sdestiny.
Myresearchyieldedcontemporary andhistoricalwritingthatwasarich commentaryonourhorribletimeno matterwhenitwaswritten.Whena friendofferedme150antique handkerchiefsin2019IknewhowI wasgoingtoincorporatemyresearch into TikkunOlam.Iwouldembroider quotesinthefollowingcategories: Mend,Vote,SafetyNet,Justice,and Lifeonhandkerchiefsandbaby
dresses,thenfastenthemontothe correspondingparachutepanels.
ButIdidn’tstopthere;Istarted writingthethingsIwantedtosay. Duringtheexhibitionvisitors suggestedotherquotes.Onethat sumsupthewholeinstallationandmy attitudeisthisfirstcenturyquote
In2019,beforeCOVID,Meltzer couldinvitepeopletoherstudio tohelpmake TikkunOlam.
fromRabbiTarfon:“Itisnotyourduty tofinishthetask,butyouarenotfree toavoidit.”Youcanseesomeofthe quotesandmywritingonthe handkerchiefphotos.
Whenworkingon TikkunOlam Ihad tostoplisteningtotheradioand readingthepapersointently.Every dayanewideafromthatday’snews coulddragmeinadifferentdirection oroverwhelmme.Whileworkingon Section9:Power forthe Exquisite
Gorge projectIcouldlistento anythingthatdidn’tinterferewiththe rhythmofcrochet.Mycrocheting wouldhavehadtospeeduporslow
downtomatchthemusic.Ilistenedto mostlynovelswhichdidn’thavean effectontheworkinanyway.Imade onestitchafteranotherwhile listening.Thatkeptmyfingersmoving onthoselong,longdays.
You’vepointedoutthedifferencesin workingonthesetwoprojects.Are thereanysimilarities?
Iseemyselfasacommunity-builder usingarttoconnectpeople.Oldfashionedsewingbeesappealtome. Workgetsdoneandpeopleconnect.I purposelybuildworkpartiesintoallof mybigprojectswithtasksthatare designedforexperiencedaswellas noviceartiststobesuccessful.Iama verysocialpersonwhoneedsto balanceallthatnecessaryalonetime inthestudiowithcompany.
TikkunOlam: Earlyinthe exhibitionthisMendingBee fixedsomeoftheholesinthe parachuteusingstitchingand patches.Meltzerconducted40 MendingBeesduringthe exhibition.
For TikkunOlam,10peopleatatime sataroundmystudiotabletosew buttonsonall314feetofthe parachute’scircumference.Others hand-sewedfabricflagsandwere supposedtoembroiderthe handkerchiefs,butCovidintervened. Ofcourse,aftertheinstallation openedthereweremanyMending Bees.
For ExquisiteGorge,30localpeople respondedtocallsforvolunteerson Facebook.Covidstilllimitedthe numberofpeopleinsidethestudioto three.Theymadefishfortheriverand
Power
InstituteinPendleton,Oregon,
threadedbeadsontofishingline whichenabledmeandvolunteersto crochetthemintoriverandland.I couldnothavedoneitwithoutthem. Weallenjoyedtheworkandeach other.
Mybiggestgoalistoget TikkunOlam -MendingtheSocialFabric exhibited again.Eventhoughtheinstallationis compellingasjustanexhibition,the audienceparticipationcomponent makesitmoremeaningful.Iloved workingwiththevisitorstothe museumduring40MendingBees. Aftertheyearsofisolationdueto Covid,itwashealingtobewith peopleagain,formeaswellasforthe menders.Therearestillripstobe mendedandthereisplentyofroom onthefabrictomakemoreholesfor newmenderstofixifneeded.
“Inspiredbythemultispeciesrat’s nestofthenaturalworld,Icompose digitalworksthatremarkontheeffort ofnon-humanbeing.Capturedbythe complexityandpotentialofnature, myworkaimstoexplorethesehidden worldsandencouragenewwaysof understandingthenetworksand relationshipsoforganismswithinour troubledAnthropocene.Iwasraised
intheecologically-vulnerable wetlandsofLouisiana,andthereI developedadeeplyrootedinterestin theenvironmentalscienceswitha particularinterestinentomology. Digitalanimationismylanguagefor communicatingtheoften-enigmatic conceptsfoundinsuchfieldsand offersmeanavenuetoexplore potentialecologicalfutures.”
thedogandthewalkerareseldominthesameplace evenwhenthere’snophoneinuse
mostwalkersseethisasduty,interruptingtheirday forthedogsthiswalkiseverything,therareescape evenleashedthere’ssomuchinput—thewind,thepee-mail, carsandpeopleinmotion,and,especially,otherdogs
walkersstarestraightahead dogs’headsneverstopmoving
dogshesitateortrytoturnwhenevertheycan thewalkerwantstogetbackinsideasquicklyaspossible.
Maywebeinvisible,livingbelowtheradar,betweenthecracks, outsidethespectrum,beyondsuspicion;camouflagedbyblandness, awareness&smoothmovement, notworthfearingorknowing,
Maywebeimmunetotheliesofmirrors,windows,holograms, eyesotherthantheonesinourhearts.
Maywenotbeinthewrongplaceattheprecisetimeforabullet,crazyviolence, anuncontrolledvehicle,somethinghardenoughfallingfromthesky.
Maywestayawayfromthemilitary,thepenalsystem,themedicalsystem, thewelfaresystem;ifwemustgointoanymaywecomeout withonlytemporarydamageandnottooheavilyindebt.
Maywestayhappy,fed,curious,shelteredinsomewaysandwideopenin others.
Mayweembracethebenefitswearegiven,andseedifficultiesaswinds anexperienced&attentivesailorcanfindtheanglethrough.
Maywenotdietoosoonorlivetoolong
‘lefttoone’sowndevices’isdifferentnowthat devicemeansasmallelectronicinformationsource, external--forthecurrenttime--notone’sinternalresources likeknowledge,intuition,thinkingthroughcausality,possibility
whenIwanttolookupsomethingabookisusuallycloser thanaphoneorcomputer,orifit’snohurryIletmybrain doitsownsearch,getreconnecting.lookinginandamong insteadoflookingup,aswhensomeonesaysthingsarelookingup ithasnothingtowithreferencematerial andtheonlythingthatlooksdownaresomepeople
searchinginabookyouseeotherthingsonyourwaytoyourgoal— whichcansometimesmakemeforgetwhatIwaslookingfor,maybe writedownthedistractionstochecklater— whilethedevicejumpsrightthere,assumingyouasked therightquestion,likewhenJimaskedfortherouteto Loganairportandwhenthephonesaidwewerethere wewerenotwherewewantedtobe
aswhengooglingsomethingI’mtoldofmanyplacestopurchaseit longbeforeanythingexplainingwhatthatthingis,howitcameabout, whatitcando,etc.allthatbooksaresellingme,costingnothingbuttime aremorethingstofindoutaboutandmakeconnections, patternsprojectedfromabackwallofmymind ontotheworldsofmymemoryandpresentmoments thingsIcaninhaleandtinglewith,openingmoredoors beforeIevenwondertheirnames
“MarinaReflections: Theoneblessing inthisextraordinarytimeisthe mentalspaceforreflection.Iam gratefultofinddirectionand meaningfulworkamidallthechaos beyondourcontrol.Frequentwalks aroundSqualicumHarborin Bellinghamhaveinspiredmynewest
seriesofpaintings, Marina Reflections.Myinterestispurely visual,butthemetaphoricalcontentis notlostonme.Despitetheongoing uncertainty,thereishope.Our resilienceliftsustocreateandto enjoyart,music,poetryandallthatis stillavailabletoenrichourlives.”
“InmyworkIexploretopics concerningcultureandnature, connectingthepresentwiththe ancientpast.Myworkcitesahistory ofstories,realeventsandvisual culture.ThroughthisImaintaina focusontheculturalparadigmsthat arisefromthesestoriesandoften governourhumanbehavior.Itypically depictlandscapes,amixtureof inventedandspecificplaces,andthe typesofstoriesassociatedwiththem,
inastylethatoscillatesbetween Bruegel,Bosch,andthepopular historyillustrationsofmyyouth.By blendinghistoricandcontemporary images,inventedcharacters,observed landscapesandstilllife’sImerge historyandfantasytocreatenew storiesandmythologiesthatconvey thecomplexityoftherelationship betweenhumanityandthenatural world.”
AContractwithWolves, oilonwoodpanel,JeffLeake
Shestandsonthewharf–onefoot foldedbeneathhergreyfeathered shawltuckedsnuglybeneathher shoulderslikeflattenedtonguesof smoke.Thesyllablesofhername whenspokensoftlyfalllikegentle flakesofsnow.Theheronlivesin thepresentonly–acutelyawareof whatpassesaboveandbelow. Iwasborninthefirstsnowfallofthe year–detachedasanicefloe–ina hospitaloverlookingtheSleeping Ladymountainrange–stranded beneathwhitelightsandfrigid whitewalls.AftermybirthIwas
unawarethatIwasmotherless–halfawakeandawareofnothing butmyhungerandanicyglow.
NowmorningsIwakeinsidethe caulofawhitesheet.Whitewalls leanlikeicebergsallaroundme.In dreamsIplummetpastwhitehorizons throughdeepeningdriftsofsnow. Openinginthecoldaroundme–
asleepindreamfrost-mysoulunfolds inaluminoussmileandleavesits footprintsfarbehindmeinthesnow.
Istandbeneathabottomlessabyss.Greyganglia stringslimbthesky.Theonlycreaturesinflight arespiderlegfloatersacrossmyblueeyes.While ridingthebusIgotatextthatmybirthfatherjust died.Iwearhisface.Thisbodyofminebearshis frame.babygirlwasmypre-adoptionname.My birthmother–unmarried-gavemeaway–was thereapartingkiss?IwishIcouldrememberthis. YearslaterwhenhefoundoutIexistedhedenied Iwashis-perhapsanoutcomeofabriefaffair–droppedbyadistractedstorkmisfiringinmidair? Onthebus-textreceived-Istaredpastpanesas
oncefamiliarstreetswepassednowgrewpassing strangewhilebuswheelscleavedtothestreetlike memoryfoam.Whenthedriverstoppedinfront ofmyapartmentIscreamed–youmissedmystop andrealizedtoolatethatitwasIwho’dbeenlost. AthomeIalignedourphotossidebysidenoting
thesimilarsquarefrontageofourjawlines–the wayourjowlsdescendedindroopingloops.AsI lookedfrommyfadingblueeyesintothemuted blueofhisIwonderedwhathe’dsaytomeifhe couldstarebackintominewithmirroredlipsinan obliquepantomime.Hisvoicehadnevermadea familiarnestinsidemyears.ComfortlessI’dnever heldhishand.Nowreflectedinthemirrorheoffered mehishandandwitharictusgriphiseyesmetmine.
It’sbeensixyearssincemysondied–fivesinceIstruggledeverymorning againsttheurgetohurlmyselffrom pierrailingsintothenumbingwaters below–thatfathomlesslullabyethat drewmedownlikeafullmoon.
SittingbesidethepiertodayItriedto loosenthecaulofheavinesswhich enclosesme-tofeelpleasureatthe measuredlitanyofwavesbreaking intosongwithgravelyvoicesalong theshore.Forcedtounwrapthegift ofanotherday-liftingmyheadI triedtofindafriendlyfaceamidstthe clouds,Iprobetheall-invasiveache–atonguedelvingthedepthsofagum tryingtofindthesourceofpainonly tofallintotheswollendepthsofhis absence–hisdeathresurrectedonce again.Therearegooddaysandbad butnothingcanclosethefathomless holeheleftbehind–eachbreathtaken inisananchorinsearchoflandinthe soulofamotherwhooutlivesherson.
“Iorganizesculpturalpaintingsinnew ways.Thevariouselementswork togethertoformuniquespatial relationships.Foralloftheelaborate geometrybehindthepieces,theyare notdidacticexercises-theworkis accessibleandexciting.
Landscapepainting,Islamic architecture,plantbiology,fractal geometryareallimportantinfluences
thatshowupinvariouspieces.These areallorganizationaltoolsIuseto discoveranddescribenewspatial possibilities.
Tobebroughtoutofconventional schemasforpaintingandsculpture grantsakindoffreedomthatis applicabletoproblemsolvingand creativity.”
“IliveandworkontheEasternsideof theCascades,wheredenseforests meettheopenskiesoftheHigh Desert-rightattheedge-andwhere inthelastyears,fire,draughtanda pandemichavemadegreatmarkson
thelandscape&theculture.Iwant mypaintingstoshowwhatIsee, whereIandmanyotherslive,the beautyandtheachingsadnessofthe Westtoday.”
AtomicCity#1, oilonlinen,LindaHanson
Everysooftenbackinmiddle schoolthey'dwarnusabout lick-ontattoosthatweredosed withLSD.Thetypeswouldvary, butIdorememberbeingtoldto watchoutfortheoneswithaSmurf. Jeez,whoknewthatlittlebluepeople livinginmushroomscouldbesotrippy?
Ifyou'regoingtorhapsodize aboutpineneedlesandstraydeer andspringsthatflowfreeof amunicipalwatersupply,then youneedtospareafewpages forwhenit'stimetofleeyour cabinforaparkinglotwhereall yourfellowevacueescanstarepast smokeanddirectlyintothesun.
Thesocietywifedrivestheshopgirl awayfromtheirmotelandtowards certaindoomafterconfrontingthe P.I.whorecordedlastnight'stryst fromhisroomnextdoor.Milesdown theroad,sheturnstothepassenger seatandasks Whatareyouthinking?, butherloverkeepsstaringpastthe raindropsonthewindowandat thecountryside,tooashamed toanswerwith Arepotatoskins technicallystillpotatoes?
“WhenIsharemyart,I’malways hopingitwillconnectwithotherswho havesometimesfeltalittledifferent. Mypaintingscelebrateothernessand imperfection.Eachonestartswith spontaneouslayersofcolorand gesturalmarks.Idowhatfeels excitinguntilapersonalitystarts toemerge,thenworkmoreslowlyto bringouttheexpressionofthe character.Thisrecentseriesis inspiredbychildhoodmemories.”
“SinceIbeganmyartisticjourney,my imagesalwaysseemedtotakethe formoforganizedcollectionsof objectsandformswiththegoalof tellingstorieslongforgottenor helpingtheviewertoseetheworldin newways.Startingaroundthe16th century,thecollectingofnatural andexoticman-madeobjectsledto thecreationofformal‘cabinets’. Theseweredisplaysusuallyfoundin thehomesofthewealthy,whosegoal wastoinspirecuriosityandawein theirvisitors.TheKunstkammers,or cabinetsofwonder,werealsostatus symbolsaswellasvisibledeclarations ofsophisticationandworldliness. Eventually,asthecabinetsgrewin sizeandcomplexity,morespacewas requiredleadingtothedevelopment ofthefirstproto-museumscreating publicopportunitiestoviewour naturalandman-madewonders. Theseeventsandspaceswerethe inspirationforthiscurrentseries.”
“Asanature-lover,contemporary dancerandfiredancer/artist,my illustrationscaptureasenseof movementandflow.Ipayattention todetails,patternsandtextures.My workstakeswhatIseeinnature,and inthehumanformand,culminatesa senseofharmonywhiletakingthe
vieweronajourney.Mygoalisto travelyoureyesaroundthepiece muchlikenaturetracesthesacred spiralinallhercreations.Iwelcome anyviewertoignorethetitlesofmy piecesandrenamethembasedon whatyouseeandfeel.”
IlovethePNW, penonpaper,NalishaEstrellasRangel
PNWGiantOctopus, digitalversionofapaperdrawing, NalishaEstrellasRangel
“Iwantedanantidotetocynicism, usingthelightnessofpeoplearound meascatalyst.You’llseethepeople youwanttoknowandthestrangers youthoughttoodifferent.Itmaybe thatthecommunitywe’relookingfor iscloserthanbelieved,rightaround thecorner,onlyawalkorbikeride away.Itookpiecesofpeoplearound meandbejeweledthem,justadding enoughtoilluminatesomething nearlypresent.”
PugetSound,e-print, GregorySchaffer
Ifoundbeddifficult. Iwasalwaysgettingin andthengettingupagain onanalmostdailybasis.
SometimesI putfoodinmymouth anditwasgood. Othertimesitwasokra.
IateacookieintheshapeofStPaul, asmallmanwithasmallheart andinsufficientbutlavishdreams. Itwasmolasses.
Perhapstherewasalakeandariverandthesea; orWaldenPondplusanoldfishinghole. Therewerechurches,templesandatheistsinmytown. TherewereBuddhists.Itwasthatkindofatown.
Therewerecathedralsandweedylotsoutonthefringes wheretentpreacherssometimespracticedtheircalling. MytownwasthecolorofNorwayonacolddayinJune. AgreattowntogrowupinwithItsirony,itsmayonnaise.
Mytownisapost-industrialvillage,ahamlet,aslum. It’scalledNewSomething-or-OtherorEastWhatever. It’sbeyondtherollinghillsofoakcladbyNovember inrawumber.PerhapsalittleclosertoFresnoorIdaho.
I’veneverbeenthere,butcontinuetohearbadthings aboutpeoplewhocomefromthere,bringinggarlic, fire.Inmytown,agreattowntogrowupin–perhaps thereisadistantcafe–sheisstillsittingatabacktable.
Thisbuildssuspense,saidthewritingcoachpointing hissharpenedGoddess692ataprecedingstanza. Perhapssheiswaitingforaman,awomanoralatte. Shesitswritingearnestlyinherjournalwithaninkpen.
Thewaiterswatchastonished.Inthetownofmysloth upthestreetaremanytombsforthistediouscity. It’sthelocalewhereIbuildmytown,small,petty, grandioseandbeckoningarewordsofFebruary.
Everythingissoordinaryhere,thestumpsofelms thatoncelinedourstreetshavelosttheirshade. Anaccidentalnarratordeclaims,Welcometomytown. Hereisanironkettle.Hereisamachete.Goodluck.
WestreamaradiostationplayingArgentinetangos alldayandnight.Oldtangosfromthe‘30sand‘40s whereaPorteñiosingsofsualmaandsudolor.
Outsideit’scoolforJune.Ofteninthelateafternoon mywifeandIpushthepurplesofaasideanddance inthelivingroomtotangosandwaltzesolderthanus.
Hereisonenowtellinghowawomantooksucorazón andthensaid,adiós.Inthenextsongabaritone shareshislamentsonlanocheysuamorperdido, acommonthemeinsongsoflavidaenelbarrio. Forty-thousandblackandyellowtaxisroamBuenosAires alltotakeyoutoadozenmilongasanynightoftheweek.
InBuenosAiresitistheheartofwinter.Goneagain isthepurpleofjacarandas.AtLaVirutathebestdancers won’tturnupuntilthreeam.Atfive:coffeeandmedialunas.
PorteñiosandtouristssitupstairsattheConfiteriaIdeal hopingforeyecontactwithastrangerandaninvitation tosharetheirprivatesadnessesforthreeorfoursongs.
“Icreatedthesepiecesaspartofa challengetocreateaseriesonindex cards,constrainingeachpiecetoa compact3inchesby5inches.Each workinthissetfocusesonawoman asthecentralimage,withephemera andscrapsobscuringamorestudied, refinedportraittochallengetheidea thattheidealizedimagesweproject ofourselvesareasuncomplicatedas theappearonfirstglance.Howdo ourdaysandexperiencesweighonus, andhowcanwemakethepainof livingasvisibleasthesatisfiedsmile?”
“Myceramicsculpturesarehandbuilt,low-fire,intimateworks.Iutilize whiteandterra-cottaclay,glaze, lusters,chinapaints,stainsand paints.
Variousworkmayreflectthesacred, informedbyBuddhistandJewish ritualobjects,ortheprofane.More recentpieceshavebeeninspiredby watchtowersatAuschwitzandhow Cambodianwomenstreetvendors arrangefruit.
Mycurrentseriesis Bookish.Iwant claytohaveapaperessence.Asa poet,thenegativespaceonapageis asimportantasthewords themselves.Ilovethefeelofabookin thehand,andhowpagesarrange themselves.Aminorfloodinmyhome inspiredmetoattempttocapture, waterloggedpagesreforming themselves,attachingtoeachother andcurling.
Iamdrawntoclaybecauseofits transformationfrom‘nothingness’ into‘somethingness,’andwhatstarts onlyinthemind’seyenuminously materializesintosingularform.”
Windscoursfive-yearoldNasha’s exposedskin,searinghertender earlobesbloodred.Gustsroar,hurling theirprimordialabuseacrossthe landscape.Thesunmaygrant anotherfeebleOctoberappearance, risingabovethesilveredsageand burntochrelava,butintheseearly morninghours,everythingisstill bleachedgrey.
Nasha’scoatistoothin.Cobaltblue syntheticweavespillsyellowplastic buttonsdownitsfadedfront.Slick, navysateenliningconnectsafrayed velvetPeterPancollar,onceblack. Thiscoatisherunwedteenaged mother’shomagetofemininity, purchasedwithhard-earneddollars andmeagertipshustledthroughout syrup-stickymorningshiftsinthelocal TomTomDrive-In.Thecoat,cheappretty,isuselessagainstBend’s autumnmountainblasts.
Nashagrabsthecoat,theonlyone sheowns,fromawobblingcoattree nearthekitchenalcove.Shetiptoes throughthecreosote-scentedsilence withinthetidyshotguncottageshe livesinwithhermother,her grandfather,andherdisableduncle Jimmy,anear-mythologicalbeingwho neverseemstobeathome.
Nashaslipsintosole-wornsooty canvassneakers,slidesherthinarms intohersleevesasshemoves.Sheis carefulnottoawakenhersleeping grandfather,deadtotheworld followinganotherlife-sucking graveyardshiftatthemill.Sheglides throughthefrontdoor,awhisperof motion,closesitbehindherwithout makingasound.Shewalksalone towardanagingjuniperpaddockon thewesternoutskirtsoftown, desperatetoseethewildmustangs again.
Mustangs.Asmallband.Fromthe highdeserttotheEast.Maybe PalominoButtes.MaybeKigerGorge. Cullsunloadedtheafternoonbefore. Nashaspottedthemfromhergreat aunt’swhiteboatofaBuickasthey motoredhomefromPilotButte Market,whereshe’dbeenreleasedto free-rangetheaislesoftheproduce section,poppingglobeafterglobeof juicygreengrapeintoheralways hungrymouth.Heraunt,Marlboroscentedandstern,lookedtheother way,scanningshelvesforyesterday’s discountedloaves.
Afterward,thegroceriessecureinthe oldBuick’smassivetrunk,AuntDoris haddrivenbackroadshome.Nasha, inafugueofboredomasfamiliar landscapeslidby,jerkedtoattention whentheusuallyvacantwrangler’s corralslidintofocus.Asmallherdof mustangs,maybefifteen,allshaggy bayandduncoloredmareswithfoals bytheirside,milledrestivewithinthe falling-downenclosure.Theywere unfed,un-watered,agitatedinthe windblowndustoftheday.
Withtheirsensesassaultedbythe unfamiliarcacophonyofcars, factories,trainwhistles,thenoiseof
Bendrapidlybecomingacity,the bandjostled,snorted,snappedatone another.Damp,foamypatchesof nervoussweatsoakedtheirchests andbellies,thinneckspartially obscuredbydreadlocksofmane handeddownbyproudSpanish-Arab ancestors.
Nashaknewwhathappenedtowild horses.Theywereroundedupfor processingtobecomeanimalfood.Or humanfood.Shecouldn’tbearto considertherealityofthat,the barbarismofsuchbeautyrenderedso low.
Overwhelmedbytheforceofher feelings,Nashacollapsedonthefloor, ablightedmoanpouringthroughher usuallyrose-colored,nowpaleas salmonbelly,lips.Shefeltherself expanding,opening,liftingfromher body,notawarethatshewas mirroringthegrief,rage,andfear possessingthosedoomedhorses. Nashadidnotunderstandthelinking oflimbicsystemswhichcanlead, indeedhadled,tothistransmogrificationintothecollective unconsciousnessofthosekindred spirits.Atfive,Nashabecame overwhelmedbyherfirstdéjàvu.
Andthen,justlikethat,timewent missing.Soundandspaceceasedto bepresent.Herframeofmemory dissolved.
Suddenly,itisthenextmorningand Nashahasawakenedwithapurpose shecannotarticulate.Thenextthing shecanconsciouslyprocessisthat sheisstridingpurposefullyinher inadequatewintercoat,socklessin herbroken-downtennisshoes, crossingthehighbridgeoverthe Deschutesonherown.
ShewalkspasttheMobilstationon thecorner,notyetopenforanother day’sbusinessitissoearly,turnsonto arust-red,crushedlavatraildestined tobecomeapavedroadway.Moves throughwilddesertacresalready birthingtrendynewconstructionwith soontobeover-irrigatedlawns.She sidestepsasagebrushtumblingand dancinginthewind,watchesit carromawaytowardfreedom.Feelsa kinshipachewithinherheart. NoonestopsNasha.Noonesaysa word.Apparently,afive-year-oldchild makingherwayalone,withpurpose, acrossashiftingdawnlandscape meritsnoone’sattentionatall.
Nashasomehowknowsexactlywhere sheisgoing.Sheisinmigration. PulledWestward.Headingforthe aging,doomedjunipercorralwhere themustangsarewaitingforher. Callingforhertosetthemfree.
Whenshefinallyarrivesatthecorral, shestops,panting,alonelyspeckof cobaltblueinthevastpanoramaof brownsandrusts.Theicywindraces downtheslopesoftheThreeSisters, surroundingher,searingtheinsidesof hernose,herears,drivingitselfdeep insideherskull.Herunglovedfingers havebecomechapped,raw.She cannotfeelthemasshereachesfor theold,splinteredgate. Thencomestoanabruptstop. Becauseonecuriousbaymare, unabletohelpherself,hascometo standbeforeher.
Themare’sdelicatenostrilsflarepink. Herbreathsteamsinthecold.She meetsNasha’sblueeyesbetweenthe splinteredcedarrailswithherownof deepchocolate,rimmedinwhite.The mare’sintelligenceisunmistakable.
Nasharemainsperfectlystill,holding herbreathforfearofspookingthis
beautiful,untamedcreature. Wonders,doessherecognizewhatI amfeeling?Whispers,arewethe samebeing?
Themarebreathesrapidly,thinbody coiledtospring,ifnecessary.Fine blackhairscurveoutfromher delicateears.Awispofshimmering spiderweb,sparklingsilverinthe clearmorninglight,danglesfroma chinwhisker.Shesmellswarm,of distantplateaus,ancientearth,home.
Inthatfrozen,quietfeatherdrift momentofreality,onesmall,black andbrownmareandonebrave,fiveyearoldchildrecognizeeachanother askindredspirits.Feelwithin themselvesthecurrentofpainwhich flowsfromtherealizationofbeing foreverhuntedbymenwhodesirefor unknownreasonstobreakyou.
Nashawillcometounderstandthe deepertruthbehindthatrealizationin afewmoreyears.
Drivenbyherneedtotrytochange theimpendingoutcome,Nashaturns herhead,releasingherselffromthe mare’shypnoticeyes.Beginstowork feverishlywithherfrozenhands.Uses allofheruntappedchildstrengthto breakopenthatfastenedgate,set thatmare,herherdmates,herself, free.Themustangscluster,confused, thenledbyNasha’sbaymare,burst throughthebarrier,gallopawayina cloudofredtowardthesnow-dusted mountains.
Butwait:thisisanuntruepartofmy story.
Thatlockwouldn’tbudge.Themare’s eyeshauntNashastill.
“
Ipaintfiguresthatmakebeautiful myownvulnerabilities.Isingabout whatmakesmeblush.Thisisme connectinginthewayIknowhow.For thesepartswetendtohide,theytoo haveadesiretobeknown.Theyhave adesiretobeassured. ItbeganwhenIstartedmakingart thatfrightenedmebecauseofwhat truthsitmadeapparent.Ifearedalot then,andtosomedegreestillfeara lotnow.Butthosefearsareperhaps differentthingsentirelyforIamno longerafraidofbeingmarkedbymy supposedshamenorstigmaforbeing vocalaboutmymentalhealth.And rather,continuingtoallowitto dictatewhatIwillandwillnotlove. Throughart,Igainedtheabilityto vocalizethatwhichI’vebeentoldto hide.”
“IbelievethatallisNature.It manifestsinwildlandsandurban grids.Ihopethatmyartcapturesa bitofNature'swildbeauty.Maybeit'll startleyouintoslowingdownto rekindleyourconnectiontoits sublimeandroaringpower.Traveling inbotharidandmoistenvirons,I learnedthatonepaintsthelightin aridareasandtheskyinmoistones.
I’minspiredbythepoetryofMary OliverandGarySnyder;thepaintings ofCezanneandDiebenkorn;the physicalpresencereflectedinthe workofChineseandJapanese calligraphers;andthemelodiesof musiciansfromBeethoventoLeonard CohentoJohnPrinetoOscar Peterson.”
“Artislikemeditationtome.Ithelps meconnectwithmyinnerselfand bringsmepeace.Ihavebeen exploringbold,vibrant,colorful, diversewomenportraitsinmoderndayartform.Idrawinspirationfrom everydaywomenImeet,readabout andtheonesI'vehadaroundme growingup.ThroughmyworkItryto representavarietyofnarrativesthere'shiddenbeautywithineachone ofus,whatyouseeontheoutsideis justacoatofwhatweshowtothe world,weallhaveimperfectionsthat weshouldembraceandweareway strongerthanwethinkweare!YouBe You!”
Somefearfire,somebecomeit, acryliconcanvas,AsthaMalik
My400squarefootspaceisablock frommyhouseinabuildingwith severalotherartists.WhenI’mthere, I’mallthere.Nodistractions.I’ve createdanincrediblyversatilespaceI canquicklyreconfigureto accommodatedifferentprojects, processes,classesorphotography.I caneasilychangethetemperature andintensityofthelightingasIwork toalterhowIseeit.It’sagiant toolbox.
I’vebeeninthebuildingforalmost nineyears,andinthisparticular studioforaboutsix.That’swhenI beganmytransitionfroma watercolortosculpture.Myworkfelt routine.Ineededanewchallenge. AfteratriptotheSouthwestwhereI sketchedafewpetroglyphs.The simplicityofthepetroglyphicstyle combinedwiththecomplexityofthe gesturessetmyimaginationonfire.I feelIcanexpressmoreideasthrough gestureandabstractionsofthefigure.
Iconsidermyspaceatheater.My relationshipwithmycharacters, whethersculpturesormasks,islikea conversationbetweendirectorand actor.It’sdynamic.Weidentifyand perfectthenuancesthatbestexpress thecharacter’sstory.Nomatterhow manysketchesI’vecreated,asthe
sculptureevolves,thecharacters inevitablyhaveideasoftheirown.We negotiatefromthere.IfIoverpower thevoiceofthecharacterwithmy ownvision,Iusuallyregrettheresults. Mygoal,aswithwatercolor,isto preservespontaneity.Overthinking andoverworkingturnsasculpture intoabrick.
No.ButI’msurroundedbyshelvesof finishedsculpturesthatprovidean audiencewhenIvocalizemy thoughts.Ithinktheyservethesame basicpurpose.
What’syourfavoritethingaboutyour studio?
Mystudioisthetangibleextensionof myimagination.Ihaveroomto physicallyactoutideasthrough gestureandsometimesphotograph myselfintheprocess.Fiftyyearsof sketchbooksarestackedup everywhere.IfIstepintothestudio withnospecificideainmind,I randomlyopenanoldsketchbookand startflippingpages.Anideathat dead-endedyearsagomaytriggera “Whatif?”moment.Afewnew sketchesandIhavesomethingunique
toworkwith.It’snotuncommonto workwithsketchesformonthsor yearsbeforeauniqueconcept emerges.That’sthevisualization phase.Thencomestherealization phase–actuallymakingthepiece. Makingisaboutcreatingproblems, analyzingoptions,andcommittingto solutions.Ifyou’renotcreating problems,you’renotbeingvery creative.Solvingeachproblemwitha uniquesolutionistheultimate challenge.That’swhatmakesmy adrenalinflow.
Myonlyrealroutineistoavoid routine.Imanagemystudiothesame wayImanagemyimagination–constantvariationofinput.Before committingfull-timetofineart,Iwas
acreativedirectorinSanFrancisco andlaterwithmyown communicationsdesigncompany.I washyperalerttoanythingthat triggeredinnovativeideasinmyself andmyteams.Cleversolutionsaren’t goodenough.Ithastobeunique. Findingthatpathistheultimategoal.
Theprocessissimple:Mixitup.Keep theinputfresh.Neveracceptan obviousanswer.Neverrepeat yourself.Goodenoughisnevergood enough.Eachpieceisanotherstepof thejourney.Eachhastomoveyou
forward.Whereitleadsisnot important.Thejourneyisitsown reward.
Whatdoyoulistentowhileyou’re working?
Everything!Ioncehadaninstructor whoinsistedwefeedourbrainswith images,books,andmusicunrelated toourusualinterestsorcurrent
project.Ifthere’snothinginteresting goingin,there’snothinginteresting comingout.Thatwasthebestadvice Ieverhad.Inthestudio,Irarelyopen mycomputer.Iusuallyrelyonbooks forvisualstimulation.Librariesand bookstoresarevisualcandystores. Audioisaconstantpartofthemix.In thepastfewmonthsI’velistenedto biographiesofJimHensen,Leonard NimoyandAlfredHitchcock,the historyofSpain,abookaboutthe
oceans,afewbooksonphysics, anthropology,TheHiddenHabitsof Genius,God,Human,Man,Machine, FingerprintsoftheGods,andmore. Somedaysit’spodcasts.Factsare cataloguedinmybrainand recombinedinunexpected juxtapositions.Betweenbooks,it’s MilesDavis,StevieRayVaughn, WeatherReport–jazz,rock,zydeco, blues.Themixfeedstherhythmand stimulatesmythinking.Whenthe
Patternsandhabitsarecreativeblack holes.Thedanceofcreationisalive, ontheedge,takingrisks,beingthe flow.Sculptureisthree-dimensional decisionmaking.Surfingawaveof audioandvisualstimulation eliminatesrepetition.Themixforces metoreactspontaneously,to
consideroptionswithoutjudgment first,thencommittoasolution.
Isthereanythingonyourwishlist?
Iwouldlovetoworklarger.Thisspace doesn’treallypermitweldingornoisy processes.Ihaveaccesstoother spaceswhenI’mready.
Whatshowsorprojectsarecoming upforyou?
IhaveashowscheduledforArtatThe CaveinVancouver,WAinSeptember 2023.IwillbematchedwithDon Gray,myfavoritepainter.Ihave committedtocreateatleastonelife sizepieceforthatshow.Icontinueto enterjuriedshowstoreachaudiences Ithinkalignwithmyconceptsand style.Mywebsitefeedsmeafairly steadystreamofcollectors, commissionsandstudents.
JudithBorenin wasborninAnchorage,Alaska.Shewastoldafterherfatherdied thatshehadbeenadoptedatbirth.Afteralongsearchshefoundafull-blooded sisterandbrotherinWashingtonstateandmovedtoPortTownsend, Washingtontobeclosertothem.Shehasbeenpublishedinvariousonlineand printjournals: TheRavenChronicles,TheNightHeronBarks,Synchronized Chaos,TheFloatingBridgePressReviewIV, and ThePOETiCAReview among others.Herchapbook, TheEvidence&TheEvermore waspublishedbySaraEthel Lefsykin2019.FourpoemsareforthcomingintheBanyanReviewthisfall.
KrisBluth livesinEugene,Oregonwithhiswifeanddaughter.Heisaregular contributorto Groundwaters andhasalsoappearedin UnlikelyStories,Bay Laurel,Psaltery&Lyre,and EveryDayPoets.Whennotwriting,heenjoys puttingoffhis6:00A.M.rununtil9:00.
DavidCohen beganmakingartagaininearnestin2010aftera25-yearhiatus. Hespenthisworkingyearscoordinatingandleadingnumerousarts organizationstohighlighttheeffortsofthemanycreativeindividualsinour regionandtobuildcommunity.Hislast10yearswasspentleading environmentalorganizations.Hehashadnumerousone-personandgroup exhibitions,andhispaintingsareinthecollectionsofmanylocalindividualsas wellastheRegionalArtsCouncil’sPermanentCollection.Davidisalongtime PortlandresidentandagraduateofthePacificNorthwestCollegeofArt. https://davidcohenart.com/ https://www.instagram.com/davidcohenart/
ToreaFrey isacollageartistbasedinClackamas,Oregon.Shehasbeenworking withfoundpapers,glue,andpaintsince2010,exploringthepotentialof mundanematerialsothersmayseelittlevaluein.Herwork,whichhasbeen shownbyDeniseBibroFineArt,CollapseGallery,BristolArtMuseum,andother artspaces,touchesonthemesofgender,identity,belonging,andmemory. http://www.toreafrey.com/ https://www.instagram.com/toreajade/
RodgerGreene wasbornin1959.Hestudiedpsychologyandartatthe UniversityofOregonbeforemovingtoSeattlein1980.Hehascontinuedan independentstudyofpsychology,aswellaspaintingandsculpting,throughout hisadultlife. http://rodgergreene.com/
RiisGriffen isaself-taughtmixedmediaartistwhoseworkisinprivate collectionsacrossNorthAmerica,Europe,andAustralia.Creativityhasalways beenanimportantpartofherlife,andshebeganseriouslypursuingartin2007. Sincethen,Riishasbeenactiveinthelocalartcommunitythroughexhibiting, curating,volunteering,andorganizingevents.OriginallyfromSonoma, California,RiishaslivedinthePortland,Oregonareasince1991. http://www.riisgriffen.com
https://www.instagram.com/riisgriffenart
MatthewMichaelHanner’sfiftyyearsasanarchitectwasallthecareerhe needed.Forthepast25yearshehasactivelypursuedhisloveofwriting, principallypoetry,butalsononfictionarticlesandatravelguide.Hehasstudied poetrywithDorianneLauxattheUniversityofOregonandovertheyearswith ErinBelieu,LynnEmanuel,JoeStroudandothersatthePortTownsendWriters Conference.Heispublishedinacoupleofdozenperiodicals.RecentBooksare: October,2015, Adriatica,2016, LeBugue,BlackPérigordandBeyond,2016and Alice,WhatIHeard and MoreAlice,FurtherFragments,bothin2021.
LindaHanson lovespainting.Sheworksslowly,inoil&watercolor.Herprimary sourcesarephotographsshemakeswithpaintingsinmind.Shestudiedpainting atCaliforniaCollegeoftheArtsandSanFranciscoStateUniversityand completedanMFAattheSanFranciscoArtInstitute.Herworkisinprivateand corporatecollectionsinCalifornia,WashingtonDCandLondon.Shehastraveled manytimestoEuropeandEngland.TenyearsagoLindaleftCaliforniafor CentralOregon.Shenowlivesinasmallishtownwheregreatforestsmeetthe HighDesert…Forbetterorworse,hervisionhaschanged..butshestillloves painting. http://www.learningtodrawwater.com/
MiraKamada isacontemporarypainterlivinginBellingham,WA.Growingupin NewJerseyshefrequentedartmuseumsandgalleriesinManhattan.The landmarkexhibition,“NewYorkPaintingandSculpture:1940-1970”attheMet, featuringtheAbstractExpressionists,wasapivotaleventinherartistic awakening.WhilecompletinggraduatestudiesinpaintingatMarshallUniversity, KamadataughtartinWestVirginia.In1994sheopenedagraphicdesignstudio inMonterey,CA.ShemovedtothePacificNorthwestin2004tofocusonfineart. Kamada’sworkhasbeenexhibitedintheUSandCanada.Herpaintingsarein bothprivateandpubliccollections,andhaveappearedinfilms. http://www.mirakamada.com/
JeffLeake currentlylivesandworksinPortlandOregon.HeholdsaBFAfrom theSanFranciscoArtInstituteandanMFAfromUCDavis.Hehasshownacross theUSandinternationally,beenawardednumerousgrantsandawards includingtheArteLagunaprize,FordfoundationGoldenSpotaward,grants fromtheOregonArtCommission,andRegionalArts&CultureCouncil,aswellas residenciesatCalderaArts,UCROSS,theMontelloFoundation,PedvaleArtPark inLatviaandtheSwatchArtPeaceHotelinShanghai.Heiscurrently representedbyGallery114inPortlandandYingGalleryinBeijing. http://jeffleakeart.com/
AsthaMalik isaproudwomanofcolor.BornandraisedinIndiashecomesfrom ahumblemiddleclassfamily.Thefirstoneinthefamilytopursueeducationin theUS,graduatingwithamastersdegreefromanIvyleagueschool,sheisa ProductManagerbyprofessionandaself-taughtartistbypassion,livingin Seattle.Asthacreatesvibrantwomenportraitsthatcaptureessenceandfacets oftheiridentity,andleansonvividimagerytoportraythem.Shehasauctioned herartworkforcharityforthelast3yearstowardseducationandequality. https://www.instagram.com/the_artsy_project/
ChasMartin’simaginationishisgreatestasset.Itcomesfromaninsatiable curiosity.Throughconstantquestioninghecombinesunrelatedfactstocreate unexpectedresults.AfterstudyingVisualCommunicationatPrattInstitutein NewYorkCity,heworkedwithBostonandSanFranciscoadagenciesasanart directorandcreativedirector.“Mycuriosityhelpedmelearnvisualstorytelling fromsomeofthebestphotographers,videographersandillustratorsinthe country.”Hebeganpaintingdailyin2009.Afascinationwithanthropology, mythsandpetroglyphsledtosculpturearound2015.HelivesinPortland, Oregon.Hisimagination,however,isnotgeographicallyattached. http://www.ChasMartin.com https://www.instagram.com/chasmartinart
NylaMcCarthy,alifelongOregonian,livesinacooperativecommunityalongthe remotebanksoftheNorthUmpquaRiver.S/heisbusywriting,practicing sustainablelanduse,watchingBaldEaglespluckmergansersandsteelhead fromthewatersborderingtheirland,rebuildingalifeinthenewNow.A2022 winneroftheKaySnowAward,andaFellowoftheAtticInstitute’sAthaneum, NylaservesasDevelopmentMavenontheboardofOregonWritersColony.Her workcanbefoundintheTimberlineReview,StateofOregonPress,MESD Publications,andonstageandscreen.NylaoncedancedwithBigBird.Really.
BonnieMeltzer’sart-making,activism,communitybuilding,andgardeningare linkedtogetherlikecrochet;onethreadloopingwithitselfcreatingan interlockinglife.BorninNewJersey,MeltzermovedtogetanMFAatthe UniversityofWashington.There,shefoundhermedium,hersocialcommentary voice,andinstallationasaformat.Throughouthercareershehasused crochetedwireandfoundobjectstomakesocialcommentarythatengagesthe viewerwithbeautyandhumor.Meltzerhasexhibitedwidelyandisinprivateand publiccollections.Herworkisinmanybooksandthesubjectofnumerous articles.Therecentbooks“TheFineArtofCrochet”and“ArtistryinFiber: Sculpture”haveMeltzer’sworkonthecovers. http://www.bonniemeltzer.com/ https://www.instagram.com/bonniemeltzerartist/
DevonPardue isananimationartistborninLouisianaandcurrentlyworkingin Portland,Oregon.TheyearnedtheirMFAinVisualArtsatPacificNorthwest CollegeofArtin2022andaBFAinAnimationfromKansasCityArtInstitutein 2019.Workstakeshapeasexperimentalshortfilms,immersivenewmedia installationsandothermultidisciplinaryprojects,whichhavebeenexhibited internationallyfromtheUnitedStatestoFinland. https://dovetin.carrd.co/ https://www.instagram.com/dparduefilm/
RobertProcter wasbornPhiladelphia,PA,buthisfamilyeventuallyrelocatedto SanDiego.Fromthere,hemovedtoBerkeleytoresumehisstudies,andbought hisfirstNikon.AttendinggraduateschoolintheMidwestallowedhimtovisitthe ArtInstituteanditsImpressionismcollection.Then,whileinD.C.,hemade regularvisitstoitsmuseums.Afternineyearsaway,hemovedtoPortland. That’swhereheshiftedfromphotographytostudyChinesecalligraphy,painting andprintmaking.Anavidclimber,cyclist,andskier,he’straveledthroughoutthe West.TripstonumerousEuropeancitiesexposedhimtoOldMastersand Modernistsalike.
https://robertprocter.com/
NalishaEstrellasRangel isaseasonedillustrator,painterandtattoodesigner.As aproudLatinalivinginthePacificNorthwest,theirworkhasbenefitedadiverse communitybywayoflocalfundraisers,silentauctionsandlarge-scaleart donations.Theirpassionscenteraroundelevatinganddiversifyingartist communitieseverywhere.Nalisha'sworkexhibitsareverenceforpatternsin nature,movementandtexture.Theyfrequentlyimaginethemselfasapassenger whenillustratingbecausethecompositionsguidethemversusthemcontrolling thedrawing.Theyaredriventocaptureasenseofmovementonthepage. http://www.artbynalisha.com/ https://www.instagram.com/nalishaestrellas/
danraphael hasbeenactiveinPortlandandtheNorthwestforover4decades aspoet,performer,editorandreadinghost.HispoetrycollectionInthe WordshedwillbepublishedbyLastWordPressinNovember.Morerecentpoems appearin Fireweed,CapeRock,HaightAshburyPoetryJournal,Rasputin and UnlikelyStories.MostWednesdaysdanwritesandrecordsacurrentevents poemforTheKBOOEveningNews.
GregorySchaffer wasborninKansasCity,KStoparentsofFilipinoandGerman descent.Uponreceivinghisfirstcamera(CanonFtb)attheageof15hebecame enamoredwithphotographyandpursuedthemediumeversince,obtaining multipledegreesandmakinglargebodiesofworkinChinaandSeattle.Most recentlyhewastheDirectorofHomeCareforFullLifeCare,anorganization dedicatedtothewell-beingofvulnerableadults. http://gregory.pictures/
WillaSchneberg isapoet,ceramicsculptor,interdisciplinaryartist,curatorand psychotherapistinprivatepracticeinPortland.Herworkhasbeeningalleries andmuseumsinMassachusetts,TennesseeandOregonattheIFCC,Guardino Gallery,Gallery114.HerworkisinthepermanentcollectionoftheOregon JewishMuseumandCenterforHolocaustEducation,andiscurrentlyinthe internationalonlineexhibit“Wabi-Sabi”sponsoredbyArtFluent.Shereceived theOregonBookAwardinPoetryfor IntheMarginsoftheWorld.Hersixth collection, TheNakedRoom,ofpoemsrelatingtomentalhealth,isforthcoming January,2023.
http://willaschneberg.org/
IreneWilde’savant-popartistryisirrevocablysentient,leadingwithaseaof nakedportraitsandintimatemusings.Assheechoes“Youarenotalonein feeling,”shelendstoothersthesamekindnessshehopestoreceive.Forherart andmusicaresimplymeansofconnectioninanever-isolatingworld.Wildeisan artistandmusicianresidinginSeattle,WA.IrenehasreceivedtheArtistin ResidencegrantatStudio2+UShunpiketofurtherherworkonhermusical trilogy,“TheBlackestBile.”WhilepursuingamastersfromtheMaryland InstituteCollegeofArt,Ireneaimstocontinuetheconversationonmental health,trauma,andself-worththroughherartinWashington. https://irenewilde.art https://www.instagram.com/irenewilde.art/