Opening Reception: Friday August 2, 5 – 8pm
Artists Talk: Wednesday August 14, 6 – 7:30pm
Closing Reception: Saturday August 17, TBA
On Display: August 2 – 17, 2019
Curated by Julie Winter, the objectives of this exhibition are to highlight the work of three central Oregon artists and to examine their sensibilities about order, and the perception of how they achieve order (or disorder) within their work.
How does order make us feel? How does disorder make us feel? What is the sensation of order? The color of order, the texture of order, the shape of order? Each artist explores these questions through experimentation within their work, and is driven by the sensibilities that shape their internal and external sense of order. Our experiences are bound by our sensibilities, what looks right-on to one looks off to another.
About the Artists
Sarah Helen More’s brightly colored and heavily patterned paintings and drawings recall traditional American quilt patterns, stained glass windows and colorful mosaics. Her obsession with color and form began at a young age when she discovered that creating her own geometric coloring pages in school eased her anxiety and brought her immense joy. Each piece is created by hand, without the use of tape or masking films, using gouache on paper or oil on canvas. Her work deals with the interaction of color and pattern as well as the complicated relationship between mass-production and the handmade. Crafted without the use of tape, each piece appears to be generated through digital means. However, upon closer inspection, one sees evidence of the hand in the form of slight human imperfections that reveal the true nature of each object. This process of making provides Sarah with both a meditative and dynamic experience.
Shin Yeon Jeon is driven by the invisible aspects of human life; the elements of a human being that are least visible and most ephemeral. Her goal is to depict the transient aspect of human emotions in solid ceramic sculpture, transforming them into a permanent state. Instead of a literal description of the human form, she attempts to suggest feelings by use of ambiguous facial expressions. These expressions are much more enigmatic and suggestive of multiple and subtly conflicting states of being than a straightforward conditions such as sad, happy, or angry. The psychological presence in her pieces reveal a sense of vitality and profound artistic integrity. Her recent wall hanging sculptures were created using original thrown woman’s breast forms and squares forms, and duplicating the form with plaster mold casting and multiple, rigorous firing processes. These construction techniques, as well as a wide array of glaze application and rich surface treatment, demonstrate her ability as a ceramic sculptor and give an indication of her past training as a painter.
Susan Porteous explores both sculptural and traditionally bound books while investigating issues of form, content, word, and image using handmade and commercial production methods. Books and language have been a constant source of inspiration throughout her practice and Susan often uses found books both as subject matter and raw material. By cutting, tearing, folding, gluing, or rebinding the pages into a new form she creates a relationship between the content of the original book and the shape and structure of the resulting work, adding an extra layer of meaning and complexity. In this way, the books become sensual objects no longer able to be read but instead seen as an immediate and cohesive whole.