July 2019 - Members show "Redoux"

The members of Gallery 114 will share the gallery space for a genuinely diverse show featuring collage, sculpture, photography, and painting. Redoux is defined as “bringing back” and the yearly members’ exhibit allows us all to show our work together – not the same as last year’s show, but rather where each of us has gone since exhibiting our past work.
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June 2019 - Juried show "Decadence + Desire"

We live in a world where excess and want are polarized into extremes. When we have what we need, we can always acquire more, and when we lack the necessities, wanting is all we have. What shape does desire take? How do you trace the boundaries of decadence? Where are their intersections? How much is Too much? What is enough? How do we measure our consumption, our needs and wants, our materialism in  terms of decadence + desire? In June, Gallery 114 presents a juried exhibit of artworks that explore these themes on a personal, political, cultural or social level. DECADENCE + DESIRE includes 21 artists from throughout the United States – Oregon, Washington, Pennsylvania, New York, Colorado, New Mexico, California, Maryland, Massachusetts, Illinois, Texas, Virginia, North Carolina, and Wisconsin. Sculpture, painting, printing, photography, paper quilting and mixed media are included in the exhibit.

May 2019 - Mary Jo Mann & Heather McGeachy "Reflections and Shapeshifters"
     May 4 - Artist talk
     May 19 - Reading (David Oates & Annie Lightart)

Mary Jo Mann presents a body of work entitled “Reflections” which offers viewers a quiet and contemplative space.  The work is an expression of her time sitting by a small lake and willow tree during an artist residency in Caylus, France. The abstract paintings, done primarily with ink on canvas, speak of the human experience in nature. The medium’s fluidity and transparency expresses the mesmerizing experience of the watery environment by the lake.  Complimenting her paintings is ceramic sculpture reminiscent of botanical and rock forms found in nature.

Heather McGeachy's time spent in France was filled with a rush of productivity. Focusing on themes that have been lingering in the background for years, she was able to give over to dissecting the complicated relationship humans have with the natural world. Her show, titled “Shapeshifters,” reflects an exploration of the moments when we strive to be of the natural order and less segregated from our environments and our animal brethren.

Apr 2019 - Juried show "Untethered"
     Apr 13 - Panel discussion (Mark Andres, Daniel Peabody, Amy Bay, Tamara English, and Kendra Larson)

What does it mean for a work of art to be beautiful in 2019? That question was posed to the artists who applied for this exhibit. The theme is challenging--in part because the contemporary art world has dubbed beauty a dirty word.  Dave Hickey tried to rescue it from the onslaught of art criticism with his collection of essays in The Invisible Dragon in the '90s. The three artists William Park, Ruth Ross, and Poca Kim took up Gallery 114's invitation to challenge that critical taboo, and they reassert in their own ways the place of beauty in art. These artists presented individual work based in a powerful and moving quality embedded in a strong aesthetic, a key criterion in their selection.

Mar 2019 - David Slader & Owen Carey
     Mar 7 - Performance (live art models)
     Mar 16 - Play (Rusty Tennant)
     Mar 26 - Reading (Street Roots)

A painter and a photographer explore the longings, hopes and passions of the decorated and tattooed human figure,
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For March 2019, Gallery 114 present InkBodySkinPaint+Fire, a joint show featuring the decorated and tattooed human figure, featuring painter David Slader and photographer Owen Carey. The theme for the show was sparked by a remark that the figures in Slader’s paintings were tattooed. Carey picked up on that thread, creating a series of intimate portraits of people whose body art is their personal journal, expressing their intimate stories, traumas and yearnings. Each of Carey’s models has a personal story of perseverance and is available for interviews.

Jan 2019 - Juried show "Winter in America"
     Jan 17 - Poetry (based on theme)

Gallery 114 presents its annual juried show, which this year is based on the theme, "Winter in America." Artists were asked to give meaning to that theme, going beyond Currier and Ives daydreams. Currently everyone is facing at least one winter--possibly multiple winters, in the metaphorical sense--and the many senses of winter are explored in the work of the entrants selected for this show.

Artists: Don Jacobsen, Diane Kendall, Francene Levinson, Uta Fehlhaber-Smith, Marlie Ranslam, Diana Lomeihing, Emily Pratt, Chas Martin, Robert Esau, Russell J. Young, Clifford Bodell, Tamara Stephas, Alan Wieder, Craig Wood, Marcelo Guidoli, Anne Skok, Rebecca Spilecki, Alexandra Bashford, Yu Shen, Tom Foolery, Jim Bremer, Jessica Damsky, John Fansmith, David Finn, Shobha Vanchiswar
Poets: Sarah Bokich, Dale Champlin, Deborah Dombrowski, Jennifer Dorner, Aubrey Gates King, Marialicia Gonzalez, Joanna Rose, Eric Todd Smith, Michelle Delaine Williams

​Barton does not choose to replicate the subjects or styles of the cave artists but sees a relevance to modern abstraction in certain elements of their paintings--such as spattered dots, which she thinks might suggest their response to their clear view of the stars.  "In making my own marks and surfaces," says Barton, "I likely was motivated quite differently than the Paleolithic art makers.  I was reaching back to the wonder and joy I felt first in mark making and painting as a child, when my scribbles brought me joy." In responding to the Paleolithic artists, Barton ponders their motivations, asking why they drew  and painted human-animal hybrids, asking whether their art might have been part of a sacred ritual, or might have been fueled by hallucinogens as some scholars have suggested.

I’m interested in history, nature, and humanity and what lies beneath the surface of what is immediately visible," says Barton. "Oil and cold wax medium allow me to create multiple layers of texture with palette knives, rubber squeegees, and a variety of household tools such as basting brushes, rubber jar openers, plastic combs, pastry blenders. and coffee sleeves." She adds that she paints abstractly and intuitively, building up many layers of paint mixed with cold wax, creating a complex and nuanced surface. "I reveal some of what came before by incising and scraping back areas of the painting, allowing each piece to tell its own story."
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Serena Barton teaches oil and cold wax painting at her studio in Portland and has taught workshops in France, Italy, and around the U.S.  She also will be teaching a class in Ireland.

​Both Andres and Zur, as living artists, here explore choices about how to frame the artistic legacy of their fathers in presenting their work side by side.  They have asked themselves many questions along the way.  Can beauty come from loss and ruin? When artists make bad work, when should it be destroyed, and who gets to decide? Who will speak on behalf of the artists in their absence? Can the artwork become a conduit for communication for those who grieve its maker?


Mark Andres (b. 1959) shares his own fragments of destroyed paintings beside those of his father, Charles Andres (1913-2008), in "The Chamber of Necessary Losses."  Along with questions of legacy, preparing this exhibit has brought questions about grief and necessary losses.  Quoting Goethe, Andres offers these fragments in the hope that "out of the stump of misery can come the radiant sprig."


"In Your Absence" is a "collaborative" sculptural exhibit of work by Rachael Zur (b. 1980) and her father Gary Zur (1948-1980). In the absence of her parent, Zur says the artwork must serve as a guide as she explores the precarious nature of caring for and protecting another artist's legacy..
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