During the month of August 2021 Gallery 114 presented a show of paintings by Jeff Leake entitled "Hagiography," which examines our cultural ideals through images of revered historical figures in ironic juxtapositions that often are anti-heroic. This body of work is Leake's attempt to re-contextualize these idealized images and stories to convey more complex relationships between those and the ideals we genuinely hold and what we actually do, and the impact that incongruity might have on us. Says Leake, "I am interested in the interaction between those professed ideals, how they define our histories and our actions today, and how that dictates our relationship to the environment. This work is about an idealized sense of history that we often present as fact." While these cultural ideals may not necessarily be good or bad, he notes, they lack complexity and are told from a singular point of view which is often at odds with our actual behavior and are disconnected from the original context.
Our visual culture has been one of the primary means of reinforcing these adulatory histories, according to Leake. Paintings and sculpture may commemorate lofty historic scenes and key figures that come to represent and perpetuate certain cultural values. "My hope," he says, "is that this [work] not only questions the real animus behind many of these images but allows people to inject their own narratives into the paintings, in a way a kind of remixing of history."
July 2021 - Ruth Ross with guest artist Kathryn Cellerini Moore
In Self/Conscious, Ruth Ross presents an exhibit of layered textile prints that use the so-called "feminine arts" of sewing and embroidery, along with printmaking techniques such as monotype and cyanotype, to explore the history of textile arts and her personal history. Guest artist Kathryn Cellerini Moore offers an exhibit in diverse media entitled "Matter Splatter Spectrum Scatter," which represents a call to mindfulness and reflection on the environment and which counters the simplistic dichotomies of the current political climate by suggesting our connectedness to one another, the macroscopic, through microscopic images.
Ruth Ross, whose art practices began at Parsons School of Design in painting, printmaking, and photography, has returned to those roots after careers in graphic design and publishing. Ross is fascinated by the remnants of history she finds in old tattered fabric and stained lace, aprons and undergarments. She strives to incorporate those histories into her own history through printing and layering her personal symbols on textiles using monotype, cyanotype, embroidery, and embellishment.
"I am now 78 years old," says Ross. "The drama of my younger self, making an appearance, either personal or product, is no longer my drama. My drama is in my interaction with what is in me, hidden in my psyche, hidden in my memory." She identifies the seeds of this show in the cataract surgery she had around New Year's. Until the surgery, she says, she had tolerated an aging face behind her huge red eyeglasses, which were her mask, her makeup, and her public self. Several weeks post-surgery Ross turned her camera on herself, as unflinchingly as she could, she says, "hiding my face behind my hand, or with a coy cloth covering my eyes. With those small obscurations, I could begin to emotionally adorn myself. From my stash of personal symbols, I started to create a dialogue between my psyche and my countenance."
After graduating from Parsons School of Design in New York with a degree in Graphic Design, Ruth Ross continued to paint throughout her career as a graphic designer. As an Art Director at Random House Publishing, where she worked for 18 years, she honed her visual skills as applied to the world of publishing by designing book covers, and honed her people skills by interacting with multitudes of publishing professionals. In 2000 she left New York and moved to Portland, where she devoted herself to designing and making one-of-a-kind jewelry. She learned metal-smithing and was able to combine her love of found objects with silver, creating a body of work she exhibited In New York City at Julie Artisans' Gallery and in Portland at Widney Moore Gallery. She has since exhibited her
painting, printmaking, and photography at Gallery 114, Artists Repertory Theatre, Bike Studio, and the Multnomah Art Center.
Interdisciplinary artist and guest of Gallery 114, Kathryn Cellerini Moore offers "Matter Splatter Spectrum Scatter." Moore describes her exhibit as a smattering of macroscopic and microscopic worlds, adding, "It's a call for mindfulness about the spaces we inhabits and affect. It's also an invitation to reflect upon elements in the environment, such as light energy, that may be absent from sight or mind yet are absolutely magnificent in presence and impact." She presents all new work, including videos, sound, mixed-media sculpture, and paintings in a show that reflects her training in both the arts and sciences.
Moore's diverse artwork has appeared in the "Month of Performance Art" in Berlin, Germany; the "Does Live Art Have to Be Experienced Live?" performance at SOIL Gallery in Seattle; and the experimental performance event, "Collective Becoming: Expressions of Love, Freedom and Resistance" at the School of the Art Institute in Chicago. During the pandemic Moore has exhibited widely online in the UK and the US. She presented her research at the first Mokuhanga Conference (on woodcut printmaking) in Kyoto and Awaji, Japan, and was an artist-in-residence at PLAYA Summer Lake, TEDx and Djerassi Artist Residency Program, for which she received a Ford Family Foundation Grant. Moore is a member of the Oregon Art Commission's Art in Public Places artist roster.
Works on paper by Bryn Harding with guest artist Brandi Kruse
Gallery 114 presents the gallery's Bryn Harding and guest artist Brandi Kruse in a show of works on paper in various techniques and media. Their works suggest, in part, a kinship in the use of image and space, in what is depicted, and in what is just suggested by the voids of a partly empty page.
Bryn Harding's drawings in this exhibit are portraits in ink and nupastel on mulberry washi and drawings in metalpoint of structures produced by living things. These drawings were created as a response to experiencing relationships, COVID-19, the final year of the Trump presidency, and social turmoil during a lockdown. Among the latter he notes the abusive algorithms designed to maximize his engagement with and susceptibility to marketers.
The portraits show individuals in empty spaces making brief eye contact as they look up from their phones or computers. The individuals are alone, and everything else in the room, including objects obscuring portions of the subjects, is omitted. "However," he comments, "in each drawing there is still the illusion of unpictured space just beyond the edge of palpability."
Harding's metalpoints are life-sized drawings of organic debris, pinecones, molted crab shells, and other collected items against an expanse of blank paper. As they age, the silver and copper used to create the drawings will lose the appearance of graphite, tarnishing and oxidizing to sepia and green. One drawing of a cone captures it the middle of opening as it dries. Harding collected the cone from the base of the world's largest Sitka spruce, nearly 18 feet in diameter and 1000 years old.
Guest artist Brandi Kruse's photogravures on time, vulnerability, expectations and space explore the possibilities presented through absence. Together, the works read as a loose collection of visual poems--Kruse's attempts to wrestle connection back from a noisy void, to find a sense of place in alienation, to find balance and perspective, and perhaps most importantly, to find and value quiet. She describes periods of both growth and loss in her life that led her to reevaluate what is most important: "In absence there is room to long for what is missing, but there is never a moment when an absence fails to leave room for something else."
Kruse used the process of photogravure, copperplate etchings of photographs. "I love the meditative quality of this process," she says, "and it has not changed much since its development in the 1820s." She often has thought of the works as poems, stripped of all excess. "These prints are the poetry of an image stripped down and suspended in an environment of pure potential," says Kruse. She refers to the influence of Gilles Deleuze's theory of "the-anyplace-whatever"-- as when the cinematic moment is divorced from its narrative, becoming "free floating and full of pure possibility." There are suggestions in her work of absence, an emptiness or empty space open to the imagination which can either be filled or left blank.
Photography of Jon Gottshall at Gallery 114
In April Gallery 114 presents "Floodplain," archival inkjet photography by Jon Gottshall that focuses on the current, perhaps urgent, state of the natural and built environments of the floodplains of the Columbia and Willamette Rivers. The exhibit opens virtually on First Thursday, April 1, and closes Saturday, May 1. This exhibit represents a questioning of how we choose to build on and use environmentally sensitive land; it represents a search to find space between human utility and ecosystem health that can allow for the function of both in a sustainable manner. "We need a new paradigm for the future," says Gottshall. "The effects of the past 100 years of development are everywhere to be seen, and the urbanized waterways of this nation will never be 'wild' again." In these affecting and enlightening photographs of the two converging floodplains, Gottshall sketches a history of development--the engineering of our major waterways and industrial lands--yet at the same time he notes that he sees signs of hope for the ecosystems, "where aquatic life, damaged though it is in the Columbia Slough and the Willamette, persists and somehow endures."
The floodplains along the confluence of the Willamette and Columbia Rivers were, in their pre-development state, a braided maze of tidal and seasonal streams, wetlands and marshes. As an intermediate zone between the riverbanks and the drier uplands, the floodplains supported one of the regions most diverse and complex ecosystems, home to a wide variety of aquatic and upland species.
The floodplain that now exists along the Willamette and Columbia Rivers is quite different from its pre-settlement condition. As the wetlands were drained, the drier land became ideal for economic development—railroads, warehouses and manufacturing became the main utility of the floodplains, kept behind a protective barrier of levees.
Not all of the waterways were eliminated, of course. The Willamette has been channeled, what was once a real Swan Island is now a peninsula, the upriver eastern channel filled and now spider-webbed with railroad tracks. The Columbia Slough, along with several lakes and ponds, are the surviving remnants of what once covered the Columbia’s southern shore near the outlet of the Willamette.
We like to build where it is easiest. From an economic perspective, a low floodplain makes an attractive site to develop, if you can ward off annual floods. Dams and levees were built along the Columbia to keep the high water back, and the once porous landscape is now covered with hardscape and impervious surfaces. The Slough has been relegated to a drainage, and has filled with industrial sediments for over a century.
Yet aquatic life, damaged though it is in the Slough and the Willamette, persists and somehow endures. Herons, osprey and otter still make it their home, albeit living on fish that the Oregon DEQ warns humans against consuming. For some people, it is a place of recreation and connection. Though there is a great deal of work to be done, initial steps are now underway to stabilize and perhaps restore both waterways to a more sustainable ecosystem.
The effects of the past 100 years of development are everywhere to be seen, and the urbanized waterways of this nation will never be “wild” again. Our engineering of major waterways is not likely to stop. This exhibit represents a questioning of how we choose to build on and use environmentally sensitive land, a search to find space between human utility and ecosystem health, which can allow for the function of both in a sustainable manner. We need a new paradigm for the future.
March 2021 - Juried Show
In "These Truths," Gallery 114's juried show for May, artists from across the country present work that reflects on the idea that truth can be interpreted--indeed, can mean something different to everyone. This has never seemed clearer or more complicated than in recent years with the commingling of politics, news media, technology, and popular culture. In the current milieu of contradictory experts, date fudging, conspiracy theories, and outright lies and deceptions, the artists here explore notions of truth and contemplate lessons learned during our year-long experience in a pandemic.
Nearly 30 artists working in diverse media were selected from a strong field of applicants numbering over 400. This exhibit showcases their provocative and compelling responses to the theme. They address the myriad, complex permutations of the "truths" that present themselves to us from conflicting directions and competing sources, and they offer us their own artistic commentaries and interpretations.
The show runs from May 6 through 29 and will be online only.
February 2021 - WAVE Contemporary presents Failsafe at Gallery 114
In contemporary life systems of power are most often fractured and obscured. Barely perceptible, ingrained systems of politics, control, automation, oppression, and information architecture are visible only through peripheral glimpses and traces that slip undetected into everyday life. Power masquerades as the ordinary and mundane, allowing governments, corporations, and even ourselves, to ignore the violence and manipulation we simultaneously ignore and perpetuate. In Failsafe, Wave Collective members, Collin Richard, Hannah Newman, and Midgray, explore commonplace manifestations of power and control. Richard’s paintings offer seemingly innocuous images, belied by their titles as background details that witness and effect political and historic events. Sculpture and video pieces by Newman examine our unquestioning interdependence with connected technologies, while Midgray’s interactive work provides an encounter with AI interfaces and the human labor that makes those systems possible. Using irony, humor, participation, and poetry, Failsafe investigates the fraught spaces of daily life, unearthing hidden systems of power and knowledge. The familiar quickly slips into uneasy territory.
January 2021 - Juried Exhibition
At December 2020’s end, Gallery 114 put out an international call
requesting art that dealt with the concept of HINDSIGHT.
In the light of a new year, we looked for pieces reflecting on how perceptions have changed in light of what we’ve experienced. With over 300 responses, our selection process was challenging. 33 artworks, including photography, painting, sculpture, fiber and mixed media were chosen. Enjoy
Celia Anderson • Elizabeth Arzani • Holly Boruck • Ron Brown • Penelope Caldwell
Matthew Cote • Donald Dahlke • Kay Danley • Martin Dunn • Andrea Fortunoff
Valarie Ghoussaini • Jibril Hammond • P. Hanson • Gina Herrrera • Pauline Hudel Smith
Angie Huffman • Diane Jacobs • Stephen Karakashian • Beth Kerschen • Sarah Martin
Florence Alfano McEwin • Ivan Pazlamatcheve • Candace Pratt • Patricia Shaw •
llan Teger • Helena Dupre Thompson • Margret Whiting • Katie Winston
Gallery 114 Anniversary Show
Artists: Mark Andres, Paul Dahlquist, Stephanie Doyle, Sally Finch, Ellen George, Margaret Graham, David Schelle, David Trowbridge
Traditionally, the 30th wedding anniversary is the pearl anniversary. For much of the 30 years that Gallery 114 has operated it has been situated in the heart of Portland's Pearl District. Pearls are also a symbol of wisdom gained through experience. The works in the exhibition by former Gallery 114 artists reflect the knowledge that comes through a long and thoughtful engagement in their art practice reflected in the specific subject matter and materials. Pearls also signify good luck, and perhaps it is this combination of wisdom and luck that has allowed Gallery 114 to endure and thrive for the past 30 years.
More about the show: page 1, page 2
November 2020 James Reed and South African Contemporary Art
Alex Trapani Alison Shaw Cedrick Vanderlinden Christine Ross-Watt Derrick Erasmus Dirk Bahmann Gary Frier Gopolang Thage James Reed Jenny Ord Jill Trappler Londiwe Mtshali Neil Nieuwoudt Motlhoki Nono Rachel Collett Ross Passmoor Sharlene Khan Stephan Erasmus Wayne Matthews
Gallery 114 - member James Reed - presents a group exhibition of South African Contemporary Visual Artists' work. The exhibition will present a number of drawings, paintings, printmaking, sculpture, film, photography and book works. 'Now now' is a common and contemporary phrase used by South Africans to indicate the opposite - 'not now'. For example, if called somewhere and you're unable to go just then, your reply would be: "I'll be there now now". Or, if you're asked to do something but can't at that precise moment, then your response would be: "I'll do it now now", meaning not immediately, but some time later. So, using the phrase signifies that what has been requested has not been outrightly denied, which might prove tiresomely problematic, but delayed for an unspecified period. This leaves the asker in a state of anticipation with the expectation that the request will be met - well, at some point - while the target, probably with a degree of relief, is let off the hook for the moment. A win-win situation all round. And finally, to stretch a point ( which, of course, becomes a line), perhaps 'now now' is an apt expression of our world, labelled as it is by terms prefixed with 'post' - post-structural, post-modern, post-human, etc. Here, however, it's 'postponement' - a reference on the one hand, to the deferral of an artwork's meaning in any certain and singular sense; and, on the other, to the prevailing condition in South Africa.
Catalog of show with Introduction by James Reed , edited by Jennifer M
Write something about yourself. No need to be fancy, just an overview.