Two Thousand Nine Hundred Miles Away
Jeffrey Fuchs & Sharon Servilio
Sharon and Jeff recently had a conversation about their show, Two Thousand Nine Hundred Miles Away." They spoke about the title of their show, their influences, each of their art, and more.
It's called Two Thousand Nine Hundred Miles Away. Jeff came up with the title because we were trying to figure out what we have in common or where we have overlap. And our work is very different. I'm from the New York area, and I just moved here a couple of years ago. Jeff's work is influenced by New York artists, the abstract expressionist movement. So we saw that as a nexus of where we have a commonality.
I'm very much influenced by the work of the abstract expressionists that was done back in the 40s and 50s, and 60s, mostly on that side of the country. It's hard to pick one person. But I would say Joan Mitchell is the person that just really grabbed my attention. Something about how she puts her color on canvas. How she sees the world and expresses that in her art.
My influences range from cave art and medieval art to Hilma af Klint. In terms of more contemporary influences, I'm drawn to artists like Diana Cooper, Paula Wilson or Lina Puerta who are working in a space between two and three dimensions. I like seeing how they activate that space with different materials. I'm influenced a lot by writing—science fiction, for example Ursula Le Guin and Octavia Butler. Also ecological/spiritual philosophy. Within that Sophie Strand is a big influence. She's a writer who talks about reframing Western mythology and monotheistic religions as multispecies ecological narratives that don't emphasize the human as much. Adrienne maree brown has been an influence for a while. She wrote Emergent Strategy, which is about looking to patterns in nature to inform how we might enact political change.
This is my first time showing a body of work in Portland. And it's also the first time in a few years that I've had a two person show. So, I've been reflecting on the trajectory of my work and I’ll be showing work from the past five years, choosing pieces that I feel are significant to my thought process throughout that time, my evolution and the different ideas that I've been interested in.
It's funny, you mentioned a bunch more artists so Mitchell's one, definitely one influence. But, I love petroglyphs. We spent three weeks this Spring driving around the West, exploring that kind of art. Artists like Basquiat. I don’t even know how to describe his art. I call it urban art. I don't know if it's really “urban” art, but it it's very symbolic and just has a lot of meaning for me. But mostly I’m going to have abstract expressionist work in this show. I think I might have two paintings that are a little bit more symbology. We'll see.
Two Thousand Nine Hundred Miles Away
February 2 - 25, 2023
Opening Reception: 1st Thursday, February 2, 5 to 8pm.
How do we locate ourselves in time and space? Points on a map exert a psychic pull on us, whether through lived experience, family of origin, ancestry, or a lineage of artistic influences we've never met. What does distance mean in a hyperconnected, context-collapsed world, and how is our perspective mediated when we are a nation or a neighborhood away? Some places take on a mythical quality or represent something lost, and others we distance ourselves from, only to be drawn back later in life. How do we hold this constellation while remaining present, engaged, and in relationship with our time and place in this moment?
There are definitely connections between our work when you see it together. There are certain color relationships that might be echoed, or certain line or compositional elements that you might see.
For me, it's all kind of a new leap because I'm a fairly new artist. Yeah. So it's interesting. I'm still always learning. So, I will always consider myself pretty new and an emerging artist. Most of my paintings are based on memories, or sometimes music or poetry. When I first started painting I would listen to music, or I'd be painting and there would be really influential books—Rushdie, Neruda, Kesey, Irving, Tom Robbins, Katherine Dunn, Christopher Buckley. Most of my paintings are truly intuitive paintings based on what I’m thinking about at the time. Everything we see in life influences everything we do. All of our art is a conglomeration of all of those experiences and dreams and the things that we've seen.
My work does involves fairly specific symbolism that's personal to me. Some of it is based on my experiences growing up or my ancestry that I've researched, and it also draws from mythology and political events. So I do plan to have some text in the show, a little bit about each painting. I hope that people will respond to the work on multiple levels—perhaps first impressions without the written context, and, if they are interested in personal meanings, they have the option to read more.
At Open Studios in October a lot of people brought kids, which was really fun. We asked them what they saw. It was super interesting to hear what they saw in the work. And it was different across the board for my paintings. So that's a really hard question—what do I hope people see in my paintings? I have no idea. I'm hoping people spend time and just look at them. Hopefully, people can just hang out and spend time looking at the work. If you just walk around the gallery you get one experience, but if you stop, and you hang out in front of some of the bigger works for a long time, it's a completely different experience. I'm hoping we get that here. I hope that people come in and just hang out and ponder and think and leave some comments about what they saw what they thought and what they experienced.
How I make the work is not always obvious when looking at it. It's completely made out of paper. I use a variety of techniques with the paper—shape it, collage it, cut it out and layer it. Some of it's more sculpted, paper mâché style. And then I paint it with gouashe. It's a very limited set of materials and I'm interested in seeing how far I can push them in different directions. I've been working with that process for almost 10 years and it's great to have a visual language I’m comfortable with that I can use to go into depth with my ideas. At the same time, I'm finding it helpful to learn to use new materials, like ceramics, that are much less familiar and more difficult for me, but will eventually open up new possibilities for my studio practice.
Cleveland High School IB Exhibit - March 3 - April 1
The goals of International Baccalaureate (IB) Visual Arts are for students to explore and critically respond to: the aesthetic qualities of visual arts, the relationship between form and meaning, the social and cultural functions of visual arts, and the socio-‐cultural and historical contexts of other cultures. The work is deeply introspective, cultivated from the artists' own experiences and in this sense, it is a fusion of the hearts and minds of our young people. This year's class will curate a stunning exhibition with twelve individual artists showcasing their talents and ideas. Cleveland High School HL IB Art seniors will present a selection of their best work, a two year culmination of their IB experience.
James Reed - 'ACCOMPLICE’ - April 4 - 29
Reasonings, Reckonings and Ratios from Elsewhere
The exhibition will present recent drawings , paintings and sculptures. Accomplice is a continuation of the trajectory of process based work that I have been working with since moving to Portland in 2010 from South Africa.These Visual Artworks I have made offer the viewer an invitation to participate in the process of creativity, not by making anything concrete in the conventional artistic sense, but by perceiving how their experience is both shaped and shapes what appears as external to it; that the mind and its mental produce, is like other phenomena, the morphing consequence of interactivity and causality.
with guest artists Now Now :- Group exhibition of South African Contemporary Visual Artists' work in the South Gallery. The exhibition will present a number of drawings, paintings, sculpture, photography and book works by Alex Trapani, Alison Shaw, Cedrick Vanderlinden, Dirk Bahmann, Gary Frier, Gopolang Thage, Jenny Ord, Jill Trappler, Londiwe Mtshali, Neil Nieuwoudt, Ross Passmoor, Stephan Erasmus, Wayne Matthews. (Showing with James Reed exhibit)
Kay Danley "Painting the In-between" - May 4 - 27; artist talk Sunday, May 7, 2pm
Painting opens a doorway to my inner life. Words become inadequate as a descriptive medium. Instead, imagery and recurring visual symbols dominate. Each time I face the canvas, I encounter an in-between world. My paintings balance between representation and imagination, linking an alternate reality and a world of dreamlike abstraction. Image: Collonade and a Fox, oil on canvas, 36x48.
Gallery 114 Artists Group Exhibit - June 1 - July 1
All the artists of Gallery 114 will have one or two pieces of art on view in the group exhibit. A fine example of differing points of view, differing mediums and creative work. Join us for a sampling of the great art of the members of Gallery 114!
Juried Exhibit - "What If"
A Nationally Juried Exhibit
January 5 - 28, 2023
Gallery 114 was proud to present work based on the theme “What if?” This juried exhibit represents work from 28 artists hailing from within a national pool. The range and breadth of artistic expression in interpreting this concept resulted in provocative, expressive and creative energy.
Donald Dahlke / Agglomerations
Dianne Jean Erickson / Object and Line
December 1 - 30, 2022
Donald: My concept of visual art is a process of discovery not bound by artistic convention. My approach is experimental and combines geometric and organic techniques creating entities reflecting my perception of a complex world.
Dianne: In my last two series "Women With Attitude" and "Stacked," I used a great deal of color. In this new series "Object and Line," I wanted to simplify color and object, keeping this statement in mind, "what is not included is as important as what is..." The background becomes as important as the object within.
Open Channels - Jon Gottshall with Kerry Davis and Anna Daedalus - November 3-26
In the Zone - Serena Barton with Jo Grishman - October 6 - 29
My aim in this body of work is to express the essence of my passions and the excitement of learning itself in visual form.
About Face - Mark Danley - September 1 - October 1
RED SCARE - Ruth Ross with Diane Kendall - August 4 - 27
There was no doubt that the “witch hunts” of the 40’s and 50’s, which resulted in the deaths of the Ethel and Julius Rosenberg impacted profoundly my parent’s sense of security. We fled without telling anybody. And most of this was never discussed again.
We Are All In This Together - July 2022
Showcasing New Members' work in our Main Gallery
Donald Dahlke, Kay Henning Danley, Dianne Jean Erickson, Jeffrey Fuchs, Sharon Servilio
Established members' work featured in our South Gallery
Pat Barrett, Serena Barton, Mark Danley, Jon Gottshall, Joanie Krug, Jeff Leake, Maude Anne May, James Reed, Ruth Ross
Is It Done Yet? Juried Exhibition - June 2022
Juried exhibition, artists: Kayla Beware, Kelly Borrero, Kate Clevenger, only Furtado, Nancy Helmsworth, Chip Ingram, Robin Kerr, Joe Latomirsky, James McKenna, Dorsadaf Moinzad, Kristine Riddle, Preeti Schaden, Greer Siegel, Shannon Tallcouch, Jack Upston, Lars Westby, Alan Wieder, Kory Woolons.