"I think the idea of grey areas or fluidity (not only in terms of art but gender, sexuality, politics, etc) is just recently being embraced. I love the idea that art is like a membrane where ideas are constantly seeping, shifting and changing and I think that’s what this new fiber-based mixed media work does very successfully." -- Jennifer Pettus, Winter 2015
Amber's interview with Jennifer Pettus was published in our Winter 2015 issue, where you can see more the intricate details of Pettus's embroidery mixed into a complex work of art made of various materials. Whatnot is up as part of Gathering: A Venison Magazine Retrospective, through August 31.
The complication of life inspires me to use complicated combinations of materials and methods in my work. I create three dimensional shadowboxes, free form assemblages, and installations that defy categorization with calculated hodgepodge. I spend a lot of time “making the stuff to make the stuff,” re-purposing second-hand and throw-away materials with techniques like knitting, knotting, stitching, wrapping, staining, poking, gluing, and smashing. I use excessive texturing in conjunction with vibrant colors and curious objects to create a visual pull, asking the viewer to come closer than they might otherwise to a work of art. My hope is to use this material mishmash to keep the viewer engaged with clues to a certain complexity behind the familiar
Aliens with Extraordinary Ablities
Curated by Artist, Camella DaEun Kim
Opening Reception | Saturday, May 20th, 5 - 7pm
Exhibition dates | May 20th - July 21st, 2017
Mon - Fri, 10am - 5pm
Immigrant Potluck | Saturday, June 10th
Fellows of Contemporary Art
970 North Broadway #208
Los Angeles, CA 90012
The title of this group show, Aliens with Extraordinary Abilities, is a direct reference to O-1 visa approved by the United States Citizenship and Immigration Services to individuals who are classified as “aliens” possessing extraordinary ability in arts, science, education, business, or athletics, or who has a demonstrated extraordinary achievement in the motion picture or television industries.
Despite having interest to take part in commonly shared discussions on “assimilation versus integration,” “race versus ethnicity,” “mainstream
culture versus subculture,” or “economically motivated immigration versus politically motivated evacuation,” this show is compelled to observe the dialectical process that wages within the outsiders struggling to come to terms with their social environment.
While the eight artists in the show possess distinct backgrounds and manifest disparate approaches to art, each identifies herself as a “stranger,” oscillating between being an insider and an outsider by virtue of her individuality within her own circumstances. Drawing on personal experiences related to diaspora, race, gender, queerness, and social constraints, each artist’s work subverts and confronts the negative connotations of life as a foreigner.
Furthermore, both the curator and artists collaborated by playing both roles. As a whole, Aliens with Extraordinary Abilities amalgamates works ranging from photography, video, sculpture, and sound, site-specific installations. Together, they are collectively curated to touch on the ideas of ‘home’ and expand on the paradigm of the forever immigrant with multiple places of belonging, out of places or with no place to call ‘home’.
Dustin Harewood brings to canvas colliding worlds, where east meets west, both above and below sea level. His works mesh the importance of our climate and the heavy hand that media has, using the imagined to discuss our human footprint. Heavily influenced by the submerged landscapes, Harewood has used his memories to create a vibrant and elegant world.
by Nazish Chunara
The things I paint/draw are mostly made up; ideas of what these deteriorating reefs would look like. In the beginning I collected a bunch of reference pictures and tried to make studies of them. I lost interest in doing that pretty quickly.
The element of media in these studies says a lot about how we, as humans, treat our environment. Why did you decide to include Japanese newspapers, and what does it signify?
My wife is from North Japan. We met at an art store here in Florida that she once worked at. I’ve made several trips to Japan to visit her family over the past few years. When I go I collect newspapers during the visits. After the Fukushima nuclear disaster, I remember being asked by many American/Barbadian friends and colleagues whether or not I would cancel my trips to Japan. I haven’t.
Japan consumes a large portion of the world’s seafood. I’m still not fully aware of what consequences the large amount of radioactive material dumped into the Pacific would have on them or the ocean.
The intrusion of the Japanese newspapers signifies their (as well as our) incursion on these underwater landscapes.
So it is very much about Florida, Japan and Barbados. All places with a lot of coastline.
I also just find them to be more elegant and visually softer in their presentation.
What is your preferred medium?
When I teach painting at College I prefer to use oils. When I’m working on my own stuff I prefer acrylics. I need for things to dry as quickly as possible because applying multiple layers to the surface is very important for what I’m trying to achieve.
What classes do you teach, and where?
I teach Painting, Drawing and Computer Graphics classes at Florida State College at Jacksonville.
What kind of response have you received about your work from your students?
My students usually say that they love my work... but what else could they say to my face?
The real question is, what do they say about it when I'm not around!
If there was one place in the entire world you could paint a mural, where would it be and what would it be of?
That's a great question. I'd love to do a dead reef mural in Aoyama Tokyo.
Tallahassee’s cultural scene is in many ways an artist refined do-it-yourself community. Everything from the bright, bold and anonymous folk art of local tradition to the beautifully blended dynamics of poetry and hip-hop becomes a reflection of expressive resourcefulness. The city’s flowing demographics and overall amount of creative variety cultivates unique curiosities with inspirations pulled from various ethnicities and geographic backgrounds. This blend of thought and personal origin emits a strong unique glow that’s easily noticeable as outpost here in northwest Florida. Ironically, the DIY definition is very communal with artists curated exhibitions hosted at random geographic coordinates, abandoned
guest chefs, resulting in memorable artist-rendered concoctions. FOOD quickly became known for Matta-Clark’s, Matt-Bone” soup, which featured oxtail, roasted marrow bones, frogs’ legs among other bone-type of entrees. Finishing the bowl, the bones were scrubbed then strung together as a necklace of leftovers the participant could bring home.Here at the intersection of art, performance, and social engagement, participants found that something as a bowl of soup could leave an imprint to last a lifetime.
SOUP has developed in response to the artistic vision and spirit behind FOOD, and though we’ve put forth a menu of decidedly less edible offerings, we are looking forward to the years ahead and all the possibilities they might bring. At the heart of it all is the spirit to strengthening our community. For us, this means exploring creative ways to form connections between all kinds of people and projects that might, on the surface, appear to have little in common, yet stirred together, produce something of delicious substance.
Tallahassee’s supportive atmosphere has allowed us to extend nationally to where we are today and, it’s amazing to see how this seed of an idea has taken root and begun to thrive beyond what we could have predicted. It didn’t feel quite like a seed at the time – in fact, it felt huge – but in hindsight, we can recognize that it was still just powerful potential that could only take shape through the resourceful act of collaboration and participation. Today SOUP is a blend of all these inspired efforts, simmering together to create a space of creative nourishment and free expression.
-Ashton Bird, Chelsea Raflo, Victoria DeBlasio
SOUP's Anywhere But Brooklyn
The opening reception flew by in seconds, and I remember Lucia, Matthew, Brittany and myself crouched on cheap folding chairs in the front. We popped a bottle of champagne, sipped and soaked up our accomplishment. I don’t think I will ever forget that night.
To be completely honest, at the time of selecting the two artists to exhibit –the selection was based more on my personal intuition and how the artists knew each other. Brittany’s installation displaying the inner-world of consciousness or lack of had a similar metaphor as Lawrence’s; both, the installation and paintings complimented each other very well.
After the next few months, we quickly realized we needed reliable assistants, coordinators and volunteers. We started off with five people and now we are at 18. SOUP experimental, including myself is a volunteer ran space that is exuberantly growing through people passionately believing in the idea of resourcefulness and experimental creativity. We’re scrappy. SOUP has grown to have gallery exhibitions, performance and music nights, open-mic, facility rental, a touring exhibition, an off-site exhibition, written artwork opinion and artist interviews.
The exhibitions are ultimately selected by me, but our coordinators do have a huge influence on the final decision. Beyond the exhibitions, each section of staff delegates what events we should manifest or who we should interview.
We are all artists, which I believe makes communication much more understanding. I definitely wouldn’t say we all think the same though, which is even better –all of us have a flavor the other doesn’t, and each very much so complements one another. It’s been amazing being able to see what and how much we’ve been able to do.
-Ashton Bird, Director
Vieno James's body of work, Glory, opened at Offsite Gallery inside the World Trade Center in Norfolk, VA last week. His work is a mixed media study of history that compels me to dive deeper into those history books, and ask, what kind of history are we creating right now? I was so happy to be able to talk to Vieno about Glory, and several other interests!
Q&A by Nazish Chunara
First, I want to ask why. What drew you to discuss the US and war? Is this a subject you were always drawn to?
My experience in Japan made me realize that a large chunk of the world views America negatively. I also realized that during my stay, I was somewhat a representative or ambassador of the American people. I knew that the United States exploited many countries in the name of “democracy”, and something in my gut told me that it was time to examine this subject. I wasn't always drawn to this subject in particular, I'm interested in anything that my heart tells me to examine. I needed to draw the work from my system and bring it into the physical world.
What is your research process like?
I just go to the library and get lost. I walk almost unconsciously through the isles, stop when my spirit tells me, and grab the book that I'm “looking” for. After gathering about 10 books or so, I have everything to help me come to a conclusion on what I want to say in my work. After the books, I speak with “random” people in my community to get their opinions and ideas about the whatever the topic is. Funny enough, this usually confirms my thoughts. After that, I watch documentaries and news stories to inform myself visually and to stay up to date.
In what ways have you found that we glorify war?
Glorification of wars and war heroes are all around. I see it in movies like Troy and 300. Kids are getting rewarded for kill streaks online everyday. I saw many Republicans during the campaign bringing veterans on stage to talk about our nation's good vs the evil brown people of the Orient. Our president, Trump, is trying to fight a war of attrition against ISIS, another good v. evil case. ISIS glorifies its martyrs and soldiers in this so called “holy Caliphate v evil Crusaders” war.
Haha, anyways, I used mud, blood red paint, and spit in the areas that represent the battlefield. The blue areas are filled with glitter and the figures are almost like constellations in the night sky. To me it's a timeless heaven and earth view of the Battle of Gaugamela plains, Iraq and the current battles going on in the same area of Mosul, in our times.
The figures in the work are holding the traditional weaponry of Persian and Macedonian warriors. In many areas you can see the Macedonian battle technique of the phalanx being used by the figures. There are other symbols in the work, and they refer back to Picasso's Guernica; the fallen horse, the slain warrior with the broken blade, the flowers and the black bird in the top right.
What would a battle stage map of the last decade look like for the US? What materials would you use to represent this?
Great question! I'm actually about to take a hard look at America with my next series. The work I'm thinking about creating most likely wouldn't be a battle map. The works will look like ancient Egyptian artifacts. It would be made of scrap metal, concrete, wood, denim, old auto parts, American flags, anything that could represent the absolute death of America's Industrial Age. I'd also like to talk about big businesses, gangs violence, American history and ideology; our role in the world. It would be riddled with transfer prints of the recent riots in this country, and figures and images of old industrial cities like Detroit. My ideas are pretty rough at the moment, but that's the direction I want to head in next. It'll probably be a 2 year project made out of multiple bodies of work that focus on different subjects like industry, agriculture, ideology, race, politics, and societal movement.
You've scattered silhouettes throughout this body of work, as if they're peering into our world. Tell me a bit about mixing the abstract with the figurative.
Haha! They're there to watch the viewers. I only include them when the time is right though. Like when a brush stroke does not carry the emotional weight of seeing a human locked in combat.
What was it like preparing for your solo show Glory at the Offsite Gallery inside the World Trade Center in Virginia? It looked amazing!
Thank you, Nazish! Soooo many all-nighters in the studio. A lot of "Watch the throne." And a ton of frustrating moments. It was fucking amazing! I like having a fire under my ass when I work.
I’ve noticed, looking through all the work on your site, you’ve touched basis with many important subjects: environmental, printed (press), war, race and more. Is there a subject that you haven’t covered but would like to?
Thanks for taking a look at everything, Nazish! This is going to sound boring, but agriculture, hunting, and food is my dream subject! I want to cover it so badly. If you control food, you control the world. I believe that crops and livestock are the only thing on this planet with intrinsic value. One ear of corn can produce fifty more. I'd probably talk about farming throughout history, slaves from around the world, what people grow all across the planet, hunting, gathering, and how it's shaped their food, culture, and modern society. It'd be a lifetime's journey around our planet.
It was a pleasure speaking with you, Vieno!
San Francisco-based curator A.R. Vazquez-Concepcion untangles threads of history, knowledge production, and colonialism in Bestiario/Menagerie, a vibrant, 10-person group exhibition on view at Adobe Books Back Gallery through January 28.
Bestiario or “bestiary”, roughly translated, describes a compendium of animals – imaginary and real – that was bound in book or illuminated manuscript form. Dating to second century Greece, bestiaries reflected a desire to understand the natural and spiritual worlds through collecting, categorization, and comparison.
Review by Roula Seikaly
Centuries on, cabinets of curiosities were amassed as Enlightenment thinking and imperialist expansion brought western Europeans into contact with worldwide civilizations. Through dedicated study of physical artifacts, it was believed, a civilization’s value could be assessed. The sinister footnote to that ambitious effort is, of course, that colonized societies were treated as foreign, as the other, and in need of “civilizing” through paternalistic intervention.
The artifacts that were assembled in personal and later, public curio collections, were regarded as representations of the unfamiliar, and knowledge derived from observation was passed generationally as authoritative. In Bestiario/Menagerie, the objects and the artistic practices that produce them reject containment and the purported “authority” of knowledge through provocative juxtaposition.
Vazquez-Concepcion makes the most of Adobe Books’ intimate gallery, spacing each object to hold its own and, when considered relationally, deliver a deeper and decidedly more troubling understanding when viewed together.
Marcela Pardo Ariza’s “Dissident” (2016), in which a humorously unruly pencil line interrupts the banal familiarity of a Post-It note, is both funnier and more frightening next to Fernando Pintado’s “Non Nobis Domine Non Nobis” (Not unto us, O Lord, not unto us) (2016). Its title excerpted from a short Latin hymn that expresses humility and thanks for spiritual blessings, this four-panel charcoal and paint piece portrays crusading Knights Templar who waged multiple wars to reclaim Jerusalem from Muslim invaders. In this pairing, notions of rebellion expand and align an innocuous graphite mark and state-sanctioned terrorists bent on delivering apocalyptic violence in the name of Christianity.
Stretching diagonally across the gallery, Santiago Insignares’ colorful biomorphic sculptures “Restriction”, “Implication”, and “Posthumous” (2016) address traumatic experiences and how memory enforces such events as mile markers in our lives. Without knowing that the meat of Insignares’ inspiration includes systematic massacre, displays of tortured bodies, and domestic violence, these sculptures might earn little more than a passing glance. Insignares interrogates authority’s unchecked abuses, and how knowledge is obscured to mask the gravest offenses.
The motley assemblage that is Bestiario/Menagerie demonstrates both the best and worst of human inclinations: curiosity is an evolutionary gift. Building knowledge through collecting, comparing, and analyzing has helped the human species amass a compendium more comprehensive than any bestiary or curio cabinet could contain. When knowledge, or presumed knowledge, is used to subjugate others, we lose our humanity. Through these objects and the juxtapositions they activate, the knots of history, knowledge production, and the ever-present danger of using it to exploit others begin to unravel.
How often do we get out work done a week or so early? Not often, in my experience. Luckily Camilla completed her works for Meager Form early, and we got to reap the benefits. Here's a look into my studio visit with her!
Meager Form is comprised of sculptures and collographs that depict the relationship between strength and vulnerability. Camilla, who has been greatly influenced by TS Eliot for this series, spoke with me for about an hour and we discussed everything from art, to neighbors, family and social trends.
Preview by Nazish Chunara
Camilla used her own hands as a guide for these sculptures and was able to vary them in size and gesture. They're beautfully depicted, all the way down to the lines in the palms which are curiously detailed. The weight of hands versus the weight of hair provide a little fight. You only have parts of a body to create an identity, if that's even what you want to do. Camilla's works are intentionally left unidentified which leaves ample room for wonder. Whose body could be attached to these hands or feet or braid of hair? It could be yours, mine, your professor's, maybe your mom from a few years ago or the hand of someone you have yet to meet. It's pretty magical to think about.
Though these limbs leave room for you to elaborate on, they are also representative of the things we potentially have in common. We're all ideally born with ten fingers and a set of life lines to get our palms read. The exploration of identity is high right now, which makes Camilla's works stand out even more. There is no eye color, shape, finger nail, or skin color to point out and run with.
Alternatively, there's is much security to be found in There is space all around you. Wrapped in itself, these feet are kept warm, cozy and safe. It's like creating a personal bubble; there's space for yourself provided by yourself, which immeditely led me to the idea of the imporance of self care.
We can have our heads in the clouds, just as long as our feet are on the ground - isn't that how it goes? Camilla's works trigger a number of varying thoughts to tinker with.
Reminicent of etchings, the prints below were made through the process of collography. The images are carved onto board, covered in ink and transfered onto paper. This was my first experience with it. Of course, I asked her if she ever considered incorporating color (I bet she's gotten that one too many times.) I realized that it's unnecessary because the texture created with this technique is so deep, that they are extremely vibrant as is.
Meager Form ships off to Penny Contemporary this week. If you have the chance, I recommend saying hello to Camilla and checking out the work personally!
PS, Camilla has a new system of screen printing and it's with watercolor. Check out the following piece, along with many others in With Liberty and Justice for Some at Walter Maciel Gallery Los Angeles, starting January 7th, 2017.
Thank you for having me over Camilla!
I visited Human Condition the week of Halloween at the abandoned Los Angeles Metropolitan Medical Center. With three floors and over 8o artists, I decided to start at the top, with curation. I reached out to John Wolf, the Los Angeles based art advisor and mastermind behind this large exhibition.
Q&A by Nazish Chunara
How did Human Condition come together? What was the process like?
The Human Condition stemmed from a personal desire to feel emotion. I had a shortlist of figurative artists that elicited a visceral feeling to me. At the moment of inception, I did not have a physical space for the show. It was when a client of mine mentioned the acquisition of the abandoned hospital that a light bulb illuminated. Upon viewing the space I knew that it was within these walls that previously stored so much human emotion I would find a great fit for the show.
What do you see through the lens of this role in the contemporary art world that you may not have otherwise known about?
People are craving a different experience. The white walls of a gallery have gotten tired. The site specificity of unique exhibitions like this are what excites younger generations to educate themselves on the art world.
What is your role as an art broker?
As a private art dealer, I assist clients in creating outstanding collections based on pre-defined goals. I work in contemporary, post-war, and emerging. I work tirelessly to source the best works for clients, whether new to collecting or established.
What is something every artist should know, from an art broker’s perspective?
Kindness and being really cooperative will get you everywhere. You have to earn your stripes just like anyone else. No one owes you anything just because you’re an artist. Your ego is not your amigo. Share.
When or how did you decide to pursue a career in the arts?
I was a collector and passionate about art, educating myself at every chance I could get. It was an organic process to become an advisor as I was being asked by myriad friends and colleagues for advice. It was shortly after I realized I could make a living doing it!
Other than centers such as The Getty, I’ve never experienced art this way. What kind of feedback have you received about this exhibition?
People have been “delightfully” overwhelmed, they have mentioned enjoying having so many works to experience. The excitement of turning a corner and seeing something different and unexpected is a fantastical experience.
With the current political climate, what kind of efforts do you foresee within the contemporary art world?
Anytime there is dramatic political change, artists and culture rise up in response. Whether with blatant statements, or with process change and enhanced creativity - there will be a surge of new work that is truly inspirational. Whatever your opinion on the new president, one thing is certain - disruption will take place, and positive movement in the art world, and I believe, enhanced investment in buying work.
Photos // Josh White
For a full artist list, check out the exhibiton's website:
2231 S. Western Ave
Los Angeles, CA 90018
Exhibition through November 30th
Hours | Fri, Sat and Sun 11:00 am - 6:00 pm
You can also see the works on Artsy
Preview by Nazish Chunara
Tides is a series of wearable garments by Amabelle Aguiluz, whose work we've been following since the beginning of the year. Her influences very much derive from bodies of water and the organisms that live in them. From the first time I saw her work at Art Share LA to her collaborative residency with Szalt Dance Co and their production of Water Stories, we've seen so much growth and transformation in the making and function of her hand spun, machine knit, designs. Materials include found, donated yarns, and 100% fair trade cotton, allowing the artist to keeping the project eco-friendly.
Amabelle has worked with fashion in the past, so when I visited her studio her for an interview for our Spring issue, I asked if she'd do it again. Needless to say, I'm extremely excited about this!
I wanted to work with light and shadow to see the knitted textures in motion. The goal was to see how each of the pieces transform through layering by building texture upon texture.
Tides is a project inspired by sea foam and water created without set patterns. Each piece is unique and would be difficult to replicate. I started with experimenting with small shapes relying on intuitive knitting to guide me. Then I molded and hand stitched each knit swatch to build each garment. The process became a puzzle and each shape became part of a collage. The layers show stages of growth and my interest in texture and volume. The knitting approach happens very organically; it is how I relate to the way patterns form in nature and in the ocean - free flowing, never creating the same shape twice.
Amabelle Aguiluz is an artist living and working in downtown Los Angeles. Her practice incorporates clothing, textile, fiber sculpture and installation processes that study rhythm, nature, poetic expression and human experience captured through the repetitive motions of crafting. She studied at Politecnico di Milano, Italy and graduated in 2011 at The Fashion Institute of Technology, New York BFA in Fashion Design with an emphasis in Knitwear Design and Textiles. Her installation and wearable artwork has been exhibited at Art Share LA, MorYork Gallery, The Last Bookstore for Maiden LA 2016, Women's Center for Creative Work as part of LA's Public Art Biennial Current LA: Water in Los Angeles and The Triennale Internationale des arts textiles en Outaouais, Canada.
Designer // Amabelle Aguiluz // @amabelleaguiluz
Photographer // Mike Carreiro // @mikecarreiro
Model // Ashley Chung // @chungashley
Hair // Sydney Costley // @sydney_costley
Stylist // Natalie Hemmati
MUA // Aaron Paul // @aaronpaulbeauty
These Days LA // @thesedays.la (for those of you who have your eye on the new organic cotton bulky knit sweater)
GROWTH / DECAY
Jun 30, 2016 - Aug 20, 2016
Paradigm - Phillidelphia, PA Antler -Portland, OR Gallery hours: Tues, Thurs, Sat 12:00pm - 6:00pm Gallery hours:M - Sat 11am - 6pm , Sun 11am - 5pm
Review by Danielle Schlunegger-Warner
Growth/Decay was co-curated by Susannah Kelly and Neil Perry of Antler Gallery with Sara McCorriston and Jason Chen from Paradigm Gallery. Both Galleries were started by artists and enthusiasts that wanted to create a space for building community and showing the work of emerging artists. Growth/Decay was a great opportunity for artists to gain exposure in a new city and broaden their network of fellow emerging and established artists. I believe it is also a good push for galleries to show work by new artists and reengage viewers by refreshing their rosters. While I still loved pieces by artists that both galleries had shown before, I was personally delighted to learn about Michelle Konczyk's stunning works in watercolor, as well as Nick Pedersen's surreal digital environments. I am looking forward to seeing this model used more in galleries across the country and internationally.
The opening at Antler drew a large crowd staying packed all evening for Alberta St.'s Last Thursday art walk in Portland. While attending the opening I had the opportunity to speak with the curators and a few of the artists visiting from Philadelphia. Sara McCorriston explained to me that when the two galleries were conceiving the show, they needed to find a theme broad enough that could facilitate two pieces from all the artists. "We gave each other the opposite theme... I see Antler as more of a 'growth' gallery, and Paradigm leans more towards themes of decay... "
The abundance of flowers and animals that were present in these artworks and previous exhibitions show the curators' draw to artists working with themes of nature. This is certainly a true for Antler Gallery. David Rice, Christina Mrozik, Brin Levinson, and Zoe Keller are just a few examples of artists that speak to artists' connection with nature and their reaction to human led climate change. While still within the themes of nature, Paradigm generally seems to curate towards the breakdown, complexities, and the absurdities of being human in a natural world by bringing in artists like Drew Leshko, Caitlin McCormack, Nick Penderson and Jeremy Hush to their roster.
All of the works Growth/Decay can be viewed online and purchased through Antler Gallery & Paradigm Gallery
Paradigm Gallery and Antler Gallery are excited to present a co-curated group exhibition which spans two themes and two cities, with an opening reception on each coast. Both galleries invited 16 artists, asking them to make two pieces tackling the themes of Growth and Decay.
We live in a time when progress and destruction -- physical, economic, and sociological -- seem to go hand in hand. This theme opens up space to consider the binary nature of the world we live in. The theme was selected as we felt it was universal enough to be explored by the vast majority of artists yet also offered a distinct duality which fulfills the desire to open different shows in each city. Both aspects of the theme needed to be cohesive with the other but also be able to stand alone as its own show in isolation, as all of the "Growth" works will be on display in Philadelphia at Paradigm Gallery and all of the "Decay" works will be on display at Antler Gallery in Portland, with openings less than one week apart. The works may be viewed as stand alone pieces, but many also serve as diptych works.
Our Venison team uses this blog page to post short articles about events, projects, journeys, and art adventures that we find relevant to the contemporary lives of fellow artists.