Oregon Arts Alliance

Interview with Teri Sokoloff of Sokoloff Glass

2011-02-17T23:08:00.000-08:00

"Joy" by Teri Sokoloff

Detail of "Joy"

*Where are you from originally?
Oahu, Hawaii, I have an independent mother who felt life would be better for us on the islands. She was right!

*I hear you live in Brownsville now.
I live a bit north of Sweet Home a place we call Frog Hollow for the evenings we are serenaded by these wonderful creatures.

*What is life like there?
Very peaceful, the friendships I’ve made are wonderful, sunrises & sunsets incredible, topped with the evening songs by the creatures of Frog Hollow.

*What first got you interested in glass?
On the beach in my youth collecting tumbled glass, I was always intrigued by the soft colors as the light pierced the glass. After taking a stained glass class I began working with a contractor fabricating windows for custom homes using my own designs. In the late 80’s I took a fused glass workshop and started incorporating fused glass elements into my stained glass windows.

* Was that the first medium you started with or did you experiment with others prior? I have always dabbled in something creative though nothing serious until I worked with glass.

*Could you describe your process?
It all depends what I want to achieve. I use a variety of tools and techniques.

*How is your approach to functional items, such as your wall lights, vs free form items different?
With functional items I first work on the mechanics. Working with glass is and has been very spontaneous for me. I usually don’t draw out a design unless I’m working with a client.

*Where did you learn your technique?
W, D & E: working, developing and experimenting in my studio.

*Did you have formal glass training?
I studied glass blowing at California State University San Bernardino & San Bernardino Valley College. Once I realized the expense of having a furnace in my studio I started focusing on kiln-formed glass and torch working.

*How have you evolved as an artist?
I rely more on my imagination and skill to drive my work into new directions.

*Who/what are your inspirations?
Everything and anything around me even the people in my life, it always amazes me how something or someone can trigger an idea.

*Has being a member of Oregon Arts Alliance helped you?
Yes.

*How so?
OAA has helped East Linn Artists (ELA) which has helped me by offering classes in East Linn County and giving us advice to the direction of our art group.

*What are your plans for the future, either personally or as an artist?
As an artist I have a few new ideas I’d like to focus on. Personally I would like to spend more time in my garden, the orchard and enjoying what life has to offer.

"Fall Splendor" by Teri Sokoloff

Detail of "Fall Splendor"

Interview with Poet Laura LeHew

2011-01-22T17:09:00.000-08:00

-Where are you from? Where do you live now?

I grew up in St. Louis, Missouri. I lived in Lexington Park, MD for 6 months—long enough to marry and separate from my first husband. I moved to Oakland, California two months before the big quake and I put a bid on a house in Eugene 2 months after I got my MFA in 2003.

-When did you first start writing poetry and why?

I didn’t start writing poetry until I was 40. I had been camping in Oregon with my friend Andy and we were driving back through the Avenue of the Giants. It was a beautiful day—weaving through the shadows and sunshine. A puppy leapt out of the old growth forest onto the road and I hit it. There was no camp ground, no stopped cars. He had no tag on him. That impact made me re-examine my priorities and I went back to the Bay area and started writing.

-Could you describe your process?

My poetry comes to me mostly complete. I sit down at the computer and write it, doing a wee bit of editing along the way. I then take it to critique group, make some edits and if I am unsure I’ll take the poem back to the group and make some further edits. I find it very hard to write or even put a book together for my press until I have the picture of it in my head. Many times in the shower or late at night before bed the poem will demand to be written. If I don’t write it then I will lose it. I do most of my writing on a computer though I do carry a journal but it is mostly for jotting thoughts or words down. It comes in handy—one of my most published poems, “Beauty,” was written at an Emeralds game as the light was fading.

-How have you evolved as a poet?

I am pushing the edge of poetry to see where it might go for me. What makes a poem? Narrative is easy. Life is not narrative. I find the layers of what is unsaid to be interesting excavation. Following the duende to wherever the poem takes me.

-When and how did you start Uttered Chaos? What were your motivations?

I started Uttered Chaos as a reading series with Colette Jonopulos—one of the editors of Tiger’s Eye Journal, another Eugene based small press. We had trouble finding the right venue to host our series so we disbanded. In 2009 I revisioned Uttered Chaos as a small press.

-I’ve heard in the last two years you have published 180 poems. How many submissions do you have to submit in order to have that kind of success and how do you know which literary journals to send your poems to?

The average submission to acceptance ratio is 30:1. From 1/1/09 through 1/31/10 I sent submissions to approximately 296 journals or anthologies, of which 180 were accepted for publication, several journals took multiple poems. Research and networking. You have to read the journal to which you are submitting to know if they will accept your work. Duotrope.com is a huge research tool for all writers, as is winningwriters.com. Also I have found large writing conferences such as the AWP invaluable. Many times the editors of journals are on panels or at book tables and are often amenable to questions. Small regional conferences such as OSPA www.oregonpoets.org hold are really great too because they are smaller and you can meet and share local resources with other poets, as well as the workshop leaders.

-How do you measure the success of a poem? Do you think all poems have value or do some have more than others?

Poems are like family. I love them all but in different ways. I am happy when they find jobs in journals or when they win a prize but I also value the unsung poem in my to be published folder. I know, someday, they will stand as they are written or go through further editing and publication. There is always hope.

-How does being a participant of weekly writing groups affect your work?

First I can only work to a deadline. Second I cannot waste time. So that means I must write at least 52 poems a year. Additionally, I am in a second group that meets twice month so that is another 24 poems a year that I can get written. As an artist I realize that everything I write is brilliant. The feedback that I receive on my poems is invaluable to me. I know what others think works about the poem, what others think doesn’t work about the poem. I can then make changes based on this feedback.

-Please name three poets that are underrated, and if you desire, three poets that are overrated and explain why.

Underrated: Kit Kennedy, Gwendolyn Brooks, Wisława Szymborska.
Overrated: Mary Oliver, Billy Collins, and Ted Kooser.

Read a body of work by each of these 6 poets and the answer will be self-evident. Read it like an artist. What is on the surface, what is underneath?

-I understand that you are a science fiction fan and that you attend science fiction conventions. How does that inform your work?

Actually when I was young my mother read to me from Grimm’s Fairy Tales, no watered down Disney in my house. Later I discovered that my mother hid science fiction on the bookshelf, which I was inclined to sneak into my bedroom and read after my parents had gone to bed. She also took me to the drive-in to watch all night creature features, letting my younger sisters sleep but I had to stay awake with her because she was scared. My first chapbook, Beauty, is a retelling of fairy tales. Cinderella is a vampire, etc.

-I also hear you have 8 cats. Do they inspire or influence your poetry?

As of this week I only have 7. I sometimes write narrative poems about my cats. Sometimes my cats tell me when it’s time for a break and though it is frustrating they are always correct. I come back and write better.

-Oregon Arts Alliance has recently welcomed writers and poets under their artist umbrella. You are a member and on the board. Why did you decide to become involved with OAA?

I think that art and writing and music are all artistic endeavors. I think it’s important to fuse them together, as the same thing—painting—sculpting—singing words. What better way to see this happen than to join with the OAA.

-What are your plans for the future, either personally or as an artist?

My projects include a book of poetry about my sister’s alcohol induced dementia “Thirst,” a noir murder mystery “It’s Always Night, It Always Rains,” poems of witness “This is a Reminder,” and hybrid poems “The Parameter of Regret.” Robert Tomlinson and I put together a gallery show dedicated to—the connection between the conception of an artwork and the response of poetry called Original Weather. Uttered Chaos will publish 4 books in 2011. Details are on my website www.utteredchaos.org.

-Anything else?

My favorite color is lime green. I don’t really like chocolate. Coffee is my second love. I often get inspiration for writing by watching TV. A word, a phrase, will send me off researching. I used to read a book a night now I barely read a book a week.

Below is one of Laura's poems:

The Other Laura

lives on the East Coast over
extends her credit never easier
she bakes cookies fresh from the fridge—no mixing
no mess for her perfect cookie cutter
family two children a girl and a boy
who never cut class and, of course,
she is married happily
to a man. She has 2 dogs—golden
retrievers she calls them Jack and Jillian
feeds them bits and bits of leftovers.

The other Laura is bone thin her
friends think she has an eating disorder
but don’t want to upset her. Debtors call
leaving cryptic messages that she erases
she never has anything to wear would rather
be shopping. Each night at precisely 10 PM
she tucks her boy and then her girl in though they
are too old and say boldly “awe mom” slips serenely
into plaid flannel sheets pops on the news kisses
her perfect man chastely on his perfect lips.

The other Laura has no crazy sisters, aunts
family all rather Norman Rockwellish drinks
a glass of Pinot Noir doesn’t worry if today
is the day she becomes a drunk someday this
other Laura hopes to travel the world or at least leave
the backyard, PTA, suburbia and when her head hits
her memory foam pillow she dreams of eating
1 dozen cream filled maple bars cropping
her hair short dying it blue one—long—hot
night tied up with Canadian born actor Nathan Fillion

wakes to Quaker instant oatmeal
dried cranberries.

Interview with Heather Soderberg

2010-12-15T10:26:00.001-08:00

Interview coming soon!!!

Interview with Brooke Stone Jewelry

2010-12-11T17:01:00.000-08:00

Wolf Rug

-Where are you from? Where do you live now?
Brooke: I was raised outside of Boston, spent a short while in Southern California as a young adult and came to Eugene in 1969 as a young mother. I was part of the "Back to the Land" movement, although I did not realize it at the time. Jim was raised in Eureka, California, in the redwood forest. He came to live in Oakridge in 1974. We have been working together manufacturing our line of animal totem jewelry since 1990.

-When did you first become interested in the arts and what mediums did you work with initially?
Brooke: As a child I started out working with blockprinting. An artist friend of the family gave me some tools and a piece of battleship linoleum. My first blockprint said "Noel" and much to my surprise, when I printed at, it said "leoN"! It was an important lesson....also, I have always worked with fiber. All the women in my family sewed, so I learned from them.

-What mediums do you work with now?
Brooke: I had a first career making wearable art which incorporated batik, applique of many different materials like felt, velvet, leather, fur, old buttons, etc. I made fitted vests and jackets, which I sold at Saturday Market, then at 5th Street Market and then I began doing the east coast shows organized by the American Crafts Council. I did wearable art for about 15 years, then switched over to metal. I got my metals education at LCC, in Dan White's program. (He was a fabulous teacher)! I have been making my living in jewelry-making since 1987. I work with animal totem images, using lost wax casting and many other processes. For a complete explanation of these processes, see the Studio Tour on my website: http://www.brookestonejewelry.com/studio-tour.php To see the jewelry which Jim and I make together, follow this link to our Art Gallery: http://www.brookestonejewelry.com/animal-totem-jewelry-online.php I have also been making hooked wool rugs since 1999; working with Dyed in the Wool Rug Hookers Guild here in Eugene. Like most hookers, I do not sell this work, but hook for the fun and the joy of it!

-How have you evolved as an artist?
Brooke: My vision has matured. I don't have any trouble thinking of new ideas. What I have found is that working with the medium brings ideas to the surface. You might say that the imagination and the medium are inextricably intertwined.

-What do you do if a work turns out differently than expected or you do not like how the piece is coming together?
Brooke: I think of designing a new piece as an exploration, so I expect the process to undergo many changes from beginning to end. I welcome problems as opportunities to "struggle creatively". I don't expect the process to be easy...

-What/who are your inspirations?
Brooke: Nature and its processes are my inspirations. I study natural history, botany, zoolology, mythology and anthropology to understand something about the animals I work with as subjects.

-When did the two of you first meet? How did your relationship impact your respective artistic careers?
Brooke: Jim and I met as students at LCC in the late 1980's. I would say that our lives as husband and wife and as working partners are completely inter-connected. I don't see any separation between the two parts. We have division of labor in the business, each working on parts that we feel comfortable with. We have our own small foundry on our land where Jim does all of the casting. I design new work and we both work in the manufacturing ....we do all of the processes ourselves in our shop.

-When did you start Brooke Stone Jewelry together? Why did you choose to name it after just Brooke?
Brooke: I already had a business called "Brooke Stone Jewelry" when Jim and I started working together in 1990 and the business already had name recognition. Also, when we first started working together, we weren't sure we could actually make a living that way. So we left the name that the business already had. As it turned out, we were able to make a living selling our jewelry and have been doing that since 1990.

-Has being a member of Oregon Arts Alliance helped you? How?
Brooke: I think it is necessary to support the arts in our community and OAA's mission is an important one. OAA has helped us gain exposure, even though we've been around for a long time. The facebook workshop recently taught by Diana Richardson was very helpful to me.

-What are your plans for the future, either personally or as artists?
Brooke: I plan to forge ahead and make art as long as I possibly can. I can't imagine life without art!

-Anything else you would like to add?
Brooke: For young artists planning to make a business of their art, I would advise: Take deadlines seriously. Never miss a deadline, no matter what! You might have 3 kids sick at home with nasty colds, but if you miss the deadline, you will lose the account!

DRAWING MARATHON DRAWS A CROWD

2010-11-09T12:07:00.000-08:00

Drawing Marathon Draws a Crowd
Drawing + Artists + You = Fantastic Fun
The Oregon Arts Alliance (OAA) hosted its first drawing marathon at the OAA Gallery on Friday, November 5, 2010, in Eugene, OR.

In case you missed the drawing marathon, here’s how it worked:
Artists drew throughout the evening, working from live models or imagination. Immediately after a drawing was completed it was placed on the gallery wall for viewing pleasure and purchase as a benefit for OAA workshops and exhibitions. Visitors witnessed artists at work and chatted while solo musicians and Honest Connie & the 5 Finger Discount provided music. Ninkasi Brewing Company and Territorial Vineyards provided beverages while the Creative Duck Store at the U of O donated art supplies for the event. Each model’s fashion sense could be captured in drawings, be it a furry hat, cat-eye glasses, a hat à la Robin Hood or Queen Slugasana’s trail of rainbow balloons. It was fantastic to see artists’ different interpretations of the models.

Roger Rix, court photographer for Queen Slugasana, liked the energy the drawing marathon produced. "This is wonderful. It’s exciting to see this many artists and different mediums," Rix said. By the end of the night, the gallery walls were covered with drawings; no space left uncovered!

Pencils, Charcoal, Pastels, Oh My!
Over 30 artists participated in the drawing marathon, and artists used an assortment of mediums: pastels, charcoal, colored pencils, watercolor, pencils and chalk.
This was graphic designer, illustrator and writer Stephen Stanley’s first drawing marathon. “I thought it would be a fun thing to do,” Stanley said. During the drawing marathon, Stanley worked from the models with pencil and white pastel. Whether the technique is tight or loose “depends on my mood,” Stanley explained.

I chatted with Halley Anderson, a student at the University of Oregon, as she worked on a linear colored pencil drawing. Anderson found out about the drawing marathon while on the First Friday ArtWalk. Anderson decided to participate because she “saw everyone else doing it, and it looked really tempting.”

Brandi York of Springfield, OR, sat on the floor working on a pastel portrait, and we talked about her evening thus far. “It’s one of my favorite atmospheres to be surrounded by other artists and just drawing,” York said. York enjoys portraiture and figure drawing and works in all mediums, though her primary and favorite medium to work in is pastel.

For Nicola Calvert, the evening was full of charcoal and pastel drawing and running into old friends. “It’s the social highlight of the week, maybe of the month,” Calvert said.
Art is “moving back into being an integral part of my life,” Calvert explained, who works with mixed media. Calvert liked seeing other artists’ work. “The drawings are very inspirational…” Calvert said.

Emily Pesek, a portrait artist, worked on portraits in pencil, smudge pencil, and woodless pencil.
“You see reality a little more clearly,” Pesek said of drawing. Pesek expressed admiration for the OAA and its mission. “I think it’s beautiful that the Oregon Arts Alliance is so devoted to honoring the artistic process and genuinely supporting art for art’s sake,” Pesek said.

Farley Craig is a full-time artist who teaches figure drawing and figure painting at the Maude Kerns Art Center in Eugene, OR. During the drawing marathon, Craig drew with charcoal and chalk, though he also likes to work in oils.

Chandra Valli Paetsch, a freelance artist, illustrator and photographer, registered for the drawing marathon because “it sounded like so much fun.” Valli Paetsch worked from the models using mixed media: ink and colored pencils, in her drawings. “It’s great to watch other artists work. I’ve never had that opportunity,” Valli Paetsch said. Valli Paetsch is up for another drawing marathon. “I really hope it happens again,” Valli Paetsch said.

We are Thankful for… You! It was great seeing such an awesome turnout for the event. Thank you for coming and supporting artists and art!

Thank you:
Artists
Models
Solo musicians and Honest Connie & the 5 Finger Discount
Sponsors: Ninkasi Brewing Company, Territorial Vineyards and the Creative Duck Store

For photos of the event, go to our Facebook page at www.facebook.com/oregonartsalliance.

Upcoming Event:
OAA Fine Arts & Crafts Show (formerly the Oregon Crafted Sampler Show) begins Friday, November 12, 2010, at the OAA Gallery with an opening reception from 5:00 p.m. – 8:30 p.m. The show features 30 of our member artists representing a collection of mediums: Glass, Wood, Ceramics, Painting, Jewelry, Fiber Art and Sculpture.
Opening reception is Friday, November 12, 2010, from 5 p.m. – 8:30 p.m.
The show runs November 12 through 21, 2010 at OAA Gallery, 881 Willamette St., Eugene, OR.
Regular hours Wednesdays through Saturdays, 11 am to 5:30 pm.

2010-11-03T07:52:00.000-07:00

Drawing Marathon this Friday, November 5

by Sara Bishop

Yikes! Friday is drawing near, what are your plans? Why not come to the Drawing Marathon presented by the Oregon Arts Alliance (OOA) at the OOA Gallery from 5 – 9 p.m.

The Drawing Marathon is a FUNdraiser (emphasis on the fun!) to benefit OOA workshops and exhibitions. Observe artists at work and have the opportunity to own one-of-a-kind pieces of art.

30 artists will be creating drawings in an array of mediums working from still lives, costumed models, including Queen Slugasana, and from imagination. An exquisite corpse (a collective drawing) will also be created.

After a drawing is completed it will be placed on the gallery wall and will be available for purchase for $25. Music from Honest Connie & the 5 Finger Discount will be provided along with solo musicians. Food, drink and merriment are also on the agenda for the evening.

Art supplies are donated by the Creative Store @ U of O. Thank you to our sponsors, Ninkasi Brewing Company, Kent Anderson & Associates, and the Creative Store @ U of O.

See you Friday!

Who: You!

What: Drawing Marathon, a FUNdraiser

When: Friday, November 5, 2010 (during the ArtWalk)

Where: 881 Willamette Street

Interview with Sheila Roth

2010-10-25T13:54:00.000-07:00

Interview took place Saturday, October 9, 2010

Can you describe your first encounters with art?

My mom was a designer and my father was a chef at his catering business and restaurant; I saw and tasted creativity all around me. My interest in art was instilled into me in my childhood. My mother would take me to the museums and plays in New York. Art was an early love for me. My aunt and uncle owned the Chelsea Hotel where many artists lived and because of its permissive atmosphere, artists, writers, musicians, and dancers were allowed to do most anything they wanted. I heard wonderful stories and saw the works of many artists from the hotel. The most famous was Andy Warhol.

As a young woman, I started selling my work in a parking lot on La Cienega Boulevard, which was the home to all the major art galleries in Los Angeles in the 60’s and 70’s That is where I really learned about selling art. I was also a frequent visitor to those galleries and I was able to develop my own taste and aesthetic based on the seminal shows I saw over a fifty year period.

Have you taught any courses?

I started teaching in 1973 at Los Angeles High School. I was in the art department and taught printmaking, intaglio, lino cuts, and collography with my teenagers and some of the staff. After the earthquake of 71, the school was moved into a temporary structures and then we had a chance to reconstruct the art department. We researched the records and were able to restore the department to its previous status and that is how I got the etching press. We were dealing with kids that were really underserved and the teachers in the department were able to offer a bounty of selections which enabled our students to flourish. I also taught ceramics and did a lot of sculptural work with them. I established a fabulous art gallery at our school. A local artist with a large format camera taught kids about photography and we got to have a gallery for a whole year before they made it into an office. This gave students with little art exposure a chance to curate shows for professional artists as well as themselves. At the same school, I insinuated myself into a performing arts workshop and taught a stagecraft and art production. I knew very little about the craft, but with my students, forged ahead and helped create sets, lights, costumes, and promotional material for such plays as: Hair, Anything Goes, Godspell and others. This experience added to my understanding of the use of space and light on images.

I took classes in printmaking at UCLA as part of its professional printmaking program. Then I purchased an electric printing press for my own use and ran a workshop for professional printmakers, mainly in intaglio in a store front established by a friend. There, I was able to observe some fine artists use their skills and create series of prints to sell in galleries.

I’ve heard you talk about owning gallery in California. Can you tell us more about that and your Collector’s Club that you started?

I left teaching because my father died and mother had a stroke, in a sense, they were both gone in about a period of one day. I knew I needed more money to take care of my mother who was in a convalescent hospital and whose special care was left to my sister and me. We started out with a picture framing store, I had worked in several throughout college, which sold art, but mainly offset prints. After a year, I took over and expanded to an art gallery and picture framing business. The art scene was graphics in those years because Los Angeles was a hub of burgeoning workshops and ateliers. I sold serigraphs, intaglios, mono prints, and lithographs. There were many ateliers, which were like studios, but much more. I started out slowly and purchased pieces and then convinced the ateliers and wholesale galleries to let me take things on memo. In one evening, I may have had over a $100,000 in borrowed art because the workshops saw my sales records and trusted me with their work. I invited people to look at them, and then brought back what didn’t sell. Purchases started slowly at first, until I started educating clients on the process and demonstrating how some of these pieces of art were made. Then collectors began to purchase more than one piece at a showing and the business grew from our visits to ateliers and artist’s studios. We went all over Los Angeles looking at the top of the graphics market, viewing and discussing local artists as well international artists. My clients became very inquisitive. Some of them had 30 or 40 pieces. Eventually I started to branch out and I made contacts with ateliers in Europe. I brought in original Matisses, smaller ones around $5000 in range, and Chagals. I also was able to buy several legitimate works by Dali, some were images from the book of Dante’s Inferno.

One reason the gallery was able to be solvent during some tough financial times was that the gallery did a lot of picture framing and display work. I framed all of the gold, silver, and platinum records for Warner-Electra-Asylum records. Also, I did display work for an famous eye surgeon who wanted to take samples of his surgical process to conferences. We framed a wide variety of work for all types of businesses and it always astounded me that people found me in that small corner of Valley and trusted me with some rather major projects.

I also got a chance, through Title Nine, to compete for contracts. I worked as an art consultant for the Southern Californian Gas Company. Every person at regional offices selected a piece of art for their respective areas. I traveled all over with prints and catalogs to assist them to create a pleasant work environment. Then, I did consulting with restaurants and selected art for their businesses.

I also worked with the historian for the archives of the Catholic Archdioceses of Los Angeles at the San Fernando Mission. I helped restore the works after another major earthquake. I helped set up the displays and reframed damaged documents and art in the gallery as well as the archives. We made sure everything there was properly conserved. I was thrilled to work with Father Weber, the historian, and learn so much about the history of Los Angeles. During that period, I was hired to lecture on printmaking and collecting by a major department store as part of a series of lectures for their employees.

Did you ever return to teaching?

I went back into teaching, while still working at the gallery, when the recession hit; that recession was not quite as bad as what we are in now. I was only going to go back for a year, but I was enjoying myself so much that I stayed. When I left my business to my brother in the 90s, I went back to teaching full time.

I became involved in the Humanitas Program, a national interdisciplinary teaching program. We were trained year after year to connect all the main disciplines to show how they were all linked. Art was one of the major parts of the program at San Fernando High School, were I worked when I returned to teaching. We designed a concept where we would raise money and then take our students all around the Los Angeles area to experience special venues because some of them had never been out of the San Fernando Valley. We started by taking them to major museums. It was so exciting to watch our students makes the intellectual connections. We were trained by the Getty with their scanning method, showing students what to look for in a painting, how to see rather than just evaluate.

Here at Oregon Arts Alliance, you are heading the Collector’s Club. Can you tell me more about that?

The idea is to allow people to feel less intimidated and select things that they like. It could be based on a process they find intriguing or an artist’s demonstration which piques their interest. I hope they will find something new that will open up their eyes. For me, I couldn’t live without my art. If I didn’t have furniture, I would still have art. I would like to pass on that real connection I have…a connection to make collectors out of them. You don’t have to be rich to buy art in this area because the prices are affordable. This is the best time to collect! You can buy it slowly, carefully…lovingly.

What made your decide to leave California? How have you adapted to the changes once you transitioned from a big city to Eugene?

I came to Eugene to escape the frenetic pace of Los Angeles. Sometimes, I really miss all that energy. I miss the selection of plays and films, and most of all, I miss the shows at the museums I frequented. This area is beautiful, but I miss the connection with the art world and major players and major exhibits. Eugene is a university town and I thought that there was a lot going on in the art world, and there is, but it still has much room to grow. I want to be a part of that growth. Eugene has culture here, but artists are not able to make a living. To be a real city of the arts, artists must be able to make their living doing art. Residents seem to leave the city to purchase art elsewhere. Our Art Collector’s Club will focus on artist and sales here, in the Eugene area.

What mediums do you work with now? How have you evolved as an artist?

I’m not doing printmaking because I don’t have any place to work. Now I am working in watercolors because they are so very vibrant. I am trying to rid myself of everything I have done in the past and I have spent the last year experimenting. I have taken a quote from Paul Klee which says, “For me art is taking a walk with a line.“ I don’t want to repeat the same idea of landscape or figure representation. I want to start an image and let the painting take me somewhere instead of me predicting the outcome. I do fractured images which dissect a piece and reconstruct it.

Can you describe your experiences with Oregon Arts Alliance?

First of all, I think the people who work there are so gracious and capable. I was asked to be on the Exhibits Committee. And I joined immediately. The minute I started to serve on the committee, I was so impressed by the openness and willingness to help artists. I got to meet other artists and became involved with the first sampler show. I took part in the 6x6 show too. Since the move to the Willamette gallery, this is one of the most dynamic organizations of its type in Eugene. For me, it’s where the action is! I want to promote art sales and collecting with some of the most vibrant artists I met in the Northwest.

2010-10-14T12:25:00.000-07:00

A Celebration for our New Space and our New Name!
(blog by Sara Bishop)

A Grand Opening - With excitement and enthusiasm we unveiled our new space at 881 Willamette Street and our new name, Oregon Arts Alliance (formerly Oregon Crafted) on Friday, Oct. 1, 2010. We held our grand opening celebration and reception in conjunction with the First Friday ArtWalk. Late afternoon sunlight streamed in through the gallery windows as upbeat and eclectic music performed by Accordions Anonymous welcomed visitors. As art-goers danced and wandered through the spacious gallery, they enjoyed regionally crafted beverages by the Ninkasi Brewing Company and wines donated by Market of Choice. And, of course, there is the art! The right side of the gallery encompasses the show, [Hold] Baskets, Boxes, Bowls and Containers and features work by over 15 artists with a special selection of ceramics by artisans from Clay Space. The left side of the gallery contains art by more than 30 of our member artists.
The extraordinary array of art in the gallery could satisfy even the most persnickety person, provoking among many things, admiration and conversation.
Here is just a sampling of the mediums exhibited:

Light sculptures
Fused glass
Watercolor & sumi ink stick
Ceramics
Pastels
Weavings
Multimedia collages
Poetry
Handmade lampwork beaded jewelry
Collage scarves
Mixed media fiber
Acrylic and paper collages
Mixed media photographs
Photography
Bronze sculptures
Stoneware
Gourds

Chatting with the Artists - I got the opportunity to speak with some of the artists whose works are on display. The artists expressed excitement about our new space and new name.
Shannon Weber has four works in Hold:
Trapped, beaver stick, sea grass roots, bull whip sea kelp that has been carved, stitched woven wax linen, thread, ostrich eggshell, clam and pooka shell beads Star Chart, fire pit wood wax, linen, thread stitched bullwhip sea kelp reed, stitched river rocks
Crab Pots, fire pit wood, wax linen thread, stitched bullwhip sea kelp, river rocks, clam shell beads
Orbit, random woven painted material: rattan, found metal, drip line, metal tape, vinyl disk beads, waxed lined thread

Weber had multiple reasons to celebrate: it was her birthday, and her work is going to be shown work at the Cavin Morris Gallery in New York City. She summed up the night quite fittingly: “excellent.” Weber feels “privileged” that she has been able to create her work for the past 25 years. Also, be sure to catch Weber on a future episode of “Oregon Art Beat” on Oregon Public Broadcasting.

Karin Richardson made her Eugene debut with her “Guardian Remains” series in Hold: Guardians Remain Series: Redwood, wood, sand-cast flat glass, steel Guardians Remain Series: Fire w/ Green Vessel, wood, sand-cast, flat and blown glass, steel Guardians Remain Series: Fir, wood, sand-cast and flat glass, steel Guardians Remain Series: Red Cedar, wood, sand-cast and flat glass, steel

Richardson studied at the Pilchuck Glass School in Stanwood, WA. A person asked Richardson concerning her work: “It’s all on purpose, right?” which begs the age-old question, is it intuition, planned or by accident? She also enjoyed the bringing together of artists and art in the gallery.

Katie Swenson’s Untitled is a part of Hold. Untitled is created of porcelain/stone, porcelain, wire and glass beads. As we talked about her work, she explained that she can’t exactly put her work into words. Swenson wants people to unearth their own interpretations in her work.

Death Valley during winter inspired Sheila Roth’s four oil compositions:
Study in Green
Study in Blue
Study in Orange
Study in Red

“People say that there’s no color like that in Death Valley. It’s what I see under the rocks,” Roth explained, “Color is something I love to work with.” Roth currently is working with watercolor. Roth is also in charge of our new Collector’s Club.

Photographer David Simone’s work consists of “natural and super urban settings” and is also “abstract and realistic at the same time.” “I like to travel and do adventure things, and I like to go to cities,” Simone said. His photographs Sea Ranch and Molokai Backside are examples of his work in natural settings. Simone also serves on our Board of Directors.

Wrap Up + November Events - During the evening I overhead clips of conversations, most centering on enthusiasm for our new space: “it’s beautiful” to “this place is a wonderful addition.” Thank you to our artists and sponsors: Goldworks, Kent Anderson & Associates, P.C., Ninkasi Brewing Company, Pacific Continental Bank, Market of Choice and Sweet Life Patisserie. Thank you to all who came to the opening; the evening wouldn’t have been a success without you all!

Hold: Baskets, Boxes, Bowls and Containers will be on display through Oct. 30, 2010.
Pencil in your calendar our November events!

Drawing Marathon, Nov. 5, 2010, 5:00 p.m. to 9:00 p.m. Witness and purchase new drawings by Eugene artists created in front of you as a benefit for Oregon Arts Alliance. Infamous models will be posing – including her majesty, Queen Slugasana.

OAA Fine Arts and Crafts Show, Nov. 12 through 21, 2010, 11:00 – 5:30 p.m. Formerly the Sampler Show, this Fine Arts and Crafts Show will showcase art from 25 of our member artists, each displaying their art in a separate space within the gallery.

Interview with Geraldine McMahan

2010-10-01T11:08:00.000-07:00

Interview with Geraldine McMahan on 9/19/10

1. Where are you from? What is your background? Where do you live now?

I was born in Portland, Nov 1947, but grew up in Puyallup Washington. This small town about 30 miles south of Seattle, sits in a lush river valley; lots of daffodils, hyacinths and tulips, berries of all kinds…lots of color and nature and summer jobs for kids. We were avid campers and fishermen; I spent a good part of my childhood putting up tents, launching boats, and cleaning fish. I majored in math and journalism in college and worked in the healthcare computer industry all of my professional career, first as a programmer and then as a quality assurance analyst. My job took me from Seattle to Los Angeles to Minneapolis to Orlando, and finally to Tucson. My husband John and I moved to Florence Oregon in 2001, to get back to moss and tall trees and a little more rain; I guess we both forgot just how much rain!

2. Have you always worked with clay? How have these elements affected you as an artist?

In the mid 1970s, I took off from work once a week and took an afternoon neighborhood park department pottery class as a way to use up the overtime hours I had accrued. I was immediately hooked on the techniques of pottery making and the, what I call ‘zen’, of just getting your hands in clay. For the next 15 years (Seattle, LA, Minneapolis, Orlando), I potted just for my own amusement and for xmas presents for family and friends. When I moved to Tucson, I had a job that took all my time and my pottery equipment languished in packing boxes; all work and no clay!

When I moved to Florence, my husband was still working and doing a lot of traveling, I knew no one…so I signed up for the pottery class at the local community college, just to make friends. I still take this class every quarter, for the studio space but mostly for the camaraderie of being around other potters. In 2005 I was invited to join the Backstreet Gallery artist’s co-op; having to think about inventory makes one get much more serious about their craft.

I worked on the wheel until moving to Florence; now, I use hand building techniques for all of my pottery. Yes, the wheel is still packed!

My pottery has a distinctive ‘southwest’ look. I use mostly browns and blacks and teals in my glazes and in the last two years, have decreased my use of glazes, using the look and texture of the raw clay itself as a decorating technique. My years in Tucson, even though I was doing no clay work, define my current style.

3. What other mediums have you experimented with?

I have always been fascinated with little boxes; I’ve actually moved empty boxes all around the U.S.! A couple of years ago, I bought a particularly nice box, about 3”x3” at an art gallery, and thought…could I do this? I checked out a book at the Library, Making Memory Boxes and taught myself. Now, in addition to my pottery, I also show at Backstreet tiny handmade boxes. Most are 2”x2”, no larger than 3”x3”, covered with a variety of decorative papers, with bead feet and spacers, and always with some embellishment as a topper. They are colorful and whimsical, and, are totally opposite from my pottery. I joke that this is the ‘mary engelbreit’ in me coming out. I love the ‘mathematics’ of making a box and wrapping paper around inside corners, the feel and look of diverse papers…and just the raw joy of something that makes you smile.

4. What do you do if a work turns out differently than expected or you do not like how the piece is coming together?

My years as a software analyst convinced me that planning is the key to success. So, if a pot turns out badly, that’s a learning experience. One of the joys of clay is opening the kiln…you always have to be prepared for something awful, or, for something unanticipated. If it’s bad…it goes in the trash. Pottery keeps you humble.

5. What/who are your inspirations?

In pottery, everything is an inspiration. I devour books and magazines showing other potter’s work; I get ideas from mail order catalogs. To me, clay is a malleable material that waits to be formed into shapes; it is a canvas that can hold a multitude of decorations. Anything, a thought, a word, an object, a view…can be an inspiration. You just have to think, ‘how would this ‘thing’ be interpreted in clay?’

There is one potter who has seriously inspired my work; Patrick Horsley, a studio potter from Portland, Oregon. His pieces make me want to get to work!

6. What has surprised you about being an artist?

I am always surprised when people say “I’m not creative; I can’t do anything artistic…” I think this is leftover from my computer days. When people say that they can’t work a computer...I always think, “can you turn on your car, can you drive, can you make a cake…what makes you think a computer is anything other than just another tool?” Yes, there are some among us who are artistic geniuses but the vast majority of us just haven’t tried it, just haven’t tried to learn.

7. Has being a member of Oregon Arts Alliance (formerly Oregon Crafted) helped you?

I am associated with OAA because Backstreet is a member.

8. Can you tell us a little bit about Backstreet Gallery and how it started?

Backstreet Gallery is a local artist co-op, established in May 2005 in Florence, Oregon, by a small group of local artists. Currently, there are 26 members. Members pay dues and work at the store; there are essentially 26 owners. We have a board of directors and a set-up of committees that perform the tasks of the business. Every member has a vote on decisions; every member is responsible for the smooth running of the gallery. One of our goals is to encourage and support arts in the community. We have two monthly events to which we invite the public and supply food and beverage. We have an ‘artist of the month’ that is celebrated at these events.

A co-op gives an artist the chance to show and sell their work without the overhead of the typical gallery commission rate. And more importantly, it gives the artist a chance to interact with other artists.

9. What is your role there? How has that helped you as an artist?

I have served a term as president and treasurer of the gallery. If an artist wants to sell their work, it is important to know the business side of art, and a co-op provides that experience in a relatively ‘safe’ and cost-effective environment.

10. What is your opinion of the current state of the arts?

As is true in most walks of life, we artists would be better off with a little more humility. I suppose that this has always been true, but it seems to me that artists who sell their work, or, want you to think they sell their work, are incredibly arrogant. When you read the artist profiles in Ceramics Monthly…you wonder if these people are from the same planet! What on earth are they talking about? As opposed to Pottery Making Illustrated, where artists share their techniques, answer questions, talk like real human beings. The act of making something with your hands, your mind, your soul, is such a human joy…we should all encourage this. I personally don’t ‘get’ altered books, but bless their hearts, altered book artists are making a ‘thing’ out of nothing, that brings joy to themselves and to others, and that’s worth celebrating.

2010-07-23T11:36:00.000-07:00

Jessica Watson interviews David Simone, Oregon Crafted Board Member and photographer:

-Where are you from originally? How long have you been in Eugene?
I grew up in California and Hawaii. I wanted out of the frenzied life of the Bay area so moved to Southern Oregon 37 years ago and to Eugene four years later. I've been here ever since.

-When did you first become interested in photography? Were there any gateway mediums prior to finding photography?
I enrolled in an industrial arts program in High School - in a print shop program. I liked the copy camera and darkroom and soon also got involved in photography classes. I'd always liked taking pictures but learning about complex cameras and darkroom work engaged me in making images in a way I'd never experienced.

-What/who are your inspirations?
Some of my inspirations come other artists and some from the natural world. The work of Paul Strand, Minor White, Paul Caponigro, and many others, put a spin on the natural world revealing the unusual within the ordinary. For me this spin is most interesting when images are both simple and elegant. I build on the visual vocabulary of painters, printmakers and photographers of the ages in presenting landscape and abstract photography of this amazing planet. I am very fortunate to be able to travel in the natural world as much as I do. Many of my travels are on water. Kayaking the rivers of the west and sailing with friends in Centeral America has been a great pleasure. Hiking and photographing on these trips is very rewarding.

-When did you start Lightworks Photography?
After receiving a BFA from the UO, I continued making images and showing in local exhibitions and in helping to run two photographic galleries. I made most of my income from work in a aerial photography business doing mostly large format lab services. In 1993 I launched Lightworks Photography doing commercial and architectural photography and portrait work. This wide range of photographic experiences honed my skills in my personal work as well.

-I see that you work with both film and digital photography. What are some of your favorite qualities of each? Do you have a preference between the two?
In 2002 I began working with digital photography but I was very skeptical the quality would ever be as good as film. In 2010 it's startling how good it has become and as startling are the changes to the medium and the profession of photography. It is wonderful how photography has become much more accessible to the "the common man." However, in print and on the internet, I see a lot of poor quality images. Those who want to get consistently good photographs, must still work to achieve technical proficiency and artistic vision. A problem arises when a person or company isn't there yet but chooses to use slightly or clearly substandard images to represent themselves or their company. If this practice is wide spread enough it leads to a dumbing down of the visual standards that are acceptable in the marketplace. This can create an opportunity for those who make or acquire higher quality images to really stand out from the crowd.
Which do I prefer? Digital has many advantages. Often in the studio, I photograph connected to the computer. The photographs come up large on screen. With film we had to shoot with a polaroid back connected to our camera to get a preview of what we were getting through the lens. With digital the image processing possibilities in Photoshop and other programs are truly amazing. However, medium and large format film still has the edge on image quality. Film is used primarily for high end magazines and the uncompromising photo artist.

-Your website shows you photograph machinery, architecture, people, and artist portfolios. How has this diversity influenced you as an artist?
As a professional photographer, I strive to bring out the best in the client's products or artwork. I really enjoy photographing architecture or making a portrait that shows the essence of an individual or group. Now 17 years later I have the equipment and technical abilities to do these things but it is all trumped by the vision an artist must have to create fine images. I feel I have grown in this aspect also. It has been a challenge to have enough time to work as an artist while photographing for clients. I am enjoying working on my own images more over the last few years.

-Has being a member of Oregon Crafted helped you? How?
As well as being a member, I am on the Oregon Crafted board of directors. I am helping to steer the organization in new directions that I am sure are going to benefit the membership. It's exciting.

-What is your opinion of the current state of the arts?
The state of the arts is fantastic - people are making wonderful and creative things. However, not enough people are buying them. That makes it hard. Artists want to both create and prosper. We have to become more effective at marketing our work.

-Are you excited about participating in “Descending Light,” a photography show at Olive Grand that will be taking place in the month of August? I am excited about the show at Olive Grand this August. I am also excited to see how my work will interact with the other artists and the nice interior of the Olive Grand. I will be showing two color images I made while on a canoe trip in Southeastern Utah a few months ago. One is an image that's rather abstract and real at the same time, and the other a representational view of an amazing pool. I will also be showing two Black and white infra-red landscapes from that same trip. Shooting infra-red film has always intrigued me for it's other worldly qualities. But infra-red light has a habit of recording in unexpected ways and shooting IR film is fraught with challenges. With IR film, an opaque filter was placed over the lens to block visible light rays. This made a tripod a mandatory piece of equipment. I now have a digital camera body that only captures BW infra-red images. Now I can see if I'm getting a proper exposure.

-What are your plans for the future, either personally or as an artist?
I have many ideas and techniques I want to work on over the next few years. Stay tuned at www.davidsimone.com.

Carolee Clark, interviewed by Jessica Watson

2010-06-25T13:15:00.000-07:00

Featured Artist of the Month: Oregon Crafted Artist Carolee Clark answers questions from new Oregon Crafted staffer Jessica Watson

Where are you from? What is your background?
I was born in a very scenic part of British Columbia. My mother was a hobby artist and my father owned an auto parts store. Even though I grew up with crayons and pencils in my hand to keep me quiet, I was dissuaded from pursuing an artistic career. My sisters and I were encouraged to become professionals so we could earn a living. I floundered between trying to earn a business and economics degree to driving a cab, and finally owning an executive office complex.

All along the way I continued to draw, and enjoy the visual arts. My mother gave me a set of watercolors in my 20’s which re-opened the world of color for me. I bought my first painting for $1,000 when I was 27, on time, paying $100 each month, and realized that owning art is within everyone’s reach.

As I enjoyed that painting every day, it continued to spark my interest in painting. Every time I went into a gallery or art museum I came home enthused to recreate that feeling I had while viewing the paintings that I admired so much.

When I sold my business, I realized that I didn’t want to reinvest in another business to delay my desire to follow the things that make me happy. I want to enjoy life doing the things that I love. I decided that I would live more frugally, but focus on only the things that I love to do, with painting and drawing very high on that list.

Where do you live now?
I met my husband during a bike ride in British Columbia and he persuaded me that Oregon was a nice place to live so I moved here about 10 years ago. We live in Philomath. I am very lucky to now have a beautiful, calming and peaceful place where I spend my time painting and working. I look out my windows to see a small family farm with cows and sheep to the south, and I look west to see the hills and Marys Peak.

How have these elements affected you as an artist?
I have been exposed to art my entire life. I grew up with an artistic mother who encouraged drawing and coloring from a very early age. She had her paintings around the house, and enjoyed sharing the experience of creating artwork with her daughters. Both of my sisters are very creative.

I believe that everyone is very creative in different ways. It might manifest itself in cooking, gardening or creative thinking. I am a spatial, visual person and even my learning throughout school was influenced by this proclivity. The way that I view the world is spatial, noticing colors and patterns. We played a card game when I was young called “Concentration” where you lie the cards face down on the table and take turns trying to find pairs. I was very good at the game because I could remember the space or angle that the card was returned to on the table.

When did you first become interested in the arts? What mediums initially attracted you? What mediums do you work with now? Other materials or processes?
I started painting in watercolor, with supplies gifted to me by my mother. For many years it was my only medium, and I still have a soft spot for it. When I went to galleries, watercolor paintings were the only type of art that I liked. However, the more art I was exposed to, the greater my appreciation grew for all types of painting and artwork.

I began to love the vibrancy of pastels and for a brief time worked with soft pastels. I moved away from these because of their delicacy when it comes to framing, storing and shipping.

Ultimately, between my frustration with the cost and time needed to frame artwork, along with a gallery's persuasion to move away from artwork needing glass protection, I decided to work with acrylic on canvas.

Each medium has its benefits and drawbacks, but for now, I am very happy using acrylics.

How have you evolved as an artist?
Sometimes we cannot see our progress forward but it is occurring. I have often heard that the more that you know as an artist the more you realize how much you have to learn, to do and experience. This is so true. I have always been brave with my work and tried new things. Each of these steps has influenced where I am now and contributed in building a platform for the next step. I think that we all want to be a master quickly however it really does take a lifetime. That too is wonderful as we have the experiences that come with the effort, the joy, the good paintings and the flops.

What do you do if a work turns out differently than expected or you do not like how the piece is coming together?
Sometimes a piece doesn’t work because you cannot see the problem, or the solution. For me, the best way is to put the piece aside and come back to it with fresh eyes, or new knowledge. Sometimes this might be the next day, sometimes it might be several years.

I have also done an interesting project with a gifted artist and friend, Donna Beverly. We have each started a painting then swapped and continued working on the other’s painting. We continued doing this until we both deemed the painting was finished. It was a wonderful way to see solutions through another person’s eyes.

What are your inspirations?
I always start with drawing. I sketch every day, always carrying my sketchbook with me. I’ll draw people in cafes, airports, and restaurants, I’ll draw cars in parking lots or while I sit in a traffic jam. When I have my sketchbook with me, there is no wasted time, and always something to draw no matter where I am. Only recently have I started to take reference photographs, and even these I will sketch first, and then paint from my sketches.

With the sketch, I have already worked out what I liked about the scene, people or subject matter. I have worked out the composition and the value patterns. This simplifies the painting process as all I need to do is figure out the temperature and hues to use. I am free to play with the colors and figure out what excites me.

I have unending inspiration for paintings. Doing errands this morning I was walking down an alley and saw about five paintings that I wanted to do, and driving home I saw at least three. There is an unending amount of inspiration everywhere I turn.

Has being a member of Oregon Crafted helped you? How?
Absolutely. Because of the Oregon Crafted show with Opus 6ix, I was asked to be one of their artists and had a successful relationship with them for a couple of years. I have also taken some very good workshops helping me with the business side of selling my work.

What is your opinion of the current state of the arts?
This is an interesting question. Obviously there is not a lot of art education in public schools right now; however I really do find a lot to be praised. There are a lot of caring individuals and arts organizations that are trying very hard to bring visual arts, theatre, and music to children. For adults, when I moved here, I was amazed at the number of art classes available through the community colleges, private artists and other organizations. People are flocking to learn how to scrapbook, quilt, paint, play an instrument, and write. Many wonderful artists are willing to teach and it gives them another revenue stream. Oregon’s Percent for Art program has put art in public spaces and it is inspiring! Walking around Corvallis there is all sorts of sculpture that I love.

People love art, and many caring individuals are making a difference in getting it out there.

What are your plans for the future, either personally or as an artist?
One year ago I gave myself the "painting a day" project. The year is up and I painted 306 daily paintings. That is almost 6 per week!

One of the things I thought I would learn is how to paint more quickly, but this sadly didn't happen. I had the idea that I would whip up a small painting in an hour or two and have the rest of the day to work on larger and more complex pieces. Ha! What a fantasy.

That being said, I ordered 60 more small canvases to continue "daily paintings." I have scaled back to about four paintings a week so that I might have more time for larger works.

To see my progress of my daily paintings, go to my blog caroleeclark.workpress.com

2010-03-29T11:04:00.000-07:00

6x6 Show a Huge Success

When we first began to develop the idea of a 6x6 fundraiser for Oregon Crafted, we wanted to provide the community with affordable art without asking the artists for a huge donation. We also wanted to get the community involved with the art community by not only purchasing art, but by creating and contributing art as well. We set a goal of 100 pieces and received more that 140. Not only did our member artists donate 6x6 pieces, local art students, art enthusiasts, crafters and creative community members created and donated pieces as well. The quality and diversity of the art we received was way beyond our expectations. In hanging the show, we were continually amazed and pleased with how fun and fashionable the show became and we began to realize what a bargain these pieces were at just $20 apiece. Some of the pieces by established artists have well over $100 invested just in materials, let alone labor and creative design. Others represent the priceless, varied, unique and sometimes quirky nature of Eugene and Willamette Valley residents - like the VW Bus, the beaded Willamette Valley Rain, or the sock monkey face. There truly is something for everyone at this show.

While most pieces sold during our opening reception on March 5th, a few gems still remain for sale and three prize pieces remain to be raffled. The show closes this Friday, April 2nd, and those who were lucky enough to purchase an art piece will be able to pick up the art then. The raffle drawing will be held the evening of April 2nd, during our closing reception. If you want to see what amazing artistic talent the Eugene area possesses, please stop by our gallery and view the show in its final week.

Thanks for helping keep art alive in our community.

2009-11-28T11:46:00.000-08:00

Oregon Art was on display at the first annual Oregon Crafted Sampler Show and boy, did it look good. At least 1800 art lovers strolled the aisles, admiring and purchasing the stunning art on display. Many commented on the variety and quality of art as refreshing. Said one visitor, "I haven't seen a show with this degree of quality in town in a long time." Gallery representatives agreed. They were quite pleased with the quality of art and the convenience of having so many accomplished artists in one show. A number of our artists were commissioned to show their art in galleries around the state. Most artists experienced good sales too making the show an overall success. Artists and shoppers alike asked Oregon Crafted to host another show next year, some wanting us to host two a year. We'll get to work on next year's show very soon. Meanwhile, look for Oregon Crafted's new gallery store at 228 East 11th Avenue to open early 2010. A grand opening featuring a Six by Six Show of pieces by accomplished artists, amateurs, and community art lovers will be held during the First Friday Art Walk in February 2010. The 6x6 Show will run through March 5th.

2009-10-29T14:24:00.000-07:00

Oregon Crafted is proud to present its first annual Oregon Crafted Sampler – A Fine Arts and Crafts Show, November 14th and 15th, 2009 at the Lane County Fairgrounds Auditorium. The show features over 50 artists that are participating members of Oregon Crafted, Eugene Glass Guild, Eugene Glass School, Guild of Eugene Metalsmiths (GEM), Clay Space, Local Clay and East Linn Artists (ELA). The Oregon Crafted Sampler will be held for one weekend only, and show hours are: Saturday, November 14th from 10 am – 6 pm, and Sunday, November 15th from 10 am – 5 pm. Admission is free with a suggested donation of canned goods for Food For Lane County. A variety of art mediums will be on display, including: glass, ceramics, jewelry, metal, wood, paintings, fiber, baskets, sculpture, photography, mixed media, and gourd art. Patti Lomont, Art Program Coordinator for Oregon Crafted, says, “Many of the exhibiting artists are in fine arts galleries around the country, and locally do not show their work very often. This is an excellent opportunity to see and purchase their work.” Come to the Oregon Crafted Sampler and help keep art alive by supporting local artists. For more information and a complete list of show artists, visit the Oregon Crafted website at www.oregoncrafted.org.

2009-10-07T12:01:00.001-07:00

November brings lots and lots of rain to Oregon and forces many of us to seek indoor activities. As November also christens the winter holiday season, one indoor winter activity popular with many Oregonians is shopping. The winter gift-giving season creates a treasure hunt atmosphere for many of us looking for a special gift for a special someone.

Oregon attracts a multitude of fine artists, with its luscious landscapes and inspirational settings. These artists create uniquely Oregon pieces that can be the prize at the end of your treasure hunt. Whether its metal garden art, jewelry crafted wood, glass bowls, ceramics, textiles or paintings, Oregon Crafted can put you in touch with the treasure you seek.

The first annual Oregon Crafted Sampler show brings over 45 of these fine Oregon artists indoors under one roof to display and sell their works of art to the November shoppers. Instead of searching for that gift in national chain stores at the mall, you can find it at the Oregon Crafted Sampler show at the Lane County Fairgrounds Auditorium on November 14th and 15th. Not only will you by buying a locally-made unique hand-crafted gift instead of a mass-produced made out-of-town product, you will be supporting local Oregon artists. Give a special gift. Buy local!

2009-09-23T11:51:00.000-07:00

FEATURED ARTIST: JUDITH SANDER

At the end of a gravel road and down a long country driveway lies Sage Art Studio, a quaint cottage at the edge of a meadow with great views of Mary's Peak. In this fun studio, chock full of bins stuffed with doodads, gadgets, buttons and fabric, Judith Sander creates unique dolls adorned with a variety of fabrics and jewelry giving each doll its own character. Sander also creates complicated intricate collages. Starting with a fun eclectic painting of a human figure, Sander adds layers of papers and fabrics (often stationery she's written on), various adornments, and other fine details to complete an exquisite multi-layered, multi-textured scene surrounding a human figure. She has been doing collages for the last six years and confesses her collages are intense work. The tranquil valley view from the studio windows helps counter the intensity. Having created dolls for many years before she even started collages, Sander finds the dolls "fun, easy and a breath of fresh air.." Indeed they are fun and every woman who sees one will want one. I am not surprised she creates such lovely works of art. She surrounds herself in an inspirational studio in a gorgeous setting that feeds her creativity. Check out Sander's collages, dolls and other artwork at www.judithsander.com .

2009-09-15T13:45:00.000-07:00

FEATURED ARTIST: Carolee Clark

Oregon Crafted artist Carolee Clark has been painting all her life, full time since 1998. Clark focuses her acrylic paintings on landscapes and figures and uses bright colors to create bold beautiful images. Her hexagonal studio with its abundant windows optimizes a tremendous view of the Willamette Vally and neighboring farm and fuels her creative energy. This is evident in her dozens of 10x10 pieces she paints daily of random images. These dailies, along with her larger pieces, can be seen at www.caroleeclark.com. Clark currently has her works on display at Pegasus Gallery in Corvallis and The Pines Wine Tasting Room & Art Gallery in Hood River. You can also visit her studio during the upcoming Philomath Open Studios Tours, November 14 and 15, and again November 21 and 22, 2009.

2009-08-24T11:13:00.000-07:00

Welcome to the Oregon Crafted blogsite where you can accompany me on some Oregon art adventure trips. These trips are outlined in the award-winning Oregon Crafted Guidebook© currently available for free, while supplies last. The Guidebook offers detailed tours in the Willamette Valley and Central Coast that combine visits to artist studios and cultural sites with outdoor adventure. With its luscious pictures and easy-to-read maps, The Oregon Crafted Guidebook© leads you to the places where art lives – the working studios of over 100 of Oregon’s finest artists and handcrafters. The minute I first flipped through my Guidebook, I knew I wanted to do some of these tours.

Though I felt somewhat intimidated contacting strangers and inviting myself to visit their studios, my anxieties washed away as I encountered nothing but warm, welcoming friendliness. I started on the first section of the Guidebook which features artists living in or near Philomath. I’d never been to Philomath except passing through on the way to Newport. I picked a day convenient for me to travel and sent an email to the Philomath artists asking their availability. Three available artists returned my email by the next day so my itinerary was easily set. The other Philomath artists had scheduling conflicts for that day, but with a couple more emails and phone confirmations, I had another day of studio tours scheduled for the next week.

I live in Eugene and decided to drive the back roads up Willamette Valley. Just before reaching Junction City on 99N, I turned west on 36 towards Cheshire and enjoyed the commanding morning view of the Coast Range for six straight miles. At Territorial Highway, I turned north towards Monroe and drove through rural wonderland. The road itself was fun to drive with slight curves and undulating hills past corn fields, vineyards and Christmas Tree farms. Once past Monroe, the road straightened out and cut north through golden fields of grain stretching from the Coast Range to the Cascades.

Not familiar with Philomath, I had Mapquested the routes to the three studios and a lunch spot and easily found my first stop - a mere 40 minutes from Eugene - at the studio of Carolee Clark. Nestled in a nice edge-of-town neighborhood and down a meandering path alongside the main home, the hexagonal studio with its abundant windows optimizes a tremendous view of the Willamette Valley complete with cows in the pasture. In between the huge windows hang bright, bold, fun, colorful paintings of landscapes, cows and fanciful figures. Being a golfer, I am drawn to a particular piece featuring a plump costumed lady swinging her golf club. Clark has something for everyone. A full-time artist, her creativity is always flowing, taking her in many directions. This is evident in her dozens of “dailies” in one corner of her studio. To keep on top of her game, she paints a new 10x10 piece every day and offers them for sale for only $49. Check out her “dailies” and other bold beautiful paintings at www.caroleeclark.com.

After a pleasant visit and tour with Carolee Clark, I head to the next studio on my list. Leslie Green is a sculptor and potter who focuses on the Japanese-inspired firing process called Raku. The driveway to Green’s studio is a narrow curving path up through forested hills. It reminds me of the approach to Cascade Raptor Center in Eugene. The studio itself is a big shop with high windows showcasing the forest outside. Intense finished and unfinished pieces of pottery line the studio’s shelves and walls. Green is currently creating pieces with big cat facial images in stone. The pieces are complicated and exquisite and achieve a “cave art” image. When I ask Green if she has a message regarding the studio tours she shares this, “People benefit from visiting art studios, to see where, why and how the artists are inspired. Enjoy the journey and experience and feel the artist’s energy in the studio…instead of just focusing on how much the end product will cost.” Indeed, the personalized tour of an artist’s studio alone is worth the trip.

After the studio tour and a quick tour of Green’s outdoor garden art, it is time for me to head to my third and last studio. At the end of a gravel road and down a long country driveway lies Sage Art Studio, a quaint cottage at the edge of a meadow with great views of Mary’s Peak. In this fun studio, chock full of bins stuffed with doodads, gadgets, buttons and fabric, Judith Sander creates unique dolls adorned with a variety of fabrics and jewelry giving each doll its own character. Sander also creates complicated intricate collages. Starting with a fun eclectic painting of a human figure, Sander adds layers of papers and fabrics (often stationery she’s written on), various adornments, and other fine details to complete an exquisite multi-layered, multi-textured scene surrounding the human figure. She has been doing collages for the last six years and confesses her collages are intense work. The tranquil valley view from the studio windows helps counter the intensity. Working on the dolls also counters the intensity. Having created dolls for many years before she even started collages, Sander finds the dolls “fun, easy and a breath of fresh air.” Indeed they are fun and every woman who sees one will want one. I am not surprised she creates such lovely works of art. She surrounds herself in an inspirational studio in a gorgeous setting that feeds her creativity. Check out Sander’s collages, dolls and other artwork at www.judithsander.com.

As it is now lunchtime, my hunger motivates me to leave. Gathering Together Farms is the only eating establishment in Philomath to advertise in the Guidebook so I head there for lunch. Fruit trees, flowers, and vegetable gardens surround the restaurant. Alpacas and llamas graze across the road. I am momentarily dumbstruck at the never-ending rural paradise that seems to be Philomath. Big City folks have no idea. This restaurant seems to be a popular place. All tables are full on the dining porch. To pass the time waiting for an open table, I wander inside past a display of the farm’s fresh organic vegetables and coolers of fresh locally grown organic meat and poultry. A few minutes later, I find myself sitting at a rustic table next to a huge outdoor wood-fired oven and overlooking a tranquil koi pond resplendent with water lilies. I have a front row seat of the alpacas and llamas wandering in the aspen grove across the road. I order the From the Field pizza with lamb sausage, apple, arugula and beets and a Deschutes Brewery Mirror Pond Pale Ale. Waiting for my order, I reflect on the morning tours. Organizing the trip had been much easier than I thought. Driving the back roads through the Willamette Valley had been refreshing and uplifting. Touring the studios and meeting the artists had been fun and educational. Now sitting in rural utopia I understand why so many artists have made Philomath their home. For “icing on the cake” though, with my first bite of the pizza I know I have just tasted the best pizza I have ever had in this state. It’s an amazing, simple, delectable pizza with an absolutely to-die-for crust! The Gathering Together Farms’ motto ought to be “World’s Best Pizza in Exotic Rural Setting.”

Leaving Philomath begrudgingly, I plan to finish out my trip with a stop at Tyee Wine Cellars. Unfortunately as I drive past the entrance, a “Closed” sign hangs across the driveway. I guess I should have called first. Now I find myself with enough time to stop into Fiddlers Green in Eugene, a pro shop wonderland for golfers, and an excellent end to an exciting and fulfilling day of self-guided Oregon Crafted studio tours. This trip has been surprisingly easy to plan, coordinate and execute and makes me even more excited to continue touring the studios listed in the Oregon Crafted Guidebook.

Next trip: Back to Philomath.