Click on the video to watch Gabriel Lipper on Oregon Art Beat.
Click on the video to watch Gabriel Lipper on Oregon Art Beat.
After completing a year at Yakima Valley Museum as the 2016-17 Artist in Residence, Tom Chet Hausken relocated his home and studio to Ashland, Oregon this year. An abstract painter, Tom speaks plainly about his painting, referring to it as a vocation, stating that the subject of his paintings is the paint, itself. Working in layers and leaving traces of marks and guiding lines his minimal compositions reveal his process of investigation. In this talk Tom speaks eloquently about this investigation in his series, A Sense of Place. Tom's work will be featured in July. Join us for an artist's reception Friday, July 6th, 5-8 p.m. Show runs July 5th-31st.
Laurie Hueston interviewed DeVoe for the Medford Mail Tribune and has kindly given us the permission to share that with you on our blog.
Ashland artist Robert C. DeVoe says depicting how light models the world was always what fascinated him and informed his paintings.
“It’s a challenge to capture light in art,” he says during a telephone interview. “I think that’s why I turned to the most realistic technique that I could find.”
He turned to realism — representing authentic life with color and light — and is most noted for his still lifes, though he has done many landscapes, mostly of local scenes and especially Ashland’s north hills and Grizzly Peak.
“I worked mostly in watercolor,” he says. “Early on, as a hobbyist, I tried to develop a conventional watercolor style: loose and wet. But my real desire always was to recreate what I saw as exactly and authentically as I could. So I developed techniques that allowed me to paint photo-realistically. My process involves working from photo sources, prints or slides, and always from photos that I have taken myself. I always tried to create an image that had some special quality, a play of light, a mood or atmosphere that appealed and felt significant to me.
“I have also worked in oils, acrylics and pastels using basically the same photo-based techniques. A large watercolor would typically take a hundred or more hours to finish. I would develop the whole image carefully referencing the photo information, then spend a final few hours tweaking and refining the image in its own terms.”
DeVoe has shown his paintings in galleries in San Francisco, Chicago and Sun Valley, Idaho, but his primary art dealer and gallery has always been Judy Howard and Hanson Howard Gallery.
Hanson Howard, at 89 Oak St., Ashland, will celebrate DeVoe’s career through December with an exhibit of his work garnered from the other galleries and personal archives.
As a child, DeVoe liked to draw. He took art classes at Medford High School from an encouraging teacher named Paul Gasparotti, he says. After a stint in the U.S. Air Force, he enrolled at Southern Oregon College of Education and became an English major. Then he completed a master’s in English literature from the University of California at Berkeley before transferring to the University of Oregon to work on a doctorate, which he never finished, he says.
“I was hired into the English Department at Southern Oregon College, which became Southern Oregon State College,” DeVoe says. “There I taught English composition and literature for 20 years. I continued to draw and paint as a hobby.”
When life changes in the mid-’70s resulted in a new marriage, his new wife encouraged him to pursue his old ambition to be a professional artist.
“I worked at that seriously in my spare time,” DeVoe says. “Fortunately, I had a good friend, Judy Howard, who also encouraged me and gave me my first show in her gallery. In 1985, I gave up teaching and became a full-time artist.
“When I was painting still lifes, I would collect objects and compose scenes myself. I was fond of going to antique and second-hand stores to find interesting things, things that would do well in still-life lighting, or moody lighting. Then I would compose the settings and photograph them, so I was in control of the kind of light effects and mood.
“I used natural light in an unused bedroom that got beautiful morning light through a big window. Sometimes I would put tracing paper over the window to modulate or decrease the intensity of light, then I would wait until the right time of day. Sometimes I would go to that room in the late afternoon and discover an even better effect with afternoon light.”
He soon received national recognition. He became a member of the American Watercolor Society based in New York City, the National Watercolor Society in California and the Watercolor USA Honor Society.
“I would place paintings in each of those every year,” he says. “I won a Walter Bronson Crandall Award in ’81 from the National Watercolor Society and a High Winds Medal from the American Watercolor Society in ’84.
As his career moved on, DeVoe’s still-life paintings grew darker in color and mood.
“Judy would tell me not to paint so many dark paintings. She thought the light ones sold better,” he says. “I’ve taken most of my inspiration from the old masters, artists such as Rembrandt and Vermeer. Their still lifes often were low-key, moody and dark. I think a desire to get those effects moved me in that direction.”
DeVoe says he’s felt quite successful making a living as a painter.
“It’s a hard thing to do in the world,” he says. “I haven’t painted in the last five years, but I had a great life and a great career.”
See the original article here.
When we see wood fired ceramics we are immediately aware it is unlike the ceramic work we typically encounter. Much of what we see in ceramic art is fired in electric or gas kilns, though if we are not familiar with the techniques, this is not something we would register. We would probably note there is a distinctively “earthier” appearance with the wood fired pieces. What sets wood fired ceramics apart is the tonality and textures that can only be obtained through this centuries old process using the Anagama or Noborigama kilns. Originally from China, the Anagama kiln found its way to Japan in the 5th century. All these years later the technique and structures have remained true to the original methods.
This is what excites me about wood fired ceramics. I love the variety I see in surfaces and I’m drawn to the rich earth tones, immediately, but I also have a deep appreciation for the archaic. The fact that ancient methods survive solely because no new developments have improved on them is a beautiful thing. These continued practices tie us to our history as the arts can do so well.
The Anagama kiln is an earthen structure built in a sloping shape with a firebox at one end and a chimney flue at the other. The fire and the ceramics share the same, single chamber. The craft of this firing method is in the understanding of how to load the kiln. This requires imagining the path the fire will take, how the ashes and the embers may fall depending on where the pieces are placed in relation to the fire and to each other. Although there is an element of chance always, there is also skill, developed through experience that determines the final outcome of the firing. I imagine it is this combination of skill and chance in Anagama firing that enchants these ceramic artists. Craftsmen tend to have a deep respect for the nature of their material and allowing for that nature to play it’s role in the collaboration.
The temperature can reach 2,500 °F, producing fly ash and volatile salts. It is the complex interaction between the flame, ash and minerals of the clay that forms the natural ash glaze which may vary in texture and thickness. The surface may turn out smooth and glossy or rough and sharp.
A Noborigama is attached to the Anagama and the fire flows from the Anagama through the Noborigama to get to the chimney flue. The soda is introduced to the Noborigama when it has reached its highest temperature. The soda produces a shinier surface which also has an orange peel appearance.
Penelope Dews produces wood fired ceramic sculptures, portraying mainly animals, and other natural forms. She chooses wood firing for the subtle colors and stone like surface. Ranging from realistic to whimsical, her animals exude peaceful, playful expressions with a touch of the mysterious.
The sculptures are hollow and formed by pinching together modified coils (short, fat and flattened). Paddling, scraping, and smoothing conceals where coils overlap. Often the faces and extremities are carefully detailed, while the bodies are left uniform and unadorned. In contrast, others are highly decorated, with colored clay slips, textured by stamping, carving or added pieces of clay.
Penelope's latest work is featured in the gallery through November 18th, 2017. These pieces were fired in the Anagama/Noborigama kiln at Hiroshi Ogawa's in Elkton, OR earlier this fall.
*All images here are the property of Penelope Dews.
-Élan Chardin Gombart
Gallery artists, Lewis Anderson, was recently honored to learn that he was published in a new book by the prestigious editors of LensWork in their new book titled “Seeing In Sixes”. After reviewing over 1900 international projects for the book, Lewis and 49 other artists were chosen to show their work in the format of 6 images with text text which in Lewis’s case included a poem titled “Crossover”. This was the second year in a row he was chosen to be included in Brooks Jensen’s and Maureen’s Gallagher’s book from LensWork Publishing.
See Lewis Anderson's work on our website or in the gallery. If you would like to be kept in the loop on new work as it becomes available please contact us and we will keep you posted.
Lewis was born naked and without the ability to take care of himself oreven to speak. His parents are largely responsible for helping him overcome these initial obstacles. His mother, an oil painter, and his father, a nuclear engineer, together helped lay down the balance of left brain and right brain functions.
A life-threatening injury at the age of 10 caused an out-of-body experience rewriting his world view and setting him on a life-long quest for a deeper understanding than his family's religion offered. The pursuit of experiential mysticism took him on multiple world tours with his Teacher as well as 13 trips to the desert of Rajasthan, India for intense meditation retreats. Today as a daily mediator he finds the life of an artist to be a compatible occupation while pursuing his spiritual journey.
Lewis uses creative image-making as catalytic incense, aiding in his transformation of consciousness and the awakening of perception. He feels best when his outer temple of mind is permeated with the creative process. The prevailing overview perspective supporting his image-making is that as human beings our perception of all that surrounds us is, at best, only a small fraction of reality. Each person’s perception is uniquely and wonderfully different; for each the world is seen through their own specially colored lenses. “I capture and create images because I don’t know what I am seeing until I view a vision of what I’ve seen.” There is strong upliftment experienced in seeking, participating in, and interpreting the ethereal essences imminent in all of nature.
Lewis’ work is heavily influenced by the sages and poets who painted the ancient Chinese landscapes. These connections manifest in his art through the use of elongated canvases, multi-panel nature scenes and the use of fog. The most dominating facet of the Chinese landscapes is their use of negative space which is often represented by clouds or fog. Perhaps what we don’t see or know about something is also a form of knowledge.
Bob Schlegel of Banks, Oregon is one of our newest artists in the gallery.
About his work Bob tells us this:
The interaction of shape, contrast and line cause me to transform forms into images in paintings, collage and prints. Of particular interest to me are structures that are juxtaposed into landscape. I strive to create images that possess tension between the representational and the abstract.
I paint in the studio and plein aire from preliminary sketches in charcoal, pencil and oil pastel and take reference photographs as necessary. My finished paintings are in oils and acrylics on gesso prepared paper, panel and canvas. I also create monotypes and images from cut paper and collage. Drawing is the foundation for my work. I am tenacious with the sketch whether it be life-drawing session or in the field. I full journals with sketches and narrative from travels. Through line, contrast, texture, color and composition I explore my responses to form and shape where things in the natural world and things that are made by man collide.
Most recently I have been working on a series of assemblages resembling birds. The texture and gesture captivate my imagination.
See the full artist profile on Oregon Art Beat BY CLICKING HERE
You may have been in to see Noriko's prints this month as part of our featured exhibit (if not you have until Tuesday, Oct. 2) but in a portfolio, normally out of view, we have a small collection of unframed prints that I just had to share. They are too lovely to stay tucked away all the time.
Here is a peek at the portfolio.
Feel free to ask to see these in person anytime!
Robert Schlegel is a painter from Banks, Oregon who has been exhibiting since 1973. Schlegel's subjects are found in the environment surrounding him. Of particular interest are man made structures juxtaposed with the landscape, the interaction of shape, contrast and line.
Ashland’s oldest art gallery represents more than just artists, but an array of creativity both on canvases and ceramics that capture the whimsical nature of humans, the beauty of nature, and different cultures.
Hanson Howard Art Gallery, founded by Judy Howard and recently joined by Élan Chardin Gombart, holds a new exhibit each month, showcasing longtime artists of the gallery and new prospects the two have discovered in one way or another.
“We are interested in offering a balance of emerging and established artists,” Gombart says.
In terms of finding another kind of balance, Gombart says, “Typically we will pair artists for our monthly exhibits. Often that will be a combination of sculpture and wall work, but not always. We choose artists whose work will complement each other in style or approach.”
For example, June’s exhibit featured artists Robin and John Gumaelius’s ceramic sculptures that “stretch the bounds of imaginative figures, embracing the theatrical and whimsical,” while also showcasing artist Jon Jay Cruson’s landscape paintings.
“July will feature the ceramic sculptures of Wataru Sugiyama and abstract paintings of Peter VanFleet,” says Gombart.
While the gallery has had themes for their monthly exhibit, July’s exhibit won’t have a theme, but will simply showcase the artists’ most recent work. The first Friday of every month there is an artist reception from 5 to 8 p.m. During these receptions, the artists featured are present, allowing viewers to discuss the artwork with them.
Gombart adds, “It brings a more personal experience to viewing their work.”
Most artists showcased at the gallery are from the Pacific Northwest.
Gombart says, “When we see artists that click for both of us as a good match for the gallery it typically involves a combination of craft, inventiveness, uniqueness, aesthetics and that ‘something’ that draws us in and holds our attention.”
Hanson Howard Gallery represents over 30 artists, but it doesn’t limit itself to the great talent they’ve discovered years ago. Howard and Gombart are constantly on the lookout for new artists to showcase in a monthly exhibit, or to represent fully.
By Jeffrey GillespieFor the Tidings
Posted May. 26, 2016 at 4:15 PM
John and Robin Gumaelius are longtime collaborators, both in life and in art. The husband and wife team, who have lived 17 miles outside of the tiny Washington community of Cosmopolis, have been collaborating on their whimsical artworks of ceramic, steel and wood for at least a decade and a half. Many are on display at the Hanson Howard Gallery in Ashland. The sculptures, which carry forth childhood memory and might provoke, in the viewer, a certain desire to continue their childhood hopes of seeing fairies at the bottom of the garden, are metamorphic entities that delight and inspire.
A stony-faced pharaoh with a crown of birds gazes out onto a world that we can only hope to imagine through his eyes. An alabaster-colored marionette rides a tricycle to goodness-knows-where, a raven perched atop her head. A pair of ceramic court jesters are joined at the hip, and painted on their conjoined belly is a visual interpretation of their "Shared History." Elsewhere in the realm of the Gumaelius imagination, a figure in harlequin pantaloons rides a one-wheeled bicycle with a Pandora's box of treasures attached to the front end.
With this sort of imagery on full display, it's no surprise that the Gumaelius' love a good story. Living as homesteaders in their small town, they are raising four children between the ages of 6 and 14. As such, much time is spent in the nooks and crannies of the school library, where John and Robin seek out children's books, history books, art and audio books that inform their processes. They have a particularly strong interest in books about icons, reliquaries, medieval and Renaissance history. There is a current focus on African skin decoration, as well as holy relics from Germany.
The Gumaelius' began their artistic and romantic collaboration during college, when John walked into Robin's studio and saw a large ceramic lady with a giraffe popping out of her dress, leaning up against the wall. While beautiful, it was too top-heavy to be stable. "He said, 'l can fix that for you,'" recalls Robin. John built a special wagon for the piece, and the signature "Gumaelius cart" was born. The children followed, as did a large house and studio with a woodstove, goat barn, hay loft, two dogs and various resident animals. There is a river to swim in, and a fire pit for chilly nights outdoors.
"It just doesn't get any better than this," says John.
As far as making the actual art goes, John creates oval coils that he can build into a head in just a couple of days — the same amount of time it takes for Robin to carve the surface of just one small figure. She will often sit up in her rocking chair (a comfort that was excavated from the burn pile at the local school) working a piece in her lap while the two listen to audio books. The small porcelain pieces are built using a combination of molds, slabs, extrusions, pinching, and coiling. John and Robin often build four or five pieces and then keep them moist in Tupperware boxes and plastic bags until they are ready to carve them all.
John's larger pieces are wood-fired, so he spends more time chopping and stacking wood, strategically loading the kiln, and actually firing the kiln.
The children are also beginning to follow their parents into creative pursuits, working on various art projects on the property. Robin considers the family penchant for artistic endeavors to be something of a tribal motivation. "Art isn't this separate thing for us," she says. "It's just part of the way we are."
The Gumaelius family, much like the art that they manifest, seems to live in a special place somewhere between the magical and the real. Spend some time with their pieces, and you too will likely be granted a glimpse into a world of sweet alchemy.
New work by John and Robin Gumaelius will be on view at Hanson Howard Gallery, 89 Oak St. in Ashland, from June 1-28, with an artists' reception from 5 to 8 p.m. Friday, June 3, during the First Friday Artwalk.
Ashland resident Jeffrey Gillespie is a Daily Tidings columnist, arts reviewer and freelance writer. Email him at email@example.com.
Jhenna Quinn Lewis is widely recognized for her masterful paintings. They are generally simple intimate compositions that invite the viewer to closely examine the detail of a bird, for example, that has landed in an unexpected setting such as on a book shelf, antique box, stack of books or various collectibles. Her exqusite interior stillife paintings offer a meditative quality. ’Through the manipulation of composition, subject matter, color, light, and shading, I try to bring out a subtle inherent quietness that the viewer can be drawn into. My hope is to create a state of mind. I have always tried to unite two separate worlds, the real and the imagined."
Claire Duncan came to painting after a 30-year career in graphic design. She combines a professional designer’s understanding of the visual vocabulary with an artist’s passion for the painting process.
“I have always loved birds. I love seeing them and feeling their presence, their power and their grace. For these paintings, birds are the carriers of ideas that icker about in my mind like birds in the periphery of vision. The work is informed by a love of the natural world coupled with the more formal concerns of design and color. It attempts to evoke the solitary experience of beauty.”
Claire lives in Ashland, Oregon where she continues to use art as a way of learning about and loving this amazing world.
Birds fascinate us, enchant us, connect us to the natural world, remind us of our responsibility to the environment, and call us to action. In our exhibition, For the Birds three artists interpret birds as subjects in very different ways.
Jhenna Quinn Lewis brings life to canvas with oil paint, exquisitely articulating small birds in juxtaposition with unexpected objects and backgrounds. In this show, Jhenna combines Asian influences with some of her favorite birds.
Barbara Orsow’s fascination with birds in nature led her to use her camera to capture the mystery of their movement and her delight in the beauty of their details.
Claire Duncan paints the power and grace of large birds in acrylic. Her paintings have a contemporary feel and attempt to deal with her own underlying artistic ideas: light and dark, the nature of color, the relationship of the artist to the world.
This selection of Karen Staal's paintings featured in the gallery throughout the month of March focuses on scenes of musicians.
Staal specializes in oil paintings of the human figure. While her portrayals are somewhat realistic, they are also interpretive. Intentionally steering away from realism, Staal interprets intimate human scenes by creating new harmonies with line, shape and color. With strong compositions and careful attention given to space surrounding and between figures, the emotional impact of that figure, or relationship between figures in her paintings, is strong.
Karen holds a BFA from the San Francisco Art Institute and also earned a degree from the Kendall School of Design. She studied abstract painting at American University in Washington, D.C. and portrait painting at the Ridgewood Art Academy.
Karen's solo exhibits in the past have been theme-related. Work in Two or Three Dimensions focused on issues surrounding social justice. The Dance was a series of paintings depicting movement and energy. The life-size series, Simple Times, was based on photos of aunts and uncles who remained hopeful during World War II.
This month we will have the inky, nebulous night sky images of Ashland High School student, Marcello Romano in conjunction with the Ashland Gallery Association Annual Student Art Exhibition.
I moved to Ashland from Los Angeles when I was 7 and initially hated the sudden change of surroundings. I had been used to heavy traffic, plenty of concrete, and miles of sub-par beaches for most of my life so suddenly being dropped into the middle of a lush, deer infested forest was a huge shock. It would take a few years after the move before I came to love nature and eventually, astronomy. The night sky gives me immense perspective and appreciation for our tiny lives here on earth, while simultaneously serving as the subject of my photography. Taking photos of the universe is a demanding task that often takes me (and my brave friends) out into the middle of nowhere in the pitch dark, inky blackness of night. I’ve had to get over my fear of wild animals and darkness to say the least. I hope people take away a deeper curiosity of the universe and our place in it after seeing my photos as well as a sense of wonder and awe, similar to what I feel after a night under our galaxy. - Marcello Romano