Shamanism is in our DNA. This practice, involving varied methods of altering consciousness in order to commune with spirit realms, dates back to the early Paleolithic era.
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Through a conversation that starts and stops in May 2020 and is then revisited in March 2021, one year after the pandemic began. They discuss how Ackerman’s paintings, although often humourous and joyful, serve as a visual attraction for ruminative dialogues surrounding sorrow and intimate healing.
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Knecht’s paintings rest in a dichotomous, fringe space. Her color palette is bright but sickly, her figures grin through pain. Loose, wobbling bodies move like the wind, but also feel trapped and isolated on the canvas. While Knecht’s references to folklore and mythology are rooted in deeply human emotions and understandings, her figures are also experiencing a newness—her mothers feel profound joy while facing discomfort and challenges yet unknown.
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An interview with M Acuff by Laurel V. McLaughlin about M Acuff’s artistic practice, which, ranges from object making to installation to video and performance.
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A review about Timelines of the Future: Christine Howard Sandoval, curated by Lucy Cotter, Curator-in-Residence at Disjecta Contemporary Art Center by Jess Nickel.
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Then there are curious snake-like symbols, and a cartoonish, shadowy figure crouched in a corner, his eyes wide. Click, click, click. The story widens, titillates. A mysterious death, a haunted house, vampires, New Age.
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As I visited Haley Darya Parsa’s solo exhibition, The sun leaves me to find you, at Third Room Project, my first gallery show since the March lockdowns (on a rare but welcomed sunny day in Portland, OR), I was stunned by the gentle power of the installation
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At Melanie Flood Projects, I Won’t Last A Day Without You, curated by Yaelle S. Amir, the exhibition’s prints are displayed in several series along the walls, framed works overlapping with vinyl prints to create fluid horizontal movement. The framed prints do not have glass separating them from the viewer, creating intimacy and highlighting the dot matrix texture of each work.
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with writer, editor, and multimedia artist Kristen Diederich.
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At Nationale, Anya Roberts-Toney’s Summer’s Eve imagines a matriarchal realm with an edge. The artist’s series of twelve oil and acrylic paintings are shaped by visions of euphoric women amongst flora, but hint at the complexities inherent to such a space.
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Joseph Rodriguez’s forms integrate into the spaces around them; causing the disruption that only a careful blending of street art and installation smarts can achieve.
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A review of "Artifacts of Affection" by Rachael Zur at Gallery 114, up through August 2020 by Ashley Gifford
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with artist, illustrator & educator Gala Bent.
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with graphic designer Tiffany Brice.
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We need real systemic change in how our society operates in terms of race.
We need an end to police brutality, specifically to all Black cis and transgender.
We need police reform and defunding of police departments in Oregon & nationwide.
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with Peruvian-born, Seattle-based visual artist and independent curator Rafael Soldi.
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As our town continues to remain on pause, with art happenings postponed indefinitely, Luiza Lukova interviews Holly Osborne from the comfort of their respective homes, touching on inspirations, emotions, and experiences.
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with Los Angeles based artist Yael Nov.
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with writer & creative Allison Burt-Tilden.
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with artist Jessie Weitzel.
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