c3:initiative + Pulp & Deckle Papermaking Residency
Focusing on experimentation and sustainability, this collaborative residency is produced by c3:initiative and operated by Pulp & Deckle. Artists who are accepted to the residency will have the opportunity to focus on creating new work that might be outside of their usual area of artistic practice. Residency artists will work with a technician who will provide technical and problem solving assistance during their time in the studio. Studio residency artists are given a group exhibition in the c3:initiative gallery upon completion of the residency.
Mary Campbell is an interdisciplinary artist living in Portland, Oregon. She received her BFA in Printmaking in 2014 from the University of Oregon. Her work spans media encompassing painting, sculpture, installation, photography and video. By stealing from her observed environment, the work borrows and recreates familiar objects of her surroundings, re-contextualizing them in compositions concerned with color, form, and pattern. Drawing inspiration from window-dressings, production sets and commercial photography, the work simulates these commercial settings through abstract landscapes. The imagined history of the found and crafted objects influence the direction of the work and assigns a personality to the things themselves.
Brenda Mallory’s work ranges from individual wall-hangings and sculptures to largescale installations. She works with mixed media and organic materials such as cloth, fibers, and beeswax, creating multiple forms that are joined with crude hardware or mechanical devices in ways that imply tenuous connections and aberrations. She is interested in ideas of interference and disruption of long-established systems in nature and human cultures.
Mallory grew up in Oklahoma and is a member of the Cherokee Nation. She received a BA in Linguistics & English from UCLA and a BFA from PNCA. Mallory has received multiple grants including from the Oregon Arts Commission, Ford Family Foundation, Regional Arts & Culture Council. In 2015 she was an Eiteljorg Museum Contemporary Native Art Fellow and in 2016 she received a Fellowship in Visual Arts from the Native Arts and Culture Foundation. Residencies include Anderson Ranch, GLEAN at the Portland Metro Waste Transfer Station, Crow’s Shadow Institute of the Arts, Arizona State University’s Map(ing) Residency in Printmaking.
Jenene Nagy is a visual artist living and working in the Inland Empire. She received her BFA from the University of Arizona in 1998 and her MFA from the University of Oregon in 2004. Nagy’s work has been exhibited nationally and internationally at venues including the Portland Art Museum, Weatherspoon Art Museum, Southern Exposure in San Francisco, Takt Kunstprojektraum in Berlin, and Samuel Freeman in Los Angeles, among others. Her work has been recognized with grants and awards from the Foundation of Contemporary Art, the Oregon Arts Commission, Colorado Creative Industries, and the Ford Family Foundation.
Along with a rigorous studio practice, Nagy is one half of the curatorial team TILT Export:, an independent art initiative with no fixed location, working in partnership with a variety of venues to produce exhibitions. From 2011-12 she was the first Curator-in-Residence for Disjecta Contemporary Art Center in Portland, Oregon.
Benjamin is an emerging artist with a focus on sculpture. His interests are visual balance and material study with gravity defying results. He has advanced knowledge of stone sculpting and site-specific installations, having apprenticed with two masters over six years. His first monumental outdoor sculpture “Know Time” depicts seven links of an anchor chain standing 9ft tall by 1ft diameter, carved from a single piece of stone. It was completed and installed in October of 2016.
Benjamin’s eclectic approach for creating organic structural forms often addresses the point of balance between order and chaos. He is influenced by the notion of “tensegrity”, proposed by Kenneth Snelson, the paintings and prints of Terry Winters, methods of unifying conscious and subconscious thought such as through Surrealist Automatism, and the approach of Dadaists to question the meaning of symbols.