MORPHOLOGIES | 2018 C3: PAPERMAKING RESIDENCY EXHIBITION
Photographs courtesy of Mario Gallucci
March 31—May 5, 2018
Opening Reception: Saturday, March 31, 11—2pm | Artist walk-through at noon
Gallery Hours: Wednesday–Saturday, noon–6pm and by appointment
Morphologies presents work from 2017 c3: Papermaking Residency artists Mary Campbell, Brenda Mallory, Benjamin Mefford and Jenene Nagy. Culminating from their experiences in the Pulp & Deckle studio, each artist utilized handmade paper as a primary medium to create new works that present ideas central to their art practice.
The morphology of papermaking is the story of fibers. Plants are harvested, cut up, cooked, and pulped. The cellular structure of the raw material is cajoled into a new state of being. It is not until the end of the making that we see the final result. As it is with many craft and art processes, the resulting product may be wildly different than the steps along the way.
Morphologies focuses on four different takes on the same process. A process that has seemingly infinite variations. The works examine an intersection of elements, a re-contextualization of everyday objects, abstracted landscapes that reference commercial photography and production sets, and an investigation of materiality and surface. By removing papermaking from its primary, ubiquitous function, this work subverts expectations about the role craft should play in object making, and engages in deep play.
PAPER + PRINT WORKSHOP | A DESIGN WEEK PORTLAND EVENT
April 21, 1-5pm. Learn how to make paper from varied fibers and use it to create a letterpress broadside. This hands-on event is part of c3:initiative’s public programming series that tie-in to the exhibition on view. You’re invited to make artworks in response to the concepts on exhibit. Try out new materials and tools while exploring your ideas. Drop in for a few minutes, or stay all afternoon. We encourage you to dive in, make new friends and connect. All ages are welcome; suggested donation $25, no one turned away.
PANEL DISCUSSION | SEISMIC SHIFTS
May 5, 2-4pm. This panel discussion will focus on the way an artist’s practice has the potential to transform when given time, space and resources. Join moderator April Baer with panelists Michael Endo, Ryan Pierce, Heidi Schwegler, Patricia Vazquez and Marie Watt for a conversation about the role and importance of residency programs. This public program celebrates c3:initiative’s five year anniversary and is the closing event of the exhibition, Morphologies.
ABOUT THE RESIDENCY
The c3: Papermaking Residency was established in 2014 to engage artists with little or no experience in hand papermaking, and offer them an opportunity to learn the craft and stretch the limitations of what the medium can do. Provided with instruction, guidance and technical assistance from a professional papermaker/artist at Pulp & Deckle studio, residents create and exhibit new work outside their usual area of practice. Upon completion of the studio residency year, a group exhibition is held at c3:initiative or a partnering location.
The residency focuses on illuminating possibilities within the medium of papermaking and encourages experimentation, risk, research, and collaborative learning. The group exhibition highlights hand papermaking as a contemporary art medium.
Visit our info page to read more details about this residency program and how to apply.
ABOUT THE ARTISTS
Mary Campbell is an interdisciplinary artist living in San Francisco, California. 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. 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 large scale 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.
Benjamin is an emerging artist based in the Pacific Northwest. He is formally educated in studio art and research writing. As a production assistant, he has worked with professional artists on video, stone, mixed media installation, and public art projects. His focus is on sculpture, particularly in hard stone, and he completed his first public art commission in November 2017 for the City of Lake Oswego. His current material interests revolve around fluid dynamics, and how these are captured in solid materials. Benjamin aspires to create forms that reflect the coexistence of order and chaos in nature. Dreaming, visualization, and experimentation are key elements of his process.
He has worked with hundreds of individuals through his Drawing Gym project, which creatively combines drawing and physical exercise. He’s a 5-time national champion and 4-time world champion Ultimate player, and he applies his deep experience with flow states and the emotional life of high-performing athletes to the inner game of his art and entrepreneurship.
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.