January 2016

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Cary Doucette
Hard

Cary Doucette continues his exploration and experimentation with art in this show of disparate works created over the past ten months.

Working in his first real studio space (his previous work spaces were spare bedrooms), he continues to ask questions, create problems and resolve issues in his continued pursuit of a personal interpretation of modern art.

Hard, as in "difficult" — difficult to define, describe, or even appreciate.

Doucette welcomes (and is prepared to answer) the question,"But, is it art?"

Cary Doucette is Director and a founding member of the 12x16 Gallery.

Image: Self Portrait (detail), 2015, rubber

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Jamie Newton
Gesundheit

Jamie Newton lives and works in the coast range foothills west of Portland, Oregon.

Image: fresh ideas for your home, 2015, collage, ink, acrylic & watercolor on board,12x12 inches

February 2016

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David Mayfield
Aerial

David Mayfield has painted throughout his adult life but like many, he earned his keep elsewhere. He worked as an environmental planner, frequently using maps and aerial photographs. Two years ago, Mayfield began to blend the art with his environmental perspective by painting aerial landscapes. The resulting art shows a complexity of geometric patterns imposed over watersheds, some now hardly recognizable as natural.

Mayfield starts each painting with aerial views of a specific location. His paintings are geographically accurate, but the colors are chosen to highlight the ecological condition of the landscape. For example, he uses light shapes (yellows and oranges) to represent impacted, barren, or lightly vegetated areas, moving to darker shapes (blues and purples) for healthier, more complex habitat that better supports native wildlife.

Image: Polk County, 2015, Oil on canvas, 30 x 40 inches

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Roberta Aylward
Nightlight

The momentary shock of witnessing a shooting star is preceded by a period of quiet anticipation, when we survey the night sky. Alternately, the time afterwards can be a time of meaning-making, when the event, now etched in our minds, replays. Roberta Aylward imagines this streaking of light to be like the striking of a match that ignites our desire to know more.

Aylward's art practice is driven by this curiosity and inspired by nature. Painting is her process for revealing the invisible, transforming energy and exploring undiscovered territories.

Image: Threshold, 2015, Acrylic on birch panel, 42 x 28 inches

March 2016

Jeni Lee
Winter's Twilight

The environments Jeni Lee has lived in and traveled create the foundation of who she is as a painter. Her work captures our understanding of these surroundings through atmospheric paint layers and rich color washes, highlighting the luminescence of our natural world. With an emotive play of light and dark, this current body of work investigates how we experience both the literal and symbolic shadows in our lives.

Lee has attended artist residencies in the lush landscapes of Kauai, New Mexico, Vermont and central Oregon. She holds a BA in painting from Portland State University. Her work is represented in private and corporate collections nationwide. Lee works out of her Portland art studio and shows her work locally and beyond.

Image: Winter's Twilight, 2016, Acrylic on canvas, 30 x 48 inches

Harold McNaron
Margins

Portland-based artist Harold McNaron utilizes the medium of collage to play, puzzle and sort through the image avalanche of contemporary urban life. While his early collages have been described as being "like short poetry", more recent compositions are characterized as "simple, audacious and truly harmonious."

Inspired by the experimentation of hard bop jazz musicians and the ordered parallels of spreadsheets, McNaron's current work explores themes of collaboration and intergroup dialogue.

McNaron has exhibited with art collectives in Georgia, New York and Washington D.C.

Image: Earth Edges (detail), 2015, Paper collage, 19 x 13 inches

April 2016

Portland Grid Project—Round 3

Begun in 1994, the Portland Grid Project has as many facets as the photographers who participate.

Biting off a little chunk of the city each month (a grid square from a AAA map of Portland), the artists bring their own aesthetic and language to an endeavor that spans over nine years.

Some are descriptive, some more contemplative, but all perspectives converge in the creation of a vast photo archive.

12x16 Gallery presents a sampling of this work (60 images) by 12 photographers participating in the Project's third go-around. Enjoy a glimpse of the people, places and things that make up the landscape and poetry of our city.

3rd Round Participants:
Scott Binkley, Nancy Butler, Carol Glauber, Nathan Lucas, Missy Prince, Faulkner Short, Pat Bognar, Daniel Castle,
George Kelly, Alberta Mayo, Steve Rockoff, Jeffrey Thorns

May 2016

Serena Barton
Call and Response

In creating the work for this show, Serena Barton allowed herself to experiment freely with her favored medium of oil paint mixed with cold wax. To some pieces she has added plaster, marble dust, sand and collage. Barton trusts her intuitive process to illuminate responses to the world around and within. 

In addition to working on wood panels, Barton has worked on two kinds of paper, Arches Oil Paper and Stone Paper, made from calcium carbonate. Using palette knives, rubber squeegees, and a variety of unusual tools such as basting brushes, rubber jar openers, plastic combs, pastry blenders and potato mashers, Barton creates rich and nuanced surfaces.  She applies multiple layers of paint, scrapes back areas, incises, and uses solvents to create rich and nuanced surfaces.

Serena Barton says she may be an Archeologist at heart. "I love layers and strata that evoke history and transition.  If I create these layers myself and then get to excavate them, my joy is unbounded." Serena Barton's pieces in this May exhibit certainly resonate with joy and mystery.

Image: The Heart of the Matter, oil/cold wax on paper, 12 x 9 inches

Corrine Carbone
Transitions: The People We Carry

This body of work is about transition in the sense of movement of time, of place and more profoundly of interior transitions.  According to Corinne Carbone it is a place we all venture to at one point or another and where no one can escape. It is where we go when faced with loss, aging, sickness or death.

Carbone explores this place both with landscape and figures. "The people we carry" would be the subtitle for this work.  Carbone investigates the abstract imagery that many people carry deep in their unconscious. Just as some transitions are smooth, others are not and " we go kicking and screaming through them."  Corinne Carbone does not wish to give away the details of each painting but invites the viewer to discover moments in the imagery.

Image: Sisters, acrylic on canvas, 20 x 16 inches

June 2016

Beate Scheller
Twists and Turns

Physical work on a lithography stone and etching a metal plate is pleasing to Beate Scheller who experiments with combinations of both techniques in creating new points of artistic view.

Living in Germany gave Scheller the opportunity to travel Europe and since 2000, exploring the United States. These adventures influenced her in capturing ideas and images from both ancient to modern architecture. Combining from the manmade with nature's own organic architecture intrigues Scheller.

Mixed with a touch of fantasy, Scheller uses lines and patterns in creating her land- and city-scapes. Creatures, dreamlike plants and objects are developed into forms and shapes, with or without references that grow into intriguing images.

Beate Scheller wants to fuel the viewers' imagination and invites them to look twice, observing color and different details even turning a piece around to find a different perspective makes Scheller "smile and encourages sketching for new ideas."

Image: 54 Steps, Lithography Stone with Chine Collé, 11.5" x 9 "

Ronald Bunch
Papers, Hues, Tints and Forms

Ronald Bunch has been making art for decades and, after retiring, he brought his art above ground—literally from basement to a full time studio. A background in landscape architecture and urban design contributes to his aesthetic and design sense, otherwise he is self-taught in painting.

Much of Bunch's work is collage-based using his own hand painted tissues that are cut, torn and mounted on board or canvas. These reflect a deep fascination with layered form, color and texture.

Occasionally a piece can be declared finished in a few hours while others often take weeks to complete "as the muse comes and goes on its own accord." Frequently feelings inform his creative process.

In addition to mixed media/collage Ron Bunch paints in acrylics, primarily impressionistic and abstract landscapes. Bunch also designs fabrics using fluid design and color.

Image: Something is Happening in the Garden, Acrylic, Tissue Collage, Mixed medium on board, 36" x 42"

July-August 2016

Eunice Parsons at 100

A curated selection of her work spanning over 70 years was shown along with the work of many of her friends, contemporaries, and former students from the Portland Museum Art School, where Parsons taught from 1957 to 1979.

“I've been a painter, a printmaker, and a tile-maker but when I discovered collage I said, This is it; this medium is mine ... I have enough paper for the next ten years.” said Parsons at age 90. At 100, she still has enough paper and the creative energy to produce work for another 10 years.

What do you think about when the big “1-0-0” looms visible on the horizon?

“Most of the poets have said profound things about departures and regrets and destinations—more great and significant thoghts than I can conjure up. So then it comes down to the personal. Picture a boxing ring—one frequently shown on the screen in early TV. The winning boxer goes to the center of the ring—the referee raises his gloved hands above his head and someone thrusts a microphone in his face and he says, 'It was a tough fight, ma, but I won!' ”

September 2016

Manda Beckett
The Hugo Suite

The Hugo Suite is a group of monotypes by Manda Beckett, inspired by the letter-poems of Northwest poet Richard Hugo. Beckett calls them "accompaniments," rather than illustrations, as they attempt to create an equivalent experience in abstract visual terms of color and texture.

Hugo developed a unique form, a kind of prose-poem, each addressing a particular person, other poets, old loves, renewed friends and each was connected with a specific place. These poems struck Beckett as some of the most physical, honest and truly American poetry.

The poems will be presented alongside these abstract works. The prints are made on a French Tool Press using oil-base inks and water-base archival glues for the collage. They are generally small, 4x5 inches and 7x10 inches.

Image: Hugo Suite, Monotype, 10 x 7 inches

Char Fitzpatrick
It Don't Mean A Thing

Fitzpatrick has been playing a game of chess or Chinese checkers with these drawings. Randomly applied marks over the surfaces of the paper gradually suggested "moves" to Fitzpatrick. As the pieces piled up and packed the "game board", the resulting "pictures" looked like clumps of blocky objects as well as flat patterns.

The results were surprising to Fitzpatrick and the game became a delightful challenge about arranging shapes and building depth on a flat surface.These spontaneous works are full of energy. Fitzpatrick hopes to tease these effects out of nature in her next paintings.

She teaches both watercolor and acrylic painting at the Multnomah Arts Center.

Image: Cherry Tree, Charcoal and Pastel, 40 x 30 inches

October 2016

Ken Hochfeld
Whole

Ken Hochfeld describes himself as a "mindful" and emotional landscape photographer who values his time capturing photographs as an opportunity to be intuitive, introspective and comfortably alone.

Whole is a contemplative photographic narrative from natural places made in three chapters. Chapter one, "Forest Through The Trees", represents early stages of the artist's investigation into a perceived "other world" ambiance in the forest. Over time, while on lone pathless wanders in the trees, Hochfeld says he sensed the existence of parallels with the puzzles and mysteries of his life, which ultimately and unexpectedly resulted in a realization of intimate questions. The second chapter, "Small Treasures", introduces found details, observations and circumstance, and personal symbols and metaphors, all with an important reference to their special value to the artist as gems or small treasures. The small size of the photographs in this body of work stems in part from this thought. The narrative ends with "Whole" as the final chapter, where thoughts broaden and emotions are pondered which could suggest personal conclusions.

Image: Pondering Unanswerable Questions, 2014, Pigment Print, 5 x 6.5 inches

Israel Hughes and Lee Ann Slawson
red

Husband and wife artists, mixed media artist Israel Hughes and photographer Lee Ann Slawson, team up and offer works that use the color red as the unifying theme. The resulting body of work has a feeling of mystery like fleeting glimpses into unfolding scenes.

Left: Hughes, shock of red, mixed media collage
Right: Slawson,
red series, digital photo

November 2016

Carol Basch
Pausings

Carol Basch has continued with her oil stick images of the Metolius River in Central Oregon. From walks along the river, she has attempted to shape a series of overlapping visions from a glimpse of river, patches of grass to a stand of trees. In the paintings, Basch has experimented with a thinner paint surface, more reflective of the river setting. By utilizing the unpainted areas of the canvas Basch creates a visual pause where one can evoke a fallen tree or a rush of river.

A small series of Where's the Vase? paintings, in a more spontaneous and painterly direction, are also in the show.

Image: Where's the Vase ? #1, 2016, acrylic on canvas, 18 x 18 inches

Raymond Keller
Pausings

Raymond Keller's wood sculptures are fluid and organic, carved from willow, black walnut or plum wood. Each of these pieces has an energy that is definitely Keller's. This comes from Keller having carved all his life and allowing each piece of wood to dictate how it needs to form. These sculptures reflect the way nature, primarily the sea, carve and reform each piece.

The hard-edge paintings also have Keller's signature of brilliant color and overlapping shapes. They act as balance to the sculptures

Image: Sharp Reality, 2016, Mixed medium on wood panel, 39x19.5 inches

December 2016

Gallery Members Group Show
Ephemeral

The members of 12x16 Gallery exhibited a diverse and exuberant array of work ranging from etching, lithography, photography, collage, painting and sculpture. The work is moderately priced and may be taken home at time of purchase.

Serena Barton, Carol Basch, Cary Doucette, Maureen Herndon, Israel Hughes, Ray Keller, Eunice Parsons, Kelly Saxton, Beate Scheller, Lee Ann Slawson, Judy Wise.