January 2017


Cary Doucette

Cary Doucette exhibited a selection of square format images taken on his iPhone.

"The important thing is not the camera but the eye." – Alfred Eisenstaedt

"…A better camera won't do a thing for you if you don't have anything in your head or in your heart." -Arnold Newman

"You cannot depend on your eyes if your imagination is out of focus" – Mark Twain

Cary Doucette is Director & a founding member of 12x16gallery.

Image: The Ice Storm (1 of 3), 2016, digital image


Eunice Parsons Collects
Works from the collection of Eunice Parsons

Director Cary Doucette worked with Eunice Parsons to curate an exhibition from her private collection of works traded with and/or purchased from her many friends, former students, and contemporaries from the Portland Museum Art School and local art scene.

Images: Virginia Saward, oil on board, circa 1950
Left, Michael DeLeon, ceramic, 2012
Right, Carol Colin, ceramic, 2004

February 2017

Kurtiss Lofstrom

Kurtiss Lofstrom has worked in music, super 8 & 16mm film, painting, mosaic, glass, and collage. His work explores the formal aspects of materials, composition, the collision of past, present and future, and the nature of public imagery. He is primarily a self-taught artist, although he studied creative writing, theatre, and film at Goddard College in Plainfield VT. He grew up in Seattle, WA, and currently lives and works in Portland, OR.

"I like to think of my art as visual music. I am very influenced by rhythm. I like to work with found materials as a way of interacting with coincidence in the world. I hope to further explore film and large scale public art works."

Image: Portland, (diptych), 2016, found papers on canvas, 36x48 inches

Liz McDonald

This group of acrylic paintings is part of an ongoing series called Gesture as Language. They are impressions and interpretations of human relationships. Whether alone or in a group, McDonald sees us all as links in a chain we cannot see. Our lives are combinations of fragility, vulnerability and strength that are continually changing, depending on the emotions of the moment.

Her particular interest is in family ties, friendships, community, belonging, isolation, ambivalence and the myriad emotions that affect our actions. The paintings are deliberately ambiguous but are all about relationships – with others and with ourselves.

Image: Rust Colored Dresses, 2016, Acrylic on Canvas, 20x24x1.5 inches inches

March 2017

Women March On
An Artists Invitational, celebrating women artists of Portland

18 Portland artists fill the gallery with works on paper, painting, sculpture and photography.

Featured artists: Dyann Alike, Aisha Banse, Anna Daedalus, Dianne Jean Erickson, Sarah Ferguson, Joan Findlay, Shellie Garber, Julia Gardner, Peri Heath, Sandra Janeen, Sharon Jonquil, Shannon McBride, Kristen Mohr, Rachael Warren-Allen, Mary Real, Candy Russo, Ann Shiogi and Ann Truax.

April 2017

Alt Photo Five
Joel W Fisher, Mario Gallucci, Laura Heit, Ashley Innis, Charlie Perez-Tlatenchi

In conjunction with Portland Photo Month, Guest curators Anna Daedalus and Kerry Davis bring together five Portland artists working with alternative photography.

The artists' conceptual approaches stretch and warp the medium to treat such concerns as human perception as it relates to objects, marking time and space, the use of light to extend expressions, post-colonialism, and the impact of lens-based media on society. Davis and Daedalus are an artist team and cofounders of Roll-Up Photo Studio + Gallery in Portland.

Images, clockwise from upper left: Gallucci, Perez-Tlatenchi, Heit, Innis, Fisher

May 2017

Judy Wise
Giving Voice

Judy Wise is an Oregon artist and teacher who has worked as a printmaker and painter for four decades. She has exhibited and taught in the USA, Mexico, Australia, Indonesia, Spain and the Netherlands.

For the past two years she has been searching for an abstract visual language. With a love of materials and process, she walks a line between chaos and order, hoping to reflect both dualities in the paintings. Her process is intuitive, layered, accidental and mysterious. This body of work is acrylic.

Image: Daffodil Green, 24x18 inches, acrylic on paper, 2017

Alan Rose
Non-Objective Objects

Portland artist Alan Rose is known for painting narratives of people caught up in an offbeat world. While Rose's previous paintings haven't been exactly representational, his new body of work moves into more abstract, even non-objective territory.

Rose's flat graphic style and muted palette evoke another time and place. It is an enigmatic world where everything is in sharp focus and ambiguity reigns. The unclear is clearly happening, and even the unrecognizable looks vaguely familiar.

Image: Sin in the Music Room, 30x24 inches, acrylic

June 2017

Maureen Herndon

Maureen Herndon's new show at 12x16 Gallery, titled Departures, reflects her recent travels as well as her continued pursuit of creating small collages. Her small works invite the viewer to take a closer look.

Image: Juicy, 2017, Collage, 4.25x3.75 inches

Reed Clarke
Face to Face

The title of Reed Clarke's show is Face to Face, and for some years faces and figures have inhabited all of his paintings. Clarke hopes to elicit something about being human that is familiar, but which seems impossible to say clearly or completely in other mediums. The idea of having a human subject and the discipline that imposes on the composition of the work is something he values.

Once a painting is begun Clarke is lost in the actual process of the interplay of color, line, volume, value and other visual challenges that must be dealt with before the finished painting begins to emerge. In the end, Reed Clarke achieves a balance between the subject of the painting and actual quality of the paint on the canvas.

Image: What's the Name of Your Hunger, 2017, Oil on Canvas, 41x33 inches

July 2017

The Secret Society of Book Artists
Mood Indigo

Blue language, blue laws, blue moons, blue seas: The Secret Society of Book Artists features works incorporating shades of blue and surface design. The self-proclaimed secret society emerges from the shadows to share the work they created over the past several years featuring the color blue with a focus on indigo dyed cloth and paper. Including traditional books and boxes, the members of the group also created calligraphy pieces, mobiles, embroidery, hand-made clothing and pink pussy-hat-wearing dolls.

Politically outspoken, the members followed a sub-theme of 'Resist' referring to both a dyeing technique and feminist political action. Together they created a group collaborative piece formed from fourteen separate 12 x 16 rectangles which will be sold, with proceeds going to Immigration and Refugee Community Organization (IRCO)

The Secret Society of Book Artists
Marilyn Zornado • Judilee Fitzhugh • Ilsa Perse • Joely Helgesen • Deanna Lautenbach • Bernie Smith • Kathy Karbo • Anita Bigelow • Marian Christensen • Mary Elliott • Ellen Fortin • Kathy Kuehn • Dawn Banker • Megan Leftwich

August 2017

Carl Annala
Fussy / Not Fussy

The images that Carl Annala makes are built with small marks of carefully considered color. There may be several layers of paint; there may be only one. Sometimes Annala uses graphite, paint stick, oil pastel or paint pens on the top of these abstract paintings.

He believes that abstract work is playing with the rhythms of nature that was learned from doing post impressionist paintings.

Annala studied painting under Lucinda Parker, Bob Hanson and Harry Widman in the 1980's and is grateful for their influence. He holds a Bachelors of Fine Art in Drawing/Painting from Pacific Northwest College of Art and a Masters of Fine Art in Painting from Portland State University.

Image: Hot Sauce, 2016, Oil on canvas, 36x48 inches

John Cline
Conversations Not About Architecture

John Cline works predominantly in pencil and pen and ink. His current work explores his ongoing architectural education through hard lined drawings. The recent works are conceptual "sections", "elevations" and "plans" sometimes seamlessly superimposed on top of each other. The viewer is allowed to make interpretations as to scale, volume and texture.

Cline uses drawing as a vehicle to explore ideas of the process of making. Drawings in its many forms – the ritual and craft of it, its tools, its tactility, the space of deep intellectual focus and concentration that it affords has remained a central theme in his work.

An evaluation or awareness of process can act as a springboard for future explorations and work.

Image: Untitled 109, pen, ink and colored pencil, 30x22 inches

September 2017

Serena Barton
Art was My First Love

At age four, Serena Barton won a prize in the local children's parade for a tricycle float, decorated with her drawings. In elementary school, she praised for the personality they saw in her work. Barton gradually moved away from making visual art. In mid-life, after a life-changing trip to Italy, Barton wanted and needed to paint and has not stopped making art since. Barton's medium is oil paint mixed with cold wax medium She uses a variety of tools in addition to brushes: combs, squeegees, spatulas, stencils, bamboo skewers, whisk brooms, and carving tools. Serena Barton builds up many textured layers, incising, scribbling, and scraping back as she goes, allowing each piece to tell its own story.

Image: What Painting Told Me, Oil/Cold Wax/Plaster, 40 x 40 inches, 2017

Claudia Nix
Genius Loci

The landscapes that Claudia Nix paints often reveal themselves to her slowly over time. Something that can't quite be articulated in a perceived landscape will compel her to draw, sketch, study, and paint it numerous times - distilling, simplifying, and exaggerating - in the hope " I can capture what originally was only dimly sensed in the original landscape." In Arctic Dreams, Barry Lopez wrote, "A Lakota woman named Elaine Jahner once wrote 'that what lies at the heart of the religion of hunting peoples is the notion that a spiritual landscape exists within the physical landscape'…occasionally one sees something fleeting in the land, a moment when line, color, and movement intensify and something sacred is revealed, leading one to believe, that there is another realm of reality corresponding to the physical one but different." It is this spirit of a place that Claudia Nix seeks to capture in painting.

An evaluation or awareness of process can act as a springboard for future explorations and work.

Image: Dancing Trees Newport Oregon, 2017, Encaustic, 24 x 30.75 inches, 2015

October 2017

Kelly Saxton
night light

Living in Oregon, surrounded by a quirky collection of flora and fauna, Kelly Saxton records changes within the landscape as the seasons, time of day, and weather alter the terrain.

Saxton's recent drawings take note of the stillness and light of early morning, by fusing steel, paper, graphite, bee's wax and of course paint. Saxton exposes the process of drawing by pushing the possibilities of each these materials by revealing their presence and participation in the work.

Saxton received a MFA from Pratt Institute, NY. She exhibits mixed media landscapes and chronicles creatures locally, nationally and internationally. As an artist / educator, Kelly Saxton has worked with students in Oregon and New York, and collaborates with artists of multi disciplines

Image: wrapped, 2017, steel, rice paper, graphite, 11 x 8 inches

Judy Lee Vogland
Forced Realities

Surface maker and long-practiced Oregon painter, Judy Lee Vogland, works in water-based mixed media exploring realities and relationships known and unknown. Her newest show, Forced Realities, searches through found, fantasized, funky, forced and funny relationships within her family whom she reveals through somewhat awkward circumstances.

Although Vogland's work has always explored architectural compositions married with the physical milieu and fallout of one's discarded past, she now forces compositions and curious scenarios defining more personal moments.

Born in 1945, Judy Vogland grew up into the world of the 1950's and 60's….new age industrial and social awkwardness couched in propriety and politeness. In this work, Vogland visually calls on farfetched memories of Sunday rides in her family 1948 Chev to see rich people's houses scattered around the Portland countryside.

Vogland strikes a visual bond between exploratory places known and unknown exposing forced relationships which have humorously haunted her past. An evaluation or awareness of process can act as a springboard for future explorations and work.

Image: Ruby's Search for the Suitable Suitor (detail), 2017, mixed media , 38x14x3 inches

November 2017

Beate Scheller
Facial Expression Included

In Facial Expression Included, Scheller wants to express moments in time and challenge the viewer, in finding the appearance of a face.

The title also conveys the sense of not looking away, of confronting the viewer to look at something or even someone - with eyes, with a face. Even looking twice to see the expression they have, connecting with it, good or bad. In the imagery of her prints Scheller captured an obvious or a hidden face, because faces and eyes are alive and always worth to look at, being the connection to our surroundings and to our world and soul.


Image: Hausfreund, 8.25 x 6.5 inches (image size), 11 x 9 inches (paper size), Stone-Lithography, Limited Edition of 29

Beate Scheller's Friends in Printmaking
Group Show with Open Theme

Scheller curated the adjacent group show of printmaker friends from around the globe.
The Guest Artists are printmakers who encouraged her to treasure prints, and the printmaking process of Stone-Lithography, Etching and Woodcut.

These are artists Scheller appreciates because of their artistry, their work, and their influence over many years in many different ways:

Ellen Emerson • Eleanor H. Erskine • Debbie Hamm • Susan Hurrell-Fields (NZ) • Katherine McDowell
Mary Pacios • Nicole Rawlins • Richard Steiner (Japan) • Graham Stephens (Chicago, IL) • and more.

December 2017

Lee Ann Slawson

Lee Ann Slawson exhibits photographs from the last 35 years of places and things in Portland that no longer exist or have changed completely.

Image: Slawson, Lovejoy Columns, Photograph

Israel Hughes

For Israel Hughes' final show at 12x16 gallery there will be a few small scale mixed media pieces similar to the works that he had been exhibiting for the last ten years, with a selection of new mixed media pieces on a larger scale. The New York Dada artists from 1915 through 1933 have been a major influence on the works presented.

Image: Huges, The Sitting with Ribbons, Mixed media Collage, 11.5 x 9.75 inches