Alyson Provax was born in California in 1984. She received her BFA in Printmaking from Pacific Northwest College of Art in Portland, where she lives and works today. Her work focuses on personal mundane experience. Provax is interested in wasting time and the feeling of repeating oneself, and the simple yet powerful moments of realizing that you are living in a delicate body in a shifting environment. She works primarily with silkscreen monotype and letterpress processes, using both in a fluid and experiential way.
Audra Osborne is a photographer and crafter living in Portland, Oregon. She holds a BFA in Photography from the Savannah College of Art and Design and has shown her work in galleries across the country.
Audra’s work stems from the often debilitating emotions she (and many people) feel on a daily basis. These ideas typically center around anxiety, depression, and loss. Her photographs act as a visual diary and study of these emotions, as well as a remedy. By creating these images she has created a space for herself and others to discuss these topics, which are often considered “taboo”, on an open platform. This self-enforced openness has allowed her to become more in control of her anxiety, beyond systems and treatments.
“I was born in 1980 in Enid, Oklahoma, picked up my first camera in 1988 and was raised in about 15 different places across the US and abroad – traveling often with my military father. Traditional analog photography is my foundation. Mixing media is my self-taught evolution. Currently I live and work in Los Angeles.
My work is about temporality and moving through it with grace in the midst of emotional complexities. Recurrent themes I explore are feminine sensuality/power, nature worship, mystical mysteries and the soul’s journey in human form. I try to document our relationship with time in a way that honors my own tender heart, longing and pensiveness. I am continually inspired by dappled light, natural elements, eastern philosophies, indigenous practices and the expression of love between living beings.
Largely I ‘see’ in grayscale and enjoy blending film and traditional darkroom techniques with digital printing and processing. In addition to straight photography I experiment with altering my prints by hand using various materials such as paint and thread. Many of my still photographs are parts of a motion based story for video collages set to music. I enjoy many mediums and plan to evolve on paper, sculpturally and cinematically to communicate the expansiveness of my vision.
As an artist I hope to simply achieve a transference of my soul’s journey in this lifetime (or perhaps echoes of lifetimes past) to others out there, somewhere. I Was Here. A journalist once wrote that my photographs are “like whispers.” I concur.”
“I’m an artist based in Portland Oregon, specializing in pastel portraits and street scenes. I’ve been drawing since I can remember, but a lucky coincidence led to my retrieval of a large case of pastel pencils and I began to experiment with them on black paper. I love to experiment with color, light, and structure of my drawings, and am so excited to continue improving and discovering what else I can create and share.”
Since receiving her BFA in Photography from Arizona State University, she has explored a range of expression through photography, collage and jewelry making.
"I appreciate duality that most often the complexity of our emotions, perceptions, and thoughts are not perfectly contained within the meaning of language. I feel so much more can be shared without words, arising from what is there and what is not there; a hint of something, leading one to question. The "answer" or translation of my work lies within the viewer and I appreciate that.
I feel fulfilled by the realization that even I don’t know exactly what it means. Each image is a sliver of time, not really a place, fully; or an actual depiction of what may have happened or would come to happen. I like the lie of photography, and the transformation that the viewer corroborates when attempting to decipher meaning.
It's everything one thinks it could be and more. Difficult to decipher, these images signal a recall; familiar, yet uncanny. In my mind a latent image, a deja vu of sorts. Like quicksand, the deeper I fall into translation; the harder I fight futility. Vision is a language in itself."
Photographer, Portland OR
“Ever since I was young, I have loved stories – in a book, told from memory or on the screen. My favorites, of course, were short stories and folktales – brief and strange. People could fly, animals could talk and the extraordinary was commonplace. Strange things, I would later learn, were often an easier way to express the complex elements of everyday life like death, loss, joy and heartbreak.
So I began to create strange stories of my own, using them to explore complex emotions and feelings without words. Told through a series of “short stories” of fictional women. These images are created – not found, made carefully with locations, costumes and makeup. Each photo is a brief glimpse at a story already in progress – neither at its beginning nor its end. These are open-ended stories that allow viewers to explore – to put their feet into the shoes of these characters and walk away with their own interpretation.”
“I was around art of all kinds growing up. My parents own an art gallery in Kansas City, MO. As a child I focused mainly on ballet and dance-physical art -and after many years and life changes I decided to go back to college. I took my first photography class about 3 years ago, with no clue that it would be the biggest catalyst for change and growth. I fell in love with it, and haven’t put down my camera since. I’m currently getting my Bachelor’s degree at PSU in Art Practices, with a Minor in Photography. My plan is to continue my education focusing on teaching and using Art Therapy through photography, and continue passing on the perspective of intention and observing the world around you, to others like me.”
Using the pew as a desk and kneelers as her seat, Jo Lundberg taught herself how to draw portraits during Catholic mass as a child. She never stopped doodling. Jo’s often up-cycles pieces of wood (or other re-used items, such as bed sheets) that are rescued from alleys, burn piles, carpenters’ detritus, ect. and uses the natural beauty of the wood grain as part of the composition. Often described as “surreal,” her work is inspired by the natural world, the sea, Frida Kahlo, human anatomy and the place where psychology and the human condition bisect. Her paintings meanings are often shrouded in symbolism. Jo has shown along the west coast, including Design For Humanity, an art, music and fashion show sponsored by Billabong at Paramount Studios in LA. Her work is in private and public collections, including St. Charles Medical Center in Bend, Oregon.
“I’ve always been equally fascinated and repulsed by the idea of dissection. I feel like there is something extremely intimate about it—like exposing a deep secret as the layers of armored skin are peeled away. I express this intimacy in my prints, each abstracted self-portrait getting closer and closer to revealing what’s underneath.”
Leslie Dorcus is a printmaker based in Portland, Oregon. She received her BFA in printmaking from the Rhode Island School of Design (RISD), and she has exhibited solo shows at Holocene and Flight64 Studio in Portland, as well as Gowanus Print Lab in Brooklyn and the Woods-Gerry Gallery at RISD. She is a member of Flight 64, a community print studio on Alberta Street.
Liz Mares (b. 1978) is a contemporary artist living in the Chicago-Land area. Her works are heavily influenced by the use of the line, architectural structuring, connection and negative spaces. Liz Mares’ works have been in exhibitions at the Customs House Museum (Clarksville, TN), Walnut Ink Projects (Michigan City, IN), 33 Contemporary Gallery (Chicago, IL) and Roman Susan Annex (Chicago, IL.)
Rachel Mulder earned her BFA in Printmaking from the Milwaukee Institute of Art & Design and has since adapted those printmaking techniques and processes into other art forms, namely drawing. She has been an art-assistant with a passion for working with people with developmental disabilities, focusing on facilitating art-making for people based on their individual desires as well as in workshop settings. She is currently teaching Experimental Drawing for local nonprofit Public Annex where she also serves as the Social Media Director. She is a Midwestern native and lives and works in Portland, Oregon.
"Many of these works were created in a methodical manner by reconstructing a photograph with a grid, square-by-square, bottom to top, in a variety of media. This was accomplished with a tool, such as a uniform rubber stamp, or actively drawn, such as repeating hand-drawn triangles. I may not have discovered these methods had I not begun drawing with my typewriter in 2013. That year, when fate delivered to me a Sears Citation II manual italic typewriter, I began using it to create a variety of portraits and illustrations.
The daughter of two lifelong factory workers, I was born to appreciate systematic process. My childhood interests in latch-hook and crochet urged me to continually seek obsessive ways of making. I earned a BFA in Printmaking at MIAD in 2007. My background in printmaking, namely etching, unearthed a compulsion to work in a way that precipitates irrevocable mistakes. A line etched in steel cannot be erased. I treasure the error of the human hand while, conversely, I fretfully attempt to attain perfection.
It was exciting to work within a grid, and satisfying to slowly chip away at something. The typewriter, as a cumbersome yet delicate drawing tool, compelled me to work in an impressionistic style, as opposed to my tendency towards contour within etching and traditional drawing materials. Abandoning the grid, but still using repetitive processes, I could scatter my focus. By working in one compartment at a time, the images formed like sediment collecting—a slow build of overlapping marks until each was complete.
Inspired by the ochres and sea foam greens of yellowing family albums, I was compelled to navigate the colors of these photos by using the four-color method used in commercial printing: cyan, magenta, yellow and black (cmyk). Due to my suspicion of color, with its endless choices, and my years of devotion to grayscale, this factory-method offered an anchor of security. It allowed me to replicate these hues one square at a time, considering color in percentages rather than active choices.
As every ending yields the sprouts of the new, I have begun to let go of the process and obsession I had devoted myself to for the past three years. Always a printmaker, between the “happy accidents” of breaking my typewriter and hurting my paw, combined with an overwhelming wariness in the new year and endless challenges facing this world, I find myself enabled and obliged to reach back into my imagination. While these recent works may appear out of place or lacking the aforementioned systems I continually circle back to, the uncertainty of printmaking is the common denominator. I am in an exciting state of oversteering away from these orderly processes, allowing my hand to lead me towards imagery and narrative. I will no longer be an automaton for my art."
Photographer, mixed media
"I am a visual artist and analog photographer, and have been creating mixed media artworks since 1986. My work has been exhibited nationally, won numerous awards, and has been featured in photography publications such as Diffusion, Shots, B&W Magazine, and Bokeh as well as in literary journals such as Calyx. I currently teach darkroom photography at PCC and at Clackamas Community College."
Fiber, mixed media
"I like to make a beautiful object.
Sentimental and sincere.
I am naturally ebullient, and enrich each new piece with a similarly unbounded sense of joy.
The home is a sphere of warmth that I treasure and upon which I fixate. Through the employment of domestic objects and traditional handi-craft, I explore tropes of comfort. These objects facilitate intimate moments of comfort that restore familiarity to the viewer.
I am motivated toward gestures of generosity and invite opportunity for engagement. There are stories, themes, and memories, which we continually circulate in our own consciousnesses. Candid family photos, the musty, aromatic blend of time and manufactured floral, fragments from a tune long forgotten that dance in your ear, a hand-crocheted afghan, rough and pilling from decades of use – sight, smell, sound and touch – these sensory references activate the sense memory, jettisoning us from the present to times and events past. I have yet to incorporate taste into the sensory milieu. Each work that I make in this practice learns a new way to draw out these internal preoccupations and establishes them as a conversation between maker, object, and audience. Together we can re-visit a time and place, made new through each collaborative recollection."
Painter, Mixed Media, Sculpture
Zemula Fleming was born in Southern California. She has been an artist since childhood and studied art throughout her school years. She majored in studio art at Whitman College and afterwards studied illustration at Moore College of Art in Philadelphia. Since school she has been both a commercial and a fine artist working in many media.