PDX CONTEMPORARY ART

925 NW Flanders St, Portland, OR 97209, États-Unis
+1 503-222-0063
info@pdxcontemporaryart.com
www.pdxcontemporaryart.com

Process

Victoria Haven’s abstract ‘painted drawings’ operate as containers and frames that provoke the negative space of the central ‘void’ through a manipulation of 2D space that belies a fixed state. The metallic paint intensifies a perceptual vibration by creating another layer of reflection and refraction that allows the drawings to oscillate. In contrast to Haven’s abstractions, PDX CONTEMPORARY ART will exhibit literal drawings of rocks and cairns by artist duo Anna Gray + Ryan Wilson Paulsen. The rock images are made with pigments derived from wolf lichen goo and ground igneous rocks. The dripping and drying of the sediment in the pigment creates the cracks, divots, and shadows in the rocky surfaces. In addition, we will show drawings by Nancy Lorenz. Her painted and collaged drawings are inspired by the sea and sky, and an aesthetic Lorenz developed living in Japan while she was a teenager. In Paris, Lorenz was commissioned to make work for the Alain Ducasse restaurants and a Chanel store. Kristen Miller’s drawings are meticulously stitched with sewn on minute glass beads, depicting landscapes and abstract compositions that employ light as a material. American Native, Marie Watt’s glass bead wolf drawing rolled into glass beaker.

Process

Wes Mills’ drawings are inspired from daily experiences and the belief in things unknown. Although deeply personal and visually spare, the work shares a universal instinct of mark making. Mills builds his subtle arrangements of organic forms in graphite and powder pigments— materials he chooses for their inherent quietness and delicacy. Seemingly simple marks bind pieces together.

Mills’ work is in the collections of Museum of Contemporary Art (Los Angeles, CA), Museum of Modern Art (New York, NY), and the Whitney Museum of American Art (New York, NY).

Jeffry Mitchell’s tragicomic universe imbues his drawings with an exuberant pathos that is emblematic of his larger practice as a sculptor and installation artist. Mitchell explores a visual language wherein the big animals within his retinue—cartoonish elephants, bears, tigers, and eroticized men—exist alongside bunnies, roosters, and flora that teem together in both paradox and earnest dialog to explore the big themes of love, loss, shame, desire and vitality. Dissolving well-behaved taxonomies and hierarchies in favor of connection and cross-pollination, Mitchell embraces his embellishment of symbolic motifs as a kind of folkloric lingua franca that readily transposes both fear and erotic energy to produce a canny beauty and ethos of shared becoming. (Fionn Meade, Tyger! ,Tyger!)

Mitchell’s work is in the collections of the Smithsonian American Art Museum (Washington, DC), the Museum of Fine Arts (Boston, MA), the Fogg Art Museum at Harvard University (Cambridge, MA) and the Philadelphia Museum of Art (Philadelphia, PA).