Just in time for the autumnal equinox, Ford Gallery is excited to present “From the Forest, From the Furrows, From the Field”, a group show inspired by folk horror, a subgenre of horror in which rural, isolated communities assume their folklore and superstitions to be true, often revealing the continued practice of sinister, ancient pagan beliefs. In some folk horror tales, creatures said to lurk in the woods are very real, hexes and enchantments have genuine effects, and the old gods do indeed grant bounties and bring punishments, but often the community’s rituals reflect only the failings of tradition, and evil in the human heart.
Artists may submit up to three pieces in any medium; we must ask that no single work be larger than 36″ in any dimension. Space for 3D work is limited – let us know if you require a podium or special display requirements. Work must have been completed within the the last three years, and have not already been shown at the Ford Gallery. There is no entry fee, but the Ford Gallery takes a 40% commission on work sold.
If you would like your art to be considered for our promotional materials, please send images of finished work by Sun, Aug 18. Please confirm your participation by Sat, Sept 15. Work is due at the Ford Gallery (2505 SE 11th Ave, Portland) by Sat, Sept 21.
Intrigued, but unsure if your art would fit? For a better sense of the folk horror aesthetic, check out these films and books: The Wicker Man, Midsommar, Blood on Satan’s Claw, Children of the Corn, The VVitch, November, Valerie and Her Week of Wonders, “The Great God Pan” by Arthur Machen, “The Lottery” by Shirley Jackson, “The Ritual” by Adam Nevill (and its 2017 film), “The Loney” by Andrew Michael Hurley, “The Owl Service” by Alan Garner
Submissions Due: Sunday, September 15th
Opening Reception: Saturday, September 28th 6 – 9 PM
Over the last seven years The Recycled Rain Project has supported over 100 local artists and have donated over $3,500 to non-profits that focus on a variety of water issues.
Featuring Works By: Theresa Andreas-O’Leary Roberta Aylward Jane Levy Campbell Clare Carpenter Kindra Crick Nate Ethington Jenn Feeney Marilyn Joyce Karl Kaiser Jody Katopothis Thérèse Murdza Jesse Narens Kelly Neidig Amy Ponteri Candace Primack Maryann Puls Quin Sweetman Sara Sjol Nanette Wallace Laura Weigle Jon Wippich Karen Wippich Zeratha Monique Young
Ahuva S. Zaslavsky Fritz Koch Jemila Ann Hart Jenn Feeney
Saturday, April 27th 6-9 PM
Pressure: One of One is a group of Portland based printmakers that
has been working together for over eight years. In 2019, we founded
the Under Pressure: One of One collective in order to foster a
supportive community and space for our printmaking process. Our
mission is to create, encourage, collaborate and exhibit together.
the monotype process there are limitless possibilities. Works are
created by applying ink to a smooth plexi plate, manipulating the ink
using tools and our signature techniques, and then running the plate
and paper through a press which transfers the image to the paper
are passionate about our work and in sharing our techniques and
methods with each other. We see monotypes as a bridge between
printmaking and painting, and we love the playful quality of this
S.Zaslavsky (1975-) was born in Tel Aviv, Israel and moved to
Portland, Oregon in 2010. Ahuva is a Printmaker and Painter. She
graduated from The University of the Negev, Israel with a B.A. in
Behavioral Sciences. Her art practice began when she moved to
Portland at the CE Program at PNCA and at Crow’s Shadow Institute of
from a diverse cultural background and having pursued studies in
Psychology, Sociology and Literature, Ahuva is constantly seeking to
understand the relationship between human behavior, the individual’s
motivation to be and create, and their interaction with the world,
society and culture. She is dealing with identity questions of the
subject in a group and as an individual.
current theme is movement and rhythm of the individual in private and
public spaces, the expression within those psychological and mental
spaces, and the ways to express these in two dimensional form.
Koch creates monotypes that celebrate and reflect the spirituality of
landscape, particularly that of Central and Eastern Oregon. His work
is a meditation on textural landforms, geologic juxtapositions, and
atmospheric perspective. The work is presented as a medium for the
observer to vicariously commune with nature, and to find comfort in
the familiarity of real or imagined spaces.
was born in Detroit, Michigan and received his BFA from Michigan
State University, and now makes his home in Portland, Oregon.
is a member of Flight 64, a non-profit, cooperative print studio in
Portland, OR, and is a returning printmaker at Crow’s Shadow
Institute of the Arts, in Pendleton, OR. He has exhibited at the
Pacific Northwest College of Art (PNCA), Flight 64, Bite Studio,
Crow’s Shadow and others. He also co-curated and installed
Reflections on the Columbia River Plateau, a traveling exhibit of
monotypes produced at Crow’s Shadow, coordinated through Pacific
Northwest College of Art.
is often drawn to landscapes in the prints that she creates. She
uses landscapes to capture and investigate states of mind, nuances of
her own emotional life. While the landscapes that she chooses to
depict are often beautiful, they hint at human impact and the seen
and unforeseen consequences of our intentions and our delusions on
the environment and on each other. These subtle environmental themes
question the inequitable distribution of the natural world for the
sake of progress, question the squandering of our abundance and
question the drive to expand, colonize and use the earth’s
resources to depletion. There is much to be learn from paying
attention to the landscapes around us, she feels, they hold the
history of our humanity and tell stories about our relationships; our
relationships to ourselves, to others and our relationship with the
was born in Michigan, but has lived in many places including
Washington State, Yemen, Niger and Alaska. She currently lives with
her partner Jeff and their two aged cats in NE Portland. She has a
great appreciation for the perspective that comes from traveling,
seeing new places and glorious new things.
received her BS in Biology and Anthropology from Lewis and Clark
College and recently completed her Masters in Social Work from
Portland State University. Jemila currently works as a community
based social worker in Public Housing communities in Clackamas
County, is a member of Flight 64, a non-profit collective Portland
print studio and returns regularly to workshops at the Crow’s
Shadow Institute of the Arts in Pendleton, Oregon to expand and
deepen her skills in monotype printmaking.
Feeney’s prints are monotypes which are one of a kind prints, also
known as the painterly print. They are created by applying ink to a
smooth plexi plate, and then transferring the image to paper by means
of pressure through a press. Jenn enjoys the chemistry of the inks
and solvent and the effects created by using tools to remove and add
ink, layering color over color, texture over texture. While she can
anticipate what will happen with the print, she is surprised and
thrilled each time the print is revealed. Her works have been
described as organic, underwater scenes or other worldly, microscopic
childhood was spent around a commercial print shop, so being a
printmaker was inevitable… there’s ink in her blood! By chance,
when she joined the working world, she ended up working in print –
first as corrugated and then in business print and promotions, which
is still true to this day.
addition to printmaking, Jenn also paints in both acrylic and oil on
canvas or wood. She is involved in the Portland art community and
helps organize and participates in group shows and fundraising events
regularly. She is an honorary member of Bite Studio in SE Portland
and a returning printmaker at Crow’s Shadow Institute of the Arts
in Pendleton, OR.
“The curation of local artists for this exhibition was really fun! The array of styles, processes and design separate each artist from one another in so many ways, but all in the name of art.
The majority of these artists you can see street side or within a gallery setting across Portland and beyond.
This exhibition has a wide selection of artwork styles which will consist of but not be limited to illustration, abstract, stencil, print making, screen printing, mixed media etc… all focusing on each artists specialty craft and medium of choice.” -Mad One, Curator
Please join us for a night of poetry, art, food and drink as Ellen Petruzzella and Lindsay Martin show their work in the exhibition: The Habitual and The Novel: Magic, at the Ford Gallery on Saturday, January 26 from 6 pm to 9 pm. Poetry Reading begins at 7 p.m. Please find more details below.
Opening Reception Saturday January 26th, 6 – 9 PM Poetry Reading at 7 PM
Gather. Retain. Modulate. Materialize. Share. The Habitual and The Novel: Magic showcases Ellen Petruzzella and Lindsay Martin’s thesis bodies of work created at Oregon College of Art and Craft. Both revel in sensory experience, image, and poetic memoir. Their practices focus on transforming the everyday into the extraordinary with material and perception. This work exists in partnership with the fated and coincidental alignment of material and time, of body and spirit.
Ellen Petruzzella focuses on building relationships and understanding through material and sensory encounters. Lindsay Martin uses painting to create a poem via imagery, searching for a new visual language from place and experience. She grapples with place, pulling it apart and putting back together to form new potentials, the casual and the wonderful, in the present. Inspired by Virginia Woolf’s To The Lighthouse, this show seeks to share stories via poetry, object and image to create something new and thus, creating something magical.
Ellen Petruzzella My interdisciplinary work explores intimacy and knowledge, provoking curiosity regarding the unity of mind, body, and environment. I explore exchanges of understanding and trust through perception, corporal comprehension, and intuition. Investigations of the senses and habitual patterns allow for a vivid experience of the present and a connection of people and place through discovery and attention. I design sensory experiences, which promote slowness, require physical presence, explore preferences and aversions, and question what is biological instinct and what is cultural construct. Through conscious experience of physical self, we access the unconscious space between the known and the felt.
Lindsay Martin I want to map out the world through painting by turning. The turn is not transformation, yet. By turning, one is slowly changing a situation, viewing a slightly altered perspective. A transformation happens after many turns; when I arrive at a location, my place transforms from home to beach. My work focuses on the wonderful subtle movement, the leap before home to car, car to gas station, gas station to highway, exit 5, rest stop, diner, beach. Place is both general and detailed, it is permanent and temporary; place is a fluid illusion. Painting emerges as material algomation of the body’s translations of memory. I am curious about comparing the psychological perspective of interior, exterior imagery and the symbolism of architecture. These challenges are met with the language of painting and ideas of expansion in painting through material. Paintings are poetic anecdotes, an escape window, a doorway to the past, a barrier between interior and exterior.
Ford Gallery celebrates our beloved Ford Building artists and makers this December!
Join us Saturday, Dec 8th for an opening celebration and mixer,
featuring the artists and makers who call Ford Building their home!
Opening Reception & Mixer!
Saturday December 8th
Be a Subject in a Neuroscience Study at the Opening Reception
This one-of-a-kind installation reveals paintings designed both as a coherent body of artwork and as scientific stimuli. When you enter, you become part of an experiment.
Saturday, October 27, 2018
INTO A STUDY is both an art installation and a carefully planned neuroscience study. It began in early 2017 when painter Paul Rutz called neuroscientist Amanda Hampton Wray with a question about how to study the ways people view new paintings. After more than a year spent debating, compromising, fundraising and building a stellar team, that question has blossomed into an immersive exhibit using state-of-the-art research technology to transform the gallery experience.
At the opening—one night only—visitors to Ford Gallery will become subjects in a special data collection event. Many will be fitted with biometric equipment, and all will be shown a series of precisely crafted paintings designed both as a coherent body of art and as stimuli for a neuroscience study.
This is not art inspired by science or vice versa. The exhibit practices both art and science together, which is no small feat! Merging the two cultures has been a difficult yet rewarding process, a dialogue full of give and take—and learning—on both sides. This is a growing niche for art, not only as a site for the artist’s self expression, but, importantly, as a guide for how to engage with the world differently.
Immediately after participating in the study, viewers can enjoy a Q and A with the collaborators and see behind-the-scenes video of how it all came together. Next year the exhibit will be tweaked before it travels to Purdue University and beyond.
A Note on the Subject Matter by Paul X. Rutz
Our symbols for “female” and “male” come from the ancient Romans, but they don’t reference the level-headed Minerva and Apollo, the gods of wisdom, art and self control. Instead they refer to Venus and Mars, the gods of sex and war. The “female” symbol depicts the handheld mirror of Venus, while the “male” circle with arrow represents the shield and spear of the war god.
Looking at those symbols on bathroom doors got me curious about our culture’s parallels to Rome beyond the political and military similarities. A quick online search shows that ancient Rome celebrated some surprisingly complicated and flexible images of femininity and masculinity, much like we do today. It turns out that Venus, the goddess of erotic desire, and Mars, the rampaging, pillaging war god, were just two of many forms of these gods. Romans kept making up new versions of them over the centuries, establishing new names, rituals and temples. Soldiers of the Roman Empire sacrificed to Mars Gradivus—the marching god, god of good combat—but when Rome was not yet so big and powerful many people worshipped the agricultural god Mars Silvanus. He gave farmers good harvests and made them into good fathers. As guarantor of treaties, Mars Quirinus precariously held on to peace. Venus Obsequens—Indulgent Venus—was the ancient Romans’ image of the perfect wife, while Venus Genetrix, the pure feminine parent, brought out the best qualities of motherhood in her people. (Julius Caesar’s clan, the Julii, claimed this version of the goddess as their ancestor.) Some ancient writers say the city also worshipped Venus Calva—Bald Venus—for motivating Roman women to sacrifice their hair for the common good, such as during a siege of the city when women cut off their hair and wove the strands into bowstrings to fight off the invaders.
The ancient Romans believed the gods drove people’s behavior. Personified in statues, paintings, prayer and ritual, Venus Obsequens was healthy erotic desire. When you felt it, you knew she had found her way inside you. The paintings in this exhibit show these versions of Venus and Mars as I found them living in us today.
Paul X. Rutz paints pictures in oil on canvas and carved panel. A former Naval Officer and ballet dancer, he holds a Ph.D. in visual culture. His exhibitions include solo shows at the Oregon Military Museum and several academic galleries, as well as group shows at Mark Woolley Gallery and the Smithsonian Institution. A former reporter for the Pentagon’s press service, he has contributed to HuffPost, Modern Fiction Studies, The Smart Set, and Cincinnati Review, among others, and he writes features for Military History and Vietnam magazines.
Amanda Hampton Wray, Ph.D., CCC-SLP, is an Assistant Professor of Communicative Sciences & Disorders and director of the Brain Systems for Language Lab at Michigan State University. Her research program examines relationships between cognitive and linguistic proficiencies and life experiences. Her work employs measures of brain functions mediating language and attention processes in order to understand the development of these skills in populations with typical and disordered developmental trajectories, including children who stutter and those with SLI.
Ford Gallery, Portland, OR
Jason Babcock of Positive Science, LLC
Laura Annalora and Queens’ Suite
Brian J. Clark Productions
Dar Meshi, Ph.D., and Courtney Venker, Ph.D., of Michigan State University
Megan Heiy, Esq.
A series of large scale paintings created in relation to healing from post trauma dissociation.
Saturday, September 29th
6 – 9 PM
Journal entry…on painting 2015
Songs to myself…another chapter of work. All paintings in progress. All writing in progress. The end is nowhere in sight. The fundamental organ. Can’t separate the organ from the bone. There is no story. Color, line movement are all without thought..I find you in everything. I write to myself and I am writing to you. Now I feel hunger. I am your second half, third , and fourth. There is no whole.” six rivers the ocean…”my only hope is that if I keep creating looser, bigger, more, that the understanding will reveal itself without interpretation. My painting will become more real, more full for its lack of interpretation.
Songs for my child. Songs for myself is a body of work created during the last 15 years as a study of self. When I started these paintings and stretched the first large canvases I wasn’t cognizant of what there was to uncover. It’s been an unexpected journey. I knew I was lost and I understood wanting to use my painting practice to build a deeper relationship with self. But what I didn’t realize was how seperated I was from my actual body. Repeated rape, torture, and abuse experiences as a small child had really left me divorced from myself physically and emotionally.
My painting practice required hours of daily meditation in order to find the willingness to show up. Nausea and migraines became daily studio routines. I’ve laid on the floor and tried to surrender to the feelings of grief, pain and betrayal at least hundreds maybe a thousand times.
And I’m still not finished. I’ve done much of this on my own, and I’ve had help along the way. Talented therapists, acupuncturists, and body workers have patiently tried to help me untie these knots. Loving friends and family have reached out and supported me when possible.
I share this work and my process, because it’s important.
Everyday I struggle. Each of us does in their own way. I’m grateful for the time, space, and courage to find myself. And if sharing my process helps even just one other person in the way that it has helped me, then the pain of sharing this experience was worth it. Being alive is beautiful. Part of being a painter is knowing when to stop. There is always more to say, and there’s other paintings to be made.There is blank canvas there to hold my space. I think of these paintings as my pretty monsters. They aren’t about being raped. They’re essentially about who I’m becoming and what I experienced after, and some days in the best of moments, I hope my painting describes the peace of one single lovely instance of being alive.
Journal entry…on being a girl child 2018
Here the air is warm and thick. I walk around and feel like a fissure. A not there. I know at any moment someone could grab and press in to me. And the groups of people are always pressing.
-side note. To feel like a little girl is to be a walking vagina. To be pressed into. Grabbed at any moment and taken. But maybe that would be ok if I could be warm and loved. Not locked in this cold cellar feeling less than. Crumby, not clean, in dirty clothes and worn out shoes, and at least today I have my clothes. Even my bones are cracked because of this stupidness. The shame of knowing that I’m less than. Especially in my vagina…which is no longer the same…and despite my constitutional quiet. Everyone will know and see that something was very wrong. Not with what happened to me. But with who I truly am.
Jolyn Fry was born in Lancaster, Pennsylvania. She graduated with honors from Pennsylvania School of Art and Design in 1996. Since moving to Portland, Oregon, the following year, she has exhibited her continually evolving body of work in many group and solo shows. Whether depicting literal, physical landscapes or abstractions of a more personal, emotional nature, Jolyn says, ‘Surrendering to my artistic process grants me the kindest perspective of myself and the life that moves around me.’ Jolyn is a mother, maker, teacher who works as an Art Educator at Radius Community Art Studio in SE Portland.
On the day I was raped I was not alone. I became one with my sisters, my ancestors. I became nothing and whole at the same time. I became hate. In losing myself I became something I never was before. In losing myself in surrendering I became hate, I became animal, I became sex and rage in my very vulnerability I became humane. I was a child human. Human. Small and insignificant. And it wasn’t until today that I knew as I paint these paintings these pieces of myself, of women, these stories they become me and they become above and below and around me. It was yesterday that I was so sm…small so insignificant. as I am today, but I am all of these things at once small and big. Pain and joy. And I live. I will live. Everything up until this moment has been past. An unfathomable past and I live as life is meant to be for today for a moment with utter knowingness, and a trust that I have never understood before and today becomes a day just like any other day in any other lifetime and that is what makes me rise and fall. That is why I breathe and laugh and cry because of the insignificance of it all.
Featuring works by
Nanette Wallace, Karen Wippich, Benz & Chang
Saturday August 25th
6 – 9 PM
Exquisite corpse is a collaborative drawing approach first used by surrealist artists to create bizarre and intuitive drawings. Each collaborator adds to a composition only being allowed to see the end points of what the previous artist contributed.
All 3 artists, Nanette, Karen and Benz, are inspired by vintage figurative photography. While their imagery choices can be very similar, their approach is quite varied. It’s as if they could be playing a game of exquisite corpse where one can see the connecting narrative in different stories.
Join us for a special closing night event at Ford Gallery!
Artists Nanette Wallace, Karen Wippich and Benz & Chang will be there to share their unique insights and answer questions about their processes and how they came to collaborate on this month’s intriguing show!
Wednesday, September 26 at 7 PM – 9 PM
Nanette’s work is gestural and energetic with a tendency toward emotive motion. A large component for the inspiration in her work is derived from vintage photographs from the early 1900s through the 1960s. While her work has a loose and lyrical quality to it, she is most interested in the viewer identifying their own story in her work.
Karen’s work is a compilation of vintage photos, acrylic paint and unknown origins. She works without thinking, channeling the art through her. The paintings tell their own story, often interpreted by the viewer. She believes that by the time someone is viewing the work it is no longer hers.
At first glance, the haunting paintings of Benz and Chang appear to be vintage sepia photographs. Upon closer examination, they reveal themselves to be walnut ink drawings rendered by hand on watercolor paper. The figurative paintings portray mysterious narratives that are largely left to the imagination of the viewer.
While the show primarily features each individual artists work, in the spirit of the title Exquisite Corpse, the artists have chosen to participate in their own version of the game. Each artist created work on a panel without knowing what the other artists had done; only the connection points between the panels were revealed to one another. Nanette, Karen and Benz have created a couple of Corpses for this show. The outcome is surprising and exquisite, and not to be missed.
by Nanette Wallace, Karen Wippich, Benz & Chang, mixed media on panel
Picasso in Paris
by Karen Wippich, Acrylic Mixed Media, 48” x 30”
Pink Pants in the Park
by Nanette Wallace, Acrylic on Paper, 22” x 30”
Second Heart, 1912
by Benz and Chang, Walnut ink on watercolor paper, 14.5” x 11.5”
by Nanette Wallace, Karen Wippich, Benz & Chang, mixed media on panel