UMVA Portland Chapter Report

Portland UMVA has had a great summer of gallery shows including its 2018 summer members’ show in July, painter/mixed media artist Matt Demers’ fabulous exhibition of new abstract paintings titled “Everybody’s Talkin’ at Me” in August, and the always engaging Addison Woolley collective of visual artists in September.

In October, artist and curator Janice L. Moore will present a juried show of various media titled “Some Reliable Truths About Chairs.” Robyn Holman, retired art curator, Atrium Art Gallery at USM’s Lewiston Campus will assist Janice as a guest juror. The exhibit promises to be a provocative encounter with “chairs” on many levels. It opens October 5th and runs through November 3rd. The artists’ reception will be Friday, October 5th, 5-8 p.m.

The “UMVA Fall Members’ Open Exhibition” opens on Friday, November 9th, with an artists’ reception at 5-7 p.m. The show runs through Friday, December 7th, with a closing artists’ reception at 5-8 p.m. All UMVA members are encouraged to participate by sending jpeg images to studiomuseo7@gmail.com by midnight October 21st. Curator Gregg Harper notes that “Artworks in most media (except performance and installation) will be accepted. Though there is room in the front window to exhibit 2 or 3-free-standing sculptures (enter early), because of Fire Code regulations at the Portland Media Center, sculpture will have to be wall-mounted or small enough to be exhibited on a plinth against the gallery wall (bring your own plinth if you can). Artists may submit one 2D piece 16”x 20” or larger or up to two 2D pieces that are each smaller than 16”x 20”.” With submissions provide Title, Date, Medium, Size and Selling Price (if applicable). Also, on the drop-off day (Saturday, November 3, Noon – 4 p.m.) bring an Artist Statement and/or Bio that includes an image of your submitted work, which will  be included in the exhibition deskbook.

The UMVA 2018 Holiday Art Sale will be held 11 a.m – 5 p.m. on December 15th and 16th at the UMVA Gallery at Portland Media Center. All members are welcome to apply for participation, though there is limited space. More information will be emailed to UMVA members several weeks prior to the show. Participation will based on the order in which application requests are made and will be open until the space is filled (there is room for approximately 15 members).

UMVA Portland has already accepted several shows for the upcoming 2019 year. These include “Ours is a Life of Lights and Shadows,” organized for March by Gregg Harper and William Hessian; “Go Figure,” a group show in July with painters Jen Joaquin, Roland Salazar Rose and Jim Kelly with photographer Dave Wade; an as yet untitled show by artist Julia Durgee in August; “Visible Discourse from Maine’s Western Foothills,” a group show of artists Schneider, Arcadipone, Best and Millonzi; and “Imposition & Yielding: Travail en Cire,” a group show with artists Ann Tracy, Anne Strout and Ann Deutsch in October. The two UMVA members’ exhibitions are planned for June and November with the Holiday Art Sale in December. Applications for other months are being accepted for consideration at the October UMVA Portland meeting on October 15th. All artists are welcome to apply by visiting the UMVA Portland webpage and downloading, preparing. and returning an application form. You can also contact Gregg Harper for an application at studiomuseo7@gmail.com

UMVA Portland Chapter meeting in-process planning.

Among other projects being considered by UMVA Portland include updating the website, possible collaboration with PMC on shows related to the gallery and painting the back wall of the gallery to bring attention to the back room.

 

UMVA Member Showcase — Diane Dahlke, Gregg Harper, CE Morse, Ragna Bruno-Torkanowsky, Anne Strout

Diane Dahlke

A dialogue with time

Diane Dahlke, “Two Cats, Man, Turban”, oil on panel, 8 x 8, Photo credit: Jay York

My dialogue is with art history, thinking about how my own sensibility intersects and is influenced by paintings of the past. One of my interests is Vanitas, the idea that the brevity of life should lead us away from materiality to more spiritual concerns.  Flowers are a traditional symbol of this because they have the fleeting, magnificent beauty of bloom and then fade and die.

Ars longa, vita brevis.

 


A Game and A Puzzle…To Start a Conversation – Gregg Harper

Gregg Harper, The Elder’s Puzzle,
Ephemera, Thread, on Acrylic on Canvas,
Metal Hooks, Inkjet Printed Paper on
Wood Frame, 17 ½” X 17 ½”, 2018

Recently I’ve begun to focus more intently on the power of images intertwined with words and concepts. My particular focus is the importance that we ascribe to these as we assess our present against our past and look to other means to guide us into the future in this liquid time. Concepts like “hope”, “will” and “oracle” are at the core of this exploration and The Philosopher’s Game and Elders Puzzle are two of my experiments.

Both pieces attempt to play the dual role of breaking down the perceived barrier between artwork and viewer while engaging in a conversation on the euro/anthro-centric nature of western philosophy (Philosopher’s Game) and the comparison to non-western philosophy and images (Elder’s Puzzle) where humans are generally part of, not separate from, nature. What words, images and artifacts might suggest a way to evaluate each mode of thinking to make it comprehensible to our own reality? And how do we conceive of the human place in all-encompassing life – parallel to nature, of nature, against nature? What are other “philosophical” perspectives on our existence beyond western thinking and image making? How applicable to our daily lives are the concepts that embody the thinking?

Gregg Harper, The Elder’s Puzzle Amulets (13)
Mixed Media, Cigar Box with Acrylic and Inkjet Printed Paper, 2018

The central form of each Board is the “Quaternio”, representing the cardinal directions. Etruscan Augurs used the Quaternio to divide the sky to search for portents delivered by the flight of birds. An archaeologist uses it as the core of a site’s organizing grid system. It is also used as an evaluative graphic by mathematicians, physicists and even psycho-analyst Carl Jung.

The words on each board are attributes that western and various non-western cultures assign to their view of the cardinal directions. The words are the four Greek Elements, four Medieval Humours and Carl Jung’s four Functions in the Philosopher’s Game. In the Elder’s Puzzle the four elements – Earth, Water, Fire and Wind – are shown as well as Native American and Asian human attributes. What do these essential descriptors in both western and non-western philosophy tell us about our consciousness…our perception and interaction with our reality?

Gregg Harper, The Philosopher’s Game Curios (13)
Mixed Media, Cigar Box with Acrylic and
Inkjet Printed Paper, 2018

Viewers can choose four Curios or Amulets and arrange them on the respective boards. The objects could be signs of ritual, remnants of a cabinet of curiosities, alchemical substances, body ornaments…perhaps the birds that fly across the Etruscan sky. And with the formula of four artifacts hung on hooks on the four corners of the board, there are 17,160 possible “compositions” or “oracles” for each artwork.

Gregg Harper, The Philosopher’s Game
Ephemera, Thread, on Acrylic on Canvas,
Metal Hooks, Inkjet Printed Paper on
Wood Frame. 17 ½” X 17 ½”, 2018

The over-arching idea is to spark a conversation within the viewer by direct interaction with the artwork in “analog” form without the use of technology. Like a double use of the metaphor “muscle memory”: to use physical interaction with an artwork to exercise the brain muscle…and, perhaps, the heart/empathy muscle.

 


 

C E Morse: Dialogue

C E Morse, Fijoles #41383, pigment on paper, archival inks, digital capture

My images are abstract details of found objects that beg the questions: “what is it?”

which starts a conversation/dialogue.  While grappling with identification one explores the subconscious emotional impact of the images as well as the relevance to previous experience.  This dialogue can be between the viewer and the piece or among viewers.

C E Morse, North Berwick #83, pigment on paper, archival inks, digital capture

I am always fascinated to hear what other people see in my work and their reaction when I identify the subject that I have photographed …. which then starts a whole new conversation.

C E Morse, Old Town #1983, pigment on paper, archival inks, digital capture

 


 

RAGNA BRUNO-TORKANOWSKY: “DIALOGUE,  A DANCE OF  OPPOSITES”

Ragna Bruno-Torkanowsky, “Reverberation”, ink on paper, 9.5X12.5

 

SPONTANEOUS DRAWINGS IN BLACK  AND YELLOW OCHRE INK,  WHERE

RANDOM THOUGHTS ARE INTERTWINED WITH COUNTERPOINT  RHYTHMS IN THE SEARCH  FOR A FLUID STRUCTURE.

 

 


Strout — Statement/Dialogue

For me, making art is definitely about dialogue. It starts with those conversations in my head, inspired by musicians, writers, and other artists. Inclusivity is an important theme in my life and in my art. The “Song of Woody Guthrie” was inspired by Woody Guthrie’s song “This Land is Your Land,” written in 1940. I am still deeply affected by it, especially in the current political climate.

Anne Strout, Song of Woody Guthrie

“Uncloudy Day,” a 1979 gospel song, speaks to me on several levels. I see America as a metaphor—a home “where no storm clouds rise,” depicted here with border crossings and little white crosses. Hopes and dreams, or sacrifice and despair? Let’s talk.

Anne Strout, Uncloudy Day

And what about “Together we make Stone Soup?” This is a very old folk tale about a hungry traveler with nothing but a stone in his pocket. When others contributed to the soup, they had a feast. Everyone brought something to the table—again, a metaphor for collaboration and sharing.

Anne Strout, Together We Make Stone Soup

And “The Potluck”: who doesn’t love and appreciate a potluck? Finally, I am proud to be part of UMVA, an art organization promoting diversity, inclusivity and dialogue in a positive framework. It is a safe and welcoming place to dialogue about art and issues.

Anne Strout, The Potluck