Past Exhibitions - 1122 Gallery

Past Exhibitions

On the Move
by Curtis Settino

Opening Saturday, June 8th 6-9 PM
Reading at 7 PM

Saturday, June 15th 6-9 PM
Reading at 7 PM

Humans made a lot of marks and images in caves and on rocks throughout the Ice Age in Europe (15,000-35,000 years ago-ish). My show On the Move draws inspiration from these earliest examples of human art.

My artwork lives to engage, and the most effective engagement device is story. I’ve often described my work as “abstract narrative.” Whether I’m working with a straightforward story or simply sharing the poetics of a moment or shape, I look for the perfect perspective to share from. For me, the best moments to render are those that inspire curiosity, are thought-provoking, and contain a sense of whimsy. My intention with the work in this show is that each piece can function as a purely visual entity — playing off centuries of iconography and symbols shared by humans —but, upon closer inspection, can also deliver a deeper intention, even it’s only a glimpse of a story or idea. Whatever medium I work in, I’m seeking a conceptual and aesthetic balance between narratives and poetics, communication and obfuscation, comedy and tragedy.

An ongoing theme in my artwork is motion and transportation, which ultimately leads to exploration. The freedom that mobility brings is immediately put to use by all animals as they gain it. I remember the freedom of range my first bike gave me. Zooming back in time, the earliest groups of humans were nomadic, like many animals. So that sense of always being in motion, of watching the sun come around each day and seeing the seasons rotate, is in us humans (despite our current relatively sedentary existence), and we respond when we see it in the arts. It’s a form of neural-nostalgia (instead of an actual memory).

Growing up in the Detroit area has also contributed to my transportation focus. Every dad on our block worked for the auto industry. The Center (now College) for Creative Studies, where I studied art in downtown Detroit, had a huge industrial design department funded by the auto industry. I didn’t get to take any of those classes (sadly), but I watched my schoolmates banging out hundreds and hundreds of car designs. And you can bet I was taught how to draw and paint cars. So transportation is in my blood, even though I am not a gearhead at all. But the effects of these liberating yet polluting travel machines (of all kinds) are a part of my conscious and subconscious thought process when making art.

On the Move also explores forced vs. natural migration. With climate change affecting all species’ habitats, a lot of us are already “on the move” for a better climate to live in. And with war and politics threatening people all over the planet, many are literally running for their lives with their world on their back. Again, looking back in time to good ole Pangea: the original super-continent migrated into several distinct land masses. Another example is the blood in our bodies — if it stops migrating through our veins, well, you know, we stop dead. In this regard, you could say that constant motion is just the natural state of life regardless of the cause.

The 3D works I’m currently creating depict motion — and are directly influenced by cave paintings. I’ve always been intrigued by animals and their representations. When I first saw Werner Herzog’s film “Cave of Forgotten Dreams,” I was struck by a comment from one of the archaeologists suggesting that early humans painted repetitions of animals in an effort to represent motion, that they were proto-animations under flickering torchlights. At first, I doubted this interpretation. I figured the images repeated because the person was practicing drawing the animal — filling the page, as it were. I started to do some research and discovered more examples of potential “animation” in early human art. Another film, “Stone Age Cinema,” followed this animation concept even further with other examples. Even though this is all speculation, I love the idea of it and see it as a rewarding path to explore.

It's also been theorized that early humans brought these paintings to life through storytelling. The possibility that the caves were used to entertain and educate starts to seem more and more like a theater experience — sound (the human voice) combined with larger-than-life moving images on the cave walls. Inspired by that, I have been creating standing sculptures with repeated heads and legs. (Imagine the negatives from Eadweard Muybridge’s running horse photos being stacked on top of each other so you see several “frames” at once of the same animal.) Starting from the suggestion that, under torchlight, the animals in the cave paintings would seem to leap off the walls, I’m aiming to literally liberate the paintings and give them mobility, in a sense.

In addition to the repetitions of the animals’ features, I take the whole concept one step further. Each animal sculpture has multiple positions, or “frames,” it can be displayed in. The arrangement of the legs (fanned out and offset) allows each consecutive set of three legs to be a unique tripod base for the sculpture. Thus, the animal can appear to be running, rearing, landing — generally, in motion. You can change the position at any time. This flexibility of mood, the option of active engagement, and their connection with nature as well as human history put these works at the crossroads of numerous interesting ideas.

Since these pieces are self-supporting and self-balancing, one of the foremost issues with producing them has been the underlying geometry involved with the design of the armatures — and therefore, the final piece itself. Add to that the need for the sculpture to work in multiple positions, and the problems multiply. Fortunately, I’ve drawn upon various techniques to modify the weight and balance of structures without sacrificing their design. It’s also fun to work within certain limits and see what design presents itself within a given premise. What if I create four heads and 12 legs? How can that work?

I’m producing this new work in multiple sizes, from 4 inches up to 5 feet tall so far. This range necessitates using a variety of materials and techniques. The first round of work for this show are what I call the “dipcoat creatures.” Their size is smallish, no more than 18 inches square or so. I make an armature with wire and then dip it in acrylic paint repeatedly, letting it dry in between coats to add texture. After multiple rounds of dipping, the wire becomes a skeleton within a rubbery acrylic body. After enough layers are on the support, I add surface detail using more acrylic paint and other materials. During the second round of development for the show, the creatures grew in size. Using wood and metal pipes for an armature, I made a 5-foot-tall creature. A few other larger ones have followed. I have been finishing these larger pieces using a combination of fabric and other materials. Other approaches are represented in the show, but these have been the primary ones.

As I have created these 3D creatures over the past few years, they have begun to inhabit my studio and “migrate” around my property. I’ve started to interact with them and get to know them as beings. Their stories have emerged, and I’ve embellished the works to, I hope, give a hint as to why they might be on the move.

Rewind
by Jen LaMastra & Martha Daghlian

Opening Saturday, September 9th 5-8 PM
Performance at 5:30 PM

History is slippery like satin. We wear stories of the past like a uniform, a costume, a suit of armor, or a disguise. Timelines unravel and are stitched together as memory or custom dictates. In Rewind, artists Jen LaMastra and Martha Daghlian combine aspects of traditional fiber craft with histories both personal and collective in wearable artworks that reflect on what it means to play an individual role in a shared drama.

LaMastra’s meticulously constructed garments are as playful as they are assertive, evoking the lineage of feminist art and pop cultural artifacts, in alignment with her ongoing practice of political “craftivism.”

In Daghlian’s haphazardly sewn pieces, European archetypes like the fool and the scholar are reanimated before a backdrop of patchworked historical imagery, encouraging a poetic disassembly of the past. Both artists take unique approaches to transform soft and discarded materials into adornments for acts of resilience, resistance, and reimagination.

Rewind opens at 1122 Outside on Saturday, September 9, from 5-8pm. A very short performance will take place during the reception at 5:30.

Jen LaMastra is a multimedia artist, finding and exploring the connections between personal psychology and found objects. She articulates these connections as the idea dictates toward sculpture, film, or performance. Jen is a drammy award winner for best costume design at Northwest Children’s Theater, and was a guest costume designer at University of Santa Barbara. She has presented work at Portland International Airport, Disjecta, and Museum of Art and Craft for her wearable found object sculptures. Jen also curators and produces shows in her own home 1510 gallery in Portland Oregon.

Martha Daghlian is an artist and writer based in Portland who is inspired by the dead ends of history, doubtful knowledge, and fuzzy emotional timelines. Her body of work is a troupe of personal Frankensteins (sic) revivified to dance like fools in what poet Will Alexander might call “a wary reenactment of the past.” Her past/future projects include Grapefruits Art Space, athousandcirclets.garden, and the High-Tech Luddites Anti-Smartphone Club.

rigmarole
elizabeth arzani & ahuva s. zaslavsky

Opening Saturday, August 12th 4-8 PM
Closing Saturday, August 26th 12-5 PM

Pipes deliver and receive as conductors; they flow all sorts of materials to both of their ends. But what happens when the pipe clogs? In this exhibition, Portland based artists Elizabeth Arzani and ahuva s. zaslavsky meet in a rambling garden to conduct a dialogue about the concept of ends and the spaces in between, discussing the role of pipes and tubes as mechanisms for transporting materials and connecting contrasting spaces. The tunnels connect the functional and metaphorical: the inside and outside, the pleasant and repulsive and the vulgar and refined. These unseen intermediate spaces act as mediators between senders and recipients but can also cause disruptions and misunderstandings, similar to language and communication channels. The audience is encouraged to wander through the forking paths of the garden, engaging in a dialogue about the visible and hidden, artificial and natural elements, in order to untie dysfunctional knots and foster new connection.

Elizabeth Arzani | elizabetharzani.com | @elarzani
As a collector of sorts, Elizabeth Arzani’s work is rooted in storytelling, offering a form of communication that extends language. Guided by paradoxes and the homonyms: hole and whole— two words that sound the same but have contradictory meanings when one letter is added or subtracted, Arzani’s material constructions similarly ask to be understood by the context of their environment. Stories are located in the cracks, and creases, stains, and rust of physical objects, layered with her own mark making.

Arzani has exhibited in solo and group exhibitions both nationally and internationally at the University of North Carolina, Charlotte, NC; The Center for Contemporary Art & Culture in Portland, OR; CoCA (Center for Contemporary Art), Seattle, WA; Levine Museum of the New South, Charlotte, NC; City Hall Rotunda Gallery, Rock Hill, SC; and during Luxembourg Art Week in the Salon 2019 du Cercle Artistique de Luxembourg. She has collaborated on public art installations with Shunpike’s Storefronts Project in Seattle and has participated in artist residencies with Kulturschapp in Walferdange, Luxembourg and with New Harmony Clay Project in Indiana and is a new member of the artist collective, Carnation Contemporary; Portland,OR. Arzani holds an MFA in Visual Studies from Pacific Northwest College of Art and a BFA in Painting and Art Education from the University of North Carolina at Charlotte. Arzani lives and works in Portland, Oregon.

ahuva s. zaslavsky | ahuvasz.com | @ahuvasz
ahuva s. zaslavsky lives and works in Portland, Oregon. ahuva graduated from The University of the Negev with a BA in behavioral sciences and completed her MFA in Visual Studies at the Pacific Northwest College of Art, earning the LR Visual Studies MFA Thesis Award. ahuva’s multimedia works are examinations into the relationship of space and place to memory and trauma. Through painting, printing, sculpting, writing and other mediums, her investigations permeate the social and domestic, the cultural and psychological, historical and environmental. In her recent work, ahuva grounds her personal interpretation of the Golem in Jewish mythology which includes ideas of circularity, cycles, dynamics of destruction and construction, and the interrelationship between the creator and creation. ahuva’s work has been shown locally and nationally. ahuva has completed the Art/Lab fellowship in 2022 and the GLEAN Portland artist residency in 2023. ahuva is the author of Between These Borders Wonders A Golem (First Matter Press, 2022).

LULL
Jenn Sova & Sarah Umles

Opening Saturday, August 5th
Open Hours 1-4 PM
Reception 4-8 PM
Artist Talk 5-6 PM

LULL brings together works by Los Angeles-based artist Sarah Umles and Portland-based artist Jenn Sova. This two-person exhibition explores themes of loss, grief, and the weight of expectations. With overlapping interests in the materiality of death and the emotionality of life, Umles and Sova carve out moments of pause and provocation, wherein rituals of resistance and healing can take place. Their respective works strike a delicate balance between overwhelm and absence, the corporal and the cerebral, and the ceremonial and the everyday.

Jenn Sova (they/she) is an interdisciplinary artist working in installation, video, archives, and writing. Her art praxis moves between making, curating, researching, collaborating, and connecting. Sova has held solo exhibitions at Rubus Discolor Project in 2023 and after/time in 2022, both located in Portland, OR. Her work has been exhibited in group shows at Carnation Contemporary (Portland, OR), Center for Contemporary Art & Culture (Portland, OR), Local Project (Long Island, NY), One One Six Two Gallery (Los Angeles, CA), and The Dojo (Chicago, IL). Her video works have been screened at venues including the Chicago Cultural Center as a part of MANA Contemporary’s Body + Camera Festival, The Museum of Contemporary Art Chicago as a part of Chicagoland Shorts Film Festival, Open Signal PDX, and Southsound Experimental Film Festival (Seattle & Portland). Sova holds a BA in Photography from Columbia College Chicago and is a proud grad school dropout. In 2016 she founded The Overlook, a nomadic arts project to support BIPOC, Femme, and Queer makers and thinkers through residencies, exhibitions, and public programming. Sova’s current projects include curating Too Long; Didn’t Read, a group exhibition at Heaven Gallery (Chicago, IL) and Volcano, a solo exhibition at Paragon Gallery at Portland Community College in fall 2023.

Sova’s queer feminist practice is an act of resistance and healing. She collects, arranges, asks, and asks again, as a way to make sense of and reimagine the world. Through these gestures, she begins to find or construct connections that are often overlooked. The tracings of these connections manifest through still and moving images, archives, sculpture, installation, and performance; often blurring the boundaries of each. No matter the medium, the goal is to create space for pause, for looking, for questioning, for attention, and for response. Sova’s current work and research explore generational trauma, caretaking, isolation, responsibility and expectations within familial love through the gleaning of found archival footage and organic matter.

Sarah Umles (b. 1986, Germany) is a queer femme, Ashkenazi Jewish artist and curator living and working on Gabrielino-Tongva tribal land in Los Angeles, California. This intersectional subjectivity shapes the lens through which she views the world and approaches her creative practice. Most notably, her work has been exhibited at the Museum of Contemporary Art Chicago (IL), California Museum of Photography (CA), Franconia Sculpture Park (MN), Stove Works (TN), Annmarie Sculpture Garden & Arts Center (MA), Art Center Highland Park (IL), and CICA Museum (South Korea). Umles has been awarded the MOUNT Curatorial Residency in Chicago, as well as artist residencies with Franconia Sculpture Park, Gracia in Antigua, Guatemala (a UNESCO World Heritage Site), Stove Works, BONFIRE, and Soaring Gardens. In 2018, Umles founded The Residency Project, an artist residency and project space with roots in California and Colorado. She earned her MA in Arts Administration & Policy from the School of the Art Institute of Chicago and her BA in Creative Writing from the University of California Riverside.

Umles’s work explores how social/cultural identity and self-knowing are constructed through our relationships with material culture, visual media, built environments, nature, and technology. She employs a feminist and post-consumerist praxis in an effort to dismantle oppressive structures of patriarchy, white supremacy, capitalism, and anthropocentrism. The artworks you see in LULL use the garden as a metaphor to explore intimate narratives around childlessness—whether by choice or due to uncontrollable circumstances such as infertility and miscarriage. Through the work, Umles creates opportunities to both personally and collectively move through the loss, grief, and rituals of mourning that surround these nuanced subjects.

Guava

Opening Saturday, July 1st 6-10 PM
Readings at 7 PM

A Show with BUNNY Pressse
Art by:
Zach Ozma
Kristen Diederich
Robert Fernandez
Ashley Yang Thompson

Readings from:
Jessie Carver
Kristen Diederich
Ashley Yang Thompson
Arda Collins

1122 + Portland Textile Month Present:
Youth Booth
By Emily Pacheco
Opening Saturday, October 8th 4-6pm

Restore your old and decrepit body back to a youthful state we can all enjoy by stepping into the Youth Booth! Explore “the booth” to find interactive props of YOUTHFULNESS–such as perky papier-mache boobs, an enormous and desirable butt, chiseled abs and the like. No need for mirrors, the Magic 8 Ball will tell you when you’ve reached peak youngness! Youth Booth is a humorous look at our culture's obsession with being young. Opening night prize will be awarded to the youngest person.

Portland TextileX Month Festival is part of a social enterprise founded and organized by Textile Hive to build community and foster cross-pollination among textile enthusiasts, artists, businesses, schools, and cultural organizations.

Tidal Breaths: Wakonda Beach in Winter
A photo series by Kate Malone Kimmich
Opening Saturday, September 17th 5-8pm

The ocean is a prolific storyteller. Each tidal breath features a unique narrative, at once autobiographical and a living biography of what the sea contains and connects. One luminous winter weekend on the Oregon Coast's Wakonda and Tillicum Beaches, the tide laid bare particularly striking formations: revealing the past; recording the day; foretelling tomorrow.

This coastal photo collection is a love story for the mountains and all the wilder spaces that buoy me. Capturing and working with the images in this series has transformed how I view sand and the coast and altered how place informs my sense of wellbeing.

Thank you to my dear friend and artist, Erinn Kathryn, for encouraging me to exhibit these photos and guiding me throughout this project.

This show is dedicated to Barry Jude Portman and Jeffrey Adrian Schumacher, two brilliant, fun, nature-loving, one-of-a-kind humans who enriched my life immeasurably.

Kate Malone Kimmich became enamored with wild places as a child in upstate New York and has nurtured her adventurous spirit living alongside the mountains, waters, and deserts of California, Wyoming, Montana, Oregon, and Peru.

Kate earned her BA in History from Stanford University (where she once inherited Reese Witherspoon’s photography studio locker) and her MS in Nutrition from Montana State University. She is a registered dietitian nutritionist with a focus in food systems and nutrition education. She works full-time as a mama raising two young citizens with her husband and extended family in Portland, Oregon. Sleep deprivation has caused her to forget almost everything. This is her first solo art show.

All photos are available as limited-edition prints. Mounted prints from Pushdot Studio in Portland.

1122 + The Zymoglyphic Museum
Museum as Muse II
Opening: Friday, August 19th 6-9pm

1122 + The Zymoglyphic Museum present Museum as Muse II, a showcase of the museum's residency program. The museum's residency program provides an opportunity for creative people to work on projects inspired by the museum, including access to the its carefully curated archive of gnarled sticks, fungus, bones, rusty remains, and other delightful detritus.

Art from the Zymoglyphic Museum's Residency Program by:
Sam David
Eileen McGarvey
Nicole Quarles
Pamela Hadley
Terra Fenderson

The Zymoglyphic Museum's primary mission is the preservation of the unique natural and cultural heritage of the Zymoglyphic region. In addition, the museum hosts a variety of special collections and online exhibits related to Zymoglyphic themes of natural art, celebration of decay, and museums as curiosity cabinets.

People
By Zachary Schomburg
Opening Friday, June 17th 5-8PM

I like to stare at people in the backgrounds of photographs, and I like to think about what they were thinking about in the exact moment the photo was taken. Some small truth was frozen on their face by the flash, and deep in the future, here I am, staring, imagining a whole life for them. Painting them is a chance for me to slow down even more, to really learn a face, and how the shadows sit. Captured in big graphic color fields flat in the light, or with blended crayola on archival paper, the subjects take their part in a parade of the unposed, each in some unspecial daily moment — a grimace, a quiet stare, a shriek of surprise.

I’m also a poet, but any distinction between poetry and painting has started to blur. They’re both time-based arts for me, in that they happen more than they are. Just like the photographs were only a mark of a moment for the people in them, my paintings are now only a mark of that time I spent with myself. So, now, when you look at the people in these paintings — the brushstrokes, the lines, the imperfections, the bumps and textures of the underpaintings — you can imagine the artist, what he was thinking in those hours.

My first solo art show, PEOPLE, features 7 large acrylic paintings + 5 color-pencil drawings, each referencing a person in the background of photographs by Vivian Maier, Stephen Shore, Graciela Iturbide, Henry Lartigue, Zdislaw Beksinski, and Ilse Bing. At 7:30 during the opening night, I’ll read poems from my poetry books that have the word “people” in them.

The paintings are custom framed with a maple floater by local craftsman Matt McCalmont, and the drawings are framed and matted locally by I’ve Been Framed.

Two of the pieces are also available as limited-edition prints signed and numbered by the artist. (A set of 6 and a set of 12).

For access to the show two days before the opening, subscribe to the newsletter at zacharyschomburg.net.

A Creeping Normality
By Claire Elliott & Asa Mease
Opening: Saturday, April 30th 5-8pm

Surrounded by a sea of wheat, a forest becomes an island to its inhabitants. A backyard garden nestled in suburban sprawl can isolate just the same. The domestic spaces that we tend have biogeography distinct from those of our neighbors, and yet with each gesture we make on the land – mowing a lawn, raking fallen needles, planting flowers, or digging up weeds, we further shift the identity of these spaces. Through this practice we are
active in the hollowing out of the landscape. Even absence or neglect on our part cannot
return it to its origin, as its qualities are always shifting.

Elliott’s paintings of endemic and invasive plant species highlight the unruly bounty at
our feet, while Mease’s meandering work in sculpture and paint investigates the signs and
signifiers of the Wildland-Urban interface. In A Creeping Normality, the two artists consider new forms of ecological harmony, contradiction, and unease achieved through a sustained practice of observation.

Claire Elliott is a painter who lives and works in Portland, OR. Her work has been exhibited across the US and is represented in public and private collections nationally. She received her MFA from The School of the Museum of Fine Arts at Tufts University in 2014 and a B.S. from Skidmore College in Studio Art.

Asa Mease received his BA in studio art and biology from Whitman College in Walla Walla, Washington. He currently lives and works in Milwaukie, Oregon. In 2019 he participated in the GLEAN Portland Residency, and recently received a Regional Arts and Culture Council Grant to fund the work for this show.

Both artists are members of Wave Contemporary Collective.

The Zymoglyphic Museum and 1122 present
Museum as Muse
Opening: Friday, September 10th 6-9pm

The Zymoglyphic Museum's primary mission is the preservation of the unique natural and cultural heritage of the Zymoglyphic region. In addition, the museum hosts a variety of special collections and online exhibits related to Zymoglyphic themes of natural art, celebration of decay, and museums as curiosity cabinets.

The Zymoglyphic Museum's residency program provides an opportunity for creative people to work on projects inspired by the museum, including access to the its carefully curated archive of gnarled sticks, fungus, bones, rusty remains, and other delightful detritus. The program encourages artists working in other media besides found object assemblage, including animation, photography, and writing. The residency program was born from a desire to pivot the museum from a quirky tourist destination to a fount of creativity. It was inspired by the varied projects that creative people have made based on the museum and its themes. The program is itself a work in progress.

Art from the Zymoglyphic Museum's Residency Program by
Erinn Kathryn
Chandra Glaeseman
Sam David
Alice Langlois
Alex G.

The opening will also include
Color Studies of the Zymoglyphic Region: Prints by Coleman Stevenson
Disembodied readings from "Hotel Zymoglyphic" by author Jason Squamata
The Zymoglyphic Museum Press pop-up bookshop

Walking Mountains
By Erika Rier
Opening: Friday, July 9th 6-9pm
with other events through Saturday, July 24th

Artist Statement
My work is focused on portraying the inner life of women and femme people, as well as changing our expectations of the the way women are depicted as subjects within art. I think it is important for viewers to see women’s complex stories portrayed. I’m particularly interested in creating art which depicts women engaged in the activities of their lives, rather than showing them as passive subjects shaped by the male gaze.

I’m working on developing a visual narrative which I have been building over the past 15 years focused on pattern, color, and line. I create pieces that draw viewers in with their bright colors and delicate line work but as one delves deeper into the work, they find themselves immersed in a complex narrative. The narrative thread in my work is constantly building upon itself, each work is almost the next page in a wordless book.

As an interdisciplinary artist I’m always exploring new mediums. My current work is focused on paintings, mixed media works on paper, and ceramics. This work is all in a style I call folk surrealism.

Erika Rier is a self-taught artist working mostly in mixed media and interdisciplinary art forms in a style she calls folk surrealism. After many years of oil painting and designing clothing, she shifted her focus to works on paper, ceramics, and handmade textiles. Writing was her first love and she still secretly writes fiction but never poetry anymore. Having lived in Maine, Vermont, Connecticut, NYC, and Arizona, and Washington state; Erika now resides in Portland, OR. She also has one of each of the following: a husband, a daughter, a fluffy cat, and a black cat.

Into Gentle Ruin
By Alyson Provax
Opening: Friday, June 11th 6-9pm
By Appointment June 12th-June 30th

When we experience the past it is only through the present, never as it was. This is a very obvious thing to say, but then again we often act as though you can encounter the past as it was, with complete understanding. This is an origin of nostalgia: to re-experience is fundamentally a new experience, seductive in its feeling of safety and comfort.

Not unrelated: the New York Times reported that last summer a lot of us were watching movies made in the ‘90s; in the 18th century wealthy people would hire a garden hermit to live on their land as an ornamental reference to an ideal of lost free time; and bears have such an incredible sense of smell that they know not only where you are, but where you have been.

Into Gentle Ruin will feature works made by Alyson Provax from 2014-2021. With this deliberate mix of new and older pieces in our moment of change and reimagining she asks what we see of past feelings in today’s moment.

Provax will be showing original letterpress on paper, animations, mirrors, and billboard vinyl in the open air space of 1122 Outside. As the covid-19 pandemic is ongoing, masks and social distancing will be required for everyone’s increased safety.

Alyson Provax is an artist living in Portland, Oregon. She is interested in loneliness, uncertainty and memory. She uses the tools of printmaking, and her work has been described as “printmaking disinterested in the perfection based traditions that exist as a form of exclusion.” She often uses repetition as a drawing tool rather than to make multiple originals, and calls into question the certainty of a text with its visual presentation.

She has shown regionally at Agenda, Archer Gallery, Bridge Productions, Carnation Contemporary, Upfor Gallery, The Vestibule, Wolff Gallery, and the Whatcom Museum, nationally at A.I.R. Gallery and The Untitled Space in New York, and internationally at the Blueproject Foundation in Barcelona. She is also a member of the Portland-based Well Well Projects.

The We In Wellness
Opening: Saturday, May 22nd 5-9pm
Closing: Friday, June 4th 6-9pm

Curated by Rachel Jones

Featuring:
Lettie Jane Rennekamp
The Ghost Ease
The Precarious Peoples Party
Heather McLaughlin and Kathy MacCrate
7 Flora Aromas
McKensi Payne

focusing on the WE in wellness
what does it look like to be well as an individual? as a community? as a city? as a nation?

as we slowly come back together how do we feel?
what have we learned?
how do we move forward as a community ?
have you changed your life path due to the pandemic?
due to the BLM movement?
due to environmental issues?
due to politics?
due to feeling unwell?

when you think of wellness what kinds of practices come to mind?
personal?
social?

for me, i’ve practiced self care and thought of wellness like many do, by focusing my attention on my personal habits and attending to diet, exercise, sleep all of which are important for my mental and physical well being but the missing component has been tending to the collective wellness, the WE in wellness

WE are at a pivotal point in history
WE have been mostly isolated and experienced a collective hardship
add onto that everything that has happened over the last year
and we have a lot of healing and work to do in order to be a well community
WE have to come together and pave new paths
forge new friendships expand our communities
WE can do it
WE can be WELL
Portlanders Welcome back

but, how does one eat an elephant?
Sam Noel
Opening: Thursday, February 27th 6-10pm

but, how does one eat an elephant? looks at the ways we treat and scrutinize our bodies from excessive beautification/covering up/hiding under layers to nitpicking our form in the mirror. By exploring themes of body image, beauty, the fat female form, and adolescence the artist is hoping to one day get closer to being comfortable in her own skin. but, how does one eat an elephant? is a follow up to Noel’s last show the elephant in the room.

Sam Noel is a fibers artist living and working in Portland, OR. Originally from Texas, she received her BFA at the University of North Texas and her MFA at Oregon College of Art and Craft in 2019. She has been in numerous juried group shows in Texas, Oregon, and Florida and is a published writer. Her work acts as a glimpse into the life of a fat, female artist in today’s society. She explores themes of body image, fat culture, nature, adolescence, female form, and poetry. She is inspired by the act of noticing and asking questions.

Body Is
Amanda Triplett
Opening: Friday, November 15th 6-10pm

My body is…
Oozing, soft, supple, fibrous, and organic, this textile installation explores the struggle of having a body, being a body, and wearing a body in a world. The work asks how we reconcile our fleshy masses with the culturally-designated and expected bodily narratives. By turning the body inside out from fiber to flesh, the work facilitates a conversation between our socially contracted second skins (clothing) and the emotionality of our insides.

Making art in the space where fine art and craftwork intersect, Amanda Triplett manipulates, layers and embroiders salvaged fibers into abstractions of human biology. Stemming from an interest in humanity’s collective bodily narratives, she creates sculptural and installation works that explore embodiment of emotion, beliefs and culture. Guided by the textures, history and movement of discarded fabric, she manipulates, layers and embroiders the fiber into new biological formations. The work reflects the expectations and assumptions that come with inhabiting our own bodies and identities.

For this exhibition, Amanda will be performing Exuviation. In this performance, the artist enters the space and inhabits the installation, altering the piece through a molting process of cutting and slow-stitch sewing.

Amanda makes sculptural fiber, installation and intermedia works from salvaged textiles. After studying art and art history at Sarah Lawrence College, she graduated in 2004. She has shown in the Bay Area and Pacific Northwest including Kaleid Gallery in San Jose, the Santa Cruz Museum of Art and History, COCA in Seattle, Art House Gallery in Berkeley, Ford Gallery, Multnomah Art Gallery and Milepost 5. Amanda has been a Portland Open Studios artist from 2017-2019. In fall of 2019, she created a tactile, sculptural nest for an inclusive, multi-sensory group exhibit at Paragon Gallery in Portland, Oregon. Amanda was a 2016 Glean artist-in-resident, where she was given access to the Portland dump to glean waste materials to make sculpture and installation. She lives with her two kids and husband in Portland, Oregon.

The Sponges 2019
Rachel Jones
Opening: Friday, October 4th 6-10pm

Welcome the return of The Sponges! Last year's experience made a lasting impression on the gallery, the artist, and visitors, so we decided to bring back The Sponges for a new iteration of the work. This set of charcoal drawings are dark and intensely sensitive beings created to take on some of the burden, hardship and sadness we all endure. This exhibit will invite participants to interact with each sponge in an experiential way, with a new element added for the 2019 show.

Rachel Jones is a Portland, Oregon based artist. She holds a BFA in Painting from Pacific Northwest College of Art. Since graduating in 2007, Rachel has been working in a variety of media. Her work is largely made up of portrait style pieces, with a special focus on the materials being used.

Rahab's Sisters' The Portrait Circle Project
Photographs by Briana Cerezo
Opening: Thursday, August 15th 6-8pm

The Portrait Circle Project features photographic portraits of Rahab’s Sisters guests and volunteers, those who are housed and unhoused, marginalized and privileged. The collection is made up of neighbors, students, local business owners and Southeast Portland leaders, all of whom identify as women or gender nonconforming.

For over 15 years, Rahab’s Sisters has created community through radical hospitality in Southeast Portland, supported by volunteers who welcome guests with food, activities and unconditional welcome. This touring art exhibit includes 55 photographs taken at Rahab’s Sisters by photographer Briana Cerezo. Subjects are not identified by name or circumstances, but together the portraits underscore our commonalities and fight against the dehumanization of people living on the streets and in deep poverty. Included in the subjects are Oregon State Representative Alissa Keny-Guyer, Multnomah County Commissioner Jessica Vega Pederson, and Multnomah County Commissioner Shusheela Jayapal.

1122 Gallery will host an opening reception on Thursday, August 15th from 6pm to 8pm and the portraits will remain on view through September. Photographer Briana Cerezo will be present at the reception to share her creative process behind the portraits.

This project was funded by SE Uplift through a Community and Civic Engagement Small Grant.

About Rahab’s Sisters
Rahab’s Sisters creates community through radical hospitality with those marginalized by poverty, houselessness, sex work, violence and substance use. Every Friday we welcome women and gender nonconforming individuals to share a seated dinner, pick up needed hygiene supplies and join in community activities together. We connect with each other and build relationships that break down barriers and often challenge all of us to grow.

About Briana Cerezo
Briana Cerezo is a professional photographer based in Portland, Oregon. She earned a BS degree (cum laude, 2003) in Human Development and Family Sciences from Oregon State University. Group photo exhibitions include Rumors (Wolff Gallery, 2019), We’re Always Touching By Underground Wires (Pushdot, Portland, OR, 2018), Now I am Myself (Wolff Gallery, Portland, OR, 2016) and inclusion in the Northwest Viewing Drawers (Blue Sky Gallery, Portland, OR, 2015). Briana is the creator of Humans of Portland, a solo project featuring over 500 photographic portraits and interviews of everyday people encountered on the streets of Portland, Oregon. In 2017 she was awarded an artist’s residency with Oregon Historical Society to interview and photograph members of diverse and marginalized populations throughout Oregon. She is a founding member of Small Talk, a collective of female photographic artists who work together and support one another in exhibiting, editing, exhibiting and publishing work .

Return Eternal Return
by Marcelo Fontana
Opening: Thursday, June 20th 6-10pm

Marcelo Fontana, a Brazilian artist based in Portland, creates a discussion around the rise of far-right governments and their xenophobic policies on immigration, relating them to Nietzsche’s concept of Eternal Return. The show is composed of two installations and a performance. It is an invitation to reflect on our own actions, as well as a request for clarity for our inner-self. This is Marcelo's first solo show in Portland.

TIME>SPACE>PLACE
an invitational group exhibition and community arts happening curated by Jason Triefenbach for 1122 gallery and Standard Practice Co:Creative in partnership with Portland Art and Learning Studios

Friday, May 17th 6-10pm

Featuring
Shannon Anderson
Ralph Barton
Ricky Bearghost
Tess Bidelspach
Jackie Boden
Aaron Cunningham
Demain Dine Yahzi
Job Erickson
EM Fuller
Sam Hancock
David Hunt
Jeannette Mill
Tabitha Nikola
P.A.L.S. Video Collective
Brianna Rosen
Ivan Soliton
Gena Sophia
Mathew Spencer
Jason Triefenbach
Wiley

Curator Statement
TIME > SPACE > PLACE is the first manifestation of Standard Practice Co:Creative, a soon- to- be- incorporated community arts nonprofit dedicated to catalyzing creative potentials through engaged discourse and collaborative action.

Equal parts social sculpture*, group exhibition, and subjective research platform, TIME > SPACE > PLACE emerges from Triefenbach’s ongoing series of interviews with Portland area artists and arts organizations. Through these conversations, the theme of Place- geographical and historical; social and emotional- became a unifying thread.

As the inaugural Artist- in- Residence at Portland Art & Learning Studios; a 10,000 sqft studio for artists experiencing intellectual and developmental disabilities, Triefenbach created two outdoor sculptures inspired by his conversations with Portland locals on race, economic disenfranchisement, and historical erasure: “RUINS 1, 2, and 3” stands as an embittered monument to the legacy of white supremacist land grabs and continuing destabilization of so- called minority communities (in both of which Triefenbach acknowledges his complicity as a beneficiary of white male privilege). “Flowerbeds of the Future” casts a wary eye toward Utopian idealism, referencing science fiction and vernacular landscape design to imagine either an abundant future- or the low hum of human twilight.

In the interior of the 1122 gallery space and extending into the driveway, Triefenbach curated a colorful, energetic group exhibition of artists he has met through Standard Practice interviews as well as several artists working at the P.A.L.S. studio. Expressions of place, identity, fear, and desire come together in a variety of styles and media, from line drawings and watercolors to sculpture, self- published editions, video art, and a virtual reality interface.
And a third component to TIME > SPACE > PLACE will exist beyond public view: an upcoming discussion and brainstorming session among the artists will dissect the strengths and limitations of Portland’s creative landscape, with an eye toward Community, Collaboration, and Coalition- building.
At this intersection of voices, we hope to weave a new story.

Dough by Stacy Elaine Dacheux +
Writers from the Association of Writers & Writing Programs Conference

Friday, March 29th 6-10pm

Stacy Elaine Dacheux's drawings of dough investigate small gestures which awaken the power of aesthetics. Her super 8 film is a continuation of this study. It sweeps these illustrations into a live-action performance matched with quotes from other artists to develop a personal multi-genre narrative about making and mothering.

Stacy Elaine Dacheux's projects have been featured in the Los Angeles Times, exhibited with soft.core.la and published in The Rumpus. Her interviews can be found in PAPER, BUST, Ms. Magazine, and Los Angeles Review of Books. In addition to appearing on IFC’s Comedy Bang! Bang!, she licenses her artwork for television and film through Jennifer Dehghan's Circudo. Most recently, the Echo Park Film Center commissioned her to make a Super 8 short film with support from the Andy Warhol Foundation.

In conjunction with the AWP Conference, 1122 will also host readings and other surprises all weekend. More info on our events page!

Pivot-> A Badass HERstory Portland Show
Cass Rose Embroidery + the Badass HERstory Project
Opening: Saturday, March 2nd 3-6pm

"If I get stuck, I will pivot and carry on. My story matters. I am a valuable contributor to Badass HERstory."

Badass HERstory is a craftivism (craft+activism) project launched by Shannon Downy AKA @badasscrossstitch meant to empower individuals, build community, and reshape narrative. This project provides an opportunity for folks to learn a new skill set with deep female roots (embroidery), to participate as global activists building off of and expanding the momentum of the equality movement, as well as, the incentive to put down their devices and create something meaningful with their hands and hearts.

This PIVOT show will be a revealing of the stories manifested onto fabric by local Portland artists created for the Badass HERstory project. After this show, these pieces will be sent to the Badass HERstory headquarters to be attached to the larger 3-dimensional structures in what will become a massive public art installation.

Additionally, there at this Portland show there will be fabric, thread, and pens provided for you to create and develop your own story during the show.

Reverie Room
A Youth Show with Ella Jones + Ruby Zapf-Gellar
Opening: Friday, February 8th 6-10pm
Through Sunday, February 24th

Reverie Room is simply a platform for Ruby and Ella to publicly display their art for the first time. Most of their paintings follow a surreal theme, which is why they have decided to create a dreamy atmosphere in the gallery. They hope the artwork along with the setup of this show will inspire you, promote a relaxed and happy atmosphere, and allow you to catch a glimpse into their lives.

The Sponges
Rachel Jones

Opening Reception: Friday, October 12th 6-10pm
Closing Reception: Friday, November 2nd 6-10pm

The Sponges are a set of charcoal drawings, dark and intensely sensitive beings created to take on some of the burden, hardship and sadness we all endure. This exhibit will invite participants to interact with each sponge in an experiential way.

Rachel Jones is a Portland, Oregon based artist. She holds a BFA in Painting from Pacific Northwest College of Art. Since graduating in 2007, Rachel has been working in a variety of media. Her work is largely made up of portrait style pieces, with a special focus on the materials being used.

Inner Weather
Claiborne Colombo

September 14th-October 5th, 2018
Opening: Friday, September 14th 6-10pm

Inspired by maps and the natural world that surrounds her in the Pacific Northwest, Claiborne Colombo translates her experiences around place into deconstructed landscapes using a range of techniques and expressions -- intricate lines, guttural marks, bold colors and organic forms.

Working on both canvas and paper, she uses transparent layers of acrylic, graphite, charcoal, and pastels which she applies with both spontaneity and precision. The layers intersect and combine to reveal the stratification of her process without compromising the raw nature of each material.

Claiborne uses colors that flow, vibrate and bounce off one another. They act as a compass, helping the eye navigate through the layered terrain. In play with the swaths of color are more detailed marks. Her marks capture movement, subtle shifts, and drastic divides. Throughout her work, lines and shapes are repeated and transformed, flowing across the expanse. Some of her marks are planned, but at times, her hands work faster than her mind with each mark informing the next, creating an organic and meditative flow.

Altogether, these elements form a dynamic language that guides the narrative of each abstracted map, building a journey full of fluctuations, pauses, crossroads and moments of discovery.

The Feeling Remains Even After the Glitter Fades
Jess Curran

June 1st- 29th, 2018
Opening: Friday, June 1st 6-10pm

Everything is connected by energy. Jess Curran explores this through the process of painting. After placing a layer of paint down, it is left for many hours. The way the new layers interact with the previous ones indicates a sense of vulnerability. Nothing is permanent. The overlapping layers express how we all leave marks on each other’s lives.

The Inside is the Outside
May 4th- 31st, 2018
Carin Rodenborn + Abbie Miller
Opening: Friday, May 4th 6-10pm with a performance by The Whirlies
Artist Talk: Saturday, May 5th 12-1pm

Abbie Miller and Carin Rodenborn have been engaged in a rolling conversation about the relevance of abstraction and the seduction of materiality for over a decade. Their shared interest in spatial relationships and process, and how empirical experience is informed by the ongoing correspondence between the two, has opened up a reimagining of abstraction for each artist in the studio. This is the first time they will be sharing their work in exhibition, side by side -- a visual and material layer of the their conversation.

Abbie Miller (b. 1981, Billings, Montana) received her BFA from the University of Wyoming in 2004 with a minor in apparel construction and holds a Post-Baccalaureate Certificate from Maryland Institute College of Art, 2005 and a MFA from Cranbrook Academy of Art, 2007. She has had solo exhibitions at the Missoula Art Museum, Nicolaysen Art Museum, Casper, Wyoming; Art Lab, Jackson, Wyoming. Miller has been included in group shows throughout North America, including the Craft and Folk Art Museum, L.A.; Reading Public Museum, Pennsylvania; Cranbrook Academy of Art Museum, Bloomfield Hills, Michigan; Portland Art Museum, Oregon; and the American Academy of Arts and Letters, New York, New York. Her sculptures are included in the permanent collections at the Portland Art Museum and the Scottsdale Museum of Contemporary Art. She is a recipient of a Wyoming Arts Council Fellowship (2013), a Contemporary Northwest Artist Award (2013), and a Metcalf Award (2014).

Carin Rodenborn is a visual artist and writer living and working in Denver, Colorado. She received her MFA from Mason Gross School of the Arts at Rutgers University in 2007, a Post-Baccalaureate certificate from Maryland Institute College of Art in 2005, and her BFA from Iowa State University in 1995. She is an Assistant Professor at Rocky Mountain College of Art + Design. Before teaching at RMCAD, she taught at Texas State University in San Marcos, TX and St. Edward’s University in Austin, TX. She is Co-Founder and Co-Editor of Dime and Honey, an online art publication that looks at and celebrates the intersection of art and life. Her work has been exhibited throughout the United States, including in the Texas Biennial and the publication, New American Paintings. She works with both traditional and non-traditional materials in a contemplative painting and drawing practice that explores surface, objecthood, color, language, spatial relationships, and the spirit of materiality. Both her visual work and writing play with hybrid forms.