Earth to Her, an essential guiding practice for cannabis lovers, centered in feminine energy and self-discovery, presents its first featured show: “Inner Space” by Portland artist Tina Snow Le. “Inner Space” examines the journey of self-discovery as an individual, as a woman, a person of color, as a community member, and what this journey means for generations to come.
“Inner Space” illustrates Tina Snow Le’s initial documentation of self-discovery with multimedia artworks that examine strength, vulnerability, and acceptance. “Inner Space” includes ashtrays handmade by ceramic artist Sarah Coderre then shipped to 30+ self-identifying female artists from around the world to use as a canvas of interstitiality and how it shapes their relationship with cannabis.
Ashtray artists include: Yuri Ogita, Gabi Villasenor, Midori Hirose, Adria Ivanitsky, Jordan Sondler, Chrissie Abbott, Lynnie Z, Maja Dlugolecki, Lindsey Cuenca-Walker, Playful Presents, Claire Kang, Leena Murdeshwar, Carlyn Wutkee, Shawna X, Allison Berg, Abby Morgan, Adriana Gallo, Alex Proba, Alice Lee, Allison Filice Dempsey, Annie Swiderski, Ariel Davis, Christina Kenton, Danielle Kroll, Grace Danico, Kelly Thorn, Leah M Romero, Leesh Adamerovich, Natalie Anne Howard, Nagini Reddy, Paige Vickers, Ping Zhu, Qieer Wang, Sage McElroy, Sazan Pasori, and Sheri Smith.
Tina Snow Le is a first-generation, Vietnamese American artist that examines how design can impact society for the better. Earth to Her’s “Inner Space” is her debut show in Portland, where she lives and works.
Artifacts: a Plane of the Possible features works by Portland-based artists Hyun Jung Jung, Katherine Spinella, Jessie Wietzel, Brittney Connelly, and Russell Borne. Curated by McKenzie Lee, this exhibition examines ideas of both physical and digital artifacts in our present/future tense through a variety of media. While exploring compression in the flattening of our experience through low resolution internet images or developing an archive of neo-geological casts and prints that examine the philosophies of our consumer ideologies, these artists probe questions that speak to our contemporary worldview. Creating electric pop objects made for an imaginary town and its citizens or by embedding the virtual into our physical sense of touch through wearable objects, we imagine what is possible and lost in our mediated world.
The concept behind “Quality Remains” started simply enough, with the basic idea of finding a way to combine two of my professional pursuits, sign painting and printmaking. Butte, Montana is full of fantastic ghost signs from the first half of the 20th Century, seemingly more concentrated, and in better condition than signs of the same era in other cities. These signs still speak to passersby, even after the advertised business has closed, perhaps a half a century ago or longer. Some are but a whisper of their former self, but the words are still there, if you look just right, still clinging to their brick, wood, and stucco canvases. The title of the show comes from a painting I made in 2013 which contained the same phrase. Much of my work relies heavily on wordplay, and I'm intrigued that the word "remains" can act as both a verb and a noun within the context of the collection.
I wanted to create an alternate life for the buildings pictured. The imagery created for each is not really a sign, but not necessarily a mural either, simply a message. The screenprinting process allowed me to further veer from true reality: all prints are 3 or 4 colors, but none are printed in the standard, CMYK process. Building colors are bent slightly outside the norm, cloudless skies are reduced to flat, vivid blue hues. In some cases, it seems as though the words on a building could have been imagined by the building itself; a message to reach out to the always-moving world around it, as it remains anchored to its foundation.
Lastly, this show allowed me an opportunity to re-explore Portland, after moving away in September 2016. The buildings were all photographed during a quick visit in June 2017. Specific buildings may be instantly recognizable by those who live or work nearby, but my hope for the set as a whole was to make the world these buildings live in to be fairly place-less, to avoid the trap of making an obvious, self-referential, Portland collection.
Bearing Witness highlights Hahne’s most recent work displaying the nuances of visual reproduction as practice. Through conscious use of mixed-media, Hahne explores the complexities of contemporary art by replication of classical latin and greek influences. The exhibition focuses on using symbolism within antique imagery as a guide for a modern narrative. This dialogue is rendered with a looseness that conversation acquires throughout its own recurrence. Hahne transforms classical designs into his own contemporary synthesis of historical distortion and playful mark-making.
One Grand Gallery is pleased to present Ivan Salcido, whose exhibition New Works / Obras Nuevas will be on view during the month of November.
Salcido describes his work as an honest portrayal of his experiences and skills, "allowing me to draw inspiration from personal history, pop culture and the environments I have explored. From the rugged deserts and urban landscape of El Paso, Texas to the majestic and fertile terrain of the Pacific Northwest, the diversity of cultures, topography, textures and shapes of the world continuously influence me. Fusing these many aspects into multi-dimensional works both exposes my limitations with certain techniques or materials, yet also allows me to continue to develop my artistic ambitions. I am attracted to the ever-evolving challenges and problem-solving aspects of creating art.
"Much of my source material consists of found and functional, common objects. I am interested in reclaiming and reimagining salvaged materials, reusing what has been rescued and discarded to embed each item with a new and unique purpose. I operate instinctively with each piece, considering how the works will simply sit on the floor or hang on the wall, how they extend into space, and the relationship of the parts to the overall composition, even including the shadows cast as extensions of the artworks. I use color to communicate energy, movement, and to control the volume of a piece. Gradients and combinations of color mimic real-life scenes and vistas, allowing me to echo those same effects in my work. These commonplace castoffs and industrial materials are transformed into sculptures, paintings, and installations whose roots are built on the poetic reality of their origins."
One Grand Gallery is pleased to announce Damien Gilley, whose exhibition Neverender will be on view during the month of October. Gilley (b. Los Angeles, California) is an artist and educator working in Portland, Oregon. His work exposes hidden architectures through site-specific perceptual installations that combine drawing and sculptural approaches. Influenced by vintage computer graphics, techno-structures, and science fiction, the work integrates digital languages with the physical world to question historical, current, and potential environments.
One Grand Gallery is pleased to announce Corey Smith, whose exhibition A Smile Is A Dream My Heart Makes will be on view during the month of September. Smith is a multi-media visual artist who currently resides between, Los Angeles, Lake Tahoe, and Portland, OR. He has been exhibiting his work in galleries throughout the US for over a decade. Smith has been featured in countless print magazines and online sources.
One Grand Gallery is pleased to announce our summer artist in residence, Spencer Keeton Cunningham. Continuing his 25-month road trip spanning two continents, spreading messages of social and environmental activism through his art, Keeton Cunningham exhibits a strong commitment to his craft. The artist has painted nearly every day since first embarking upon what the artist calls his “permanent painting adventure.”
In continuation of his “traveling art show,” for the month of July, Keeton Cunningham will work indoors and outdoors, both transforming the gallery with a site-specific installation in addition to his mural practice around Portland. A multidisciplinary artist specializing in large-scale murals, Keeton Cunningham’s work has surfaced on several walls around town, including the storefront collaboration with Jaque Fragua located at 221 SW 6th Ave as well as Portland’s juvenile detention center.
Keeton Cunningham’s studio practice boasts bright colors, bold patterns, and heavy symbolism which result in mixed-media paintings, screen printing as well as large-scale installation art. Additionally, Keeton Cunningham is a Director and Cinematographer, and plans to screen his experimental and documentary films inspired by his experiences abroad. Please join us July 29th in celebration of the artist’s first solo exhibition in Portland. Accession will be open through August 27th.
Spencer Keeton Cunningham graduated with a BFA in Film from the San Francisco Art Institute. Exhibiting in galleries across the world, Cunningham's murals can be seen in big cities, rural villages, and abandoned ghost towns across across the globe. Using art as activism, Cunningham spreads awareness concerning the environmental impact on the ocean in New Zealand, coral restoration and preservation of the oceanic ecosystem in the Gulf of Mexico, supporting Aboriginal rights in Australia, as well as raising funds for a Miami middle school’s arts and music program. Additionally, Cunningham is a part of the Indigenous Arts Coalition.
One Grand Gallery is pleased to present a solo exhibition by Omar Gonzales, entitled New Works, featuring paintings on panel and works on paper. Please join us for the opening reception on Friday, June 3rd, 2016, for which the artist will be in attendance.
Experimenting with shape, line and color, California native Omar Gonzales paints intricate patterns that hypnotize the viewer. A combination of straight lines, hard edges, organic shapes and curvilinear forms, Gonzales’ maze-like compositions act as a visual embodiment of organized chaos.
With meticulous detail and attention to symmetry, it might come as a surprise to learn that Gonzales’ works are rarely planned, and his process is completely organic. Beginning each work with several shapes and colors, the artist intuitively adds to the work, allowing the composition to come together naturally until he finds a rhythm. This approach to art making provides the artist an escape from the stresses of reality, fully invested in the layering process.
As a means of introspection and self meditation, Gonzales’ creative process is analogous to the ancient practice of mandala meditation. His method is therapeutic, allowing a release of stress or anxiety through contemplation. A part of Gonzales is captured within each piece, and the essence of his psyche is preserved. Through the geometric intricacies of his work, Gonzales produces a modern mandala with influences from urban life.
In addition to participating in several group shows at One Grand Gallery, Ready to Die (2014) and Love It or Leave It (2014), Gonzales’ work has been shown in both solo and group exhibitions around San Francisco and New York City. Omar Gonzales currently lives and works in San Francisco.
One Grand Gallery is pleased to present Heavy Pop, an exhibition of new works from mixed-media artist Morgan Rosskopf. Please join us for the opening reception on Friday, May 6, 2016. The artist will be in attendance.
Combining drawing and collage to produce an amalgamation of imagery, Morgan Rosskopf’s work speaks to the complexities and intimacies of the mental landscape. A visual hunter-gatherer, Rosskopf combines images to illustrate the fragmented and often melodramatic voice of the internal monologue. Using the juxtaposition of imagery as a visual metaphor of cognitive dissonance, Rosskopf’s work explores ideas surrounding vulnerability, love, anxiety, and violence.
Heavy Pop’s large-scale works on paper are the result of an organic art making process. Sharing a deep personal connection with the process of art making, the artist engages with her work collaboratively, attentively working to satisfy the piece’s every need until completion. A cohesive cluster of imagery, the finished work reflects the inner complexities of the human psyche.
Comprised of a series of carefully chosen images, Rosskopf’s visual content ranges from delicate and beautiful floral motifs to morbid renderings of human organs. As if magnetic, the bouquet of imagery clings together. While the grotesque components lie at the core of the drawing, the beautiful elements hang on to the periphery. This contrast in subject matter serves as a visual metaphor for internal dissonance, an experience that intrigues the artist. Conflicting thoughts and emotions parallel the contrasting imagery, producing a complex dialogue between art and reality.
Predominantly collage-based drawings, Heavy Pop also includes several text-oriented, neon sign drawings. Emulating the process of filtering the internal monologue, these works broadcast the more accessible components of our interior emotions, providing a moment of clarity from the chaos. Contrasting in both aesthetic and medium, these neon signs operate symbiotically with the other pieces, lending insight that is essential to understanding the implications behind Rosskopf’s oeuvre.
Touching upon themes from Bill Brown's "Thing Theory," THING ONE THING TWO brings together eight artists investigating object-interaction. This exhibition goes by the alternate name borrowed from the Scientific American article, Strange but True: Earth is Not Round, in which our world is characterized as a “bumpy spheroid.” Curated with thingness in mind, exhibiting artists actively produce unfamiliar forms and shapes, reinterpreting the significance of and our relationships to familiar artifacts.
Participating artists include Jonathan Anzalone, Chiaozza, Joe Ferriso, Trevor Goosen, Dave Huebner, Ivan Salcido, Jake Ward and Joshua West Smith.
THING ONE THING TWO participates in SE Portland’s open house night for Design Week Portland, Wednesday, April 20th from 4–7pm––followed by an artist reception featuring music by Spread Seagull and pizza and beer courtesy gallery sponsors Sizzle Pie and Pabst Blue Ribbon.
One Grand Gallery is pleased to present Something Meaningful, Ryan Everson’s first solo exhibition in Portland, OR. Please join us for the opening reception on Friday, March 4, 2016. The artist will be in attendance.
Paying homage to vintage commercial signage, Ryan Everson’s sculptural and photographic work simultaneously expresses a romance for engineering and the environment. These three dimensional representations of what would otherwise be a fleeting sentiment are reproduced as tangible, weighty objects. The artist brings these phrases to life in a literal way.
Integrating photography with the three-dimensional sculptures, Everson pairs fabricated memories with genuine experience. Measuring sixteen feet-wide, Something Meaningful lights up the night sky and emits a warm glow leaving the viewer to create their own narrative with a glimmer of cues. The combination of constructed visual signs with authentic remote locations, the artist reassures the viewer that his approach is earnest, relaying a hopeful message during an otherwise ironic digital age.
One Grand Gallery is pleased to present our next artist in residence, Max Rippon. Rippon is a Barcelona-based, New York-native working in painting, installation and muralism. The artist continues his exploration of textual references to news and digital media, as well as his love for hand-painted signage during his month-long residency. The gallery hosts a closing party to celebrate Rippon's accumulated efforts. Please join us Friday, February 26th; the artist will be in attendance.
Using text as a medium, Rippon investigates the nuance of words, forms and symbols. Playing with language through a manipulation of lettering and context, the artist expresses sentiments regarding political issues and themes of relationships by researching press articles and personal correspondence archives.
Drawing a parallel between textual composition and the artist's creative process, the building and breaking down of Rippon's work shares a close resemblance to the development of a body of writing. Construction and deconstruction are both integral to Rippon’s method as cast-off materials from one work become the building blocks for another. Allowing a preservation of process through the recycling of materials, Rippon features an otherwise invisible part of his technique in the creation of new work. Utilizing box frames as a type of time capsule, the artist arranges preserved detritus behind reverse-painted glass.
Furthering his inquiry into signs and symbols, much of the artist's studio practice dissects letters into abstract forms, rendering messages less literal and more emotionally driven. Working in mixed-media on canvas, these ceiling-mounted works are meant to be viewed from all angles––boasting different paints, inks, oils and wax––bleeding through the canvas like cinematic slides.
In January 2016, Rippon celebrated the conclusion of a nearly two-year project in the making. Casa Bonay––a 1869 modernist palace in Barcelona's old city center, renovated as a hotel––commissioned the artist to design and hand-paint an entirely new signage system. Drawing inspiration from the building’s original plaques, Rippon and collaborator Ausias Perez developed a new font that was hand-painted throughout the hotel including the 67 room numbers and 5 floors of way-finding signage.
In addition to the work created during studio hours at One Grand Gallery, Rippon offers his sign painting services to local businesses as well as text-based personalized jewelry. Rippon's work can be commissioned in person during the artist's studio hours, Wednesday–Sunday, 1PM–5PM.
Born and raised in New York City, Max Rippon received his BFA from Washington University in St. Louis. Rippon currently lives and works in Barcelona, Spain. The artist has exhibited internationally including solo shows in Basel, Barcelona, London, Vienna, San Francisco, Cologne and Brussels as well as participating in selected group shows in New York City, Sao Paulo, Mexico City and Bucharest. Rippon’s murals and other public works are located in cities, remote villages, and abandoned structures across 36 countries in three continents.
Working in a limited palette, the artist brings attention to form. In many ways, the artist acts as medium to his own subconscious. After a burst of output exhibiting a series of imagery, the artist has to take a step back to analyze the work and assign it meaning.
One recurring image is the staircase. DeSpain interprets a two-way significance: one going up, one coming down. The staircase is symbolic of progress, personal growth, leading oneself to something––and conversely, destruction and literal downfall. Other symbols include the caterpillar––transformation, fictional plant species––growth, profile portraits––the defining dimensionality of a continuous line, among others.
Simultaneously introspective and capable of an objective perspective, the artist welcomes the prospect of inviting patrons to engage in his creative experiment. By inviting an audience into his intimate studio experience, DeSpain relishes in the idea of the wholly unbiased interpretations passerby will contribute.
Simplexity, a solo exhibition from Portland-based illustrator, features artist and educator Ryan Bubnis. This series of new paintings, drawings and ceramics is bold, graphic and whimsical in approach, Bubnis’ current work focuses on the simplification of shape and form. The title of the exhibition refers to his process: “I’ve pared-down and simplified my imagery with an emphasis on shape-based art making.” That being said, Bubnis spends countless hours researching, sketching, drawing and problem solving.
“Simplicity is complexity resolved.” –Constantin Brancusi
SANCTUM: A DYSTOPIAN FUTURE RETOLD
A satirical foreshadowing of a cataclysmic decline in human nature, Zach Egge's new work addresses the worst aspects of interpersonal communication and the unforeseen impacts of technology. It is an exploration into the impacts of surveillance in our digital police state.
An interactive installation built with a vast array of different mediums that are conceptually intricate and design driven, Egge’s solo exhibition guarantees to engage and captivate the viewer in a way that will re-establish the pressure to conform.
For the month of August, One Grand hosted Ferris Plock's army of pizza creations––from the googly-eyed to the monster truck-driving, cannibalistic slices. They promise to confuse, entertain and even make you a little hungry.
Plock’s imagination lends his creations a tangible humanity, as if he befriends each character that he draws. Often highly abstracted, they create an enticing narrative imbued with personality and humor.
THE PDX PROJECT
In collaboration with The PDX Project, one of the four awardees of the precious Portland Airport Carpet, One Grand paid homage to the late, great PDX carpet. Twenty innovative artists with no restrictions or specifications gave their views on this piece of Portland legend. Inspired by the carpet itself, airport culture, or the death of the carpet: If this carpet could talk, what would it say?
The design has become a symbol, a hashtag, an aesthetic all its own, and its absence will be felt by strangers visiting and locals coming home alike. Keep the memory alive and grab your own piece of history at The PDX Project store!
Third Parties showcases Craig Redman's portraiture and comments on privacy in a media-saturated world. Redman grapples with how much of one’s identity can be erased before a person’s true self is masked or freshly created. The uniformly sized portraits of his friends and acquaintances represent a mini society that is then partially obscured with oversized graphic shapes, alluding to the question of how much of our personalities are abstracted and how much is revealed.
Redman addresses the current state of our online culture by lifting the mask of online anonymity. It’s fundamentally a matter of authenticity and the power of the individual to shape one’s own history. Enter the matrix and explore the boundaries of identity in cyberspace.
Counterfeit Universe is about the copy of a copy. It is about belief in surface, attitudes towards brands, our relation to objects, and a deep personal affection towards the mundane. Mario Gallucci’s work looks at the human condition as it relates to surrounding objects. His process, a combination of photography, sculptural pattern-making, and recreation on a 1:1 scale, allows his sculptural photographs to operate in a liminal space between existence and representation. This casts even the mundane in a new light, questions their significance, symbology, value, and the relational affect on the human condition.
Ashley Anson asks the question “What makes a painting have male or female attributes?” Her paintings combine the traditionally male dominated practice of painting, with the inherently feminine mediums of embroidery and textiles.
The violent and disturbing scenes of Hometown Heroes on floral fabrics with embroidered blood and bodily fluids create an interesting juxtaposition of stereotypical male/female visual quest. This imagery shines a deceptively innocuous light on society and walks the line between startling realism and witty hyperbole.
Photographer Kyle Thompson’s style of haunting self-portraiture is affected by his independent disposition and an eye for the desolate landscapes that define the archetypal American backdrop.
Ghost Town continues this trend, all while challenging the organic nature of the medium. Thompson’s manipulation of dynamic, otherworldly scenery strikes an eerie tone. One Grand Gallery invites you to to find a piece of your departed self in the ghost towns of Kyle Thompson’s wandering eye.
For the month of December 2014, One Grand Gallery honored local late night hotspot, Magic Gardens, with a group exhibition. Exhibiting classic strip club posters from over 50 artists, Magic Gardens: Last Call commemorated Magic Gardens closure on December 31st, 2014. Opening in the 1960's as a lesbian club, the Gardens soon became a Chinatown staple as a pool hall, strip club and bar. R.I.P. Magic Gardens.
In honor of the 20th anniversary of Biggie's iconic album, One Grand Gallery presents Ready to Die: A Group Show. Whether it is an illustration of the iconic painterly Coogi sweater the rapper was so well known for wearing or the “money-green leather sofa” he rapped about, Biggie and the Ready to Die album offer an unlimited source of creative inspiration and artistic license. The album presents hardship and struggle among humor and poetic symbolism, all testaments to the genuine talent that Biggie possessed that was as relevant in 1994 as it is in 2014.
In observation of Independence Day, and as a celebration of the history and design of the symbol that has come to represent The United States, One Grand Gallery presents a group exhibition interpreting The American Flag as its subject matter. The exhibit consists of 64 original flag interpretations from 64 different artists, each of whom has considered what our flag has come to mean to them, and also what they would want it to represent.
Traveling exhibition: ON VIEW GALLERY 2312 IN SEATTLE AUGUST 2–SEPTEMBER 24, 2014
The personal artworks of Nike Footwear Design Director, Nathan VanHook, present the simplicity of basic paint strokes evolved into complex processes of color and form. In this solo exhibition the artist also playfully connects the action of his brushwork with the idea of bringing pleasure, i.e., Stroking It. Some pieces exhibit how the artist has stroked over the faces of supermodels from his adolescence. With large canvases, found wood pieces, acrylics and various other mediums, VanHook successfully presents the methods of his making through thousands of painted strokes.