Cannon Gallery of Art
The Cannon Gallery of Art is located in the heart of Western Oregon University’s campus in the beautifully renovated Campbell Hall. Campbell Hall was built in 1871 and is the oldest building still in use the Oregon University System. The gallery has approximately 700 square feet of exhibition space and holds six exhibitions during each academic year. Thematic and media-specific exhibits by regional and nationally acclaimed artists are included in each annual schedule. For more information contact Gallery Director, Paula Booth at 503-838-8607 or email@example.com.
If you have any questions
please contact Paula Booth at firstname.lastname@example.org, (503)838-8607
Dan and Gail Cannon Gallery of Art
345 N. Monmouth Ave.
Monmouth, Oregon 97361
M – F 8:00 am – 5:00 pm or by appointment
(We are happy to accommodate group visits.)
Showing November 13 – December 13, 2019
WOU Art Faculty Biennial Exhibition
Jen Bracy, Clay Dunklin, Jodie Garrison, Mary Harden, Rebecca McCannell,
Peter Hoffecker Mejia, Sung Eun Park, Gregory Poulin, Daniel Tankersley,
Diane Tarter, Garima Thakur, Jen Vaughn
Reception: Wednesday, November 13, 4:30 – 6 p.m.
Past 2019 – 2020 Exhibits:
October 2 – November 1, 2019
Two Water Ways
An exhibit of water paintings by Pam Serra-Wenz and Bill Shumway
Reception with the artists: Wednesday, October 9, 4:30 – 6 p.m.
Pam Serra-Wenz, Orto Botanico Di Lucca
Bill Shumway, Metolius
Pam Serra-Wenz and Bill Shumway have been exhibiting in the Northwest for many years and are members of River Gallery in Independence, OR. Both artists believe that water is key to life on this planet and that people should pay heed to the conservation of clean water resources. As artists, they have decided to bring attention to that issue by focusing on the characteristics of water and the beauty of bodies of water in their natural settings.
Water is to a large extent, transparent, except when it’s infused with colorants from its environment. We’ve seen slow-moving mud-brown rivers and algae filled ponds and wetlands, not to mention waterways stained various colors around industrial effluents. The transparency allows for light to illuminate colors and forms beneath the surface. That mixes with, not just the color in the water, but also with rays of deflected light and the shapes and colors reflected and shaded across the surface. Deflected light and color often bounces back onto surrounding objects and back again into and onto the water, which is almost always moving to some degree. It is indeed a very complicated interaction and a real challenge for the artist to interpret with opaque pigments on a static two-dimensional surface. For both painters, painting water is, metaphorically, about as close to the creative act as one can get.
Pam employs two distinct processes to birth her aquatic images. One involves the technique of layering colors and then removing certain layered areas to expose underlying colors (sgraffito), so that the paintings vibrate with light and color. They allow the viewer to peer into the water images, not knowing where the light is emanating from but accepting it as if you were sitting on a rock in the sun along your favorite river. The other process is rain painting. In Oregon, It rains for much of the year, so Pam decided to ask the rain to join her in making water images. She uses acrylic pigments on non-paper supports, then lays them out in the rain for selected periods of time. That process may be repeated several times. The results are truly intriguing and, of course, very liquid.
Bill uses acrylics also, most often on sign-board panels because the surface is smooth and resistant to the kinds of pressure he applies with rubber brushes and an assortment of scraping tools. He usually paints en plein air, in order to create very visceral connections with his subjects. They are done in under two hours so that he can retain both the light and his perceptions on the subject. At times, he moves to his studio and works from the plein air images and his memory to produce more abstract and, sometimes, larger paintings. Most of the paint is applied wet-on-wet with brushes, then manipulated with brush handles and rubber or metal spatulas to blend, scrape away or texturize the pigments. Sometimes he lets some of the under painted forms and colors dry and then overpaints those areas with darker or lighter colors which may be pulled away to expose some of the preceding layer. That process may be repeated several times. Bill also uses interference pigments (mica) to increase the luminosity and a certain sense of spontaneous surprise in his paintings. Color and light shifts as the viewer changes viewing positions or when the quality of light changes. Day light, moon light and gallery or home lighting can change the imagery profoundly.
Past 2018 – 2019 Exhibits:
April 3 – 26, 2019
The Gathering: Chemeketa Community College Art Faculty
Reception: Wednesday, April 10, 4:30 – 6 p.m.
“Chemeketa” means “gathering place” in the Native American Kalapuya language. This exhibit features the varied artwork by faculty teaching at Chemeketa Community College.
Artists include Martin Giovannini, White Oak, Laura Mack, Heidi Preuss Grew, Summer Hatfield, Burk Kleiber, Camilla Haneberg, Cynthia Herron, Deanne Beausolie, Alison Lutz, Jane Lieber Mays, Justin Lodge and Karen De Benedetti.
February 20 – March 22, 2019
Holland Andrews: Low Synth Bass
Carla Javier-Brea: Criaturas que Nacen del Viento
Alejandra Arias Sevilla: los susurros de mi ser
Curated by Nat Turner Project (Portland, OR)
Holland Andrews is an American performance artist and visual artist whose work is based on emotionality and its many forms. In their illustrative work, Andrews focuses on the abstraction of the human figure in a minimalist container, using pencil and ink. Frequently highlighting themes surrounding visibility, vulnerability, and identity, Andrews chooses to create a world in which subversion of the status quo is seen for its elegance and power. Holland Andrews is a self-taught artist, currently based in Portland, Oregon.
Low Synth Bass
Low Synth Bass is a collection of minimalist pencil and ink illustrations by Holland Andrews which focuses on internal engagement with familiarity and expectation. The show encompasses a tangle of gestural forms that allow for visibility and the question of what gets to be visible. Alongside motifs of literal representations of the body, they possess veils to further explore and identify the nuances of being seen.
Carla Javier-Brea is a Dominican artist born in Berkeley, California. Carla grew up traveling within the island due to her family’s involvement in the Dominican Republic’s Cattle, Cocoa, and Rice industry. At a young age, she came into contact with the mythology and folklore of the island, and encountered rituals, narratives, customs, and prominent superstitions preserved only in the rural fields of the Dominican Republic.
Carla’s work is an exploration of self seen through the Dominican Republic’s history and multi-cultural background. This includes the stories, dreams, and legends that have been passed down through storytelling by family members and townsfolk. She uses a variety of printing techniques, watercolor and graphite to create surreal imagery, as well as childhood and family customs like embroidery, traditional beading and sculpture to manifest these stories in our realm.
Criaturas que Nacen del Viento
(translation: Creatures that are born of the wind)
“Criaturas que Nacen del Viento” are born of the need to honor and preserve the memories of my home; the Dominican Republic. These stories, shared by the campesinos in the Cordillera Central de la República Dominicana, is the source of inspiration for this body of work.
The existence of these mythological creatures is an act of rebellion in itself. Their manifestation is a gesture against colonialism and a revitalization of the Taino and African heritage of the Dominican Republic. They are energized by the mythological beings and beliefs that our ancestors fought to keep alive through their storytelling traditions.
Stories, like the wind, lack physicality, but that lack does not make these pequeñas bestias any less present and alive. They embody our shared roots, multi-cultural background, collective experiences, and resilience.
Executed entirely in graphite, as a form of meditation, these drawings are a representation of childhood, natural curiosity, and an embrace of the parts of our heritage that modern day colonialism still looks to erase.
Alejandra Arias Sevilla
Alejandra Arias Sevilla is a printmaking artist born and raised in Mexico and has lived the majority of her young adult life in Portland, Oregon. She bases her practice around the in-betweeness; the limbo and duality of two opposing identities as a response to personal, cultural and historical research. Arias Sevilla is constantly inspired by the story telling of her grandmothers, her childhood memories, and the language that is used to knit our cultural identities. Her work has shown at Black Fish gallery, the Portland Art Museum, and with Converge 45. She is currently studying at Paris College of Art and is based in Portland, Oregon.
los susurros de mi ser
In-betweenness; neither from here nor there. It describes an experience which often feels like you are dangling in an unprescribed limbo of two cultures, two languages, and two very distinct lifestyles. Arias Sevilla’s work describes this experience and allows the intimates spaces of her past to surface, to make it a tangible memory to avow and cherish the limbo.
The poetry and storytelling in this work reflect the internal conflict caused by hybrid culture, depicting spaces of contemplation, remembrance, pain and celebration.
She uses memories that are most often locked away in other to assimilate, or to reduce oneself to be palatable in order to navigate a new environment safely.
Using letterpress as the primary medium for this body of work, it allows a play with language by utilising bilingualism and code-switching to express the limbo. This process places importance in Alejandra’s mother tongue, Spanish, and validates the use of Spanglish as its own language with which she uses to intertwine the lived experiences of both worlds.
January 9 – February 8, 2019
Yaloo Mask for New Year
Yaloo is a South Korea born media artist working and living in between Chicago and Seoul. She received MFA from School of the Art Institute of Chicago focusing on video installation in 2015. She was the first recipient of Lyn Blumenthal Memorial Fellowship from Video Data Bank. She received Gold Award from AHL Foundation, NY. She is also a recent grant recipient from Incheon Foundation of Art and Culture, South Korea. She is a full fellowship recipient of Headlands Art Center (USA), Bemis Studio Art Center (USA), La Bande Video (Quebec), Fukuoka Asian Art Museum (Japan) and Vermont Studio Art Center (USA). Her works have been part number of solo/group shows and festivals in the cities such as Portland, Chicago, New York, Quebec City, Malmö, Fukuoka, and Seoul to name a few.
Under an inseparable influence of Korean heritage and a mind of habitual tourist, I create poetic narratives with trans cultural icons such as Kpop, red ginseng, and cosmetic products. Via digital imaging technologies such as video projection mapping, sublimation transfer techniques, and virtual reality, the image of wealth and longevity as well as the intimate spiritual relationship between consumerism and regionality are meditated and mediated in a playful manner. I multiply, shift, bend, and distort found pieces to collage my own microcosm in the vastness of digital space. Exquisitely collaged patterns with catastrophic aftertaste feel inescapable. By creating visual extravaganzas, I attempt to inspire us to better understand our desire and the world we live in. I am to explore the poetic possibilities of digital media.
For more of Yaloo’s work, visit yaloopop.com
November 7 – December 7, 2018
Nightcore Deep Cuts
Nightcore Deep Cuts is a selection of recent works from Tabitha Nikolai that have not previously shown in Oregon, or are otherwise remixed from past bodies of work.
Nightcore is a genre of music borne of the web, which increases the speed and pitch of preexisting popular hits to be highly danceable and positive. The result is an uncanny, manic, sugary condensation of what are often already poppy aesthetics. Nightcore’s quickening makes conventional (and previously enjoyable) music feels glacial and frustratingly predictable. This parallels an accelerating pace of life, work, and socialization under information age capitalism. The onrush of novel forms and technologies can be simultaneously exhilarating and vertiginous. Once the novelty wears off, however, we see the same numb, brutal skirmishes play out, which feel all the stupider for us having heard them before in accelerated time.
Tabitha Nikolai is a trashgender gutter elf and low-level cybermage raised in Salt Lake City and currently based in Portland, Oregon. Her artwork manifests as text, videogames, cosplay, and earnest rites of suburban occult. She is sometimes a stray cat and an attractive nuisance who is interested in reinvention, resistance, resilience, and making pocket worlds with people she loves. In the past she has taught at the Pacific Northwest College of Art and Portland State University, but is now a recovering academic. Her work has been shown at the Utah Museum of Contemporary Art, Vox Populi in Philadelphia; and Ganka Gallery in Tokyo. She hopes you’re doing okay.
September 26 – October 26, 2018:
Creative Partnership: A Focused Collection of Creative Works
by Harold and Sue Mason