Luke Olsen Photography

"The State of Photography in Portland" panel discussion at Disjecta Contemporary Art Center
2018-01-11 19:00 - 21:00 (America/Los_Angeles) | Disjecta Contemporary Art Center, 8371 N. Interstate Ave., Portland, OR, 97217, United States
A five-question survey was sent out to 30+ figures in the Portland photography community – photographers, gallerists, non-profit organization staff, curators, teachers – asking opinions on the state of the photography “scene” here in Portland at this given moment. What came back to us was a diverse perspective of opinion that will become the foundation of a panel discussion on January 11th, 2018. Some excerpts from the questionaire answers: The current photography scene here in town I believe is small, yet growing and wanting to expand more into the community. I think there are few opportunities to see/and speak about photography and the current trends and conversations about photography. I would like us as a community to use more collective resources by joining forces in collaboration with academia, and other local galleries. I feel like (the photography scene) is getting more fragmented or decentralized. Maybe the energy or excitement is waning since I first moved here 12 years ago. Mostly I feel this way because of the closure of Newspace. I imagine its also because I am getting older, maybe not meeting as many new photographers, and some of the ones I met when I first came here have now moved away. (The photography scene here is) fragmented, with little support for fine art imagery purchasing by collectors. Photographers are friendly and most often help each other, but there are a few highly competitive/smug personalities that intimidate some newcomers and don’t set the stage for easy event planning. Not enough great exhibits to view and be influenced by. Larger groups don’t appear to work seamlessly together. Wish there was a central calendar that lists ALL events, classes, shops, etc. We also don’t seem to have galleries or events that support local work. It would also be great to bring different photographers together with the common public such as they do with The Fence in Brooklyn. I think we have a vibrant community, yet we have a long way to go to match the spirit and risk-taking events that take place in other cities. We play it pretty safe here and I don’t think that stimulates people very much. Who is doing highly controversial work here? It is not seen or promoted very much. We are provincial here. Few avenues to submit work and get recognized for it via shows or grant funds. I wish we could pair corporate funding with support of artists. Photography seems to have a side chair to other arts such as dance, music, painting. I think that we are extremely fortunate to have a solid photography scene here. The curator of photography at the PAM, Julia Dolan, is engaged with the local community, we have Blue Sky/Oregon Center for the Photographic Arts which has several exhibition opportunities with the drawers program along with Nine Gallery, as well as traditional photography galleries, like Charles Hartman Fine art. I think Portland gives a lot of focus on the arts. Not much money. But a lot of interest. Atlanta, Houston, etc. have a lot of wealthy folks who like to collect art, donate money to institutions. But it all seems to be selfserving — to get your name on a wing of the museum, or under a photo in the museum. Here people want to live with art — want to see it on the walls of buildings, in public spaces — they want to buy affordable art for their middle-class homes. I think this is changing, as Portland becomes more affluent. Maybe it’s become more like other big cities. But having worked with Caldera, Right Brain Institute, P;ear, Newspace, and other nonprofits here I’ve been really amazed at how much folks want to get involved in experiencing art, in particular photography. And, of course with revolution of digital photography, and social media, there is much more sharing and excitement about photography — with lots made and viewed by Portlanders. It would be great if all the institutions got together and agreed to hold photography shows, including Disjecta, PAM, PNCA, OCAC and all of the commercial galleries (PADA). I think this notion of participation might speak to a larger issue – one of real estate. How can we get all of the institutions together even though they are spread throughout the city? PAM is only slightly separated from the gallery core, PNCA is now located near the galleries, but OCAC is pretty far out and Newspace is gone. Disjecta is fabulous, but again, it’s located pretty far outside of the city core. Maybe starting a dialogue between all of the institutions to host events during the course of the month, and perhaps bringing something to Portland on top of Photolucida, which is only a few days, to try and generate interest from a wider audience. I think it is better to focus on developing a more comprehensive photography culture all year than focusing on one month out of the year (Portland Photo Month in April). If you want to stay with that concept, then planning for it should be an ongoing process, having a committee comprised of various pertinent people who develop events that capture the heart, and not using the same old formula of having shows, lectures, classes. Think of other creative ideas (outdoor exhibits, pop-up shows, roving portrait studio, more edgy classes, organized group shoots such as PDX Squared, etc.) to draw people away from getting their influence from online communities and visuals. I think it has to have a shot in the arm to get people behind having only one month of photo-focused events. My vote it so spend more time (less time boxed pressure) on programming all year around.
What benefits are we looking for as a community? Newspace seemed to be the perfect fit for a community- based photography center where everyone benefited from the darkroom space to the classes to the lectures. Yet it went under because of lack of funding. There is now a group trying to start a community darkroom by using a kickstarter type campaign, but if Newspace was not sustainable, how can that survive? And really, what is the goal of the “network” of photography? Is it lectures? Access to work space? Access to classrooms? I feel like the word “network” is used a lot without actually defining the goal. We should start with defining what the network serves and move forward from there. However, if we presume that the network’s goal is a place for people to connect to photography, should it include an international lecture series? Should it include a workspace? I guess I’m still stuck on what purpose the network would serve. More communication and synergy between groups (would be beneficial). I think an online website and comprehensive calendar would help. Tired of getting info from so many sources…I am starting to not open some of the emails because we are all bombarded with too many emails and solicitations. Newsletters are effective, but if I knew i could send someone to one website to get a wealth of knowledge, and out of town people could see this, then it would bring the groups more together. I’m uninterested collaborative efforts of any kind. When there are more cooks in the kitchen, everything is less effective, everything is compromised and bureaucratic. In order for something to be amazing and well directed, it needs a fabulous, visionary leader. Earned income is key (for an organization). Trying to get donations/grants/etc. is disheartening and there are so many strings attached it’s not worth it. I say, chuck the focus on donor/grantor support and concentrate entirely on making earned income via rad programs the community loves. What would it look like to let go of the idea that “support” needs to come via donations and grants and gifts? It could be so freeing! Serve the community. Not the imagined community – the community that’s actually here. Who are those folks? What do they want? Here’s a key question arts nonprofits (or businesses of any kind) need to be asking: What is the community tired of, what are they frustrated with, what are their major problems? How can these problems be solved? That’s essential. That’s what people are willing to pay for. Support without exchange of goods or services is dead. Give people solutions to the problems they have. That’s how you get engagement and cash. We have an incredible resource – the Regional Arts and Culture Council – that is a great resource for all of the arts. Photography has become a very popular medium, so it appears to garner a lot of attention, and my opinion is that it receives an equal amount of attention as other media does. I think cost of living has been pushing artists out for a number of years now, so there’s less vibrant, new, fresh programming being created here.

Dorothy Glenn at Wolff Gallery
2018-01-05 18:00 - 20:00 | Wolff Gallery, 2804 SE Ankeny St., Portland, OR, 97214, United States
Wolff Gallery presents Generous Mystery by Dorothy Glenn, a series in which photography serves as a medium for self-exploration. Glenn turns the camera on herself, creating in-camera multiple exposures in addition to more straightforward yet delightfully surreal imagery. Through these methods, she embraces the experimentation, change, and uncertainty inherent to these processes that also mirror the demanding but generative work required for personal growth. www.dorothyglenn.com

Georgina Reskala at PDX CONTEMPORARY ART
2018-01-04 18:00 - 20:00 | PDX CONTEMPORARY ART, 925 NW Flanders Street, Portland, OR, 97209, United States
Georgina Reskala, Residue of a Vision
PDX CONTEMPORARY ART is delighted to introduce the newest addition to the gallery roster, Georgina Reskala, in “Residue of a Vision,” her ﬁrst solo exhibition with the gallery. The exhibition will feature new photographic prints on gelatin silver paper and linen. Born and raised in Mexico, now living in Los Angeles, Reskala had a fascination with the camera at an early age. She has developed this to become an accomplished and professional photographer.
“What we understand as real is a construction of what our eye sees and what it comprehends. Reality is shaped by an ongoing construction of the merging of cultural experiences and our intake of visual information.
My work is a cumulative record of my perceptions and perspectives over time and space. I remove elements in order to point at the diﬀerence between what the eye sees and what it understands and each iteration has some truth and some ﬁction. It is a way to understand the meaning of seeing and perceiving. What happens in between is what interests me; that interstitial space which is the conﬁrmation of the limits of our understanding.
My fascination with perception is both physiological and philosophical. When I photograph the ocean or the forest, I copy and re-copy over and over and stripped the photographs of color, texture, form, elements,etc. It is a way to break down ideas and concepts; every rendition acquires new layers, new meanings, and it opens up to new interpretations.The photographs at the end are repetitions, illustrations, memories of reality, or just the residues of a vision.”
– Georgina Reskala 2017

Robert Frank at Blue Sky Gallery
2018-01-04 17:00 - 21:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Robert Frank is considered the inventor of street photography. With his method of sequencing and composing pictures in intuitive series beyond the traditional photographic essay, he has developed new forms of expression within the medium of photography.
Despite Frank’s significant influence on photographers of his own and subsequent generations, there are only few exhibitions of his work. Frank’s original silver gelatin prints are today fragile objects, and most are not on public display. Galleries, museums, and investors lend Frank originals only under limited conditions of display with exorbitant insurance costs, which makes organizing traditional exhibitions very difficult. This traveling exhibition, meant to be shown primarily at universities and schools, seeks to remedy that.
Conceived by Robert Frank and Gerhard Steidl, this exhibition shows Frank’s work in photos, books, and films in a direct, accessible manner. Frank’s images are printed on sheets of newsprint and hung on the walls or from the ceiling. Frank’s films and videos, which are so often overshadowed by his photographic work, are shown on small portable “beamers” projecting them directly onto the walls. Finally, the exhibition will be disposed of after display, thus circumventing the normal cycle of speculation and consumption in the art market. When the idea for this pop-up show first reached Frank in his small, crooked house in the Canadian village of Mabou, he said: “Cheap, quick, and dirty, that’s how I like it!”
In addition to the films in the exhibition, the NW Film Center will be holding a film series of Robert Frank’s work during the month of January.
This exhibition is printed by Steidl Verlag and made possible by the generous support of Steve Tisch, the Steve Tisch Family Foundation, and the Richard Ehrlich Family Foundation.

Hillary Atiyeh Clements at Camerawork Gallery
2017-12-30 16:00 - 18:00 | Camerawork Gallery, 301 N. Graham Street, Portland, OR, 97227, United States
Portland, Oregon photographer Hillary Atiyeh Clements’ exhibit, “Chaos Theory”, is a new series of black and white double exposures. Atiyeh Clements notes, “Chaos Theory is a branch of science based on the law of sensitive dependence on initial conditions. Rooted in quantum theory and relativity its main premise states that small changes in initial conditions can result in vast differences in the final outcome. This theory includes concepts such as Fractals, the Butterfly Effect and the Fibonacci sequence. Nature finds a way and adapts to its environment in the simplest form even though the underlying system may seem complex.” Reaching back to her roots as a photographer Atiyeh Clements approached this series of in-camera multiple exposures thinking about symbiotic relationships and looking for patterns in nature while enjoying the spontaneous and unpredictable outcome of this process.

Bill Finger at the Portland Art Museum
2017-12-20 12:00 - 13:00 | Portland Art Museum, 1219 SW Park Avenue, Portland, OR, 97205, United States
Portland Art Museum Photography Council’sBrown Bag Lunch Talk Series
Bill Finger’s imagery examines such topics as space exploration, crime, and the fallibility of memory. With each series he looks to the thin line between fiction, reality, and photography. To create an image, he begins with the construction of a miniature diorama that is built specifically for the point of view of the camera lens. The basis for the dioramas comes from an entwining of specific personal memories with those of the fabricated spaces, that he has worked on during a career as a motion picture assistant cameraman.
For this Brown Bag discussion, Bill Finger will be talking about the work that he has created, as well as, what brought him to embrace the miniature as subject.
Bill Finger is a Seattle based artist whose work combines sculpture and photography. Handcrafting each element, he constructs and then photographs miniature dioramas. Each image is imbued with a sense of cinematic narrative that reflects twenty years working around film sets. By mimicking the filmmaking process, he is able to create a miniature construction of a constructed reality.
Bill has exhibited his photographs in Europe, the US and Canada. His work is included in the permanent collections of the George Eastman Museum of Photography and the Santa Barbara Museum of Art. He holds a MFA in Photography from the Rochester Institute of Technology.
www.billfinger.netBillFingerPhoto@gmail.com

Submission call for "Cascadia 2018"
2017-12-10 | OR
Submission call for “Cascadia 2018” deadline extended to Dec. 10 at midnight A Traveling Exhibit Open to Oregon Photographers funded by The Ford Family Foundation Visual Arts Grant
Deadline for submission of up to 3 jpgs has been extended to Dec. 10 Notification of jurors’ results is Jan. 1, 2018 Deadline for shipping accepted prints (unmatted/unframed) is Feb. 16, 2018 Show opens in Baker City on April 6, 2018, then travels to The Dalles in May and to Corvallis in July.
Crossroads-Carnegie Art Center 2020 Auburn Ave. Baker City, Oregon 97814 kristin@crossroads-arts.org www.crossroads-arts.org 541-523-5369
Judges will award $4,000 in cash prizes at the opening show at Crossroads-Carnegie Art Center in Baker City, including $500 People’s Choice Awards at all three venues.
The Details: Open to Oregon photographers only. Forty-eight images will be selected for the traveling exhibition in two Areas of Focus • Oregonians at work or play • Views of Oregon
The goal of the exhibit is to interpret the authentic Oregon experience, and to challenge artists to look at the urban/rural divide through their lenses and show us stories about our similarities, rather than our differences. We chose the word “Cascadia” as a reference to the Cascadia Subduction Zone (or fault), which stretches the entire length of the Oregon Coast, as well as further north and south. It is this fault line that is the source of much of the volcanic activity that created the Oregon Landscape and the Cascades, which have traditionally been the dividing line of our state. In fact, it is a very long, sloping subduction zone that separates the Explorer, Juan de Fuca and Gorda Plates from the North American Plate — the Cascadia subduction zone is where the two plates meet, and it is at “Cascadia” where Oregon meets.
We are looking for the best of Oregon’s photographic artists. The uncommon, unique and extraordinary vistas of Oregon… the urban and intercity views… the graffiti and night life… the mountains and ocean… the canyons and deserts… the streams, brooks, and rivers… the city sky lines and rural vistas… fun and exciting, new sights, new perspective.
Two jurors will select the 48 images to be exhibited and three fine art photography judges will select the award winners. Selected photographers will be notified via email and will be asked to send their prints to Crossroads unmatted in a shipping tube. Crossroads will arrange an account with UPS for mailing, and Crossroads will matte and frame all work. Crossroads will be responsible for shipping all work to other venues and work will be insured.
All accepted work must be for sale, but submitted prints must stay in the traveling show for its duration. When work is sold at any of the venues during the tour, artists will be responsible for shipping purchased work to the buyer. Crossroads will arrange an option to sell additional unframed copies of work and create a process for this. We will notify all selected artists of all details following the jurying process. The gallery commission will be 30% at all three venues.
Thanks to a grant from the Ford Family Foundation, Crossroads will also publish a hard-bound catalog of the traveling show that will be made available to exhibitors and exhibit venues.
How to Submit Images 1. Submit files via email in high quality jpg format to photos@crossroads-arts.org 2. Name and number each file as follows: 1_Lastname_First name_Title (Example: 1_Smith,Jane_Rodeo.jpg) 3. File sizes must be 300dpi at 8.5 inches on the longest side (i.e, 2550 pixels on the longest side) 3. In your email, include your full name, mailing address, email address, phone number and a numbered list of your file names. 4. Entry fee is $35 per artist for up to three images. Submit fee via this link: http://weblink.donorperfect.com/cascadia
Jurors: Shelley Curtis, Retired Director of Oregon State University Art about Agriculture, Corvallis, Oregon Terri Axness, Retired Arts Educator and Professional Artist from Haines, Oregon
Judges: Rich Bergeman, Corvallis, Oregon richbergeman.zenfolio.com
John Clement, Kennewick, Washington johnclementgallery.com
Jerry Kencke, Mountain Home, Idaho JerryKenckePhotography.com

LightBox Members Exhibit 2017
2017-12-09 17:00 - 20:00 | LightBox Photographic Gallery, 1045 Marine Dr., Astoria, OR, 97103, United States
LightBox Photographic Gallery host the opening and artists’ reception of the LightBox Members Group Exhibit on Saturday, December 9th from 5-8 pm. LightBox members are a community of photographers and patrons that support the mission of the gallery to promote and educate in the photographic arts through exhibits, education, events and member gatherings. Members meet twice a month for education nights and print and image critique, held on the 1st and 3rd Wednesday of every month.
The annual exhibit celebrates each individual member’s unique creativity, this year 36 members are featured in an open call. Exhibiting Photographers include Eleanor Gorman, John Ritchie, Jim Fitzgerald, Joni Kabana, Mickey Anderson, Diana Bloomfield, Lorraine Richey, Rich Bergeman, Julie Moore, Donald MacDonald, Sam Blair, Brian Kosoff, Jon Lingel, George Johnson, Ann Kendellen, Jim Congleton, Mike Demkowicz, Bob Levine, Robert Potts, Roger Dorband, Friderike Heuer, Rachel Wolf, Denise Ross, Stephen Shumaker, David White, David Lee Myers, Rebecca Akporiaye, Bob Sanov, Chris Bryant, Leigh Oviatt, Mark Wiltrackis, Michael Datoli, Tom Kittel, Ram Madhavarapu, Michael Granger and Chelsea Vincent Granger.
The LightBox Members Exhibit will show in the gallery from December 9th until January 9th. LightBox offers memberships as a way to become part of the community that helps to further the mission of the gallery. LightBox is located at 1045 Marine Drive in Astoria, hours are Tuesday – Saturday, 11 – 5:30. Contact LightBox at 503-468-0238 or at info@lightboxphotographic.com, and visit lightbox-photographic.com for more info on events, calls for submissions, and to enjoy past, current and upcoming exhibits.

Lecture: Looking for Lorna Simpson
2017-12-09 15:00 - 17:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Artist and educator Lisa Jarrett explores embodiment by discussinginfluence, visibility, and possibility within Simpson’s work

Sylwia Kowalczyk at Blue Sky Gallery
2017-12-07 19:00 - 21:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
“Lethe is the river that cleanses Dante in Purgatory, the one that wipes memories of the dead as they drink from it or bathe in it. The poet Sylvia Plath steps up from ‘the black car of Lethe, Pure as a baby’. It is an escape, a relief from our own physical limitations.”
In her collage-based portrait series, Sylwia Kowalczyk visualizes the often disjointed, piecemeal process of recalling the past. Each image is constructed using layers of cut and torn images that are re-photographed and enlarged. Just as our memories tend to change over time, Lethe illustrates how information can become compressed and distorted by the mind but still accepted as truth. Kowalczyk’s aesthetic focus on texture and materials, as well as the prominence of the human figure in each frame also suggests that this process of remembering is very much a sensory, embodied experience that cannot be divorced from the material world.

Lorna Simpson at Blue Sky Gallery
2017-12-07 19:00 - 21:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
As a final exhibition commemorating the Embodied: Asserting Self exhibition series, Blue Sky presents Lorna Simpson: from the Collections of Jordan D. Schnitzer, which includes two major bodies of work by Simpson: Wigs (1994) and Details (1996). Wigs is a collection of twenty-one lithographs depicting hair pieces and seventeen corresponding texts printed on felt. The images and texts emphasize the significance of hair in relation to dominant beauty standards and focus on a wide range of styles, including Afros, braided hair, blond locks, and doll wigs. Details consists of twenty-one photogravures accompanied by silkscreened captions. The imagery of the photogravures comes from the artist’s collection of family photos that she has edited and tightly cropped to focus on gestures and hands, while the cryptic text creates a fragmentary but open-ended narrative. In both works, Simpson references the body without including it, or leaves out defining facial features to preserve her subjects’ anonymity, inviting viewers to place themselves or imagine others within these visual spaces.

Terry K. Thompson at Augen Gallery
2017-12-07 17:00 - 20:00 | Augen Gallery, 716 NW Davis St., Portland, OR, 97209, United States
Augen is pleased to present its second solo exhibition of photographs by Terry K. Thompson with this broad 50-year retrospective of his life’s work, titled “Entanglement – Photographic Works 1967-2017.” Thompson began early on as a painter and “literature sponge,” as he puts it, before settling on the camera and the particular aesthetics of photography as his medium of choice. He began his formal photo training in the Navy in 1968 under Edward Steichen’s extensive program, and continued on at the New York at the School of Visual Arts in the 1970s, where his teachers included Diane Arbus, Duane Michaels, Lisette Model, Gary Winogrand, and Arbus’s assistant, Tad Yamashiro among others. Thompson credits Yamashiro’s take on image formation and Winogrand’s “outside the frame” usage as being very influential in his own work.
Following New York, Thompson’s graduate school experience at the San Francisco Art Institute introduced him to the insight and perspective of many other established artists, including Linda Conner, Ruth Bernhard, Pirkle Jones, Imogen Cunningham, and Wynn Bullock. Throughout his own work, Thompson exhibits a range of inspiration and of exploration in what he describes as non-verbal poetic form. He cites the example of Entanglement in the Garden as his association with nature, with Eden, and artistic representations of the past all intersecting in something of a revisionist work. The non-verbal poetics of Thompson’s imagery is underscored by the seductive physical qualities of varied photographic mediums that he skillfully employs. The exhibition will include vintage gelatin silver prints, unique platinum and gum bichromate combination prints, and vintage platinotypes, with 99% platinum and a “smidge” of gold or iridium.
Thompson was awarded a Career Opportunity Grant from both the Oregon Arts Commission and the Ford Family Foundation in support of this retrospective exhibition. After studies at the School of Visual Arts in New York City, Thompson completed his M.F.A. at the San Francisco Art Institute. He has had numerous solo exhibitions of his work in San Francisco, Los Angeles, and Portland, and has been included in group exhibitions in San Francisco, Los Angeles, New York, Portland, and abroad in England, Scotland, Japan and Switzerland.Thompson will be present at the gallery’s First Wednesday Preview and First Thursday openings and he will give an artist talk on Saturday, December 9, at noon. An exhibition catalog will be available for purchase at the gallery.

Blue Moon Camera Customer Show 2017
2017-12-02 19:00 - 21:00 | Blue Moon Camera and Machine, 8417 N Lombard St, Portland, OR, 97203, United States
Blue Moon Camera and Machine celebrates our sixteenth anniversary with a presentation of our Fifteenth Annual Customer Show. As one of the last optical printing labs in the country, Blue Moon Camera handles film from thousands of photographers around the globe throughout the year. Tens of thousands of images pass through the lab – some destined for the walls of a gallery, others for an esteemed place on the refrigerator.
Regardless of what our customers do with them afterward, each photo that comes through the lab is, at one point or another, held in the hands of a staff member and looked at. We count the prints, check for dust, and make sure that they reach our standards of quality. We also, occasionally, stop. We hold a print in our hands that makes us feel something and we stop. It may be especially creative, it may be a perfect execution of technique, it may be touching, profound, or just plain lovely. When this happens, the staff member brings this stop-inducing photo around to the rest of the staff to share the experience, and, if the majority approves and the photographer gives their blessing, it is selected for the Blue Moon Camera Customer Show.
We’re always excited for this show as it is an opportunity to exhibit the work of our incredibly talented customer-base. It’s also an opportunity for a unique community of creatives to get together and have a fantastic time.
We hope to see you all there, dressed in your finest, ready to get into some shenanigans with the Blue Moon Camera Crew.
Venues:
45th Parallel Wines 8527 N LombardAnna Bannana’s 8716 N LombardLeisure Public House 8002 N LombardThe Fixin’ To 8218 N Lombard Projecting photos one night only during opening reception!

NW Drawers Portfolio Walk & Print Sale
2017-12-02 15:00 - 17:00 | Blue Sky Gallery, 122 NW 8th Avenue, Portland, OR, 97209, United States
Join us Saturday, December 2, from 3 – 5pm, for the first Portfolio Walk for the 2017 Pacific NW Viewing Drawers. You will have the chance to meet photographers from the Drawers, talk about the work, and perhaps buy an original print. There will be two shifts of artists presenting: 3 – 4 pm, and 4 – 5pm. Currently, we have more than 20 artists signed up to participate, and more to come! We will send a final schedule just before the event. For a complete list of 2017 Drawers artists see here:
http://www.blueskygallery.org/exhibitions/nw-drawers/.
Stay for both rounds — enjoy a glass of wine or beer while you mingle with the artists! Wine generously sponsored by Pike Road Wines, and beer sponsored by Ninkasi Brewing.

Portland Photographers Forum Annual Photo Sale
2017-12-02 10:00 - 17:00 | Multnomah Arts Center, 7688 SW Capitol Highway, Portland, OR, 97219, United States
Portland Photographers Forum (www.portlandphotoforum.com) will be having their annual photo sale on Dec 2nd. at the Multnomah Arts Center (http://www.multnomahartscenter.org/) from 10am to 5pm. There will be silver gelatin, platinum/palladium, gold leaf and digital prints. This would be a good place to get a quality photo for that special someone.

Ashley Innis at Pushdot Gallery
2017-12-01 18:00 - 20:00 | Pushdot Studio, 2505 SE 11th Avenue, Portland, OR, 97202, United States
Paranthetics is a study of light, color, and motion; it is a visualization of their relationship. Images are taken with a lensless camera which record light refracted between a specific point and the camera itself and this light takes the form of color and shape. The outcome shows a difference between what is seen and what is physically there. Seemingly, there is a reality and another reality. Our muscle memory, our eyes, our emotions and general “understanding” of the world fills in any void for us. Meditating on that idea, I created neon and placed it back into the image, back into the scene. The neon is what my muscle memory, my eyes, emotions, and my general “understanding of the world fills in the space between these two points.
Ashley has been photographing since childhood and pairing photography and neon for 7 years. Her work has been displayed at Gallery 12 x16, Gallery 511, Ninkasi Gallery, Dot Dotson’s Gallery and has been featured in B & W Magazine from receiving a Merit Award from the publication. Innis achieved her BFA from Pacific Northwest College of Art in 2016 and currently resides in Portland with her wolf.
Her work can be seen at: ashleyinnis.com
