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Wolves & Urchins 2018-02-14T23:01:08+00:00

Wolves & Urchins

The Lost Chord - 2 - The Art Gym at Marylhurst UniversityThe Lost Chord - 3 - Ping Pong Table - The Art Gym at Marylhurst UniversityThe Lost Chord - 4 - NW View - The Art Gym at Marylhurst UniversityThe Lost Chord - 5 - The Art Gym at Marylhurst UniversityThe Lost Chord - 6 - Lamp - The Art Gym at Marylhurst UniversityThe Lost Chord - 7 - SW View - The Art Gym at Marylhurst UniversityThe Lost Chord - 7 - SW View - The Art Gym at Marylhurst University

Wolves & Urchins

Wolves & Urchins is an exhibition about the stories we tell ourselves about the dangers and lure of the forest, the cave, the mountaintop, the swamp, and by extension the bushes in the backyard and the weedy ditch by the side of the road. Hayley Barker, Wendy Given, and Anne Mathern all make works that pull at the guts of our relationship with the wild or marginal. In one way or another, like children and the adults they become, they not only observe, they pretend.

Wendy Given’s series The Wilds is made up of large-scale photographs of wild places. However, upon closer inspection one begins to notice that these seemingly empty landscapes are inhabited. Given is interested in an aspect of visual perception called inattentional blindness, or the inability to see things that are present. Her photographs subtly encourage us to overcome that blindness and take notice. They also awaken memories of sensing the presence of something unseen.

Hayley Barker’s monsters emerge out of the shadows and confront us head on. Even so, we are hard-pressed to know exactly what we face. She describes them as conglomerations of bird, insect, human, plant and sea life. They may also be strange predators, malignant growths or recurrent nightmares. Barker’s choice of gouache, ink, and pencil for this body of work allows her to conjure monsters that materialize, threaten, slip away and return.

Anne Mathern is also asking us to think about wild places and their inhabitants – real and imaginary. However, in photographs like Black, instead of confronting “the other,” she becomes “the other” – taking on the persona and the powers of the wild one. In addition to photographs, we are exhibiting Mathern’s Doomhawk, a video done in collaboration with a fantasy-metal band with gay, straight and transgender members. Doomhawk has been described by Mathern’s dealer Scott Lawrimore as “an escape from everyday reality and return to a darker, primal age,” and as a work about the contemporary tribes we form and project through common “tattoos, make-up, jewelry and clothes.”

Warlord Sun King: The Genesis of Eco-Baroque

Bruce Conkle and Marne Lucas are two Portland-based artists known for their Blinglab collaborative performances at PICA’s 2006 Time-Based Art Festival. For this exhibition in the Art Gym, the two artists have coined the term “eco-baroque.” They seek to combine a sensibility to the natural world that includes acknowledgment of many of its baroque, over-the-top manifestations that are not unlike the excesses of the Baroque era. If you imagine the Palace of Versailles crossed with the Museum of Natural History in Manhattan, you will be ready for Warlord Sun King.

Artist and author Ryan Pierce writes in his essay for the exhibition catalog: “Warlord Sun King: The Genesis of Eco-Baroque is inspired largely by the mythical extravagance of King Louis XIV of France and the culture of decadence and hubris that flourished under his rule. Lucas and Conkle have hijacked formal details from the Palace of Versailles, the converted hunting lodge that served as Louis’s showcase, and supplanted them with a mixture of mirth and mayhem to create a commentary on the endurance of societal negligence and pomposity. The result is something that more closely resembles the original hunting lodge than a palace: organic materials and gathered rubbish, a tanning bed from Craigslist, and some specimens from a rock hound’s collection set the stage for the inevitable erosion of modern luxury.”

“We draw inspiration from moss, lichen, crystals, minerals, honeycomb, coconuts, Native American culture, reflections, gold leaf, fountains, dioramas, chandeliers, most shiny things and psychedelic patterns found abundantly in nature. Our collaborative process is very spontaneous and allows us to push the boundaries of each of our individual oeuvres, often to absurd dimensions. We share a similar sense of humor, political, social and eco-based attitudes about the world and making art. Individually, we have produced work that explores Pacific Northwest regionalism with both humor and reverence for the place where we have been raised and live.”

Curated by: Terri Hopkins

On view: February 23 – March 25, 2009