Marilyn Joyce is a visual artist who resides on the outskirts of Portland, Oregon. She received her BS degree from the University of Oregon and completed a post-baccalaureate program at Oregon College of Art and Craft. She is an educator, teaches workshops and shows her art locally, with work in private collections throughout the country. Her interest in the natural world is combined with a walking practice, providing parameters for her work. Intuitive gestures, mark-making and staining, combined with direct observation and felt experiences are distilled through the processes of drawing, painting, printmaking and installation. She has a love of maps and is currently integrating mapping of specific areas in her work.
“In every walk with nature one receives far more than he seeks.” - John Muir
My art practice engages observation and abstraction to create a sense of what I see from my deep appreciation of walking in nature. On these walks, I explore the earth and its elements, to discover what a place really is. Upon reflection and witnessing of the natural environment, I record my observations and discoveries on paper by using various mark-making techniques, collage, ink splatters, drawing materials, sanding, wax, mapping tools and symbols.
Since walking leads me to literally touch the earth, I often begin with layers of materials. Then through sanding, buried elements can be made visible. From observing seasonal and weather changes of a specific place, intuitive impulses trigger color splashes and gestural mark- marking across the paper to reference environmental and physical changes. Ultimately, these images give rise to an invented, expressive map mirroring geologic layers of the earth and atmosphere by building information over time. This tangible place is expressed as an abstraction, altering and expanding the sense of place. At times in this environment, I focus on the specific witnessed moments and details of birds, animals, trees, and plant-life, interpreting them as singular landscape objects. Grounded in their authenticity yet, extracted from their original setting to offer intimate portraits.
Morning in the Open Field - 2016
20 x 17" (20 7/8 x 17 1/8" framed) tea-stained papers, glassine, sumi ink, ink, map, thread, beeswax
MaryAnn Puls lives and works in Portland, Oregon. She has produced a number of oeuvres and has shown Solo exhibits at the Buckley Center Gallery, 12x16 Gallery, Luke's Frame Shop, Gallery 6 PDX and Roll-Up Gallery. Publications include; Visual Art Source - article by art critic Richard Spear, Kolaj magazine and Picture Sentence Journal.
MaryAnn employs paint, pencil, wood, concrete and plaster to arrive at abstract material forms and paintings.
A large portion of her process is visceral. Through her own unique visual vocabulary, she shares work - self-contained amalgams - that feel familiar, attractive and curious.
Everyday visual stimuli, words and an arm-chair interest in natural science create constant fodder and themes in her work.
Lucia Volker was born in Italy, grew up in Salt Lake City, Utah and now lives and works in Portland, Oregon. Lucia’s formal education is in printmaking, and she is currently exploring the intersection of painting and print based work through a variety of processes. Using a range of techniques helps her to investigate opacity, transparency and repetition, which plays into the work thematically and visually.
Relationships soften the banality of the day to day, like flora softens landscape. Experiencing one’s immediate surroundings connects environment to reality, and is evident through the stages of the life and death cycle of plant life and urban development. Flowers are delicate yet sturdy, sensitive yet resilient, symbolize beauty, expansion, and change. They bloom, face the elements, begin to wither away, and finally die. People are constantly moving through the same cyclical motions. The connection between individuals and their physical environment bring up questions of the significance place, home, and community. Place inspires investigation of history and memory, while the idea of home conjures personal identity, intimacy, partnership.
A writer turned visual artist, Portland painter Thérèse Murdza began drawing big words on giant rolls of paper in 1998. Using an evolving and animated range of circles, lines, and colors, she continued her work onto stretched canvas in 2001, eventually building her now signature bright, richly textured paintings on large, sometimes multi-paneled works on canvas, and smaller paintings on canvas and paper.
In January 2015, Thérèse began what became known as her ‘open [sketch]book’ series -- an experimental + intentional attempt to complete at least one painted ‘sketch’ on paper per day.
These pieces are a curated selection of work from the ongoing series.
S. Tudyk is interested in exploring the passage of time through landscapes with deteriorating structures of billboards. “Their structure always catches my eye–a great flat plane held up by a complex pattern of lines. Their conversation is no longer one conveying advertising, but one with nature.”
The collection of work displayed at Moore Art is a combination of studies from the imagination and inspirations from S. Tudyk’s recent cross-country road trip from Portland, Oregon to Marblehead, Massachusetts. The works combine a mix of media including ink, acrylic washes, tea water and tea paper collage on heavy weight Strathmore paper.
Educated as a city planner, an architect, and an artist, Yoonhee Choi's work explores the potentials of unexpected materials to express both multiple scales of spatial experience and intimate, personal associations. In her projects, which range from tiny collages on paper to room-size installations, she uses everyday materials in an improvisational manner to search for limits and possibilities, seeking to discover new compositional devices and structures. Yoonhee has had her work exhibited across the country.