A view of what may be an abstract ocean in tones of orange, white, and black, set against a pitch black sky. There is a large brown rock coming out from the right side of the print. In the middle is a bright orange fire., Christy Wyckoff; Signal; 1991; 22x30 inches; screen print; corrections print project, Christy Wyckoff grew up in Eastern Oregon. He received a BA from the University of Oregon in 1968 and an MFA from the University of Washington in 1971. In 1979, he received an Oregon Artists Fellowship. Wyckoff has taught at Pacific Northwest College of Ar, http://www.alysiaducklergallery.com/Artist-Detail.cfm?ArtistsID=394; http://www.pnca.edu/programs/bfa/majors/printmaking.php; http://www.christywyckoff.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
Norman Courtney; clay molds for glass windows; Autzen, U of O, norman@normancourtney.com, http://www.normancourtney.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Lane Arts. You may view their website at http://www.lanearts.org/
Detailed view of a centerpiece of an artwork made from burl. A prickly texture surrounds four concave rectangles with gridmarks on them. Six cork-like objects protrude; they are arranged in a curving segment. 3 horizontal black bars extend from the right side., Christian Burchard; crossroads I; detail, Born in Hamburg, Germany in 1955, Christian has been living in the United States since 1978. Building on a foundation laid by a furniture makers apprenticeship in Germany in the middle seventies, he studied sculpture and drawing first at the Museum School in Boston and then at the Emily Carr College of Art and Design in Vancouver BC. In 1982 he and his wife, Micheline, opened Cold Mountain Studio in Southern Oregon. His early focus was on furniture and interiors, but gradually shifted to woodturning and sculpture, moving between vessel oriented forms and sculptural turning. His work has been included in most of the major turning related exhibits of the last ten years and is exhibited widely throughout the US. His pieces are part of many public and private collections. He is also sought after as a teacher and demonstrator at craft schools and conferences and related turning events. (information obtained from http://www.burchardstudio.com/bio.html -- viewed 2007-02-22), burchard@hughes.net, http://www.burchardstudio.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
A curved gold piece is set in the middle of 3 long horizontal black bars, one thick vertical bar, and six curved bars, all set against a blue wall. Featured in the gold piece are curved etchings exhibiting a prickly texture, and four cork-like objects protruding from the piece., Christian Burchard; crossroads I, Born in Hamburg, Germany in 1955, Christian has been living in the United States since 1978. Building on a foundation laid by a furniture makers apprenticeship in Germany in the middle seventies, he studied sculpture and drawing first at the Museum School in Boston and then at the Emily Carr College of Art and Design in Vancouver BC. In 1982 he and his wife, Micheline, opened Cold Mountain Studio in Southern Oregon. His early focus was on furniture and interiors, but gradually shifted to woodturning and sculpture, moving between vessel oriented forms and sculptural turning. His work has been included in most of the major turning related exhibits of the last ten years and is exhibited widely throughout the US. His pieces are part of many public and private collections. He is also sought after as a teacher and demonstrator at craft schools and conferences and related turning events. (information obtained from http://www.burchardstudio.com/bio.html -- viewed 2007-02-22), burchard@hughes.net, http://www.burchardstudio.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
A religious man is pictured concocting what appears to be some sort of experiment or ritual over the top of what appears to be collaged shreds of hand-written documents. The written text reads: "Through the struggle of dissolution and coagulation, illuminated by the progressive and retrograde movement of the stars a new cosmos is created from the old one.", Solve et Coagula; mixed media; 1998, My recent works on paper are inspired by alchemical manuscripts. The alchemists documented their labors in enigmatic texts in which chemical procedures, cosmology and myths are woven together into fantastic allegories. Similarly in my paintings I use imagery of birds, beasts, plants and minerals as symbols of the process of transformation, As an artist I view alchemy as a metaphor for the creative process in which there is progressive transformation and refinement of materials, imagery and ultimately consciousness. In alchemy and art alike the creative imagination is the vital agent of change. The alchemists described their labors as an "art". Like the alchemist I attempt to use physical processes as a mirror of inner experience. The materials become "transmuted" from their initially inert state through creative and chaotic struggle into a new synthesis. In my painting I use physical processes of dissolution, evaporation, heat and gravity which remind me of the alchemist's use of the elements of water, air, fire and earth. Humor is an important element of my work. Likewise humor and paradox were not unknown to the alchemist. The texts abound with cryptic riddles meant to befuddle the literal-minded and catalyze intuitive insight. Hermes, the Greek god of wisdom, was the patron of alchemists and also the trickster who could lead his followers on a search to find "fools gold". Anyone who embarks on a potentially quixotic search to find the elixir of immortality should have plenty of humor and humility to sustain themselves! The homunculus, a human-like creature nurtured in a glass vessel was reputed to have been created in the alchemical laboratory. In the novel "Frankenstein" the renegade doctor studies the writings of Paracelsus, the swiss alchemist, before creating his monster. I see the homunculus as a metaphor for modem technology with all its wonders and potential horrors. The series of "Homunculus" sculptures which utilize remnants of household appliances and found objects explores this theme in a whimsical fashion. The alchemist searched for the "gold of the philosophers"-philosophical wisdom. In their pursuit of nature's secrets they combined scientific experimentation with a mystical quest for illumination. Their holistic view of the universe viewed matter and consciousness as a continuum, anticipating recent developments in physics. Alchemy is the ancestor of modem science; perhaps there is something that can be learned from its legacy? I am inspired artistically by the beauty of the texts and their insights into the mysteries of creation. Hopefully my own fanciful creations convey something of the spirit of that tradition. (Nez, 1998), http://www.augengallery.com/Artists/nez.html, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is Lane Arts. You may view their website at http://www.lanearts.org
The gate panels depict a moment in time showing the life cycle of a forest scene in Oregon. Plant forms are representative of different parts of Oregon. A theme of birth through death is represented by an old half dead pine and a new sapling, spring flowers, and a stream flowing through to provide nourishment. (information from OAC documentation), Wayne Chabre; Interior Gates; Archives, waynechabre@charter.net, http://www.waynechabre.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
The gate panels depict a moment in time showing the life cycle of a forest scene in Oregon. Plant forms are representative of different parts of Oregon. A theme of birth through death is represented by an old half dead pine and a new sapling, spring flowers, and a stream flowing through to provide nourishment. (information from OAC documentation), Wayne Chabre; Interior Gates; Archives, waynechabre@charter.net, http://www.waynechabre.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
Beyond what has been provided herein, we have no additional information regarding this artwork., The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
The line from a poem by Vern Rutsala, Oregon poet, was selected by Sandra Stone to appear in the glass panel: "To think that we came all this way, risked everything, used our bodies for plows, and arrived here with these lives." The image is taken from an early photograph taken at the turn of the century showing pioneers walking across a train trestle. (information from OAC documentation), Liz Mapelli; To Think We Came All This Way; Fused and enameled glass; 5x16 feet; 1990; archives, http://www.palmdesertartistregistry.com/liz_mapelli.htm, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html
A wooden sculpture with three legs, supporting a madrone burl, oval-shaped piece that extends downward into a cone shape. The top of the piece is a bluish metal, perhaps a patinaed copper, with a brass opening in the middle. This is one of two images of the same piece. Irregularities between the pieces may reflect a difference in the source material., Vega; William Moore; 1990; Copper, Brass, Maple, Madrone Burl; 19.5 x 11.5 x 10 inches, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Mid-Valley Arts. You may view their website at: http://www.oregonlink.com/arts/index.html