NEOFOLK
Aug
10
to Aug 30

NEOFOLK

A Group Show Curated by Rachel Rosenkoetter

August 10th - August 30th

Reception Friday August 10th from 7:00pm - 9:00pm

Featuring new work by Meagan Boyd, Hannah Epstein, Meghan McAleavy, Maryanne Moodie, Emma Suman and Anna Valdez.

 In an era of ever-accelerating visual turnover, the artists represented in NEOFOLK are slowing down to create their work. Fearless of utilitarianism or decoration, but without relinquishing concept and dialogue, they create images and objects throbbing with vitality and handmade character.

Working with meticulous traditional processes like rug-hooking, embroidery, and weaving, these women embrace old materials to express new ideas. The results are at once naive and virtuosic, everyday and ceremonial, precise and wonky, rigorous and goofy.

As identities become ever more complex and multicultural, what does it mean to create work with a folk ethos? How does contemporary art practice reflect a broader cultural longing for the ritual, the analog, the homespun? NEOFOLK considers these questions and sets out to collapse tired distinctions between self-taught and academically trained, local and global, craftsmanship and conceptualism.

Meagan Boyd

Meagan Boyd, b. 1987, lives and works in the dark paradise, often referred to as Los Angeles. Through her art making process, she explores the transcendence between dreams and waking-life in the context of magic and myth. The work often depicts utopian atmospheres filled with modern day nymphs, deities, holy beings, and party monsters who reveal the the interconnectivity of animals, people and nature. Using an explosive color palette along with intricate line-work, her freakishly folkish style combines the nostalgic essence of the fauves juxtaposed with a neon-like urban glow.

Hannah Epstein

Hannah Epstein (hanski) is a multi-dimensional universal being in the form of a hot girl. Currently she splits her time between Toronto and LA. Raised in Nova Scotia, Epstein reps east coast vibes. She makes Art using textiles (rugs, tapestry, fibre collage, soft sculpture) and a full gamut of media, old and new (video, online platforms, games). She has a B.A in Folklore, which means she accepts no narrative at face value. She has an MFA from Carnegie Mellon, which means she carries the elite blessing of the academy. She is rep'd by Steve Turner, a fancy ass gallery in LA. Hit her up.

Meghan McAleavy

Meghan McAleavy was born and raised in New Jersey and is a freelance textile artist who predominantly uses free-motion machine embroidery and appliqué techniques in her art. Her current work is inspired by traditional Masonic lodge banners. McAleavy has made dozens of one-of-a-kind Satin Banners for tattoo artists around the globe. Her attention to detail and craftsmanship have made her work highly sought after. In 2005, McAleavy received a BFA in Textiles from Oregon College of Art & Craft. She has participated in several group shows on both the East and West coasts. McAleavy currently lives and works in Asbury Park, NJ.

Maryanne Moodie

Maryanne is a fiber-obsessed maker from Australia working between Melbourne and Brooklyn, NY. She divides her time between designing and creating woven wall hangings, developing weaving kits, and teaching sold-out workshops across the world. Maryanne is best known for applying unexpected color combinations to her nostalgic designs. She is inspired by the intricacies of vintage textiles, traditional costuming, modern art, and the natural world. Maryanne’s work has been featured in New York Magazine, Anthology, O Magazine, Grazia, Interwoven, and online on Design*Sponge and The Design Files. A finalist in the Martha Stewart American Made Awards in both 2014 and 2015, she sells her work on Etsy and through online shops and boutiques around the country.

Rachel Rosenkoetter

Rachel Rosenkoetter is a visual artist living in Portland, OR. Born and raised in MO, Rosenkoetter received a BFA in Painting from Missouri State University and her MFA in Visual Studies from Pacific Northwest College of Art. Utilizing painting, collage and installation, her work investigates mysticism and states of being. Revealing symbols and bodies as potent with sacred potential, Rosenkoetter harnesses physical forms to speak to a metaphysical ecstasy and excess.

Emma Suman

Emma is a Portland-based artist working in textiles and traditional media. She recently graduated with her BFA from Oregon College of Art and Craft.

Anna Valdez

Working across painting, drawing, printmaking, collage, and digital media, Valdez examines the relationship between material and cultural identity. She incorporates articles found in domestic spaces such as plants, textiles, vessels and keepsakes into her work as a method of storytelling. Her colorful work invites the viewer to consider objects as emblematic of personal and collective experience, shifting between still-life and portraiture. Valdez received her MFA in painting from Boston University in 2013. Her work has been exhibited in museums and galleries across the United States. Valdez’s work has been featured in Juxtapoz Magazine, New American Paintings, Booooooom.com, and Daily Serving

View Event →
Jul
9
to Aug 2

Sun Kittens & Moon Puppies

34900605_1846453182074044_2549745010723520512_n.jpg

Killjoy Collective at Portland State University

SUN KITTENS & MOON PUPPIES

July 9 - August 2

Opening Reception July 20 at PSU Littman Gallery

E.M. Fuller + Maggie-Rose Condit + BriAnna Rosen + Rachel Rosenkoetter

 

WIP_003 Copy 01.00_01_59_29.Still003.png

 

“It has been years since I dropped kicked the patriarchy in the head. Boots blackened by the midnight sun, waxy permutations of silken delights; a paradise. Transfixed by cooperation and collaboration, society has turned its back on competitive capital to create worlds of equity and bliss. Hang on to artifice and apathy no more, for I have become caretaker of a renewed planet.”
— Sun Kittens and Moon Puppies: Radiant Futures 

 

What happens when the patriarchy falls? Sun Kittens & Moon Puppies envisions a free and open future wherein united human society compassionately and sustainably co-exists with planet Earth and beyond. Inspired by queer and womanist utopias, Killjoy Collective embarks on a collaborative and interdisciplinary exhibition honoring the visionaries of the past and the leaders of tomorrow. Featuring new works by E.M. Fuller, Maggie-Rose Condit, BriAnna Rosen, and Rachel Rosenkoetter.

 

Voyager_golden_record_13_earth.gif

 

Killjoy Collective

Our collective goal is to increase the visibility of women, women-identifying, and gender non-conforming artists in Portland and beyond by curating public visual art exhibitions and events representing a community-minded and interdisciplinary approach. We seek to provide a platform for artists exploring urgent, contemporary issues via our artist-run gallery space in SE Portland.

We view Killjoy as a site of resistance and a space for collaborating voices.

Killjoy Collective celebrates and seeks to engage women — women of color, women of all ages, women of all shapes and sizes, women with visible and invisible disabilities, immigrant women, indigenous women, queer women, trans women, and those who refuse to be put in a box. Our organization is feminist, non-hierarchical, unmotivated by profit, and deeply committed to sustaining relationships with artists and audiences. Our artist-run space strives to connect emerging creatives with intrigued audiences in a fun and intimate environment.

View Event →
Jun
30
to Jul 21

Moruroa Moruroa: Big Lies

IMG_20180604_233319_536.jpg

Kanani Miyamoto

Mururoa Mururoa: Big Lies

June 30 - July 21

Opening Reception June 30, 2018 from 7:00 pm - 9:00 pm

 

“Indeed, I saw in the district young women and young girls tranquil of eye, pure Tahitians…. All indeed, wish to be taken literally, brutally taken, without a single word.”

— Excerpt from Noa Noa, Tahiti journal of P. Gauguin

 

In 1769, the population of Tahiti was approximately 35,000.

By the time Paul Gauguin arrived in Papeete in 1891, European disease had killed off two-thirds of the population.

In the same year, colonialism had successfully destroyed the Maori people. Calvinist, Mormon, and Catholic religions replaced the indigenous beliefs and European thought and products replaced the handicrafts, barkcloth, the art of tattoo, music, and dance.

Mururoa Mururoa: Big Lies, is the start to a new dialog on the art and life of Paul Gauguin. A challenge to art institutions, art historians, and curators to recognize the true perspective of the indigenous.

 

#Repost @mamakanani

・・・

I have been thinking about this for years... In 2012 I saw an exhibit at the Seattle Art Museum, Gauguin and Polynesia: An Elusive Paradise. I could not believe the ignorance of this show; the write up was absolutely ridiculous...they said “through a balanced and contextual analysis of Polynesian art alongside Gauguin’s works, this exhibit brings Polynesian arts and culture into the center of Gauguin studies”.

Gauguin is the face of colonialism: the face of a patriarchal society. There was no balance in the curation of this show. There was no Polynesian voice in this show. Polynesian art and culture was stolen, fetishised, and taken advantage of by Gauguin.

Moruroa Moruroa: Big Lies

@killjoypdx

#fuckgauguin

 

Kanani Miyamoto | Instagram: @mamakanani

Kanani Miyamoto was born and raised in Hawai`i and now lives in Portland, Oregon. She is a recent graduate of the Pacific Northwest College of Art MFA in Print Media program and has shown work in Oregon, Idaho and Hawai`i.

“I have lived in Portland for five years and visit Hawai`i as often as I can. Returning to the islands as a visitor has really opened my eyes to the tourist industry.”

Miyamoto is a passionate printmaker with an educational background rooted in traditional practices. Exploring issues of cultural and personal identity, Miyamoto’s studio practice expands into non-traditional forms of printmaking including mixed-media original prints, sculpture, installation, and animation. Miyamoto’s work investigates autobiographical experiences of growing up in Honolulu and being mixed heritage.

 

Accessibility Note — The Killjoy Collective gallery is down a flight of stairs and, unfortunately, has no elevator. We apologize for the lack of ADA accessibility and are currently working to rectify this issue.

View Event →
May
26
to Jun 16

Children of Revulsion

 Rani Baker,  Cant Go Home

Rani Baker, Cant Go Home

CHILDREN OF REVULSION

May 26 - June 16

Curated by Tabitha Nikolai

Opening Reception Saturday May 26 from 7:00pm - 10:00pm

Performances by Rani Baker and #femmebreak at 8:00pm

Closing Reception Saturday June 16 from 7:00pm - 9:00pm

Performance by Laurence Myers Reese and VR by Stephanie Mendoza

 Porpentine and Rook,   Sticky Zeitgeist

Porpentine and Rook, Sticky Zeitgeist

Children of Revulsion is about living inside media when you can't go home again.

Or never could.

Or would never want to.

Or can't wait to leave.

It's about making a house from virtual trash, lashed together with scraps of code, and uploading it to your dear ones, wherever they are. Big enough for everyone, you dwell in it together, replay and reply. Every pixel a good night kiss on the forehead. Every beat a tender hand-squeeze in the dark.

 Arisa Leisure,  Immitation Metal

Arisa Leisure, Immitation Metal

New/Mass/Interactive Media and Other Tender Works By

Alan Page (aka [sic][redacted])

Arisa Leisure

deSolid State

e. sakai leisure

#femmebreak - Seanna Musgrave with Erika Anderson, aka EMA

Garima Thakur and Autumn Knight

Laurence Myers Reese

Lysandra Frex

Rani Baker

Porpentine and Rook

Stephanie Mendoza

 

Accessibility Note  The Killjoy Collective gallery is down a flight of stairs and, unfortunately, has no elevator. The show contains many flashing lights and sounds, particularly during the opening performances.

 Garima Thakur and Autumn Knight,  Pack of Wolves

Garima Thakur and Autumn Knight, Pack of Wolves

Tabitha Nikolai

Only child of a single mother, trans girl in suburban Utah, I grew up online and in games. Connected alone. Under the blur of ever-encroaching virtual horizons, I begin new bodies of work with a fictive seed--a central world-building premise that sprouts twining vignettes of video games, cosplay, and earnest rites of suburban occult. I embrace dark fantasy and digital methodologies for their capacity to mediate burdens: physical, social, and psychological. This frees me to explore techniques of dematerialized sculpture and experiential abstraction that are only possible in virtual media. In this weightless way, I can better imagine and share egalitarian futurisms that I hope we may yet inhabit. I produce the things now that would have better sustained my younger self.

Within my speculative realms, I center narrative focus on the monster, its circumstances, and its avenues of agency. This is a response to widespread negative attitudes toward transgender people. Taking a cue from feminist theorist Susan Stryker, I aim to re-code the word monster back to its Latin root, monstrum: a creature of portent--something to be heeded if not fully embraced. I want the physical things I make to feel wet with the amniotic fluid of virtual potential, and my digital creations to evoke the viscerality of flesh craft.

 e. sakai leisure

e. sakai leisure

View Event →
Mar
23
to Apr 14

A Melon Baby's Falsetto Sounds Better in the Bathroom

marketing-photo_copy3.jpg

A Melon Baby's Falsetto Sounds Better in the Bathroom

March 23 - April 14

Opening Reception Friday March 23 from 7:00pm - 9:00pm

First Performance Friday March 23 at 7:30pm

Second Performance Saturday March 31 at 7:30pm

Vitas, a Russian Popera star's falsetto empowers a production of weaponized watermelon babies. This installation and performance incorporates costumes, clowning, and video documentary. Written, directed, and designed by Amy Chiao. Performed by Sascha Blocker, Amy Chiao, Jeff Desautels, and Emily Newton.

watermelon diptych smaller.jpg

Amy Chiao

Amy Chiao is an artist and designer working in material exploration, costume, props, performance, and video. Based in Portland, Oregon and Los Angeles, California, Chiao comes from an eccentric family of Cantese musicians and composers, Opera singers, and mannequin manufacturers. She holds a BFA in textiles from Rhode Island School of Design 2014, where she also dabbled in performance at Brown University. Her work examines spectacle in the everyday through a transformation of cultural symbols and characters.

View Event →
Feb
24
7:00 PM19:00

Pop-Up Comedy Night

Killjoy Collective is thrilled to present our first comedy and open mic night of 2018! Join host Katie Piatt as she lead us through an evening of laughter and absurdity with our favorite queer comedy troupe That's What She Said; Brooks, Shannon Sales, Berlyn Lee, and Katie Piatt.

Special guests include recent graduates of Deep End Theater's comedy class Case West, Ashley Padron, Annie Leverich, Whitney Jacobson, Mary Barrett, Nina Zuraspi, Theresa Carmody, and David Weed.

Come by early to sign-up for an open mic slot or follow this link. Test out your comedy chops with our delightful audience! 

Our Schedule For An Evening of Laughter and Absurdity

7:00 PM - 7:30 PM Open Mic

7:30 PM - 8:30 PM The Recent Graduates

8:30 PM - CLOSE That's What She Said

View Event →
Jan
27
to Jan 28

BROADCAST II

artists-01.jpg

Killjoy Collective is proud to present BROADCAST II works from video artists in Portland, OR and beyond. Video screenings on Saturday January 27 from 7:00 - 9:00 PM & Sunday January 28 from 1:30 - 3:30 PM. BROADCAST II highlights the creativity, insight, and expertise of makers working within the mediums of film and video.

Amy Chiao

Eden Misenmacher with Rebecca Tritschler

B. G-Osborne

Vanessa Renwick

Kari Robertson

Victoria Roccaforte

CC Teakell

Carmen Tiffany

View Event →
Jan
10
to Feb 10

A Good Pink

  • Portland Community College Sylvania - North View Gallery (map)
  • Google Calendar ICS
2018 A Good Pink Postcard Front.jpg

January 10 to February 10 at PCC North View Gallery

Weekend Reception on Saturday January 13 from 6:00 PM - 8:00 PM

Artist Talk and Reception January 18 from 1:00 PM - 3:00 PM

 

In A Good Pink, a collective of six artists join forces to explore the ambiguity and power of pink’s many diverging identities, participating in an inquisitive dialogue around these idiosyncratic relationships. Utilizing mediums such as painting, sculpture, light, video, drawing and textiles, Killjoy Collective creates a cohesive energetic space, examining how pink accentuates and isolates at once.

Pink is fruity sweetness dissolving on the tongue, a drift of fragrant blossoms, an evocation of the sensitive, the youthful, the pleasurable. Pink is sunsets and reveries and flamingos, the unreal, the eccentric, the dreamlike. Pink is silky hair ribbons and frothy Rococo painting, a glut of femininity, excess and exaggeration. Endlessly mutable in its gradations and connotations, pink is loaded with cultural signifiers which transcend the hue’s slice of the color spectrum. As polarizing as it is promiscuous, pink occupies a liminal space of repulsion and attraction, sensuality and morbidity, luxury and kitsch. Explore, celebrate, and complicate the color pink in all of its glorious significations and contradictions.

 

Maggie-Rose Condit

Condit’s work contends with the perplexing intersections of girlhood, pop culture, consumerism, body politics, and feminism. Condit utilizes humor to broach these bizarre, yet personal subjects in forms including installation, sculpture, video, and performance.

Hello world! I’m your wild girl reflects the ambiguous and confusing representation of women’s sexual identity in pop culture. The cherry serves as a symbol of an unattainable ideal that is everything at once: precious, ecstatic, grotesque, alluring, empowering, shameful, taboo, terrifying, and consumable.

Maggie-Rose Condit is an interdisciplinary artist residing in Portland, Oregon, and was raised in Tucson, Arizona. Condit received her Masters in Fine Arts in Visual Studies from Pacific Northwest College of Art.

 

E.M. Fuller

What happens when fabric, light, and bodies interact?

The team of E.M. Fuller and BriAnna Rosen are mutually investigating the heterogeneous connotations of the color pink. Using Pink: The Exposed Color in Contemporary Art and Culture as a frame of research, the duo aims to reclaim the color pink by placing it in a public environment in which socially constructed associations are produced. As Karl Schawelka writes, “Pink reveals its powers of attraction and its charm because it does not actually call something by its name. Instead, pink suggests ‘between the lines.’” The audience, lit with rose hues from the magenta floodlight will be confronted with the silks' seductive visual and tactile oeuvre; flirting with the public to evoke hidden emotional states.

E.M. Fuller is a multidisciplinary artist from Charlotte, North Carolina. Fuller completed her undergraduate studies in 2012 at The University of the Arts in Philadelphia, PA. Her work investigates the material associations of fabric with an acute focus on shifting the viewer’s understanding of how fabric functions as a material in everyday life. Currently, she is working in performative and activated fabric sculpture and installation with an emphasis on pedestrian choreography, repetition, and gesture. Fuller is a graduate of the Visual Studies Master of Fine Arts program at PNCA in Portland, OR.

 

Tessa Heck

Life is a Highway is based off my recent move to Montana, where I grew up. Life is slower here. I am slowing down and breathing fresh air, I walk in the woods. Of course, there are trade-offs. I don’t always have Internet, my town’s food options are a crusty bar where they hold the NRA banquet. I fit in here, but I feel uneasy. The title of this piece is a poke at how much my world has changed this season, the image of my high school rig with dogs as my co-pilots.

My process typically involves a mish-mash of both personal and found imagery. I tend to work loosely off an image for the first half of a piece then work solely without the image. I am interested in humor, particularly self-deprecation.

Tessa Heck is a recent Visual Studies Graduate candidate at Pacific Northwest College of Art in Portland, OR and hails from NW Montana. Heck received her BFA in Painting/Drawing in Tacoma, WA at Pacific Lutheran University with a stint in London, UK to intern as a gallery assistant. Inspirations for her figurative based paintings include Nicole Eisenman, Marlene Dumas, Alice Neel and Wangechi Mutu. Common topics in her work are comprised of humor, absurdity of the human body, sexuality and eroticism.

 

Caitlin Rooney

The semiotics of fragmented popular culture is fraudulent.

Precious Moments is the appropriation and rebranding of objects found within popular culture’s incessant banal consumerism and its latter transformation via desire, a good “ha ha ha” and anger.

i.e. buying a sympathy card for 6.99 USD at Whole Foods for someone you love’s lover.

Caitlin Rooney (Milwaukee, WI) is an interdisciplinary artist currently living and working in Philadelphia, PA.

 Rooney primarily works in sculpture, appropriation, drawing, installation and photography. She received her MFA in Visual Studies from Pacific Northwest College of Art and a BFA in Interdisciplinary Studio Arts and Writing from Milwaukee Institute of Art and Design. Her work examines and exploits the idiosyncratic nature of popular culture consumerism and its banal iconographies.

 

BriAnna Rosen

A flirtatious rose-hued theater of light and tactility.

Pink is scary. It is indicative of vulnerability, openness, nuance, and softness… attributes that hold great power but require an immense courage to practice. Pink embraces the dynamism of vitality and wards off the scales of entropy. It is warmth and excitement shaken into a flaming cocktail of passion. Pink is ultra, truth, honesty… pink is real.

BriAnna Rosen is an artist based in Portland, OR exploring the poetics of politics and spectacle with installation, video, and publications. Rosen completed her Bachelor of Arts degree in Film and Video Production at Pacific University graduating summa cum laude in 2012. Rosen then finished the Master of Fine Arts in Visual Studies program at Pacific Northwest College of Art in 2016 and received the thesis award for A Freestyle Artist: Socio Political Art in Five Interventions. Currently, Rosen works as a teaching artist at the PHAME Academy and helms Freestyle Artist Magazine; a socio-political artist brand and periodical investigating gentrification.

 

Rachel Rosenkoetter

Pink is: Rose quartz. Rotting cherry blossoms. The blush after a strong orgasm. Fake fur coats.

Girlhood (supposedly). Voluptuousness. Unjustifiably expensive razors. When you close your eyes and look right at the sun. Bizarre ideals of womanhood. Strawberry Frosting. Frothy blood. Cocks in Craigslist ads you can’t unsee.

Rachel Rosenkoetter is a visual artist living in Portland, OR. Born and raised in MO, Rosenkoetter received a BFA in Painting from Missouri State University and her MFA in Visual Studies from Pacific Northwest College of Art. Utilizing painting, collage and installation, her work investigates mysticism and states of being. Revealing symbols and bodies as potent with sacred potential, Rosenkoetter harnesses physical forms to speak to a metaphysical ecstasy and excess.

View Event →
Dec
9
7:00 PM19:00

can you handle me?

can_you_handle_me_poster_redux.jpg

can you handle me?

works celebrating women’s bodies that don’t apologize for being human -

works that are humorous, sarcastic, happily tactile, assuredly confrontational, or content to be grotesque.

… can you?

Killjoy Collective is pleased to announce the public opening of can you handle me? An exhibition of new works by Panteha Abareshi, Hailee G. Evans, Tyler Mackie, Katie Piatt, and Caitlin Rooney. Please join us for an opening reception 7-9pm Saturday, December 9. can you handle me? consists of sculpture, performance, and illustrations on fabric and paper. Exhibition on view through January 9 by appointment only. Curated by Maggie-Rose Condit.

 

Panteha Abareshi | panteha.com

My name is Panteha Abareshi. I am an artist and illustrator currently based in Los Angeles. I work primarily in India ink, acrylic ink, and watercolor depicting women of color as the physical embodiments of the struggles I face; specifically my severe depression.

I have Sickle Cell Zero Beta Thalassemia and have suffered from chronic pain. The debilitating effects of my diseases drastically increased in the past few years. Its impact on me was significant. Living with both sickle cell and mental illness, I can (and frequently do) say that the depression hurts more.

I get asked so often, "what does the pain feel like?". When I explain how the chronic pain from sickle cell is caused, the same sympathy and kind curiosity is not extended when I speak about the suffering and turmoil I experience from my mental illness. Physical pain is easily conceivable for the human mind, and the validity of physical pain is accepted without question by society. The abstract and widely ranged nature of mental pain makes it difficult for individuals to understand and want to open dialogue about the reality of the experience.

I do not know if the English language has the capability of properly expressing the experiences, frustrations, anguish and turmoil that come with mental illness. But I have found that I am able to take distinct emotions, sensations, and struggles and say through my work “this abstract feeling is the equivalent to this tangible display of physical pain”. Cuts, bruises, bleeding. Pulling one's own tooth out, cutting out one's own tongue. These are undeniably painful acts, to put into perspective how painful my depression really is.

The women I draw represent struggle, and confusion but they also epitomize strength. There is strength in vulnerability, there is power is admitting that you are broken down. It is very easy for me to separate the human form from sexualization, even in situations of intimacy. The (hyper)sexualization of women often creates a barrier between human closeness in my experience, as it has become so ingrained in us that close+bodies=sexual. I portray women who are open and who are vulnerable, and who's appearance and emotion doesn't allow for objectification because it is so intensely human, and raw.

I strongly identify with the spectrum of aromantisicm and asexuality. I Have very strong aversions to the modern notions of romance,  and my artwork is a direct expression of my beliefs that the way young people, especially girls, are taught to value, prioritize and derive happiness from “love” is damaging and wrong. I struggle with the societal standards for romance, love and sex constantly, and express that in my work because I want to normalize the notion of women/people not craving intimacy.

 

Hailee G. Evans | @slimesistren

Hailee G. Evans a.k.a. “SlimeSistren” B. 1992, Scorpio

Hailee G. Evans is a working artist and lifelong Oregonian. She has lived and worked in Portland since 2012. Her name was conceived in an unfortunate misspelling by her parents, who intended to commemorate Halley’s Comet, the famous rock from outer space.

Evans's work explores gender & sex, as well as other things. She works in visual mediums including pen & ink & paint & sculpture.

Ever since she was a child, Evans has been fascinated with the disharmonious metaphysics that bind one's brain to one’s body. Her work is an attempt to examine the phenomenon of Snoopy as a metaphorical interpretation of the Female God. She delights in the sucking & the fucking of/in/around the erogenous zones. What began as a personal journey has since blossomed into inspired renderings of buttocks and genitals.

Initially contemplative and innocent, her practice eventually transgressed into what it is at present, a corroded carnival of greed. Viewers of her work have described a feeling of complete barren identity, which persists until death. According to exit polling of gallery visitors, apathy is the most commonly reported emotion following the viewing of her work; however, many report that this aftertaste of indifference eventually gives way to darker suppressed emotions, which have been described as "loathsome sensations of abhorrent decadence." This trend has been consistently demonstrated through exhaustive research.

Evans draws inspiration from a diverse spectrum of influences, including Caravaggio and Jon Voight. Many of her artistic choices, including those related to style and subject matter, have been attributed to her grandiose delusions. She maintains an earnest belief that she is a princess from another planet, and the rightful heir of the solar system.

Evans has exhibited in group shows at Tecos (42nd & Powell, Portland) and the Louvre (Paris). She has been described by hundreds of credible un-credited experts as "the Greatest Artist In All of the United States of America (Excluding Alaska).” She is a recipient of a grant from Federal Correctional Institution (FCI Sheridan) where she served time following charges of serial petty theft from the gift shop of the Portland Art Museum.

Evans spends her time living between art capitals of the world and her tub, where she bathes fully clothed. Evans is of a minority of women suffering from early onset male pattern baldness; While she does not admit to it publicly, she wears a poorly constructed, low-grade wig made of nutria, to cover the uncanny shimmer of her crown and forehead. Due to the wig’s extreme fragility, she is known to leave a trail of foul dust and hair behind her as she marches about whatever space she occupies.

Her work is in the private collection of Snoopy who has been quoted as saying, "Do me! Yeah, yeah, do me! Now, [Evans's work] that's what I call Art! Arf! Arf

 

Tyler Mackie | postmedium.com/tyler_mackie | @tyler.mackie

The home is a sphere of warmth that I treasure and upon which I fixate. Through the deployment of domestic objects and traditional handicraft, I explore tropes of comfort. These objects facilitate intimate moments of comfort that restore familiarity to the viewer.

Tyler Mackie holds a B.F.A in Studio Arts from Oregon State University (2005), and an M.F.A. in Studio Arts from Louisiana State University (2009). Her work explores relationships between performance, visual, and craft-based communities, with an emphasis on the female experience. Recent projects include Bridge for Blankets, an installation on the Broadway Bridge (2013), and ongoing creative contributions as a member of the international collaborative collective Expanded Draught (2009-present).

 

Katie Piatt | Katiepiatt.com

Katie’s performances, such as her Male Fragility Show, are abrasive, visceral, and thoughtful.

Katie Piatt is an artist living, playing dress-up, and telling jokes in Portland, Oregon. She explores the ideas of gender, body, sizeism, and queer identity with her extensive background in soft sculpture, sewing, and knitting as well as in her participatory performance and storytelling/comedy practice. Using devastatingly honest humor and the art of spoken word, improvisation, and the awkward silence, she tells her stories of surviving religion, abuse, misogyny, and challenges the effects of growing up a fat queer girl in the conservative Ozark hills of southern Missouri. Katie has an MFA in Visual Studies and has performed at the Banff Centre, Portland's Artist Repertory Theatre as part of the 2015 Risk/Reward Festival, PNCA, PSU, the street, the Siren Theater with her queer comedy troupe That's What She Said, and most recently at the 2017 NW New Works Festival in Seattle, Washington.

 

Caitlin Rooney | @oldoriginal

The semiotics of popular culture are as just as they are fraudulent.

This body of work examines this notion through appropriation and rebranding of imagery found within popular culture iconographies and banal consumerism, and how this is translated and transformed via desire, satire and varying narratives.

i.e, conscientious slang ghost riding poignant critique.

Caitlin Rooney (Milwaukee, WI) is an interdisciplinary artist currently living and working in Philadelphia, PA.

Rooney primarily works in sculpture, appropriation, drawing, installation and photography. She received her MFA in Visual Studies from Pacific Northwest College of Art and a BFA in Interdisciplinary Studio Arts and Writing from Milwaukee Institute of Art and Design. Her work examines and exploits the idiosyncratic nature of popular culture consumerism and its banal iconographies.

View Event →
Nov
18
to Jan 5

Call for Art: BROADCAST II

Killjoy Collective is currently seeking single-channel video art and experimental films for our BROADCAST II screening. Please include artist name, title of works, durations, and dates of completion. Artists may submit up to three video files with less than fifteen minutes of run-time each for consideration. Screening will take place at Killjoy Collective in Portland, OR on January 27, 2018 at 7:00 PM.  E-mail submissions by January 4, 2018 to killjoycollectivepdx@gmail.com.

Our collective goal is to increase the visibility of women, women-identifying, and gender non-conforming artists in Portland and beyond by curating public visual art exhibitions and events representing a community-minded and interdisciplinary approach. We seek to provide a platform for artists exploring urgent, contemporary issues via our artist-run gallery space in SE Portland. We view Killjoy as a site of resistance and a space for collaborating voices. 

View Event →
Oct
14
7:00 PM19:00

Safety in Numbers

Killjoy Collective — in a special collaboration with curator Julia Greenway and Disjecta Contemporary Art Center — are proud to present Safety in Numbers, a performance and installation by Jono Vaughan. Performance will take place during the opening reception on Saturday, October 14 from 7:00 - 9:00.

Currently seeking participants to receive a free professional haircut during artist performance.

 Jono Vaughan,  Safety In Numbers , exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

Jono Vaughan, Safety In Numbers, exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

SAFETY IN NUMBERS

In Safety in Numbers, Jono Vaughan recreates a hair salon at Killjoy Collective, using elements of live performance and sculptural installation. Referring to her process as “exploring the power of transgender anonymity through the creation of clones that can offer a sense of security and normalcy previously unattainable,” Vaughan invites professional stylists to replicate the artist’s exact haircut on volunteering patrons. 

With artist designed silk screened patterns covering the walls, stylists and participating patrons Safety in Numbers resembles an otherworldly salon within the gallery environment. Vaughan facilitates her own anonymity as participants begin to resemble the artist in an act of solidarity toward the transgender community. 

 Jono Vaughan,  Safety In Numbers , exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

Jono Vaughan, Safety In Numbers, exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

JONO VAUGHAN

http://www.fineartvaughan.com/


Jono Vaughan was born in London, U.K. in 1977 and moved to the U.S.A. in 1985.

From 1995-1998 the artist attended the now closed Savannah branch of The School of Visual Arts and completed a Bachelors in Fine Arts from The School of Visual Arts in New York City in 1999. In 2009, Vaughan received a Masters of Fine Arts at The University of South Florida in Tampa. From 2006-2011 the artist worked as a production assistant at Graphic studio. 

Vaughan has taught drawing, painting, and printmaking at a number of Tampa Bay Area universities and colleges and currently serves as Assistant Professor of Drawing & Painting at Bellevue College. Since 2009 Vaughan has been producing works focusing on hair and its role in gender and social identity. These works have been featured in New American Paintings and have been exhibited in a number of solo and group exhibitions. Vaughan is the 2017 recipient of the Seattle Art Museum Betty Bowen award.

 Jono Vaughan,  Safety In Numbers , exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.

Jono Vaughan, Safety In Numbers, exhibition documentation of the previous iteration of the project held at David A. Straz Jr. Center for the Performing Arts in Tampa during the annual conference for the National Performance Artist and Visual Artist Network, 2015. Image provided courtesy of the artist.


 

This exhibition is presented in partnership with the Disjecta Contemporary Art Center as supportive programming to A Situation of Meat; the first of four exhibitions of the Season 7 Curator in Residence Program curated by Julia Greenway.

More information about A Situation of Meat and additional programming.


Curator in Residence Program | Disjecta Contemporary Art Center

View Event →
Sep
16
7:00 PM19:00

PERCEIVE

Perceive_02_C-01.png

Killjoy Collective is pleased to announce the public opening of PERCEIVE, new works by Candace Jahn and Jill Falk. Please join us Saturday, September 16th from 7-9 pm for an opening reception. PERCEIVE will be on view until Saturday, October 7th. Curated by Tessa Heck.  

 

CANDACE JAHN

www.candacejahn.com

Candace Jahn is an artist working in photography currently living in Portland, Oregon. Her work explores a constructed concept of “seeing without looking” through a means of photographic non-traditional lens based equipment such as scanners. She has exhibited her work on both coasts including Duplex Gallery (Portland, Oregon), Disjecta Contemporary Arts Center (Portland, Oregon), Photographic Resource Center (Boston, Massachusetts) and The Gallery 13 (Asbury Park, New Jersey) amongst others. Jahn received her BA in Art and Education with a concentration in Photography from Monmouth University in West Long Branch, New Jersey and her MFA in Visual Studies from Pacific Northwest College of Art in Portland, Oregon.  She attended the Caldera Arts residency in Fall 2014 and was the recipient of the Society of Photographic Education Mid-Atlantic Scholarship in 2011.  

  Happy Cherries , 2017, 20” x 28”, Archival Digital Print

Happy Cherries, 2017, 20” x 28”, Archival Digital Print

It’s incredible what bodies can do: they heal themselves, they store energy and memories in places and pockets you didn’t know exist; that is, until they come flooding back into your consciousness.  Bodies can also fail you, and as you become in awe of what they are capable of, you become very aware of their capacity to turn on you.  This body of work explores moments of these juxtapositions.  We eat to survive until we become over indulgent.  We make ourselves vulnerable to people closest to us, allowing them to be a source of our happiness, until that dependence becomes our collapse.     

These co-existing feelings of pleasure/grief and bliss/regret are what encouraged this work to continue examining how transitory these feelings can be. Although these images are created out of the frustrations stemming from my relationship to my body, its approaches and the space it inhabits—it is just as well celebrating moments of acceptance and comfort in the flawed.  

 

JILL FALK

www.jillfalkart.com

Jill Falk’s multilayered paintings explore the interconnectivity of seemingly unconnected subject matter. Using fragments, such as old family photos or individual still shots from Television shows or films, she re-interprets and reshapes them into something unexpectedly new. Her work has been exhibited throughout the Pacific Northwest, Kentucky, Missouri, Chicago and New York as well as Hong Kong. She is the recipient of several awards and scholarships including PNCA’s Bridgetown Scholarship, 2013 and the Gamblin Painting award, 2014.

  Rotary , 2017, 50” x 68”, Oil on Canvas

Rotary, 2017, 50” x 68”, Oil on Canvas

“Paint and canvas become my laboratory and temple as I step into the Unknown as scientist, source^er^ress, and seer. I must always look for what I do not know. Awareness is fleeting, and without a container it slips away. The materiality of painting allows me to store and compress layers upon layers of information into a concrete vessel. Over time, fragments become focused, revealing patterns and tendencies of perception that exist both within and beyond the present moment. This method of perception storage, allows for the simultaneous viewing of past, present, and possible future timelines within a single frame.”

Currently, Falk lives in Portland OR, where she maintains a studio practice as well as pursuing her other interests such as lucid dreaming, fiddling and surfing.

View Event →
Jul
15
7:00 PM19:00

Willy Nilly

 

Killjoy Collective is pleased to announce the public opening of Willy Nilly, new works by Kellen Chasuk and Emma Parry. Please join us this Saturday July 15 from 7-9 pm for an opening reception. Willy Nilly is a series of paintings, clothing, music, and sculptures made collaboratively and independently. Exhibition on view through August 13 and by appointment only. Curated by Anastasia V. Greer.

 

 Kellen Chasuk

Kellen Chasuk

Kellen Chasuk

kellenchasuk.com

Kellen Chasuk (Napa, California) is currently based in Portland, OR while pursuing a BFA at Pacific Northwest College of Art. Her work explores identity and artifice through the manipulation of conventional and experimental practices. Chasuk has exhibited work locally at various DIY venues, PNCA as part of the school’s participation in NCECA 2017, Bay Space, and Stephanie Chefas Projects.

 

 Emma Parry,  Fear of Butterflies

Emma Parry, Fear of Butterflies

Emma Parry

@osoflower

Emma Parry (Austin, Texas) is a multidisciplinary artist based in Portland, OR currently attending PNCA’s BFA program. Through the use of visual poetry and humor, Emma’s work pays homage to friendship while contemplating the absurdity of the everyday. Her work has been displayed at gallery B10 as well as multiple DIY locations.

View Event →
Jun
2
6:00 PM18:00

IN/EX TERIORS

Killjoy Collective is pleased to announce the public opening of IN/EX TERIORS, new works by Nikki Vene and Subin Yang. Please join us this Friday, June 2nd from 6-9 pm for an opening reception. IN/EX TERIORS will be on view until Saturday, June 24th. Curated by Rachel Brown Smith.

 

Nikki Vene

www.nikkivene.com

Nikki Vene's most recent series of paintings, Night-Walk, explores architectural spaces in and around the city of Portland. These paintings reference her personal perspective as solitary spectator, a city-goer who traverses by foot, and due to her nocturnal tendencies, mainly at night. Within Vene's artistic practice, she engages in acts of flâneurie, a removed, somewhat voyeuristic form of observing the urban landscape. This curious yet distanced way of looking is first documented by photographs taken on the street, so that details of the momentary observation may be referenced later on in the painting process.

When translating the image onto canvas, the ordinary, quiet spaces found in Vene’s photographic work begin to transform from strict representation into spaces of abstraction, or other worlds of reality all together. These painted architectural spaces call upon the viewer's imagination to fill in the blanks, to complete the image, to discern areas of ambiguity or to fully immerse themselves in its illusion. The viewer has full autonomy to witness painted worlds as their own, taking on a sense of empowerment and the position of the realized dreamer.

 

Subin Yang

www.subinyang.com

Subin Yang is an illustrator and graduate of PNCA (Pacific Northwest College of Art) in Portland, Oregon. Inspired by themes of home, culture, nostalgia, and daily life, Subin creates scenes full of vibrant colors and details.

Yang’s work ranges from collaging various traditional media to digital illustration, reflecting her love for experimentation. She is from Seoul, South Korea, where she escapes to every now and then for some comfort food like oily rolls of tuna kimbab and sweet and spicy tteokkbokki.

Yang writes of her most recent body of work, “Home is traditionally connected to an idea of a permanent, solid, and physical house but even structures like a house start feeling disposable when moving frequently — almost like shedding a layer of one’s life. Through making abstract digital collages out of the most vibrant memories or immediate connections to each places I’ve lived, such as specific colors, sound, and nostalgic details, the disposed places of the past that I used to call home form fluidly as flexible structures.”

View Event →
May
5
6:00 PM18:00

Laugh Your Panties Off

 

Performances By

Brooks

Stephanie Buckner

Shannon Sales

Maggie Condit

Katie Piatt

 

Please join us on Friday May 5 from 6:00 - 9:00 pm for Laugh Your Panties Off, a donation drive event benefitting the Salvation Army Female Emergency Shelter! We will be collecting donations of new underwear, bras, and feminine hygiene products. Panty drive!

Comic and artist Katie Piatt will be hosting the event with other special guests making us laugh all night with screenings of RuPaul's Drag Race in between. Donate your new underpants!


Katie Piatt

http://wwww.katiepiatt.com

Katie Piatt is an artist living, playing dress-up, and telling jokes in Portland, Oregon. She explores the ideas of gender, body, sizeism, and queer identity with her extensive background in soft sculpture, sewing, and knitting as well as in her participatory performance and storytelling/comedy practice. Using devastatingly honest humor and the art of spoken word, improvisation, and awkward silence, she tells her stories of surviving religion, misogyny, and challenges the effects of growing up a fat girl in the conservative Ozark hills of southern Missouri. 

She also dresses up and goes around as a character she calls “Old Annie”, a grown-up but still child-like persona of Little Orphan Annie. A project putting narrative on females in show business, getting older, loneliness, and an effigy of failing gracefully - Old Annie has crashed the Whitney Biennial, taken pictures with tourists on Times Square, put out an “Awkward Sexy Calendar", done standup in Canada, and chaperoned -- or was the Mrs. Garrett to -- the minor performers at TBA15's Critical Mascara.

Katie has an MFA in Visual Studies and has performed at the Banff Centre, Portland's Artist Repertory Theatre as part of the 2015 Risk/Reward Festival, PNCA, PSU, the street, the Siren Theater, and most recently at the Portland Institute of Contemporary Art's new addition in NE Portland.

Look for her at the 2017 NW New Works Festival June 9th, 10th, 11th! 

View Event →
Mar
18
6:00 PM18:00

TRANSFERENCE

Killjoy Collective is pleased to announce the public opening of TRANSFERENCE works by Aruni Dharmakirthi and Rebecca Tennenbaum. Please join us Saturday, March 18th from 6-9PM for an opening reception. TRANSFERENCE will be on view until Saturday, April 29th. Curated by E.M. Fuller.

 

Aruni Dharmakirthi

http://www.arunidharmakirthi.com/

Aruni Dharmakirthi is a Sri Lankan born artist based in Portland, OR. They received a BA in Studio Art and Art History from Florida State University and is currently completing an MFA in Visual Studies at the Pacific Northwest College of Art. They are also a cofounder and curator at SoftSpacepdx, a video+new media project space that creates a platform for emerging artists.

Dharmakirthi's work uses digital animation and fibers to create installations that move back and forth in time, to explore known and untold histories. The political and the personal come together to recall the journey of migration; connecting it to the tragedies of colonization and the continued violence of imperialism. These histories are reimagined into digital culture; blurring the lines between contemporary and traditional, eastern and western.

 

 

Rebecca Tennenbaum

http://www.rebeccatennenbaum.com/

Rebecca Tennenbaum is a graduating MFA candidate at the University of Pennsylvania, living and working in Philadelphia. Prior to coming to Penn, she received her MAT and BFA from the University of the Arts. She grew up in New York, Pennsylvania and California, relocating to Philadelphia in 2008.  Recent exhibitions include Traversals, a group show in 2016 at New Boon(e) Gallery in Philadelphia, and a solo exhibition in 2015 at La Porte Peinte Centre Pour Les Arts in Noyers-Sur-Surein, France. Tennenbaum recently received a fellowship to the Vermont Studio Center in 2016.

“My work explores relationships between the body and its encounters with external forces. Working primarily with wood and latex, I construct power relationships which demonstrate affect through forms taken from everyday life. I consider the pieces to be appliances with implied functions, authenticating the invisible connections made between the body and its daily encounters with other bodies, appliances, objects and landscapes. I aim to communicate a sense of transference or containment of energy through the relationships of the parts, implying action, void, and balance. An example of this transference would be eating a sandwich that tastes like a banana, simply from being next to it.”

View Event →
Feb
13
6:00 PM18:00

Nasty Women Portland - Opening

Opening Reception February 13, 2017 6:00 PM - 9:00 PM
222 SE 10th Ave #102B Portland, OR 97214

Killjoy Collective is proud to host Nasty Women Portland. All proceeds from art sales benefit the Safe Harbor Art Program, a division of SAFES (Salvation Army Female Emergency Shelter).

This is a group exhibition that serves to demonstrate solidarity among artists who identify with being a Nasty Woman in the face of threats to roll back women’s rights.

 

------------------------------------------------------------------------------------------

About Nasty Women
(http://nastywomenexhibition.org/)

Started by Roxanne Jackson and Jessamyn Fiore with a facebook post that read: Hello female artists/curators! Lets organize a NASTY WOMEN group show!!! Who's interested??? 

The massive response has taken this call to arms into building an ever-expanding network of Nasty Women Artists & Art Organizers that will culminate in multiple exhibitions. Please visit Other Nasty Venues for more details on organizing an exhibition in your city


About SAFES
(http://safeshelterpdx.org/)

Empowering women to move from homelessness to housing, 
SAFES is in the Old Town district of downtown Portland and provides services to people who identify and present as female.

View Event →
Jan
21
6:00 PM18:00

B R O A D C A S T

  Killjoy Collective is proud to present B R O A D C A S T works from women video artists in Portland, OR and beyond. Video screening begins at 6:30 PM with a brief intermission. B R O A D C A S T highlights the creativity, insight, and expertise of makers working within the medium of video. Works selected by Jodie Cavalier and BriAnna Rosen.    Killjoy Collective promotes the National Women's March on Washington, D.C. and our local Women's March on Washington: Portland. "We stand together in solidarity with our partners and children for the protection of our rights, our safety, our health, and our families recognizing that our vibrant and diverse communities are the strength of our country," National Organizers Wo  men’s March on Washington.  For more information regarding Portland's march, please visit:  http://bit.ly/faqwmwpdx     --------------------------  --------------------------  --------------------------  ------------  -  ------    Women's March Mission   https://www.womensmarch.com/mission/    The rhetoric of the past election cycle has insulted, demonized, and threatened many of us - immigrants of all statuses, Muslims and those of diverse religious faiths, people who identify as LGBTQIA, Native people, Black and Brown people, people with disabilities, survivors of sexual assault - and our communities are hurting and scared. We are confronted with the question of how to move forward in the face of national and international concern and fear.    In the spirit of democracy and honoring the champions of human rights, dignity, and justice who have come before us, we join in diversity to show our presence in numbers too great to ignore. The Women’s March on Washington will send a bold message to our new government on their first day in office, and to the world that women's rights are human rights. We stand together, recognizing that defending the most marginalized among us is defending all of us.    We support the advocacy and resistance movements that reflect our multiple and intersecting identities. We call on all defenders of human rights to join us. This march is the first step towards unifying our communities, grounded in new relationships, to create change from the grassroots level up. We will not rest until women have parity and equity at all levels of leadership in society. We work peacefully while recognizing there is no true peace without justice and equity for all.    HEAR OUR VOICE.

Killjoy Collective is proud to present B R O A D C A S T works from women video artists in Portland, OR and beyond. Video screening begins at 6:30 PM with a brief intermission. B R O A D C A S T highlights the creativity, insight, and expertise of makers working within the medium of video. Works selected by Jodie Cavalier and BriAnna Rosen.

Killjoy Collective promotes the National Women's March on Washington, D.C. and our local Women's March on Washington: Portland. "We stand together in solidarity with our partners and children for the protection of our rights, our safety, our health, and our families recognizing that our vibrant and diverse communities are the strength of our country," National Organizers Women’s March on Washington.

For more information regarding Portland's march, please visit: http://bit.ly/faqwmwpdx

-------------------------------------------------------------------------------------------------

Women's March Mission
https://www.womensmarch.com/mission/

The rhetoric of the past election cycle has insulted, demonized, and threatened many of us - immigrants of all statuses, Muslims and those of diverse religious faiths, people who identify as LGBTQIA, Native people, Black and Brown people, people with disabilities, survivors of sexual assault - and our communities are hurting and scared. We are confronted with the question of how to move forward in the face of national and international concern and fear.

In the spirit of democracy and honoring the champions of human rights, dignity, and justice who have come before us, we join in diversity to show our presence in numbers too great to ignore. The Women’s March on Washington will send a bold message to our new government on their first day in office, and to the world that women's rights are human rights. We stand together, recognizing that defending the most marginalized among us is defending all of us.

We support the advocacy and resistance movements that reflect our multiple and intersecting identities. We call on all defenders of human rights to join us. This march is the first step towards unifying our communities, grounded in new relationships, to create change from the grassroots level up. We will not rest until women have parity and equity at all levels of leadership in society. We work peacefully while recognizing there is no true peace without justice and equity for all.

HEAR OUR VOICE.

View Event →
Nov
18
6:00 PM18:00

Official Opening

Killjoy Collective is pleased to present Post, a collection of recent works by founding members, Rachel Brown Smith, Maggie-Rose Condit, E.M. Fuller, Anastasia Greer, Tessa Heck, and BriAnna Rosen.

Feel the wind at our backs, like a fan on the set of your favorite girl band video. Post is a dream realized, a view inside a shaken-up snow globe brain. Our collective vision is a space occupied by works in all mediums, subliminally tethered under a female-centric gaze, unfixed and curious. 

Please join us for drinks and refreshments November 18 from 6-9pm to celebrate the debut opening of our gallery space at 222 SE 10th Ave Unit 102b Portland, OR 92714.

 

View Event →