Wednesday, July 18, 2018

July SAQA Oregon Newsletter Available

July Update - Oregon SAQA Regional Conference

In addition to keynote speaker, Pat Pauly (patpauly.com), the Oregon SAQA Regional Conference, Unpredictable Outcomes, will include three Eugene-area visual artists discussing how they handle mistakes and unexpected results. A sculptor, a painter, and a photographer have been asked to share their methods for "Dealing with Oops". 

Sculptor Jud Turner says "I learned early on to look at things around me for their alternative uses or interpretations and how I might repurpose something for my own fun. As a metal sculptor, I get to legally use fire, violence, and piracy in the name of ‘art’ and in ways that would get me in trouble in most other areas of life   ”

Painter Patti McNutt tells us that "I document my love of landscape by plein air, photos and sketchbook. “En Plein Air” is a French expression which means “in the open air”. This contrasts with painting according to studio or academic rules, which creates a pre-determined look."

Photographer Angelia Peterson has been "packing cameras on my continuing journey for over 25 years, picking up tid-bits as I go along in my self-taught exploration. I am always striving to learn that next technique to enhance the excitement, heartbreak, spirit and personality of the subjects around me."

Conference registration is open to SAQA members and the pubic at hptt://www.saqa.com/calendar-detail.php?ID=5988

Register for Unexpected Outcomes, the SAQA Oregon Regional Conference

Announcing SAQA Oregon Regional Conference —
Unexpected Outcomes!

We are excited to announce the upcoming Conference and the opportunity to join us for a day of inspiration, education, fun, connecting with old friends and making new ones. There will be an exciting program – from the Keynote speaker, Pat Pauly all the way from Rochester, NY; the local artists panel including Patti McNutt (acrylic painter), Jud Turner (metal sculptor) and Angelia Peterson (nature photographer); Maude Kerns Art Center curator Michael Fisher; and our own professional SAQA members leading conversations on Mentoring, Juried Artist Membership, and Entering Shows; this promises to be an exciting day for everyone attending. We hope you will choose to join in the camaraderie!
Registration for the Conference is going strong and we encourage you to sign up soon!  Click on the following link and reserve your place for this memorable event!  http://www.saqa.com/calendar-detail.php?ID=5988  The workshop is full, but we do have a waiting list, so if you missed getting in, email Daisy Schrock (schrock32@gmail.com) or Katie Walwyn (ktwalwyn@comcast.net) and we will put you on the list.

Saturday, July 7, 2018

Portland Area Picnic

Looking forward to welcoming members and guests to our local SAQA annual picnic on Wednesday July 18th, 11 am until whenever, at Elizabeth Bamberger's house. Contact Elizabeth at elizabethbamberger@gmail.com for directions and information.

Elizabeth will have plenty of salad greens, soft drinks, coffee and tea. Please bring something to add to the salad, or a side dish, dessert, bread or what ever you wish. And don't forget to bring Show and Tell!

We're hoping to have plenty of shade, but you might want to bring a sun hat just in case.

Saturday, June 23, 2018

CONFERENCE UPDATE – SHOW YOUR STUFF!!

The Regional Conference coming up in October (October 18 in Eugene, Oregon) presents a wonderful opportunity for you to show your work to an appreciative and supportive audience – AND have an opportunity to sell it as well!  All SAQA Conference attendees have the opportunity to show and sell their art, make a little money, raise money for Oregon SAQA’s 2020 conference, or to simply show their work to peers and in a local gallery.  Here’s a BRIEF outline of your “opportunity:”
  • Create a 12” x 12” work of art for the Conference Showcase – to be on display all day at the Conference
  • Price, should you choose to offer your piece for sale, is a fixed $75 - $50 to the artist and $25 to Oregon SAQA
  • Pieces will be delivered to a local gallery following the Conference – Eugene Textile Center (ETC)– and displayed until mid-November (still at the fixed price of $75).  Artist will receive $50 for a sold piece, $15 to ETC and $10 to Oregon SAQA.  Sold quilts will be delivered or mailed by the Showcase Committee following the show at ETC.
  • Pieces not sold will be returned to the artist by the Showcase Committee following the show at ETC
More details are provided with the Welcome Letter mailings going out to all Registrants in June.  Should you have additional questions, please contact Georgia French or MaryAnn McCammon.

Registration for the Conference is going strong and we encourage you to sign up soon!  Click on the following link and reserve your place for this memorable event!  http://www.saqa.com/calendar-detail.php?ID=5988  The workshop is full, but we do have a waiting list, so if you missed getting in, email Daisy Schrock (schrock32@gmail.com) or Katie Walwyn (ktwalwyn@comcast.net) and we will put you on the list.

Wednesday, June 6, 2018

Portland Pod Meets June 20

Portland SAQA Meeting for June is on Wednesday, June 20, 10:00-12:00PM, at the Beaverton Community Center.  We have an exciting program planned and please bring your show and tell.

Hippity hop hooray!
June 20 is going to be a fun, fun day!
Oh my head is still in Prague,
Forgive me, but I’m still in a bit of a fog.
I got so hungry, I became deathly pale,
Due I’m sure, to a lack of quinoa and kale.
Oh my, but I do digress.
Although I I’m quite loath to confess,
I can’t seem to rhyme Katie Walwyn, and Daisy Schrock.
That’s who is coming to give a talk.
Oh I did it! Yay for me!
I shall reward myself with a cup of tea.
Yes, it’s a mystery just why we love to sew.

We’ll follow their path, then maybe we’ll know. 

Suzy Bates

Tuesday, May 29, 2018

Meet Tina Daily of Portland, Oregon

Christina Daily of Portland, Oregon
New Member of SAQA, Spring 2018




Hi, I am Tina Daily. I live have  lived in Southeast Portland for 18 years. I just joined SAQA this Spring 2018.



My professional name is Christina, thanks to one of my art professors at the U of O who refused to call me anything except Christina. When I later learned why, I actually felt honored! I was working on my MFA in sculpture, carving soapstone and wood, casting in bronze. Then, I spent the next twenty years working to conquer the use of color on clay pieces. It was not until I moved to Portland in 1999, that I returned to a first love - textiles.



My deep interest in textiles I attribute to a trip my father took us on in 1962 to a high plateau in Northern Nigeria, to the city of Jos. Near that city was an indigo dye cottage industry. There the dye pits were dug into the ground and the batik and Adire cloth were hanging on the lines to dry in the high dessert sun. The blue, the tribal designs the contrast to the heat of the day some to me, I was hooked.



I have spent time since then exploring various surface design applications to fabric: silk screen, printing, stenciling, embroidering; dyeing fabric and applying shibori and Adire techniques to cotton, linen and silk; sewing wearable art, home decor art and quilting.



The work I am currently making is in transition. Since I retired I have been exploring quiltmaking as a craft and as an art form. There is nothing like having three grandsons with various specific opinions to spur on and alter the creative thinking. I began my quilting seriously journey in 2004 with a quasi art quilt/improve quilt for the now 10 year old who wanted rainbow colors and cats on his twin size quilt.... I fell for the design side of quilting hard. So the experimentation began. I have made traditional quilt patterns and my own improve quilts. But, as a ceramic artist and a graphic artist, I felt it was time to put my energy into the art side of quilting. I think my first art quilt may have stemmed from a shibori piece that I did as a whole cloth quilt, because I could not bring myself to cut up this piece of fabric. 



Quilt for Lizzie (45” x 45”) 


This is a hand dyed shibori piece in terracotta that I did and I loved the fabric as is. It seemed like a likely pairing with some hand dyed shibori in turquoise. 




View From the  Mediterranean, La Villa (17” x 20’) 


I was also working smaller, having taken a Tiny Houses workshop, and started this small wall hanging for my dad as a tribute to his life in Spain. The village where he lived, Villajoyosa, was very colorful and he was a sailor...




Gaggle of Geese (24” x 60”)


I think my first real art quilt is “Gaggle of Geese”, not a great sewing job, but a combination of traditional quilt patterns and appliqué of the image. This imagery came from a photograph I took many years ago when we lived on a sheep ranch. This gaggle of geese always protected the bridge over the creek. They could be nasty creatures, but this day they were more curious, enjoying the water, looking this way and that. That photo hung in my studio for a long time.





When I begin a quilt I generally visualize the finished quilt first. I start with a rough drawing that emerges  into a more refined idea. Then comes the auditioning of fabric and the embellishments. I work pretty loosely, often without the design wall (nor easy space for it). Lately, I have added the step of actually making a large paper pattern to define the image.



I find my inspiration from a variety of places, frequently jogged by a quote or a line from a poem that speaks to me. Sometimes imagery is prompted by what is happening in my life as with the newest series, called ‘False Lumen’s. I intend to enter these into a show in December. In the past I have had several ceramics shows in the state of Oregon, but this will be my first quilt show entry. Sometimes imagery comes out of something I might be drawing which is usually inspired by words. Generally, as with “False Lumens’ there is  a bit of research to get the correct image or to develope the idea further.



I carefully divide my dyeing studio and sewing studio in the same room, a 10 x 25 foot, south facing room in the daylight basement. Sometimes when doing surface design work with discharge paste or block prints or stencils, I spill out into the rest of the basement or take the operation outdoors to enjoy the day. I am down here almost everyday unless I am in the garden or with the grandsons. The balance is skewed towards family at the moment, but the five year old goes into all day kindergarten in the fall and the four year old is almost there. (These are precious moments and besides I can get the boys to do art in the studio and that is golden!) So grandma duty will start to dwindle. My friends circle is a tight group of neighbors and a husband that does most of the cooking in exchange for cleaning the kitchen. My outside friends are mostly my small quilting group. We meet once a month and go on retreat once a year -  very important group. I would love some more concentrated studio time, but for now am content to focus on the young minds - they will be occupied with their own creativity soon.

Saturday, May 26, 2018

Information on "The Edge" SAQA Oregon Exhibit


The Edge (SAQA Regional)   •   Oregon members
Deadline:  January 31, 2019


SHOW CONCEPT
What does "the edge" bring to mind for you? Is it the physical edges of nature (such as gorges, mountain peaks or shorelines), societal edges formed between different groups or philosophies or a certain personal "edginess" in style or attitude? Oregon Region artists are invited to submit work that reflects thoughts on "the edge" as related to their Oregon experience in a representational or abstract way.


2D and 3D artwork will be considered. 2D work must be between 24" and 48" in width with no height restrictions. The maximum for 3D art is 18" in width and length. Height can be up to 20".


JUROR
Pat Pauly






Venue


The Edge at the Oregon Historical Society (OHS) is an exciting opportunity for SAQA Oregon artists to display their work in a museum setting that is in the heart of Portland's cultural district. OHS is a major tourist draw, particularly during the summer months, and is expected to bring in at least 25,000 visitors during the run of the show. Between the North Wing and the Hayes Gallery, there are a wealth of strong 2D and 3D artwork display locations. These include a high ceilinged atrium-like space that leads to a display window portal into a large, yet intimate gallery.


Oregon Historical Society
Hayes Gallery and North Wing
1200 SW Park Ave
Portland, OR 97205
Open Mon-Sat 10-5, Sun 12- 5
www.ohs.org