April 2025 Exhibit
April Coppini
Little Bright Spots, Big Migrations
April 12 – May 5
We are excited to welcome back April Coppini with her latest series of charcoal drawings, this time leaning heavily into the addition of color through pastel. Known for her passionate interest in all creatures and their importance to place, she brings a new collection of gorgeously rendered drawings. Through elegant and expressive mark making she portrays the wild, unseen, and unexpected in her depictions of flora and fauna. Little Bright Spots, Big Migrations opens April 12th during Astoria’s Second Saturday Artwalk, Saturday 12 – 8 pm. The exhibition will remain on view through May 5th.
In a time of uncertainty, whether it’s from a personal perspective or a broader global reach, there is one thing that does remain certain; art is a necessity in our lives, yesterday, today and tomorrow. Regardless of all, including what their own lives contain, artists always continue to paint, sculpt, write and perform to communicate, providing a gift of reprieve to all. Artists have always been generous in what they do, whether it is to connect what is good about humanity or record an imprint of challenging times. They create and share with the goal of easing burden, fear, and struggle; to uplift and bring peace to the unknown and even aiding in the comprehension of matters out of one’s control. It is with this in mind that Coppini has created another exceptional body of work, considering her own life experiences and how that relates to the broader world.
Within this series she continues to portray a focused record in her subject matter, the simple struggle of existence. A slight tension of muscle before a possible leap, or the look of pensive awareness in preparation for escape from a possible predator, are all elegantly conveyed through beautiful and gestural mark making. With the underlying message of the importance of all creatures and their independent role to ecosystem and/or as pollinators, predators, scavengers or even domesticated animals, Coppini asks the viewer to consider the role our species takes (or doesn’t) in protecting the delicate relationship between mankind and animal as well as a direct reminder of our symbiotic relationship to all life on a global level. There is also the underlying reminder of appreciating what is good, those moments that take us away from the stress of day to day life, in turn providing a sense of strength and resilience.
This time of year is indicative of offering the sense of hope, renewal and growth. With new growth comes the return of color to our landscape, the sound of songbirds gently pulling the planet from slumber and the soft scent of new bloom of buds, providing the fragrance for the orchestra called Spring. Coppini, who tends to focus primarily on charcoal for her chosen medium has placed more focus on color within this series. Still relying on the starkness of charcoal line to develop the foundation of her drawings, she softens her compositions with the introduction of vibrant and rich color that provide more than a visual response. She looks for balance within each piece, both from a compositional source as well as nuance of content to honor simple beauty, elegance and sense of hope.
About this series Coppini states writes, “I hear the news lately and I want to go lay my face in the lush spring grass, overgrown and cool, damp. And also I wake up every day to the absolute victory of seeing my once severely disabled kiddo walk around, laugh, sing, make coffee.
We are inextricably linked to what has come before us and what will come after us.
We all walk on the same ground; we all live, will struggle and will die.
All at once we have these little spots of brilliance, ground level stuff- microcosms in a fleeting moment, and also part of an epic story in which all our brightness threads through, inextinguishable. This is us: hungry, laughing, angry, helpless, hurting, playing, resting…
Seeing the wonder, feeling the rumble in the ground.”
April Coppini
Little Bright Spots, Big Migrations
April 12 – May 5
We are excited to welcome back April Coppini with her latest series of charcoal drawings, this time leaning heavily into the addition of color through pastel. Known for her passionate interest in all creatures and their importance to place, she brings a new collection of gorgeously rendered drawings. Through elegant and expressive mark making she portrays the wild, unseen, and unexpected in her depictions of flora and fauna. Little Bright Spots, Big Migrations opens April 12th during Astoria’s Second Saturday Artwalk, Saturday 12 – 8 pm. The exhibition will remain on view through May 5th.
In a time of uncertainty, whether it’s from a personal perspective or a broader global reach, there is one thing that does remain certain; art is a necessity in our lives, yesterday, today and tomorrow. Regardless of all, including what their own lives contain, artists always continue to paint, sculpt, write and perform to communicate, providing a gift of reprieve to all. Artists have always been generous in what they do, whether it is to connect what is good about humanity or record an imprint of challenging times. They create and share with the goal of easing burden, fear, and struggle; to uplift and bring peace to the unknown and even aiding in the comprehension of matters out of one’s control. It is with this in mind that Coppini has created another exceptional body of work, considering her own life experiences and how that relates to the broader world.
Within this series she continues to portray a focused record in her subject matter, the simple struggle of existence. A slight tension of muscle before a possible leap, or the look of pensive awareness in preparation for escape from a possible predator, are all elegantly conveyed through beautiful and gestural mark making. With the underlying message of the importance of all creatures and their independent role to ecosystem and/or as pollinators, predators, scavengers or even domesticated animals, Coppini asks the viewer to consider the role our species takes (or doesn’t) in protecting the delicate relationship between mankind and animal as well as a direct reminder of our symbiotic relationship to all life on a global level. There is also the underlying reminder of appreciating what is good, those moments that take us away from the stress of day to day life, in turn providing a sense of strength and resilience.
This time of year is indicative of offering the sense of hope, renewal and growth. With new growth comes the return of color to our landscape, the sound of songbirds gently pulling the planet from slumber and the soft scent of new bloom of buds, providing the fragrance for the orchestra called Spring. Coppini, who tends to focus primarily on charcoal for her chosen medium has placed more focus on color within this series. Still relying on the starkness of charcoal line to develop the foundation of her drawings, she softens her compositions with the introduction of vibrant and rich color that provide more than a visual response. She looks for balance within each piece, both from a compositional source as well as nuance of content to honor simple beauty, elegance and sense of hope.
About this series Coppini states writes, “I hear the news lately and I want to go lay my face in the lush spring grass, overgrown and cool, damp. And also I wake up every day to the absolute victory of seeing my once severely disabled kiddo walk around, laugh, sing, make coffee.
We are inextricably linked to what has come before us and what will come after us.
We all walk on the same ground; we all live, will struggle and will die.
All at once we have these little spots of brilliance, ground level stuff- microcosms in a fleeting moment, and also part of an epic story in which all our brightness threads through, inextinguishable. This is us: hungry, laughing, angry, helpless, hurting, playing, resting…
Seeing the wonder, feeling the rumble in the ground.”
March 2025 Exhibit
The Power of the Wild by Denise Monaghan and Matthew Dennison
And
Flock by Kim Hamblin
We are excited to host two powerful exhibitions during the month of March, both celebrating the world of wildlife, in our forests, the seas and the skies. In our South Gallery we present The Power of the Wild, a special two-person exhibition with the work of Denise Monaghan and Matthew Dennison. Both artists share a mutual love and respect for the natural world and its sentinel beings, bringing oil paintings in all scale to honor the power of the wild. In our front gallery space, we welcome back the highly collected papercut assemblage work of Kim Hamblin with her latest series, Flock. Her intricate work combines process and metaphor to create powerful imagery. Both exhibitions open during the Astoria Artwalk, Saturday, March 8, 12 – 8 pm. All three artists will be present and available to answer questions about their work that evening, 5 – 8 pm. The exhibitions will remain on view through April 7th.
Artists Matthew Dennison and Denise Monaghan both share reverence for the power of the wild and together have created a monumental exhibition to honor the creatures we, as humans, share this planet with. Matthew continues with his recognizable stylized approach, breaking down space with defined edges and charged use of color in a somewhat surreal and graphic manner. He brings paintings that are sometimes classic portraiture of animals while also taking viewers on a diving trip to swim with sharks, dramatically emerging towards the viewer. Other paintings take the viewer deep into the forest to observe a bear lingering in a river, or an Elk listening for a possible predator. About this series Matthew states, “My new series of paintings are inspired by the animals, birds, and land around us. My intent is to point people back to the natural world and remind us that we are connected to this place and land and the species that we share it with.”
Denise Monaghan, known for her realism paintings, brings the detail, focusing on posture unique to each creature, while depicting texture of fur or even the elasticity of an octopus’ suckers. She sometimes portrays the relationship between animals, an Elk bugling at sunset while starlings form in murmuration over its head, or a fox meeting nose to nose with a rabbit in what seems to be a playful moment of curiosity. Within her statement about this series she says, “Painting is still a bit like old fashioned alchemy. The raw ingredients are there for transformation, darkness holds many seeds. Magic can still be found in painted animals that can talk and tell us things we might not see otherwise. It’s a silent dialogue that only some tune into. The artist, the picture and the viewer are the triangle that completes a circuit, allowing us to catch a glimpse of the Other.”
We are also excited to welcome back Kim Hamblin and her complex hand cut paper assemblages. Known for her intricate compositions on wood panel, created with paper, acrylic paint, steel nails and an X-Acto knife, Hamblin brings a new series titled “Flock.” Within this series she takes into consideration the relationship between humankind and the wild, focusing on birds within her imagery while still drawing inspiration from her love of biology, botany, and anatomy.
Specific to her artwork, inspiration is gleaned from her lifelong love of the sciences, particularly anatomy, botany, biology, entomology, and zoology. The focal point of her work is a compelling blend of imagery and process, becoming quintessential to each finished piece. Hamblin’s use and application of materials is a unique blend of paper cutting, painting and mixed media, culminating in an industrial yet delicate composition. She considers her process a form of meditation as she hand cuts paper and then mounts to painted wood panels. She then meticulously adds small nails to further tessellation and texture, bringing a more industrial nature to the delicateness of pattern revealed in each paper cut. The juxtaposition between paper and steel makes for a unique and striking finished composition.
Regarding her subject matter, Kim always employs metaphor within her composition. Focusing on birds for her latest series she portrays both domesticated birds of the wild, bringing reference to history, mythology, and native culture. Through imagery, Kim explores the importance of the basic connection between animal and humankind while also addressing the more complex issues of mankind’s impact on nature. About this series she states, “If I had to say what the one consistent theme in my artwork is, I would say birds; it’s always been birds. Ecosystem and habitat protection and expansion are in my life blood. On our farm, I am constantly watching the birds and working with the natural world to help them thrive. With the rise of discord in our country, politics have become deeply personal and have bled into my art. We must work to protect our personal autonomy, the flora and fauna of our planet and our people- not just in our own country, but in the world.”
The Power of the Wild by Denise Monaghan and Matthew Dennison
And
Flock by Kim Hamblin
We are excited to host two powerful exhibitions during the month of March, both celebrating the world of wildlife, in our forests, the seas and the skies. In our South Gallery we present The Power of the Wild, a special two-person exhibition with the work of Denise Monaghan and Matthew Dennison. Both artists share a mutual love and respect for the natural world and its sentinel beings, bringing oil paintings in all scale to honor the power of the wild. In our front gallery space, we welcome back the highly collected papercut assemblage work of Kim Hamblin with her latest series, Flock. Her intricate work combines process and metaphor to create powerful imagery. Both exhibitions open during the Astoria Artwalk, Saturday, March 8, 12 – 8 pm. All three artists will be present and available to answer questions about their work that evening, 5 – 8 pm. The exhibitions will remain on view through April 7th.
Artists Matthew Dennison and Denise Monaghan both share reverence for the power of the wild and together have created a monumental exhibition to honor the creatures we, as humans, share this planet with. Matthew continues with his recognizable stylized approach, breaking down space with defined edges and charged use of color in a somewhat surreal and graphic manner. He brings paintings that are sometimes classic portraiture of animals while also taking viewers on a diving trip to swim with sharks, dramatically emerging towards the viewer. Other paintings take the viewer deep into the forest to observe a bear lingering in a river, or an Elk listening for a possible predator. About this series Matthew states, “My new series of paintings are inspired by the animals, birds, and land around us. My intent is to point people back to the natural world and remind us that we are connected to this place and land and the species that we share it with.”
Denise Monaghan, known for her realism paintings, brings the detail, focusing on posture unique to each creature, while depicting texture of fur or even the elasticity of an octopus’ suckers. She sometimes portrays the relationship between animals, an Elk bugling at sunset while starlings form in murmuration over its head, or a fox meeting nose to nose with a rabbit in what seems to be a playful moment of curiosity. Within her statement about this series she says, “Painting is still a bit like old fashioned alchemy. The raw ingredients are there for transformation, darkness holds many seeds. Magic can still be found in painted animals that can talk and tell us things we might not see otherwise. It’s a silent dialogue that only some tune into. The artist, the picture and the viewer are the triangle that completes a circuit, allowing us to catch a glimpse of the Other.”
We are also excited to welcome back Kim Hamblin and her complex hand cut paper assemblages. Known for her intricate compositions on wood panel, created with paper, acrylic paint, steel nails and an X-Acto knife, Hamblin brings a new series titled “Flock.” Within this series she takes into consideration the relationship between humankind and the wild, focusing on birds within her imagery while still drawing inspiration from her love of biology, botany, and anatomy.
Specific to her artwork, inspiration is gleaned from her lifelong love of the sciences, particularly anatomy, botany, biology, entomology, and zoology. The focal point of her work is a compelling blend of imagery and process, becoming quintessential to each finished piece. Hamblin’s use and application of materials is a unique blend of paper cutting, painting and mixed media, culminating in an industrial yet delicate composition. She considers her process a form of meditation as she hand cuts paper and then mounts to painted wood panels. She then meticulously adds small nails to further tessellation and texture, bringing a more industrial nature to the delicateness of pattern revealed in each paper cut. The juxtaposition between paper and steel makes for a unique and striking finished composition.
Regarding her subject matter, Kim always employs metaphor within her composition. Focusing on birds for her latest series she portrays both domesticated birds of the wild, bringing reference to history, mythology, and native culture. Through imagery, Kim explores the importance of the basic connection between animal and humankind while also addressing the more complex issues of mankind’s impact on nature. About this series she states, “If I had to say what the one consistent theme in my artwork is, I would say birds; it’s always been birds. Ecosystem and habitat protection and expansion are in my life blood. On our farm, I am constantly watching the birds and working with the natural world to help them thrive. With the rise of discord in our country, politics have become deeply personal and have bled into my art. We must work to protect our personal autonomy, the flora and fauna of our planet and our people- not just in our own country, but in the world.”
February 2025 Exhibit
This Place That We Call Home
Paintings by George Wilson
In honor of the annual FisherPoets Gathering, Imogen welcomes back all fisher folk to Astoria with an exhibition by an artist who is as comfortable working in the studio as they are setting nets to haul in that big catch. This year we host a solo exhibition for George Wilson, a FisherPoet, commercial fisherman and incredibly talented watercolorist. The exhibition, This Place that We Call Home opens Saturday, February 8th during Astoria’s artwalk 12 – 8 pm. Stop in between 5 – 8 pm to meet George and say hello. The exhibition will be on view through March 3rd.
George Wilson brings his latest series, This Place That We Call Home, a new collection of dreamlike watercolors depicting the quiet moments of a life inspired by living at the water's edge. From his homeland in Scotland to Portland, Oregon; places and the wildlife that inhabit them become muse and inspiration for his soothing compositions, always allowing his chosen medium of watercolor to find its own path of narration. Wilson, born into a multi-generational fishing family on coastal Scotland, utilizes the landscapes he knows and loves for his subject matter, creating a bit of a visual love letter to the places he finds comfort, places he calls home.
Wilson’s relationship to water has always been a part of his existence, as well as a source of livelihood. His work is infused with his experiences as a fisherman, bringing the beauty of solitude as surveyor of land, water and its inhabitants. His profound connection has culminated in an enchanting series of paintings that serve as visual poetry to places he has known, reflecting the shoreline and its ever-changing edges as weather fronts work to shape and define.
His painting style is as gentle as his imagery, allowing the saturation of pigment on paper to gently pool, emulating the climate and impact of atmospheric quality. Trees, depicted as evidence of fall sets in, glow, still lush with life and radiating an offer of optimism and light for the future. He shares with the viewer his love of the land with dreamlike renditions of places that resonate with a deep and rooted sense of nostalgia.
About this series he reflects, “After living in a village on the coast of Northeast Scotland for forty-nine years in a landscape my family has inhabited for generations I moved to Portland Oregon twelve and a half years ago. Where is my home? At times I feel dislocated. In my head I am neither here nor there. This show is a search for images that have meaning and are particular to a place. A place that could be called home.”
Wilson who has painted as long as he’s fished, eventually found himself entering the academic world with studies at Gray’s School of Art, one of the United Kingdom’s most prestigious art schools located in Aberdeen, Scotland. After graduating with a focus on painting and drawing, he found his way back to the sea where his time was shared between fishing trips and the studio. His work is a beautiful balance of both worlds with one love always merging with the other.
This Place That We Call Home
Paintings by George Wilson
In honor of the annual FisherPoets Gathering, Imogen welcomes back all fisher folk to Astoria with an exhibition by an artist who is as comfortable working in the studio as they are setting nets to haul in that big catch. This year we host a solo exhibition for George Wilson, a FisherPoet, commercial fisherman and incredibly talented watercolorist. The exhibition, This Place that We Call Home opens Saturday, February 8th during Astoria’s artwalk 12 – 8 pm. Stop in between 5 – 8 pm to meet George and say hello. The exhibition will be on view through March 3rd.
George Wilson brings his latest series, This Place That We Call Home, a new collection of dreamlike watercolors depicting the quiet moments of a life inspired by living at the water's edge. From his homeland in Scotland to Portland, Oregon; places and the wildlife that inhabit them become muse and inspiration for his soothing compositions, always allowing his chosen medium of watercolor to find its own path of narration. Wilson, born into a multi-generational fishing family on coastal Scotland, utilizes the landscapes he knows and loves for his subject matter, creating a bit of a visual love letter to the places he finds comfort, places he calls home.
Wilson’s relationship to water has always been a part of his existence, as well as a source of livelihood. His work is infused with his experiences as a fisherman, bringing the beauty of solitude as surveyor of land, water and its inhabitants. His profound connection has culminated in an enchanting series of paintings that serve as visual poetry to places he has known, reflecting the shoreline and its ever-changing edges as weather fronts work to shape and define.
His painting style is as gentle as his imagery, allowing the saturation of pigment on paper to gently pool, emulating the climate and impact of atmospheric quality. Trees, depicted as evidence of fall sets in, glow, still lush with life and radiating an offer of optimism and light for the future. He shares with the viewer his love of the land with dreamlike renditions of places that resonate with a deep and rooted sense of nostalgia.
About this series he reflects, “After living in a village on the coast of Northeast Scotland for forty-nine years in a landscape my family has inhabited for generations I moved to Portland Oregon twelve and a half years ago. Where is my home? At times I feel dislocated. In my head I am neither here nor there. This show is a search for images that have meaning and are particular to a place. A place that could be called home.”
Wilson who has painted as long as he’s fished, eventually found himself entering the academic world with studies at Gray’s School of Art, one of the United Kingdom’s most prestigious art schools located in Aberdeen, Scotland. After graduating with a focus on painting and drawing, he found his way back to the sea where his time was shared between fishing trips and the studio. His work is a beautiful balance of both worlds with one love always merging with the other.
January 2025 Exhibit
Aaron Murray
Breadcrumbs
January 11 – February 3
We are excited to be presenting the first solo exhibition for Astoria based painter and tattoo artist, Aaron Toledo. Toledo who relocated to Astoria in 1999 from Kansas City owns and operates Keepsake Tattoo, our neighbors here on 11th Street. His intimate figurative oil paintings explore the relationship between people and the space they occupy. With a muted palette over vibrant color, he builds layers to construct dynamic composition, letting remnant of underpainting show through, much like the imprint of life experiences on an individual. He brings moody and gestural content, through glimpses into people’s personal world, a direct look at reality of moment and fleeting honestly of contemplation. Stop in to meet Aaron who will be available to answer questions about his new series Breadcrumbs, during Astoria’s Artwalk, Saturday, January 11th from 5 – 8 pm. The exhibition will remain on view through February 3.
For several years running, Aaron Toledo’s portraiture work has been included to Imogen’s annual invitational portraiture exhibition, Facing You. His distinctive style has over the years become quite respected by art enthusiasts and collectors. His focus on subject matter has always been humanity, from the daily trivial moments of everyday living to the grander moments of life but always from a perspective of a candid and unobtrusive portrayal. His small scale and intimate oil paintings explore the relationship between people and the space they occupy, “zooming in on moments as if they are memories, exploiting the perceptions that energize these small captures of time”.
As a non-academic artist his education and career in art has been far from traditional. Utilizing his skill with rendering through ink on skin, his painting style has evolved to gestural nuance, sometimes obscured and distorted, leaving behind the exacting line element of his first career as a tattoo artist. About this series he states: “Breadcrumbs, my cumulative work from 2024, invites us to share our experience of simply being present and alive with what we know at any given moment. It was intentional in the work to show layers. Often, I tinted the supports in bright colors, painting over the high chroma in muted tones. Purposefully leaving behind small glimpses of the under painting. Others were glazed with higher chromatic colors over the earthy underpainting. Something we notice, something that pulls us, something that we don’t know exactly what it is but we can’t ignore. At times it beholds us swiftly and others it’s barely noticeable but lingering and builds eventually becoming part of us, if we listen.”
Aaron Murray
Breadcrumbs
January 11 – February 3
We are excited to be presenting the first solo exhibition for Astoria based painter and tattoo artist, Aaron Toledo. Toledo who relocated to Astoria in 1999 from Kansas City owns and operates Keepsake Tattoo, our neighbors here on 11th Street. His intimate figurative oil paintings explore the relationship between people and the space they occupy. With a muted palette over vibrant color, he builds layers to construct dynamic composition, letting remnant of underpainting show through, much like the imprint of life experiences on an individual. He brings moody and gestural content, through glimpses into people’s personal world, a direct look at reality of moment and fleeting honestly of contemplation. Stop in to meet Aaron who will be available to answer questions about his new series Breadcrumbs, during Astoria’s Artwalk, Saturday, January 11th from 5 – 8 pm. The exhibition will remain on view through February 3.
For several years running, Aaron Toledo’s portraiture work has been included to Imogen’s annual invitational portraiture exhibition, Facing You. His distinctive style has over the years become quite respected by art enthusiasts and collectors. His focus on subject matter has always been humanity, from the daily trivial moments of everyday living to the grander moments of life but always from a perspective of a candid and unobtrusive portrayal. His small scale and intimate oil paintings explore the relationship between people and the space they occupy, “zooming in on moments as if they are memories, exploiting the perceptions that energize these small captures of time”.
As a non-academic artist his education and career in art has been far from traditional. Utilizing his skill with rendering through ink on skin, his painting style has evolved to gestural nuance, sometimes obscured and distorted, leaving behind the exacting line element of his first career as a tattoo artist. About this series he states: “Breadcrumbs, my cumulative work from 2024, invites us to share our experience of simply being present and alive with what we know at any given moment. It was intentional in the work to show layers. Often, I tinted the supports in bright colors, painting over the high chroma in muted tones. Purposefully leaving behind small glimpses of the under painting. Others were glazed with higher chromatic colors over the earthy underpainting. Something we notice, something that pulls us, something that we don’t know exactly what it is but we can’t ignore. At times it beholds us swiftly and others it’s barely noticeable but lingering and builds eventually becoming part of us, if we listen.”
December 2024 Exhibit
Hook, Pulp & Weave
A celebration of fiber as art
We’re excited to host the annual Hook, Pulp and Weave once again, a rich and diverse invitational exhibition exploring fiber as art, opening in conjunction with Astoria’s Artwalk, Saturday December 14th. Always a favorite exhibition at Imogen, this year’s annual exhibition will not disappoint. Functional and nonfunctional work will be included in this unique exhibition of textile-based arts. Color, texture, and composition form the backbone of this diverse collection designed with the gift giving season in mind. Included to the diverse array is the 2-dimensional and 3-dimensional wall hung work by Kimberly Lakin, photogram on linen wall pieces by Pamela Chipman, abstract felted wool sculpture by Karen Thurman, “Freq Flags”, “Sails” and “Bonnets for Space Exploration” by Jenny Rideout, nuno felted scarves and wraps by Julie Kern Smith, abstract wall hung fiber art of Susan Circone, intricate needle woven beaded jewelry by Celeste Olivares, large scale needle felted figurative sculpture by Amelia Santiago, large scale crocheted pieces by Jo Hamilton, detailed needle felted mini sculpture by Patti Breidenbach and 3-d painted fiber based sculpture by Kathy Karbo. Join us in celebrating the season with the artists, Saturday 12/14, 5 – 8 pm. The exhibition will remain on view through January 6.
Fiber based art has a long running history, with weaving techniques dating back to Neolithic times some 12,000 years ago. It is respected as one of the oldest surviving craft forms in the world that evolved from multiple cultures, including the Incans who utilized textiles as currency, which held a more prominent role than gold for trade. Native Americans, for centuries have created elaborate basketry for all uses, including vessels that were watertight, made from regionally known plant materials. Middle Eastern nomadic tribes, have been respected for intricate hand knotted rugs made of wool and silk, dating back over 4000 years, and the rich illustrative tapestries of the 14th and 15th centuries of European cultures, all helped to forge what we appreciate as textile-based art today. The term “fiber arts” came to be applied much later; post World War II with the insurgence of the craft movement. With this came the recognition of craft as fine art and the diminished idea of utilitarian needs.
Hook, Pulp & Weave is a collection of just a few examples of what textile or fiber art has evolved into. With the lessening of the importance of function, and the consideration of pure artistic expression being delivered through the fiber medium, artists have found a new voice to explore ancient arts, utilizing texture, color, and form. While some of the work included to this exhibition is functional, many pieces are based strictly on the principle of art form, utilizing fiber to create compelling and complex pieces.
We welcome back the intricate wall hung abstract compositions of Susan Circone from Portland. Her imagery places focus on subtle use of texture, pattern, and color. Coming from a career in geological sciences, her compositions are inspired by nature. Circone’s work explores the minutiae of the physical and natural world. She finds inspiration in the structures, textures, and forms observed in both organic and inorganic matter. The importance of the mundane and the microscopic, ignored, unseen, and often ephemeral, is a reminder of our temporal existence.
Pamela Chipman, also from Portland is known primarily as a photographer. It was during the lockdown in 2020 that she began exploring with transferring her art to fiber during the pandemic. Experimenting with sun activated fiber dyes, she creates fabric prints from her negatives and local plant materials.
We are excited to once again include the spectacular crocheted “paintings” of Portland based artist, Jo Hamilton. Her large scale figurative and landscape-based work has been shown around the world, including China, Japan, South Korea, Sweden, Scottland (her home country) and Australia and included to many distinguished private and corporate collections. For this year’s exhibition she includes several portraiture based pieces.
Kathy Karbo includes her latest series of hand cut, stitched and painted 3-dimensional trees, creating mini forest installations focusing on the serene beauty of fall and winter.
Patti Breidenbach brings her delightfully small yet incredibly intricate needle woven sculpture. Always playful in nature and sure to bring a smile to anyone. This year she brings the kitsch of the holiday spirit.
Celeste Olivares of Astoria brings a new collection of her intricately needle woven beaded necklaces and earrings. Each piece is an exotic one-of-a-kind design utilizing semi-precious stones, vintage glass, and crystal, often incorporating found objects. She exquisitely combines brilliant color and form with a result of timeless and original jewelry pieces.
We are also excited to welcome back the needle felted sculpture by Astoria artist, Amelia Santiago. Her lifelike large scale figurative sculpture is created with careful attention to detail. She creates solid wool sculpture by hand, a painstaking process of forming felted wool through needle work into realistic creatures, this year focusing on man’s best friend, our canine friends. Amelia is known for both her work with wool as well as her other love, painting.
Julie Kern Smith of Portland returns with her rich and sophisticated wraps made of nuno felted wool and repurposed silk from vintage scarves and kimonos. Her choice of materials is exquisitely brought together through fusion of fiber, creating elegant and tactile wearable art forms.
Kimberly Lakin of Portland returns with her wall hung fabric pieces. She enjoys working with fiber medium for its tactile and sculptural qualities, describing it as the line between two and three dimensions. Utilizing traditional techniques in non-traditional ways, she creates intricate abstract compositions emulating nature.
We also welcome back the work of Jenny Rideout, formerly of Portland who now is happy to call Astoria home. She brings a new series of “Sails, Freq Flags and “Bonnets for Space Exploration”, all created to aid in navigation within a mythical world, fusing the ancient with the futuristic. Utilizing reclaimed textiles and hand drawn elements, each piece tells a visual story with flora, fauna and symbol, thoughtfully brought together to create rich and dynamic compositions.
Also included to this year’s exhibition is the felted abstract wool sculpture of Karen Thurman from Portland. Her spectacular use of color enhances her playful forms based on animal and plant life. She brings free standing as well as hanging sculpture to this year’s show.
Hook, Pulp & Weave
A celebration of fiber as art
We’re excited to host the annual Hook, Pulp and Weave once again, a rich and diverse invitational exhibition exploring fiber as art, opening in conjunction with Astoria’s Artwalk, Saturday December 14th. Always a favorite exhibition at Imogen, this year’s annual exhibition will not disappoint. Functional and nonfunctional work will be included in this unique exhibition of textile-based arts. Color, texture, and composition form the backbone of this diverse collection designed with the gift giving season in mind. Included to the diverse array is the 2-dimensional and 3-dimensional wall hung work by Kimberly Lakin, photogram on linen wall pieces by Pamela Chipman, abstract felted wool sculpture by Karen Thurman, “Freq Flags”, “Sails” and “Bonnets for Space Exploration” by Jenny Rideout, nuno felted scarves and wraps by Julie Kern Smith, abstract wall hung fiber art of Susan Circone, intricate needle woven beaded jewelry by Celeste Olivares, large scale needle felted figurative sculpture by Amelia Santiago, large scale crocheted pieces by Jo Hamilton, detailed needle felted mini sculpture by Patti Breidenbach and 3-d painted fiber based sculpture by Kathy Karbo. Join us in celebrating the season with the artists, Saturday 12/14, 5 – 8 pm. The exhibition will remain on view through January 6.
Fiber based art has a long running history, with weaving techniques dating back to Neolithic times some 12,000 years ago. It is respected as one of the oldest surviving craft forms in the world that evolved from multiple cultures, including the Incans who utilized textiles as currency, which held a more prominent role than gold for trade. Native Americans, for centuries have created elaborate basketry for all uses, including vessels that were watertight, made from regionally known plant materials. Middle Eastern nomadic tribes, have been respected for intricate hand knotted rugs made of wool and silk, dating back over 4000 years, and the rich illustrative tapestries of the 14th and 15th centuries of European cultures, all helped to forge what we appreciate as textile-based art today. The term “fiber arts” came to be applied much later; post World War II with the insurgence of the craft movement. With this came the recognition of craft as fine art and the diminished idea of utilitarian needs.
Hook, Pulp & Weave is a collection of just a few examples of what textile or fiber art has evolved into. With the lessening of the importance of function, and the consideration of pure artistic expression being delivered through the fiber medium, artists have found a new voice to explore ancient arts, utilizing texture, color, and form. While some of the work included to this exhibition is functional, many pieces are based strictly on the principle of art form, utilizing fiber to create compelling and complex pieces.
We welcome back the intricate wall hung abstract compositions of Susan Circone from Portland. Her imagery places focus on subtle use of texture, pattern, and color. Coming from a career in geological sciences, her compositions are inspired by nature. Circone’s work explores the minutiae of the physical and natural world. She finds inspiration in the structures, textures, and forms observed in both organic and inorganic matter. The importance of the mundane and the microscopic, ignored, unseen, and often ephemeral, is a reminder of our temporal existence.
Pamela Chipman, also from Portland is known primarily as a photographer. It was during the lockdown in 2020 that she began exploring with transferring her art to fiber during the pandemic. Experimenting with sun activated fiber dyes, she creates fabric prints from her negatives and local plant materials.
We are excited to once again include the spectacular crocheted “paintings” of Portland based artist, Jo Hamilton. Her large scale figurative and landscape-based work has been shown around the world, including China, Japan, South Korea, Sweden, Scottland (her home country) and Australia and included to many distinguished private and corporate collections. For this year’s exhibition she includes several portraiture based pieces.
Kathy Karbo includes her latest series of hand cut, stitched and painted 3-dimensional trees, creating mini forest installations focusing on the serene beauty of fall and winter.
Patti Breidenbach brings her delightfully small yet incredibly intricate needle woven sculpture. Always playful in nature and sure to bring a smile to anyone. This year she brings the kitsch of the holiday spirit.
Celeste Olivares of Astoria brings a new collection of her intricately needle woven beaded necklaces and earrings. Each piece is an exotic one-of-a-kind design utilizing semi-precious stones, vintage glass, and crystal, often incorporating found objects. She exquisitely combines brilliant color and form with a result of timeless and original jewelry pieces.
We are also excited to welcome back the needle felted sculpture by Astoria artist, Amelia Santiago. Her lifelike large scale figurative sculpture is created with careful attention to detail. She creates solid wool sculpture by hand, a painstaking process of forming felted wool through needle work into realistic creatures, this year focusing on man’s best friend, our canine friends. Amelia is known for both her work with wool as well as her other love, painting.
Julie Kern Smith of Portland returns with her rich and sophisticated wraps made of nuno felted wool and repurposed silk from vintage scarves and kimonos. Her choice of materials is exquisitely brought together through fusion of fiber, creating elegant and tactile wearable art forms.
Kimberly Lakin of Portland returns with her wall hung fabric pieces. She enjoys working with fiber medium for its tactile and sculptural qualities, describing it as the line between two and three dimensions. Utilizing traditional techniques in non-traditional ways, she creates intricate abstract compositions emulating nature.
We also welcome back the work of Jenny Rideout, formerly of Portland who now is happy to call Astoria home. She brings a new series of “Sails, Freq Flags and “Bonnets for Space Exploration”, all created to aid in navigation within a mythical world, fusing the ancient with the futuristic. Utilizing reclaimed textiles and hand drawn elements, each piece tells a visual story with flora, fauna and symbol, thoughtfully brought together to create rich and dynamic compositions.
Also included to this year’s exhibition is the felted abstract wool sculpture of Karen Thurman from Portland. Her spectacular use of color enhances her playful forms based on animal and plant life. She brings free standing as well as hanging sculpture to this year’s show.
