February 2026 Exhibit
Low Tide
Corey Arnold & Martin Machado
February 14 – March 9
Opening Saturday, February 14th, 5 – 8 pm in connection with Astoria Artwalk is a new collection of photographs and paintings by Corey Arnold and Martin Machado. They bring Low Tide; an exhibition held in conjunction with the 2026 annual FisherPoets Gathering and in honor of the importance of the maritime industry and its history to our region. Once again, we bring together the work of photographer/commercial fisherman, Corey Arnold of White Salmon, Washington and painter/ fisherman/merchant marine, Martin Machado from San Francisco who share their love of the sea through chosen medium, merging their dual careers. Both artists are internationally respected having fished, sailed, and exhibited their work globally. Also included to this special exhibition held in conjunction with the annual Fisherpoets Gathering is Friends of Graveyard Point, a small collection of paintings and photographs by fellow fishing friends of Arnold and Machado.
In addition, opening Saturday, February 14th in our Front Gallery is a solo exhibition by Sara Tabbert of Fairbanks, Alaska. Known as a woodblock printmaker, her work has steadily evolved over the years into mixed media wall hung panels incorporating marquetry, a historic woodworking technique in which detailed design is applied to surface with wood veneer. Tabbert also includes relief carved and painted wood panels to her exhibition. This series, titled Notes from a Moving Line, is specifically about her observations from daily walks along the creek Big Eldorado that runs through the land where she lives. Sara will be at the gallery 5 – 8 pm, Saturday, February 14th and available to answer questions about her work. Both exhibitions will be on view through March 9th.
Longtime friends Corey Arnold and Martin Machado have much in common. Besides enjoying success as artists, both share a love of the sea and have cultivated careers that balance and inspire them professionally through maintaining constant connection to the world’s oceans. Arnold who’s chosen medium is photography brings a collection of images from his many years spent working as a commercial fisherman, always with his camera close by. Machado who has worked both as a merchant mariner and fisherman is a painter and printmaker and includes his paintings to this exhibition, specifically paintings inspired by his colleagues. Both artists bring intimate portraits of fellow fishermen for this exhibition, along with paintings and photographs inspired by time spent fishing Bristol Bay at Graveyard Point, Alaska.
Corey Arnold began fishing as a child, about the same time he first picked up a camera. What began as a weekend family adventure quickly became a permanent part of life. Arnold began fishing commercially in 1995 as a deckhand aboard various vessels and skiffs in Alaska. His career as a fine art photographer and fisherman has taken him far, both documenting and fishing the world’s oceans. Despite his international success as a photographer, Arnold returns every summer to Bristol Bay where he captains a skiff, fishing for salmon.
Arnold’s work is without doubt a celebration of the lifestyle of the fisherman. Through his lens he captures the raw and rugged reality of hard work, with brutal and honest images that depict both danger and beauty, sometimes in the same moment. About this series he states: “Low Tide is a photographic exploration of life at sea in Alaska, and the community, camaraderie, and moments of grace one experiences as a seasonal harvester of seafood.” Arnold has worked seasonally as a commercial fisherman for 30 years and now runs a set gillnet operation out of an abandoned cannery at Graveyard Point, photographing while he works and sometimes joining friends in other fisheries. This series is about those experiences and the people he works with.
Arnold, who graduated from the University of Art Academy in San Francisco has enjoyed a diverse and exciting career. His series Fish-Work was launched after receiving a commission from the PEW Charitable Foundation, taking him to Europe, and photographing from aboard fishing vessels in eight European countries. He has also been awarded an American Scandinavian Foundation grant which led to the documentation of the work of fishermen in Northern Norway. His work has been exhibited in Portland, San Francisco, Los Angeles, Chicago, and New York as well as numerous other venues worldwide, and published in Harpers, The New Yorker, New York Times LENS, Art Ltd, Rolling Stone, Time, Outside, National Geographic, Mare, and The Paris Review, among others. He is a recipient of a Hallie Ford Foundation Fellowship, a National Geographic Explorer Storytelling Grant, and the first-place award winner for the nature category of the World Press Review’s annual photography competition. Arnold has published two books of photography by Nazraeli Press including Fish-Work: The Bering Sea, and Fishing with My Dad. He is represented by Charles A. Hartman Fine Art in Portland, Oregon.
Martin Machado earned his MFA from the San Francisco Art Institute and like Arnold has always held a lifelong love of the sea. He too has cultivated multiple careers that merge, one providing inspiration to fuel the other. Machado brings a series of paintings that, like Arnold’s work, provide a window into a world most of us will never experience. His work directly reflects his time spent at sea as a merchant marine, a commercial fisherman and sailor. Working wherever he could cultivate space, sometimes within his cabin aboard a freighter, the cockpit of a sailboat, and even between net sets in Alaska. About his work he states: “My art works of course are not just about these two experiences, though they are often the jumping off points, they are often not even about the sea. My work is just as much about the forgetting of an experience, the blurring of time and place that happens within our memory. On this planet we are all seafarers of sorts, navigating our way through our modern lives. In my work I aim to celebrate the human spirit, especially among working class communities, and evoke a sense of awe and respect for our natural world.”
For this exhibition Machado brings paintings from his “Wake Series” oil paintings that as the series title suggests, focus on the abstracted element of churning or upwelling of water, the quickly erased footprint of a ship as it cuts through current. Besides the “Wake Series” Machado brings several smaller scale paintings portraying a closer look at life at sea from different personal perspectives, including paintings of mariners he has worked alongside. Specific to this series he states: “I wanted to try to focus on small portraits of the fishing folks that make up this community. I wish I had more time to paint them all, every single one is a character. The people that make up this community are vivacious and fiercely independent and replenish my soul on an annual basis. I like to think about this slice of existence that I’m witnessing in this place I’ve grown to know so well, and all the generations that came before to meet the salmon each summer. There is such a powerful energy to this salmon run, and I believe a lot of that strength is transferred to the people who fish there, both in sustenance and in spirit.”
Machado’s work has been featured in The San Francisco Chronicle, The New York Times Magazine, Juxapoz, New American Paintings, and The Surfer’s Journal. His work has been exhibited stateside from Seattle to New York, and internationally Chili, Malaysia, Scotland, and Mexico. His work was also included to a group exhibition at the prestigious deYoung Museum, San Francisco, CA.
Martin Machado and Corey Arnold have fished in the same set net community in Bristol Bay each summer for nearly two decades, “sharing the incredible highs and lows that come with fishing the most powerful natural fish run on earth from ridiculously tiny skiffs.” For their third exhibition together at Imogen, Arnold and Machado have invited a select group of fellow Graveyard fishing folks with artistic skills of their own to hang some of their works. This collection is by: Billie Delaney, Wesley Smith, Alex Wakeman, Stephen Amato, Gabbie Caspar, Derrick Fore, and Craig Voligny.
Imogen also presents a long-awaited third exhibition for Sara Tabbert from Fairbanks, Alaska. Tabbert, highly respected for her printmaking, brings a new series of both relief carved wood panels as well as wood panels incorporating marquetry. This series, Notes from a Moving Line considers landscape and Tabbert’s own observations of the landscape she lives within. About this series she states: “These pieces were generated from my daily walking route along a creek that runs through the land where I live. A walk in the morning is often a completely different experience than one in the evening. This landscape is always in flux. The creek’s surface changes in color all the time — bright white, sunset pink, acid green and yellow, a deep red-orange, and muddy browns that reflect the sky and surrounding landscape. There is sound and motion of breakup and runoff, and the slow settling and stilling of freeze-up, the almost incomprehensible surge of mosquitoes in mid-summer. From a distance, it’s a small, unremarkable, possibly unappealing landscape. On closer view and with attention, it is a wonderland.”
The focus of this exhibition will be Tabbert’s cedar relief wood panels that are carved and painted. Pattern, color and texture all come together to create elegant depictions of flora and fauna. Tabbert began creating the carved panels years ago as further exploration of her printmaking process and her shifting focus to woodworking techniques. Tabbert’s finished work is indicative of a union between exacting technical skill and an endless creative vision. In every piece the viewer can enjoy the outcome of what is created from strong intuitive knowledge and carefully, calculated fine craft.
Tabbert earned her Master of Fine Arts in printmaking from the University of Nebraska and has exhibited her work extensively throughout the United States and internationally. Her work can be found in permanent public collections, including the Anchorage Museum, Denali National Park & Preserve and Oregon State University’s prestigious Art About Agriculture collection. Tabbert has also enjoyed participating in artist residencies at Denali National Park, Zion National Park, Proyecto ACE in Buenos Aires, Argentina and at the Santa Reparata School of Art in Florence, Italy.
Low Tide
Corey Arnold & Martin Machado
February 14 – March 9
Opening Saturday, February 14th, 5 – 8 pm in connection with Astoria Artwalk is a new collection of photographs and paintings by Corey Arnold and Martin Machado. They bring Low Tide; an exhibition held in conjunction with the 2026 annual FisherPoets Gathering and in honor of the importance of the maritime industry and its history to our region. Once again, we bring together the work of photographer/commercial fisherman, Corey Arnold of White Salmon, Washington and painter/ fisherman/merchant marine, Martin Machado from San Francisco who share their love of the sea through chosen medium, merging their dual careers. Both artists are internationally respected having fished, sailed, and exhibited their work globally. Also included to this special exhibition held in conjunction with the annual Fisherpoets Gathering is Friends of Graveyard Point, a small collection of paintings and photographs by fellow fishing friends of Arnold and Machado.
In addition, opening Saturday, February 14th in our Front Gallery is a solo exhibition by Sara Tabbert of Fairbanks, Alaska. Known as a woodblock printmaker, her work has steadily evolved over the years into mixed media wall hung panels incorporating marquetry, a historic woodworking technique in which detailed design is applied to surface with wood veneer. Tabbert also includes relief carved and painted wood panels to her exhibition. This series, titled Notes from a Moving Line, is specifically about her observations from daily walks along the creek Big Eldorado that runs through the land where she lives. Sara will be at the gallery 5 – 8 pm, Saturday, February 14th and available to answer questions about her work. Both exhibitions will be on view through March 9th.
Longtime friends Corey Arnold and Martin Machado have much in common. Besides enjoying success as artists, both share a love of the sea and have cultivated careers that balance and inspire them professionally through maintaining constant connection to the world’s oceans. Arnold who’s chosen medium is photography brings a collection of images from his many years spent working as a commercial fisherman, always with his camera close by. Machado who has worked both as a merchant mariner and fisherman is a painter and printmaker and includes his paintings to this exhibition, specifically paintings inspired by his colleagues. Both artists bring intimate portraits of fellow fishermen for this exhibition, along with paintings and photographs inspired by time spent fishing Bristol Bay at Graveyard Point, Alaska.
Corey Arnold began fishing as a child, about the same time he first picked up a camera. What began as a weekend family adventure quickly became a permanent part of life. Arnold began fishing commercially in 1995 as a deckhand aboard various vessels and skiffs in Alaska. His career as a fine art photographer and fisherman has taken him far, both documenting and fishing the world’s oceans. Despite his international success as a photographer, Arnold returns every summer to Bristol Bay where he captains a skiff, fishing for salmon.
Arnold’s work is without doubt a celebration of the lifestyle of the fisherman. Through his lens he captures the raw and rugged reality of hard work, with brutal and honest images that depict both danger and beauty, sometimes in the same moment. About this series he states: “Low Tide is a photographic exploration of life at sea in Alaska, and the community, camaraderie, and moments of grace one experiences as a seasonal harvester of seafood.” Arnold has worked seasonally as a commercial fisherman for 30 years and now runs a set gillnet operation out of an abandoned cannery at Graveyard Point, photographing while he works and sometimes joining friends in other fisheries. This series is about those experiences and the people he works with.
Arnold, who graduated from the University of Art Academy in San Francisco has enjoyed a diverse and exciting career. His series Fish-Work was launched after receiving a commission from the PEW Charitable Foundation, taking him to Europe, and photographing from aboard fishing vessels in eight European countries. He has also been awarded an American Scandinavian Foundation grant which led to the documentation of the work of fishermen in Northern Norway. His work has been exhibited in Portland, San Francisco, Los Angeles, Chicago, and New York as well as numerous other venues worldwide, and published in Harpers, The New Yorker, New York Times LENS, Art Ltd, Rolling Stone, Time, Outside, National Geographic, Mare, and The Paris Review, among others. He is a recipient of a Hallie Ford Foundation Fellowship, a National Geographic Explorer Storytelling Grant, and the first-place award winner for the nature category of the World Press Review’s annual photography competition. Arnold has published two books of photography by Nazraeli Press including Fish-Work: The Bering Sea, and Fishing with My Dad. He is represented by Charles A. Hartman Fine Art in Portland, Oregon.
Martin Machado earned his MFA from the San Francisco Art Institute and like Arnold has always held a lifelong love of the sea. He too has cultivated multiple careers that merge, one providing inspiration to fuel the other. Machado brings a series of paintings that, like Arnold’s work, provide a window into a world most of us will never experience. His work directly reflects his time spent at sea as a merchant marine, a commercial fisherman and sailor. Working wherever he could cultivate space, sometimes within his cabin aboard a freighter, the cockpit of a sailboat, and even between net sets in Alaska. About his work he states: “My art works of course are not just about these two experiences, though they are often the jumping off points, they are often not even about the sea. My work is just as much about the forgetting of an experience, the blurring of time and place that happens within our memory. On this planet we are all seafarers of sorts, navigating our way through our modern lives. In my work I aim to celebrate the human spirit, especially among working class communities, and evoke a sense of awe and respect for our natural world.”
For this exhibition Machado brings paintings from his “Wake Series” oil paintings that as the series title suggests, focus on the abstracted element of churning or upwelling of water, the quickly erased footprint of a ship as it cuts through current. Besides the “Wake Series” Machado brings several smaller scale paintings portraying a closer look at life at sea from different personal perspectives, including paintings of mariners he has worked alongside. Specific to this series he states: “I wanted to try to focus on small portraits of the fishing folks that make up this community. I wish I had more time to paint them all, every single one is a character. The people that make up this community are vivacious and fiercely independent and replenish my soul on an annual basis. I like to think about this slice of existence that I’m witnessing in this place I’ve grown to know so well, and all the generations that came before to meet the salmon each summer. There is such a powerful energy to this salmon run, and I believe a lot of that strength is transferred to the people who fish there, both in sustenance and in spirit.”
Machado’s work has been featured in The San Francisco Chronicle, The New York Times Magazine, Juxapoz, New American Paintings, and The Surfer’s Journal. His work has been exhibited stateside from Seattle to New York, and internationally Chili, Malaysia, Scotland, and Mexico. His work was also included to a group exhibition at the prestigious deYoung Museum, San Francisco, CA.
Martin Machado and Corey Arnold have fished in the same set net community in Bristol Bay each summer for nearly two decades, “sharing the incredible highs and lows that come with fishing the most powerful natural fish run on earth from ridiculously tiny skiffs.” For their third exhibition together at Imogen, Arnold and Machado have invited a select group of fellow Graveyard fishing folks with artistic skills of their own to hang some of their works. This collection is by: Billie Delaney, Wesley Smith, Alex Wakeman, Stephen Amato, Gabbie Caspar, Derrick Fore, and Craig Voligny.
Imogen also presents a long-awaited third exhibition for Sara Tabbert from Fairbanks, Alaska. Tabbert, highly respected for her printmaking, brings a new series of both relief carved wood panels as well as wood panels incorporating marquetry. This series, Notes from a Moving Line considers landscape and Tabbert’s own observations of the landscape she lives within. About this series she states: “These pieces were generated from my daily walking route along a creek that runs through the land where I live. A walk in the morning is often a completely different experience than one in the evening. This landscape is always in flux. The creek’s surface changes in color all the time — bright white, sunset pink, acid green and yellow, a deep red-orange, and muddy browns that reflect the sky and surrounding landscape. There is sound and motion of breakup and runoff, and the slow settling and stilling of freeze-up, the almost incomprehensible surge of mosquitoes in mid-summer. From a distance, it’s a small, unremarkable, possibly unappealing landscape. On closer view and with attention, it is a wonderland.”
The focus of this exhibition will be Tabbert’s cedar relief wood panels that are carved and painted. Pattern, color and texture all come together to create elegant depictions of flora and fauna. Tabbert began creating the carved panels years ago as further exploration of her printmaking process and her shifting focus to woodworking techniques. Tabbert’s finished work is indicative of a union between exacting technical skill and an endless creative vision. In every piece the viewer can enjoy the outcome of what is created from strong intuitive knowledge and carefully, calculated fine craft.
Tabbert earned her Master of Fine Arts in printmaking from the University of Nebraska and has exhibited her work extensively throughout the United States and internationally. Her work can be found in permanent public collections, including the Anchorage Museum, Denali National Park & Preserve and Oregon State University’s prestigious Art About Agriculture collection. Tabbert has also enjoyed participating in artist residencies at Denali National Park, Zion National Park, Proyecto ACE in Buenos Aires, Argentina and at the Santa Reparata School of Art in Florence, Italy.
January 2026 Exhibit
Nicholas Knapton
Surfing with a Lifejacket
We are excited to welcome back Nicholas Knapton, a Pacific Northwest artist who has been balancing his career between Astoria, Oregon and Berlin, Germany for nearly three decades. For this series, Surfing with a Lifejacket, Nicholas brings paintings and drawings for his solo exhibition that takes on a more personal note. The show opens during Astoria’s Artwalk, Saturday, January 10 and Nicholas will be at the gallery that evening from 5 – 8 pm, come say hello and learn more about him and his diverse career. The exhibition will be on view through February 9.
Knapton, born in York, England and raised in Astoria, has a fascinating story. His sense of connection to home has always been strong, regardless of how far away he found himself and with the ever-present need to immerse himself in other cultures, studying other languages and always gathering knowledge from wherever he landed to then imbue into his artwork. Back now, full time in his Astoria studio he has settled and with that comes looking inward, considering personal issues as well as the world at large. He takes a keen look at life’s struggles, whether it be on a global level or internal to himself and how those can relate.
Knapton continues with his recognizable direct and edgy abstract style, however within this series he brings brighter color to his palette. Gone is the moody darkness inspired by old gritty Astoria and war-torn East Berlin, instead turning to a more playful upbeat pallet, perhaps reflecting a hopeful future that we all look towards. His style still contains reference to the avant garde German Expressionist movement, an inescapable influence from his years living in Berlin within the rebellious counterculture, after the Wall came down and the unification of the country.
About this series he states: “The work is about perspective—of the figure, on myself, on paper, on canvas. Ten small drawings wrestle with seizures: containment, interruption, collapse, repair. The large canvases take on the figure at scale, where the body becomes both subject and opponent. My neurologist told me that if I were to surf, I’d have to surf with a life jacket. The image is absurd, impossible, necessary. Protection and suffocation at once. That tension runs through everything: the body versus the idea, ego versus shame, resistance versus surrender.
What remains is persistence. A refusal to stop dragging the figure, and myself, back into the frame—again and again—until movement itself becomes the subject.”
Knapton, who began his art studies at Clatsop Community College under the tutelage of Royal Nebeker and Richard Rowland has balanced a career that has taken him back and forth between two very distinctive art communities, exhibiting his work here in Astoria, Portland to the other side of the Atlantic in Berlin, Paris, Estonia, and other European art houses. This dual career is what inspires him, allowing him to participate in an epicenter to creative thought while also bringing it home to a quieter village lifestyle. It is living here, in a more rural setting, that gives him space to contemplate his broader experiences, shaping and defining his focus. His experience in both communities translates to a bold painterly style where both dynamic layers of energy and spontaneity find spaces of open calm and dynamic use of color.
Knapton’s flexibility in lifestyle has allowed him experiences few will encounter. After finishing studies at Clatsop Community College, he headed to Portland where he attended Portland State University, studying under Northwest notables such as Mel Katz, Linda Wysong and Susan Harlan. With a strong core of knowledge, Knapton then jumped into the then burgeoning Berlin art scene. While in Europe he assisted with the restorations of the Royal Opera House at Covent Garden, London, and participated in the Wrapped-Reichstag project by famed installation artists Christo and Jeanne Claude in Berlin. Back home, his figurative work has been juried into the annual Au Naturel International Juried Exhibition multiple times by acclaimed art professionals, including an awarded purchase prize from the college. He continues to exhibit his work both in the Northwest as well as Berlin.
Nicholas Knapton
Surfing with a Lifejacket
We are excited to welcome back Nicholas Knapton, a Pacific Northwest artist who has been balancing his career between Astoria, Oregon and Berlin, Germany for nearly three decades. For this series, Surfing with a Lifejacket, Nicholas brings paintings and drawings for his solo exhibition that takes on a more personal note. The show opens during Astoria’s Artwalk, Saturday, January 10 and Nicholas will be at the gallery that evening from 5 – 8 pm, come say hello and learn more about him and his diverse career. The exhibition will be on view through February 9.
Knapton, born in York, England and raised in Astoria, has a fascinating story. His sense of connection to home has always been strong, regardless of how far away he found himself and with the ever-present need to immerse himself in other cultures, studying other languages and always gathering knowledge from wherever he landed to then imbue into his artwork. Back now, full time in his Astoria studio he has settled and with that comes looking inward, considering personal issues as well as the world at large. He takes a keen look at life’s struggles, whether it be on a global level or internal to himself and how those can relate.
Knapton continues with his recognizable direct and edgy abstract style, however within this series he brings brighter color to his palette. Gone is the moody darkness inspired by old gritty Astoria and war-torn East Berlin, instead turning to a more playful upbeat pallet, perhaps reflecting a hopeful future that we all look towards. His style still contains reference to the avant garde German Expressionist movement, an inescapable influence from his years living in Berlin within the rebellious counterculture, after the Wall came down and the unification of the country.
About this series he states: “The work is about perspective—of the figure, on myself, on paper, on canvas. Ten small drawings wrestle with seizures: containment, interruption, collapse, repair. The large canvases take on the figure at scale, where the body becomes both subject and opponent. My neurologist told me that if I were to surf, I’d have to surf with a life jacket. The image is absurd, impossible, necessary. Protection and suffocation at once. That tension runs through everything: the body versus the idea, ego versus shame, resistance versus surrender.
What remains is persistence. A refusal to stop dragging the figure, and myself, back into the frame—again and again—until movement itself becomes the subject.”
Knapton, who began his art studies at Clatsop Community College under the tutelage of Royal Nebeker and Richard Rowland has balanced a career that has taken him back and forth between two very distinctive art communities, exhibiting his work here in Astoria, Portland to the other side of the Atlantic in Berlin, Paris, Estonia, and other European art houses. This dual career is what inspires him, allowing him to participate in an epicenter to creative thought while also bringing it home to a quieter village lifestyle. It is living here, in a more rural setting, that gives him space to contemplate his broader experiences, shaping and defining his focus. His experience in both communities translates to a bold painterly style where both dynamic layers of energy and spontaneity find spaces of open calm and dynamic use of color.
Knapton’s flexibility in lifestyle has allowed him experiences few will encounter. After finishing studies at Clatsop Community College, he headed to Portland where he attended Portland State University, studying under Northwest notables such as Mel Katz, Linda Wysong and Susan Harlan. With a strong core of knowledge, Knapton then jumped into the then burgeoning Berlin art scene. While in Europe he assisted with the restorations of the Royal Opera House at Covent Garden, London, and participated in the Wrapped-Reichstag project by famed installation artists Christo and Jeanne Claude in Berlin. Back home, his figurative work has been juried into the annual Au Naturel International Juried Exhibition multiple times by acclaimed art professionals, including an awarded purchase prize from the college. He continues to exhibit his work both in the Northwest as well as Berlin.
