Karin Clarke Gallery 760 Willamette St. Eugene, OR. 97401 541.684.7963 firstname.lastname@example.org
Artist Statement for After the Storm
Within my work runs a common thread of interest in the scientific realm. Whether it be astronomy, physics, or botany I am fueled by ideas and images from science, both contemporary and historic.
This current body of work employs botanical imagery as a jumping off point to investigate both micro and macro perspectives of the natural Northwest environment. The images reflect on the results of weather as well as fractal patterning from star charts and leaf patterns to bird feathers. Ultimately I am interested in how the web of rhythms and patterns of the natural world, both visible and invisible, organically weave together to create forces which form the fabric and quality of the natural world.
By its nature the medium of Printmaking is most often one step removed from the direct control of the artist. For this reason Printmaking has become an essential element for evolution of my imagery. The simultaneous development of multiple matrices allows for constant experimentation, chance discoveries, and an element of chaos that I have grown to rely on.
Originally from New York, printmaker and painter Tallmadge Doyle has lived in Eugene for over 20 years. Doyle received her BFA in Drawing from the Cleveland Art Institute and an MFA in Printmaking in 1993 from the University of Oregon.
Her work has been exhibited in over one hundred national and international exhibitions, including recent solo shows at the Davidson Gallery in Seattle and the Augen Gallery in Portland. Doyle has received numerous awards and her work is held in many public collections in this country and overseas.
Shifting Migrations reflects on scientific findings of altered migratory patterns and ecosystems effected by changing climatic conditions. It is a meditation on the visual drama revealed in moments of transition within the natural world — something that one can see in a split second such as the flutter of a butterfly wing, an airborne leaf, or a glimpse of a falling pine cone.
My observations of fractal structures within found botanical matter and their arrangements within star charts, seed pods, shoreline erosion, and migratory paths reveal closely related systems of visual structure. This source material informs my process and feeds my ongoing interest in the universal web of rhythms and patterns, both seen and unseen which weave together to create the fabric of the natural world and our experience of it.
The line work suggests the rhythmic orchestration of infinite detail in the environment while the bold graphic quality of silhouetted shapes presents those usually fragile forms with strength and agency. Through the layered printing of etched copper plates and wood blocks the imagery is further abstracted and recontextualized.
By its nature the medium of Printmaking is at minimum one step removed from direct control of the artist. For this reason Printmaking has become an essential element for the evolution of my imagery. The experimentation and random occurrences involved when working with multiple matrices allows for chance discoveries and an element of surprise that I have grown to rely on as a crucial component of my creative practice.
Contemplari Natura is an unusual set of limited edition etchings. These prints were made from copper plates which were subsequently mounted on the hearth wall at the Ford Alumni Center at the University of Oregon. The 1% for the Arts commission was used for the finished piece, which spans a 30 foot by 8 foot wall. The lush flora and fauna of Oregon form the subject matter for this group of delicately rendered prints expressing the beauty and majesty of the state’s diverse habitats.