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Gallery

February Gallery Exhibition
Exhibit-Thursdays–Sundays | February 1-24 | 12:00-4:00pm
Opening Reception February 3 | 2:00-4:00pm
Gallery is closed the last Sunday of every month
Hoffman Center for the Arts | 594 Laneda Avenue | Manzanita
Free and open to the public

 

 

Works by Connie Dillon, Russell Strand, and J.D. Perkin

Connie Dillon

After moving from Billings, MT to Astoria, OR in May 2020, my focus and energy have shifted to reflect the area, primarily forests, surrounding me. Seldom without my camera, I frequently walk through the woods. The enriching beauty, pristine air, and the small features of the life they support provide a rejuvenating, reassuring, and communicative practice that prompts any number of creative ideas to gel. I transform my photographs into small shapes, each its own distinct module of color. On the canvas these tiny blocks of light and color and shadow become a unique representation of a space. Standing close to the painting the viewer will see shapes, but from across a room its details cohere like a photograph. Forests maintain a mystique while conveying an embracing presence. This is what I strive to capture on canvas.

I operate a small gallery in downtown Astoria–ARTstoria–creating works there and from my home studio, many of which have been juried into group shows across the country. 2023 exhibits include Artworks Northwest Biennial, Umpqua Valley Arts in Roseburg, OR; American Landscapes, Maryland Federation of Arts, Annapolis, MD; Delectable: The Art of the Edible, Spiva Center For the Arts, Joplin, MO; ‘Scapes Exhibition, d’Art Center, Norfolk, VA; Yellowstone Art Museum’s Annual Auction, Billings, MT; and Missoula Art Museum’s Annual Benefit Auction, Missoula, MT. In addition to the Hoffman Center for the Arts February exhibit, 2024 promises to be a busy year with paintings selected for the Arts Thrive Annual Exhibition at the Albuquerque Museum in Albuquerque, NM and recurring art museum auctions in Montana. My work has been collected internationally, but the western region of the United States remains close to my heart and its essence is captured in my paintings.

 

Russell Strand

 

As I paint Oregon from direct observation, I seek to share the wonder I experience as light and shadow play upon rarely celebrated scenery. What I find most interesting within landscape subjects is when sites show a balance between natural and human influence: when the passage of time and the growth of flora dance with the beautiful necessity of established, evolving infrastructure. Weather and decay do their work on buildings and equipment. People mend them. The grass and trees persist. In the midst of these factors, something harmonious reveals itself to me as I drive around discovering plein air sites. I am fascinated by the variations of relationships between natural and human influence, between light and shadow, and between different forms within a scene: some tense, some peaceful, some ominous, some hopeful. I enjoy emphasizing and relishing the relationships between forms much more than celebrating the forms themselves.

I have been painting since early childhood and creating oil on canvas works for about five years. When I was a toddler, my mother would take me to industrial sites where I would enjoy hours of observation. As a young adult, I have worked several jobs in the skilled trades where I have been able to both apply and draw inspiration from the art that is present in industry. I am dedicated to painting from life, which, to me, means being informed by intuition, by interest, and by experiences. Painting, to me, can be a catalyst for unity. When I paint on site, I am able to form an even stronger connection to the place through conversations with passing individuals and the folks who work in the buildings I cherish. When I lead a workshop, the wonder of observation is shared and the differences of how we express our own experience are celebrated. When I paint from life, I am often reminded: art is everywhere and it is for everyone.

 J.D. Perkin

 

I like to think of these ceramic figures as on a stage, frozen in the middle of some undisclosed theatrical production. A single figure, quiet, waiting, joined on stage by another, creating the potential for dialogue and complicating the space and shape onstage.  Four figures arranged together into a huddle, secretive, plotting perhaps. Together they appear not as individuals but as an abstract shape, an ensemble.

When I was a young boy, I had a dream of standing on the beach with my mother in the gusty wind on a grey day, watching my father impossibly climb Haystack rock. He reached the top and turned to wave. It felt dangerous and thrilling. The silhouette of my father’s tiny figure on the giant dark rock is an image forever lodged in my mind. It’s interesting that my most enduring memory as a child turns out to be a dream.

Click here to view and download event flyer

 


  •  February 1, 2024
     12:00 pm - 4:00 pm
  •  February 2, 2024
     12:00 pm - 4:00 pm
  •  February 3, 2024
     12:00 pm - 4:00 pm
  •  February 4, 2024
     12:00 pm - 4:00 pm
  •  February 8, 2024
     12:00 pm - 4:00 pm
  •  February 9, 2024
     12:00 pm - 4:00 pm
  •  February 10, 2024
     12:00 pm - 4:00 pm
  •  February 11, 2024
     12:00 pm - 4:00 pm
  •  February 15, 2024
     12:00 pm - 4:00 pm
  •  February 16, 2024
     12:00 pm - 4:00 pm
  •  February 17, 2024
     12:00 pm - 4:00 pm
  •  February 18, 2024
     12:00 pm - 4:00 pm
  •  February 22, 2024
     12:00 pm - 4:00 pm
  •  February 23, 2024
     12:00 pm - 4:00 pm
  •  February 24, 2024
     12:00 pm - 4:00 pm
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February Gallery Exhibition

Venue:  

Address:
594 Laneda Avenue, Manzanita, Oregon, 97130

Description:

Situated on the main street in Manzanita just a few blocks west of Highway 101, the Hoffman Center Art Gallery is located across the street from the North Tillamook Library.

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