Big Girls in Rogue
February 1, 2019 - February 28, 2019
First Friday Art Walk and Hosted Reception
February 1, 2019
5:30 pm - 8:00 pm
This newest exhibition, ongoing, is a combination, a continuation and an opportunity to expand the ideas of my anxious circles series. However, this work is more than a continuation, it is a push to understand this need to paint and draw circles. And, in this work the audience became even more important than before. I want these pieces to draw in the viewer with contrast, textured details and dancing shapes. Each shape wants and needs to be in dialogue with the next shape. I have taken every opportunity in each piece to understand how each form relates to the other. I have worked and reworked the composition over and over again. This solo exhibition is about relationships, loss and the ongoing journey.
My work is consistently about loss, reconciliation and my relationship with God. The writings of C. S. Lewis has inspired much of my work, including this body of work. Lewis' book, A Grief Observed was a major influence for ongoing. In his book, he writes of loss, love and continuing to live without the love of his life. He writes about humans being like circles who touch and complete each other. The way C. S. Lewis writes about his loss and the great love he shared with another person, holds a truth that I want to experience in my own life. I want that kind of openness with others. The circles dance about searching for each other, hoping to be transformed by love and truth, even if loss is inevitable.
This work has also been inspired by Gustav Klimt, Sonia Delaunay and the collection of Russian Icons that are part of the permanent collection at the Jordan Schnitzer Museum of Art. The palette was highly influenced by the Russian Icons, while the shapes and sense of play came from the works of both Klimt and Delaunay.
M. V. Moran earned her MFA in Visual Studies from Pacific Northwest College of Art in Portland, Oregon. Moran has a BFA in Painting from the University of Oregon in Eugene, Oregon. Her studio is currently located in Eugene, Oregon.
M. V. Moran
detail. still life
acrylic on canvas
Please contact the artist if you are interested in purchasing this work.
the continuation and combination of anxious circles
September 28, 2018 - January 31, 2019
First Friday Art Walk
November 2, 2018
5:30 pm - 8 pm
This newest exhibition, Merge, is the combination and continuation of my anxious circles-despondent spheres series. The work is about the process of creating that relieves and reveals stress and anxiety. The paintings transform everyday melancholy, strife, and anxiousness into artwork that takes away burdens. For this work, I relied on memories, grief, social injustices and even joy.
During graduate school I was drawing circles to lessen stress. These circles brought me relief. The circles relieved my anxiety of all the stresses that graduate school encompasses. I allowed myself to draw circles and spheres in my sketchbook and began focusing on composition, line and color. I wanted the drawings to mean more than a quick sketch or silly doodle.
After graduating and earning my MFA in Visual Studies, I decided to begin to focus on circles and spheres and create work around this concept. I reviewed my older work and found circles in nearly all my drawing and paintings. For some reason, circles were important to me, I wanted to understand the motivation of creating circles and what intent I could add. I researched the symbolic meaning of circles and how circles and spheres are used to add meaning to various writings, paintings and poetry. The circle represents many concepts from completeness, to wholeness, to Holiness. Circles have meaning: Circle of Life. Come Full Circle. The Wheel. The Planets. The Curve. The Hoop. The Ring. The Halo.
There is play in this work. There are memories. Memories hold, contain people and events. Circles hold and contain. There is loss in this work. There is sadness and there is joy. The piece, Pan Dulce and roses, is about the sweetness that life holds. There is no worry in this piece, only goodness of memories. There is also sadness is this work, the piece, forgotten, is the fear of not belonging. The sadness, loneliness and worry of this work is also felt by the palette. The muted colors bring worry, while the bright colors represent the contrast of joy in life.
This body of work also represents surrendering daily, to the reality that God is bigger than this world. The fear that dwells on this planet, and especially now, during these personally challenging political times, do not need to cause me worry. I may be called to action. I may be called to step up visually and verbally to confront injustices of this world, but I do not need to fear.
Gustav Klimt, Rick Bartow, and Sonia Delaunay were a major influence for this body of work. I have been inspired by seeing their work in person, bringing with me this idea of the importance of making work. Each of these artists where highly prolific and were constantly experimenting with materials, concepts, and design principles.
M. V. Moran earned her MFA in Visual Studies from Pacific Northwest College of Art in Portland, Oregon. Moran has a BFA in Painting from the University of Oregon in Eugene, Oregon. She currently works in Eugene, Oregon.
Epcot or Working for the Mouse
acrylic on canvas
Please contact the artist if you are interested in this work -
September 6, 2018 - September 26, 2018
Portland's First Thursday Art Walk and Reception
Thursday, September 6, 2018
6 pm - 8 pm
This year for the Pacific Northwest College of Art Alumni Show I am exhibiting the small charcoal drawing, the bee's knees. The drawing is one of the smallest drawings in the solo exhibition, peculiar, that was at City Hall this year. This particular piece is based on the old phrase, the bee's knees, which was popular back in the 1920s. The bee's knees meant excellent or better yet, the height of excellence. The phrase is old, but while I was drawing my skeleton, Reggie, and working on this drawing, I found Reggie to be one excellent model. As I finished the drawing, I told Reggie, "you are the bee's knees." And, it is true. It is one fine muse. The knees are belong to Reggie and the circular forms that float below and above symbolize the disconnection or separation from the skeleton, the flesh and spirit. When one dies, the disconnection is absolute. The skeleton and flesh remain and the spirit leaves, leaves for eternity. And, eternity with God is, indeed, the height of excellence.
the bee's knees
charcoal on paper on panel
contact the artist if interest in purchasing this particular piece
July 1, 2018 - July 31, 2018
Second Friday Art Walk
July 13, 2018
5 pm - 7 pm
City Hall Gallery
This newest body of work, peculiar, is just that, peculiar. The drawings are odd, curious and a bit strange. These abstracted still life drawings combine sticks, rocks, bones and vegetables into works about life and death. This new works combines the knowledge of mortality with the great curiosity of death. There is sadness in this work and hope. There is knowledge and ignorance. There is play and fear. This work takes on the rhythm of Ecclesiastes Three, especially verse two, "a time to be born, a time to die..."
This work is inspired by how odd and strange people behaved when family members passed away. They didn't know what to say to me or even express their own compassion. They handed cards and sent flowers, but words seemed to be useless. This exchange of paper for my loss did help. This exchange of images and the written word brought comfort. The bringing of food and flowers spoke for those who did not have words. And, in the end, I found that words were useless and the exchanges of non verbal comfort brought love and healing more than any conversation could have.
One reason, the work had to be on paper was to represent this exchange of paper for grief and paper is fragile like the body. The sturdiness of the wooden panels represent the strength of the spirit. The rectangle of the panels are symbolic of how I see people compartmentalize grief. As if grief and loss can be contained to one exact moment, one period of time, one specific feeling. The palette of black, white and gray represent the movement of emotions that loss brings about. The charcoal is the representation of ashes to ashes.
Rick Bartow, Jim Dine and Edvard Munch were major influences for this body of work. I have been inspired by seeing their work in person, bringing with me this idea of the importance of always making. Each of these artists where highly prolific and were constantly experimenting with materials, concepts, and design principles. Two other influences are the exhibition, Body World and my skeleton, Reggie. You can see Reggie @m.v.moran on Instagram. He is one fun guy.
M. V. Moran recently earned her MFA in Visual Studies from Pacific Northwest College of Art in Portland, Oregon. She has a BFA in Painting from the University of Oregon in Eugene, Oregon. She currently works in the Eugene-Springfield area.
M. V. Moran
Amanda Martin Wilcox
July 1, 2018 - July 31, 2018
First Friday Art Walk
July 6, 2018
5:30 pm - 8 pm
The exhibition, Melancholia, brings the perspective of four women artist who approach the subject of melancholy in different ways. Each artist takes her own approach and represents the emotion into a visual narrative. Their work explores the concept that melancholy is not only a feeling of sadness and grief, but a companion to disconnect and can be seen beyond an emotion and can be a guide to reconciliation.
Each perspective ranges from death, isolation, space and conformity. Vanover’s work encompasses melancholy as the companion to death, while Moran researches how isolation leads to melancholy by the cyclical. Wilcox’s work takes the concepts of melancholy and makes a notion, a feeling, into place with her landscapes. Lee takes melancholy and places the emotion into a space and the universal cycle.
M.V. Moran recently earned her Master of Fine Art in Visual Studies from Pacific Northwest College of Art in Portland, Oregon. She has a BFA in Painting from the University of Oregon. She works in Eugene, Oregon. She has been actively involved in the Eugene-Springfield art community.
Rhonda Vanover is an Assistant Professor of Photography at Ithaca College in Ithaca, New York. She received her Master of Fine Art in Visual Studies from Pacific Northwest College of Art, in Portland, Oregon and her undergraduate degree from the Pratt Institute, in Brooklyn, New York.
Amanda Martin Wilcox holds an MFA in painting, photography and social practice from Pacific Northwest College of Art, Portland, Oregon and earned her BFA in painting from the University of Oregon. Her interest in advocacy and meditation influences her work. Her work is also informed by her explorations of multicultural perspectives, travels to West Africa and Europe and research on inclusion and post-colonial systems of power.
Kum-ja Lee is a Korean artist based in Eugene, Oregon. Lee recently earned her Master of Fine Arts in Visual Studies Program at Pacific Northwest College of Art in Portland, Oregon. Lee earned her BFA and MFA at Hong-Ik University in Seoul, South Korea and a BA from the University of Oregon in Eugene, Oregon. Lee has shown her work locally and internationally, including South Korea and Russia.
All of the artists have a connection with the Pacific Northwest. Each woman earned her MFA from Pacific Northwest College of Art in Portland, Oregon. Vanover spends her time between the East Coast and Oregon. Moran is an Oregonian who was born, raised and educated in her home state. Wilcox moved from California to Oregon nearly thirty years ago and found home. Lee moved to Oregon over ten years ago from South Korea and has found the Pacific Northwest to add a sense of place to her life.