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March 2011

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Some thoughts about line drawings:

A wonderful thing about drawing a line is that it can be any number of things. One line is not necessarily any more important or informative than any other line. We might assign a line a representative value,  it may become symbolic.

Strictly speaking, a line is a geometrical object that is straight, infinitely long and infinitely thin. A line is one-dimensional. It has zero width in mathematics. If you draw a line with a pencil, the pencil mark has a measurable width.  In this sense, the pencil line is an approximation of the idea of a line on paper.

A line as an idea drawn can be a beautiful thing in all of its imperfect representation.

Matt Niebuhr is an artist living and working in Portland, exploring the threshold at which ordinary visibility ends and perception begins.

More about his work can be seen on his website:   www.mattniebuhr.com

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I’ve been thinking a lot recently about physicality – how the full data spectrum of a place, person, bit of culture, or event can affect you in subtle ways.  With these collages I wanted to explore my past immersively, to encode sense impressions that would evoke for me nostalgia, melancholy, weirdness, the phenomenological goo of my experiences instead of their literal form.  I hoped that by making the collages sculptural, by giving them materiality, I could build images that could not be represented well virtually, the actuality of which was their content.  I wanted to let the work reveal itself to me, to emerge from the accumulation of random debris and art refuse I’m surrounded by, to surprise me in the same way that the world continously does.  Eno said:

“Digital is too deterministic. At the purely electronic level, there are very few molecules involved, and their behavior is amplified. The closer you get to the ‘real’ instruments – including physical devices such as tapeheads, tape, loudspeaker cones, old echo units, analogue synths – the more molecules are involved, and the closer you get to a ‘probabilistic’ condition…”

Initially started after she was denied a job with American Apparel at the age of 25, American Girl, 2005-2011 documents Ashley Neese’s aging process in a culture where youth is celebrated as the ultimate asset. Exploring the empowerment one woman finds in reclaiming her age, this exhibition is a five year photographic journey about what it means to be sexy on somebody else’s terms, and ultimately, the liberation that it inspires.

Ashley Neese is a trans-disciplinary artist that grew up in Atlanta, Georgia. She makes work about relationships, love, and how it feels to be alive using a wide range of accessible media. In 2005 she earned her MFA from California College of the Arts. Her projects, which deal with the beauty and bittersweetness of the everyday, have been executed and exhibited in the Rosenberg Gallery at NYU; San Jose Institute for Contemporary Art; Nuit Blanche, Toronto; TRUCK Contemporary Art, Calgary; Koh-i-nor, Copenhagen, Denmark; and Dreizehn, Berlin, Germany. In 2009 she participated in artist residencies at threewalls, Chicago; The Alberta Printmakers Society, Calgary; and The Berlin Office, Berlin. She launched Open Heart, a publication about love, in 2010, and was on faculty at the Banff Centre during the winter of 2011, directing a creative residency about love in contemporary art. For more information about her life and practice, please visit: www.ineedyouso.com and www.how-i-love.tumblr.com

On view March 3rd – 29th, 2011
Opening reception First Thursday March 3rd, 6pm – 8pm