Your Cart: 0 Items

Art and Events

NMcK.dillard.webOn view December 15, 2013 – January 20, 2014
Reception Sunday, December 15 (5-7p.m.)

For Legends of the Game, Nathan Mckee’s new work on basketball, the artist has visited some of his favorite moments in the NBA. Using just an X-Acto knife and paper, McKee hopes to reproduce the excitement of the game and to share his admiration for the court’s already established legends, as much as for the young up-and-comers.

Nathan McKee lives and works in Portland, Oregon. His illustrations and paper cutouts utilize simple lines and flat color, and are inspired by comics, sports, music, and other elements of popular culture. His works have been included in the Adidas Dikembe Mutombo campaign, as well as exhibitions in Portland, Chicago, New York, Cleveland, Boston, and Switzerland. McKee has studied at the Pacific Northwest College of Art and currently runs the website www.fakeyrowndeath.com.

More of his work can be seen on www.nathan-mckee.tumblr.com

For more information and images, please contact may@stumptowncoffee.com

Join his facebook event here.

Jenny Simmons_PCOn view December 2nd – January 6th
Opening Reception 4 – 6pm Sunday, December 15th


My first camera was a cheap little point and shoot given to me by my uncle. I was 8 years old and on my first trip to Taiwan, the birth place of my mother. Receiving this gift while visiting a new and foreign land sparked an early compulsion to document my explorations through photographs.

Having traveled the world I decided to spend this past year focusing on places closer to home. States with which I have a personal and spiritual connection. Documenting them through the eye of the camera much the way I have with my travels since early childhood. I took a second look at landscapes I thought I knew. This journey has brought me closer to what I already cherished and what I consider “My Coast.”

The concept of a nature study is dear to me as it focuses on the beauty and appreciation of one’s surroundings rather than the scientific formalities. I liken this to my methods of photo taking – the technical side being less important than the composition of the subject and the connection I feel whilst taking photos. I choose to be informal and uninhibited by rules. It is more about an idea and an art rather than a science, keeping it free and unrestrained, right where I like it.

- Jenny Simmons

Join the facebook event here.


On view December 3rd - January 2nd
Opening reception 4 – 6 pm Sunday, December 8th
with music performed by Cary Novotny and Seamus Egan

“I entered a county fair art contest when I was  5 or 6  years old. My Grandmother had helped me with the watercolor painting. It was a hillside and a meadow with an old oak tree and a bunny rabbit. There were a few flowers and a little sign that said “bunny trail” and behind them was the big, round sun. The oak tree had a large hole in its trunk and looked as if the tree had once been cut to a tall stump and then had started growing again. There was a snail off to the side of the painting that was almost as big as the rabbit. The flowers were big and not in proportion with the rest of the painting. The bunny rabbit, however, was so damn good. It looked like a real rabbit sitting up in a meadow. The detail stood out against the other objects in the painting, almost as if it had been drawn and painted by another person. Oh yeah, someone else did draw it. It was my Grandmother who had helped me with the difficult task of drawing a rabbit. The picture received a second place ribbon for my age group and I always kinda felt like I didn’t really deserve it  because I hadn’t painted the entire picture alone. Somehow though, years later I take images that usually aren’t mine and turn them into my art for which I feel 100% proud of.  

This show is mostly a reflection of my younger years when the world felt wide open and experimenting with mind altering substances was fairly commonplace. When my rebellious attitude was coupled with freedom to take off with a one way ticket and $500 in my pocket to forget about things and to absorb what the open road had to offer me.”

– Tim Wenzel

Join the facebook event here.



HQ1_web HQ2_webHQ4_webStarting next Wednesday, December 4, we are opening up our home here at Stumptown HQ in Portland’s SE industrial district for public tours.

Want to see how our coffee roastery operates? Check out our training lab, roastery floor, green coffee QC lab and more. Tours will be offered on Wednesdays at 1 pm, limit 10 per tour, first come, first served. The tours will last about 45 minutes to an hour and will include a 1/2 lb bag of coffee roasted before your very eyes.

Tours will be FREE at our Stumptown HQ until the end of the year. Email tours@stumptowncoffee.com to sign up.


On view October 30 - December 14th
Opening reception 5 – 7 pm Sunday, November 3rd 

Using the word ascetic in a secular sense and accepting the meditative aspects within artmaking, LeGette set to work more emotively on this newest series of paintings. Conscious of the communication of space within abstract painting—the spaces we live in, the spaces we’d rather live in, and the freedom within the spaces between—and of the duality of living in a city so closely surrounded by wilderness, her resulting work is at once atmospheric, mysterious, and quietly haunting.

Amie LeGette was born in 1985 and grew up in Northern California. She received her BFA in Painting from the Rhode Island School of Design in 2010. Her work was recently shown at Michael Strogoff in Marfa, Texas. LeGette currently lives and works in Portland, Oregon.



On view October 21st – December 1st
Art reception 4 – 6 pm Sunday, November 17th

“You are on a journey. Passing over Europe you make your way to Egypt, one flight, then another. You work in the Midwest and then in the Northwest, stopping along the way like a vagabond. As you move from place to place, from painting to painting, you, the viewer, become the itinerant: the wanderer.

The paintings all start with motion. It’s as if you’re looking at the places in the paintings from the window of a car, plane, or train. I like to call them “drive-bys” because they freeze scenes you might only catch for an instant as you pass by in a moving vehicle. 


When I drive around in my car I prop my camera up on my shoulder to take pictures of the houses and cars I pass. I stitch the images together in the paintings in my studio. The houses, cars and trees that I paint are publicly visible from the road, but they belong to someone, which makes staring at them a bit voyeuristic. 

Recreating their likeness in the studio amplifies this, but they aren’t just as they were. Colors and the alignment of objects are manipulated to echo the way time changes the way we remember things. The paintings are intimate, but not exclusive. Lacking just enough information to tell you exactly where you are or whom you’re looking at, they instead blur like a memory of one place fading into another.”

– Rachel Wolfson