The Maude Kerns Art Center presents the 28th annual “Art for All Seasons Membership Show” and the “Club Mud Ceramics Holiday Sale,“ featuring the artwork of over 140 member artists and ceramics by 15 members of the Art Center’s onsite ceramics cooperative, Club Mud. The exhibit is on display through Friday, December 18.
Art for All Seasons features paintings, drawings, prints, photography, sculpture, fiber art, mixed media, digital art, and functional and decorative ceramics. This annual show provides a perfect opportunity to purchase original artwork in many price ranges for holiday gift giving.
The Maude Kerns Art Center is adhering to all State of Oregon and Oregon Health Authority guidelines. The Art for All Seasons Membership Show and Club Mud Holiday Sale can be viewed in person and online at www.mkartcenter.org. Artwork may also be purchased through the Art Center’s website.
Jenny Gray explores her personal experiences and the human condition using abstracted figures, objects, and symbols. She most recently exhibited her work at Maude Kerns Art Center in January – February 2020 in the group show, “Conversations.” For the Membership Show, Gray displays a painting titled Mean Surf that evokes her fear of suddenly being caught in a rip tide. She says of this piece: “I think this painting grew out of the stress and feeling of hopelessness I had at the end of the summer of 2020.”
Edward Teague exhibits two paintings in this year’s Membership Show. He is inspired by the Oregon environment in his work, using the forms, shapes, and colors of nature more to express a mood than to create a representational image. An Abstract Expressionist at heart, he is attracted by the immediacy of acrylic, and prefers to paint with a pottery-shaping tool instead of a brush so that he can achieve the texture and gestural expression he desires. For Teague, the act of discovery is the prime motivation of his art practice.
Karen Washburn shows two clay sculptures in the Membership Show – a dramatic head of a man with a bird titled Companions in the Wind and a more straightforward female portrait head. Working from the model, Washburn captures the gesture, expression, and the structure of the face or body. She says of her work: “My style can vary from rough to more refined, but I generally sculpt in a realistic vein, because through specific examples I think something broadly meaningful can be carried: a sense of presence, and life.”