URSULA BARTON

Ursula Barton || SHOWING NOW!!!

Proudly representing her Oregon roots here in Portland, Oregon, Ursula graduated in 2010 with a BFA from Pacific Northwest College of Art. She then created a series of large paintings inspired by her rainy bike commutes over the many bridges of Portland. This series was the beginning of her fascination with weather, architectural landscapes, and bridges.

 

In 2011 she founded Jailhouse Studios, a female run creative work space and gallery named after the history of the building, which was erected in 1905 for the Southeast Portland Police. This same year was the beginning of her mural career.

Finding joy in the physicality of large-scale painting, she began to paint any walls and odd spaces she could find. This inspiration from her environment created an obsession with travel early in Ursula’s career. She lived in South America, traveled all 50 states, visited architecture in Europe and was awarded a mural grant to live in Mexico in 2016. Travel has become and will continue to be the backbone of her process.

In recent years, Ursula has also grown to work and collaborate with talented local designers, manufacturers and small businesses, expanding her UB product line illustrating urban landscapes and creating accessible and sustainable products. In December 2018, this ongoing collaboration helped Ursula transform Jailhouse Studios into Jailbreak Studios, an art studio, gallery, resource center and storefront promoting locally made unique objects, handmade jewelry, home goods and apparel created by people of color, queer, and female emerging artists. Through Jailbreak Studios, Ursula continues to push freedom of thought and creativity with the collaboration and support of other creatives.

ALLIES & PRIVILEGE GROUP SHOW || OPENING NOV 1ST 2019

Every day of the year we aim to create a platform for poc, indigenous, queer, and female identifying artists in our community. We believe in positive change through art and open dialogue, and in order to live by our mission of full inclusivity NOVEMBER 1ST will be the opening of ‘Allies and Privilege’ a group show featuring works by

Ray Bidegain
Jon Stommel
Isaac Sachs
Sean P Lambert
John Loughman
Todd Molinari

Join us on First Friday from 6pm-9pm to meet the artists and enjoy the show.

Kate Blairstone || September 2019

I believe in pattern and color. Not because decoration is beautiful (it is), not because pattern and color are back in fashion (in human history, they never left), but because they have such an ability to create specificity in our memory. To live amongst pattern and color is to remember. Creating images based on the world around us is as old as people; it connects us to the places we live and the environments that sustain us. Botanical patterns throughout our history are symbols for the places those plants grow; color a symbol of light, and therefore season. It would be a shame to dismiss pattern and color as merely decorative, and with it the mostly unnamed artists who traditionally did this work. It is an act of resistance to embrace color and pattern, to build a visual life around it, to research it and know where it comes from, who made it and why.
 
For my part, this work is often an exploration of ingredients: the plants that make up a garden, the season in which they fruit and bloom, the part of the world they come from, and the people and cultures who live among them. I am influenced by printmaking, textiles, horticulture, cooking, gardening and photography: simplifying objects into flat planes of color to imply quality of light and evoke nostalgia. I especially enjoy collaborating with chefs and plantspeople, drawing on their ideas about ingredients, culture, place and season.

Because my work is often client based, digitally shared and printed, and because I work from home with a small child, I have come to embrace the digital space as both the medium and vehicle for my work. All but one of the pieces in this show were created completely in Photoshop with an iPad, Apple Pencil and digital brushes. I strive to keep a hand-drawn feel and incorporate reductive techniques--think wood cuts or linoleum printing--into my digital work by carving back into my drawings. I also work in Indian ink on tissue to create stencils in the manner of silk screen, each layer representing a different color within a subject. Each stencil is then scanned, stacked and colored digitally, then repeated to imply a pattern. I’m both inspired and challenged by the myriad uses for this medium, from the gallery wall to wallpaper to branding. 

Lara Rouse || August 2019

I've always loved to create and for a little over a year I've been making collages. 100's. It's a quick hands on process, all that is required is scissors, rubber cement and paper. I've been very inspired and freed by Andy Warhol's idea that it's not the job of the artist to decide if their is any good, just stay busy making more art. And that is what I do, it helps me turn off the mind from worrying about the world. The collage community has been very welcoming and encouraging, I am very honored to be a part of it.

Katharine T. Jacobs || July 2019

Fixation
Katharine T. Jacobs photographs on cyanotype coated linen embellished with sashiko style stitching. Earlier this year I participated in an eye study for Multiple Sclerosis research. During a particularly difficult part of the four-hour study there was a test in which a bite bar is employed. The ophthalmologist complimented me on how efficient I was at completing each tedious test. He said “Wow you are so great at fixating”. This seemingly meaningless compliment had a profound effect on me, previously in my life the term “fixate” had only been used negatively from partners in response to my need for more details. Having spent the last 8 years in an emotionally and verbally abusive relationship I was often gaslight out of my questions and concerns. “Stop fixating!” on this or that became a common statement in my relationship, as if my interest in facts was the problem not the behavior I questioned. I came to believe that I was the problem, that my inquisitive nature and craving for knowledge was and unattractive quality that needed to be stifled to preserve my relationships. So I tried to control my urges to pry, and I fixated in silence.

 

I have always been detail oriented. My background is in craft and I believe in making things well, right and with intention. Years ago I used to make dolls. I would spend days stitching tiny details. Hours embellishing an object that would, unfortunately, rarely receive the appreciation it deserved. I spent the last 6 years focusing on photography and set sewing aside. I started working with cyanotypes after my Multiple Sclerosis diagnosis in 2018. These large format photographs were made in response to my first symptoms, my diagnosis, and the dissolution of my marriage. These portraits are about love and loss, physical and emotional pain, coping with living with a chronic illness and craving intimacy after years of abuse. Sitting with these cyanotypes on linen and stitching on them for long periods of time has given them new life. The stitching patterns have little meaning conceptually but the act of stitching in process was a mantra for me. A reminder to that it is ok to fixate. Fixation is a skill, and intuitive power and a strength to hone. With each stitch I embrace my ability to trust my instincts, learn to live outside of the cycle of abuse and stay strong in my convictions to resist gaslighting.

Schroeder is a photographer, installation artist, performance artist and textile designer who focuses the effects trauma. Her work ranges from art therapy projects such as The Body Project, to performance and installations pieces all of which ask the question:"How can I feel connected to my body and how do the spaces I am in influence that dynamic?" In her most recent work, Schroeder asks about the relationship between humans and cacti and how textiles can provide a boundary similar to a cactus spine.

 

Schroeder has taught Digital and Darkroom Photography as well as Intro to Computer Graphics at the University of Nevada, Las Vegas. She received the honor of Outstanding Graduate Student of the Year for the Fine Arts Department while getting her MFA at the University of Nevada, Las Vegas. She was also awarded the Graduate Service Award for representing the Fine Arts department in the Graduate and Professional Student Associate as well as the work she did with Arts Bridge, an educational program combing art education with core curriculum and for her research on The Body Project.

 

Schroeder's work can be seen at Sin City Gallery upon request and her work was
recently on display at Eastside International Gallery in LA as well as Lightbox Gallery in Astoria, Oregon

Swoon

 

Swoon comments on the social need to take respite from the traumatization of having a body; a portrayal of what it means to be home in your form. Imagine a world where we just looked at bodies as shapes, where we had ownership of them, yet we objectified them in a way that they could no longer be tied to our egos; we saw form for what was simply form. The intimacy in the size of the Fuji film is what creates confrontation with the viewer. You either get up real close and view this image or you don’t see it. That confrontation is brave, and the choice to face the images, and not hide means change.

Ace Troy is a queer artist born and raised in Portland, Oregon. Ace's work takes the in your face pop style of Andy Warhol and blends with a Shepard Fairey sense of contrast, seen through the eyes of pop culture from the past and present. Early influences such as Banksy pushed Ace into the realm of stenciling and spray paint but a love of Roy Lichtenstein and Warhol pushed him off the streets and on to woodcuts, vintage household objects and canvas.

 

markings made from meditations.  movements measured in slowness.  lines that force a monkey mind, my monkey mind to be present with and for every gesture.  slow art and slow looking when the world feels disconnected and often times too much.  the idea behind my art is to come to the paper each morning with a simple ballpoint pen and create the same meditative movement again and again.  the lines layer up, overlap, connect, and present themselves as abstracts with their own conscious form.  they are daily reminders that much can be created and accomplished in one sitting of fifteen minute slowness.  

Emily Kepulis is a painter living in Portland, Oregon. She graduated from Portland State University in 2015 with a BA in drawing, painting, and printmaking. With a background and avid interest in both the visual arts and creative writing, her work is influenced by the interaction between these two mediums and their ability to create illimitable meaning.

I have been working with cyanotype for three years now. I started by coating watercolor paper and printing in the sun. I felt a similar magic to what I had felt in the darkroom and fell in love with the deep Prussian blue. I had never seen a blue so rich and vibrant.

 

The first time I was introduced to cyanotype was in an Alternative Processing Photography class at Humboldt State University where I received my BA in Studio Art with a focus in Photography and Sculpture graduating in 2013. Last year I received my MFA in Art Education from Lewis and Clark here in Portland and I just started my first full time teaching position as a High School Photography teacher.

I have felt my age this past year more than ever. I am coming into a time in my life with extreme responsibility and weight. With that greater feeling of weight there is also a greater feeling of freedom. I have incurred more stress than I’ve ever felt but along with that have felt great purpose. I have been broken and healed,  great love and even greater loss, joy and deep sorrow. This work has some to do with that. I photographed these pieces three years ago and they have lain dormant in my archives waiting for the time that they needed to be shown.

That time is now…

Wading

 

I rest above and below

Geothermal wombs

Stretched

Scarred

Hardened

 

Time is a figment but I see it on my face

 

And I am young

 

And I’m getting older

 

Skin chapped

Withered

Warm in the light

Glowing in shadow

 

I wade when it’s shallow

I wade in trepidation

 

Into darkness

I wade in confidence

 

For all the darkness in depth there is still as much light in the unknown

 

Making purpose in practice

Gaining strength with weight

A heavy soul more free

With every

 

Unburdening

 

A shrouded cry

Nude soak

Cavernous longing

 

I am naked but warm

Vulnerable but resilient

Sufficient but Seeking

 

I am a man but I am beautiful

Wading

Nestled in the New England wilderness, Michaela grew up in the small town of Solon, Maine. The secluded and simple Americana lifestyle of this community helped Michaela explore painting at a young age while progressing her relationship with nature. After high school, Michaela lived outside of Boston for a few years and began to analyze abstract forms of art. This is when she began to balance a formal art education and an experimental period of self-driven study. It was during this time that Michaela began to really develop a strong style and sense of self in her artwork. She later spent time on Cape Cod to continue exploring her creative process in a new setting, but this was merely a pit stop before the cross-country travel that brought Michaela to Portland, Oregon. Michaela attempts to simulate arcane settings in her abstract paintings and enjoys producing mixed-media pieces because of the physicality of the materials. She uses a process of self-reflective thought and meditation to achieve artwork centered around the importance of connection in human existence and the importance of small moments. Michaela considers herself an autodidactic emerging artist that is currently focusing on abstract nature scenes and small collage projects. She has had work showcased by the organization RAW Art at Mixx 360 in Malden, MA and has also been featured in Amazing Things Art Galleries in Framingham, MA. Michaela currently has work on display in the Dennis, Massachusetts town hall for the People’s Project.

Delicate Situation

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JAILBREAK STUDIOS

910 SE TAYLOR ST.PORTLAND, OR 97214

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