
Matt Conklin's World of Wonders is now available at NYC's Printed Matters... to order online go to: https://www.printedmatter.org/catalog/45884
I love the way they took the time to actually read and appreciate a book that sells for only $2.00. Their description:
Matt Conklin is a sculptor known for his scaled-down, hand-constructed, richly colored 3D cityscapes, often involving model trains which wend their way between the buildings. His DIY zine serves as a complement to his sculptural practice, bringing together thirteen artists and thinkers constellated around Corvallis, Oregon, each of whom contributed sketches, prose, or poetic meditations on communal environments and their creative possibilities.
I love the way they took the time to actually read and appreciate a book that sells for only $2.00. Their description:
Matt Conklin is a sculptor known for his scaled-down, hand-constructed, richly colored 3D cityscapes, often involving model trains which wend their way between the buildings. His DIY zine serves as a complement to his sculptural practice, bringing together thirteen artists and thinkers constellated around Corvallis, Oregon, each of whom contributed sketches, prose, or poetic meditations on communal environments and their creative possibilities.
Artist Matt Conklin is contributing to Portland2016 A Biennial of Contemporary Art: Matt's work complements/interacts with the works of artist Bruce Burris at the venue c3initiative: . Picture on left shows the installation at c3:i. Matt named the installation Sky High City, a reference to Sky High Brewing in Corvallis. The zine (another piece of the same installation provides further exploration of his themes. Matt's webage:
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Corvallis Advocate
July 6, 2016
Corvallisites Exhibit at Portland 2016, Featuring Matt ConklinBiennial art festivals have conquered the globe over the last few decades, taking a seat at the head of the world art table. It’s essentially where everyone wants to be, from established artists to unknowns, to art lovers in general. Portland, being the city that it is, has its own biennial festival, which is traditionally filled to the brim with the best and brightest from the region. This time around, national art legend Michelle Grabner chose two artists from Corvallis while filling just 35 full exhibition spaces available. One was Oregon State University Professor Julie Green, and the other CEI Artworks Director Bruce Burris. The latter is no stranger to working within social contexts, and has chosen to share his space with local outsider artist Matt Conklin.
Containing “bits and pieces” of projects Burris has been working on (from 3D work to drawings, signs, and more), his particular reception will open with Corvallisite Kaitlyn Wittig Menguec performing a variation on a series of Burris’ performances called The Corvallis Tree Being. The undoubted show-stopper, however, will be Conklin’s hand-constructed, richly colored 3D cityscapes. Instantly recognizable, in that most of us have spent time around similar models and objects, there is much to catch the eye, but also a a world of wonder beyond.
I was instantly drawn to Conklin’s creations. As I see it, the trick to understanding them is to abandon all pretense (easier said than done, of course). What appears on the surface to be colorful models actually contain a tremendous intention of detail that results in the sort of abstraction that makes perfect sense to us at first glance, before a first thought is allowed to bubble up in our minds and pop into existence. Everything is somehow in the right place, the success of which is indicative of Conklin’s own lack of pretense. Buildings bespeckled with corporate ads that are both out of place and feel right at home. Spaces which are both new and recognizable. As an artist myself I can’t help but admire the freedom of his craft, which appears to operate under no rules but those he’s chosen.
While interviewing Burris, I was made aware of another project of Conklin’s, a DIY zine (which will be available for a few bucks a copy) by the name of Matt Conklin’s World of Wonders, which serves, at the very least, as an important companion to his sculptural efforts. The zine is littered with words and visual art by 13 additional contributors, including the Arts Center’s Hester Coucke and OSU’s Anna Fidler. After viewing a number of pages, I felt as if I had been transported into a living, breathing dimension of Conklin’s art—not unlike what I experienced as a child with Mr. Rogers’ Neighborhood of Make-Believe.
Onlookers might nod their heads and say, “Ah!” to discover that Conklin’s cityscapes are designed to facilitate model train courses. Though the trains that Conklin often sets up in and around his art will not be a part of his biennial exhibit, their influence on his work is apparent. Conklin possesses a large collection of electric trains and models, which he shares on YouTube (look for railroadguy100). Whether moving through traditional models or those from his artwork, the videos themselves are shot in a very non-traditional manner, elevating them to a form of art in and of themselves. At this point I’ve seen each one at least three times and will be back for more.
For a deeper look at Conklin’s projects, visit http://outpost1000.weebly.com/matt-conklin.html.
Though the reception for Burris’ collective space is this Saturday, July 9 at the c3:initiative (www.c3initiative.org), the show runs until mid-September. If you find yourself in Portland, be sure to check it out, as well as the larger salon exhibit at Disjecta ( www.disjecta.org for details), which will feature over 100 artists including Burris.
Green’s Student Teacher Exhibit
Julie Green’s Student Teacher exhibit can be found during Portland 2016 at both Disjecta and Umpqua Community College (UCC). Having studied with Green over several terms myself, I can attest to the fact that when she says her teaching philosophy centers around the idea that “the teacher is also the student,” it’s the real deal.
Born of complete collaboration and the desire to exercise reciprocity, she and several recent Oregon State University graduates—Francisco Morales, Kaitlyn Carr, Abigail Losli, and Claire Harden—will select works for each other to be displayed, traveling and installing together as well. Like most of the biennial exhibits, Green’s will run from Saturday, July 9 through Sunday, Sept. 18.
Now That You Want to Go…
If you were curious about the UCC thing, that’d be because I hadn’t mentioned yet that Portland 2016 has associated events all over the state. This is a massive happening, with dates, times, and locations all over the place, but your central source should be http://portlandbiennial.org/, where you’ll find most of what you’ll need. The next couple of months provide a lot of opportunities for art surveying, though most of the receptions happen sooner rather than later.
The move from single centers to regional power in the art world is something of great significance—and most important, to us living in Oregon, it gives us power to let shine what’s being created by our neighbors.
By Johnny Beaver
--------------------------------------------------
Matt Conklin’s World of Wonders (zIne text and pictures)
Orderly grids of windows on squares
but not a single business suit to be found.
There is harmony in this sea of primary colors.
Lots of primary colors.
Rectangles rest on paper cylinders
near duct tape water towers.
They stop me in my tracks,
"What it must be like to live there..."
Lots of primary colors.
Legos and yellow twine,
bottle caps, toy planes, and cardboard boxes;
Doodads neither lost nor forgotten
create spaces for everyone.
In such a vivid world,
take comfort in the lack of pattern.
Let the colors teleport you back home
to whimsy.
Kaitlyn Wittig Menguc is a performance artist and arts advocate living and working in Corvallis, Oregon. She earned her Bachelor of Arts in Theatre Arts and her Master of Arts in Arts Administration and Policy.
---
Vibrant.
A new era constructed from the past with radical intention.
Together they work-play-live-love.
They live in total health.
-
They provide everything for themselves.
For without nights spent discussing their radical intention,
separated they would work-toil-fear-fight instead.
They’d live for capitalist wealth.
Andy Haverkamp is a radical environmentalist, non-hierarchical collectivist, co-operator, and your loving friend. They produce music, words, thoughts, and are the pilot of Project Vanarchy.
---
On Housing Support:
House gives dignity.
Invite your friends and make art;
store slippers, clothes, food.
A haiku for the Oligarch Tower:
Oligarch building
gaudy towers, high walk-ways
unsound foundations
Julia Bradshaw is an Assistant Professor, School of Arts and Communications at Oregon State University
---
Five Second Rule
A stay on the middle floor of a fifteen-story hotel
in Mexico City the name of which does not matter
as if it is as it was long ago it might as well be Tercera Persona
therein and less to be seen these days or so I’ve been told
this much stucco façade built of cardboard and tempera
would seem quick to fade inside and out
fitting a fictive past set in the present
Which would be a blessing in that particular room
if there is still a slum below the window
I hadn’t the occasion to look out
until my son launched his Lego Space Shuttle.
Not quick enough but enough to watch the toy bounce
off the back of a startled burro into the hands of a child
one of thirty the disadvantage of one short of sixty
dodging flicked butts from above just like the beer can
that narrowly missed my head yet stopped before the ground.
For three days the kid and I sit on the bed
roll up coins into pairs of socks
request extra personal-sized soaps
and order one of every item from room service.
Patrick Collier is an artist, arts writer and organic farmer
---
WHEN A PLACE IS CARED FOR
Onto the train steps a woman carrying a bowl full of midnight blueberries—can you see her?
Maybe the green shoes belonged To her grandmother—maybe the dress Is too big, but listen-- in her red mouth is a song for Superman—sung with a little irony but not too much--
she forgives him for not being so super, and for being a man, and likes him standing on the bridge Like a memory from childhood
as the train makes it’s way through this world of bold color where things are really hanging together. Nobody, not one person on the train, or working in the town, appears to be carrying a gun
Some people like to stand On top of buildings—they’ll wave When the train goes by, But no passenger will need to cry Don’t jump It’s not that kind of jumping Off buildings type place
It’s sheltered in an artist’s mother’s garage, and I bet there is not a single person on earth who wouldn’t agree we need more of this-- not that it should be a requirement to make colorful worlds in our mother’s garages—for one thing most people wouldn’t begin to know how--- and many don’t have mothers much less mothers with garages, but wouldn’t it be nice if everybody did? And on Saturdays we could all stroll
in and out of our mothers' garages visiting
towns of resting grounds for our sore
imaginations , and while it lasted
we might be saved.
Jane McCafferty is an American novelist and short story writer.
Her stories have appeared in Alaska Quarterly Review, Seattle Review, Glimmer Train, Story, Witness. She teaches at Carnegie Mellon University.
---
A song:
Long instrumental with heavy bass.
Fantastic space coaster lands
Metropolis with splendid vision
Architects from other worlds
And inhabitants from magazines
Skyscrapers in waves of color
Percy Bysshe Shelley dreams
Ozymandias and euphoria
Matt Conklin's World of Wonder
Saxophone solo here.
Matt Conklin's World of Wonder
Matt Conklin's World of Wonder
Matt Conklin's World of Wonder
Matt Conklin's World of Wonder
Fade out with jazz hands.
Anna Fidler lives and works in Corvallis, OR where she is a full time instructor at Oregon State University. Her work has been reviewed in Art in America, the San Francisco Chronicle and the Washington Post. Her subjects include vampires, basketball players and female rock icons from the seventies.
---
The Alphabet Murder
A saw the perp flee the scene.
B ran down the block after the deed was done.
C was thrown to the ground but couldn’t see the face.
D thinks addiction drove the killer;
E claims it was a crime of emotion.
F says fuck it, let’s go bowling.
G says the goon had it coming.
H doesn’t know how anybody could do this.
I do not cast blame.
J, aloof and mum.
K kicks it in the shadows with
L leaning against a wall.
M, move aside, move aside.
N, snaps pictures of the scene.
O, sweet Jesus!
P, the police arrive
Q. Quick, somebody call an ambulance!
R, the siren wails.
S, hides in the gathering crowd.
T, everyone whispers a Hail Mary to themselves.
U is in utter disbelief. Between,
V, shards of glass from
W, a shattered window,
Y languishes.
Z, broken and lifeless.
Eric Wayne Dickey lives and works in Corvallis, Oregon. You can follow him at twitter.com/MePoet.
---
Urban Fabulous
Robin de la Mora: As founder of CEI, Robin uses her passion for community leadership to provide dedicated assistance to job seekers with disabilities searching for meaningful employment.
---
In conversation: Matt Conklin and Bruce Burris
Bruce: Why did you name your zine “Matt Conklin’s World of Wonders”
Matt: The towers I am making are a place of wonder with restaurants, stores and living suites for poor and rich.
Bruce: Poor and rich together?
Matt: Yup, people without so much money can stay in the main level and there are jobs for people in the restaurants and stores. You can work in the garden which is in the higher level and will grow small vegetables.
Bruce : When did you start building these towers?
Many months ago. Frank Gehry and Frank Lloyd Wright made buildings of wonder, their amazing works of art become real places. My idea of 3-D art is influenced by my lifelong passion for models. The creativity and the amazing details. The fun is in making the details and the colors come from experimentation, different mixes of colors and tints. All the buildings are a theme like advertising or sports of travel. I explore and visit different places. I go there but I also see pictures in books and on the internet. When I work on buildings its about creativity and ingenuity, this is what makes them look magnificent.
Bruce: I’ve seen your train layout in your mother’s garage and the garage is completely covered by it, it’s so big. Are you planning on adding these towers to it?
Matt: Railroads mean all the fun of seeing the motion of the machines. They should be in museums. I think people enjoy seeing a real close encounter with my trains. This is going to be hard for some people, now here’s the raw form, it comes from anything just laying around the house, you can use just about anything. Sometimes I want to think eco and use environmentally friendly materials. Just about anything can be made into a building. If I got a rugged box which once carried materials to a destination instead of throwing this away it can become a custom model.
Bruce: I know you have posted about 300 videos of your trains on Youtube as railroadguy100.
Matt: Yes this shares my passion for railroads and all the amazing sets I make. Then there is opportunity. I have many favorite trains but my favorite is the Southern Pacific’s legendary Daylight. There are poor people and there are people who think they are poor and so they have less. When you see the amazing- you know you can do it and they can do anything that comes to them. Anything that comes to mind can go from thought to reality.
July 6, 2016
Corvallisites Exhibit at Portland 2016, Featuring Matt ConklinBiennial art festivals have conquered the globe over the last few decades, taking a seat at the head of the world art table. It’s essentially where everyone wants to be, from established artists to unknowns, to art lovers in general. Portland, being the city that it is, has its own biennial festival, which is traditionally filled to the brim with the best and brightest from the region. This time around, national art legend Michelle Grabner chose two artists from Corvallis while filling just 35 full exhibition spaces available. One was Oregon State University Professor Julie Green, and the other CEI Artworks Director Bruce Burris. The latter is no stranger to working within social contexts, and has chosen to share his space with local outsider artist Matt Conklin.
Containing “bits and pieces” of projects Burris has been working on (from 3D work to drawings, signs, and more), his particular reception will open with Corvallisite Kaitlyn Wittig Menguec performing a variation on a series of Burris’ performances called The Corvallis Tree Being. The undoubted show-stopper, however, will be Conklin’s hand-constructed, richly colored 3D cityscapes. Instantly recognizable, in that most of us have spent time around similar models and objects, there is much to catch the eye, but also a a world of wonder beyond.
I was instantly drawn to Conklin’s creations. As I see it, the trick to understanding them is to abandon all pretense (easier said than done, of course). What appears on the surface to be colorful models actually contain a tremendous intention of detail that results in the sort of abstraction that makes perfect sense to us at first glance, before a first thought is allowed to bubble up in our minds and pop into existence. Everything is somehow in the right place, the success of which is indicative of Conklin’s own lack of pretense. Buildings bespeckled with corporate ads that are both out of place and feel right at home. Spaces which are both new and recognizable. As an artist myself I can’t help but admire the freedom of his craft, which appears to operate under no rules but those he’s chosen.
While interviewing Burris, I was made aware of another project of Conklin’s, a DIY zine (which will be available for a few bucks a copy) by the name of Matt Conklin’s World of Wonders, which serves, at the very least, as an important companion to his sculptural efforts. The zine is littered with words and visual art by 13 additional contributors, including the Arts Center’s Hester Coucke and OSU’s Anna Fidler. After viewing a number of pages, I felt as if I had been transported into a living, breathing dimension of Conklin’s art—not unlike what I experienced as a child with Mr. Rogers’ Neighborhood of Make-Believe.
Onlookers might nod their heads and say, “Ah!” to discover that Conklin’s cityscapes are designed to facilitate model train courses. Though the trains that Conklin often sets up in and around his art will not be a part of his biennial exhibit, their influence on his work is apparent. Conklin possesses a large collection of electric trains and models, which he shares on YouTube (look for railroadguy100). Whether moving through traditional models or those from his artwork, the videos themselves are shot in a very non-traditional manner, elevating them to a form of art in and of themselves. At this point I’ve seen each one at least three times and will be back for more.
For a deeper look at Conklin’s projects, visit http://outpost1000.weebly.com/matt-conklin.html.
Though the reception for Burris’ collective space is this Saturday, July 9 at the c3:initiative (www.c3initiative.org), the show runs until mid-September. If you find yourself in Portland, be sure to check it out, as well as the larger salon exhibit at Disjecta ( www.disjecta.org for details), which will feature over 100 artists including Burris.
Green’s Student Teacher Exhibit
Julie Green’s Student Teacher exhibit can be found during Portland 2016 at both Disjecta and Umpqua Community College (UCC). Having studied with Green over several terms myself, I can attest to the fact that when she says her teaching philosophy centers around the idea that “the teacher is also the student,” it’s the real deal.
Born of complete collaboration and the desire to exercise reciprocity, she and several recent Oregon State University graduates—Francisco Morales, Kaitlyn Carr, Abigail Losli, and Claire Harden—will select works for each other to be displayed, traveling and installing together as well. Like most of the biennial exhibits, Green’s will run from Saturday, July 9 through Sunday, Sept. 18.
Now That You Want to Go…
If you were curious about the UCC thing, that’d be because I hadn’t mentioned yet that Portland 2016 has associated events all over the state. This is a massive happening, with dates, times, and locations all over the place, but your central source should be http://portlandbiennial.org/, where you’ll find most of what you’ll need. The next couple of months provide a lot of opportunities for art surveying, though most of the receptions happen sooner rather than later.
The move from single centers to regional power in the art world is something of great significance—and most important, to us living in Oregon, it gives us power to let shine what’s being created by our neighbors.
By Johnny Beaver
--------------------------------------------------
Matt Conklin’s World of Wonders (zIne text and pictures)
Orderly grids of windows on squares
but not a single business suit to be found.
There is harmony in this sea of primary colors.
Lots of primary colors.
Rectangles rest on paper cylinders
near duct tape water towers.
They stop me in my tracks,
"What it must be like to live there..."
Lots of primary colors.
Legos and yellow twine,
bottle caps, toy planes, and cardboard boxes;
Doodads neither lost nor forgotten
create spaces for everyone.
In such a vivid world,
take comfort in the lack of pattern.
Let the colors teleport you back home
to whimsy.
Kaitlyn Wittig Menguc is a performance artist and arts advocate living and working in Corvallis, Oregon. She earned her Bachelor of Arts in Theatre Arts and her Master of Arts in Arts Administration and Policy.
---
Vibrant.
A new era constructed from the past with radical intention.
Together they work-play-live-love.
They live in total health.
-
They provide everything for themselves.
For without nights spent discussing their radical intention,
separated they would work-toil-fear-fight instead.
They’d live for capitalist wealth.
Andy Haverkamp is a radical environmentalist, non-hierarchical collectivist, co-operator, and your loving friend. They produce music, words, thoughts, and are the pilot of Project Vanarchy.
---
On Housing Support:
House gives dignity.
Invite your friends and make art;
store slippers, clothes, food.
A haiku for the Oligarch Tower:
Oligarch building
gaudy towers, high walk-ways
unsound foundations
Julia Bradshaw is an Assistant Professor, School of Arts and Communications at Oregon State University
---
Five Second Rule
A stay on the middle floor of a fifteen-story hotel
in Mexico City the name of which does not matter
as if it is as it was long ago it might as well be Tercera Persona
therein and less to be seen these days or so I’ve been told
this much stucco façade built of cardboard and tempera
would seem quick to fade inside and out
fitting a fictive past set in the present
Which would be a blessing in that particular room
if there is still a slum below the window
I hadn’t the occasion to look out
until my son launched his Lego Space Shuttle.
Not quick enough but enough to watch the toy bounce
off the back of a startled burro into the hands of a child
one of thirty the disadvantage of one short of sixty
dodging flicked butts from above just like the beer can
that narrowly missed my head yet stopped before the ground.
For three days the kid and I sit on the bed
roll up coins into pairs of socks
request extra personal-sized soaps
and order one of every item from room service.
Patrick Collier is an artist, arts writer and organic farmer
---
WHEN A PLACE IS CARED FOR
Onto the train steps a woman carrying a bowl full of midnight blueberries—can you see her?
Maybe the green shoes belonged To her grandmother—maybe the dress Is too big, but listen-- in her red mouth is a song for Superman—sung with a little irony but not too much--
she forgives him for not being so super, and for being a man, and likes him standing on the bridge Like a memory from childhood
as the train makes it’s way through this world of bold color where things are really hanging together. Nobody, not one person on the train, or working in the town, appears to be carrying a gun
Some people like to stand On top of buildings—they’ll wave When the train goes by, But no passenger will need to cry Don’t jump It’s not that kind of jumping Off buildings type place
It’s sheltered in an artist’s mother’s garage, and I bet there is not a single person on earth who wouldn’t agree we need more of this-- not that it should be a requirement to make colorful worlds in our mother’s garages—for one thing most people wouldn’t begin to know how--- and many don’t have mothers much less mothers with garages, but wouldn’t it be nice if everybody did? And on Saturdays we could all stroll
in and out of our mothers' garages visiting
towns of resting grounds for our sore
imaginations , and while it lasted
we might be saved.
Jane McCafferty is an American novelist and short story writer.
Her stories have appeared in Alaska Quarterly Review, Seattle Review, Glimmer Train, Story, Witness. She teaches at Carnegie Mellon University.
---
A song:
Long instrumental with heavy bass.
Fantastic space coaster lands
Metropolis with splendid vision
Architects from other worlds
And inhabitants from magazines
Skyscrapers in waves of color
Percy Bysshe Shelley dreams
Ozymandias and euphoria
Matt Conklin's World of Wonder
Saxophone solo here.
Matt Conklin's World of Wonder
Matt Conklin's World of Wonder
Matt Conklin's World of Wonder
Matt Conklin's World of Wonder
Fade out with jazz hands.
Anna Fidler lives and works in Corvallis, OR where she is a full time instructor at Oregon State University. Her work has been reviewed in Art in America, the San Francisco Chronicle and the Washington Post. Her subjects include vampires, basketball players and female rock icons from the seventies.
---
The Alphabet Murder
A saw the perp flee the scene.
B ran down the block after the deed was done.
C was thrown to the ground but couldn’t see the face.
D thinks addiction drove the killer;
E claims it was a crime of emotion.
F says fuck it, let’s go bowling.
G says the goon had it coming.
H doesn’t know how anybody could do this.
I do not cast blame.
J, aloof and mum.
K kicks it in the shadows with
L leaning against a wall.
M, move aside, move aside.
N, snaps pictures of the scene.
O, sweet Jesus!
P, the police arrive
Q. Quick, somebody call an ambulance!
R, the siren wails.
S, hides in the gathering crowd.
T, everyone whispers a Hail Mary to themselves.
U is in utter disbelief. Between,
V, shards of glass from
W, a shattered window,
Y languishes.
Z, broken and lifeless.
Eric Wayne Dickey lives and works in Corvallis, Oregon. You can follow him at twitter.com/MePoet.
---
Urban Fabulous
Robin de la Mora: As founder of CEI, Robin uses her passion for community leadership to provide dedicated assistance to job seekers with disabilities searching for meaningful employment.
---
In conversation: Matt Conklin and Bruce Burris
Bruce: Why did you name your zine “Matt Conklin’s World of Wonders”
Matt: The towers I am making are a place of wonder with restaurants, stores and living suites for poor and rich.
Bruce: Poor and rich together?
Matt: Yup, people without so much money can stay in the main level and there are jobs for people in the restaurants and stores. You can work in the garden which is in the higher level and will grow small vegetables.
Bruce : When did you start building these towers?
Many months ago. Frank Gehry and Frank Lloyd Wright made buildings of wonder, their amazing works of art become real places. My idea of 3-D art is influenced by my lifelong passion for models. The creativity and the amazing details. The fun is in making the details and the colors come from experimentation, different mixes of colors and tints. All the buildings are a theme like advertising or sports of travel. I explore and visit different places. I go there but I also see pictures in books and on the internet. When I work on buildings its about creativity and ingenuity, this is what makes them look magnificent.
Bruce: I’ve seen your train layout in your mother’s garage and the garage is completely covered by it, it’s so big. Are you planning on adding these towers to it?
Matt: Railroads mean all the fun of seeing the motion of the machines. They should be in museums. I think people enjoy seeing a real close encounter with my trains. This is going to be hard for some people, now here’s the raw form, it comes from anything just laying around the house, you can use just about anything. Sometimes I want to think eco and use environmentally friendly materials. Just about anything can be made into a building. If I got a rugged box which once carried materials to a destination instead of throwing this away it can become a custom model.
Bruce: I know you have posted about 300 videos of your trains on Youtube as railroadguy100.
Matt: Yes this shares my passion for railroads and all the amazing sets I make. Then there is opportunity. I have many favorite trains but my favorite is the Southern Pacific’s legendary Daylight. There are poor people and there are people who think they are poor and so they have less. When you see the amazing- you know you can do it and they can do anything that comes to them. Anything that comes to mind can go from thought to reality.

Conklin’s work reminds us of the honesty and joy of creating. The validity of his work comes from the simple fact that it exists. It is both bold and unabashed in that it pushes past formal traditions.
Francisco Morales is a graduating BFA at Oregon State University. Born in Los Angeles, California he lives and works and lives between Portland and Corvallis, Oregon.

I was so struck with the blue, the grid and the Russian Oligarchs. I am reading War & Peace, and wanted to respond to the grid in the softer colors and some gold. Russia was once so much "French" and Baroque....
Hester Coucke is Assistant Director and Curator at The Arts Center of Corvallis OR
Hester Coucke is Assistant Director and Curator at The Arts Center of Corvallis OR

I colored this based off a section of one of his buildings.
Jamie Walsh is an artist and Art & culture Program Director at Oregon Supported Living Program
Jamie Walsh is an artist and Art & culture Program Director at Oregon Supported Living Program

Matt Conklin at work
Kris Askew is an artist living in Corvallis, Oregon
Kris Askew is an artist living in Corvallis, Oregon