Duplex is now accepting submissions for our 3rd annual group show by graduate level art students. Please read submission guidelines before submitting any work.
February 2016, Duplex would like to host a selection of work from art students enrolled in Portland area art schools. This show will run from February 1st through the 26th, with a First Thursday opening on February 4th, 6-9pm. Past shows include LOW, and Becoming What Was.
Duplex is a contemporary art gallery in Portland, Oregon. The gallery hosts monthly exhibitions in an intimate setting of quality work by mid career and emerging local and national artists. The gallery serves to connect these artists with an approachable gallery setting.
Each applicant is encouraged to visit the gallery before submitting, 219 NW Couch St, PDX, OR 97209.
Submission Guidelines: All submissions must
1. be a fully formed group show.
2. include at least 5 images to represent the show.
3. include contact information (name, address, email, phone).
4. include biographies.
5. include a statement.
Please email the above to email@example.com. The deadline is December 1st, 2015.
Situating yourself can be tricky. Which stance do you take? Whose offence does your stance elicit? Do you honor yourself or your audience? When it comes to art making, and curating especially, space and how you position yourself in it becomes the ultimate focal point. What do you place where? And how do you fill space? Or leave it empty for that matter. Where are the boundaries and how far will you push them before they push back on you?
Elisabeth Horan’s exhibition at Duplex heralds the artist’s departure from 2D space and a reentry into the arena of sculpture. The site-specific collage on display in the gallery collapses the past five years of collected cut-out images onto her present concerns with form: she is returning to sculpture, adding a third dimension where there were only two and finding a means to express herself within new, unexpected parameters. The work isn’t about maintaining perspective or restraint. It’s about exploring a new facet of her own creative practice, musing on the comedic and sometimes confusing self-referential positioning within the relationship between artist and artwork. Caring not for defining boundaries, Horan’s installation instead illuminates the permeable borders between mark and the mark-maker, proffering glimpses into a creative process consumed with questions of placement and relating-to.
In the midst of this scrolling scene stands a sculpture to which all peripheral imagery points. Again the artist considers her stance, the work on the walls hinting at a dimensionality and depth that solidifies in the object itself. The viewer, circumnavigating the sculpture, positions herself inside and outside of the body of work simultaneously; she inhabits the installation under the direction of the artist’s spatial choices. Here again, the question is raised: where do boundaries of influence exist within the space? Where does the artwork meet the phenomenological experience inculcated in viewership? The sculpture is, like our bodies, situated in space. It takes a fixed stance, which happens to be in contrast to its counterpart, the collage, who, flattened against a white background, seems all of a sudden ungrounded–hovering around its full figured center point.
September 24, 2015
As a curator and human being Elizabeth Spavento is interested in experimental curatorial practices, millennial culture and alternative forms of consciousness. Her most recent curatorial project, ALL RISE, is a series of temporary installations and performances organized for a 90,000 sq. ft. gravel lot in downtown Seattle. Her work has been published in Nous Journal, Drain: A Journal of Contemporary Art and Culture and by the Henry Art Gallery on occasion of MAXIMUM FUN: A New Sincerity Event. She currently lives nowhere and works in Seattle, sometimes.
October brings us something a little different from the norm here at Duplex. Elisabeth Horan‘s solo show is guest curated by Elizabeth Spavento. Spavento, as a curator and human being is interested in experimental curatorial practices, millennial culture and alternative forms of consciousness. Her most recent curatorial project, ALL RISE, is a series of temporary installations and performances organized for a 90,000 sq. ft. gravel lot in downtown Seattle. Her work has been published in Nous Journal, Drain: A Journal of Contemporary Art and Culture and by the Henry Art Gallery on occasion of MAXIMUM FUN: A New Sincerity Event. She currently lives nowhere and works in Seattle, sometimes.
Read Spavento’s curatorial essay here.Duplex: How did you arrive at the body of work? Elisabeth Horan: Lots and lots of experimenting. I was pushing drawing as much as I could really go with the circle pieces. Sculpture is in my heart; that’s what I went to school for. I got this conviction from drawing those circles, going back and repeating the same thing and then I broke out into collage from that. Working with collage is very sculptural to me. I started to collect these things and find really weird ways they go together. I just collect them and keep them for a long time, experiment with what looks best, and then I come to a point where they need to live on or in something. I feel most at home when things are more dimensional.
Elizabeth Spavento: Do you think the circles were inspired by the place? You were making those during your residency in Finland. EH: Yes and no, I started them when I had my first studio space in Northeast. It turns out the woman who owned the space was drawing charcoal circles and making circle nests in that space years before. I considered that a sign and went for it. Pumped out a bunch of circles, brought that wave to Finland, came back and it felt like the right time for collage. Circles had more to do with the movement and existence of my own body. It was just clearing space, really. Letting it loose. I enjoy tracing; I enjoy gel pens. I pushed the medium to its limit. And here I am again on the other side of the revolving door of creative practice. Feel first, ask questions later.
D: Do you see the circles as a sort of creative cleanse? And if so, it’s a really nice thing for you to say as an artist you did this, this cleanse, but it’s also a really strong body of work on its own. Which is kind of cool. EH: Ooh, yeah. That is cool. I was in a space where I knew I needed to be making and I wasn’t ready yet. So I went for it, obsessively tracing. I had one of those defeatist ideas in my mind like, “oh, collage has been done, everyone’s doing collage.” I went full throttle into the Circle Series, and when I stepped away from it, collage took center stage.
D: Do you see this body of collage as sort of your reintroduction into sculpture? EH: It’s starting to happen a little bit, yes. ES: I’m curious to know the relationship you see between collage and sculpture. I feel like, for me, it’s not necessarily an immediate leap. When I consider collage, I still would consider it 2D work. How do you see it as an intermediary between the drawing practice and sculpture? How do you relate those things? EH: For me, collage nuances sculpture because it is pieces of things that I’m moving around with my hands. Building backgrounds, especially in these things that are happening now—that’s very sculptural. And I’ve had a hard time with this myself, wondering: this isn’t drawing, this isn’t painting, what do you call it? I bring life to found images and make them lift up. I help to resurrect the old and forgotten as though they’ve surfaced from piles and piles of magazines hiding in a garage. And now they are having another go-around of being defined. Or defining themselves. Read More «In the Studio – Elisabeth Horan»