My sculpture practice is jagged. The material is clay. Making is frenetic, with long work sessions in the studio. Gritty black clay is coiled, pounded, pressed, pinched and pulled into abstract forms with torn edges that radiate outwards. I look at archaic forms of lures, sinkers, plumb lines, and hooks. I’m considering burial –– coffins, shrouds, mounding. The making is an invocation, the objects a confrontation

I walk away from my sculptural objects and re-encounter them as if we haven’t known each other. Then my print-making practice begins: I lay the now-fired stone pieces down and pull ink across the surface. Or rub charcoal over the relief. On paper, waves of pigment fan out, translating the form and the terrain of the surface anew.

Drowned World is where I’ve been. It is a summoning, an edge, a reverberation.

Place and space morph from reality and become dreamlike memories of experience. Through making, the artists create ephemera that consciously or subconsciously responds to such dreams of the everyday. Material metaphor and formal decision become paintings, sculptures, prints, and collages, that are then tools for contemplation and icons of memory. In an era of socio-political turmoil, contemplation becomes necessary to promote peace and openness.

Anamnesis, a group show by four emerging artists currently working in Portland, Oregon, presents abstract representation of experience, emotion, and place and promotes a curiosity and poetic understanding of how space and place can expand into something else entirely.