In June, I have a painting in the horse-themed Equine, a group show at the Froelick Gallery, opening June 1-July 16, 2011.
Portland based art critic Richard Speer writes about the paintings of From Cradle to Grave: The Color White, my art show at the Anka Gallery, in the visual arts section of this week’s Willamette Week.
“The highlights of the four-person show Kalos Eidos (Color/Beauty/Form) are the haunting paintings of Julianna Paradisi. The artist takes on the color white, normally associated with purity and nobility, and coaxes the creepiness out of it. Her eerie children in christening outfits, brides with empty eyes, and downright scary nurses in white uniforms are deeply unsettling. The fact that Paradisi is herself a registered nurse adds an additional layer of autobiography and ambiguity to the work.” by Richard Speer for WW, http://wweek.com/events/latest/visualarts/#36.49
The Anka Gallery will host an open house reception on Thursday, October 21, 2010 from 4pm to 7pm. From Cradle to Grave: The Color White is part of the group show Kalos Eidos, curated by Anna Solcaniova King. The show closes October 29th.
If you’re in Portland, Oregon this week stop by the Anka Gallery and see my new series of paintings From Cradle to Grave: The Color White, and the work of three other featured artists. The spacious Anka Gallery is located in the Old Town neighborhood’s Everett Station Lofts. The opening reception is First Thursday, October 7, 6pm-10pm.
Everything takes longer than you think it will.
I believe this to be true, so my strategy for managing the unexpected things that happen while preparing an art exhibition is allowing ample lead-time. Since I’ve been exhibiting for a while, I have a checklist of universal tasks such as documenting the work, updating business cards, making post cards, vinyl lettering, framing, etc. If the artwork is traveling to a gallery in another city, I build in time for packing and shipping too. Once the paintings are made, I begin crossing tasks off the checklist. Even so, the unexpected will occur.
Take yesterday morning, for instance. When I began this post, David was solving a printing problem we discovered the night before. Several hours later, he fixed the problem and we made the prints. However, it delayed their delivery to Luke’s Frame Shop for packaging a few days, because the ink has to dry and cure first.
Sometimes unexpected occurrences are positive. Last week, while showing the From Cradle to Grave: The Color White portfolio to Anna Solcaniova King (see Pulling a Rabbit Out of Her Hat: An Interview with Anna S. King), curator and co-owner of Anka Gallery, I discovered a new relationship between two of the paintings, strengthening each.
This morning, I’m writing my artist bio for the show. Maybe it’s my experiences as a cancer survivor and an oncology nurse that makes the task feel like a prelude to an obituary. I can’t help it. Nowadays, with electronic media, I’m aware that every word I write about myself is recorded somewhere in cyberspace. The days where an artist or writer could destroy early work, and preserve only the work they wished to represent them after their death, are over. Same with the artist’s statement. When my thoughts about From Cradle to Grave: The Color White deepen and mature over time, the words I write about the paintings today may someday contradict my insights of the future. I hate feeling committed to an inflexible opinion as if my thoughts are butterflies pinned to a board and hung on a wall in a picture frame. I want the freedom to explore and gain wisdom.
But a thoughtful artist statement is required, and so I do my best to express who I am, and what my painting and writing are about, knowing that if I’m lucky enough to live a long life, some of the information will change. Like my art, I am evolving.
Everything takes longer than you think it will.
David and I were at Luke’s Frame Shop , getting things ready for my upcoming show. David lugged in the original Love You to Death, which Luke framed for us awhile ago. Unfortunately, we had to tear it out of its frame to re-photograph it for The American Journal of Nursing cover, and are finally getting around to having the matting repaired. I was happy to find out that Luke can cut foam board backing for the giclee prints of Love You to Death. Love You to Death will be on exhibit and prints of it are available at Anka Gallery in October, along with new paintings.
If you’re in the neighborhood, stop by Luke’s Frame Shop and see the poetic, charcoal drawings of insects and roosters by Portland artist April Coppini. Her show is up through October 7, 2010.
Recently returned from a family trip, I turn my attention to a new project. September is a busy month.
In October, I’m exhibiting the paintings of From Cradle to Grave: The Color White , at Anka Gallery, in Portland, Oregon. As I write this post, David, my husband, is photographing the paintings in our living room/photography studio. David earned an Associate Degree in Television Production Arts before becoming a pharmacist. His technical skills support my small success as an artist and writer over the years. He understands the dual personae of artist and health care provider.
The photographs serve as documentation of the series. Documenting artwork isn’t much different from documenting patient care in a chart. I describe the piece (or the patient), what I did, how I did it, and describe the conclusion in an artist statement. As an artist and nurse, I get lots of practice documenting people and things.
Besides making the paintings, and documenting them, I have to think about the exhibition as a whole. Neglecting to consider how each painting relates to another on a wall is like spending an entire shift in the ICU focused on a patient’s respiratory care for improved blood gas results, but overlooking the patient is running a fever and not treating it. Despite a shift of good work, the oncoming nurse will point out the obvious mistake to you, and you will feel foolish.
A smaller, unlimited edition giclee print of Love You to Death is now available . Love You to Death was the October 2009 cover of The American Journal of Nursing (AJN). Each print is professionally printed in Oregon on the same high quality Epson paper with archival inks as the large, limited edition, and suitable for framing. Every print is proofed and signed by the artist. It makes a wonderful gift. Purchase it through PayPal.
Prints ship within 7 business days, so I am unable to guarantee delivery for Christmas.
I’ve contributed two oil paintings to the December group show at Anka Gallery. Anka Gallery is located in the Everett Street Lofts in Portland’s Old Town Neighborhood. Portions of the sales proceeds will be donated to P:ear and Outside In.
Ravens (on the Eastbank Esplanade) was featured in the spring 2007 continuing education Pacific Northwest College of Art catalog. NW 13th & Marshall is part of the Greetings from Slabtown series mentioned in a spring 2009 blog post by Sylvia Foley.
Come by Anka on First Thursday, listen to music, celebrate the holidays, and purchase some great art to help homeless youth in Portland.
First Thursday Opening
Show will run through first of January.
325 NW 6-th Ave
Portland, Or 97209