LET’S CELEBRATE!

“It has been said that art is a tryst, for in the joy of it maker and beholder meet.” ~Kojiro Tomita

The gallery, of course, is the space that enables this tryst, the gallery’s exhibition that admits each to take notice of each other.

So I’m pleased and honored to be invited to Smith & Vallee Gallery’s special 10-year celebration exhibition.

Ditch

Ditch, 2014. Zone plate photograph, gelatin silver print, 17″x21″ framed (handmade frame)

 

Smith & Vallee Gallery is celebrating 10 years of representing the finest established and emerging artists in the Pacific Northwest. This group show is a celebration of over 80 artists we have worked with, marking over 80 shows since our inception. Please join us Saturday, May 6, 2017 from 4-8pm to celebrate with artists, friends and family!

 

Smith & Vallee Gallery
5742 Gilkey Avenue
Edison, WA 98232

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SOUTH AMERICA, HERE WE COME!

Ecuador Travel

Not a lot makes sense these days. But travel, since it helps me to extend my perception, to open my eyes and my heart, and to escape the habits that bind me at home, is something that still makes sense.

Ecuador is calling.

I’ll be off-line for the entire five and half weeks we’re gone, but you can follow my travels either on Instagram or on my blog, if I can figure out how to post from my iPhone, not an easy task for someone as technically challenged as I am.

Gracias.

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BOXX GALLERY IN APRIL

Boxx Gallery installation

As Boxx continues its journey of bringing artists’ work to our Valley, this next show is a fabulous example of two sensitive and nuanced photographers at work. Jane Alynn’s black and white film-based photographs are reminiscent of Pictorialism’s soft-focus, its diffuse and ethereal light and shadow. These lensless images tempt the imagination to see beyond the literal. M R McDonald photographs the poster scene he finds in Seattle. In his “found art”, as he calls it, the literal gets lost in the rips, tears, and unfinished imagery. Both are worth a trip to Tieton, where Spring is bursting forth, optimism is returning and the gallery with a big heart is up and running. See you this Saturday from 11 to 4 for the opening and every Saturday the rest of April. Here’s to art and Spring!

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BOXX GALLERY EXHIBITION

Exhibition Announcement

FOR IMMEDIATE RELEASE

Jane Alynn | M R McDonald Exhibit Photographs at Boxx Gallery

Tieton, WA – April 1, 2017 – Boxx Gallery is pleased to present The eye has its reasons…, a two-person exhibition featuring photographic works by Jane Alynn and M R McDonald, two artists who will make you see the world differently. They share an affinity for visual perception and a shift from the literal. But both use the medium differently.

Jane Alynn’s black and white film-based photographs are reminiscent of Pictorialism’s soft-focus, its diffuse and ethereal light and shadow. These lensless images tempt the imagination to see beyond the literal. M R McDonald photographs the poster scene he finds in Seattle. In his “found art,” as he calls it, the literal gets lost in the rips, tears, and unfinished imagery.

The eye has its reasons…
BOXX Gallery
APRIL 1 – APRIL 29, 2017
Opening Reception: Saturday, April 1, 11 AM-4 PM
Gallery hours: Every Saturday, 11 AM-4 PM

Jane Alynn lives in Anacortes, WA, but has family roots in Tieton. Among her awards, she was selected in 2014 as a finalist in Photolucida’s Critical Mass, and received in 2013 a Women in Photography Award. Also a poet, she delights in the intersection of these sister arts.

M R McDonald was born in Yakima. His photographs have shown throughout Washington. In addition to photography, he has exhibited his non-representational paintings. He has been an artist at Gallery 110 in Seattle, since 2015.

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40th National Juried Photography Exhibition

Snag and Grass, gelatin silver print, 17 x 21" framed

Snag and Grass, gelatin silver print, 17 x 21″ framed

I’m immensely honored to have a print selected by Juror Julia Dolan, Minor White Curator of Photography of the Portland Art Museum, to be part of the 40th National Juried Photography Exhibition.

This is a national juried photography exhibition, held every two years, in the Larson Gallery on the campus of Yakima Valley College.

Larson Gallery
Yakima Valley Community College
E. Nob Hill Blvd & S. 16 Streets
Yakima, WA 98901

Exhibition Dates: March 9 – April 15, 2017
Opening Reception, Thursday, March 9, 5 to 7 PM

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SKAGIT WOMEN PRINT: EXHIBITION ANNOUNCEMENT

Danger Zone © Eve DeisherPerry and Carlson Gallery in Mount Vernon, Washington, is thrilled to present: SKAGIT WOMEN PRINT, the work of 18 women artists of Washington’s Skagit Valley. Printmakers, painters, poets and photographers, each has produced a limited edition of 25 prints in a range of methods, including: lino and wood block, solar plate etching, vitreograph, mezzotint, chine colle and serigraph.

“The scale of these prints is small and their messages often subtle. They honor the past and what has been lost even as they trace contemporary patterns of change and delight. In every image you’ll find a tribute to the heart-stopping beauty that remains eternally Skagit.” Sheila Farr

Please join us for an opening reception with the artists on Saturday, March 4, from 3-6 in the gallery at 508 S. 1st Street, Mount Vernon.

The show is dedicated to the late Eve Deisher, whose print: Danger Zone is shown.

Contributing artists are: Jane Alynn, Jean Behnke, Eve Deisher, Heidi Epstein, Kathleen Faulkner, Jules Remedios Faye, Jessica Gigot, Kathryn Glowen, Nicolette Harrington, Theo Jonsson, Ellen Jane Michael, Kris Ekstrand Molesworth, Natalie Niblack, Ann Chadwick Reid, Sue Roberts, Stella Spring, Twila Tate, and Kristin Loffer Theiss.

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LOOKING BACK

Artifice, a photo by Jane Alynn.

Artifice. Photo © Jane Alynn.

It’s Throwback Thursday!

The photograph above is a very early zone plate image.

This week, in the process of updating my website’s ABOUT page, I recalled my beginnings with black and white film-based zone plate imagery.

I was living in Edison, Washington, in a dilapidated building that once had been a lumber yard and hardware store. It was cheap—affordable for us—and we had a dream of creating a live-work space there. It was large enough to accommodate our living quarters, our separate studios, and even a gallery.

Though that dream never came to fruition, and we eventually sold the building, another beginning took root there.

I saw some photographs made by a friend. They were diffuse and mysterious, and the highlights glowed. They could have been out of the early twentieth century Pictorialist movement. It was like looking at the ineffable. I fell in love with those images, and I wanted to explore those lensless creations myself.

Gratefully, our friend sent me a zone plate to fit on a camera, so that I could experiment with it.

I mail-ordered a Lubitel, a cheap Russian-made camera priced at that time, as I recall, under $25—it had to be cheap, so that I wouldn’t feel badly when I crashed the lens out of it—which I did, and then fit the zone plate over the aperture. I couldn’t wait to expose my first role of film with a zone plate.

I’ve never looked back.

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10x10x10xTIETON CLOSING RECEPTION

On Saturday I’m heading to Tieton, Washington, to attend the closing reception of this exhibition. Besides having work in the show, Tieton is where I go when I need a bit of serenity.

Mighty Tieton

Mighty Tieton warehouse, home of the 10x10x10xTieton exhibition

 
A look back at the opening reception.

2016 10x10 opening

A look back at the opening.

2016 10x10 photographs in the exhibition

Waves of Steel #2 and Waves of Steel #1

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WHO WILL SPEAK FOR THE TREES?

Remains. Stumps at Baker Lake. Photo © Jane Alynn

Remains, 2012, gelatin silver print.

If we destroy nature, we destroy ourselves.  ~ Edward Burtynsky

The Project

My fascination with trees has followed me from childhood. Surrounded by woods, my daily life centered on exploring every nook and cranny of the forest, observing, attentive to its vicissitudes, its breath. I inhaled its stories and silence, order and great energy, flexibility and persistence. The power of these life-giving experiences instilled a deep reverence for the natural world and a profound love of trees.

In my early photographs, trees claimed their rightful place in my work. Their beauty and mystery, form and spirit were, and still are, visually irresistible.

But themes of degradation of our planet have seized my consciousness. And trees are canaries in the coal mine. The alarmingly rapid escalation of tree deaths—26 million trees in the Sierra Nevada alone over the last eight months—as huge numbers of trees succumb to drought, disease, insects, wildfires, and sea-level rise, much of it driven by climate change, has brought an urgency to this ongoing project.

“Who Will Speak for the Trees” is the first line of a poem I wrote in collaboration with Ann Chadwick Reid’s exquisite cut paper triptych, “Cedar, Sage and Pine,” about our vanishing forests. Her artwork and my poetic response were exhibited together in 2011 at Graves Gallery in Wenatchee, Washington.

The Poem

In a Fleeting World

Who will speak for the trees?
The Giant Cedar, Sage, Ponderosa Pine.
Of the vanishing forestlands and steppe,
they are innocent.
They don’t even know they are
condemned by an old legend
of destruction
they cannot escape,
and may not have time to prove it.

The trees have no voice.
They are beyond expression,
heaped into gray-splintered rubble,
bulldozed slash, pyres of the ravaged.
Oh, the indescribable losses.
Grief unthought of.

The sorry truth is we go on
believing these soldierly stands
were felled for good reason.
For the peace of mind of human kind.
To satisfy hunger.
So in place of the timber,
already forgotten
we put our faith in abundant crops,
raw materials, rolling pastureland
with whitewashed estates,
an expanse of sky, unrelenting summer.
A vagueness covers everything.

Meanwhile this paradise lost
is apprehended in form,
the woods cut with clarity, naïve force,
as if to give what is otherwise evanescent
a second life, an exquisite reply.

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PORTRAITS: A BURGEONING INTEREST

Patrick in South Bend, Washington

Patrick. Photo © Jane Alynn.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

It’s been quiet on this blog for awhile now. I admit it, I’m not one of those photographer-writers who posts while on the road. A big part of traveling, for me, is disconnection from the usual routines, the habits of daily life, the dullness of familiarity. I like being lost.

I like losing myself amid abandoned structures in the middle of nowhere, in the tangle of weeds in the forefront of an urban skyline, in the street life of any town or city. I’d just as soon lose myself in the changing clouds, in the ripples on Roosevelt Lake, or in the cacophony of color on Baker Street than to lose myself in my computer screen.

But in my recent travels I discovered a new way to lose myself.

Wherever we went it was the characters who fascinated me. Though I’ve been a people-watcher for a very long time, I haven’t been a people photographer. But why not? Portraits have an an important place in photographic history. And anything that fascinates is a good subject.

So now I’m thinking about a new project: a series of images of people that tell a story about who they were at that moment in their lives. Patrick is a good beginning.

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