SMITH & VALLEE GALLERY IN NOVEMBER

Mystical Woods

Mystical Woods, 2017. Zone plate photograph, gelatin silver print. 17×21″ framed.

A sneak preview of the new work I’ll be showing at Smith & Vallee Gallery, in Edison, Washington, during the month of November.

Smith & Vallee Gallery

5742 Gilkey Avenue | Edison, WA 98232

Opening Reception: Saturday, November 4, 5-8pm

Artist Talk: Saturday, November 25, 4-5pm

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SPLENDOR IN ECUADOR – PART 1

Av Solano mural detail

It’s hard to believe that three weeks have passed since we returned home from our Ecuador adventure. I had hoped to get some images posted sooner than this, but a long, particularly vicious bout of food poisoning (courtesy of the Mexico City airport) and a couple of upcoming exhibitions, which required my immediate attention, threw sand in the gears. Also, by choosing to travel without my computer, my normal process of downloading images everyday to manage my work flow was severely hobbled, and by the time I got home, with two full camera cards, I felt completely overwhelmed by the task of dealing with all those images.

Yet, I made a start.

Here are some of the colors of Ecuador and the beauty of the indigenous people that caught my eye on the streets of Cuenca, a beautiful colonial city in the Andean highlands; in the coastal town of Puerto Lopez; and at the archeological site of Ingapirca, ruins that were originally used by the Cañari people as an observatory.

Indigenous woman and child at the market

Flower Market in Cuenca

Indigenous woman with rainbow bag

Mural on Talbot Street

Two indigenous women entering the church of San Francisco

Indigenous couple at Parque Calderon in El Centro Cuenca

Indigenous dancers

Gran Columbia in Cuenca

Cuenca boys sitting on the steps by a "hungry" mural

Indigenous woman at Ingapirca's Temple of the Sun

Old indigenous woman at Ingapirca

Puerto Lopez malecon with taxis

Puerto Lopez Malecon

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EMBELLISH IN JULY

Windbreak, a photograph by Jane Alynn

Windbreak. Photo © Jane Alynn.

I’ll be showing new work at Embellish, 223 S. First in Mount Vernon during the month of July. Please stop in to take a look. And I’ll be there at the shop for First Thursday Art Walk, on July 6, from 5pm to 8pm.

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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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