“These paintings are concerned with transformative patterns, known and unknown, knit together. The imagery is coaxed from oil paint, a material with a weighted past, but ripe for new investigation by using the ever-expanding chemical formulations of the present. Transparent glazes of oil with differing systems of information in each layer are stacked upon each other until a sense of balance within these strata is achieved. Embedded in some strata are highly individualistic mushroom spore prints, found on land surrounding our home.

Recognizing the spirit of the natural world as a co-creator in the work, opens up the possibility of dialogue with nature as an intimate part of the creative process. As each painting gradually unfolds, a conversation ensues. Ancient visual languages present in universal spiritual traditions are referenced within the mushroom spores, along with a modern visual language that favors intellectual analysis and chance. Hybridizing these two stem languages offers a graft of new possibility while pursuing the luminous.”

“My work explores issues of duplicating forms and repetitive tasks.   I’m inspired by nature itself, and also by the microscopic images I find in biology textbooks and science magazines.  I study the images of replication and cell division, of structures and striations. Then I work in a way that mimics nature’s own slow growth, repeating the same shape, motion, or technique over and over until a new form results. I work mainly with organic materials such as cloth and beeswax but I put them together with hardware or mechanical devices in ways that imply aberration or malformation to reflect my concerns with human interference in long-established natural systems.”

Marlana Stoddard-Hayes: Artist Statement

Full Fathom five thy father lies,

Of his bones are coral made

Those are pearls that were his eyes;

Nothing of him that doth fade,

But suffer a sea-change

Into something rich and strange

The Tempest

These paintings are concerned with transformative patterns, known and unknown, knit together. The imagery is coaxed from oil paint, a material with a weighted past, but ripe for new investigation by using the ever-expanding chemical formulations of the present. Transparent glazes of oil with differing systems of information in each layer are stacked upon each other until a sense of balance within these strata is achieved. Embedded in some strata are highly individualistic mushroom spore prints, found on land surrounding our home.

Recognizing the spirit of the natural world as a co-creator in the work, opens up the possibility of dialogue with nature as an intimate part of the creative process. As each painting gradually unfolds, a conversation ensues. Ancient visual languages present in universal spiritual traditions are referenced within the mushroom spores, along with a modern visual language that favors intellectual analysis and chance. Hybridizing these two stem languages offers a graft of new possibility while pursuing the luminous.

Recent recognition for the integration of these language forms has found the work curated into exhibitions with the Musee Granet in Aix-en-Provence, France, The Art in Embassies Program, Mali, Africa and A.I.R. Gallery in NYC. Marlana has a 30 year exhibition history and has been a visiting artist at the University of Michigan, Minnesota State University, Pacific University and Sitka Center for Art and Ecology, among many. Recently she was appointed to the Colorado State University Advisory board in conjunction with their Contemporary Museum of the Arts. Selected permanent collections include: Spencer Museum of Art at University of Kansas, Scripps College, University of Iowa, Kansas Health Foundation, U.S. Dept. of Education, Hilton Co., and Sister Cities Co., Kaifeng City, China.

Brenda Mallory: Artist Statement

“My work explores issues of duplicating forms and repetitive tasks.   I’m inspired by nature itself, and also by the microscopic images I find in biology textbooks and science magazines.  I study the images of replication and cell division, of structures and striations. Then I work in a way that mimics nature’s own slow growth, repeating the same shape, motion, or technique over and over until a new form results. I work mainly with organic materials such as cloth and beeswax but I put them together with hardware or mechanical devices in ways that imply aberration or malformation to reflect my concerns with human interference in long-established natural systems.”

BIOGRAPHY
Brenda Mallory is a graduate of the Pacific Northwest College of Art and also holds a BA in Linguistics from UCLA. She resides Portland, Oregon. Mallory explores duplication and repetition in mixed media sculpture and installations. She draws inspiration from natural plant forms as well as microscopic images from scientific textbooks and publications. Mimicking nature’s own growth cycle in the repetitive creation of the sculpture forms, Mallory also alludes to her doubts regarding biotechnology in the small aberrations and tenuous structures visible in the work. She has received grants from the Oregon Arts Commission, Regional Arts & Culture Council, and the Foundation for Contemporary Art in New York.