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In keeping with the mission of the College, the faculty at Oregon College of Art and Craft are nationally and internationally recognized artists and scholars. They are experienced educators, innovative makers and thinkers, communicating formal and conceptual content through their rigorous exploration of creative practice.
MFA Industrial Design, Interim Chair/Visiting Associate Professor
MSD in Design Research and Human Factors, Arizona State University; BFA in Industrial Design, Brigham Young University. JIM leads the MFA/ID program with an emphasis on “intelligence in making” through iterative prototyping and new product innovation. He has held industrial design faculty and teaching appointments at the University of Oregon, Ohio State University, National Taiwan University of Science & Technology, Arizona State University, and Art Institute of Portland. His professional work experience includes industrial design and research in the transportation, recreation, agricultural, and health care industries; managing the design activity for numerous successful products from concept to production. Some prominent clients include: Sea Ray Boats, Pride Mobility, Magna International, Bell Automotive, The Andersons Inc., Ford Motor Company, and Proctor & Gamble.
EXHIBITIONS: Oral hygiene product for trans-generational users, National Design Museum (Smithsonian Institution) New York, NY and Design Exchange Toronto, Canada. PUBLICATIONS: Co-Design in Virtual 3D Space, Convivial Toolbox: Generative Research for the Front End of Design, (book contribution); 3D CAD Myths: Demystifying Three-Dimensional Computer Aided Industrial Design, Auto Focus Asia, (journal article); Designer Evolution: A Story of Reconciliation between Creativity and Research in Industrial Design, International Design Conference, Dubrovnik, Croatia; Big Ideas: A History of Field Research in Industrial Design in the United States, International Conference on Design Research, Helsinki, Finland;Virtual Product Design Studio, Engineering and Product Design Education Conference, Salzburg, Austria; Introducing Co-Design with Customers in Virtual 3D Space, Engineering and Product Design Education Conference, Barcelona, Spain; Putting CAD In Its Place: A New Approach For Enhanced Virtual Product Design Teaching, National Education Symposium of the Industrial Designers Society of America, Portland, OR. SERVICES: Industrial Designers Society of America (IDSA), Chapter Chair in Oregon and Ohio.
Dylan J. Beck
Ceramics and Digital Strategies Departments, Head/Associate Professor
MFA, Tyler School of Art, Temple University; Post Baccalaureate Fellowship, Illinois State University; BFA, Ohio University. Born in rural southeastern Ohio, DYLAN spent his childhood living between small town Ohio, inner city Columbus, and the wooded Hocking Hills. These diverse environments had a major impact on how he interprets landscape. As a teenager Dylan worked for his father’s home construction business which directly informed his use of materials and understanding of infrastructural development. His artwork explores the interaction of human activities with the natural environment and the idea that we are currently living in the Anthropocene, where human activities have had a significant global impact on the Earth's ecosystems.
EXHIBITIONS: Sans Les Mains, Invitational, Fondation Bernardaud, Limoges, France; Unconventional Clay: Engaged in Change, 2016 NCECA Invitational, Curated by Catherine Futter, The Nelson-Atkins Museum of Art, Kansas City, MO; 2015 Zanesville Prize for Contemporary Ceramics; Wecome to the Anthropocene, Solo Exhibition, Hap Gallery, Portland, OR. PUBLICATIONS: The Flight Patterns of Dylan J Beck, Garth Clark's CFile; An Overwelming Trust in Progress, NCECA Journal 2012 vol.33; and 21st Century Ceramics: The First Decade. COLLECTIONS: Everson Museum of Art; H Hotel Los Angeles, LAX Airport, Curio Collection by Hilton, Los Angeles, CA; Staley School of Leadership Studies, Kansas State University, Manhattan, KS. AWARDS: NCECA Emerging Artist, National Award, 2012; Emerging Artist Award, Windgate Charitable Foundation, 2012. SERVICES: NCECA 2017 Portalnd Onsite Liaison, NCECA Board member 2015-2017; Board member at Watershed Center for the Ceramic Arts 2013-2017; and Board president for ArtAxis Organization Inc. 2013-2017.
MFA, University of Wisconsin-Madison; MA, University of Wisconsin-Madison; BFA in 2-Dimensional Studies, Bowling Green State University. RYAN teaches in the Foundations Department, General Studies Department and in the MFA in Craft program. Prior to joining the faculty at OCAC, he was a Public Art Coordinator for the Oregon Arts Commission where he facilitated the selection and acquisition process of artwork for the state's Percent for Arts program. Born in Norwich, NY, Burghard’s studio work gives new meanings to familiar objects and explores the value of serendipitous moments in our daily lives. Often employing mundane materials, his slight and seemingly invisible gestures question the nature of our relationships; both universal and personal, to time and to notions we have of permanence and impermanence.
EXHIBITIONS: Whatever hour you woke, Portland Pataphysical Society, Portland, OR; Where You End and I Begin, Cydonia Gallery, Dallas, TX; Simple Moves, PCC Helzer Gallery, Portland, OR, Now Burning, Border Patrol, Portland, ME. SERVICES: Vice-Chair, Board of Directors, Disjecta Contemporary Art Center (2012-2016); Program Manager, Curator-in-Residence, Disjecta Contemporary Art Center (2013-2017); Member, Portland Biennial Committee, Disjecta Contemporary Art Center (2011-2014); Developer and Program Manager, Culinaria, Disjecta Contemporary Art Center (2013-2016); and Board Member, Rainmaker Artist Residency (2015-2017).
EXHIBITIONS: Rumination, Portland Art Museum, Portland OR; Of Silence, Outpost porjects, Yucca Valley, CA; Not It, Linfield College, OR; All Rise: Seattle City Denny Substation Project, WA; and The American Academy of Arts and Letters, New York, NY. PUBLICATIONS: “Making Awareness an Interview with ” Joshua West Smith, Drain; and, “The Object of Exchange”, Ceramic Monthly. AWARDS: 2016 Hallie Ford Visual Arts Fellowship, The Ford Family Foundation; the 2013 U.S./Japan Creative Artist Fellowship, Japan-U.S. Friendship Commission; 2013 Northwest Contemporary Art Awards, Portland Art Museum; and Project Grant and Individual Artist Fellowship, Oregon Arts Commission. SERVICES: Committee member and selection panel at Portland Metor Scholastic Art Awards, Regional Art & Culture Council, Disjecta, Portland; lecturer at numerous organizations including Anderson Ranch, CO, Portland Art Museum, OR, Museum of Contemporary Craft, OR, Umea Institute of Design, Sweden, and International House of Japan, Tokyo, Japan.
MFA in Metals, Rochester Institute of Technology; BFA in Metals/Jewelry, University of Washington. Along with teaching traditional metalsmithing and installation art, Clark's personal work focuses on abstract sculpture in steel, wire, resin and mixed materials. In the past ten years, she has been working in the installation format using multiples within a given space to intentionally surround the viewer. Her work examines subjects such as human habit and predisposition. She is active in creating public art and has projects in Washington State and in Oregon.
EXHIBITIONS:permanent public art at Eastern Oregon University, Bainbridge Island, WA, University of Oregon, and at OCAC; Weight, Nine Gallery, Portland; Amass, Nine Gallery and Herded, Nine Gallery. AWARDS: Ford Foundation/Ucross Residency; Ucross Foundation Residency, Wyoming; and Jogn Michael Kohler Arts and Industry Residency, Wisconsin.
Follow Christine's Kohler Arts Industry Residency Experience
Drawing and Painting Department, Illustration/AICAD Post Graduate Teaching Fellow
General Studies Department, Humanities and Social Sciences/Professor
MFA in Imaging Arts from the Rochester Institute of Technology; BA in Semiotics, Brown University. PHIL worked virtually exclusively as a photographer for over thirty years, exhibiting his work in numerous solo exhibitions throughout the United States and Europe. In recent years, Harris has begun to work with other two- and three-dimensional materials to address perceptual and philosophical concerns, including balance, imbalance, prosthesis, the interconnected nature of human existence, and the limits of individualism.
EXHIBITIONS: See For Yourself: Experiential Prototypes(solo), Doppler PDX Gallery, Portland, 2010; Shadows/Transmit (two-person with Susan Dunkerley Maguire), Houston Central Community College Gallery, Houston, TX, 2010. PUBLICATIONS: Independent (Lisbon, Portugal),September 2003; Portland Magazine, Winter 2001and Spring 2001; and The Oregonian, January 2001. COLLECTIONS: Arquivo Fotográfico da Camara Municipal de Lisboa, Lisbon, Portugal; Bibliothèque Nationale de France, Paris; Harry Ransom Humanities Research Center, University of Texas, Austin; Houston Museum of Fine Arts; Kresge Art Museum, Michigan State University; and New Mexico State University, Las Cruces.
MFA Applied Craft + Design, Assistant Professor/Interim Chair
TEACHING: She was visiting artist and full-time professor at The School of the Art Institute of Chicago in the Architecture, Interior Architecture and Designed Objects department at SAIC from 2015-2016. She has also taught at The University of Oregon, Pacific Northwest College of Art, Marylhurst University, and at the Oregon College of Art and Crafts as an adjunct since 2009. EXHIBITIONS: Her work exhibits nationally and internationally in group and solo exhibitions at venues such as the LeRoy Neiman Center, Chicago, IL; The International Furniture in Cologne Germany; White Box visual Laboratory in Portland, Oregon; Portland Art Museum in Portland, Oregon; Bellevue College in Bellevue, Washington; Daimler Chryslers international headquarters in Auburn Hills, Michigan and Track 13 Gallery in Nashville, Tennessee. PUBLICATIONS: Bad at Sports, Sunset Magazine, Portland Monthly, Readymade Magazine, Core77 and Designboom, among others. CURATORIAL: She has served as curator at White Box Visual Laboratory and current is active as curator and member of the League of Women Designers.
MFA in Fibers, Colorado State University; MFA in Fibers, Ewha Womans University; BFA in Fibers, Ewha Womans University. JISEON is the Dean of Academic Affair and Chief Academic Officer and a formal Fibers Department Head at OCAC. Prior to joining the faculty at OCAC, she was an Assistant Professor of Textile Design at East Carolina University in NC. Born and rasied in South Korea, her work reflects her experiences as an immigrant by creating anxiety with prestinely orderly and delicate forms. Jiseon's current body of work tempers the chaos of communication through simple, essential techniques and fluid textile materials.
EXHIBITIONS: Hold That Thought, HAP Gallery, Portland; Top Ten Books to Read Before You Die, Nine Gallery, Portland; and invitational group shows Hands of Korea, exhibited in Korea, Europe, and the United States; and Innovators and Legends: Generations in Textiles and Fibers, exhibited in many states in the US. PUBLICATIONS: Textile Fibre Forum magazine in Australia; the Fiber Art Now catalog; and the Surface Design Journal. COLLECTIONS: Jordan Schnitzer Museum of Art; and Colorado State University. SERVICES: member, Disjecta Consilario Committee, Portland; member, Disjecta Biennial Community Committee 2015 Portland Biennial Curator selection; member, Artist in Residence selection committe, Caldera; and member, Oregon Zoo Public Art Advisory Committee, Portalnd.
EXHIBITIONS: national and international exhibitions including: 12 Gjestekunstnarar, Galleri Puls, Norheimsund, Norway, New Collectors/Young Designers, SOFA New York, NY, Study of Site and Space, Spaceworks Gallery, Tacoma, WA, Glisten of Pavement, Sparkle of Doubt, Platte Forum, Denver, CO, Wild Family, Border Patrol, Portland, ME, Lunch, Soil Gallery, Seattle, WA, and Desire, Heidi Lowe Gallery, Rehobeth, DE, among others. SERVICES: 2018 SNAG Committee Member and on-site liason, Disjecta gallery manager, Ditch Projects member, and staff writer for Art Jewelry Forum.
General Studies Department, Head; Art History, Professor
Ph.D. in Art History, University of California, Berkeley; M.A., University of California, Berkeley; B.A., Pomona College. ABBY's recent projects include studies of Late Gothic architecture in Paris and Normandy. She also co-edited a volume of essays, New Approaches to Medieval Architecture, published in 2011. Her research has been supported by the Social Science Research Council, the Fulbright Program, the Center for Advanced Study in the Visual Arts, and the Getty.
PUBLICATIONS: “On the Threshold of Heaven: Text and Ornament at Notre-Dame, Caudebec-en-Caux,”; forthcoming; “Interrogating Space: Jeanne Nagy at Disjecta Contemporary Art Center,” CIR: Curator in Residence, catalog for Disjecta Contemporary Art Center (Portland: 2013); Co-Editor with Robert Bork and William W. Clark, New Directions in Medieval Architecture; AVISTA Studies in the History of Medieval Technology, Science and Art (Ashgate: 2011); The Hand of the Master: Architects and Entrepreneurs in Late Gothic Paris,” AVISTA Forum Journal, 18/1 (Fall, 2009); Reappraising Design Methods in Medieval Architecture,” a review of Nigel Hiscock, The Symbol at Your Door: Numerical and Geometric Symbolism in Medieval Architecture (Ashgate: 2008) in Metascience (Summer 2009).
Fibers Department, Visiting Assistant Professor
EXHIBITIONS: Ancestral Offerings, Reynolds Gallery, Richmond, VA; Remnant Accumulation, Sediment Arts, Richmond, VA; Discursive, Jordan Schnitzer Museum of Art, Eugene, OR; University of Oregon Whitebox Gallery, Portland, OR; Form & Concept, Santa Fe, NM; Fiber Face 4, Yogyakarta, Indonesia; High Fiber Symposium, Sisters, OR. COLLECTIONS: Cranbrook Art Museum, Bloomfield Hills, MI. AWARDS: Fountainhead Fellowship in Craft & Material Studies, Virginia Commonwealth University (VCU); Toby Devan Lewis Award, Cranbrook Academy of Art.
MFA in Industrial Design, Associate Professor
MID in Industrial Design, Domus Academy, Milan Italy; BID in Industrial Design, Pratt Institute, Brooklyn, New York. CIA leads the new MFA/ID program with the mindset of Portland’s start-up culture fused to OCAC’s preeminence in craft and the digital frontier. Her industrial design career spans product, furniture, lighting and exhibition design in the US and abroad. Her interest in learning and education has led to teaching assignments at Rhode Island School of Design and Miami's Design + Architecture Senior High School.
EXHIBITIONS: Salone del Mobile; Euroluce, Milan Triennale with Isao Hosoe; Gallery 91, New Domestic Objects, New York City. PUBLICATIONS: Abitare, Ocean Drive, ID Magazine PROFESSIONAL AFFILIATIONS: IDSA (Industrial Designers Society of America), Designer’s Accord, SCRUM Certified License. SERVICES: Design Advisory Board, Savannah College of Art and Design, School of Design; Guest Lecturer, University of North Carolina, Emergent Design; Panelist, Arango Design Foundation; Guest Lecturer, IDC, Vancouver, BC; Guest Lecturer, Craft in the 21st Century, Steelcase, Seattle; Volunteer Exhibit Designer, Bainbridge Island Children’s Museum.
Drawing and Foundations Department, Professor Emeritus
BFA from Pacific Northwest College of Art. GEORGIANA is a painter who exhibits locally and nationally; working in both two- and three-dimensions and often exploring symbols, systems of thought, and the evocative nature of color. The nature of consciousness is often explored in her work; how we make sense of our world and make connections with each other as sentient beings. For most of her paintings and objects she uses the arcane surface ground of hot-glue gesso, on wood or paper, allowing both additive and subtractive methods as she uses gouache, watercolor, oil paint, cold wax, and a variety of dry media. Currently she is creating a series of small but complex mixed-media paintings exploring the contemplative mandala as a format and a collection of large charcoal drawings relating to her dance practice.
EXHIBITIONS: "Lexicon: 100 Mixed Media Paintings" traveled to Elmhurst Art Museum, El Paso Museum of Art, the Chicago Cultural Center, and several university galleries.
EXHIBITIONS: KORU 6: Sixth Triennial of International Contemporary Jewelry, Imatra Art Museum, Imatra, Finland; The Past that Supports the Present: Encounters between Contemporary Jewelry and the Museum Collections, Museo Franz Mayer, Mexico City, Mexico; Medusa: Jewelry and Taboos, Musée d’art Moderne de la Ville de Paris, Paris, France; New Work from the New World, Jewelerswerk Gallery with Galerie Biro, Munich, Germany; Cali Condensation, solo exhibition, Sienna Patti Gallery, Lenox, MA; Schmuck im Salon, Curated by Fritz Maierhofer, Kunstlerhaus, Vienna, Austria; Mirror, Mirror, Espace Solidor, Cagnes-sur-Mer, France; LahtiJewelry, World Design Capital Helsinki 2012 program, Lahti, Finland; put on the lights, Solo exhibition, Galerie Caroline Van Hoek, Brussels, Belgium; Schmuck 2010, 62nd International Trade Fair, Munich, Germany. PUBLICATIONS: numerous publications including Metalsmith Magazine; Contemporary Jewelry in Perspective, Lark Books; A Violent Embrace: Art and Aesthetics after Representation, Renée C. Hoogland, University Press of New England. COLLECTIONS: The Museum of Fine Arts, Houston; Cranbrook Art Museum; Tacoma Art Museum; The Rotasa Foundation. AWARDS: The Louis Comfort Tiffany Foundation Award; Peter S Reed Foundation Grant; Toby Devan Lewis Fellowship.
MFA in painting and drawing from Washington State University; BFA in painting from the Pacific Northwest College of Art. MICHELLE's work is concerned with the placement and effect of fragments. Interested in a physical response to form, color and space she operates with the premise that certain arrangements of these simple elements can evoke clearly felt and understood experiences beyond language. Distance, proximity, isolation and repetitive structures of order are utilized as both comforting and alienating. She is convinced that these experiences can be socially powerful and that painting can be a sign, a reminder of this.
EXHIBITIONS: exhibited and curated in print around the United States and in Europe, including by Jennifer Blessing at the Guggenheim, New York; Lowery Sims, of the Museum of Arts and Design, New York, Jessica Morgan at the Tate, London, the Art Gym, Marylhurst University, Marylhurst, Oregon; Nine Gallery, Portland, Oregon; New Mexico State University, Las Cruces; Rome International University, Italy; and Barrett House Galleries, Poughkeepsie, New York. AWARDS: Ford Family Fellow (Oregon); MacDowell Colony Fellow (New Hampshire); artist-in-residence at the American Academy in Rome, Italy; New Mexico State University, Las Cruces; and Vermont Studio Center, among others. numerous grants and honors, including an Oregon Arts Commission Individual Artist Fellowship; a Regional Arts and Culture Council Project Grant; an Oregon Arts Commission Career Opportunity Grant; and a Center on Contemporary Art, Seattle, Juror's Award. Ross is represented by Elizabeth Leach Gallery, Portland, Oregon.
MFA in Photography University of Oregon; BFA in Photography, Ohio University. MARK uses a variety of materials and processes to explore historical and contemporary patterns of human interaction with the land. Recent works include Roll on Columbia, a group of pinhole photographs exploring the Columbia River, Desert Time, a group of large format panoramic images of the deserts of the American West, and the “Art Contemplates Industry” project and traveling exhibition series which, in partnership with Portland General Electric and the Willamette Falls Heritage Foundation, provides unprecedented access for artists to explore historic hydro-electric power generating stations and their role in the industrial history of the Pacific Northwest.
EXHIBITIONS: Roll on Columbia, Newspace Center for Photography, Portland, 23 Alchemy, 23 Sandy Gallery, Portland. PUBLICATIONS: Window to the Past, The Sandy Post, 2009; Art Contemplates Industry, The Oregonian, 2007. COLLECTIONS: University of Oregon Law School; Ohio University Archives; and International Print Exchange Collection, Graphic School, Prague, Czech Republic.
MFA in Printmaking, Cranbrook Academy of Art; BFA, University of Michigan in Ann Arbor. BRIAN has been teaching and mentoring at Oregon College of Art and Craft since 1993 in the Drawing/Painting, Book and Print and General Studies Departments. Prior to working full-time at OCAC, Brian was an Assistant Professor for 11 years teaching Printmaking and Visual Elements at Pacific Northwest College of Art in Portland, Oregon. His work combines the printmaking mediums of intaglio, lithography and relief as well as mixed media sculpture.
EXHIBITIONS:Flux: The Flowing in the Tide, SGCI, Portland, Oregon; and Ink This: Contemporary Printmaking in the Northwest at the Tacoma Art Museum, Tacoma, Washington. AWARDS: Artist-in-Residence at Caldera Arts, OR. PUBLICATIONS: Artweek, exhibition review, “ Brian Shannon & Christy Wyckoff at Alysia Duckler Gallery “; Traversing Territory, catalog, PICA’s Expanding Dimensions in Printmaking, p. 51; Art in America, photo of Choke, fall preview at Alysia Duckler Gallery, Sept. 1999, p55 by Lois Allan, June 2003, p23 (photo of Interlace). COLLECTIONS: the New York Public Library; New Orleans Museum Of Art; Portland Art Museum; Portland Visual Chronicles; and the Jordan D. Schnitzer Print Collection.
Book and Print Department, Head/Professor
MFA in Printmaking from the School of the Art Institute of Chicago; BS of Fine Art from the University of Wisconsin-Madison. BARB is an artist working in printed books and installation. In 1979, she founded her imprint, Triangular Press. This work can be found in many private and public collections in the US and abroad.
EXHIBITIONS: The Slow Read; My Ántonia: Instructions for Seeing, Constellation Studios, Lincoln, NE; Four Proposals Toward the Future of Reading, Seager Gray Gallery, Mill Valley, CA. COLLECTIONS: Houghton Library, Harvard Univ.; Univ. of Oregon Special Collections; Yale University; New York Public Library; Museum of Modern Art; Getty Art Center, Los Angeles, CA; Kohler Art Library, Univ. of Wisconsin-Madison; Victoria & Albert Museum; Museum fur Kunsthandwerk, Frankfurt, Germany; Weserberg Museum, Bremen; Deutsches Bucherei, Leipzig Deutsches Bibliothek. PUBLICATIONS: A Close Read: The Cather Projects; 2011 Masters: Book Arts; Lark Books; Half-Life; 25 Years of Books by Barbara Tetenbaum. RECENT GRANTS: Oregon Arts Commission, Hallie Ford Foundation, Oregon Community Foundation, Regional Arts and Culture Council, Cather Collaborative. AWARDS: Finalist, MCBA Book Arts Prize, Minnesota Center for Book Arts, Minneapolis, MN; And Fulbright Lectureship; Faculty of Applied Art and Design, J.E. Purkyne Univ., Usti n. Labem, CZ; Fullbright Lectureship, Hochschule fur Grafik und Buchkunst, Leipzig, Germany.
General Studies Department, Writing Instructor
MFA Creative Writing from the Iowa Writers’ Workshop; MA in Writing from Portland State University; MA in English Literature from Portland State University; BA in English from Portland State University. LUCAS is a poet, a Senior Editor at Propeller Magazine, and Manager of the Portland State University Writing Center.
MFA in Book Art and Creative Writing from Mills College; BA in Art from the University of Oregon. ISABEL is a book artist who focuses on where writing and print processes intertwine.
PUBLICATIONS: Seigler, D. S., J. E. Ebinger & C. Glass. 2015. Validation of the names Senegalia x turneri, S. x zamudii, and Vachellia x ziggyi. Phytologia 97(3) 219-220; Seigler, D. S., J. E. Ebinger & C. Glass. 2013a. Senegalia berlandieri, S. crassifolia, and S. reniformis hybrids (Fabaceae: Mimosoideae) in Central and Northern Mexico. Madroño 60(3):179-185; Seigler, D. S., J. E. Ebinger & C. Glass. 2012. Senegalia berlandieri, S. greggii and S. wrightii hybrids (Fabaceae: Mimosoideae) in Texas and adjacent Mexico. Phytologia 94: 439-455; Glass, C. E. & D. S. Seigler. 2006. A new combination in Senegalia and typification of six New World Acacia names. Taxon 55 (4); Glass, C. E. 2003. The Acacia berlandieri species group: Armed New World Members of Subgenus Aculeiferum (Fabaceae) North of the Isthmus of Tehuantepec, Mexico. University of Illinois, Urbana. 320 pages. SERVICES: Board of Directors, Nichiren Buddhist Temple of Portland, 2008-2017; Berry Botanic Garden, 2005; Jenkins Estate Advisory Board, 2005; City of Portland: Hoyt Arboretum, 2002-2003.
General Studies Department, Writing/Instructor
PUBLICATIONS: Broken Homes & Gardens (Blank Slate Press, 2015); The Eco-nomical Baby Guide (Stewart, Tabori, & Chang, 2010). Her stories and articles have appeared in The Rumpus, Bustle, xoJane, Huffington Post, and other publications.
Foundations Department, Instructor
MFA in Craft and Post Bacc Certificate in Metals, Oregon College of Art and Craft; BA in Studio Art, Carleton College. COLIN's art practice involves a kind of urban beach-combing that sources found objects from free piles, parking strips and roadside detritus. These items are then united with brightly painted concrete castings, resulting in an enigmatic hybrid of photography, painting and sculpture. Colin also teaches figure sculpture at PCC Rock Creek and metalsmithing at OCAC's Studio School.
EXHIBITIONS: Portland2016: A Biennial of Contemporary Art, Disjecta, Portland, Curated by Michelle Grabner; Out of Sight Seattle, Seattle WA; Indices, Duplex Gallery, Portland; Re:Surface, SOIL Gallery, Seattle.
Drawing and Painting Department, Instructor
MFA from Pacific Northwest College of Art; BFA from California College of the Arts. ELIZABETH's paintings portrays the female figure in unsettling interior spaces. Her work is concerned with the ubiquitous and normalized use of the often-naked female form throughout art history, a body that frequently has been depicted as an object on display. Borrowing figures, settings and techniques from the history of painting, her work aims to recontextualize these bodies. In 2015 Malaska received grants from the Barbara Deming Memorial Fund and the Regional Arts & Culture Council. Most recently she was honored with a 2016 Individual Artist Fellowship through the Oregon Arts Commission. She has lectured, taught, and mentored at such institutions as PNCA, Oregon College of Art and Craft (Portland, OR), and Eastern Oregon University (La Grande, OR). Malaska lives and works in Portland, OR. She is represented by Portland gallery Nationale.
General Studies Department, Instructor
BA in Dance, Loyola Marymount University; Graduate of Small Business Management III, Small Business Development Center. GINA is a Portland based choreographer, artist, educator, and entrepreneur with a passion for helping creative professionals thrive. She is the co-founder of the independent boutique Radish Underground (est. 2008) in downtown Portland’s West End, where she was the designer of three in-house jewelry lines made from dinosaur bones and recycled wine barrels, as well as the co-founder of the West End Marketing Co-Op (wepdx.com). Gina began teaching designer and artist development workshops in business basics when the store opened and later became the founding Director of BridgeLab Career Center at Pacific Northwest College of Art. At PNCA, she provided entrepreneurial development and resources for artists, designers, and makers looking to build a sustainable professional practice. Gina has been a public speaker in New York City, Portland, and Vancouver BC and was most recently featured as a creative small business expert on Creative Genius Portland, KXL RadioActive Talk, and SoloProRadio as well as the Committee Chair and Emcee for the Oregon Entrepreneurs Network 2015 Entrepreneurial Summit. Gina achieved unexpected worldwide internet fame in the first Live Lip Dub Proposal. Gina, otherwise known as "The Girl in the Red Dress", choreographed this viral video sensation which has over 80 million views (and counting), and was named in the Top 10 of 2012 lists of Time, CNN, The Huffington Post, Buzzfeed, and many more. Formerly a principal dancer with the Northwest Ballet Company and a Soloist, Rehearsal Director, and the Assistant Artistic Director of the contemporary ballet company Meh-Tropolis Dance Theatre of Los Angeles, Gina has been a professional artist for twenty years. Currently, she maintains a modest studio practice in drawing, painting, and sculpture and teaches dance to the Resident Artists at The Portland Opera.
Digital Strategies, Instructor
MS Arch in Industrial Design, Virginia Tech; BA, Antioch College. DIANE is a designer, fabricator, and artist. She wrote her master’s thesis on how independent artists and designers use digital fabrication tools, and the possibilities that are enabled through its use. In 2004, she participated in a year-long design research program at the Bauhaus in Germany, the work from which was shown at the first Architecture Biennial in Beijing. She currently splits her time between making professional architectural models and teaching. Her work has been shown locally at the White Box gallery, Moloko, and ShowPDX.
General Studies Department, Writing/Instructor
M.A. and Ph.D. in Art History from Columbia University, New York City; B.A. in Art History, Princeton University, New Jersey. LEE'S specialty is 19th and 20th century European and American art, with recent research focusing on portraiture.
EXHIBITIONS: Upcoming solo show, Splash Time, Nov. 2018; Winnipeg Underground Film Festival, Canada; Woodbury Art Museum, UT; AIA, San Francisco, CA; Cambridge College, MA; University of Missouri, MO; Marchutz School, Aix en Provence, France; Tempus Projects, FL and HAP Gallery, Portland, OR. AWARDS: She has received grants from Portland’s Regional Art and Culture Council, Oregon Arts Commission, and UMass Arts Council. Residencies with Recology, Artspace, Penland School of Crafts. SERVICES: Leslie is a member of the newly minted Carnation Contemporary in Portland, OR.
Fibers Department, Instructor
MFA in Textile Design, Rhode Island School of Design, BFA in Painting, Maryland Institute College of Art. SARAH has a multidisciplinary studio practice with importance placed on playfulness, allowing materials and processes to steer outcomes. Sarah works at Nike as a materials designer and her textile work is in the RISD museum collection.
Photography and Digital Strategies Departments, Instructor
EXHIBITIONS: She has exhibited widely, including exhibitions at Pepin Moore (Los Angeles), Night Gallery (Los Angeles), ASHES/ASHES (New York), Derek Eller (New York), Nathalie Karg Gallery (New York), White Columns (New York), and Ditch Projects with Mark Verabioff (Springfield, Oregon), Almine Rech (Paris, France), Musée d'Art Moderne et d'Art Contemporain (Nice). Woods is a visiting artist, instructor and mentor for the Oregon College of Art and Craft, Pacific Northwest College of Art, and their joint Applied Craft and Design program. COLLECTIONS: Her work is in private collections and institutions nationally and internationally. PUBLICATIONS: Artforum, Smithsonian, Corner Magazine, X-TRA Contemporary Art Quarterly, and Bright!: Typography between Illustration and Art, Cologne: Daab Books.