July 2026 Exhibit
Matthew Dennison
Mapping Ontology
July 11 – August 3, 2026
We are excited to host a third solo exhibition for artist Matthew Dennison, and his latest series of paintings titled Mapping Ontology. He brings a new collection of paintings that will include three distinct styles and interests, while incorporating reclaimed materials. Mapping Ontology holds focus on the human figure and will include “Book Cover” paintings, portraits painted to vintage book covers, figurative paintings, painted to 100-year-old door frames and a new series of his narrative paintings, where the stories tell themselves. Stop in to meet Matthew, he’ll be present and available to answer questions about his work during Astoria’s Second Saturday Artwalk, July 11, 5 – 8 pm. The exhibition will be on view through August 3rd.
Matthew Dennison, known for his interest in connection to place and human relations, brings a new series looking deeper into the dynamics of the human role within the world. Ontology itself is by definition the branch of philosophy that investigates the nature of existence, the features all entities have in common, and how they are divided into basic categories of being; in short, the metaphysical dealing with the nature of being. Dennison has long incorporated the human form within his paintings, and this series continues in that vein yet looking deeper into defined roles of individuals while still holding onto ambiguity.
Within this latest series of oil paintings, Dennison continues with a keen sense of youthfulness and a sense of play and/or peril that for many might remind them of times long ago. This sense of nostalgia is consistent throughout the series. With saturated bright and energetic colors, Dennison conveys a sense of freedom yet sometimes an edge of foreboding creeping into content, while still anchored to the moment and untethered to realities of contemporary culture. His distinct style may remind some of illustrations drawing parallels to the mid-century, yet Dennison masterfully takes turns, perhaps teasing the viewer with composition very unlikely attributed to that era. Stylized characters interact with one another in expected ways while surroundings convey a vastly different message.
About this series Dennison states: “I’m interested in placing what I think into painting, by pulling in what triggers my ideas into a visual mapping. My work is a study of the world around me (an ontological dive) and in the end creating a shared personal dialog. I realize that reality is constructed in the mind of the observer. The people in the paintings are people I might not know…or a composite of people I have known. The paintings are a way of casting memories and a visual form of writing.”
Dennison, a long-time contributor to the Northwest’s art community has enjoyed a notable career, exhibiting his work extensively throughout the region as well as Chicago and the east coast. His work is included in the permanent collections of the Portland Art Museum and the Tacoma Art Museum as well as many corporate and private collections around the world.
Matthew Dennison
Mapping Ontology
July 11 – August 3, 2026
We are excited to host a third solo exhibition for artist Matthew Dennison, and his latest series of paintings titled Mapping Ontology. He brings a new collection of paintings that will include three distinct styles and interests, while incorporating reclaimed materials. Mapping Ontology holds focus on the human figure and will include “Book Cover” paintings, portraits painted to vintage book covers, figurative paintings, painted to 100-year-old door frames and a new series of his narrative paintings, where the stories tell themselves. Stop in to meet Matthew, he’ll be present and available to answer questions about his work during Astoria’s Second Saturday Artwalk, July 11, 5 – 8 pm. The exhibition will be on view through August 3rd.
Matthew Dennison, known for his interest in connection to place and human relations, brings a new series looking deeper into the dynamics of the human role within the world. Ontology itself is by definition the branch of philosophy that investigates the nature of existence, the features all entities have in common, and how they are divided into basic categories of being; in short, the metaphysical dealing with the nature of being. Dennison has long incorporated the human form within his paintings, and this series continues in that vein yet looking deeper into defined roles of individuals while still holding onto ambiguity.
Within this latest series of oil paintings, Dennison continues with a keen sense of youthfulness and a sense of play and/or peril that for many might remind them of times long ago. This sense of nostalgia is consistent throughout the series. With saturated bright and energetic colors, Dennison conveys a sense of freedom yet sometimes an edge of foreboding creeping into content, while still anchored to the moment and untethered to realities of contemporary culture. His distinct style may remind some of illustrations drawing parallels to the mid-century, yet Dennison masterfully takes turns, perhaps teasing the viewer with composition very unlikely attributed to that era. Stylized characters interact with one another in expected ways while surroundings convey a vastly different message.
About this series Dennison states: “I’m interested in placing what I think into painting, by pulling in what triggers my ideas into a visual mapping. My work is a study of the world around me (an ontological dive) and in the end creating a shared personal dialog. I realize that reality is constructed in the mind of the observer. The people in the paintings are people I might not know…or a composite of people I have known. The paintings are a way of casting memories and a visual form of writing.”
Dennison, a long-time contributor to the Northwest’s art community has enjoyed a notable career, exhibiting his work extensively throughout the region as well as Chicago and the east coast. His work is included in the permanent collections of the Portland Art Museum and the Tacoma Art Museum as well as many corporate and private collections around the world.
June 2026 Exhibit
Michelle Muldrow
The Roiling Sea
June 13 – July 6
We are excited to welcome back artist Michelle Muldrow and a new series of paintings for her third solo exhibition at Imogen. Her painting is a conceptual exploration of the American landscape, imbued by working history of the land she portrays. The exhibition, The Roiling Sea, opens during Astoria’s Second Saturday Artwalk, June 13th. Muldrow will be in attendance during artwalk and available to answer questions about her work, 5 – 8:00 pm. The exhibition will remain on view through July 6th.
Michelle Muldrow, who is well versed in the arts, is a nationally recognized painter and singer/songwriter. She brings a new collection of paintings exploring the relationships between landscape, consumerism, historical aesthetic philosophy, and personal narrative. Within this series she places the figure within the landscape, to emphasize the role mankind holds in the world. Working in casein on panel with a complex palette, she applies philosophical ideas to American landscape painting, utilizing historical precedents while considering the contemporary experience as bridge, to a greater understanding of America. A continued sense of nostalgia marks her gestural style and sense of composition.
Her chosen medium casein, is itself historical in nature, being one of the original forms of paint, dating back to prehistoric times and utilized in early cave paintings. The medium, soft in tonality with a matte finish lends itself perfectly to her painting style, evoking a dreamlike imprint of memory. Muldrow, driven by personality to explore and understand nuance of both material and composition makes her own casein, commonly known as milk paint. Working with raw pigments, she has total control of the depth of color, achieving saturated and deep hues not usually typical to the medium. She is also calculated in her approach to painting by careful brushstrokes in sheer layers to further build the intensity of applied color.
Reflecting on her past work (her last series shown at Imogen) in juxtapose to where she is now, she states: “Drawn to the late Romanticist era of artists, in conversation with the artists of the past (J.M.W. Turner, James Abbott MacNeil Whistler), my work was reflective of a sense of impending change on the horizon yet honoring the past. It is now two years later, my relationship with the late Romanticist era artists, (late 19th century to the advent of WWI) has melded with contemporary imagery and experience. My methodical discourse with the past, referencing art history, Turner, Whistler and now Winslow Homer, is now insufficient. I have found that I am suddenly incapable of such emotional distance. My aesthetic methodology and painterly techniques have fallen away and all I can do is frantically paint. It is as if I am scrying from tea leaves, each painting a desperate attempt to make sense of what is happening at this point in time. The familiar, the tropes, populist illustrations are all thrown in with spectacle, the distractions, shock and awe, overwhelm and escapism. Everything that was once familiar now asks, is this an omen? What was once normal, now exists only in manipulated fiction. Unable to paint with contemplative distance, I am untethered, every painting is conjured from what I can’t comprehend. Asking, what is next in this roiling sea of change.”
Muldrow has exhibited her work extensively throughout the country, from New York to Los Angeles with many stops in between. She is a 2021 recipient of a Provincetown Art Museum/Lillian Orlowsky and William Freed Grant as well as most recently receiving an Individual Fellowship grant from the Oregon Arts Commission. She has had her work included to many private and corporate collections, including the Microsoft Corporate Art Collection, the Cleveland Clinic Art Collection, Gerard Louis-Dreyfus Art Collection, and many others.
Michelle Muldrow
The Roiling Sea
June 13 – July 6
We are excited to welcome back artist Michelle Muldrow and a new series of paintings for her third solo exhibition at Imogen. Her painting is a conceptual exploration of the American landscape, imbued by working history of the land she portrays. The exhibition, The Roiling Sea, opens during Astoria’s Second Saturday Artwalk, June 13th. Muldrow will be in attendance during artwalk and available to answer questions about her work, 5 – 8:00 pm. The exhibition will remain on view through July 6th.
Michelle Muldrow, who is well versed in the arts, is a nationally recognized painter and singer/songwriter. She brings a new collection of paintings exploring the relationships between landscape, consumerism, historical aesthetic philosophy, and personal narrative. Within this series she places the figure within the landscape, to emphasize the role mankind holds in the world. Working in casein on panel with a complex palette, she applies philosophical ideas to American landscape painting, utilizing historical precedents while considering the contemporary experience as bridge, to a greater understanding of America. A continued sense of nostalgia marks her gestural style and sense of composition.
Her chosen medium casein, is itself historical in nature, being one of the original forms of paint, dating back to prehistoric times and utilized in early cave paintings. The medium, soft in tonality with a matte finish lends itself perfectly to her painting style, evoking a dreamlike imprint of memory. Muldrow, driven by personality to explore and understand nuance of both material and composition makes her own casein, commonly known as milk paint. Working with raw pigments, she has total control of the depth of color, achieving saturated and deep hues not usually typical to the medium. She is also calculated in her approach to painting by careful brushstrokes in sheer layers to further build the intensity of applied color.
Reflecting on her past work (her last series shown at Imogen) in juxtapose to where she is now, she states: “Drawn to the late Romanticist era of artists, in conversation with the artists of the past (J.M.W. Turner, James Abbott MacNeil Whistler), my work was reflective of a sense of impending change on the horizon yet honoring the past. It is now two years later, my relationship with the late Romanticist era artists, (late 19th century to the advent of WWI) has melded with contemporary imagery and experience. My methodical discourse with the past, referencing art history, Turner, Whistler and now Winslow Homer, is now insufficient. I have found that I am suddenly incapable of such emotional distance. My aesthetic methodology and painterly techniques have fallen away and all I can do is frantically paint. It is as if I am scrying from tea leaves, each painting a desperate attempt to make sense of what is happening at this point in time. The familiar, the tropes, populist illustrations are all thrown in with spectacle, the distractions, shock and awe, overwhelm and escapism. Everything that was once familiar now asks, is this an omen? What was once normal, now exists only in manipulated fiction. Unable to paint with contemplative distance, I am untethered, every painting is conjured from what I can’t comprehend. Asking, what is next in this roiling sea of change.”
Muldrow has exhibited her work extensively throughout the country, from New York to Los Angeles with many stops in between. She is a 2021 recipient of a Provincetown Art Museum/Lillian Orlowsky and William Freed Grant as well as most recently receiving an Individual Fellowship grant from the Oregon Arts Commission. She has had her work included to many private and corporate collections, including the Microsoft Corporate Art Collection, the Cleveland Clinic Art Collection, Gerard Louis-Dreyfus Art Collection, and many others.
May 2026 Exhibit
Jo Hamilton
Groundswell
May 9 – June 8
We are honored to be presenting a solo exhibition for the renowned Jo Hamilton and her newest series, Groundswell, during the month of May. Hamilton has enjoyed a remarkable career that has taken her far with her textile-based paintings in yarn. Growing up in Scotland within a family of crocheters and knitters, she learned the skill component of her art making early in life. She now creates large scale fantastical wall hung compositions in yarn from her studio in Portland where she resides. The exhibition opens during Astoria’s Artwalk, May 9th. All are invited to come meet Jo from 5 – 8 pm, Saturday, May 9th who will be available to answer questions about her work. The exhibition will remain on display through June 8th.
This latest series, Groundswell explores real and imaginary interactions between the forces of nature and manmade environments and activities. The term groundswell by definition refers to a sudden gathering of force in public opinion, a violent ocean swelling caused by a distant earthquake or storm, for Hamilton this concept is indicative of the past year. She works from that idea to create elaborate depictions, sometimes dwellings teetering on precarious edge, a submerged church, colonized by coral, a cross section of landscape revealing the fossilized layers of previous era, magma seething a few miles below the earth’s crust, utilizing metaphor within composition to ultimately illustrate the turbulent place mankind is in. She does this with careful consideration to beauty and sometimes a hint of wryness.
About this series she states, “Despite the helplessness we might feel in the face of such seemingly powerful phenomena, the reality of the earth’s resilience and longevity relative to our human consciousness and short span of existence can be both inspiring and comforting. Beneath the surface, under the thin crust on which everything lives, incremental changes and movements are occurring that can eventually bring about monumental, mountainous results. Wind, water and earthquakes are constantly reshaping landscapes and cities.”
Her process is not typical as she works with neither paint nor brush, rather utilizing post-consumer materials through concise decision and concern for the natural environment. After graduating from the Glasgow School of Art in the 1990’s, Hamilton moved to Portland where she integrated her years of training in drawing and painting with the handcraft she learned primarily from her “Gran” during her childhood. About her process she states “My work weaves together these distinct languages, referencing the hand-labor of generations of women as well as contemporary culture. The process involves knotting (and unraveling) hundreds of yarns to create each work. Each knot can represent a moment in time or disappear into he whole, and this interplay between material and subject animates the work.” Hamilton refers to her creations as a “net, filtering and transforming traditionally dominant gender roles and fine art genres.”
Her remarkable “paintings” have gained the attention of collectors and curators around the world with the inclusion of her pieces in the permanent collections of the Portland Art Museum and the Jordan Schnitzer Museum of Art as well as many other private and corporate collections.
Jo Hamilton
Groundswell
May 9 – June 8
We are honored to be presenting a solo exhibition for the renowned Jo Hamilton and her newest series, Groundswell, during the month of May. Hamilton has enjoyed a remarkable career that has taken her far with her textile-based paintings in yarn. Growing up in Scotland within a family of crocheters and knitters, she learned the skill component of her art making early in life. She now creates large scale fantastical wall hung compositions in yarn from her studio in Portland where she resides. The exhibition opens during Astoria’s Artwalk, May 9th. All are invited to come meet Jo from 5 – 8 pm, Saturday, May 9th who will be available to answer questions about her work. The exhibition will remain on display through June 8th.
This latest series, Groundswell explores real and imaginary interactions between the forces of nature and manmade environments and activities. The term groundswell by definition refers to a sudden gathering of force in public opinion, a violent ocean swelling caused by a distant earthquake or storm, for Hamilton this concept is indicative of the past year. She works from that idea to create elaborate depictions, sometimes dwellings teetering on precarious edge, a submerged church, colonized by coral, a cross section of landscape revealing the fossilized layers of previous era, magma seething a few miles below the earth’s crust, utilizing metaphor within composition to ultimately illustrate the turbulent place mankind is in. She does this with careful consideration to beauty and sometimes a hint of wryness.
About this series she states, “Despite the helplessness we might feel in the face of such seemingly powerful phenomena, the reality of the earth’s resilience and longevity relative to our human consciousness and short span of existence can be both inspiring and comforting. Beneath the surface, under the thin crust on which everything lives, incremental changes and movements are occurring that can eventually bring about monumental, mountainous results. Wind, water and earthquakes are constantly reshaping landscapes and cities.”
Her process is not typical as she works with neither paint nor brush, rather utilizing post-consumer materials through concise decision and concern for the natural environment. After graduating from the Glasgow School of Art in the 1990’s, Hamilton moved to Portland where she integrated her years of training in drawing and painting with the handcraft she learned primarily from her “Gran” during her childhood. About her process she states “My work weaves together these distinct languages, referencing the hand-labor of generations of women as well as contemporary culture. The process involves knotting (and unraveling) hundreds of yarns to create each work. Each knot can represent a moment in time or disappear into he whole, and this interplay between material and subject animates the work.” Hamilton refers to her creations as a “net, filtering and transforming traditionally dominant gender roles and fine art genres.”
Her remarkable “paintings” have gained the attention of collectors and curators around the world with the inclusion of her pieces in the permanent collections of the Portland Art Museum and the Jordan Schnitzer Museum of Art as well as many other private and corporate collections.
April 2026 Exhibit
LifeRaft – By April Coppini
&
Messengers Between Worlds – By Janie Lowe
April 11 – May 4
We are excited to be hosting two solo exhibitions at Imogen during April. In our South Gallery we are pleased to share the latest collection of dramatic charcoal (and some with the inclusion of pastel) drawings by April Coppini, titled LifeRaft. Within our front gallery space, we are pleased to be presenting the first solo exhibition at Imogen for the talented oil painter Janie Lowe. Janie offers a new series of elegant paintings titled Messengers Between Worlds. The exhibitions open during Astoria’s artwalk, Saturday, April 11th and both artists will be available to answer questions about their work 5 – 8 pm. The exhibitions will remain on view through May 4th.
April Coppini is widely known for her passionate interest in all creatures and their importance to place, she brings a new collection of gorgeously rendered drawings. Through elegant and expressive mark making she portrays the wild, unseen, and unexpected in her depictions of flora and fauna. Within this series she shares what she looks for inspiration within the awakening of spring and the subtle gifts it brings. LifeRaft, a new series of works on paper, pays homage to the small things around her that offer refuge from the uncertainties of life. This exhibition is about the things that lift us all and keep us afloat through difficult times. Her gestural and painterly approach to mark making sets her apart, creating composition from movement through portrayal of the things that keep her balanced, her internal keel always strong through whatever storm blows over, safe within her own life raft.
In challenging times, whether it’s from a personal perspective or a broader global reach, there is one thing that does remain certain; art is a necessity in our lives, yesterday, today, and tomorrow. Regardless of all, including what their own lives contain, artists always continue to paint, sculpt, write, and perform to communicate, providing a gift of reprieve to all. Artists have always been generous in what they do, whether it is to connect what is good about humanity or record an imprint of challenging times. They create and share, with the goal of easing burden, fear, and struggle; to uplift and bring peace to the unknown and even aiding in the comprehension of matters out of one’s control. It is with this in mind that Coppini has created another exceptional body of work, with the hopes of easing burden and looking to the marvelous to uplift and hold.
Within this series she continues to portray a focused record in her subject matter, the simple struggle of existence. A slight tension of muscle before a possible leap, or the look of pensive awareness in preparation for escape from a possible predator, are all elegantly conveyed through beautiful and gestural mark making. With the underlying message of the importance of all creatures and their independent role to ecosystem and/or as pollinators, predators, scavengers or even domesticated animals, Coppini asks the viewer to consider the role our species takes (or doesn’t) in protecting the delicate relationship between mankind and animal as well as a direct reminder of our symbiotic relationship to all life on a global level. There is also the underlying reminder of appreciating what is good, those moments that take us away from the stress of day to day life, in turn providing a sense of strength and resilience.
Still relying on the starkness of charcoal line to develop the foundation of her drawings, she softens her compositions with the introduction of vibrant and rich color that provide more than a visual response. She looks for balance within each piece, both from a compositional source as well as nuance of content to honor simple beauty, elegance, and sense of hope. She will also be including several of her rare multimedia paintings in this exhibition.
About this series Coppini states: “I, like maybe most people, have been almost consumed by recent terrible and shocking news and realities. But if I step away from all that noise (which I am lucky to be able to do) and go outside for a moment and am quiet, listen and watch, I can pull myself up and see how to keep going. I can see everything that keeps going around us, regardless. That’s the life raft. I don’t draw to show that I have everything figured out, I draw to try to figure things out. I draw to really look- and be humbled because I’ll never fully get it. I draw things that bring me back to a place of wonder, of not knowing how the story ends- but feeling all the possibilities! That’s the life raft too.”
Within our front gallery space, we are presenting the first solo exhibition at Imogen for the talented oil painter Janie Lowe. Janie offers a new series of elegant paintings titled Messengers Between Worlds. Painting from a classical still life approach, she brings rich and luminescent color depicting hummingbirds as metaphor of connection to afterlife, honoring the things that provide peace and comfort in times of loss. She approaches that sense of loss with beauty and tenderness by portraying the continued vibration of life itself through one of the most delicate of creatures, always imbedded in composition, brimming with the fruits of life.
Janie Lowe has long been inspired by the beauty and resilience of hummingbirds, learning years ago that in many Latin cultures this spectacular yet tiny bird symbolizes strength, hope and migration. It is also believed within certain traditions, the hummingbird has the ability to move between worlds — a messenger between the living and the dead. It was this idea that inspired Lowe to create detailed still life compositions, depicting the essence of spirit through the slight winged beings.
When discussing her inspiration for this series she states: “When I began exploring this idea, stories emerged. Friends shared moments that felt too precise to dismiss as coincidence: unexpected encounters, small and luminous. One friend, grieving the loss of her father, described a hummingbird flying directly toward her, hovering at eye level, holding her gaze. In that suspended moment, she felt unmistakably comforted, as if a message had arrived — that she was not alone, that everything would be okay. These stories lingered with me. They offered a gentler language for grief that was not heavy, but tender- fleeting signs that carry immense meaning. For many, such moments become a source of strength and inspiration, a way of moving through sorrow while remaining open to wonder.”
It was this belief that led Janie to paint hummingbirds. Within this series they are the means of connection, placed alongside her own family’s heirlooms, which hold memory. These intimate vignettes function as small moments caught and held briefly, without the interference of time. For Janie, these memories are what keep a loved one’s spirit alive, a form of continuation. She states, “hummingbirds embody that connection – fleeting yet powerful, delicate yet resilient. They remind me of presence, joy and the enduring threads that link us to those who came before us. And in that reminder, I find both delight and comfort.”
Janie Lowe received her BFA from Texas Tech University and her MFA from the School of Visual Arts in New York City. She illustrated for publications such as The New York Times, Random House Books and a book, The Great Ridley Rescue, written by Pamela Phillips. After a few years of freelance illustrating in New York, he moved to Portland, Oregon to live between the mountains and the coast.
LifeRaft – By April Coppini
&
Messengers Between Worlds – By Janie Lowe
April 11 – May 4
We are excited to be hosting two solo exhibitions at Imogen during April. In our South Gallery we are pleased to share the latest collection of dramatic charcoal (and some with the inclusion of pastel) drawings by April Coppini, titled LifeRaft. Within our front gallery space, we are pleased to be presenting the first solo exhibition at Imogen for the talented oil painter Janie Lowe. Janie offers a new series of elegant paintings titled Messengers Between Worlds. The exhibitions open during Astoria’s artwalk, Saturday, April 11th and both artists will be available to answer questions about their work 5 – 8 pm. The exhibitions will remain on view through May 4th.
April Coppini is widely known for her passionate interest in all creatures and their importance to place, she brings a new collection of gorgeously rendered drawings. Through elegant and expressive mark making she portrays the wild, unseen, and unexpected in her depictions of flora and fauna. Within this series she shares what she looks for inspiration within the awakening of spring and the subtle gifts it brings. LifeRaft, a new series of works on paper, pays homage to the small things around her that offer refuge from the uncertainties of life. This exhibition is about the things that lift us all and keep us afloat through difficult times. Her gestural and painterly approach to mark making sets her apart, creating composition from movement through portrayal of the things that keep her balanced, her internal keel always strong through whatever storm blows over, safe within her own life raft.
In challenging times, whether it’s from a personal perspective or a broader global reach, there is one thing that does remain certain; art is a necessity in our lives, yesterday, today, and tomorrow. Regardless of all, including what their own lives contain, artists always continue to paint, sculpt, write, and perform to communicate, providing a gift of reprieve to all. Artists have always been generous in what they do, whether it is to connect what is good about humanity or record an imprint of challenging times. They create and share, with the goal of easing burden, fear, and struggle; to uplift and bring peace to the unknown and even aiding in the comprehension of matters out of one’s control. It is with this in mind that Coppini has created another exceptional body of work, with the hopes of easing burden and looking to the marvelous to uplift and hold.
Within this series she continues to portray a focused record in her subject matter, the simple struggle of existence. A slight tension of muscle before a possible leap, or the look of pensive awareness in preparation for escape from a possible predator, are all elegantly conveyed through beautiful and gestural mark making. With the underlying message of the importance of all creatures and their independent role to ecosystem and/or as pollinators, predators, scavengers or even domesticated animals, Coppini asks the viewer to consider the role our species takes (or doesn’t) in protecting the delicate relationship between mankind and animal as well as a direct reminder of our symbiotic relationship to all life on a global level. There is also the underlying reminder of appreciating what is good, those moments that take us away from the stress of day to day life, in turn providing a sense of strength and resilience.
Still relying on the starkness of charcoal line to develop the foundation of her drawings, she softens her compositions with the introduction of vibrant and rich color that provide more than a visual response. She looks for balance within each piece, both from a compositional source as well as nuance of content to honor simple beauty, elegance, and sense of hope. She will also be including several of her rare multimedia paintings in this exhibition.
About this series Coppini states: “I, like maybe most people, have been almost consumed by recent terrible and shocking news and realities. But if I step away from all that noise (which I am lucky to be able to do) and go outside for a moment and am quiet, listen and watch, I can pull myself up and see how to keep going. I can see everything that keeps going around us, regardless. That’s the life raft. I don’t draw to show that I have everything figured out, I draw to try to figure things out. I draw to really look- and be humbled because I’ll never fully get it. I draw things that bring me back to a place of wonder, of not knowing how the story ends- but feeling all the possibilities! That’s the life raft too.”
Within our front gallery space, we are presenting the first solo exhibition at Imogen for the talented oil painter Janie Lowe. Janie offers a new series of elegant paintings titled Messengers Between Worlds. Painting from a classical still life approach, she brings rich and luminescent color depicting hummingbirds as metaphor of connection to afterlife, honoring the things that provide peace and comfort in times of loss. She approaches that sense of loss with beauty and tenderness by portraying the continued vibration of life itself through one of the most delicate of creatures, always imbedded in composition, brimming with the fruits of life.
Janie Lowe has long been inspired by the beauty and resilience of hummingbirds, learning years ago that in many Latin cultures this spectacular yet tiny bird symbolizes strength, hope and migration. It is also believed within certain traditions, the hummingbird has the ability to move between worlds — a messenger between the living and the dead. It was this idea that inspired Lowe to create detailed still life compositions, depicting the essence of spirit through the slight winged beings.
When discussing her inspiration for this series she states: “When I began exploring this idea, stories emerged. Friends shared moments that felt too precise to dismiss as coincidence: unexpected encounters, small and luminous. One friend, grieving the loss of her father, described a hummingbird flying directly toward her, hovering at eye level, holding her gaze. In that suspended moment, she felt unmistakably comforted, as if a message had arrived — that she was not alone, that everything would be okay. These stories lingered with me. They offered a gentler language for grief that was not heavy, but tender- fleeting signs that carry immense meaning. For many, such moments become a source of strength and inspiration, a way of moving through sorrow while remaining open to wonder.”
It was this belief that led Janie to paint hummingbirds. Within this series they are the means of connection, placed alongside her own family’s heirlooms, which hold memory. These intimate vignettes function as small moments caught and held briefly, without the interference of time. For Janie, these memories are what keep a loved one’s spirit alive, a form of continuation. She states, “hummingbirds embody that connection – fleeting yet powerful, delicate yet resilient. They remind me of presence, joy and the enduring threads that link us to those who came before us. And in that reminder, I find both delight and comfort.”
Janie Lowe received her BFA from Texas Tech University and her MFA from the School of Visual Arts in New York City. She illustrated for publications such as The New York Times, Random House Books and a book, The Great Ridley Rescue, written by Pamela Phillips. After a few years of freelance illustrating in New York, he moved to Portland, Oregon to live between the mountains and the coast.
March 2026 Exhibit
Forged, Found and Cast
A group exhibition exploring metal as medium
March 14 – April 6
We are excited to host our first ever group exhibition focusing on the use of metal as medium. Included to this unique show will be the work of four local artists who all share a love of metal. Jacob Moore, Rick Crawford, Jeremy Furnish and Mark Oberzil, each bring various examples of technique in metal working as well as strong consideration of composition. Forged, Found & Cast opens during Astoria’s Artwalk Saturday, March 14th with the artists in attendance 5 – 8 pm. The exhibition will remain on view through April 6th.
Jacob Moore, who resides just across the river in Chinook, WA is known for his metal working skills typically applied to jewelry. Having once worked in the oyster farming industry his work has long been inspired by the beautiful and unique forms of the oyster shell. For this exhibition he brings large scale, wall hung oyster shell sculpture created from stainless steel. Also on hand will be his exquisite hand forged oyster shell jewelry pieces. About his inspiration he states, “There is incredible range in the forms that the Giant Pacific Oyster can take as it grows. Time spent culturing the growth of millions of oysters showed me the endless variety in shell forms and inspired these works. Each layer of the shell is built upon the previous layer, perhaps taking a new direction while following a subtle pattern. I build these oyster forms with the same process. The first, smallest, and oldest layer first, then the rest follow. The stainless steel rods are bent by hand while cold, allowing for perfect imperfections in the developing patterns. I start the process with a very general idea of the form the piece will take and ultimately they develop into something unique and different than I imagined.”
Sculptor Rick Crawford of Astoria and known for his work with reclaimed old growth Douglas Fir, brings form-folded copper sculpture. About his process he states, “Non-ferous metals, such as copper, can be shaped/worked while cold, but must be soft to prevent unwanted cracking (unless desired as a design element). Annealing using a torch will render the metal soft for working, until work-hardening sets in... then anneal again until forming complete.” Rick has been creating sculpture and jewelry in both metal and wood for decades and is an active member of the PNW Sculptors organization.
Jeremy Furnish, also of Astoria, creates sculpture of mostly found steel objects, usually bringing a bit of wit and whimsy. He’s known for large scale fabricated installation work, including the occasional combination of glass and steel. A lifelong artist at heart, he was awarded the Coastal Oregon Artist Residency (COAR) through the partnership of Astoria Visual Arts and Recology Western Oregon in 2019, giving him the opportunity to delve deeper in the world of reclaimed materials in art making and place focus on turning what’s been discarded into art. Around that same time he was also awarded a commission to create a commemorative sculpture for the marking of the 125th Annual Astoria Regatta, which is now in its permanent location near the Columbia Maritime Museum.
Mark Oberzil, who splits his time between Astoria and Forest Grove is widely known for his unique and well-executed sculptural jewelry. Also, a lifelong artist, with over 6 decades of experience creating one-of-a-kind. His creative process is as varied as his composition, bringing cast and mixed metal fusing techniques, with the calculated addition of gemstones to provide a hint of color and transparency. When asked about his work he succinctly stated, “Jewelry is the sculpture of personal philosophy.” He then added, “Progress and perfection are inverse variants. Lately, I’ve been thinking about the subject-object relationship of creating anything. I used to work in a linear fashion, starting with an idea or narrative, then a plan, and then creating an object that agreed, more or less, with the original idea. I tended to judge success by how much the result resembled the original idea. Over the years it’s become clear, however, that objects take on a life of their own at some point in the process. (magic workshop alert) The object starts to suggest its own modifications and completion. Naturally, the narrative also changes. Sometimes the piece may be finished without a narrative and so it sits waiting for its story to arrive.”
Forged, Found and Cast
A group exhibition exploring metal as medium
March 14 – April 6
We are excited to host our first ever group exhibition focusing on the use of metal as medium. Included to this unique show will be the work of four local artists who all share a love of metal. Jacob Moore, Rick Crawford, Jeremy Furnish and Mark Oberzil, each bring various examples of technique in metal working as well as strong consideration of composition. Forged, Found & Cast opens during Astoria’s Artwalk Saturday, March 14th with the artists in attendance 5 – 8 pm. The exhibition will remain on view through April 6th.
Jacob Moore, who resides just across the river in Chinook, WA is known for his metal working skills typically applied to jewelry. Having once worked in the oyster farming industry his work has long been inspired by the beautiful and unique forms of the oyster shell. For this exhibition he brings large scale, wall hung oyster shell sculpture created from stainless steel. Also on hand will be his exquisite hand forged oyster shell jewelry pieces. About his inspiration he states, “There is incredible range in the forms that the Giant Pacific Oyster can take as it grows. Time spent culturing the growth of millions of oysters showed me the endless variety in shell forms and inspired these works. Each layer of the shell is built upon the previous layer, perhaps taking a new direction while following a subtle pattern. I build these oyster forms with the same process. The first, smallest, and oldest layer first, then the rest follow. The stainless steel rods are bent by hand while cold, allowing for perfect imperfections in the developing patterns. I start the process with a very general idea of the form the piece will take and ultimately they develop into something unique and different than I imagined.”
Sculptor Rick Crawford of Astoria and known for his work with reclaimed old growth Douglas Fir, brings form-folded copper sculpture. About his process he states, “Non-ferous metals, such as copper, can be shaped/worked while cold, but must be soft to prevent unwanted cracking (unless desired as a design element). Annealing using a torch will render the metal soft for working, until work-hardening sets in... then anneal again until forming complete.” Rick has been creating sculpture and jewelry in both metal and wood for decades and is an active member of the PNW Sculptors organization.
Jeremy Furnish, also of Astoria, creates sculpture of mostly found steel objects, usually bringing a bit of wit and whimsy. He’s known for large scale fabricated installation work, including the occasional combination of glass and steel. A lifelong artist at heart, he was awarded the Coastal Oregon Artist Residency (COAR) through the partnership of Astoria Visual Arts and Recology Western Oregon in 2019, giving him the opportunity to delve deeper in the world of reclaimed materials in art making and place focus on turning what’s been discarded into art. Around that same time he was also awarded a commission to create a commemorative sculpture for the marking of the 125th Annual Astoria Regatta, which is now in its permanent location near the Columbia Maritime Museum.
Mark Oberzil, who splits his time between Astoria and Forest Grove is widely known for his unique and well-executed sculptural jewelry. Also, a lifelong artist, with over 6 decades of experience creating one-of-a-kind. His creative process is as varied as his composition, bringing cast and mixed metal fusing techniques, with the calculated addition of gemstones to provide a hint of color and transparency. When asked about his work he succinctly stated, “Jewelry is the sculpture of personal philosophy.” He then added, “Progress and perfection are inverse variants. Lately, I’ve been thinking about the subject-object relationship of creating anything. I used to work in a linear fashion, starting with an idea or narrative, then a plan, and then creating an object that agreed, more or less, with the original idea. I tended to judge success by how much the result resembled the original idea. Over the years it’s become clear, however, that objects take on a life of their own at some point in the process. (magic workshop alert) The object starts to suggest its own modifications and completion. Naturally, the narrative also changes. Sometimes the piece may be finished without a narrative and so it sits waiting for its story to arrive.”
