A Spirit Guide for the New Year

This is the time we start thinking about what we will accomplish in the New Year. Resolutions, however, are often short lived. One obstacle for following through is a lack of support. You may have an exercise buddy to remind you when it’s time to work out. But what about your more personal goals?

Several years ago, I started creating characters from different materials around my studio. My inspiration was a series of petroglyphs I had sketched near Sedona. They intrigued me. Their gestures were subtle, but expressive. As I studied them, I began to appreciate the power of their forms. I don’t claim to understand their specific names or meaning. But they touched something deeper, something universal in my soul. Like actors in a play, each is an archetype for a specific quality.

I felt if I could capture those gestures and remake them into my own characters, I could invoke the power of those archetypes. I have always believed that the images we hold in our mind are what shape our lives. Creating these images is a form of meditation. Focusing on specific images leads you toward that quality. Kindness, strength, compassion, these are examples of qualities that can be transformed into your own personal kachina.

Whether I’m creating a complete figure or only a mask, the time and energy spent bring my full attention to the spirit of that character. What I have discovered is worth sharing.

January 18-20, I’ll be leading “Meet and Make Your Spirit Guide,” a workshop/playshop at The Lowe House in Tubac, Arizona. It’s a playful, but thoughtful series of discussions and hands-on character making. We will each identify a quality to manifest in the New Year. By sketching and creating a figure or mask to represents that quality, you begin to focus your attention and decisions toward that reality.

My teaching style is playful, highly interactive and full of imagination. No previous experience necessary. All you need is curiosity and a willingness to explore. The group will be small.

Chas Martin is a sculptor/painter from Portland, Oregon where he mentors other artists and leads classes on watercolor, acrylic and sculpture. He is a former creative director whose career has focused on nurturing the creativity of those around him. He is a former instructor at Boston Art Institute, San Francisco Academy of Art, Pacific Northwest College of Art, Northwest Academy and Sitka Center for Art and Ecology.

Daily studio ritual

This ritual started about four years ago while flipping pages through a book. I found a Celtic alter which consisted of three rocks. I drew it a few times. It looked like the character "pi" which seem to lack something. So I rendered it a few times, then put a head on it. After repeating the four strokes a number of times, it felt like a good sequence for a daily ritual. Hundreds of renderings later, I have boxes filled with variations. This is a short, random selection.

The process is simple. Each day I choose a brush, never the same one as the day before. Then I select a pigment, or two. Never the same as the day before. Some days I use a single brush. Some days I choose two. I may use a single pigment or mix two on a single brush - of four pigments on two brushes. The paper is whatever is handy. Maybe a piece of cardboard. Maybe rice paper. Maybe watercolor paper.

Prepare the brush. Take a breath. Create the character. Watch what happens. When pigments hit the surface, I have an immediate reaction to the marks. It looks like a warrior, a bird, a leaping frog, dancer, singer, tiger, something different every day. And they change as they dry.

I keep each day's image visible while I work in my studio. When I get stuck or need time to think, I look at today's character and I know how to proceed.

Show and Workshop at Yamhill Valley Vineyards

I'll be showing a series of vineyard and regionally focused watercolors at Yamhill Valley Vineyards beginning June 2 through the end of the month. In addition to their excellent wines, YVV offers many excellent views. I'll be giving a talk/demo on June 2 around 1pm and I'll be out in the vineyard painting for the rest of the afternoon.

We're also planning a Wine & Watercolor Workshop on Sunday June 24 from noon to 4pm. YVV will be providing a box lunch and wine tasting at noon. After we've had a chance to get in the mood, we'll start  painting around 1pm. This is a workshop for all levels. If you're new to watercolor, we'll focus more on sketching. I'll provide a materials list. And, I'll have a few supplies on hand as well.

"Mirrors" a new show opening June 1 at The Cave in Vancouver

I am very pleased to announce a new show of my sculptures, masks, paintings and a few animations at The Cave in Vancouver, Washington. The show opens with a reception Friday, June 1. It will include a number of new recent pieces.

On June 9 at 1pm I'll be giving a talk about my work and creative process. My fascination with the familiar unknown will be one of the themes.

Last month, several of my pieces were included in the Pacific Northwest Sculptors Show at The Cave. It's is an incredibly beautiful, well lit and well located gallery. I am very excited to be invited back.

The Cave is located at 108 Evergreen Blvd., Vancouver, Washington

First Show of 2018

"Playful Spirits ~ Vibrant Visions" opened January 5 at Multnomah Art Center, 2788 SW Capitol Highway, Portland. The show includes recent work by Chas Martin and Consu Tolosa. The show will remain open until January 30.

"Full Moon Fever" wire, fiber and acrylic polymer with acrylic paint. Approximately 30"x30"x5"

"Intuition" Wood, wire, fabric and acrylic polymer painted with acrylic. About 33" tall

Portland Open Studios Tour 2017 - You're invited!

I'm very proud to be included on the Portland Open Studios Tour again this year, my third year as a participant. This year, there are two other artists in my building: Rick Wheeler and Diane Ferree. Both have been actively preparing for the event. There are also several other artists participating in the immediate community.

In addition to seeing what and how we create, many artists (including me) offer classes. See details.

DATES: October 14, 15, 21 and 22. Studios are open from 10am to 5pm each day. Over 100 artists have been juried into the tour this year. Each will giving demonstrations of their processes and techniques.

TOUR GUIDES are available at my studio and at many art supply stores throughout the city.

DOWNLOAD THE FREE APP: (link available soon!) It's preloaded with addresses and uses Google Maps to navigate to participating artists. (iPhone and Android)

The Known Universe - Chas Martin, mixed media

Rick Wheeler, acrylic on canvas

Diane Ferree, mixed media

Night Circus, Magic and Perception

Walking Infinity, work in progress...

When I read a novel that taps into difficult-to-describe knowledge, it reinforces the idea that there is more to life than science or faith. I just finished reading "The Night Circus" by Erin Morgenstern. It could be categorized as playful, fantasy, magic, or several other descriptors. She entertainingly explores the realm of the unexplainable.

"Magic," the man in the grey suit laughs, "This is not magic. This is the way the world is, only very few people take the time to stop and note it. Look around you. Not a one of them even has an inkling of the things that are possible in this world and what's worse, is that none of them would listen if you attempted to enlighten them. They want to believe that magic is nothing but clever deception, because to think it real would keep them up at night, afraid of their own existence."

Real versus magic reduces our perception to logic. We can thank Aristotle for our binary evaluation of the world. By his logic, everything that isn't right is wrong. That’s the foundation of our education system. The dominance of the left brain devalues the knowledge of the right brain because if it can’t be quantified, it doesn’t matter.  

Years of studying creativity, imagination and thought processes have taught me that there is a universe of possibility between logic’s polar options. There can be more than one right answer. There can be more than two right answers. There can be dozens of right answers. Why not? There are certainly multiple wrong answers. There is more to the world than the extremes of pure science or pure faith answers.

It seems that each exist to negate the other. In science, provable facts define our perception for decades until overturned by new facts. Faith, on the other hand, is faith in the unprovable where the level of piety defines the truth. Between these extremes is a much greater realm of perception that is as real as we allow it to be.

Native American artist, Rick Bartow, often explored how we perceive the world. "Things We Know but Cannot Explain" was a powerful retrospective of his life’s work. In image after image, he reached beyond the grasp of science or faith to the core of the magic. It’s not the magic of tricks and deception. It’s the magic of letting go of the obvious to explore the sensuous.
David Abram’s book, "The Spell of the Sensuous," defined this magic as the essential experience of oneness that defies description. Any attempt to explain this experience in picture, word, song, or dance is an abstraction of the essential experience. Abstract or not, it seems to fit with Morgenstern’s world where magic is all around all the time. We just need to be open to its possibilities to participate.   

The Hero’s Journey Show Reflects its Viewers

The current show at Columbia Center for the Arts is a bold collection of works by 20 artists from San Diego to Seattle whose perspectives are as diverse as their styles. The hero’s journey theme is based on Joseph Campbell’s analysis of multiple cultures and their universal storytelling structure. Regardless of the source, these stories include the protagonist hero, a mix of allies, mentors, tricksters and villains entwined in a quest filled with obstacles. The journey is the underlying format for countless films from The Wizard of Oz to Star Wars and many others.

Applying this theme to art is nothing new. Seeing this diversity of artistic executions however, provides an enlightening view not only of the artist’s journey, but of how we see ourselves. Working in bronze, wood, fabric or paint, each artist has created a unique expression of the theme.  

One of the most provocative pieces in the show is by Troutdale sculptor, Bud Egger. “Poet’s Lament” is a powerful bronze figure – a hero in a meditative pose which seems to summon inner strength. The sculpture is mesmerizing in its shape and masterful execution.  In contrast is a series of paintings by Chehalis artist, Charles Funk. He integrates multiple allies in the form of birds and fish to create dreamlike stories in which everything is alive with meaning. Funk’s work magically echoes his Native American heritage.

Another series by Cuauhtémoc Kish of San Diego combines fabrics and beads intricately quilted into elegant portraits of mythic archetypes. There is a playful, trickster quality to these that compliments local artist Rodney Stuart’s wooden figures. These whimsical characters invite you to create your own narrative.

A large acrylic painting by Portland artist Rick Wheeler titled, “Ancient Stories” is an interpretation of petroglyphs combined with animal totems. The longer you look at this haunting piece, the more you will find. The complex arrangement of characters engages you in personal reflection.

Reflection is, in fact, the goal of the show. The hero’s journey format is as old as storytelling itself. We relate to the hero and to the quest. We are challenged to imagine how we can overcome adversity. Our personal involvement in the story helps us see, learn and act from our inner power. Through the artist’s visual narrative, we discover our own hero qualities and find our path.

Students from Lyle Middle School are also displaying related works in the Gallery Nook this month. They have created self-portraits in collage based on the hero’s journey. Their storytelling enthusiasm was evident at the show opening earlier this month.  The Hero’s Journey Show will be on display through January 29.

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Chas Martin curated The Hero’s Journey show. A Hood River resident from 1981-1998, he is a former president of the Columbia Art Gallery, predecessor of Columbia Center for the Arts. His current work is on display in the lobby of the Center this month.

The Hero's Journey Show at Columbia Center for the Arts

"The Hero's Journey" at Columbia Center for the Arts in Hood River is my first experience curating a show. I am very pleased with the results. The call for entries was a straightforward request:

Is there a difference between man and myth, or is each the reflection of the other? Explore the stories that define our lives through archetypal characters, cultural symbols, and dreams. These timeless stories guide us, anchor us and help us understand who we are and why we are here. “The Hero’s Journey” will reveal how men visualize themselves and their personal mythologies. Working in a variety of artistic forms, participating artists will consider their personal journeys, archetypes, the adventure of the examined life, and the deep roots of individual artistic expression.

The theme evolved from a discussion on Joseph Campbell's lectures which have influenced much of my own work. The call for entries resulted in a show of 30 artists from LA to Seattle. Interpretation of the theme vary widely, but also create a curious continuity.

The show will be on display through January 29, 2017 at Columbia Center for the Arts in Hood River. As a compliment to the Hero show, I am exhibiting a series of sculptures, masks and paintings in the Center's main lobby.

The art of teaching art to different learning styles

In November, I participated in the Young Audiences Teaching Artist Studio, a 5-day intensive workshop focused on classroom skills for artists who teach. Teaching artists are working artists who share their knowledge with students while working collaboratively with classroom teachers to integrate art into related studies.

I thought my experience as an artist and communicator was sufficient to connect with students. Yes and no. Yes, I knew how to connect with some students. No, I was not connecting with all students. Here’s one of the things I now understand more fully.

There are many different learning styles. Some students learn best through reading. Others learn through hearing. Some learn faster through hands-on exercises. Still others benefit through song, dance, role play, etc. I’m a visual artist. It comes as no surprise that I learn best through images and kinesthetic or hands-on techniques. But that’s just me. The art of teaching art has to address all learning styles.

One participant in our cohort is Julie Keefe, a photojournalist. In a short, highly interactive presentation she called “Camera Yoga,” she explained options for framing a photo. First she created a rectangle with her thumbs and index fingers. As she shifted her frame back and forth from horizontal to vertical, she described the frame in a series of terms: tall or wide; portrait or landscape; hot dog or hamburger. Then she added more dimension to the task by identifying different points of view: birds eye view, dog view, snake view. As she described each, we used our hands to frame each angle of viewing – looking down, looking straight ahead and looking up. We were in motion, engaged and actively putting new information to work. Finally, using a series of projected images, she anchored these concepts by having us identify the photographer’s point of view for each shot. This all happened within a few minutes. Yet each person in the room, regardless of his or her learning style was actively learning.  

A teaching artist is expert in both an art form and the skills for communicating that knowledge to a full spectrum of learning styles. This is one of many valuable experiences I gained during the workshop. I have already integrated a number of techniques. With my painting students, I have them drag an empty brush over an existing painting to help them examine the brush strokes of the original painter. I found this creates a bit of suspense which fully engages students. Then we imitate those strokes with a brush loaded with pigment. In the process, they see, feel, hear my description, and describe their own observations. It also makes their strokes more deliberate and expressive.

Young Audiences Teaching Artist Studio is a professional development program for teaching artists in Oregon and SW Washington.