TILT Export: Fanatic

Upfor partners with TILT Export: for an exhibition curated by Jenene Nagy and Joshua West Smith.
TILT Export: Fanatic opens on April 2 and includes paintings by Tim Flowers and sculpture by Rebecca Ripple. The show runs through April 26, 2014 with a First Thursday reception on April 3 from 6:00 to 9:00pm.

To create his paintings for TILT Export: Fanatic, Tim Flowers took facial indentations with foil and painted the masks’ interiors from observation, his inverted features abstracted into prisms of reflected colors. He received his MFA from the Rhode Island School of Design in 1985 and has exhibited his work nationally and internationally at venues including St. John’s University, NY; Holter Museum of Art, MT; and College of Fine Arts, Sydney, Australia. Tim is currently the drawing, painting and printmaking coordinator at Georgia State University. He was an artist-in- residence at the Millay Colony, NY, and taught at Anderson Ranch Arts Center in Aspen, CO.

Los Angeles-based Rebecca Ripple creates sculptural installations that use highly worked material, drawing from her Catholic school education to produce objects that are rich in history both personal and historical, secular and spiritual. Ripple received her MFA from Yale University in 1995, and has exhibited throughout the United States and Italy, including at Kristi Engle Gallery in Los Angeles, the Armory Center for the Arts in Pasadena, Tilt Gallery and Project Space in Portland, Ludwig Drum Factory in Chicago, and many others. She attended the Skowhegan School of Painting and Sculpture, and has received multiple awards including a COLA City of Los Angeles Individual Artist Fellowship and a Nathan O. Freedman Endowment for Exceptional Creative Accomplishments.

About Upfor: Founded in 2013 by Theo Downes-Le Guin, Upfor presents contemporary art from emerging and established artists working in digital and other mediums. The 1,700-square- foot gallery offers a versatile exhibition and performance space in Portland’s visual arts district.

The gallery is located at 929 NW Flanders Street, Portland, OR 97209. For information about upcoming exhibitions, please visit Gallery hours are Tuesday–Saturday from 11 a.m. to 6 p.m. and by appointment.

Tim Flowers
Interior Mask (DF)

Rebecca Ripple
Medusa of Suburbia
plastic, aluminum, wood, tape, hair, florescent light
60 by 30 by 36 inches

TILT Export: Co/Lab

Ben Buswell
is a visual artist living and working in Portland, Oregon. His work has been shown nationally at venues including Tilt Gallery and Project Space and IGLOO in Portland, Raid Projects in Los Angeles, and Fivepoints Arthouse in San Francisco. In 2006 his work was included in the Oregon Biennial at the Portland Art Museum curated by Jennifer Gately. Most recently Buswell was included in Portland2012: An Exhibition of Contemporary Art produced by Disjecta Contemporary Art Center.

Karl Burkheimer is an Associate Professor and the Wood Department Head at the Oregon College of Art and Craft. His work has been exhibited at Disjecta Contemporary Art Center and the Museum of Contemporary Craft in Portland, among others. Upcoming exhibitions include a solo project at Anderson Ranch Arts Center in Aspen. This summer Burkheimer was named as a finalist for the Contemporary NW Art Awards at the Portland Art Museum. Additionally, Burkheimer is the 2013 recipient of the prestigious U.S./Japan Creative Artist Fellowship.

Lauren Clay is a visual artist living and working in New York. She has had solo exhibitions at Tilt Gallery and Project Space, Portland, Larissa Goldston Gallery, NY, and Whitespace Gallery, ATL. Clay’s work has been reviewed in The Washington Post, Beautiful Decay, and Art Papers magazine. In 2008-09 she was an Artist-in-Residence at Henry Street Settlement in New York. Clay is represented by Larissa Goldston gallery.

Craig Drennen is the Dean of Skowhegan School of Painting and Sculpture. His work has been exhibited nationally and internationally including venues in New York, Boston, Toronto, and Beijing. Drennen has delivered talks and served on panels at academic institutions across the country. His work has been reviewed in Art Forum, the New York Times, Burnaway, and the Boston Globe. Drennen is represented by Saltworks gallery in Atlanta and Samon in Boston.

Heidi Schwegler explores a wide range of materials in the service of very depressing subject matter. Schwegler constructs artifacts and objects from resin, metal, wood, wax, found objects and digital media. She has participated in numerous group and solo shows, including exhibitions at the Tacoma Art Museum in Washington, the Hallie Ford Museum in Oregon and at Disjecta Contemporary Art Center in Portland as part of Portland2010: A Biennial of Contemporary Art. Schwegler is a recent recipient of a Hallie Ford Fellowship, a MacDowell Fellowship, and several RACC Individual Project Grants.


Ben Buswell
All The Love In The World Goes With You
Latex, Urethane, Steel and Pillow

Karl Burkheimer
Poised (top piece)
23" x 30 x 20"
wood and paint
Apropos (accompanying pillar)
38.5" x 4" x 10"

Lauren Clay
No side to fall in (Cubi XII)
Paper, acrylic, wooden armature, 18 1/2 x 7 x 3 inches

Craig Drennen
Rope Servant 2
graphite, acrylic, oil, alkyd on paper
25" x 25"

Heidi Schwegler
Road cone, enamel paint
24” x 30” x 8"

TILT Export: Imposter

Reception October 15th
October 15th 2011 and runs thru November 5th 2011
RAID projects Los Angeles

Partnering with RAID projects of Los Angeles, Jenene Nagy and Josh Smith are pleased to announce the upcoming group exhibition TILT Export: Imposter featuring the work of Ben Buswell, Paula Rebsom and Heidi Schwegler.

"Nothing is more natural than mutual misunderstanding; the contrary is always surprising. I believe that one never agrees on anything except by mistake, and that all harmony among human beings is the happy fruit of an error."
— Paul Valéry (The Art of Poetry)

Imposter. A rank, accusatory word that haunts. It sticks in the teeth and echoes in the strongest minds when they are secretly weak. It can ruin and wreck without cause. It makes us look twice, and the second time is often full of lasting doubt and distrust.

It is with a nod to Valéry and his happy fruit we reevaluate assumptions and think hard on casual accusations whether they be muttered to ones self, quietly shared with friends, or shouted, literally or metaphorically, from the highest rooftops. By tying the word imposter to this exhibition we implicate art and its cohorts, truth and beauty, as being complicit in an ancient conspiracy. How do we evaluate originality? Where is the line between "inspiration" and forgery?

The cynical tendencies of contemporary work coupled with the postmodern practice of appropriation and sampling, make the idea of the imposter a far-reaching one. From Duchamp's farcical urinal to Sherrie Levine's deftly replicated photographs we are surrounded by that which is at once itself and the other. This duality calls into question that which is true. And if only one can be true than the other seems to require the label Imposter.

Each one of the artists represented in this exhibition is dealing in some way with this notion. Some are constructing the artifice knowingly while others have come to the conclusion almost subconsciously, as innocently as the viewer will. By this logic every piece is being forced into the role of the imposter by the viewer. We are the corruptors.

In each of the works, the contemporary human condition is examined. Are we imposters for protection? For manipulation? Or merely as a product of our environment? TILT Export: Imposter explores these questions with regard to content, material, and bias.

Artists to be included in the exhibition:
Paula Rebsom
Heidi Schwegler
Ben Buswell

Paula Rebsom makes objects that are large-scale paintings posed as sculptures often documented and presented as photographs. Similar to how contemporary society experiences nature and the wild: through mediated experiences that disguise human intervention, Rebsom’s work forces viewers to navigate between real and staged environments. These slippery in-between places where reality and fiction collapse into the same plane challenge viewers to re-consider their relationships to the natural world and the built environment along with the documents that record those experiences.

Heidi Schwegler believes herself to be an imposter. Riddled with contradiction, Schwegler claims to have the capacity to hold two opposing thoughts and strongly believe in both - her private ambivalence is self-defining and destructive. The video Wrest 01 illustrates this moment of anguish. Colt Toombs (mixed martial artist and son of the famous World Wrestling Entertainer "Rowdy" Roddy Piper) stands in as the oppositional force. Filmed with green screen, Colt puts Schwegler in an endless variety of defensive holds as she fervently try to free herself.

With regard to Imposter, Ben Buswell writes the following:
“I believe that I once misheard a quote from Tennessee Williams that stated, ‘we never talk to each other, only the person between us’. Whether or not this statement exists as a quote is secondary to it’s summing up of the general atmosphere in which Williams’ characters play out their versions of us. In both on stage interaction and in their complicity with the audience the actors exist in a mediated relationship analogous to our own. We also assume an audience. The inclusion of this third party provokes the imposter in us. We choose to speak to each other in a language made for someone else.”



These events are free and open to the public.


TILT Export: Kartz Ucci

PCC Rock Creek

Partnering with Portland Community College Rock Creek's Helzer Gallery, Jenene Nagy and Josh Smith are pleased to announce the opening of the solo exhibition TILT Export: kartz ucci. Kartz Ucci is an installation artist working with relationships of theory, material and concept within an expanded field of visual exploration. In Ucci's piece an opera for one, the artist hired the young Canadian opera soprano, Deanna Pauletto to sing a capella, Pablo Neruda's book of poetry, "Twenty Love Poems and a Song of Despair". The piece was recorded in a cement-encased stairwell, 16 stories high. A colour coded score was composed based on Ucci's interpretation of the relation between colour and its emotional vibration. The resulting installation is a hauntingly romantic response to this effort.

TILT Export: kartz ucci runs September 21-October 30, 2009 at the PCC Rock Creek Helzer Gallery, Building 3, 17705 NW Springville Road, Portland, Oregon. There will be an artist talk Friday October 2 at 3:30pm in the Forum, Building 3. A reception for the artist will follow later that evening in the gallery from 7-9pm. Regular gallery hours are Monday – Friday 9a-5p and Saturday 9a-3p.

Kartz Ucci received her MFA from York University in Toronto in 1995. Her work has been exhibited internationally at venues in Soeul (South Korea), Limossal (Cyprus), Basel (Switzerland), Toronto and Montreal (Canada). The sound piece, 368 songs with the word sad in the title was included in Guy Schraenen’s anthology of his collection Vinyl Records and Covers by Artists and traveled with a related exhibition to Porto (Portugal), Breman (Germany) and Barcelona (Spain). The record is also distributed by Art Metropole in Toronto. Other projects include upcoming work as editor on Kent State, a feature film written and directed by Karen Slade. Ucci is currently an Assistant Professor in Digital Arts at the University of Oregon in Eugene. This will be her first solo exhibition in the US.


These events are free and open to the public.

Download a full guide to Ucci's an opera for one


TILT Export: Approximate

new work by
Damien Gilley and Ethan Rose

Partnering with galleryHOMELAND, Jenene Nagy and Josh Smith are pleased to announce the opening of TILT Export: Approximate, featuring new work by Damien Gilley and Ethan Rose. Using the unique architecture of the gallery as a launching off point, both artists worked collaboratively to identify, alter, and enhance its nuances. The gallery is a space that is an in-between, a place of convergence, whether it be social, auditory, or historical. Gilley's cool and removed tape installation echoes the vast industriousness of the history of the building while Rose's reverberating sound piece reflect this transitory nature, simultaneously inviting the visitor to dwell and explore the reactive alterations.

TILT Export: Approximate runs April 3-27, 2009 at galleryHOMELAND @ the Ford Building, 2505 SE 11th Ave., Portland, OR 97204. There will be an opening reception for the artists Friday April 3, from 6-9p. Regular gallery hours are Friday - Monday 12p-6p and by appointment.

Damien Gilley is the Director and Curator of Igloo Gallery in Portland, Oregon. His work has been exhibited nationally at venues including the Art Museum of South Texas in Corpus Christi, Las Vegas Museum of Art, and RocksBox in Portland, among others. His work has been reviewed in the Willamette Week, the Portland Mercury, and Artforum, where his collaborative exhibition with Modou Dieng was also listed as a "Critic's Pick".

Ethan Rose is a sound artist living and working in Portland, Oregon. He has released recordings and performed nationally and internationally at venues including Shibuya O-Nest in Tokyo, Japan, Freeze Project in Anchorage, AK, and the as part of PICA's Time Based Art Festival. His work can also be heard as the film scores of Paranoid Park, directed by Gus Van Sant and Rise, directed by Ryan Jeffery. Rose's work has been reviewed in The Oregonian, LA Weekly, NY Magazine, and The New York Times.

Damien Gilley
Photo credit: Calvin Ross Carl