Nucleus has a 10 year aniversery show. You may recognize the artists, Aaron Nagel, Bega EV, Benjamin Björklund, Betty Jiang, Bill Barminski, Bill Mayer, Branden Milbreit, Brett Amory, Dan Boldrini, Creature Creature, Danielle Estefanara, Dusky Boy, Eileen Clavel, Elly Smallwood, El Macuina, Erik Mark Sandberg, Esao Andrews, Felicia Chiao, Heikki Leis, Janine Shiota, Janice Sung, John Brophy, Julian Callos, Kewon Falgas, Kim Byung, Kirk Demb, Kiriako Iatridis, Klaus Kraemer, Kriss Muns, Kyler Martz, Lisk Feng, Luba Laura, Lonnie Menendez & Rosa Menendez, Lou Webb James, Malcolm T. Liepke, Mari, Matt Dangler, Michael Alvarez (Talento?), Mincho Gana, Mona Walls, Morten Memborg, Motohiro Hayakawa, Muzo Ozars, Nexus Photos, Rodney Matthews, Sam Brano, Sarah Joncas, Shoko Ishida, Steve Giger, Sydneylund-Arturo, Tera Bando, Timothy Lamb, Teagan White, Wissam Shawkat, Yosuke, We are out of office, and Wee Genseman.
It is https://www.nucleusportland.com/blogs/future-exhibitions/10-year-anniversary-show at Nucleus Portland http://www.nucleusportland.com 2916 NE Alberta 5PM-7 Free
Quinha Faria https://quinhafaria.com brings Cambium.
"Working between wood, masking paper, and organic and synthetic materials to carve, paint, and weave these pieces, the material distinctions between surface and support begin to collapse. Cambium, the exhibition’s title, refers to the thin living layer of undifferentiated cells in vascular plants where new growth is generated. “Undifferentiated” is the operative word here—it means the cells have not yet specialized, they retain the capacity for multiple possibilities.
Faria is interested in cambium as a hidden generative structure. The cambium is a place of potential, of response and formation. The recurring use of adjacent panels or paired planes in these new paintings reflect the artists interest in relationship rather than division. The two surfaces are distinct entities, they do not resolve into a single unified object. They remain separate while influencing one another. Boundaries and edges are porous sites of communication, contact/touch, exchange, negotiation, differentiation. Carved works such as “Osmosis” or “Event” share these qualities as alternating layers of rust and shellac or acrylic, rayon, and adhesive compound (respectively) build upon one another atop the birch substrate.
As in trees, some cells in the cambium layer maintain themselves, while others become xylem (wood) or phloem (inner bark). They exist between states of stability and emergence, suggesting that what appears stable or complete is always being shaped by invisible processes underneath. This also connects to the artists ongoing interest in the support as an active participant in forming what we perceive. Large-scale sculptures constructed of masking paper further inform this thinking by recasting a utilitarian material into organic forms. The focused “Support Studies 1-5” of the same medium explore different stages of the intricate, additive and reductive processes. A barrier typically meant to simply protect a surface here becomes all-inclusive: shape, support, and surface. Compositional balance is reached quietly through these networks of exchange and feedback between Faria, the works, and their environment. A piece is finished when it has a sort of unnameable quality, when Faria senses it has a life, a complexity, and some kind of equilibrium to it that can speak for itself."
It's https://onegrandgallery.com/Quinha-Faria at One Grand Gallery www.onegrandgallery.com 1000 E Burnside 6PM-9 Free
