Portland, March 2025 – Urban Art & Antiques

Here are four “go” shows for the month of March.

At Froelick Gallery, Rebecca Boraz presents her debut exhibition, “Holding Space.” The concept emerged during the pandemic, a time when our awareness of personal space—whether alone or shared with loved ones—increased to the point of hypersensitivity. This theme resonates deeply in Boraz’s work as a printmaker, where interlocking forms and synchronized lines within confined spaces suggest both tenderness and longing.

During her artist talk, Boraz acknowledged the resemblance of her work to Cubism but emphasized that her artistic style is shaped by her unique vision, sometimes even influenced by double vision. Her mastery of various intaglio techniques, including soft-ground etching and spit-bite aquatint, gives her prints a velvety softness and an ineffable spectrum of gray. Meanwhile, her reduction relief prints highlight her methodical processes of planning and orchestration. Despite its stylistic affinity to Cubism, to me, the theatrical interplay of figures and space evokes Watteau’s sense of intimacy rather than Picasso’s objective approach.

Alongside her prints, Boraz also exhibits a series of sculptural pieces. These ceramic works, functioning as lamps, stand apart from her prints not just in medium but in creative approach. She described the process as liberating, allowing her to work more fluidly compared to the methodical rigor of printmaking. “At last, I can sit up straight to make artwork,” she laughed during the artist talk. The pliability of clay enabled her to make spontaneous choices, resulting in pieces that feel funky, sensual, and intuitive. Despite their playful nature, the anthropomorphic and domestic qualities of these lamps reflect the same artistic vision seen in her prints—suggesting an ongoing dialogue between form, space and human presence.

Next door at Augen Gallery, the second posthumous exhibition of George Johanson reaffirms his status as a master printmaker and consummate painter. By placing his prints next to his paintings (sometimes sharing the same composition), the exhibition  immediately conveys a printmaker’s mindset, particularly in his use of negative space. Boraz herself paused when I commented on how Johanson manipulates negative space—not merely as absence but as an active force shaping his compositions. Light and dark play against each other in a rhythm of contrasts, creating a distinct spatial perspective. Whether it’s the sharp glow of a flashlight illuminating a jumping cat and its shadow or the elusive reflection of a figure (or a cat) in a mirror, Johanson’s compositions maintain a compelling tension that suggests a sense of becoming. That sense of becoming dictates motives, actions, gestures, desires, and ephemeral feelings take precedence over the figures themselves. 

Adjusting to Johanson’s color palette takes time, especially after viewing Boraz’s more muted tonalities. Whether influenced by Fauvism or Postmodernism, Johansson orchestrates colors that reflect a heightened emotional experience rather than a literal one. In an early video interview, he once stated, “A color only exists with its relation to surroundings.” His son, Aaron Johanson, echoed this statement during the gallery talk, describing how Johanson would continuously refine colors until they harmonized perfectly.

That dedication is evident in works such as one prominently displayed across a side wall where loosely painted figures—some mere silhouettes outlined in gestural lines—effortlessly capture the joy of being outdoors on a rainy day. The drizzle may have muted the sky, but in its place, Johanson paints a vibrant, jazzy reflection in every puddle, turning the mundane into something magical.

In the current show, Tree: Breadth of Humanity, at Verum Ultimum Gallery curator Jennifer Gillia Cutshall embraces variety in both medium and technique, featuring ceramics, glass, fabric, wood carving, and even conceptual pieces—all exploring the theme of trees.

One notable name in the exhibition is Gary Westford, whose personal collection of psychedelic posters—currently on display at the Portland Art Museum—remains on view until the end of the month. His large painting Waterfall stands as a testament to his own artistic talent. Meanwhile, Terri Shinn’s fabric sculpture Yew deceives the eye with its bark-like knots and textures, only to reveal its feather-light softness upon close examination.

After by Washington State artist Carol Ross depicts the aftermath of a forest fire. The work captures a thick silence, heavy with lingering smoke.

Sidestreet Arts Gallery, a staple of the Kern neighborhood, continues its tradition of inviting non-co-op members to expand its reach within the community. This month, the gallery showcases artists from Hipbone Art Studio. According to Ha Austin, one of the members at the gallery, their first exhibition last year was a tremendous success, reaffirming the broad public appeal of figurative drawing and painting. 

Hipbone Art Studio, which has provided life-drawing opportunities for over 35 years, is located just a short distance from the gallery. The camaraderie among artists was palpable on opening night—the space was so packed that there seemed to be more people standing on the floor than artwork hanging on the walls. For many, seeing their own work framed, juried, and illuminated in a commercial gallery—and sharing that moment with kindred spirits—was a deeply gratifying experience, bringing smiles all around.

A preference for female models, or an unavailability of male ones is apparent in the works. But while many are drawn from life, some are purposeful and thought out, including Transplanted by Riley Waite.  Others may even be drawn from historic images and include Maggie Lena Walker by Jake Smith. In any case, it’s good to see a variety of figurative work, often permanently confined to sketch pads, on display in a gallery.