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Clatsop Community College Presents Crane Crow Exhibit

Clatsop Community College LogoClatsop Community College announces an upcoming visual arts exhibit titled “Crane – Crow” featuring Terry Inokuma, Ceramicist and Grace Sanchez, Painter and Collage Artist. The exhibit is curated by Richard Rowland, CCC Ceramics Instructor, and will be on display from April 4th to May 9th, 2013 in CCC’s Art Center Gallery, 1799 Lexington Ave, Astoria Oregon. An opening reception will be held on April 4th at 6:00 pm.  The artists will be in attendance and refreshments will be provided. All are welcome.

In addition to the exhibit, CCC will be hosting two workshops in the CCC Art Center.  A Ceramic Workshop, “Drawing Creative Process in Clay”, with Terry Inokuma will be held on Wednesday, April 3rd from 1PM to 4PM in the CCC Ceramic Studio.  Email Richard Rowland at [email protected] or call 503-338-2449 for information.  On Thursday April 4th from noon to 3:00PM Grace Sanchez will present a Painting Workshop titled, “Shape and Form: The Visible Language Which Informs Artistic Practice in CCC Painting Studio. Contact Kristin Shauck at [email protected] or call 503-338-2472 for information.  Seating is limited. Workshops are free and open to the public.

Exhibit curator Richard Rowland notes, “Terry Inokuma and Grace Sanchez are currently Northwest Artists who are making their road to self-identity from two shores, America and Japan, so for me, to understand and learn more from their work, it is important to look at how cultural influence has affected their personal artistic styles, nuance and the iconography they have chosen. American artists continue to hybridize media, form and cultural tradition or symbolism into a contemporary expression. For this exhibition I purposefully invited two artists who demonstrate a sense of commitment, experience and selected memory that comes from landscape and environment which is interpreted from cultural mining and personal, intimate relationships that are worlds apart.  These artists show abilities that come from the insight that an artist has to create the necessary freedom to explore these rooted influences, and possibly allowing their creations to happen more naturally. The longer continuum of cultural enquiry and awareness has helped integrate their work.  They are not just telling their stories; they are continually reinterpreting them into blended contemporary and shared melting pots that are alchemous and studied, emerging into honorific art forms that blur cultural boundaries.  Artists Grace Sanchez and Terry Inokuma help direct universality and local specificity to a place that occupies our new age, an age where an artist can become “native” by becoming serious art practitioners through the use of any available materials combined in traditional and non-traditional ways.”

Crow Swallows Sun, Singing Bowl, Terry Inokuma

Crow Swallows Sun, Singing Bowl, Terry Inokuma

Terry Inokuma’s parents were born and raised in Japan. The family’s survival and entertainment consisted of fishing, gardening and gathering in the woods for mushrooms, pine nuts and fiddleheads.  Beautiful pottery always presented her mother’s wonderful cooking in the Japanese traditions.  These ‘hands-on’ experiences have brought Terry to work in clay and soil. “My cultural heritage has provided a foundation of aesthetic appreciation associated with nature’s artistic canvas and its curious consistency showing beauty derived from imperfection. I have developed an innate desire to share this appreciation by attempting to bridge the river between “abstract art” and “craft” combining the familiar, (fire created by wood) and the abstract, (intrinsic form).  My hope is that my contemporary utilitarian forms will make the viewer curious enough to desire establishing an intimate aesthetic relationship with handmade pottery” says Inokuma.

Oil and Water, Singing Bowl, Terry Inokuma

Oil and Water, Singing Bowl, Terry Inokuma

Three-dimensional form emerged from two-dimensional calligraphic marks when Terry was drawn to work in clay while studying graphic design.  After moving to Oregon, she attended the Oregon College of Art and Craft in Portland, Oregon.  She has since developed a form of language by altering wheel thrown parts and recombining them to create forms, which speak of nature, depicting the wood-fire process, in which she has been immersed for over 12 years.

She has given presentations and workshops on atmospheric firing, form, function and calligraphic marks, as well as teaching at various levels including Oregon State University, Southwestern Oregon Community College and programs with the Alaskan Arts Council.  She has also been involved with various grants in clay regarding physical and social wellbeing for 10 years.  Her work, as well as published articles, have been featured in Clay Times, The Log Book, Ceramics Monthly magazine and is represented in many private collections.

Untitled, Collage, Grace Sanchez

Untitled, Collage, Grace Sanchez

Grace Sanchez was born and raised in south Arkansas from the 60’s to early 80’s. Throughout her youth, Grace displayed an interest in art and music. Her mother having the greatest influence on her instilled a Japanese sensibility in the way she kept her garden, was a seamstress for her community and in the glorious way she cooked a meal and served it to her children and guests.  She was exposed to many of the Japanese treasures her mother kept hidden away that related to her culture such as kimonos, childhood books and finely crafted art pieces.

After high school in Arkansas it became clear she didn’t have access to funds to attend college and limited opportunities in her hometown, so she decided to join the Marine Corps hoping it would take her to Japan, the land she had heard of all her childhood. This dream was fulfilled when she received orders to Iwakuni Japan where she worked as a graphics specialist and base photographer.  Grace was able to reconnect with her Japanese heritage and visit many of the places where her mother grew up in Tokyo.  She was also able to visit with her uncle Ernest Satow and aunt Toshi in Kyoto. Ernest, a renowned photographer and professor of art history at Kyoto University and Toshi the owner of a famed inn called the Tawaraya.

Grace has been painting and making collage works for the last 15 years.  She has participated in many shows over the years and had her first solo show in Portland at Gallery 114 in 2009.  Since then she has shown in several solo shows and many group and invitational shows.  Her work is currently held in many private and public collections, including the Portland city collection.

Some profound stories have arisen through the last few years of sharing stories with her mother. One of the most profound is how her mother’s school was turned into a paper balloon bomb making facility. They have shared some of the difficulties living in various communities as a mixed race couple. As these stories begin to unravel a sense of empathy and understanding of the tension our parents had to endure in order to fit into a culture not willing to accept an alternative cultural perspective. Grace says, “The results of being raised with this sense of being the outsider, has allowed for an ability to create from a more observational aspect,” she says; “this other perspective, is an ideal vantage point for an artist to observe the world from. In a sense it gives one the feeling of being in the world, but not of the world.”

The collaboration with Terry Inokuma began as a series of conversations regarding a shared heritage and the desire to excavate and understand the experience of their parents and its impact on their children and society.

Grace Sanchez and Terry Inokuma have found a common link of their upbringing in a family navigating two cultures: Japanese and American.  They have found inspiration in sharing how they relate to their experiences and see this show as a “…tribute to our mothers/fathers and what they did or didn’t pass onto us as a cultural experience or memory,” describes Terry Inokuma.

Please direct inquiries to:  Richard Rowland, 503-338-2449;  [email protected].


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