Nancy Wilkins' monoprints are wonderful pieces of art influenced by the reflection off water and beneath it's surface. They are defined by layers of rich color and texture creating a sense of depth and surface. Each monoprint is unique and can not be recreated.

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Natalie Warrens'
ceramics are extremely fine thin pieces that challenge ideas of weight and gravity and celebrate boldness of color. Her airbrush and hand painted designs are finished with a high gloss clear glaze which adds a luminous glass-like quality to her work.

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Wilkins holds a BFA from Marylhurst University and since graduating in 1999 has made printmaking her primary focus.

Artist Statement:

"Motivated by the process of looking both at the reflection off water and beneath its surface within, I am interested in building layers of rich color and texture that create both a sense of depth as well as surface. I begin by creating and printing an intaglio (etching, drypoint, or photo etching) plate. I then paint or roll oil-based ink onto plexiglass and transfer that onto the same paper by running through an etching press. I use hand-cut mylar stencils and collaged plates to repeat, layer and ghost-print shapes. Occasionally I will palm-sand the surface of the print in order to erase areas and/or add texture, then print over again. Sometimes I will collage similarly printed pieces together.

Though each monoprint contains a repeatable aspect, each is made spontaneously run through the press many times adding and subtracting elements. I could not create any exactly again. Each is a unique print."

Warrens is a graduate of Portland State University and earned a Master of Fine Arts in Ceramics at the School of the Art Institute of Chicago in 1986.

Artist Statement:

"I wheel throw or hand-build earthenware clay into traditional and sculptural forms that are first bisque fired, then decorated. My intention is to push the clay to its physical limits. I throw extremely fine thin pieces and construct slab-built forms which visually challenge ideas of weight and gravity. Once bisque fired, I airbrush and hand paint my designs using low-fire vibrant colored underglazes. Finally, I apply a high-gloss clear glaze fired to 1800 degrees. The combination of the thinness of the clay, the smooth surface decoration, and the reflective clear glaze gives the work a luminous glass-like quality.

I enjoy working with the tension between sophisticated and playful design. I attempt to capture the sense of motion I experience when working with clay. Each piece takes on its own individual gesture. My hope is to access a child-like vision and appreciation of life that celebrates boldness of color and freedom of expression."