{"id":165309,"date":"2025-03-31T01:38:45","date_gmt":"2025-03-31T01:38:45","guid":{"rendered":"https:\/\/peraltafinancing.com\/antique-2\/two-portland-artists-continuing-a-tradition-in-assemblage-art-urban-art-antiques\/"},"modified":"2025-03-31T01:38:45","modified_gmt":"2025-03-31T01:38:45","slug":"two-portland-artists-continuing-a-tradition-in-assemblage-art-urban-art-antiques","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=165309","title":{"rendered":"Two Portland Artists Continuing a Tradition in Assemblage Art \u2013 Urban Art & Antiques"},"content":{"rendered":"


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As we move through life, we collect things\u2014objects, memories, and sometimes both. These things may be tied to personal events, or they may serve as markers of larger historical occurrences. In some cases, the objects themselves lose their connection to the memories they once held. However, certain materials\u2014through art\u2014can help us reforge these connections. For an artist, assemblage art offers a powerful means of expressing these ties between things, memories, and the passage of time.<\/p>\n

The medium has been used throughout the 20th century. Pablo Picasso and Georges Braque used elements of collage and found objects in their works, and in the 1950s and 1960s artists like Robert Rauschenberg and Jasper Johns were pivotal in the evolution of assemblage. Louise Nevelson used it as a way to build architectural grandeur from the mundane and Joseph Cornell created intricate shadow boxes filled with found objects, creating dreamlike and poetic compositions. On these pages, we\u2019ve also covered the work of the late David McManaway<\/a>.\u00a0<\/p>\n

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Today, two Portland-based artists\u2014Dan Pillers and Richard Rolfe\u2014bring new dimensions to assemblage art in their current show at Guardino Gallery. The work is on display in the main Gallery, with Dan\u2019s work largely filling the center areas and Richard\u2019s adorning the walls.\u00a0<\/p>\n

While Dan had a show at Guardino in the last year or so, this was the first time Richard\u2019s assemblage work has been on display publicly.\u00a0<\/p>\n

Dan uses a lot of found wooden objects and other items, often in a built case behind glass with various acid etching on it. One piece taking center stage, Serenity<\/em>, hung from the ceiling and occasionally swayed ever so slightly like a pendulum. Dan asked if we had a place for it. The answer unfortunately is no, but it came out as \u201cit might pull the ceiling down.\u201d While he said it was not that heavy, I did note it was hung by a chain meant to hold multiple times its weight and attached to a square of plywood in the ceiling rather than to the plasterboard.\u00a0<\/p>\n

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Another work, Birds of a Feather<\/em> encases a feather inside a glass case as if to solemnly show something that once took flight has been confined eternally to being still.\u00a0<\/p>\n

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Most of Dan\u2019s work is masculine and weighty, involving crafts that demand a degree of certainty, like woodworking, metalwork and etching. One work in particular seemed to break out of this mold, however. Made of clock parts and other objects, the Gathering<\/em>, is delicately assembled inside an etched glass dome. It seems to be a reminder that we are all together in a space and time, and that is a time those before and after us can\u2019t fully comprehend.\u00a0<\/p>\n

Richard\u2019s themes are as varied as his career. From a set designer to an interior designer, shop owner and even a run for political office, these roles speak to us through his work. His ten-year stint as a theater set designer early in his career has a disproportionately large impact on his art. \u201cI just love the magical moment when light goes on and curtains go up.\u201d he revealed at the opening Friday, March 27. Of the material he used, he has \u201choarded\u201d many prints over the decades. \u201cOh, I am 75 now. I have a lot of them!\u201d\u00a0<\/p>\n

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His works called on a collection of ephemera for characters in his sulptral plays. One work, The Boys\u2019 Box of Adventure, even incorporates stage doors that slide to reveal a variety of scenes. Using encaustic techniques, he applies layers of wax over printed images, creating a matte yet translucent surface. Some pieces, like The Consequences of Falling<\/em>, feature additional textures and beads to add dimension to the artwork.<\/p>\n

These works deal with a variety of topics like Climate Change<\/em> or make historical references like the Dream <\/em>and My Old Friend Bobby<\/em>. The Consequences of Falling<\/em> has beeswax built up over the print with beads added to provide a three dimensional effect. A hand with a diagram showing an analysis of the folds in your palm may indicate the falling may be in your stars not in yourself. And so might be the practice of creating assemblage art once you get started.<\/p>\n

You can see most of the works online at https:\/\/guardinogallery.com\/<\/a> or in person at 2939 NE Alberta St in Portland.\u00a0<\/p>\n

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