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Presented by the International Sculpture Center. Partners & Sponsors: Arts Council of Lake Oswego, Art Research Enterprises, Art Work Fine Art Services, Inc., Bullseye Glass Company, Ed Carpenter, Eichinger Sculpture Studio, Form 3D, Gizmo Art Production Inc., Jordan Schnitzer Family Foundation, King School Museum of Contemporary Art, Leland Iron Works, Littman and White Galleries, Michael Curry Design, Mudshark Studios, Pacific Northwest College of Art, Pacific Northwest Sculptors, Portland Art Dealers Association, Portland Art Museum, Portland Community College, Portland Open Studios, Portland State University, Profile Laser LLC, Reed College, Regional Arts & Culture Council, and Savoy Studios. This program is made possible by funds from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts and by funds from the National Endowment for the Arts.

 
Emily Bixler Emily Bixler (She/Her)
Panel: Wrestling Form - Sculpture in the Classroom
Emily Bixler
(born in Sacramento, CA) currently lives and works in Portland, OR, where she graduated from Pacific Northwest College of Art in 2004 with a BFA in Sculpture. Her practice includes sculpture and large scale installation as well as her jewelry line BOET, a working investigation of fiber and metal, in operation since 2010 and sold internationally. She has exhibited in Portland, Oregon and California, was an artist in residence at Wildlands in Healdsburg, CA and has a permanent installation at the W Hotel in San Francisco. In 2017 she received a grant from the Regional Arts & Culture Council and is the upcoming recipient of the Stumptown Artist Fellowship.






Ed Carpenter Ed Carpenter (He/Him)
Breakout Session: Artist as visionary and instigator: the Wildwood Trail Footbridge over West Burnside, Portland, Oregon
Ed Carpenter
is an artist specializing in large-scale public installations ranging from architectural sculpture to infrastructure design. Since 1973, he has completed scores of projects for public, corporate, and ecclesiastical clients. Working internationally from his studio in Portland, Oregon, USA, Carpenter collaborates with a variety of expert consultants, sub-contractors, and studio assistants. He personally oversees every step of each commission, and installs them himself with a crew of long-time helpers, except in the case of the largest objects, such as bridges.






Ming Cheung Ming Cheung (She/Her)
Panel: Public Art: Looking at its Impact and Benefits in Livable Cities
Ming Cheung
is Professor of Experience Design and Founding Director of the Griffith Centre for Design and Innovation Research (CDAIR), leading cutting-edge interdisciplinary research and innovation, fostering a culture of rigorous scholarship and entrepreneurship, and building strong and productive partnerships with industry and institutions in Asia Pacific and beyond. CDAIR aims to foster economic, socio-cultural and technological advancement and to promote sustainability and wellbeing through experience design innovations. It is an interdisciplinary hub of innovation linking experience research and design with other fields such as healthcare, learning, technology and tourism, and a global initiative involving world-class researchers and industry partners from Australia, China, Italy, Netherlands, Singapore, UK and US.

Professor Cheung holds academic qualifications with First Class Honours or Program Distinction in Design, Intellectual Property Law, Digital Media, Computing, Information Technology, Education, Psychology, Applied Linguistics and Music, from some of the top 100 universities in the world. To date, she has led 30 research projects including three national category one grants, and produced 101 peer-reviewed outputs, 21 of which appeared in high-calibre SCI, SSCI or A&HCI-listed journals. The global recognition of her as a leading authority in design research and innovation is evidenced through the facts that she has won 3 Best Paper Awards, 5 University Teaching Excellence Awards, taken on major roles in the organisation of 22 international conferences including as Conference Chair of the Design Research Society Conference 2020, and delivered 64 keynote and invited speeches in the fields of Design, Media and Communication. Prior to joining academia, she had over 10 years of senior management experience in industry. She has worked with many clients in her role as Principal Consultant in Design in Hong Kong. She is still maintaining strong connections with the industry through her research and consultancy projects, nationally and internationally.




Daniel Clayman Daniel Clayman (He/Him)
Panel: Shaping Form and Shaping Space - Sculpture’s 21st Century Challenge
Daniel Clayman
is a sculptor who has been working with glass as his primary medium for thirty-five years. His work reveals his interests in engineering, the behavior of light, and how the memory of experience acts on his thought process. Working large and small, he employs technology from the simplest hand tool to the latest three-dimensional modeling and production tools. He began working in the digital space in 1999. An artist/educator, Daniel is currently Professor of Craft and Material Studies, Effron Family Endowed Chair in Glass at University of the Arts, Philadelphia, PA. He has been a Visiting Critic and Artist in Residence at universities in the US and abroad including the Rhode Island School of Design, Mass College of Art and Design, Ohio State University, Tyler School of Art, and Bezalel Academy of Art in Jerusalem. His work is in the collection of over thirty museums and institutions worldwide.




Sam Collins Sam Collins (He/Him)
Panel: Wrestling Form - Sculpture in the Classroom
Sam Collins
is a student of sculpture in his final year at Pacific Northwest College of Art. Born in Texas, Sam moved through New Mexico and is currently residing in Oregon. His mediums of choice center closely around building material such as wood, metal, and concrete. Other media includes printmaking and found object collection. Having attended a few institutions, his work incorporates both craft and concept. From woodworking to silk screen printing, Sam seeks to explore introspective themes of identity and disposition.

Sam has found passion in fine woodworking, providing craft as a base for his practice because it offers a push-pull relationship that is often shifting based on location, space, and access to sculpting facilities. Sam is a recipient of the Andrew Bark Memorial Scholarship and the Manuel Izquierdo Sculpture Award. His experience in education has directly impacted his creative drive and facilitates a passion within academia. Thesis year for Sam will be a culmination of addressing his disposition within art worlds, pedagogy and education, and refining skill and craft.





Owen Craven Owen Craven (He/Him)
Panel: Public Art: Looking at its Impact and Benefits in Livable Cities
In his role as Principal/Senior Curator, Owen Craven works closely with artists as they create work in response to specific projects and places. He has extensive experience in the visual arts sector and understands the importance of working through the creative process collaboratively in order to help artists realize their creative vision.

Owen spearhead’s the UAP Melbourne studio where he oversees the vision and implementation of a diverse range of projects alongside a team of curators and designers from UAP’s global studios. Owen has worked with a variety of clients developing strategies and artwork programs for public, private and mixed use places. He has led projects including Emily Floyd’s Jackalope for Jackalope Hotels, Reko Rennie’s Stolen Generation Marker in Melbourne, and Nike Savvas’ Papillon for Barangaroo Development Authority in Sydney. He has overseen the successful creative direction for Capital Metro in Canberra, Tun Razak Exchange in Kuala Lumpur, 60 Martin Place in Sydney, and 447 Collins Street in Melbourne.

With 15+ years of experience in the Visual Arts industry, Owen has developed a mixture of curatorial and artist project management experience. Immediately prior to joining UAP, he was the Editor of Artist Profile and Art Almanac magazines. In these roles, Owen curated several significant group exhibitions that toured both nationally and internationally. He holds a Bachelor of Arts (Art History and Theory) from the University of Sydney and sits on the Board of Directors for Linden New Art (Melbourne).




David Eckard David Eckard (He/Him)
Panel: Wrestling Form - Sculpture in the Classroom
David Eckard
utilizes diverse materials, techniques and presentational strategies in his studio practice. Futility, function, authority, queer masculinity and persona are the primary notions investigated, critiqued, and exploited in his work. Eckard fabricates fictive artifacts and enigmatic objects with a variety of materials and techniques. These sculptures exist as singular objects, installation components and performance props. His rendered works on panel and paper are biomorphic, sexualized schematics that address the body as carrier of histories, fantasies, potential and trauma. Through performance, Eckard orchestrates transient theatrics and deploys temporary monuments in civic spaces for incidental audiences.

Eckard has exhibited internationally and his work has been reviewed in Art in America, Sculpture, Flash Art, The New York Times, The Chicago Tribune and Artnews. He is the recipient of multiple fellowships and awards including the Individual Artist Fellowship (2015, Regional Arts and Culture Council, Portland, OR), the Hallie Ford Fellowship in the Visual Arts (2010, Ford Family Foundation, Portland, OR) and the Bonnie Bronson Fellowship (2010, Portland, OR).

He is an Associate Professor and Head of the Sculpture Department at the Pacific Northwest College of Art in Portland, Oregon.





Devin Laurence Field Devin Laurence Field (He/Him)
Panel: Contemporary Public Art Sculpture in China
Devin Laurence Field
studied art in New Zealand, France, England and Japan, and received his MFA from the University of Oregon. His specialty is large scale fabricated metal public art sculpture. Devin’s public works can be found in municipal and government collections around the United States as well as Mexico, China, Korea, Sweden and New Zealand. He has participated in International Biennales and commissioned to build sculpture for the Olympic Games.









Jane Foley Jane Foley (She/Her/They/Them)
Panel: Deconstructing the Gender Binary: Gender and LGBTQ+ Equality within 3-Dimensional Making Environments
Jane Foley
(b*1985, New Orleans) is a sculptor, performer, and sound artist living in Atlanta, Georgia (US). Her sound works explore isolation versus connectivity in public spaces, beginning with subtle repeated experiments in deep listening and reciprocity. Jane Foley has created sound sculptures for the Architecture Triennale in Lisbon, Portugal and La Friche Belle de Mai in Marseille, France with Zurich-based Sound Development City, as well as produced a sound composition that played in taxicabs throughout the 5th Marrakech Biennale in Morrocco. Following a residency at Atelierhaus Salzamt in Linz, Austria, she has been composing from field recordings, inviting immersion and musicality from transitional sounds in built spaces. In Atlanta, she has created public works for Flux Projects, the High Museum, the Atlanta Beltline, WonderRoot, and the Goat Farm, among others. Jane Foley currently teaches sculpture at Georgia State University while attending graduate school at School of the Art Institute of Chicago.




Jose Luis Garcia del Castillo Jose Luis Garcia del Castillo (He/Him)
Panel: Voyage to the Virtual: Sculpture in the Post-Digital Age
Jose Luis Garcia del Castillo
is an architect, computational designer, and educator. He advocates for a future where programming and code are tools as natural to artists as paper and pencil. In his work, he explores creative opportunities at the intersection of design, technology, fabrication, data and art. His current research focuses on the development of digital frameworks that help democratize access to robotic technologies for designers and artists. Jose Luis is a registered architect, and holds a Master in Architectural Technological Innovation from Universidad de Sevilla, a Master of Design Studies in Technology and a Doctorate in Design from the Harvard University Graduate School of Design. He has worked as a structural consultant for several international firms, such as OMA, Mecanoo, and Cesar Pelli, as well as data visualization architect at Fathom Information Design. He is also the co-founder of ParametricCamp, an international organization whose mission is to spread the knowledge of computational design among designers and architects. Jose Luis is currently Lecturer in Architectural Technology at the Harvard Graduate School of Design, and Research Engineer at the Autodesk Generative Design Group.




Lyonel Grant Lyonel Grant (He/Him)
Panel: Indigenous Strategies for Multimedia Intercultural Collaborations
Lyonel Grant,
one of Aotearoa’s preeminent sculptors, is the designer and carver of extraordinary meeting houses like Te Noho Kotahitanga marae at Unitec’s Owairaka campus. This wharenui whare whakairo, carved meeting house, is startlingly innovative yet is balanced by a committed return to the structural integrity of the past in which the carved poupou and heke are not mere decoration on a pre-constructed European framework, but are an integral part of the structure. Other notable meeting houses he created include Te Matapihi o te Rangi in Tokoroa, and Ihenga at the Tangatarua Marae, on the Waiariki Institute of Technology’s campus in Rotorua. He has created major sculptures around Aoteroa and in international forums. With Damien Skinner he collaborated on the book “Ihenga: Te Haerenga Hou,” an important introduction to the evolution of Maori carving in the 20th century.

Lyonel’s practice bridges the traditions of whakairi rakau, arising from his training at the New Zealand Maori Arts and Crafts Institute in Rotorua and contemporary modes of art production. His works both challenge and extend the categories and traditions of art practice in Aotearoa.

At the Evergreen State College, Lyonel collaborated with Johnpaul Jones (Cherokee/Choctaw) to design the Indigenous Fiber Arts Studio and with Alex McCarty (Makah) and a team of Salish carvers to complete the carvings that are part of that building.




Maki Hajikano Maki Hajikano (She/Her)
Panel: Shaping Form and Shaping Space - Sculpture’s 21st Century Challenge
Maki Hajikano
received her MFA degree in sculpture from the University of Oregon where she taught part-time for a number of years before being appointed as the area head in Sculpture at Stephen F. Austin State University. Currently, she is an Associate Professor of Sculpture at York College in The City University of New York. In her recent work, she investigates human cognition and visual illusion. By utilizing multiple materials such as glass, metal and digital images, she creates richly layered environments in her installations. She was awarded a residency program at the Pilchuck Glass School where she began using glass in a significant manner. Furthermore, she has been the recipient of a number of residencies, foremost of which include the Bemis Contemporary Arts, and the John Michael Kohler Arts Center; she also received a Pollock–Krasner Foundation grant. She frequently exhibits her work in the U.S.A and Asia.




Peter Hudson Peter Hudson (He/Him)
Panel: Large Scale Art Sculpture, Community, Learning, Teaching, and the life of Public Art
Raised in Ben Lomond, CA and based in San Francisco, Peter Hudson, aka “Hudzo” self proclaims, “I am the director of the shortest (2-3 seconds), yet largest (7 tons) 3D animation shorts, realized as life-size, 3D stroboscopic zoetropes.” Hudzo channels his technical and set-design expertise, curiosity, and creative passion into life-size 3D stroboscopic zoetropes. Hudson has spent 30 years in the world of stage and set design, working with the San Francisco Opera, Ballet, TV and film. In 2000, Hudson began creating his own larger scale sculptural installations, debuting his first major installation, Playa Swimmers, at Burning Man. In 2001, his work Possession garnered international attention when it was featured on the cover of the Italian edition of Rolling Stone magazine. Hudson’s work continued to evolve into 6 stroboscopic zoetropes: Sisyphish, Deeper, Homouroboros, Tantalus, Charon, and his most recent piece, Eternal Return.




Kevin H. Jones Kevin H. Jones (He/Him)
Panel: Shaping Form and Shaping Space - Sculpture’s 21st Century Challenge
Kevin H. Jones
has degrees from Virginia Commonwealth University (BFA, Painting and Printmaking), The University of Texas at Austin (MFA, Painting) and Yale University (MFA, Design). Over the past four years within Kevin’s work, one can see transitions in synthesis of media including painting, video, physical computing, and more recently, 2-dimensional digital prints. Through this synthesis of media, the conceptual investigation of the natural world through charts, diagrams and systems is a constant theme. His early work used solar energy to power a fictional television station, while more recent work uses sensors to create an interactive video installation that questions entropy. Kevin has exhibited throughout the United States, Asia and Europe and his work has been featured in ID Magazine, Idea Magazine, Neural Online, The New York Times and MSNBC. Most recently, he has exhibited his work at Art Lab AKIBA in Tokyo, Japan, Humboldt Universität in Berlin, Germany, Stasjon K in Sandnes, Norway, and Rudolph Blume Fine Art | ArtScan Gallery in Houston, Texas. He has taught at The University of North Carolina at Greensboro, The University of Oregon, The University of Pennsylvania and currently is an Associate Professor and Chair of the Newcomb Art Department at Tulane University.




Sophie Kahn Sophie Kahn (She/Her)
Panel: Voyage to the Virtual: Sculpture in the Post-Digital Age
Sophie Kahn
is a Brooklyn-based Australian digital artist. She earned a BA (Hons) in Fine Art/History of Art at Goldsmiths College, University of London; a Graduate Certificate in Spatial Information Architecture from RMIT University, Melbourne; and an MFA in Art and Technology Studies at the School of the Art Institute of Chicago, where she was awarded a full tuition Trustee scholarship. She has exhibited her artwork in New York, Los Angeles, London, Paris, Sydney,Tokyo, Osaka, Seoul and Beijing. Recent exhibitions include Transfigured at C24 Gallery, and Out of Body at bitforms gallery, both in New York City. Sophie has taught in the Department of Digital Arts at Pratt Institute as a Visiting Associate Professor, and at Columbia College, Chicago, as a visiting instructor. Her work has been featured in numerous festivals including Zero1 Biennale, Transmediale, and the Japan Media Arts festival. Her video work has been screened on large urban screens on four continents with the Streaming Museum. She has completed residencies at the NARS Foundation and at the Museum of Arts and Design, Pioneer Works, Brooklyn, and is currently an artist in residence with the Elizabeth Foundation for the Arts Studio Program in New York. Sophie's work has been supported by the Australia Council for the Arts, EMPAC (the Experimental Media and Performing Arts Center at Rensselaer Polytechnic) and other private and public funding bodies. She is a 2011 New York Foundation for the Arts Digital and Electronic Arts Fellow.




Leah Kohlenberg Leah Kohlenberg (She/Her)
Breakout Session: Working With Artist Groups to Sell Your Art
Leah Kohlenberg
is an internationally collected painter and art teacher who works in oils, acrylics, watercolors and some ink and pastels. She has lived in Portland for six years, and currently runs Portland Open Studios, a non-profit art group committed to showing the public how art is made.











Mara-Johanna Kolmel Mara-Johanna Kolmel (She/Her)
Panel: Voyage to the Virtual: Sculpture in the Post-Digital Age
Mara-Johanna Kolmel
is a curator and art historian based in London. Mara obtained her MA in Art History at the Courtauld Institute of Art in London. She holds a BA in Cultural Studies from Leuphana University in Germany, where she is currently completing the PhD Voyage to the Virtual: Contemporary Sculpture between the Corporeal and the Digital.

She worked internationally in curatorial roles for the Biennale of Sydney, the Kunsthalle Hamburg and Gallery Adagio Sydney. Since 2015, she is a member of the curatorial collective Approved by Pablo with whom she has realised exhibitions at Somerset House and The Silver Building in London. Mara is a founding member of the research group Data Power: Activisms/Appropriations/Aesthetics and The Museum of Data, bringing together international scholars, activists and practitioners to explore data as a site for methodological experimentation, social activism, artistic intervention, and critical engagement. She is associated with Dori O., a tentacular artist of many bodies collectively thinking and acting through the internet. The group has presented collaboratively at the RIXC Art Science Festival (Riga, Latvia), the 7th Annual Conference on New Materialisms (Warsaw, Poland) and launched museuminfreefall at Forum Schlossplatz (Aarau, Switzerland).

Mara’s writings have appeared in Art Bulletin, Texte zur Kunst and Die Nadel. She is currently co-editing the anthology Dada Data: Contemporary Art Practice in the Era of Post-Truth Politics with Sarah Hegenbart.




Kai Korsmo Kai Korsmo (She/Her/They/Them)
Panel: Deconstructing the Gender Binary: Gender and LGBTQ+ Equality within 3-Dimensional Making Environments
Kai Korsmo
has been described as a mad scientist, tinkerer, artist, and, among other things, a human being. After finding their love of making and mistaking in their parent’s garage, and completing four years of collegiate artistic maturation, in 2013 they received a BFA from Oregon College of Art and Craft. Korsmo's work revolves around the uniqueness of our individual perception, and through her art seeks to provide the viewer a means for expanding, augmenting, or highlighting aspects of our shared reality. Past projects have involved interactive mechanical metaphors made of wood, back lit plaster light-and-shadow boxes, watercolor monoprint transfers, well named manufacturing robots, wood turned portrait vessels, furniture design, electronics design, garment design, life-casting, and thinking on her toes. Their current efforts are going towards developing an ecosystem of connected wearable devices to provide the wearer with a greater understanding of the subtleties of the world around and within themselves. By looking, listening, feeling, and responding, she will help bring light to worlds unknown.




Alireza Lahijanian Alireza Lahijanian (He/Him)
Panel: Large Scale Art Sculpture, Community, Learning, Teaching, and the life of Public Art
Alireza Lahijanian (Ali)
received his B.S and M.S from UC Berkeley in Mechanical Engineering. Due to his passion for earth and humanity, after graduating he spent several years at an offshore wind turbine company in an effort to reduce mankind’s carbon footprint.

Ali strongly believes that art and new ideas expand the capacity of the human mind, and that exposure to artistic innovation is necessary for the betterment of the world. For these reasons, he is honored to bring his talents and experience to engineering imagination at Rbhu.




Shen Lieyi Shen Lieyi (He/Him)
Panel: Contemporary Public Art Sculpture in China
Shen Lieyi,
born in Hangzhou in 1969, graduated from the China Academy of Art in Hangzhou in 1995. Since 2002, he has been working at the China Academy of Art, engaging in the teaching and creation of public art. Currently he is also a director in the China Sculpture Institute, Vice-President of Zhejiang Sculptors Association, and the Executive Deputy Director of the Department of Public Space Art at the China Academy of Art. In 2010 and 2012, his works won prizes in the West Lake International Sculpture Exhibition in Hangzhou as well as the Example Prize of “Artistic Projects of Public Facilities” in the National Excellent Urban Sculpture Construction for a Public Art Work in Xiaoshan Airport T3 Terminal. In 2013, he was awarded the 3rd Liu Kaiqu Award at Nord Art 2013 in Budelsdorf, Germany.




Margaret Long Margaret Long (She/Her)
Panel: Large Scale Art Sculpture, Community, Learning, Teaching, and the life of Public Art
Margaret Long,
is an Oakland, CA based, Michigan born, Burning Man bred industrial artist. She is a firm believer in the power of art creating places that grant permission to step beyond every day routine and into roles previously off limits. Margaret has been involved in the Bay Area industrial art community for over 10 years. She was involved in the inception and operating of the American Steel Studios facility, and has been with the Flaming Lotus Girls since 2008. Margaret's roles with the group ranges from sculpture design creation, flame effects development, fabrication, and logistics management. She has been the lead artist behind 2 FLG sculptures, and the primary artist of a 2016 Burning Man funded sculpture, as well as working with other art groups and solo artists.

As a self-taught artist, Margaret is primarily a metal fabricator, incorporating industrial equipment and processes into sculpture. For the Flaming Lotus Girls, she focuses on creating art that is accessible in creation and execution.




Selinda Martinez Selinda Martinez (She/Her)
Panel: Large Scale Art Sculpture, Community, Learning, Teaching, and the life of Public Art
Selinda Martinez
received her B.S from Cal Poly, San Luis Obispo in Architectural Engineering. She has since dedicated over 10 years of her career to engineering structures. Selinda became particularly captivated by the community of artists, builders, and engineers who come together to bring large-scale concepts to life, and the collective opportunity to create positive impact on a macro scale.

Selinda is committed not only to supporting the proliferation of art on a global scale but also to convening and fostering a collective of artists and makers whose cooperative effort brings artistic imagination to life.





Mary McInnes Mary McInnes (She/Her)
Panel: Shaping Form and Shaping Space - Sculpture’s 21st Century Challenge
Mary McInnes
is a professor of art history with a focus on modern and contemporary sculpture at the School of Art and Design, Alfred University. Over the past decade, she has broadened her pedagogical interests to embrace the specific realm of glass and ceramic art as well as the broader discourse in craft practice. Her engagement with materials—glass and ceramic—that lie outside of the mainstream critical framework has been a critical element in her rethinking and revising of modern art history. Mary also seeks to broaden the critical boundaries of these areas beyond their material-based horizon. Her lectures are aimed at provoking the glass and ceramic communities to question their received history and to expand their references for contemporary art production. Mary’s classroom advocacy for contemporary sculpture, craft, and craft-based practices has extended into her research activities. Her curriculum vitae includes a number of scholarly essays, internationally distributed exhibition catalogs, and oral histories conducted for the Smithsonian Institution. Please see her website, www.silicaconversations.com, for more information.




Matt Perez Matt Perez (He/Him)
Panel: Wrestling Form - Sculpture in the Classroom
Matt Perez
is a sculptor from Northwest Indiana. His massive, textural figurative sculptures are centered around navigating in a body that has no home. His goal through sculpture is to capture how hyper visibility directed towards brown bodies distorts and transforms one’s self identity. Perez has a degree from University of Southern Indiana where he specialized in sculpture and woodworking. After receiving the Effroymson Family Bridge Year Fellowship Perez was accepted into the Visual Studies department at PNCA (Pacific Northwest College of Art). As an MFA candidate, Perez further explores the ideas behind hyper visibility and the ways in which we wear traumas and other people’s perceptions on the surface of our bodies. Often calling himself a constant tourist on an endless exodus, Perez is drawn to the ideas of displacement and assimilation. Perez continues to work on acquiring his MFA degree in Portland, OR.




Lillian Pitt Lillian Pitt (She/Her)
Panel: Indigenous Strategies for Multimedia Intercultural Collaborations
Lillian Pitt
is a Native American artist from the Big River region of the Pacific Northwest. Born on the Warm Springs Reservation in Oregon, she is a descendent of Wasco, Yakama, and Warm Springs people.

Lillian creates innovative works of art using contemporary media and art forms, which draw on over 10,000 years of Native American history and tradition in the region of her birth.

As a result of her extraordinary accomplishments, today, Lillian is one of the most highly regarded Native American artists in the Pacific Northwest. Among her many awards are the Chiles Award for Lifetime Achievement, and the Governor’s Award of the Oregon Arts Commission, which declared that she had made “significant contributions to the growth and development of the cultural life of Oregon.”




Emma Adair Quintana Emma Adair Quintana (She/Her)
Panel: Deconstructing the Gender Binary: Gender and LGBTQ+ Equality within 3-Dimensional Making Environments
Emma Adair Quintana
is a sculptor, collaborator and performance-based artist as well as an arts educator and researcher based out of Tampa, FL. Her artwork and research investigates gender, intimacy, control and politics. She is currently the FAB LAB coordinator and a sculpture professor at University of Tampa and has been described as a metal worker, furniture builder, art teacher and an eternal advocate. She is currently working on a series that investigates the use of language as a way to violate personal and public spaces. Through stories and online forums, she mines words used to describe women through their bodies. These text-based sculptures will be featured in an upcoming show with the feminist collective Deep Dish, entitled Edges and Boundaries: The Use of Power and the Female Form.

Her research is very much in line with her artwork. She examines inequality, violation and preconceived notions that keep people “othered”. Most recently, while conducting doctoral research at Columbia University, she studied art interpretation within non-binary adolescents. This research pointed towards inadequacies within our adolescent educational system and hopefully paves the way towards more inclusivity within art curricula.




Michael Rees Michael Rees (He/Him)
Panel: Voyage to the Virtual: Sculpture in the Post-Digital Age
Michael Rees
is an artist working in themes of figuration, language, technology, and the social to weave a sculptural mélange. He has pioneered the use of digital technology in sculpture by inventing new platforms for the presentation and public interaction of viewers with sculpture. His work is exhibited widely including the Whitney Museum in the 1995 Biennial and again in “Bitstreams” in 2001, the MARTa Museum in Germany, The Kemper Museum of Contemporary Art, and in private galleries such as 303, Bitforms, Basilico Fine Art, Pablo’s Birthday, Favorite Goods and others. In 2019, he did a one person show at the Nerman Museum of Contemporary Art titled Pneumatopia that was part of Open Spaces Kansas City curated by Dan Cameron. Most recently he opened Synthetic Cells: Site and Para(Site) at Grounds for Sculpture in Hamilton, New Jersey which is curated by Tom Moran and open from June 2018 until January of 2020. His works are in the collections of the Whitney Museum of American Art, the Kemper Museum of Contemporary Art, Kansas City, and numerous private collections. Rees has received grants from Creative Capital, the New Jersey State Council on the Arts, the Rockefeller Foundation, and the National Endowment for the Arts. He was born in Kansas City, Missouri. He received his BFA from the Kansas City Art Institute and his MFA from Yale University. He also won a Deutscher Akademischer Austaushdienst for undergraduate study at the Kunstakademie in Dusseldorf, Germany, with Joseph Beuys. Rees is currently professor of sculpture and digital media at William Paterson University, and Director of the Center for New Art there. He has built a high technology lab for the community to utilize including 3d printers, laser cutters, and a large scale CNC robot.




Crimson Rose Crimson Rose (She/Her)
Panel: Large Scale Art Sculpture, Community, Learning, Teaching, and the life of Public Art
As one of the Cultural Founders of Burning Man, the Black Rock Arts Foundation and Burning Man Project, Crimson Rose’s life passion and work have focused on the arts and artistic expression. She began participating in the Burning Man event in 1991, and developed the organization’s Art Department, including the infrastructure, financial and other support services that make possible the large-scale participatory art works that Burning Man is renowned for. With Crimson’s guidance, Burning Man serves as an inspirational limitless canvas, the works of which now find public placement in cities around the world and serve as catalytic sparks for community collaboration. Instigator of the creative energy and Creative Director of the Fire Conclave, the largest gathering of fire performers in one place at one time in the world. Other creative endeavors include: land art, textiles, watercolors & assembles.




Jeff Schnabel Jeff Schnabel (He/Him)
Breakout Session: Art After Dark
Jeff Schnabel
is the Director for the School of Architecture at Portland State University. His activities in and out of the classroom are focused on making the public realm successful after dark. Jeff is a co-founder of the Portland Winter Light Festival and a Board Member of the Willamette Light Brigade, a non-profit dedicated to lighting Portland’s bridges. Jeff is also a member of the International Nighttime Design Initiative and the Media Architecture Institute.









Matthew Schultz Matthew Schultz (He/Him)
Panel: Large Scale Art Sculpture, Community, Learning, Teaching, and the life of Public Art
The Pier Group is an international collective of artists and builders led by Matthew Schultz, dedicated to creating rich, deep experiences through art and community. Based in Reno, NV our team engages volunteers around the act of participation and learning. We believe in giving people of all walks of life the skills and opportunity to build something amazing. The Pier Group is best known for their art at Burning Man including the eponymous Pier in 2011, Pier 2 in 2012 and their monumental dedication to relationships, family, and love, Embrace in 2014. The Space Whale team was a collaboration of over 50 dedicated volunteers, who now hold a piece of this beautiful creation. The Space Whale is an environmental statement, a dedication to nature and science. A testament to the urgent need to preserve our environment. Our distant cetacean cousins sit at the brink of extinction. We are both responsible for their destruction and the only ones who can fix it. It is time to build a new world, one where humans and nature are in balance on a path to the stars.



Dong Shubing Dong Shubing (He/Him)
Panel: Contemporary Public Art Sculpture in China
Dong Shubing
is the Dean of the Sculpture Department at the Academy of Fine Arts, Tsinghua University. He received his MFA from the Central Academy of Fine Arts, Beijing, and his BA from the Central Academy of Arts and Design, Beijing. Dong is the Deputy Secretary General and Director of the China Sculpture Institute, Director of the Professional Committee of Sculpture, China Arts and Crafts Institute, and is a certified sculptor of the National Urban Sculpture Construction Steering Committee. He has published a number of books and essays, including Curdy Time and Space, 2000, Decorative Sculpture Design, 1996, Basic Elements of Modern City Sculpture, 2003, and The Role of Colors in Sculpture, 2003. Professor Dong received the Design Award of the National Urban Sculpture Exhibition in 2004, the Award of Excellence, Oita International Sculpture Exhibition, Japan in 2006, and the Gold Award of Dialogue and Communication Sculpture Invitation Exhibition in 2008.




Contemporary Public Art Sculpture in China Linda Tesner (She/Her)
Panel: Contemporary Public Art Sculpture in China
Linda Tesner
is the interim director and curator of the Jordan D. Schnitzer Museum of Art at Portland State University. She was formerly the director and curator of the Ronna and Eric Hoffman Gallery of Contemporary Art at Lewis & Clark College, Portland, the assistant director of the Portland Art Museum and the director of the Maryhill Museum of Art in Goldendale, Washington. She is the author of numerous exhibition catalogues and monographs and has a special interest in public art projects.







Kirista Trask Kirista Trask (She/Her)
Breakout Session: Working With Artist Groups to Sell Your Art
Kirista Trask
is a Portland, OR based Abstract Mixed Media Artist, Curator, and Creative Business Strategist. Kirista’s work seeks to translates subtle moments and landscapes into swirling abstraction, blending saturated, opaque colors with translucent washes to evoke moment as an emotional experience. Currently, her work focuses on intergenerational trauma, queer identity, and the role of memory in current experience. She graduated from the University of Oregon with a BFA in Sculpture. Kirista’s work has been exhibited all over the west coast and is collected internationally.

Kirista has a found passion and purpose in organizing artistic communities, advocating for underserved communities, and helping artists clarify, cultivate, and achieve extensive career goals. Kirista has spent more than ten years in business development for a wide range of industries and uses that experience in her role as Marketing Director of Portland Open Studios, to further elevate her artistic community.





Gail Tremblay Gail Tremblay (She/Her)
Panel: Indigenous Strategies for Multimedia Intercultural Collaborations
Gail Tremblay
shares her vision through her multi-media visual works, art installations, and her critical writing. As a professor at The Evergreen State College, she has mentored students in the fields of visual arts, writing, and Native American studies. She served as a member and president of the National Board of the Women's Caucus for Art, and received a national "Mid-Career Art Award" from that organization in 1993. She has been active internationally through her two trips to China as part of women's artist delegations, and her exhibitions in Switzerland in 1985, China in 1995, Mexico in 1998, the Czech Republic in 2000, Brazil in 2005, and Bonn and Berlin Germany in 2013-14. Her visual art has been exhibited in over 150 group and solo exhibits throughout the U.S. and is in several museum collections. Her writing and art has been published in numerous catalogues, journals, and periodicals, and she is an experienced lecturer and workshop presenter. She has also worked on issues of diversity and gender equity in the teaching of art, in the writing of art criticism and art history, in the curating of exhibits, and in the granting of public and private funding to artists and art institutions.





Emily Trent Emily Trent (She/Her)
Panel: Public Art: Looking at its Impact and Benefits in Livable Cities
Emily Trent
specializes in the management and development of public artwork and exhibition experiences. She is currently the Manager of Public Art at Auckland Council in New Zealand. Emily leads a team responsible for commissioning new artworks across the region, and oversees the care and maintenance of an outdoor collection with over 400 works. Prior to this, Emily managed the development of new galleries and exhibitions at Auckland Museum Tamaki Paenga Hira. She has an Economics degree from Claremont McKenna College (Los Angeles) and an M.B.A in Strategy from Claremont Graduate University (Los Angeles) and University of St.Gallen (St. Gallen, Switzerland). Emily has lived and worked in four countries, and enjoys connecting with a global creative community.





Ronnie van Hout Ronnie van Hout (He/Him)
Panel: Public Art: Looking at its Impact and Benefits in Livable Cities
Since 1981 Ronnie van Hout has exhibited regularly in New Zealand and Internationally. His work has been featured in solo and group shows in the Australia, USA, Netherlands, Austria, and Germany. In 2003, his work was the subject of a major survey show, I've Abandoned Me, an initiative of Dunedin Public Art Gallery. The show toured throughout 2003 and 2004 to the Auckland Public Art Gallery, Auckland; City Gallery, Wellington; and Te Manawa, Palmerston North. In 2009, van Hout was the subject of another major survey exhibition Who Goes There?, developed and hosted by the Christchurch Art Gallery.

Ronnie has been artist in residence at the ELBA Art Foundation in Nijmegen, the Netherlands (1994); Govett-Brewster Art Gallery and Taranaki Polytechnic in New Plymouth, New Zealand (1996); the International Studio Program at PS1 in New York City, USA (1999); Massey University, Wellington, New Zealand (2003), and Künstlerhaus Bethanien in Berlin, Germany (2004 - 2005). In 2004, he was a finalist in the Walters Prize Art Award. He was made an Arts Laureate by the Arts Foundation of NZ in 2005.

Van Hout has taught for many decades, and since 2007 has also been working in the field of public art, with many temporary and permanent works installed throughout New Zealand and Australia.





Voss-Andreae Julian Voss-Andreae (He/Him)
Breakout Session: Quantum Sculptures - Exploring a New Paradigm
Julian Voss-Andreae
studied physics and philosophy at the Universities of Berlin, Edinburgh and Vienna. After completing his graduate research in quantum physics, Voss-Andreae moved to the United States. Since graduating from the Pacific Northwest College of Art in 2004, Voss-Andreae has been creating sculptural works directly influenced by his background in science and technology. Seeing the human subject through the lens of science has allowed him to imagine completely novel and contemporary approaches to the ancient art of figurative sculpture. Inspired by quantum physics, Voss-Andreae developed one of his signature styles of sculpture where the human figure has volume and weight when viewed from one angle and almost completely disappears at another. He has continued to develop his work in new and exciting ways using cutting-edge technology. His work has been featured in print and broadcast media worldwide and video clips featuring his sculptures have gone viral with several millions of views. Institutional commissions include multiple large-scale outdoor monuments, including for The Scripps Research Institute, Rutgers University, the University of Minnesota, Texas Tech University, and the Georgia Institute of Technology as well as numerous public works for private developments and international commissions. Voss-Andreae recently won the prestigious CodaWorx award for public sculpture.





Marie Watt Marie Watt (She/Her)
Panel: Indigenous Strategies for Multimedia Intercultural Collaborations
Marie Watt
is an American artist and citizen of the Seneca Nation residing and making in Portland, Oregon. Her work draws from history, biography, protofeminism, and Indigenous teachings. She explores the intersection of history, community and storytelling, and addresses how multi-generational and cross-disciplinary conversations create a lens for understanding connectedness to place, one another, and the universe.

Ms. Watt holds an MFA in Painting and Printmaking from Yale University, attended Willamette University and the Institute of American Indian Arts, and in 2016 was awarded an Honorary Doctorate from Willamette University. Among other residencies, she has attended the Skowhegan School of Painting and Sculpture; and received fellowships from the Joan Mitchell Foundation, the Anonymous Was a Woman Foundation and the Hallie Ford Family Foundation.

Selected collections include the Albright Knox Museum, Seattle Art Museum, National Gallery of Canada, Smithsonian institution’s National Museum of the American Indian and Renwick Gallery, Tacoma Art Museum, Fabric Workshop + Museum, Seattle Art Museum, Denver Art Museum, Portland Art Museum, and United States Library of Congress. She serves on the board for VoCA (Voices of Contemporary Art).





Sami Woolhiser Sami Woolhiser (She/Her)
Panel: Deconstructing the Gender Binary: Gender and LGBTQ+ Equality within 3-Dimensional Making Environments
Sami Woolhiser, born in San Jose, California, grew up in the Silicon Valley, a culturally diverse and constantly advancing technological hub. Through her art practice, she explores these ideas through a variety of techniques and mediums varying from oil on canvas to woodworking and other 3-dimensional materials with digital fabrication processes. Woolhiser studied Sculpture with a focus on digital fabrication and received her BFA from the Savannah College of Art and Design in 2014. After graduation she moved to Portland, OR to pursue her career in the arts and spent the last five years working for various fabrication companies in cement casting, woodworking and digital fabrication.

Currently she is employed at Avid CNC as their Digital Fabrication Media Producer creating educational CNC and maker videos. She is also the co-founder of MAOKE MADE a feminist fabrication company that works to utilize their skillsets to Make Acts Of Kindness Everywhere and where proceeds fund local and international community projects such as the free Pronoun Pin Project. Her other projects include the PDX Digital Fabrication Meet Up and the temporary pop up space, 1015 Gallery.







Partners and Sponsors:



 Portland Art Museum       Portland State        Pacific Northwest College of Art    

              

   Portland open studios         RACC    Pacific Northwest Sculptors      

              

      

  
New Jersey State Council on the Arts
Discover Jersey ArtsNational Endowment for the Arts



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