Call for Art: Going Home. No fee.

Call for Art: Going Home. No fee.

This Deadline Expired: Tuesday, February 15, 2022

“Art is the only way to run away without leaving home” -Twyla Tharp

Going Home

An International Exhibition

Presented by the Wilsonville Arts & Culture Council. Wilsonville, Oregon, USA.

If you could embody your ideal vision of Nest, Habitat, or Home in a single artwork, what would it look like?

The global pandemic has compelled many of us to become housebound for long periods of time. It may have distanced us from family and friends, or from careers and colleagues. It has put people out of work and exacerbated homelessness. How have the last 20 months influenced your notions of home?

What does the word “Home” mean to you?

Is it a place? A building? A person? A memory? An object? A story? A feeling? Perhaps it is a synthesis of all of these?

Submissions will be reviewed on a rolling basis through February 15, 2022, and if they meet parameters of the Call for Art Submission Guidelines, will be presented to jurors for possible inclusion in a Virtual Exhibition. Some submissions may be printed and displayed in-person as physical exhibition space allows. No fee. Original artworks are not limited by material, but must be able to be exhibited as a single high quality digital photograph due to the nature of the exhibition.

Please see the Call details at: https://www.wilsonvillearts.org/calls-for-art

Image: “Going Home” by Fritz von Uhde ca. 1889. Courtesy of the Metropolitan Museum of Art.

Phyllis Anderson has been painting for nearly three decades, exploring process and outcome, meaning and metaphor.  She approaches her work like a lab experiment, a set of steps to see what will happen. Her painting process usually begins with a thick underpainting using a carefully chosen color (a color of influence!) which is left intentionally visible at the edges.
Phyllis Anderson
Phyllis Anderson

Phyllis Anderson has been painting for nearly three decades, exploring process and outcome, meaning and metaphor. She approaches…

Phyllis Anderson has been painting for nearly three decades, exploring process and outcome, meaning and metaphor. She approaches her work like a lab experiment, a set of steps to see what will happen.…

Phyllis Anderson has been painting for nearly three decades, exploring process and outcome, meaning and metaphor. She approaches her work like a lab experiment, a set of steps to see what will happen. Her painting process…

Tommy Mavra
Tommy Mavra
Jenn is a painter! Mostly she's an oil painter, though she's been known to use just about any medium available at a given moment.

She Loves to paint. It's pretty much all she wants to do.
Shes Loves to paint the world and the beautiful things in it — 
and she Loves that people really Love her paintings of our beautiful world and the beautiful things in it!

There is nothing really special about Jenn, she's just painter who paints... just about anything, just about all the time. 

P.S. She's a bit of a formalist — her world is made up of line, color, shape, form, structure, composition and plasticity. And, while she paint from observation, the subject of the painting is not her objective. The process of painting is her objective — the process of how to best use the medium, often oil paint, to create and subjugate form on the two dimensional surface of the canvas.
Jenn Hallgren
Jenn Hallgren

Jenn is a painter! Mostly she's an oil painter, though she's been known to use just about any medium available at a given…

Jenn is a painter! Mostly she's an oil painter, though she's been known to use just about any medium available at a given moment.

She Loves to paint. It's pretty much all she wants to do.
Shes Loves…

Jenn is a painter! Mostly she's an oil painter, though she's been known to use just about any medium available at a given moment.

She Loves to paint. It's pretty much all she wants to do.
Shes Loves to paint the world…

Stuart Lehrman's  practice involves dialogue between order and chaos. Constantly experimenting with the physical properties of paint,  between adding and subtracting, making and unmaking, working to a place where he loses control of the painting and then struggling back to achieve the right balance between wild spontaneity and emotional restraint.
Stuart Lehrman
Stuart Lehrman

Stuart Lehrman's practice involves dialogue between order and chaos. Constantly experimenting with the physical properties…

Stuart Lehrman's practice involves dialogue between order and chaos. Constantly experimenting with the physical properties of paint, between adding and subtracting, making and unmaking, working to a…

Stuart Lehrman's practice involves dialogue between order and chaos. Constantly experimenting with the physical properties of paint, between adding and subtracting, making and unmaking, working to a place where he loses…

I am primarily a brick sculptor. Using this humble everyday material to create public art connects with a wide audience, particularly in the brick-centric East Coast.
Michael Morgan
Michael Morgan

I am primarily a brick sculptor. Using this humble everyday material to create public art connects with a wide audience,…

I am primarily a brick sculptor. Using this humble everyday material to create public art connects with a wide audience, particularly in the brick-centric East Coast.…

I am primarily a brick sculptor. Using this humble everyday material to create public art connects with a wide audience, particularly in the brick-centric East Coast.…

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