Image provided by: Clackamas Community College; Oregon City, OR
About The Clackamas print. (Oregon City, Oregon) 1989-2019 | View Entire Issue (May 10, 2006)
6 Art^|s ntertainment The Wednesday, May 10, 2006 Clackamas Prin Art exhibit goes down in ‘History Adam J. Manley ] The Clackamas Print Adam J. Manley Clackamas Print Above: “Foreigner” by John Holden. This artist uses mixed media and wood to create pseudo-symbolic messages. Though the art itself is hit-or-miss, the Alexander Gallery’smew exhibit, “History and Identity,” is a huge step in the fight direction. After overly literal themes such as “Iron & Steel” and the horribly pompous and almost insulting theme of the “Politics of Place” exhibit, it’s nice to see the gallery making use of an intellectual theme with out trying to force a certain interpretation down anyone’s throat. There is no giant plaque featuring some curator from Indiana telling us what this piece or that piece means in the context of the artist’s upbring ing. Instead, there is only art, its innate beauty and what ever unique connection each individual person may or may not make with each individual piece. That said, though the exhib it is above par thematically, two of the artists just didn’t belong. Misia Pitkin’s thread- on-paper depictions of the Willamette and Elliott rivers are intriguing and different, but not my cup of tea. Eduardo Fernandez’s paintings are pret ty, and his “Film Noir” piece is handled wonderfully, but they just don’t stand out. As a culture, we go to galleries to see the truly masterful, the outstanding, the awe-inspiring. Here we find two artists whose work - though impressive - feels more like something com monly found on the walls of middle-class homes. Thankfully, Pitkin and Fernandez are balanced out by two artists who exemplify the sort of masterpieces galleries are for. John Holdeman’s work with mixed media on wood is a rar ity in today’s galleries: modem art and absurd style without abandoning classic artistic sen sibilities in favor of vague neo political messages and pseudo- symbolic nonsense. Coming in both wall-mounted and free standing forms, Holdeman’s style has a deceptively primi tive, simplistic feel that makes its detail all the more beauti ful. This beauty is, however, nothing compared to the pho tographic majesty of Holly Andres. “Stories From a Sho Street” is the perfect exanip of an artist that can give the audience all the element« a story — the characters,ltl setting, the mood and moi - without forcing them to inte pret it in any particular wa« Individually, the phlti graphs that make up “Storii From a Short Street” are not! ing short of magnificent. Eac print displays a self-contaL story and mood that is as je sonal as each member of tl audience allows it to be. The) beautifully intricate snar shots of life could be an™ or everyone. Each photogra tells a story we can all ; elal to, somehow, with except« detail. Together, though, the sera becomes even more. It tag on a life of its own, becom ing an extravagant feasfl the imagination. And posl most fascinating is the facfl it can be viewed starting ■ either side of the series, wn a drastically different talel depending entirely on « direction the viewer walks« “History and Identity” M tinues through Thursday, ■ 11. Gallery hours are 9 a.mlo p.m. Monday through Fridw. Fulero’s journey through music Sam Krause | The Clackamas Print Like so many Music Technology students at Clackamas, UO graduate Asher Fulero’s path to a career in music included training in the aca demic world. Students working toward their Music Technology Certificate have the benefit of the state-of-the-art equipment in the Niemeyer Center. Fulero didn’t have the same facilities available, but he made strides in his own way. As a child Fulero didn’t have a Bachelor’s degree or the facilities like those here at the college. Fulero had piano lessons at five and more formal lessons as he progressed into adolescence. “I learned a couple of basics from my mom in kindergarten,” Fulero said, “but I had been goof ing on piano already for around two years.” Fulero started taking classical lessons in third grade, but remained self directed. “On my 15th birthday, I had the fortune to get a fake I.D. from my mom,” said Fulero. He used the ID. to get into small Portland jazz and„ blues clubs like “the Candlelight here in Portland, Jo Federigo’s in Eugene, Good Times (now closed) in Eugene and a couple of times the old Belmont” to jam on the piano. Fulero also got an eight-track tape recorder at age 15. At 17 he made his first fiill-length folk album. At 18 he was accepted to the UO School of Music. Once there, Fulero worked day and night playing music for university ensembles. “I think I only took 30 credits of non-music courses,” Fulero recalls of his time at UO. Also while attending UO he toured Europe with folk artist Ashleigh Flynn and performed at Seattle's Bunrbershoot. In 2000 he graduated. In 1999 Fulero joined the Floydian Slips, the 10-piece “dead on” Pink Floyd cover band. “I have to use my expertise,” said Fulero. “I have two pages of notes to follow.” “We do one or two shows a year, Bret Pippi 617 High St. StJ At COUNTRY, we like to reward people for being good. For instance, if you've been a good driver, we'll give you a discount on your car insurance. Ask about our other discounts, too. Sometimes it pays to be good. Oregon City, 0 503-722-0® bret.pippett@countryfinan Issued by COUNTRY Mutual Insurance Company*, Bloomington, IL. COUNTRY Insurances Financial Services www.countryfinancial.com Internet Photo Chartwells (From left) Electronic duo Asher Fulero and Joel Barbur, mem bers of the band Surounded By Ninjas. so when we play in Eugene there’s like 2000 people,” Fulero said. It was while touring with Flynn that Fulero met Joel Barber, a Portland Di and sampler. Bartier and Fulero formed the all-impro vised electronic duo Surrounded by Ninjas. They played at the Goodfoot Lounge in Portland every week for six months in 2002 - even pro ducing a CD out of the recordings entitled “Realtime Modify.” In 2005 Surrounded by Ninjas released “Dual Processor,” their first CD produced in a studio. The Scott Law Band features Fulero on the keyboards, but in a way that is very different from Surrounded by Ninjas and the Floydian Slips. “It’s fun to play in the Scott Law Band because I get to rock a little more,” Fulero said Fulero uses a Nord Stage 88 keyboard and Motion Sound ampli fiers with a Mac OS and Apple Powerbook “Everything about how Apple’s stuff works always made sense to me,” said Fulero. “Mac’s operating system always seemed more geared to artists.” Fulero mostly uses Ableton Live and Reason music software “because of (ts open design... Simple, power fill, flexible.” Fulero doesn’t have a 9-5 job like others, but he still has to make ends meet and purchase the latest in music technology. “Some people make money in the business,” said Fulero. “You have to take initiative and it’s crazy compli cated ... you deal a little everyday.” The Cougar Café is open M - Th: 7 a.m. to 7:30 p.m. Fridays: 7 a.m. to 2:30 pM Breakfast Grill open 7 -10:30 a.m. Lunch Grill open 10:30 a.m. - 2 p.m.
