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Continued from Page 4
seems like everyone brings
their own narrative and life
experience to my portraits,”
he said. “Inevitably, the
viewers will begin to tell me
stories about a person they
knew or a personal experi-
ence they had. It’s always
fascinating to me that a
portrait will trigger those
memories and emotions in a
person.”
Clarke — a part-time
Gearhart resident whose
award-winning canvases
have been featured in Clat-
sop Community College’s
renowned “Au Naturel: The
Nude in the 21st Century”
exhibition five times — uses
oils to create haunting faces
and figures.
However, he resists the
word “portrait” to describe
what he does.
“A good painting, is more
than just a representation of
a face or a street corner or
a tree or whatever. You can
take a photograph for that,”
Clarke said.
“For a good painting,
it’s a combination of two
elements,” he continued. “I
think you want to capture
something about the person,
something in their person-
ality that’s intriguing, that
draws you to them and
makes them worth looking
at.
“And the other element is
the paint itself. In a painting,
you’re doing something in
two dimensions that often
has a three-dimensional
character to it — the surface
of the canvas, how the paint
is applied, the tone, the val-
ues, the colors, the shapes …
Not just the image itself but
how it’s arrived at through
the medium of the paint.”
Clarke added: “I’m
drawn to people as a subject,
but I’m equally drawn to the
act of applying paint to the
canvas. That’s where I get
lost, the craft of it.”
“Local Portraits NW”
casts a net both wide in form
and function — paintings,
drawings, prints, sculptures,
multimedia and digital video
COURTESY IMOGEN GALLERY
A portrait by Timothy Peitsch
COURTESY REED CLARKE
COURTESY REED CLARKE
A portrait by Reed Clarke
A portrait by Reed Clarke
projection are all represent-
ed — and narrower and
more personal in terms of
subject matter. Each of the
participants’ portraits are
of individuals known to the
artists personally.
“Facing You” features
fewer artists — Peitsch
and Clarke are joined by
Meghann Hanour Sprague,
past recipient of Astoria Vi-
sual Arts’ artist-in-residency
program — but allows for
a greater conceptual sweep,
particularly in Peitsch’s
contributions, which use a
limited palette of grays to
create a sense of the past.
But it’s the feeling of
shared humanity that runs
through it all, a glimpse
into the eyes of others that
accounts for portraiture’s
appeal and durability.
“What I’m interested in is
making a good painting
that people are drawn to,”
Clarke said. “My hope is
that it holds up for years
and years, and, though it
doesn’t change, it renews
itself and people continue
to enjoy it.” CW