The Can You Hear It? exhibition committee congratulates the following artists and their artwork for being selected to the Can You Hear It? show.
“Being Fourteen” - Sherri Culver
“BOOM!” - Sherrie Moomey
“Cosmic Jazz” - Marie Murphy Wolfe
“It Sounded Like a Freight Train” - Pam Pilcher
“Let Me Outta Here” - Beverly Woodward
“Notes and Bars” - Mary Arnold
“Radio Waves” - Mary McLaughlin
“Red Hot Notes” - Mary Arnold
“Still Standing” - Diane English
“The Blackline” - Noelle Evans
“The Tower of Babel” - Terry Grant
“Voices of the Ancestors” - Elizabeth Bamberger
“Windsong” - Elizabeth Bamberger
“You’re On Mute” - Gerri Congdon
We want to thank all the artists who persevered through the pandemic to create their vision of the sound in question. After this year of isolation we are all in need of time to reconnect with our community and share in each other’s artistic vision. We look forward to seeing you all at the show in Sisters in October.
High Fiber Diet Exhibit: Can You Hear It?
Jurors’ Statement
Three different jurors and three different approaches to art meant that our choices were not always unanimous, but our differences also forced us to look deeply, explain our preferences, and acknowledge our biases while choosing the artwork included in this exhibit of work by members of High Fiber Diet, a group of artist members of the Columbia FiberArts Guild.
We sometimes struggled to discern a connection between the theme of the show and a specific piece, but we found common ground on the criteria we agreed would help us choose a strong show: the initial visual strength of the work and its subsequent ability to evoke a reaction in the viewer. We all gravitated toward pieces that drew us in through their visual impact and kept us interested by leaving space for interpretation, like a storyteller who hooks us with an arresting opening sentence then reels us in with a unique point of view and a narrative that still leaves room in the story for us. Artwork that told us the whole story in one short sentence, however finely crafted the sentence, didn’t engage our attention in the same way.
Many years ago, an art critic for the Oregonian explained his reaction to an exhibit at the Portland Art Museum by writing, “The truth is, all that matters is this: Does the work move you? Does it have integrity and power and skill? Does it suggest things beyond itself?”
We were moved by and engaged with the voices singing, calling, and whispering to you from these gallery walls. Can you hear them?
Jeannette DeNicolis Meyer
Hilde Morin
Maria Winner
