First Friday group show at
REDUX BOUTIQUE AND GALLERY
Features Northwest artists who delight at the intersection of botanicals and artistic expression, self love and the female form.
Just in time for Valentine’s Day, Botanical Burlesque explores concepts of divine femininity, the natural world, flower symbolism, romance and sensuality, dressing and un-dressing as self-care, performance and personal power.
Presenting a variety of perspectives and media, from photography to collage to wearable art, this show will run through the end of March 2019.
Friday, February 1, from 6 – 9 PM
for the Opening Reception.
811 E. Burnside st #116
featuring the work of 6 divine Northwest women:
and featuring the wearable contributions of Portland Burlesque performer, costume designer and choreographer Zora Von Pavonine (yep the same Zora also starring in recently released documentary “Glitter Tribe” glittertribethemovie.com/) is coming to hang out with us in a costume she made for a Botanical Burlesque show… *and* she is bringing handmade finery available for purchase at the show. These will be very affordably priced, but not available online, so come on down for your chance to snag some handmade burly flair to take home.
photo credit: Jack Allen
*more about the artists*
Figurative artist, photographer, author, curator, web/graphic designer, a creative entrepreneur and inspirational speaker. Her artwork is a hybrid art form combining many disciplines which she invariably designs, builds, and executes characters, non-existent places, dreams, illusions, fears and fables into creations melding elements of classical and contemporary art. With the honor of several awards, having been featured in numerous publications, and represented and collected nationally and internationally, along with being a published author has provided her a platform to guest lecture at colleges and universities.
Project driven with community interest prompted Aunia to pursue curating several exhibitions and book projects including the Moon Goddess exhibit, Tarot Under Oath, Lowbrow Tarot Project, etc. which later inspired the launch of Auxilium Haus (Formally: Alexi Era Gallery) a collection of her various projects, publications, and curatorial adventures. It is also the home of the Museum of Rescued (MORA)which was established in an effort to rescue discarded and dispossessed art due to a variety of circumstances in which one may never truly know.
She has also published many personal projects include the Silver Era Tarot, Inspirations for Survivors, Obvious Remote Chaos, Minding the Sea: Inviting the Muses Over for Tea, Avalanche of White Reason, XIII: The Art of Aunia Kahn, Witch’s Oracle (Illustrator, Author: Marla Brooks). Her forthcoming books and projects include; An Epidemic of Retrospective, Disintegrating Stars and the Ethereal Realms Tarot. She has also been an avid tarot reader/designer for 16 years and web/graphic designer for 20.
She loves animals, Prussian blue, tarot, miracles, crystals, nature, hummingbirds, and Jeeps
Born in Nova Scotia, Canada, next to the Atlantic Ocean breeze, Lesley is a storyteller who is deeply affected by the marriage of art and literature. Within her work you’ll find long limbed beauties with dangerous claws, stories of sea swept sirens, and creatures from the deep.
Pouty-lipped heroines with melancholy softness permeate to create a peculiar world filled with chimera and charm – a bewitching gathering of all the cloven-hoofed vixens that prance in her head. Her female characters are strong and ethereal. The heart of her paintings lie within their concepts, each piece expanding your imagination as she takes you by the hand and leads you on a journey with her.
Reppeteaux has shown with Thinkspace, Copro/Nason, La Luz De Jesus, Gallery 1988, Strychnin, Last Rites, and many other esteemed galleries both nationally and internationally. She has been featured in King Brown, Hi-Fructose, Art Prostitute, Xfubs and Lemonade Magazine as well as BEASTS, the hardcover book by Fantagraphics.
The aesthetic world of Lea Barozzi is a purgatorial realm where a living fog sustains a sense of static tension and freezes the emotional states of its subjects in contemplative introspection. It is punctuated by symbolic props that engage the viewer with instant metaphorical recognition and elements of surprise which draw on our love of mystery. It is populated with little maidens and echoes of discarded dolls who are no strangers to loneliness but persevere to find their way in the dark out of the corners they have found themselves painted into.
Lea’s art helps us to explore the perils and peace in the isolation we all find ourselves reluctantly enjoying when no one else is there.
Hello, my name is Brenda Dunn. I am a self-taught illustrator based out of Oregon. The mediums used in my illustrations are ink, pencil, and paper.
For my whole life, or as long as I can remember, I have been in awe of women and the beauty they possess. Drawing was a part of my daily life as a child, and the subject matter was always women. Mermaids, princesses, and skater girls were the recurring characters in my art until my late teens, upon the discovery of pinup art from the forties and fifties. Ever since then my art shifted more towards that style, while making it my own. I strive to make art that women can relate to, a more modern and inclusive pinup than that of the older era. In addition to vintage pinup illustration, I take inspiration from burlesque culture, tropical everything, and the clean lines of art deco and art nouveau.
In the current political climate and advancement of women’s rights and feminism, my work has had mixed reviews. My art is in no form a statement or suggestion that there is any specific look, shape, size, or skin color that makes women beautiful… Beauty comes in all forms.
Kendra Binney was raised in a small mountain town with no shoe stores. Most of her time was spent barefoot treading through the minuscule world of spiders, snakes and all things hiding in the grass. She transfers this closeness with the small and obscure into her paintings. Through scenes of dripping landscapes and insecure, vulnerable characters, she illustrates a world draped in memories, remorse, and fragile realities. Seen through pastel washes and shiny candy coatings of resins, her works evoke both nostalgia and contempt. They are at once gentle and cruel, sweet and unsettling.
Though her paintings have been exhibited, sold, and published around the world, Kendra herself spends most days in a small studio in Portland, OR. There she paints, daydreams, and paints some more. Past clients include Microsoft, Sanrio, Vinyl Films, and Collage Greetings along with numerous commissions for private collections.