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In some contexts, we wear our hearts on our sleeve, or in this imagined world, on top of our heads.

As if our thoughts and ideas could be worn like a headdress, this show explores what it would be like if our ideas were visible visual narratives.

Emoting both ones personal identity and cultural heritage, here we see a variety of magical portraits which convey the complex inner workings of ones mind as if they were literally Emerging from within.

For some, these ideas manifest as the spirit animals that give us strength, guidance and inspiration.

For others, they are represented as having a crystalline structure that erupts out of our being like the complex, many faceted souls that we are.

Join us for an exploration of self as we are introduced by four local artists to a variety of many-dimensional individuals who each wear many different hats.

Opening Reception;
First Friday
June 1st – 6-9pm

Redux Gallery
811 East Burnside st #116

On First Friday, the show goes live on our online Gallery here:


Kendra Binney

Kendra Binney was raised in a small mountain town with no shoe stores. Most of her time was spent barefoot treading through the miniscule 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 sold and exhibited around the world, Kendra herself spends most days in a small studio in Portland, OR.  There she paints, daydreams, and paints some more.


Marisa Govin

Marisa Anna Govin is an Artist, Art Educator and Designer born in the valleys of Southern Oregon. A chosen path, the life of Marisa has always been woven with art and culture. She grew up immersed in Latin American culture, creating connections that eventually lead her to move to South America where she spent over 12 years. Marisa studied Fine Arts at Universidad Museo Social Argentino and later continued her studies at Universidad de Cuyo specializing in Artistic Ceramics. An active artist and art educator during her formative years, Marisa established her path in the arts while finding her own expressive language and personal style that continues to define her art now.

Marisa’s life and art is focused on the ancestral knowledge of sustainability, ecology and the environment from a cultural perspective. Her artwork encourages the sustainability of the earth through the intrigue of the subject itself. It draws the sight to life; rich in diversity, forms, and colors as a way to connect more deeply with the world, promoting the discovery of natural resources and their conservation.  This body of work incorporates ideas of anthropomorphic integration with nature seen through a lens of cultural identity. It shows the spirit of the land that lives in our connections to our past and present.

Marisa continues to view art as an integral part of life experiences, drawing from a deep connection to nature and cultural tradition in the Americas as it is lived in this constantly changing world. With more than ten years of experience as an artist she has developed a strong sense of artistic identity which is shared in her exhibits and community events. Her work has been shown throughout the US, Canada, and South America and is part of private collections extending from the Americas to Europe. As an art educator, and currently working as the artistic director at a school, her methodologies prioritize enabling students to understand, identify and nurture their creative potential and to find innovative solutions to communicating through artistic expression.


Jaclyn Evalds 

In 2002, I graduated from Penn State University with a BA in Art and Media Studies. I moved to Portland in 2010, and at that time, my love of creating surfaced in the form of peculiar paintings of women. These women were inspired by early American folk portraiture, and were typically surrounded by birds or flowers. Eventually my interests in biology and natural history broadened, and my portraits became infused with images of anatomical hearts, detailed insects, and moody landscapes.

In the summer of 2012, I received a box of old family photographs, some dating back to the late 1800s. The recurring theme of family connections and ancestors pervaded my thoughts and my paintings, along with elements like ghostly forms and weirdly growing flora. I continue to explore my interest in folk art-inspired portraiture and the natural, sometimes strange, curiosities that surround our everyday lives. When not working, I enjoy cooking, live music, yoga, and spending time with my husband and our two cats.


Alison Greyson
I began carving skulls in 2016.  I had found a deer skull while mixing sound on a Discovery Network show in the Oregon woods.  One day, while working on a project in my tiny school bus house, I found myself holding my dremel while looking at the skull, and thought that perhaps I could combine the two.

I wasn’t anticipating the connection I felt to the skull when I started on my first piece.  I wasn’t expecting to have a conversation with the skull, to be guided by its path, or to be encompassed with the feeling of releasing energy trapped by the fear and trauma of its death.  I wasn’t expecting the skull to have so much say- I had a loose idea of the design, and then the skull took it from there.  Every skull I’ve carved since has been the same.  I’ll approach the skull with a rough design or a concept, and once I’ve started the details and the evolution feel like they’re out of my hands.

The whole journey has been rather unexpected.  I spent 15 years of my life as a adamant vegetarian.  Seeing taxidermy and skull mounts used to make me viscerally uncomfortable. Sometimes they still do, if the animal’s spirit doesn’t feel honored.  I’d never imagine that I’d now have such an intimate connection with death, let alone be handling it so closely.  Some of the skulls I work on are found in nature, and others I purchase professionally cleaned.  All my skulls are ethically sourced and are recycling death, and no animals were killed for their skulls.  Even so skull carving is messy, dusty work, and there’s no questioning that I’m handling something that used to be very much alive. My spiritual connection to the process has been even more unexpected.  I’ve never considered myself a particularly spiritual person, but I can’t deny the energy I feel when I carve.  I often feel like a vehicle for the skulls and the life they used to contain while I’m carving them.

As it turns out, I like a vocal canvas with such a strong say in its creation. The texture of each skull varies greatly, along with the strength.  This is a medium of no take backs! Though I have a background in visual art, it had been over a decade since I felt compelled to create non digital art, and I ran with it.  I quickly outgrew my tiny school bus house desk space, and I invested in a studio space within an artist collective in Portland, OR

In addition to skull carving, I am a location sound recordist,tiny house/skoolie advocate, a documentary film maker, a fighter, a dancer, a lover of life, and a newfound appreciator of death.