More Past Exhibit Highlights

Kathelene Galloway

The Belted Galloway’s

July 11 - August 1, 2008


This exhibit is made possible through the generous support of Burns Law Office.



Kathelene Galloway is making her mark on the northwest art scene.


“I am an artist who draws” she says. “Whether I am making prints, working in paint or writing I have a mark-making mentality. The mark is the residual of my action, which under the best conditions etches away a space for viewers, including myself, to think.”


An exhibit of her work will be on display in the East Oregonian Gallery at the Pendleton Center for the Arts beginning Friday, July 11th and running through August 1. The public is invited to an Opening Reception July 11th from 5:30 -7:00 for a first look at the work and to visit with the artist.


After studying art at Boise State University and receiving her Masters of Fine Art degree from Indiana State University with an emphasis on drawing, Galloway settled in La Grande, Oregon where she has been on staff at Eastern Oregon University for several years.  


“Making art is, for me, about examining and translating my world” said Galloway.


Her current body of work combines her computer skills with traditional printmaking techniques, allowing her the freedom to compose as freely as she does in her pencil sketches.


Galloway studied a wide range of non-toxic printmaking methods with the late George Roberts at Boise State and she continues to explore them today. The solar plates she works with today employ the latest in technology, allowing her to achieve a printing surface that provides outstanding photographic clarity. 


Solar Plate Photogravures are layered and collaged to create striking images that explore her mother’s history as a young woman growing up in Hitler’s Germany and the family’s attempts to bury the past.


“My intention in this work is to erode the glossy façade histories constructed around my understanding of family, expose the estranged factions within my family group, and replace and embody myself with it all.”


 Galloway exhibits nationally and her work is featured in both the Opus 6 Gallery, Eugene, OR and The Indigo Gallery, Joseph, OR. Her work has been acquisitioned into the collections of the Fra Angelico Museum of Spiritual Art, The Rose Hullman Institute of Technology, Indiana State University, The Grande Ronde Hospital and can be seen in many private collections.


Her  work is also featured on the covers of both The Rock’s Cold Breath, translated from the Chinese by Jodi Varron and Troubled Intimacies: A Life in the Interior West by David Axelrod. She has received many awards ands institutional research grants and serves as the Vice Chair of the Oregon Ink Spot Print Exchange.


This work was made possible in part by Eastern Oregon University’s Faculty Scholars and Sharing the Learning Grant Programs.


Jeremy Lilwall

Internal Rhythms of Madcap Inquiries August 8 - 29, 2008

Lilwall’s paintings are the final act in a multi-faceted process that begins with sculpting original objects and re-working bought or found objects. “When I am arranging items as a still life, they begin to create a narrative and once I photograph or begin to paint, that moment becomes an experience, a memory, for myself and all the characters.” This body of work, exploring a world where the rational and irrational coexist, was created in collaboration with Kynde Kiefel.

Lilwall was raised in Walla Walla and graduated from Whitman College in 2001 with a Bachelor of Arts degree in Studio Art. He currently works as the Waxroom Supervisor at the Walla Walla Foundry.


Working at different bronze foundries over the past seven years has greatly influenced Lilwall’s work. Gaining experience using different processes have given him the technical skill to pursue a body of work that combines multiple mediums with a search for meaning.


“To me, the work is about spirituality and its confrontation with meaning. Trying to make sense of a world where the rational and irrational coexist, yet separate and divide at the same time,” said Lilwall. “Why do our minds feel contained, separate, searching for individuality yet simultaneously seeking that connection and furthermore transcendence?”

Lilwall’s paintings are the final act in a multi-faceted process that begins with sculpting original objects and modifying bought or found objects.


“When I am arranging them as a still life, they begin to create a narrative and once I photograph or begin to paint, that moment becomes an experience, a memory, for myself and all the characters,” he said.

He experiments with a wide range of sculptural materials including Dragon Skin (a silicone rubber), liquid plastics, resins and hard foam. His wife Kynde Kiefel has collaborated with him on creating the still life assemblages and he cites her as a major influence on the way he thinks about making art.


Philip Miner


Sept. 4 - Oct. 10, 2008

Miner received a Bachelor of Arts degree from Whitman College in Walla Walla, where he studied painting under nationally recognized artist Keiko Hara. He earned his Master of Fine Arts degree from the Milton Avery Graduate School of the Arts at Bard College in New York.


Returning to the west coast after finishing graduate school, Miner was intrigued with the cultural influence of the car on lifestyle. His work is influenced by the work of American painters who attempted to infuse the European avant gardist ideas into American traditions of landscape. Using vibrant colors and quasi-geometrical shapes, the paintings investigate ideas related to the automobile, historically as an icon of nostalgia, as well as the more recent political and environmental connotations.

The East Oregonian Gallery at the Pendleton Center for the Arts featured the first solo exhibition for Seattle artist Philip Miner Sept. 4 - October 10. The exhibit, “Horse/Power” featured large scale works loosely based on images of hot rod and big block engines combined with influences from early twentieth century painting.

“Much of my work is related to drawing, photographic and sculptural work that I perform as studies inform the body of work,” said Miner. “I'm also conceptually informed by recent writings on politics and images by theorist Jacques Ranciere, as well as the urbanist Paul Virilio.”

Julia Henning - Negotiations

April 3 - May 1, 2009

In the East Oregonian Gallery


This exhibit takes as its subject various parts of women’s lives, with musings both perplexing and challenging. It is concerned with differences between the interior and the exterior, of not only appearances, but experience. Using the vocabulary of construction in fabric, wood, and various found materials, the artist focuses on containment, trauma, transformation, and desire, and the fine lines that separate structures that liberate and boundaries that enclose.


The pieces are sculptural objects of clothing, containers of agricultural origin, and structures of indistinct or redirected function and purpose. The processes of sewing, weaving, and building used in these pieces are demonstrations of tactics that enable women to survive and adapt. References are made to rituals of reconciliation, including obsessive repetitions, religious devotion, and re-making.



Pat Courtney Gold - Joe Fedderson - Joey Lavadour
Mary Schlick - Patrice Walters

Woven Works by Northwest Masters


June 13 - July 10, 2009


In keeping with 2009’s fiber arts and textiles theme, five artists exhibited their baskets and basket-inspired art in “Woven Works by Northwest Masters.”


Many thanks to Frank and Betsy Moss for supporting this exhibit.



Anne Greenwood lives and works in Portland, Oregon and showed a collection of works that highlight her residencies and collaborations over the past few years. Her work has been supported by the Regional Arts and Culture Council, the Oregon Arts Commission and the Multnomah County cultural Coalition along with other foundations and organizations.


Greenwood was born and grew up in rural North Dakota, daughter to a wildlife biologist and nutritionist. Drawing, painting, and stitching with her artist grandmother lead her into a Bachelor of Arts degree from Moorhead State University, Minnesota. In 1990 she moved to Portland, Oregon and began working as a gardener and assistant to photographer/historian Thomas Robinson. Through her experiences working on projects for several music and art publications, including Snipehunt and PDXS, Anne established a deep, rich connection to many creative people within her community and her work continues to be inspired by these connections.


In 2002 she inherited a sewing studio and began to integrate more handwork into her art. Her work is autobiographical and explores her connection to daily life and the world around



“Transition and change deeply inspire how I work and I often reference imagery that is connected to my own personal experience and emotion. As a naturalist, my connection to plants and animals influences my work. I use written, visual, and collaborative forms of communication in an interdisciplinary fashion to express my ideas.”


In the Lorenzen Board Room Gallery visitors viewed the work of Pendleton artist Peter Bryan. Both exhibits were made possible through the generous support of Ron and Valorie Martin of Pendleton Pioneer Chapel Folsom-Bishop. Lodging for the artist provided courtesy of Best Western Pendleton Inn.


July 17 - August 10, 2009

Anne Greenwood

in the East Oregonian Gallery



...with paintings by Peter Bryan in

the Lorenzen Board Room Gallery


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