SALEM READS 2025
SALEM READS 2025
January 27 – March 1, 2025 | SAlem Public LIBRARY in the Art Hallway
Salem Art Association and Salem Public Library Foundation are collaborating to bring the public an exhibition based on each year’s chosen book for Salem Reads. This exhibition is curated to include local artists through curation and an open call.
Salem Reads is a community reads project that invites everyone in Salem to read the same book, take part in discussions, and enjoy related programs throughout the month of February 2025. The Salem Public Library Foundation funds this program and sees Salem Reads as an opportunity to increase the library’s visibility, and act as a catalyst to bring the community together for discussions relevant to our time. Our selection of Why Didn’t You Tell Me? by Carmen Rita Wong, allows broad community engagement as we offer programs on topics of importance to our city.
EXHIBITING ARTISTS
SALEM PUBLIC LIBRARY
585 Liberty St. SE
Salem, OR 97301
Hours: Tuesday – Thursday 10:00 A.M. – 6:00 P.M. and Friday – Saturday 10:00 A.M. – 5:00 A.M.
LISTEN IN TO TALKING ABOUT ART INTERVIEWS WITH JOEL ZAK
ABOUT THE ARTISTS
DAYNA COLLINS
Dayna’s fiery red hair sets the tone for how she makes her art and lives her life. She is an energetic, intuitive, abstract painter working in both acrylic and oil and cold wax. Her intuitive abstract paintings reflect her love of wild color, curiosity, playfulness, and joyful spirit – with a smidge of sassiness and irreverence to keep life interesting. She works in layers, applying swaths of colorful paint, then going in and scraping away portions of the paint, drawing and digging, making marks and lines, and then adding more layers of paint as a composition begins to emerge.
As a collagist, her mixed media pieces reflect the passage of time, repurposing book scraps and found ephemera, transforming the aged and tattered pieces into something unexpected and beautiful, celebrating their fragile decay. She delights in painting on paper to use in her contemporary collages.
Dayna shows her art in three Northwest galleries: RiverSea Gallery in Astoria, Guardino Gallery in Portland, and Salem on the Edge in Salem. Her work is on display at two NW boutique hotels, The Independence and The Dundee. Her work has been published in several books, including Cold Wax Medium, by Rebecca Crowell and Jerry McLaughlin, Wabi-Sabi Painting with Cold Wax, by Serena Barton, The Mixed-Media Artist, by Seth Apter, and the college textbook, Art for Everyone, published by Oxford University Press. Dayna has taught throughout the Pacific Northwest, including at Sitka Center for Art and Ecology, the Creative Arts Community at the Menucha Retreat Center in the Columbia Gorge, for the San Diego Book Arts, and online through the Winslow Art Center.
Laura Dahl
The inspiration behind this painting came from Chapter 3 of Why Didn’t you Tell Me? My intention for the painting was to tap into the emotions Carmen felt in the chapter, specifically, how she felt during the weekly trips to the dump with her family. The world which all children inhabit is equally beautiful and terrifying. I myself felt some of these emotions while painting this piece due to my unfamiliarity with the abstracted style. I felt not unlike a child, oblivious to the rules of the craft. I think that inner discomfiture worked in my favor by creating an incongruous feeling which, I believe, adds to the composition.
Because I sold my soul for the American Dream. Description that links to the book: A little girl falls into a dump, representing the emotions Carmen felt in Chapter 3: Because I sold my soul for the American Dream. Words from the book which I used to design the painting include: abyss, fear, edge of the world, impending death, suffocation, falling backward, trust always an issue.
RYAN HOPPER
My name is Ryan Hopper currently residing in Salem, Oregon graduated from Arizona State University with my BFA in Art Education. I’m from the Tuba City, Arizona located on the Navajo Nation. Born and raised on a sheep camp from a family of shepherds, weavers and traditional healers. A lot of my inspiration comes from wildlife, landscape art studies and looking at works of art by various different artist from Robert Bateman, Andrew Wyeth and etc. The wildlife art of Bateman is what fuels my appreciation of the wildlife art and Wyeth contemporary paintings that show me they can be seen with an artistic imagination that can be received within a more profound way.
My works are done primary within printmaking processes that captures both land and animals with a decorative element to be incorporated in homes and public spaces. There is nothing like being surround by nature beauty and animals. Thus, most of my work incorporates prints from my travels and observing animals within their natural habitat.
In Artist Residence 2025 at Salem Art Association will be working on two paintings for Salem Reads in February 2025.
CORRINE LOOMIS DIETZ
Corrine Loomis Dietz is a studio artist, residing in the Willamette Valley of Oregon. In the 70’s Corrine received a BFA from CWU with a concentration in Painting and Photography. Loomis Dietz is recognized as a colorist and a modern materials specialist resulting from a history of deep investigation into acrylic paint systems and processes. Recently retired, Loomis Dietz had been a member of the Working Artist team with GOLDEN Artist Colors for 22 years, receiving intensive training designed to offer lectures and teach workshops throughout the Pacific Northwest. Prior to this opportunity, Corrine taught Painting, Color design and Photography as an adjunct in regional colleges and universities since the early 80’s. A longtime resident of Salem, Corrine maintained a strong community presence, involved with Artist Services, Mentor Programs, Studio Tours, Art Fairs, Exhibits, and as a Juror. Loomis Dietz describes her current work as figurative landscapes, exhibiting work in group and solo shows throughout the Northwest and as far away as NY and Miami. Her work is held by private collectors, the Hallie Ford Museum as well as included in a variety of publications. corrineloomisdietz@gmail.com Instagram cloomisdietz / Facebook Corrine Loomis Dietz Studiosatthemill.com www.corrineloomisdietz.space Publications: “Rethinking Acrylics” by Patti Brady ~includes Corrine as a feature artist.
Corrine Loomis Dietz Artist Statement. What is it that touches our lives, wanders through our thoughts, settles into a recess, incubates and then slowly rises to the surface?… an odd sense that I can capture a human experience in timeless place? In my process I develop visual notes, dig for emotional memory, tool color and form, assign images to the surface, make marks, layer glazes, add and subtract…Painting Fearlessly! I love to feel the viscosity of the paint, the energy and movement over a surface as I work through these systems that give me purpose. I love the versatility of GOLDEN Acrylics. Physically having over 120 pigments in my studio prompts color interactions beyond a traditional palette. It excites and challenges me to discover the contemporary materials that support my visual dialogue. I trust that my explorations will inform me. Impulse and curiosity lead these actions to create work that resonates with allegory.
CARLOS MARQUEZ
As I started to read the book Why Didn’t You Tell Me by Carmen Rita Wong it became apparent that the book did not contain very strong imagery that I could use for the project. What I was looking for was depictions that would fit the surreal style of art that I like to make and I know how to do. It became apparent that the strongest imagery in the book was in the beginning. I found inspiration within the first fifty pages. The first depiction was that of Jesus. The description of Jesus and all other depictions were basic. The other three depictions were of La Virgen de Guadalupe, a grinning Cheshire cat, and a depiction of a dancing doll. I started a process of taking these images and changing them while preserving the connection to the book.
As for the project I chose to make art through a process called image transfer. It consists of using a plate and adding paint in a thin layer and then placing an image from a magazine or any other image and placing it on the plate. The next step is removing the image and the content is imposed on the plate. The last step is placing a clean sheet of paper on the plate and pressing it with a roller. Lastly, you remove the sheet of paper and the image is transferred onto the paper. For the project it would have been very difficult to search and find imagery for the depictions from the book, so I decided to create my own images. I started out by finding images of the book content that were in a certain style that fitted my plans for the project. I took the images and recreated them into a surrealist format. As for the format of Jesus of Nazareth, I recreated an image of Jesus without being on the cross or any typical depiction of jesus. However I needed to connect the image of Jesus to the depiction in the book. I kept certain elements that would identify the image as a depiction of jesus. For the second image titled Mary Magdalene I took complete artistic freedom. The depiction of Mary in the book is a traditional one. However I have always found the relationship between Jesus and Mary Magdalene very interesting. I took the opportunity to reinvent the depiction of Mary to that of Mary magdalene. For the third piece I created a depiction of a cheshire cat looking down at you from on top of a tree with a sinister smile. I actually was very excited to do some work with a Cheshire cat. A Cheshire cat is one of my favorite characters from the Alice in Wonderland book. For this image I created something non typical, nothing from existing depictions of a cartoon cat or otherwise. The last piece of work depicts a wednesday doll from the addams family. It is a choice that I made to create an image of a doll without the typical look of a barbie or a baby doll. I feel that the depictions of art coming from the book work very well with the book. The main protagonist in the book, Carmen, is striving to be something more than she is. She sees herself differently than others see her. She is always striving for change and transformation throughout her life.
I am a mexican artist from michoacan mexico and i relocated to the states at the age of nine. I am thirty nine years old. I have always been an artist. I have been honing my skills from grade school to college. I have never missed an opportunity to take an art class. I would describe my art style as surrealist. For me my journey into surrealism began in high school when I discovered the art of the surrealist painter Salvador Dali. I love the dreamlike depictions and the very strange scenes depicted in his work. In the present I work with different mediums and styles of art. I am also very interested in abstract art with its colors and forms. In the present I would say that I have reached a good space when it comes to my skills and ability to create art. Up to the present I can say that I am the most successful in my art career. I have had the opportunity to display my art in galleries and work on different projects. I am an opportunist artist for different reasons. I am not employed and most of the time I do not have the funds to be able to afford art materials. I work with what I have. I live in a group home for mental illness recovery. As for my space for creating art, I have set up an easel and a table with all my materials in an unused room. When working with smaller materials I sometimes set up a small desk in my room with a small lamp. Some of my activities include reading many books. I like to expand my imagination by reading to understand different points of view and imagine thoughts that I don’t normally have in my everyday life. I also create dark surreal poetry and writing. As of now i have about 5 notebooks full of my poetry. I enjoy listening to all genres of music, from experimental to latino pop music. I listen to music all day every day, it gives me hope and I feel happy when I listen to music. Music is always on in my room day or night and I switch it up according to my moods. I also like films very much. I like to entertain myself with thought provoking films. I am a fan of foreign films and documentaries. My most recent project is designing clothing and I am working towards creating my own website to sell my merchandise. I am also working on creating an online portfolio of my artwork so that I can be more effective when it comes to galleries and having my art displayed.
Laurel Thompson
Bio:Laurel Joy is an artist from the Denver area going to Counseling graduate school and working in Salem, OR. Specializing in painting, Laurel produces in acrylic and oil. She excels in portraiture, realism, and touches on the surreal nature of emotions. The goal of her work is to impact others. Growing up taking art classes within and outside of school, Laurel’s passion for art led to her receiving her Bachelor of Arts for Studio Art at Fort Lewis College. She has received awards thus far, Honorable Mentions in 59th & 61st Juried Show at FLC and a Scholastic Gold Key in 2018. Exhibitions around Colorado have held her work: MCA Denver, Scholastic Exhibitions, Senior Artist Show at her high school, several showings at Fort Lewis College, and the Durango Public Library. She is currently trying to share her art around Oregon. You can find her on Instagram at @laureljoyart and her website is laureljoyart.com.
Artist Statement: My grandfathers hands are roots reaching deep. He is the epicenter of lines to those decaying and thriving. Persevering, his hands reflect his journey of redemption powered by his will to survive. Veins holding the key of unknown ancestry become known. Equilibrium from disequilibrium as new schemas of family history shape my own self-understanding. The distinction between his hands and the linens will fade alongside time. Time will heal the wounds on the tree of my family. The rustling leaves will continue to change with the winds. But, this moment frozen in my mind I will remember. I am holding his hand I am filled with agape as he tells me “I’m special, and I will be special for the rest of my life.” The heart wrenches at sweetness when it is used to sour. Chains of generational suffering unrusting at new kindled resilience.
H. ELIZ IV SNOWCARP
As a graduate of the School of the Art Institute of Chicago with focuses in art history, ceramics, and social justice art education, and a professional background in tactile visual art for the blind and visually impaired, H. Eliz uses art as her vehicle of engagement. She is working to harness simple gestural strokes to trigger shared understandings, memories, and feelings. “I use my art to teach appreciation in alternative means – experiencing and expressing life through the investigative, curious, and imaginative power of play. My art is more than object, it is an invitation.” Find out more by visiting www.heliziv.com.
Why Didn’t You Tell Me? by Carmen Rita Wong
Themes within the book parallel my own knowing firsthand the impact of a mothers silence that can leave a family threadbare. Yet including an understanding of the beauty that can prevail as love is still present in relationships that can be strained and lead to separation, confusion, and isolation.
So too is my relationship with material informed and is inseparable from my upbring and the tangled relationship with my own mother. Early memories sitting under a large stretched communal quilt as a guild of women talk and laugh above me, needles rhythmically stitching in unison binding us in that moment together. Fabric, just as life, is a material woven deeply into the tapestry of community. My mother’s connection to textiles was an outlet of self expression and creativity. I grew up in awe of the circle of independent strong women, who were breaking traditional rules of quilting and innovating in the emerging field of fiber arts with new techniques. Their eyes filled with the fiery spark of inspiration! In my eyes, the same material, so beautiful, intricate, and resilient, began to wear, stretched thin, fraying, but unable to break. What happens when a mother is unable to unravel? In grief, a silence seemed to flood every crevice of my memory and so too did the material of early youth become a suffocating presence.
Mothers give structure and can disintegrate it simultaneously. Creating fractures. Now as a mother myself, do I work to mend something broken or do I amend and add to it in its retelling? Through my art, I can recontextualize what I have learned, unlearned, discarded, and held. As if the telling of my own story cut memory from the material of my own life. Like a patchwork of fragmented moments holding precious every scrap seeing added beauty and power through context.
In creating four small wall mounted ceramic works, I mimic the quilted tradition of the “crazy quilt” first emerging in the 1800’s and characterized by their patchwork asymmetrical appearance. Unlike their name, they are not random but are highly planned and ornately detailed motifs, rich in a variety of martial arts, and as unique as their creators. Crazing quilting represents the traditions of mother and daughter, preserving, embellishing, storytelling, and mended. Clay is a medium receptive to impressions and can be molded. Clay also holds memory as a material that can be wedged and reworked. It also can become brittle, fragile and break. It can be dissolved, reconstituted, amended, strengthened and bonded through fire. It is in the juxtaposition of the soft material of my youth and the hardened resilient material of my adulthood that is formed through the impression and the adaptive malleability of seeing beauty in the threadbare.