emily counts

PARTY STORE/SUPER MODE [EMILY COUNTS] 

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Nationale proudly presents a flash exhibition of Emily Counts’s newest work, as well as a special musical event: Party Store performs with Super Mode!

Super Mode is an interactive sound sculpture by Emily Counts recently shown as part of Sonic Arcade at the Museum of Arts and Design in New York City. It consists of a walnut wood box topped with ceramic objects that trigger individual sound samples when pressed downward. Illuminated windows in Super Mode allow the user to view the interior mechanics and wiring of this piece. Programming and circuitry design by Andy Myers and sound samples by Robert Aiki Aubrey Lowe. 

Emily Counts was born in Seattle, WA, where she currently lives and works. She studied at the Hochschule der Kunste in Berlin and the California College of the Arts, where she received her BFA. Her work has been exhibited in Portland, OR, at Nationale, Carl & Sloan, and Disject; in New York at the Museum of Arts and Design; in Tokyo at Eitoeiko and Gallery Lara; and in California at the Torrance Art Museum, Garboushian Gallery, and Mark Moore Gallery. Counts was an artist in residence creating work for associated solo exhibitions at Raid Projects in Los Angeles and Plane Space in New York. She has received grants from the Oregon Arts Commission, the Regional Arts & Culture Council, and The Ford Family Foundation. She is a member of SOIL Gallery in Seattle, WA, and is represented by Nationale in Portland, OR. / IG @emilyraecounts

Party Store is a lo-fi ambient project by Seattle musician Josh Machniak. 

On view: April 21–April 22, 2018
Opening reception: Saturday, April 21 (6–8 p.m.) with a 20 mins performance at 7 p.m.

THE CREATIVE CHRONICLE INTERVIEWS EMILY COUNTS

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We were thrilled to see (and read!) this in-depth, The Creative Chronicle interview with gallery artist Emily Counts. Counts talks about her creative process, the crossover between her art practice and her jewelry line, St Eloy, and the importance of community. She also presents her latest piece, a sound & light sculpture which will be part of Sonic Arcade: Shaping Space with Sound at the Museum of Arts and Design in New York this fall . 

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EMILY COUNTS AT BULLSEYE PROJECTS

Emily Counts,  Future Connect And Bind,  2016, cast and fabricated bronze, cast glass, 18 x 23 x 12"

Emily Counts, Future Connect And Bind, 2016, cast and fabricated bronze, cast glass, 18 x 23 x 12"

Emily Counts is exhibiting this summer alongside Ligia Bouton, Kate Clements, Emily Nachison, and Judy Tuwalestiwa in the exhibition Transformations at Bullseye Projects in NW Portland! 

From the press release: 

Bullseye Projects presents a group exhibition exploring themes of personal, natural, and metaphysical change.Transformations will be on view June 21 – September 30, 2017 and will open in conjunction with BECon 2017, Bullseye Glass Company’s biennial conference.

Mysterious in its creation, common in its application, and utopian in visions of the future, glass is rife with cultural, scientific, and metaphysical meaning. The glass we encounter is largely comprised of sand, soda ash, lime, and metallic oxides. These minerals are combined, melted and then cooled into a myriad of forms. The recipe is millennia old, but retains much of the magic that likely accompanied its first discovery. Sand is transformed into glass; it is a transformation that borders on the alchemical. A common material is made into something new with unique qualities that require a new category of matter: amorphous solid. Artists Ligia Bouton (New Mexico), Kate Clements (Pennsylvania), Emily Counts (Washington), Emily Nachison (Oregon), and Judy Tuwaletstiwa (New Mexico), approach glass from diverse perspectives, but it is transformation – be it through meditations on mortality, adolescence, fantasty, or the spiritual - that draws them to this material and connects their work.

Bullseye Projects
300 NW 13th Avenue
Portland, OR

EMILY COUNTS SHOWING AT STROBEL & SANDS IN SEATTLE

Emily Counts,  Answering Machine , 2012, stoneware with luster, glass, silver chain, 9 x 9 x 13"

Emily Counts, Answering Machine, 2012, stoneware with luster, glass, silver chain, 9 x 9 x 13"

Gallery artist Emily Counts is part of a summer group show at the new Seattle gallery, Strobel & Sands alongside Royce Allen Hobbs and Jessie Rose Vala opening on June 17! 

From the press release: 
Strobel & Sands’ second exhibition, Reinterpreting the Object, explores the dynamics of sculpture in relation to the viewer through varying degrees of abstraction, conceptualism and craftsmanship. Many of the works in the exhibition are recognizable or reminiscent of a functional object that has been rendered useless. Emily Counts, Royce Allen Hobbs, and Jessie Rose Vala each present a distinct path to examining the relational and aesthetic nature of sculpture.

Reinterpreting the Object
Emily Counts, Royce Allen Hobbs, and Jessie Rose Vala
June 17 – July 22
Opening Reception: Saturday, June 17, 5-8pm

Strobel & Sands
Emerson Garage
Corner of 35th Ave W and Emerson St.
Magnolia, Seattle, WA 98199

FORM FACTOR INSPIRATION: LEROY SETZIOL & LOUISE NEVELSON

For her series Form Factor (currently on view at Nationale), Emily Counts found inspiration in the carved wood panels of Portland artist, Leroy Setziol (1915–2005) and the monochrome wooden assemblages of New York artist, Louise Nevelson (1899–1988).

Leroy Setziol large wood panel carvings, photo: @thegoodmod

Leroy Setziol large wood panel carvings, photo: @thegoodmod

Emily Counts,  Age of Consent , 2017, porcelain, stoneware, glass, maple wood, and mortar, 20 x 16 x 1.5"

Emily Counts, Age of Consent, 2017, porcelain, stoneware, glass, maple wood, and mortar, 20 x 16 x 1.5"

Leroy Setziol,  Untitled , 1991, teak, Collection of Carole Smith and Eric Kittleson.

Leroy Setziol, Untitled, 1991, teak, Collection of Carole Smith and Eric Kittleson.

Emily Counts,  California Gentlewoman , 2017, porcelain, stoneware, glass, maple wood, and mortar, 20 x 16 x 1.5"

Emily Counts, California Gentlewoman, 2017, porcelain, stoneware, glass, maple wood, and mortar, 20 x 16 x 1.5"

Louise Nevelson,  Dawn's Wedding Chapel IV , painted wood, 9' 1" x 7' 3" x 1' 1.5", photo: Pace Gallery

Louise Nevelson, Dawn's Wedding Chapel IV, painted wood, 9' 1" x 7' 3" x 1' 1.5", photo: Pace Gallery

Emily Counts,  The Floor and Ceiling , 2017, porcelain, stoneware, glass, maple wood, and mortar,10.5 x 10.5 x 2.5"

Emily Counts, The Floor and Ceiling, 2017, porcelain, stoneware, glass, maple wood, and mortar,10.5 x 10.5 x 2.5"

Louise Nevelson,  Big Black , 1963, painted wood, 9' 1/4" x 10' 5 3/4" x 12", photo: MoMA NY

Louise Nevelson, Big Black, 1963, painted wood, 9' 1/4" x 10' 5 3/4" x 12", photo: MoMA NY

GABI'S THOUGHTS ON EMILY COUNTS' "REMASTERED"

Emily Counts,  Remastered , 2017, stoneware, 25 (h) x 19 x 18”

Emily Counts, Remastered, 2017, stoneware, 25 (h) x 19 x 18”

There are many spaces to enter into Emily Counts’ current series Form Factor on view at Nationale. An abundance and diversity of patterning, vibrant color choices, textures, and unusual forms, make this work an ever-unfolding visual playground.

Remastered, composed of multiple stacked ceramic forms, reveals Counts’ ability to manipulate her materials in such a way that elements made from the same stuff appear completely different from one another in weight, shape, and texture. At the very top of the work sits a rectangular cube that, because it is only attached to the form below on one side, appears to be flying off of the sculpture. Its placement, as well as the soft pale green hue and uneven lined texture, gives it a nearly weightless quality. It appears as light and delicious as a marshmallow.

Remastered, as with many of Counts’ sculptures, feels like a life force. With each element making up the entirety of the organism, it holds the presence of a living thing. At its base are an array of small ceramic objects, each one different in shape, texture, and color. They peek out from beneath the large blue and red perforated rounded form, which sits under a shiny brown thick pancake shaped piece. Nearly at the top of the sculpture rests a rock shaped object painted to resemble the patterning of Counts’ childhood living room rug.

Initially, the work appears to be precarious, as if the bottom pieces which seem so small and fragile are being crushed by the weighted stack above them, but it is actually these small works that together have the strength to hold up the heavier parts. Similar to the piece at the top of Remastered, the bottom elements, which are surrounded by negative space, give the work an unexpected levity. It is this confluence of solidity and lightness that circles back to the idea of a living form. As with the human body, gravity equals presence, and lightness implies the ability to move freely. We can imagine Remastered continuing to grow and evolve, and with Counts behind the curtain making the magic happen, who knows what is possible.

BERNSTEIN / COUNTS / MALASKA & THE OCAC AUCTION PREVIEW

Gallery artists Amy Bernstein and Emily Counts, andartist Elizabeth Malaska all have work in Oregon College of Art and Craft's upcoming Art on the Vine auction supporting student scholarships. The official auction is April 8th, 2017 at the Portland Art Museum, but this coming Sunday, January 29th (2–5pm) there will be a preview party of the work included in the auction at OCAC's Hoffman Gallery. More details can be found HERE. If you can't make it Sunday, no worries! The work will remain on view until February 4th.

Hoffman Gallery, OCAC Campus
8245 SW Barnes Road, Portland 97225

EMILY COUNTS FEATURED IN SEATTLE GROUP SHOW

Emily Counts'  Basic Diagram  (2016) now on view in  Migratory Paths  at Tashiro Kaplan Lofts in Seattle

Emily Counts' Basic Diagram (2016) now on view in Migratory Paths at Tashiro Kaplan Lofts in Seattle

Seattle friends! Check out Migratory Paths, a group exhibition featuring work by gallery artist Emily Counts and curated by Julie Alexander at the Tashiro Kaplan Lofts. The show features four Seattle-based artists whose work is "tactile, object based and engages the viewer’s body."  Exhibiting artists include:  Emily Counts, Marisa Manso, Tuan Nguyen, Dori Scherer. Gallery hours and more info can be found HERE.  

Upcoming hours are:
Open hours: Friday 1/27 and Saturday 1/28 from 12-4pm
Open for the First Thursday Art Walk 2/2, from 6-8pm
Closing reception: Saturday Feb 4th from 12-3pm

Tashiro Kaplan Lofts
300 South Washington

EMILY COUNTS AT CARL & SLOAN / IMAGES

So blown away by gallery artist Emily Counts' new work currently on view at North Portland friends and gallery Carl & Sloan. Through the generous support of a grant from the Regional Arts & Culture Council, Counts was able to realize her ideas on an impressive scale. We were thrilled to experience these new pieces in person during the reception and we hope you will, too. Carl & Sloan is open on Sundays from 12—5 p.m. and by appointment. The exhibition is on view through April 17, 2016. Congratulations to Emily, Ashley, and Calvin on making such magic happen!

EMILY COUNTS AT CARL & SLOAN

Details of new sculptures by Emily Counts

Details of new sculptures by Emily Counts

Please join us this Saturday, March 12 (6-10pm) for the opening reception of gallery artist Emily Counts' solo exhibition of new, large-scale sculptures at Carl & Sloan. Through the generous support of a grant from the Regional Arts & Culture Council, Emily was able to realize her ideas on an impressive scale, and we are thrilled to experience these new pieces in person. The show runs from March 12 until April 17, 2016. More information can be found here

Carl & Sloan
8371 N. Interstate (same building as Disjecta Contemporary Art Center)


CONGRATULATIONS EMILY, TY, AND ELIZABETH!

Congratulations to represented artists Emily Counts, Ty Ennis, and Elizabeth Malaska on their Project Grant awards for 2016 from RACC. This funding will make a significant difference for these full time working artists and/or young parents preparing for solo exhibitions this coming year.

Emily Counts / Solo Exhibition / Artistic Focus / Visual Arts ($3,609)
I am seeking funding to create a body of work for a solo exhibition at Carl & Sloan Contemporary in mid March through April 2016. This exhibition will consist of small and large-scale abstract sculptures in a variety of media including wood, concrete and bronze, with an emphasis on ceramics. The works will explore themes of connectivity and fluidity in biology, technology and culture. With these new sculptures I will expand my ongoing experimentation with sequenced, stacked and connected objects. My goal is to create for the viewer an environment that suggests a narrative format, within each sculpture and throughout the gallery space, without the use of representational forms. Wall mounted pieces in various sizes will surround a large central freestanding sculpture. It will be my tallest and most complex sculpture I have created to date, comprised of stacked individual objects that decrease dramatically in size as they rise in a 7-foot column. I believe this piece especially is necessary for my creative development and that it will be a powerful focal point for the entire exhibition.

Ty Ennis / Solo Exhibition / Artistic Focus / Visual Arts ($ 3,855)
For my March 2016 exhibition at Nationale, a gallery, shop, and performance space on Southeast Division Street in Portland, I will be working on my first solo show since becoming a father in 2013. The project currently consists of small black & white paintings on canvas that explore my present day-to-day life as an artist and young father with a full-time day job. Like most of my past work, they tell individual stories that are all part of a larger personal and reflective narrative. The final body of work presented will consist of 12 professionally framed acrylic paintings. The framing is key to my conceptual vision for the exhibition, as each frame will be sprayed a different color to match a certain detail in each painting. I will also produce a catalog in conjunction with the show that will include personal writings, reproductions of the work, and an essay by a commissioned writer. There will be a public reception at the gallery, an artist talk and conversation with the Assistant Director, and a private tour of the exhibition with a Q&A for students of PNCA (my alma mater).

Elizabeth Malaska / When We Dead Awaken II / Artistic Focus / Visual Arts ($ 4,612)
When We Dead Awaken II is an exhibition of paintings by myself, Elizabeth Malaska, to debut at Nationale in September of 2016. Nationale is a gallery, shop, and performance space located in southeast Portland. The show will consist of eight paintings on canvas: three large scale, two medium scale, three small scale.
The main themes of this body of work are a reexamination of the nude female body in the history of painting and a critique of the current global culture of patriarchal aggression. These issues are addressed in the work through subject matter, specific use of materials, and strategic employment of technique. I began this body of work in the winter of 2013. The first installment of seven paintings was presented at Nationale in November, 2014. In Winter, 2017 I will show the entire series (parts I and II) at PCC Sylvania Campus’ North View Gallery. The upcoming Nationale show will include a public reception. I will also host a gallery talk open to the community, and two lectures with student groups from OCAC and PNCA. All talks will take place in situ at Nationale.

BACKROOM MINI "REMODEL"

Happy Monday from the backroom!

Happy Monday from the backroom!

A big thank you to Katie Behel for gifting us a large pedestal/storage box. It was a great excuse to move pieces around on the walls and reveal yet another version of the backroom gallery. More information about older pieces can be found on our "COLLECTING" page.