Hello everyone! Fall is here and we can feel the changes in the air.

One change to let you know about at RSA is that Brad Rogers, our longtime gallery associate, is saying goodbye to his role at ReSale Art and moving over to X Gallery—our parent company—to work with collector and estate clients. Brad’s breadth of experience, from gallery owner to artist to collections consultant, makes him perfectly suited to this new role. Brad will be assisting clients with cataloguing their collections, creating a plan for the future of their collections, and making space in existing collections by storing or selling pieces. We will miss having Brad in the gallery on Saturdays, but we are very excited to continue working with him as we coordinate the sale of estate collections. If you are interested in chatting with Brad about your collection needs, or you just want to wish him well in his new job, feel free to send him an email.

Erin, Val, and Ashton continue their work at the gallery and welcome you to stop by Tuesdays–Fridays 11–5, Saturdays 10–5, and Sundays 12–5.

As part of our contribution to the cultural ecosystem of the region, we have been using our exhibition space at X Gallery as a venue to show work that might otherwise be less seen.

Our next adventure in this space is The Close Read, the 2023 Oregon College of Art and Craft (OCAC) Alumni Biennial. This show brings together artwork by nearly thirty artists; a group of makers dedicated to fine craft and the continuation of the spirit of OCAC. We are honored to host the show—and are excited to introduce the ReSale Art community to our other gallery space.

Please join us for the opening reception on Saturday, October 7 from 6–9 pm at 815 SE Grant Street.

The show will be up through October 29 with the gallery open 10-4 on Mondays, Tuesdays, Thursdays, Saturdays, and Sundays. We look forward to seeing you!

Things that Caught Our Eye

One of the wonderful things about working at RSA is the opportunity to see, and really look at, a wide variety of Northwest art. We’d like to share a few pieces with you that have caught our eye of late. Read on, and consider coming into the gallery to see these pieces for yourself, and to see what other pieces grab your attention.

Katherine Ace, Wishing Well

This is a large and impressive piece by the late Katherine Ace, which practically glows with her expert use of light. In Wishing Well, Ace deftly straddles the line between tight control, exquisite detail and specificity, and a gestural, loose energy. Her confidence is striking. While the image is classically rendered, Ace has developed the surface with the use of sgraffito and impasto, trusting herself to push forward and find something more, something unexpected. Ace continues this riff on the classical in her treatment of the subject as well. Often when we see women depicted in classical artwork they are either nude or dressed in their finery, both designed to impress the viewer. In Wishing Well, we are given a window into a woman seemingly unaware of and unconcerned with the viewer; a woman at work, dressed for herself and the task at hand. We are invited to ponder what is her wish.

Manuel Izquierdo, Marine Garden

A sense of whimsy and fun pervades Marine Garden by Manuel Izquierdo. A mashup of locations, undersea meets garden foliage. We are allowed to drift in our reading of the forms and discover all the wonderful—both real and imagined—organic creatures swimming around a central face. A face that is tricky to pin down, but fits the world Izquierdo has created. With a gentle smile, kind eyes, and a freckled nose, we are at ease in this new world and comfortable in the drifting sea.

Henk Pander, Unknown Title (Engine # 5)

Pander was born in the Netherlands in 1937 and survived the Nazi occupation. The horrors that he witnessed during the war he documented in some of his most acclaimed pieces, typically rendered in oil on canvas. After 9/11, he again returned to witnessing and documenting the experiences of war, terror, and disaster—traveling to Manhattan to paint the site of the World Trade Center and locally observing Oregon fire fighters working on active fires. On the other hand, Pander was a master watercolorist, producing what appear to be effortless landscapes filled with natural beauty that he would capture while working in the Oregon countryside. In Engine #5, Pander mixes his focuses and mediums, reporting on the drama of emergency through the use of watercolor. Pander never fights against his medium, but lets it do the work confidently, finding natural places to use strong purples, deep blues, and glowing oranges, with highlights constructed by leaving the paper showing (remember there’s no white paint in this kind of work). It’s the highlights that help us understand the depths of the fire in the contrasting shadows of light and dark.