IGCA MEMBERS EXHIBITION

May 19, 2025 Karinna Gomez

MAY 2025
IGCA MEMBERS EXHIBITION

The annual IGCA members exhibition features new work from the gallery's membership community. This year, over 80 artists are sharing their art in the exhibition, including ceramics, collage, drawing, fabric works, painting, photography, and sculpture.

Artists included: Meg Anderson, Christina Barber, Elizabeth Belanger, Barbara Bigelow, Kayo Bogdan, Carol Bryner, Margaret Burke, Kim Bustillos, Myesha Callahan Freet, Joel Camins, Randall Carlson, Sally Carr, Sharlene Cline, Michael Conti, Joshua Demain, Suzanne Dvorak, Jennifer Euler, Linda Brady Farr, Mark Figura, Araya Flowers, RJ Fontaine, Ted Gardeline, Rachel Gebauer, Donna Goldsmith, Mariano Gonzales, K N Goodrich, Carolyn Gove, Jim Gove, Stephen Gray, Ann Gray, Patricia Grenier, Annekathrin Hansen, Lyndsi Harris, Kendra Harvey, Judith Hoersting, Rhonda Horton, Valerie Jaimes, Jody Jenkins, Susan Johnson, Arlitia Jones, Yulia Kalagaeva, Mary Kancewick, Amanda Kelly, Scharine Kirchoff, Matt Klinn, Max Kritzer, Susan LaGrande, Bill Lee, Petra Lisiecki, Melanie Lombard, Emily Longbrake, Linda Lucky, Iryna McCoskey, Tehya McLeod, Diane Melms, Erica Miller, Richard Murphy, Karen Olanna, Carlos Pereira, Nathan Perry, Tami Phelps, j. Reto, Elise Rose, Alex Rydlinski, Mikhail Siskoff, Alexandra Sonneborn, Lauren Stanford, Adrienne Stohr, Addie Studebaker, Shoko Takahashi, Sandra Talbot, Sara Tabbert, Irina Tova, Sharon Trager, Owen Tucker, Kathy Vail-Roche, Ron Viol, Liliana Walton, Jen Wang, Lee Waters, Lily Weed, Christina Young, and 4 and 2 is 6.

Photographs by Hans Hallinen

Virtual Exhibition Tour

Inosculation | Kendra Harvey

September 12, 2024 Karinna Gomez

Kendra Harvey, *No Hard Feelings*, 2024, ceramic earthenware, underglaze, watercolor, glaze, housepaint on wooden backdrop, 40 x 30 x 11 1/2 inches

SEPTEMBER 2024
CENTER GALLERY
Inosculation | Kendra Harvey

Inosculation investigates the symbolism of interconnectedness, exploring both the double-edged sword which comes with it: support and codependence, enablers and detractors, isolation and community. Using earthenware clay, I depict the organic nature of these connections by sculpting a wide cast of animal figures. These familiar forms, rendered in unfamiliar colors and poses, invite viewers to observe them coil towards and away from each other, narrating the complexities of our shared human experience.

www.kendraharvey.net

Photo credit: Hans Hallinen

Virtual Exhibition Tour

Things My Mother Taught Me (How To Have a Good Party) | Jade Ariah

February 12, 2024 Karinna Gomez

FEBRUARY 2024
NORTH AND SOUTH GALLERIES
Things My Mother Taught Me (How To Have a Good Party) | Jade Ariah

I have always been curious about better understanding my extended family, a large and generally disconnected bunch, many of whom I have photos and faint memories of, but no strong ties. As I've grown and learned more about my family’s history, I can recognize how many of these connections were lost. Domestic violence, substance use, and unresolved trauma play a large part in the lack of connectedness we have towards one another. I’m especially interested in how that shapes the experiences of my grandmothers, mothers and myself.

My sweetest memories are associated with celebrating, cooking and eating. The women in my life are, by and large, the ones who continue to pass down these traditions. Our relationships with food are similarly complicated to our relationships with one another. Everything shared, taught, internalized. Not only how we make food, but how we eat it, how we talk about it and about our bodies. What we shouldn’t eat because we're trying to be “good”. What we make when we’re hosting a party, when we’re struggling to pay the bills, when someone we love is sick. Socialized to provide comfort and tender care for others, often at the expense of showing tenderness towards ourselves.

The process of making this work allows me to reflect on the relationship and stories I have of the women in my life. Using food and everyday objects, this series of work serves as an abstracted matrilineal family tree.

jadeariah.com
@jadeariahh

Purchase sculptures here

Photos by Hans Hallinen

Paper Quiltmaking Workshop with Jade Ariah | Saturday, February 10th

Thank you so much to the folks that attended Jade's paper quiltmaking workshop - and to Jade for creating this experience for everyone!

Photos by Hans Hallinen

Virtual Exhibition Tour

The Animals Within | Amy Schilling

February 11, 2024 Karinna Gomez

FEBRUARY 2024
CENTER GALLERY
The Animals Within | Amy Schilling

Within society we are taught that expressing too much of our inner workings is shameful. We must hide all the ugly parts of ourselves in a dark room, paint our faces, and show to everyone we are happy, and healthy. When the darkness comes creeping out, there are hushed tones and changes of the topic. In my experience growing up, there was always this creature hidden in the shadows, not knowing what that feeling is and why it haunts me. Many people grow up also not understanding what lurks inside them. I was told that that's life, suck it up, and carry on despite the pain of this invisible force weighing down, crushing you. For so long mental health issues weren’t taught or discussed. It has put isolating barriers up in relationships with family and friends. After years of walls built up around me, I have torn them down piece by piece. I made myself be raw with my emotions with my loved ones. Through sculpting with ceramics it has allowed me to depict for them how things feel. I have been able to process and come to terms with my own experiences and be better understood by those I care about.

This exhibition documents the struggles and invisible feelings we fight with everyday. I’m able to portray the many aspects of mental illness with animals as subject matter by utilizing their characteristics and animalistic nature that is unique to that species. I silhouette each of these animals in an ornate frame, in order to highlight the beautiful parts of ourselves that we have survived through, almost like a trophy of what we overcome. Through my work I hope to initiate an open discussion about what is considered a taboo topic. Invoking specific emotions that others might not understand, to bring people together to be vulnerable and raw with their struggles, feelings, in order to realize they aren’t alone and it isn’t something to be ashamed about.

@talentedterror

Purchase sculptures here

Photos by Hans Hallinen

Virtual Exhibition Tour

FACE IT! - Faces of Fear, Anger, Reverie, Defiance, Delusion and more | Ronald Viol

August 15, 2022 Karinna Gomez

Ronald Viol, *Scowling Man,* glazed stoneware, approximately 16 x 9 x 11 inches

AUGUST 2022
NORTH GALLERY
FACE IT! - Faces of Fear, Anger, Reverie, Defiance, Delusion and more | Ronald Viol

Face IT! is an exhibition, primarily, of ceramic vessels and sculptures that explore how the human face expresses ideas, emotions, feelings, and moods. The sculptures range in size from several inches to over two feet. The works are made of stoneware clay and they are stained, underglazed, painted, weathered, and glaze fired to cone 5.

Artist Statement
Throughout history the human face has been a major art genre. Artists depict the human face because of its formalistic beauty and Its ability to express a wide range of ideas, emotions, feelings and moods. In portraying the human face artists have used every type of media, style and technique. I use clay to portray the human face because of its unbelievable plasticity, chromatic/textural density and its inherent variability. My sculptures are stoneware, painted, stained, weathered, underglazed, glazed and fired to cone 5. In my ceramic sculpture I address how the face makes meaning out of some of the issues that define the modern world. These issues are universal and in some instances they are of particular importance to Alaskans. How do isolation, alienation, division, uncertainty and living under constant surveillance affect us? What effect do social, political, economic and psychological pressures have upon us? What do we look like when we are in pain, afraid, angry, silly, envious, elated, happy and delusional? My sculptures address these ideas in unique ways. The source of my information is looking at faces in the world. The media, another source, presents us with countless images of the human face in every possible configuration. I like to turn off the sound on the news, movies and television programs to watch the expressions of the actors and personalities’ faces. I often zoom in on the transitory video image with my iPhone to capture a still image for additional study.

Some books that have influenced me:

How Emotions are Made, Lisa Feldman Barrett
The Expression of the Emotions in Man and Animal, Charles Darwin
Anatomy of Facial Expressions, Uldis Zarins
Facial Expressions: A Visual Reference for Artists, Mark Simon

Virtual Exhibition Tour

Seasoned Soul | Rose Hendrickson

May 23, 2022 Karinna Gomez

Rose Hendrickson, *Promise*, steel, bronze, ceramic, underglazes/glaze, concrete base

APRIL 2022
IGCA Annex
Seasoned Soul | Rose Hendrickson

Rose Marie Hendrickson was born in Anchorage, Territory of Alaska, in the middle of winter. She is the oldest of seven sisters, and has one (adult) child, a daughter.

Rose has been passionate about mark-making since early childhood, teaching herself about concepts like perspective and volume from found art books, or modeling small figures from window putty, mud, children’s modeling clay, or wax.  She has worked independently in many mediums, including graphite, colored pencil, pastel, watercolor, oil pastel, and oils. Early influences were the old masters of the renaissance and the iconic illustrators: Arthur Rackham, Brian Froud, Alphonse Mucha and the Hildebrandt brothers.

More recently Rose has been studying sculpture at UAA, graduating with her BFA in December, 2021. She has been devoting herself to ceramics, metal casting, and steel fabrication designs. Contemporary influences include Kesler Woodward, for his acute observations on Alaska’s changing light, and Nicholas Galanin, for his fearless incorporation of a broad range of materials in his focused pieces.

She lives and practices her art in Palmer, Alaska, where she is also a musician, gardener, gatherer, and nature lover in general.

Artist Statement
The rhythm of our seasons is my breath and my heartbeat. There is a symbiotic intertwining between that rhythm and my very soul that grounds me here in this place through the passing of time.

The seasons are a light map, a timekeeper, a compass directing life. Here, the endless winter darkness robs the breath, chills the bones and slows the heart to the tempo of hibernation. The welcome spring quickens the soul with joy and the hope of new life. The glorious summer drenches us in eternal light, filling our days with riotous color and abundance. The golden fall brings a tang to the air while the changing foliage, with bittersweet glory, warns of the coming dark.

Our extremes of light, temperature and terrain have challenged artists from among the first inhabitants forward to communicate the unspeakable beauty, power, scale and the seasonal light that have surrounded us here throughout time. The cycle of the seasons in this unique place focuses a sense of the Sublime: boundless, breathtaking, even terrifying. Our seasons and terrain can nurture, or kill, but they will never fail to inspire.

Against the pandemic framework that has so impacted our lives, I see the pure, relentless constancy of time and the endless roll of the seasons, one into another, year after year. I find comfort in this constancy.

We are so temporary. We get sick, we die, constant in our inconsistency, flickering against the backdrop of time. The seasons weave that backdrop. They breathe in their own rhythm. They do not stop for pandemics… and even the coldest depths of the whispering winter hold the promise of the coming spring.

Still Life | Alanna DeRocchi

November 26, 2021 Karinna Gomez

Alanna DeRocchi, *We’ll All Be Skulls; Empty Work Boots,* 2021, ceramic, paint, stains

NOVEMBER 2021
CENTER AND NORTH GALLERIES
Still Life | Alanna DeRocchi

Through a series of sculptural still life tableaus, this work explores notions of disconnect, loss, and hopelessness felt in our changing world. Animal subjects share space with common objects to create symbolic connections to our human experience as it relates to the greater natural world.

Alanna DeRocchi is originally from Petersburg, Illinois. She received a BFA from Western Illinois University in 2004, and an MFA from the New York State College of Ceramics at Alfred University in 2010. Since finishing her education, she has participated in several ceramic artist residency programs, including the Clay Arch Gimhae Museum Ceramic Arts Residency in Jilllye, South Korea, and the Archie Bray Foundation for the Ceramic Arts in Helena, MT. She was a 2017 Rasmuson Individual Artist Award recipient and a 2019 Alaska State Council on the Arts Career Opportunity Grant awardee. Her work is inspired by Alaska’s unique wildlife and environment. Alanna is currently a Term Assistant Professor of Ceramics and Studio Technician at the University of Alaska Anchorage.

In these tableaus, animal subjects share space with common objects to create symbolic connections within the human experience and the natural world. Remnants of animal life and taxidermy forms read like souvenirs, a record of a life lost. Preserved as trophies or treasures, animals remain tactile and real, yet still and disconnected. Through their recreation, they are saved from the tragedy of being forgotten. Confronting the animals as lifeless objects, we are forced to acknowledge the presence of death and reflect on our own behaviors.

Even the most mundane of objects can offer reflection when imbued with personal experience and significance. Some evoke meaningful memories, others can hold memories like stains; they haunt. Empty work boots become a poignant reminder of self-worth as you sit idle, removed from a daily routine. Good luck charms can symbolize comfort and hope in times of uncertainty or abandon. A small keepsake, like the rabbit’s foot or the buckeye, are held close and cherished as a wish to gain control of dire or despairing situations.

The creation of this work over the past year originated from overwhelming feelings of desperation and hopelessness. Each composition in Still Life aims to communicate feelings of detachment, longing, loss amongst the need for preservation and connection.

https://alannaderocchi.com/

MAY 2025IGCA MEMBERS EXHIBITION

Virtual Exhibition Tour

SEPTEMBER 2024CENTER GALLERYInosculation | Kendra Harvey

Virtual Exhibition Tour

FEBRUARY 2024NORTH AND SOUTH GALLERIESThings My Mother Taught Me (How To Have a Good Party) | Jade Ariah

Paper Quiltmaking Workshop with Jade Ariah | Saturday, February 10th

Virtual Exhibition Tour

FEBRUARY 2024CENTER GALLERYThe Animals Within | Amy Schilling

Virtual Exhibition Tour

AUGUST 2022NORTH GALLERYFACE IT! - Faces of Fear, Anger, Reverie, Defiance, Delusion and more | Ronald Viol

Virtual Exhibition Tour

APRIL 2022IGCA AnnexSeasoned Soul | Rose Hendrickson

NOVEMBER 2021CENTER AND NORTH GALLERIESStill Life | Alanna DeRocchi

Virtual Exhibition Tour

MAY 2025
IGCA MEMBERS EXHIBITION

SEPTEMBER 2024
CENTER GALLERY
Inosculation | Kendra Harvey

FEBRUARY 2024
NORTH AND SOUTH GALLERIES
Things My Mother Taught Me (How To Have a Good Party) | Jade Ariah

FEBRUARY 2024
CENTER GALLERY
The Animals Within | Amy Schilling

AUGUST 2022
NORTH GALLERY
FACE IT! - Faces of Fear, Anger, Reverie, Defiance, Delusion and more | Ronald Viol

APRIL 2022
IGCA Annex
Seasoned Soul | Rose Hendrickson

NOVEMBER 2021
CENTER AND NORTH GALLERIES
Still Life | Alanna DeRocchi