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NATURAL WONDERS<br />
a progression of paintings by LORIE BAXTER
cover image: BEGIN AGAIN oil and acylic on wood, 2022 16” X 16”
OCTOBER 23 – DECEMBER 15, 2023<br />
LORIE BAXTER<br />
NATURAL WONDERS<br />
GEORGE FOX UNIVERSITY<br />
MINTHORNE GALLERY<br />
NEWBERG, OREGON<br />
97132
this catalogue accompanies the exhibition<br />
LORIE BAXTER: NATURAL WONDERS: a progression of paintings<br />
co-curated by Chandler Brutscher and Tim Timmerman<br />
Minthorne Gallery, George Fox University<br />
on view October 23 – December 15, 2023<br />
catalogue design and photography<br />
Jeremy Burke
LORIE BAXTER: NATURAL WONDERS
NATURAL WONDERS: a progression of paintings<br />
The role of the curator is to select works of art based on a determined set of criteria. Having seen <strong>Baxter</strong>’s<br />
works for the first time during that curatorial process, I started to develop criteria as we walked through<br />
her The studio role of the and curator looked is through to select works twenty of years art based of paintings. on a determined I began set of to criteria. ask two Having questions: How do I<br />
highlight seen <strong>Baxter</strong>’s the works development for the first of =me her during work throughout that curatorial these process, years I started of painting? to develop And, criteria How selective must I be<br />
as we walked through her studio and looked through twenty years of pain=ngs. I began to ask<br />
in order to best tell this twenty year story in our small Minthorne Gallery at the University? This process<br />
two ques=ons: How do I highlight the development of her work throughout these years of<br />
seemed pain8ng? daunting And, How at selec8ve first. As must I lived I be in with order the to paintings best tell this for twenty three year days, story themes in our small and consistencies began to<br />
emerge. Minthorne Themes Gallery of at the forms University? in nature, This of process infusions seemed of “shafts daun=ng of at light”, first. of As forms I lived with behind the sheer veils of paint,<br />
pain=ngs for three days, themes and consistencies began to emerge. Themes of forms in<br />
of the mystery of what’s underneath… The exhibit “NATURAL WONDERS: a progression of paintings” is<br />
nature, of infusions of “shaFs of light”, of forms behind sheer veils of paint, of the mystery of<br />
the result.<br />
what’s underneath… The exhibit “NATURAL WONDERS: a progression of pain9ngs” is the<br />
result.<br />
As printmaker, I was immediately drawn to <strong>Baxter</strong>’s work. I think of printmaking as a marriage between<br />
As a printmaker, I was immediately drawn to <strong>Baxter</strong>’s work. I think of printmaking as a marriage<br />
ink between and paper. ink and I paper. am struck I am struck by how by <strong>Baxter</strong>’s how <strong>Baxter</strong>’s mix mix of paints of paints and and glazing materials<br />
“marries” to the variety of<br />
her “marries” surfaces, to the leaving variety metal of her or surfaces, canvas leaving or wood metal or or paper canvas exposed; or wood or translucent paper exposed; “washes of light” over dark<br />
translucent “washes of light” over dark forms and drips. While leaning into abstrac=on with<br />
forms and drips. While leaning into abstraction with seemingly random marks, <strong>Baxter</strong>’s consideration<br />
seemingly random marks, <strong>Baxter</strong>’s considera=on for her mediums seems inten=onal. Her early<br />
for work, her oFen mediums simple seems forms, subtly intentional. geometric Her and early controlled, work, morphed often simple over =me forms, into subtly looser geometric and controlled,<br />
morphed pain=ngs with over complex time into layering. looser More paintings recent pain=ngs with complex have virtually layering. exploded More into recent uninhibited paintings have virtually<br />
forms and mark making, with strong, contras=ng colors.<br />
exploded into uninhibited forms and mark making, with strong, contrasting colors.<br />
I invite the viewer into the visual celebra=on that is “NATURAL WONDERS: a progression of<br />
I pain9ngs”. invite the viewer From the into humble the visual squares celebration in the beginning, that is to “NATURAL the shaFs of WONDERS: light and explosions a progression of of paintings”.<br />
joy in later works, I find a calm magic and delight in her progression of pain=ngs. The exhibi=on<br />
From the humble squares in the beginning, to the shafts of light and explosions of joy in later works,<br />
is offered in gra=tude to <strong>Lorie</strong> <strong>Baxter</strong> for allowing us at George Fox University to inves=gate her<br />
I work find and a calm for suppor=ng magic and this delight presenta=on in her of progression our selec=ons of and paintings. interpreta=ons The exhibition to the public. is offered in gratitude<br />
to <strong>Lorie</strong> <strong>Baxter</strong> for allowing us at George Fox University to investigate her work and for supporting this<br />
presentation of our selections and interpretations to the public.<br />
Chandler C. C. Brutscher<br />
Assistant Professor of of Art Art and and <strong>Design</strong>; Director Director of Exhibi=ons of Exhibitions<br />
George Fox University
BIRD, 2016<br />
oil on canvas 56” x 56”
EXPLOSION of the COLUMBIA, 2003<br />
oil on reclaimed copper 23 x 12”
HIGH TIDE I, 2020<br />
oil on copper 12 x 12”
OUT OF THE BOX I, 2006<br />
oil on stainless steel 26 x 26 5/8 ”
GLACIER I, 2006<br />
oil on stainless steel 26 7/8 x 26 6/8 ”
DOCK, 2007<br />
oil on reclaimed aluminum 23 x 31”
RED SURF, 2007<br />
oil on reclaimed aluminum 23 x 31”
ABSTRACT PAINTING #3, 2006<br />
oil on arches paper 28 1/4 x 35 1/2 ”
AFTER THE FIRE V, 2018<br />
oil on canvas 36 1/2 x 48 1/2 ”
FLOAT, 2013-18<br />
oil on canvas 161/2 x 161/2”
PASSAGE, 2013-18<br />
oil on canvas 16 1/2 x 16 1/2 ”
HORIZON I, 2022<br />
oil on steel plate 12 x 12”<br />
The FAR END of WINTER, 2022<br />
oil on steel plate 12 x 12”<br />
REFLECTIONS III, 2020<br />
oil on steel plate 12 x 12”
DEPARTURE of the DAY, 2021<br />
oil on steel plate 12 x 12”<br />
HORIZON II, 2022<br />
oil on steel plate 12 x 12”<br />
ENTRANCE of the DAY I, 2022<br />
oil on steel plate 12 x 12”
SHAFTS OF LIGHT I, 2019<br />
oil on canvas 16 x 201/2”
SHAFTS OF LIGHT II, 2019<br />
oil on canvas 16 x 201/2”
WASHED INTO IT, 2023<br />
oil on wood 16 x 16”<br />
LIGHT INFUSING, 2020<br />
oil on birch panel 16 x 16”<br />
ORANGE and YELLOW, 2022<br />
oil and acrylic on wood 16 x 16”<br />
DEEP, 2022<br />
oil and acrylic on wood 16 x 16”
POND, 2022<br />
oil on birch panel 16 x 16”
STORM LINE, 2017<br />
oil on birch panel 20 x 20”
DEPARTURE: TURQUOISE ROAD, 2010<br />
oil on canvas 30 x 30”
SUDDENLY LIFTED, 2017<br />
oil on birch panel 18 x 24”
IT DISAPPEARS, 2015<br />
oil on canvas 48 x 48”
CARVING A LIFE, 2016<br />
oil on arches paper 20 x 271/2”
CHARTREUSE 2005<br />
oil on arches paper 15 x 221/2”
ENTRANCE OF THE DAY II, 2023<br />
oil on canvas 54 x 54”
COAST RANGE: WINTER BAY, 2019<br />
oil on arches paper 251/2 x 33”
YELLOW, 2023<br />
oil on zinc plate 20 x 16”<br />
SATURATED SKY, 2023<br />
oil on zinc plate 20 x 16”
QUICKLY SNOW 2023<br />
oil on zinc plate 20 x 16”<br />
PINK over TWO HILLS, 2023<br />
oil/acrylic on zinc plate 20 x 16”
SHAFTS OF LIGHT VIII, 2020<br />
oil on wood 20 x 20”
GESTURE WITH GREY, 2023<br />
oil on w/c paper 33 1/2 x 47 1/2”
ODE TO HELEN F, 2010<br />
oil on canvas 301/2 x 301/2”
FOR HELEN, 2023<br />
oil on w/c paper 33 1/2 x 47 1/2”
IT MELTS, 2023<br />
oil and acrylic on canvas 54 x 54”
BLACK AND WHITE TRIPTYCH, 2023<br />
acrylic on yupo paper 12 x 12” each
REMIND ME, 2023<br />
acrylic on birch panel 16 x 16”
SEAGLASS, 2023<br />
acrylic on birch panel 16 x 16”
ABSTRACTION, 2023<br />
oil on aluminum 151/4 x 151/4”
VIOLET HILL, 2023<br />
oil on aluminum 151/4 x 151/4”
MAKING MY ARMS DANCE I, 2023<br />
acrylic on birch panel 20 x 20”
MAKING MY ARMS DANCE II, 2023<br />
acrylic on birch panel 20 x 20”
RAIN : DECEMBER 2007<br />
oil on copper 32 1/2 x 34”
I wake up having already been loved by the entrance of the day,<br />
the day that says come out now...<br />
Sophia Mautz<br />
I am grateful to George Fox University faculty members Chandler Brutscher, MFA, Assistant<br />
Professor of Art and <strong>Design</strong>, and Tim Timmerman, MFA, Professor of Art and <strong>Design</strong>, for<br />
the carefully considered curation of my works, and for Chandler’s bravo! installation of the<br />
exhibition. I thank my friend and U.S. Ambassador, retired, Harriet Isom, for first bringing the<br />
trio of Tim Timmerman, Jillian Sosko, the former Director of the School of Communications and<br />
<strong>Design</strong>, and Jennifer Salzman, the former Director of Exhibitions and Collections, to my studio.<br />
That visit resulted in the invitation to investigate my work in this very public way. It has been<br />
ponderous and instructive to be able to look back at twenty years of my studio work with them.<br />
I am grateful to all of the family and friends who have encouraged me, influenced me,<br />
critiqued my work and have added my paintings to their own collections. To Marjory Iburg,<br />
who listened to my dreams of painting, and urged me to rent a studio; to Jim Lavadour, who<br />
said, early on, “<strong>Lorie</strong> you should show these.” I am grateful to Lavadour, too, for teaching me<br />
to let the paint do what it will. I am grateful to Betty Feves, who taught me about drips, and<br />
about the importance of going to the studio every day. To Don Gray, who taught me to go to<br />
the edge, literally and figuratively. Thank you, all of you.<br />
<strong>Lorie</strong> <strong>Baxter</strong>, 2023
OCTOBER 23 – DECEMBER 15, 2023<br />
LORIE BAXTER NATURAL WONDERS<br />
GEORGE FOX UNIVERSITY MINTHORNE GALLERY<br />
NEWBERG, OREGON 97132<br />
A FIRST OUTING. 2009<br />
reverse woodblock print 14 x 17 1/4”
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