Iliana Gutierrez curated the Ray Warren Multicultural Sympoisum Art Show. Iliana was also a co-chair of the symposium. The piece she is standing in front of was a creation of hers. It is "community made art" painted on glass pieces by various LC students, then glued onto plywood.

Analise Herrera is co-chair for the 2007 Ray Warren Multicultural Symposium. Analise painted the art for this art show and plans on giving it to her Mother for Christmas.

Whitney Gall played an instrumental part in planning and executing the Symposium. This is her favorite poster in the show.

Kentree Speirs , March of the fire ants , Jan 2007, Oil on Panel

48” x 36”, $900.00, (Representing Blackfish Gallery)

March of the fire ants is a commentary on the effects of our world population rate explosion and its relationship to the cultures of planet and the planet itself. While painting this work I contemplated how in my life time I have witnessed a quickening of life style and how this directly correlates to the quality of my life diminishing. As more and more people inhabit this planet we stress ourselves and our planet more and more. I have long viewed this fact as our most pressing environmental problem. This painting represents people of different races and ages all crowed together going about their seemingly lives. Yet to the view the work one has the opportunity to see that were all in this dilemma together.

Kentree Speirs , Crain , June 2007, Oil on Panel, 36” x 96”, $1100/ea (Representing Blackfish Gallery)
The name of this painting is Craines which is derived from the last name of this couple represented. This work looks at one possible type of relationship within our culture; marriage. It attempts to position of the viewer in a state of inquiry as to the value we place on our special relationships and what meaning this gives to our lives. I find it interesting that each of us approach our relationships differently as individuals and as cultures, and at the same time our relationships have many common threads.
My paintings are autobiographical reflections stemming from notions I have about living. I am interested in the nature of human perception and the fusion of intuition and visual literacy. The ritual of creating art allows me to access new perception and thereby enables distancing from concepts that may limit a painting. These concepts then prove either worthy or unworthy of each painting. I pursue a dialogue between the initial idea, the intuitive, and the sensual and physical experience of handling paint. Each painting combines intention, discipline, instinct, emotion, erudition, failure, risk, and discovery. I enjoy creating a sense of tension, responding to the wonder of painting, and working to narrate a feeling. I try not to limit subject matter. Lately, I have been particularly found of the human figure.

This puppet was built by LC Students for a Democratic Society for the regional anti-war march in Seattle on October 27 th. One of two large puppets, this mother was accompanied by over 70 Lewis and Clark students and carried her child through the streets in an act of solidarity and protest.

LCSDS October 2007, Cardboard, wood, paint, papier-mâché (all recycled materials)

This wall was placed in front of the LC library by LCSDS (students for a democratic society) on Friday November 9th in solidarity with the countless other populations that have to suffer the oppression of border walls and border crossings daily.

These walls do not just represent a physical impediment and enclosure. They are a manifestation of global systems of oppressed people in which capital can travel freely protecting wealth of the ruling class, but the poor are expected to obey the laws that sustain their poverty.

This action was done in support with the international No Borders Camp Nov. 5-11th

Shutting Down Tacoma, Nov 9th and 10th. Tacoma WA has the biggest Homeland Security Detention Center in the North West!

Israel/ Palestine Wall,

Bush’s 700 mile Wall Along the Mexican Border, And,

The little known about walls in Iraq.

LCSDS November 2007, Cardboard, wood, paint (all recycled materials)

Bare Feet --------------------------- Prajwal in Blue Mask

Joey Edwards, Remember? , Spring 2007, Oil on canvas, 6x6" (9x)
In the past 10 years, I have had homes in America as well as India and Sri Lanka. I've taken a few things along the way, among them a straw bag from a bookshop in Cochin, a wall hanging of the Beautiful Boddhisattva from the Ajanta Caves, a batik of two peacocks from Sri

Prajwal Applies Ritual Makeup---- Helen and Brenda Apply "Third Eyes"

Lanka, a Buddhist thangka, Tibetan prayer flags from Dharamsala, a south Indian comic book-like wall hanging, the Tibetan flag, a box of incense, and a mandala from somewhere in India. My memories of these places are more often comprised of snippets, details, and quirks than epic stories, adventures, or life lessons – which itself may be the moral of some big story.

Mark Layer, Self Portrait , Oct 16, 2007, Oil on canvas, 20”x22”

I come from a very homogeneous community. There are 82,840 people, of which 77.79% are White, 6.90% Alaska native, 5.85% are Black, 4.15% of the population are Hispanic or Latino of any race, 2.08% Asian, 0.30% Pacific Islander, 1.71% from other races, and 5.39% from two or more races. Issues and problems that seem to plague the rest of the country aren’t even on the radar here. The political makeup is different as well, most of the population is self described “nature lovers” who want to drill for oil. Even though we have our own differences within state over policy and the like, we unite against any outside forces that we perceive to be trying to tell us how to live. For example, while many Alaskans oppose aerial wolf control we opposed more so the animal rights group from Massachusetts who tried to boycott our state until policy changed. I find that I seem to fit in more with these people than with the people in the Portland area.

When I first came to college, I sat in on a panel of people talking about diversity and about what a good thing it is and how we should improve our level of diversity, how we can make more people feel like they aren’t being oppressed. I remember thinking “what about the people who are threatened and oppressed by the very idea of diversity? How can you cater to them?” Maybe I was deliberately being contrary, or perhaps I felt homesick, but I did feel that diversity isn’t the ultimate goal that everyone seems to be making it out to be, we shouldn’t oppress it but should we force it? Perhaps I don’t know what I’m talking about. Anyway that’s my background, I come from Fairbanks Alaska

Jocelyn Moore , Woman, 2007, Oil Paint, 13"x15"

Amy Pombo , Where we go when we lose ourselves in thoughts of windows 1, 2007, Pencil, 7.5” x 8”

Amy Pombo , Where we go when we lose ourselves in thoughts of windows 2, 2007, Pencil, 7.5” x 8”

Amy Pombo , Where we go when we lose ourselves in thoughts of windows 3, 2007, Pencil, 7.5” x 8”

Adam Bowerman, Untitled, 2007

wood, garbage bags, bicycle inner tubes, wire, paint, 7x7x12

How often do you pull the weight or burden of others? Is it an everyday occurrence? When you do carry the burden of others, was it your choice? Do we need a machine to remind us what it feels like to pull the weight of others? Is this sculpture offensive to those who are burdened and pull the weight of privileged people every day? What do workout machines say about our society? Do we even need to be strong anymore? When we gave up on using our hands to work, where did our voice of physical expression go?


anika sabin non-site america (fossil series two), 2007, mixed media, installation
In constructing an archeologist’s time machine, nostalgia, appropriation and the way we approach history are confronted while exploring the nature of objects as instruments of knowledge. Set within the bureau are trinkets and ephemera from American history, appropriated by the time travelling archeologist. A splinter from Abe Lincoln’s floorboards, a plastic turtle from a 1970s student-made Darwin diaroma; each object is prized in the same manner and retains equal relevance. The traveler hopes that through dissecting and archiving objects from history, new understandings of an identity rooted in heritage can be reached. Renouncing text and the common linear frame of history as sequence, the traveler considers the past through the physical artifacts. Non-site is in reference to Robert Smithson’s practice of gathering artifacts from site-specific earth art and placing the samples in galleries. In mining history of ephemera, the traveler hopes to deconstruct translations of objects when moved from one space to the next, as well as manipulate how juxtaposing space and context alter disjoint and revive objects of the past.