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by Rowan Johnson
SOU Class of 2025, Creative Writing

Michelle Grabner, Untitled (cornflake boxes), 2024-25, oil paint on solid wood, courtesy of the artist

Repetition

Artists like Constantin Brâncusi, Yayoi Kusama, and Andy Warhol made waves in the art world for their use of precise repetition. This is a feature associated mainly with the pop art movement, but varying degrees of repetition can be found in most art movements. What made repetition in pop art stand out was the way it was used to comment on consumerism, capitalism, and mass production. There is also a visual interest in repeating patterns. Paradoxically, the more things look similar, the more people try to find the small differences. Whether it’s found in a brushstroke that didn’t have quite enough paint or a slight fade in something mass-printed, these variations become a part of the art intentionally or not. Artist Michelle Grabner uses repetition to her advantage in her solo show Underdone Potato. From gingham-patterned canvases to painted cereal boxes, the sheer number of these objects gives viewers a chance to look closely at every one. The slight differences are a strong reminder of the humanness of the artwork and create a level of relatability and vulnerability to the space. Learn more about repetition as a pop art motif with the link below, and explore Michelle Grabner’s work in the Main Gallery of the Schneider Museum of Art.

https://popartartist.com/techniques-and-styles/1761758-mastering-repetition-in-art

Michelle Grabner, Secco Fresco, 2024-25, mineral paint on plaster, courtesy of the artist

Fresco Secco

Fresco is an ancient art technique used to create often large-scale, vibrant murals. Starting in ancient Greece, Fresco saw a rise in popularity during the Italian Renaissance. The process involves painting water-based pigments onto freshly applied plaster. The limestone in the plaster reacts to the water in the pigment, and the resulting carbonation solidifies it. Fresco secco, or “dry fresco,” uses a binder-like oil in the pigment to restart the reaction after the plaster has already dried. Since it does not have to be applied wet, it gives artists more time to work with the color and takes away the time limits of traditional fresco applications. Artist Michelle Grabner uses this technique in her piece Secco Fresco. Individual plaster pieces are painted with mineral-based paint and arranged to look like one large mural as a callback to the original medium. Learn more about fresco types and processes with the link below, and find Secco Fresco in the Main Gallery of the Schneider Museum of Art.

https://artincontext.org/fresco-painting/

Michelle Grabner, Untitled (barrettes), 2024-25, powder-coated steel, courtesy of the James Cohan Gallery

Powder Coating

Instead of sealing metal products with a layer of liquid sealant or paint, powder coating allows for a dry application of sealant that can be recycled and reused. The powder is applied electrostatically and then melted through a heating process, releasing the sealing chemicals and keeping the metal protected from elements like the sun and water damage. Materials other than metal, like wood, were historically difficult to powder coat because of the melting temperature, causing damage, but UV-cured powders have expanded the range of materials that can be sealed. While it is usually used in industrial settings to keep rust from forming on outdoor structures, artists like Michelle Grabner use it to protect their sculptures from the elements and keep strong colors. Find her piece Untitled (barrettes) in the Treehaven Gallery of the Schneider Museum of Art, and learn more about powder coating with the link below.

https://finemetalworking.com/powder-coating

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The Schneider Museum of Art is located within the ancestral homelands of the Shasta, Takelma, and Latgawa peoples who lived here since time immemorial. These Tribes were displaced during rapid Euro-American colonization, the Gold Rush, and armed conflict between 1851 and 1856. In the 1850s, discovery of gold and settlement brought thousands of Euro-Americans to their lands, leading to warfare, epidemics, starvation, and villages being burned. In 1853 the first of several treaties were signed, confederating these Tribes and others together – who would then be referred to as the Rogue River Tribe. These treaties ceded most of their homelands to the United States, and in return they were guaranteed a permanent homeland reserved for them. At the end of the Rogue River Wars in 1856, these Tribes and many other Tribes from western Oregon were removed to the Siletz Reservation and the Grand Ronde Reservation. Today, the Confederated Tribes of Grand Ronde Community of Oregon (https://www.grandronde.org) and the Confederated Tribes of Siletz Indians (http://www.ctsi.nsn.us/) are living descendants of the Takelma, Shasta, and Latgawa peoples of this area. We encourage you to learn about the land you reside on, and to join us in advocating for the inherent sovereignty of Indigenous people.
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