David Slader

David Slader is an Oregon painter, digital artist, sculptor, and photographer. His youthful art ambitions were detoured by an almost forty-year career as a litigator, child-advocate, and attorney for survivors of sexual abuse. Although a Portland resident, David's studio is in the Coast Range foothills, along an oxbow of the Upper Nehalem River, where he alternates making art with efforts to reforest his land. In the Fall, a run of Chinook salmon spawn outside his studio door.

Demons and twigs: The healing art of Debbie Baxter

The art of reclamation: A photographer builds nests of safety and solace. People who've been abused climb in, confront their demons, and emerge healthier and happier.

Derek Franklin’s dusky time of evening

Whenever real and unreal shadow each other: Contemplating the artist's exhibit "Between the Time of the Dog and the Wolf" at Portland's Elizabeth Leach Gallery.

Nothing comes from nothing: Part Three

In the final of three stories examining the Supreme Court's decision on Andy Warhol's use of previous material, David Slader talks with Portland art figures about the myth of the original.

Warhol and the Supreme Court, Part 2: The new problem

Nothing comes from nothing; a historical look at the art of the "steal": The court's Warhol decision and the myth of the original.

Warhol and the Supreme Court: Nothing comes from nothing

The Supreme Court's Andy Warhol decision and the myth of the original. Part 1: The new law of creation.

Kim Murton’s clay art: Hug a cartoon

With their caricatured grins and exaggerated growls and grimaces, Murton's works defy the notion that serious art needs to be ... well, serious. Get ready to smile.

Thérèse Murdza’s paintings in the shape of sounds

From clouds to sounds, an artist's path: "I hear a lot in the paintings ... some movement, something that comes after and before and above and below. Like a cropped photograph or a clip from a melody, you know there is more."

A monumental snore (with a wink)

What would happen if we turned grandiosity into a joke? Building big, artist Erik Geschke sculpts himself into the possibilities.

‘Thud’: Emily Ginsburg’s crazy quilts of clay scraps

From heavy chunks of wet clay the Portland artist creates sculptures that dazzle on the surface as they dive more deeply into memories, experiences, and conflicting meanings.

Converge 45: To repair a wounded world

The Portland biennial's point of depARTure: In a world of multiple crises, political art is having its day again.

Derek Franklin: An artist in three acts

With his own small gallery in a shed, a show at Elizabeth Leach, and a key role in the Converge 45 biennial, the artist juggles “three ways I get to make magic out of dust.”

Four chords and a dark mirror

Leslie Peterson Sapp's vivid collage-paintings reflecting the moods of Film Noir echo a long creative history of borrowing and revising in music and art.

Sophia Hatzikos: Shadows dancing on eyelids

At Pacific University's gallery, an exhibition whispers its materials and speaks to the giving and taking of the land.

Chefas Projects: Fresh with color & light

In Portland's Central Eastside Industrial District, a gallery features "graphic, color-drenched work by artists who have neither their fists nor their noses up in the air."

The wrong way/the right way: Memorializing Martin Luther King, Jr.

Hank Willis Thomas's "The Embrace" in Boston is "a monument to love and joy, the twin wells of courage and perseverance."

Ukraine today: Art flowering in war

The trauma of invasion has a long history before Putin. Ukraine artists draw on it in remarkable ways, reaching back to the modernist movement of a century ago.

Farmers in the lumber room

The gallery's painting and photography show "Inheritance" spotlights agricultural workers in Ghana and Black farmers in America.

Graffiti: The good, the bad, and the ugly

Street art abounds on the city's walls – sometimes sanctioned, sometimes not. Is it time for Portland to join the "Free Walls" movement?

In defense of nonsense: John Vitale at Stephanie Chefas Projects

Entering into the abstract: "I found myself wanting to slide through an imagined gap between several layers as if a door was left ajar. 'Explore,' it tempted."

The sensitive eye of a radical

Art from Tumult: Bev Grant’s Photographic Record of Radicalized New York, at Reed College's Cooley Art Gallery.

Sherrie Wolf at Russo Lee: Wrong in just the right way

Like Cézanne's and Wayne Thiebaud's, Wolf's sensory paintings seduce the ordinary by upending our assumptions about reality.