In honor of Women\u27s History Month 2014, the Kathrin Cawein Gallery at Pacific University will exhibit artist books by 11 women artist-storytellers. Storytelling is a timeless part of the human experience. From the early sharing of oral traditions to the first written word to today\u27s social media, humans seem hard-wired to love a good story. In this exhibition, 11 women artists will tell their own stories through the media of handmade artist books.
PARTICIPATING ARTISTS | Shu-Ju Wang, Susan Collard, Laurie Weiss, Helen Hiebert, Diane Jacobs, Nancy Pobanz, Laura Russell, Andie Thrams, Trisha Hassler, Claire Carpenter, Patty Grass.https://commons.pacificu.edu/mono/1008/thumbnail.jp

Cheyne, Patricia, (Exhibit Curator)

CommonKnowledge

Pacific University
CommonKnowledge
Monographs, Reports, and Catalogs Pacific University Libraries
3-5-2014
Stories that Women Tell
Patricia Cheyne (Exhibit Curator)
Pacific University
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Recommended Citation
Cheyne, P., ed. (2014). Stories that Women Tell. Pacific University Libraries: Forest Grove, OR.
Stories that Women Tell
Description
In honor of Women's History Month 2014, the Kathrin Cawein Gallery at Pacific University will exhibit artist
books by 11 women artist-storytellers. Storytelling is a timeless part of the human experience. From the early
sharing of oral traditions to the first written word to today's social media, humans seem hard-wired to love a
good story. In this exhibition, 11 women artists will tell their own stories through the media of handmade
artist books.
PARTICIPATING ARTISTS | Shu-Ju Wang, Susan Collard, Laurie Weiss, Helen Hiebert, Diane Jacobs,
Nancy Pobanz, Laura Russell, Andie Thrams, Trisha Hassler, Claire Carpenter, Patty Grass.
Disciplines
Art and Design | Arts and Humanities
Publisher
Pacific University Libraries
ISBN
978-0-9884827-2-2
Comments
Copyright © 2014 Pacific University and the artists.
This book is available at CommonKnowledge: http://commons.pacificu.edu/mono/9
Clare Carpenter
Susan Collard
Patricia Grass
Trisha Hassler
Helen Hiebert
Diane Jacobs
Nancy Pobanz
Laura Russell
Andie Thrams
Shu-Ju Wang
Laurie Weiss
Women Tell
that
Stories Kathrin Cawein Gallery of Art  •  Pacifi c University
ISBN-13 978-0-9884827-2-2
Published by Pacifi c University Libraries                                                                             
Digital copy available for free download at http://commons.pacifi cu.edu/
Edited and with an
introduction by
Patricia Cheyne


Women Tell
that
Stories 
March 4-21, 2014
Kathrin Cawein Gallery of Art
Pacific University
Forest Grove, Oregon
Stories that Women Tell
Exhibit Curator: Patricia Cheyne
Copyright © 2014 Pacific University and the artists. All rights reserved
Copyright in all images and descriptions/artist statements featured in this brochure are owned by the 
artists. With the exception of fair use allowed under Title 17 U.S.C., Sec. 107, no part of this brochure 
may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, 
recording, or otherwise, without prior written permission from Pacific University or the relevant artist(s). 
Published by Pacific University Libraries
ISBN-13 978-0-9884827-2-2
Digital brochure (PDF) may be accessed for free at commons.pacificu.edu
Print brochure may be ordered from www.lulu.com
vIntroduction vii
Clare Carpenter 2
Susan Collard 4
Patricia Grass 6
Trisha Hassler 8
Helen Hiebert 10
Diane Jacobs 12
Nancy Pobanz 14
Laura Russell 16
Andie Thrams 18
Shu-Ju Wang 20
Laurie Weiss & 
Patricia Cheyne
22
Acknowledgements 25
Kathrin Cawein Gallery 26

vii
Introduction
When thinking about curating this art exhibition I realized that there were really two aspects of a new 
exhibition that interested me. First, there was the medium of artist books. Artist books have become 
one of the most exciting forms of art in the 21st century. In a world that has become increasingly 
digitized, the inherent beauty of a handmade book challenges us to think of the book in new ways. 
The books in this show, for example, can be appreciated from their text, illustrations, binding, paper, 
mixed media, size, or shape.  Each book invites you to hold it in your hand and join in a private 
conversation with the artist who created it. Which brings me to the second idea that interested me 
about this show: the stories that women tell.
Since this exhibition is in March, Women’s History Month, it seemed especially fitting to honor the 
stories that women tell about their lives. Although women have always written about their lives in 
such forms as diaries and letters it has been only in the last hundred years or so that their stories 
have been widely appreciated in a public way. The artists in the exhibit use the visual structure of 
the book to tell narratives about their lives. The books in this show talk about nurturing, protecting 
the environment, aging, women’s place in the family, changing times in their homes, their relation 
to mothers, and about becoming mothers themselves.  
Oregon has a rich tradition of supporting and displaying  artist books. For this show I chose some of 
the most talented and active book artists I know in the area. It is my hope that these amazing women 
who have so generously shared their artistic visions in this exhibit will inspire everyone with their 
interpretation of the artist book and the stories they chose to tell.
Patricia Cheyne, MFA
Exhibit Curator

Women Tell
that
Stories 
The Exhibit
2Clare Carpenter
Typical Rimrock and Desert Scenery is part of a larger body of work investigating place, particularly 
the high desert of Central Oregon. Through narrative, events of geological scale and personal history 
intertwine, leaving indelible footprints on an outwardly sterile landscape. Surface exposures act as 
historical markers, reminders of our geologic proximity to the volcanic activity which formed the 
land. Our own personal stories become embedded in the land as we build and develop, tear down 
and begin again. Typical Rimrock and Desert Scenery explores this narrative. Originally created for the 
group show, Ideation by Chance, curated by Barbara Tetenbaum at the Seeger Gray Gallery in San 
Fransisco, Typical Rimrock and Desert Scenery is composed of 20 individual folios printed on salvaged 
graph paper housed in a portfolio case. The rock-like graphics are letterpress printed from hand-
processed photopolymer. The text was generated on a typewriter.
Typical Rimrock and Desert Scenery, 2013
4.75” x 8.5” x .75” when closed
Medium: Letterpress printing, typewriter, found paper, hard-cover case
Edition: One of a kind
On loan from the collection of Steven Fritz
3
4Susan Collard
Like much of my work, this collaged book uses a variety of materials. I wanted to make a book 
relatively free of constraints. The title Anthology of Sky seemed to suggest the kind of loose compilation 
I had in mind. The term“anthology” is both descriptive and paradoxical—the book is a little magpie’s 
nest of found material, but one with very little text. Its images quote freely from the history of art 
and science. The front six pages of the composite accordion structure emphasize the light blues of 
daytime skies. The back two pages are a tribute to night skies. 
Anthology of Sky, 2013
4.75” x 3.75” x 2.25”
Various metals, mirror, glass, mica, wood veneer, and paper 
on birch aircraft plywood and reclaimed wood
5
6Patricia Grass
Inspired by red doors in my life—from the door to my home to the never-opened red door of the 
beauty salon.
A Red Door
8” x 5” x .75”
Materials: monoprints on Como drawing paper, image transfers, colored pencil, 
heavy leather covers with doll house door accessories, drum leaf binding
7
8Trisha Hassler
Frances Ruth Hassler was my husband’s paternal grandmother. She was funny, strong-willed and 
spoke her mind. The connection with her family was very important to her. I was fortunate to have 
married into the family in the 1970s.
Frances was a homemaker in the 1930s in Oklahoma. As part of taking care of her family she created 
many forms of needlework, with a particular love of embroidery. She also sewed clothing for her 
two children and enjoyed being an active part of the local community.
When her daughter was cleaning out the family home a few years ago, I received a box of assorted 
linens. Tablecloths, dresser scarves, hand towels, curtains; all made by Frances. The history and 
personal touch in each textile is inspiring.
This collaborative piece entitled She Was Hoping For A Bit More Predictability is about my family. 
Even though I share no DNA with this woman, she was an influence on me and welcomed me into 
her family with an open heart. To honor that connection, I have used her work in cotton to wrap my 
work in cotton and felt. I am sure she would have enjoyed this collaboration.
She Was Hoping For A Bit More Predictability
9” x 9” x 1”
Mixed Media | Vintage textiles, hand-dyed textiles, industrial felt, bone, glass
9
10
Helen Hiebert
Mother Tree is a seven-foot tall handmade paper dress/tree which features strands of crocheted 
thread which extend from the bodice and cascade to the floor, piling up and filling the surrounding 
space as a tree’s roots would fill the ground beneath it. The transformation from dress to tree and 
root to soil symbolizes the mother as a provider and nurturer throughout human development.
Children and adults from around the world crocheted Mother Tree’s roots from fibers as varied as 
their makers: Oregon sea grass, hemp, and hair to name a few.
Since 2010, the sculpture has been displayed at ten locations across the United States. The roots 
have been twisted into words about motherhood, piled up around Mother Tree’s feet and they have 
surrounded her like a labyrinth. At each venue (as well as through mail correspondence) participants 
have shared their stories about motherhood, many of which can be heard on the video documentary 
about the project: http://helenhiebertstudio.com/mother-tree/.
Mother Tree
7’ x 7’ x 7’
11
12
Diane Jacobs
Personal experiences brought Nourish to fruition: visiting Opal Creek’s pristine ancient forest, 
witnessing a breathtaking starling murmuration, listening to musical compositions that transcend 
cultural boundaries, and sleeping under the expansive starry night sky. Nourish comes from gratitude 
and a desire to celebrate the wonders of our natural and created world. It also acknowledges that 
beneath this beauty looms environmental catastrophe: dying bee colonies, lack of safe drinking 
water, increasing oceanic garbage, loss of habitat for species whose diversity is dwindling, and 
our changing climate to name a few. Time is ticking, we must find our way through the labyrinth, 
unlock the doors of perception, and embody the notion “to be with higher self.” We can become the 
spider that protects and weaves creative solutions.
NOURISH, All Our Relations
8” x 8” x 2” (closed)  |  16” (h) x 18.25” (w) (opened)
Letterpress printed reduction linoleum and wood blocks, pressure printing, 
polymer plates, handset title page and colophon, bamboo box, gampi paper, 
wool felt, cast paper pulp, porcelain

14
Nancy Pobanz
Growing up, my family lived on 18 acres outside the rural community of Ontario, Oregon.  My 
parents didn’t farm, but from 8-12, I did, along with my siblings.  It was challenging and not always 
a pleasant experience.  An old seed bag plus a request for a book made from reclaimed materials 
inspired this piece.  The mended seed bag, raw earth pigment from Ontario, used teabags, a discarded 
inner tube, wire and ink pulled the concept together.  
My Brief History with Farming, 2013
6” x 18” x .5” 
Photo: Lightworks Photography
15
16
Laura Russell
Good Will & Salvation is a tribute to my Mother, an avid thrift store shopper. She lives in Michigan 
and I live in Oregon. Whenever we get together we spend our days trolling every Goodwill and 
Salvation Army store in whichever town we happen to be in. My mother shops to her heart’s desire 
and I spend the day taking photographs to document the quirky castoffs of our commercial consumer 
culture.
The pairing of images in this book mean a lot to me. The ceramic bride figurines paired with a rack 
of wrinkled wedding dresses. The baby doll paired with the grown-up, naked Barbie dolls. Photos 
of my mother paired with her exciting finds.
All are joined together by a long accordion spine strip that shows miles and miles of clothing racks, 
garments organized by color, just as you’d find in any quality Goodwill store.
Good Will & Salvation, 2013
Accordion fold “road” nestled in a case-style cover 
with a window features original photographs by the artist. 
7” x 6.25” x .5” 
Archival pigment prints on Red River Polar Matte paper
Edition of 10
17
18
Andie Thrams
FIELD STUDIES is an ongoing series of unique artist’s books and paintings drawn, written and 
painted in the field using twig, brush, pencil and pen. Each book illuminates one wild species or 
particular habitat with text often addressing grief over environmental degradation and loss. To 
make my books I go into wild forests for hours, days or weeks at a time. While there I work sitting 
on the ground, using ink, pencil, watercolor and gouache on paper. Content is otherwise unplanned 
and is completed spontaneously while I am outdoors. The traces of fieldwork remain: rain and paint 
spatters, stains, debris, and other forest marks.
This book was made in ferny thickets, under giant Sitka Spruce and Douglas Fir in Northern 
California and Oregon coastal forests. It is dedicated to my Dad and was made over the last year of 
his life. Hand-lettered text about family, life, death, love, and mystery appear and disappear within 
drawn and painted imagery.
FIELD STUDIES No. 14, Entwined, 2013 
Unique accordion-folding artist’s book of four panels with imagery 
front and back, wraparound cover, housed in folded enclosure.
7.25” (h) x 5.5” (w) (23” extended)
Media: Written, drawn and painted with brushes, twigs, and pens using ink, 
graphite, watercolor, gouache, gold leaf, and shell gold on Fabriano 
watercolor paper; cover and case of Cave Paper.
19
20
Shu-Ju Wang
In recent years, my work has focused on the profound or catastrophic changes of our lives. I have 
touched on immigration, aging, illness & environmental degradation. As part of this pursuit, I worked 
with the elderly at various stages of dementia to create artist’s books. One of these books produced 
was Martha. I met Martha at a local assisted living facility; she was cheerful and enthusiastic, and 
took to making art with the Print Gocco like fish to water. Together, we created a series of small 
Gocco prints which were very much like letters or postcards to friends and family. These prints and 
Martha’s wonderful personality were the inspirations behind my design and binding of the book 
Martha. 
Martha
7 1/16” x 5 3/16” x 1 1/4” closed
Gocco printed on Rives Lightweight, Nepal Light and Nepal Heavyweight
21
22
Laurie Weiss & Patricia Cheyne
Over the past century, our home lives have changed dramatically, due to technology, wars, and a 
growing middle class, to name a few reasons.  The faux diary entries and aprons in this book shed 
light on some of those changes.  Arlen Evensen, apron historian, said, “It will be a long time before 
someone invents something that will replace that old apron that served so many purposes.”  The 
apron samples in this book were hand sewn based on historical patterns.  The case bound drum leaf 
book is an edition of five.
Tidying Up
8.125” (h) x 5.25” (w) x 1.125” (d)
Materials:  Paper, card stock, dress patterns, mat board, binders board, 
fabric, book cloth
23

25
Acknowledgements
Thank you to the Elise Elliot Academic Initiatives Fund for making this exhibit possible; to Junko 
Iijima and the Kathrine Cawein Gallery of Art for hosting the exhibit; to Marita Kunkel and the 
Pacific University Libraries for publishing this brochure; and to Isaac Gilman for the design and 
production of the brochure.
26
Kathrin Cawein Gallery
Located at the heart of Pacific University, the Kathrin Cawein Gallery of Art is integrated into the 
southeast corner of Scott Hall. The gallery represents something very special for the academic and 
creative climates of the campus and surrounding region.
The gallery is named in recognition of the late Kathrin Cawein of New York, who beyond being an 
accomplished printmaker and contributor to Pacific University, established an endowed scholarship 
for students of the Arts at Pacific. The fund was established through the sale of her intaglio etchings 
and engravings during exhibits at Pacific, as well as from the proceeds of her estate after death in 1996.
The gallery was originally made possible by the receipt of matching grant moneys from the Oregon 
Arts Commission in 1984, through the “Check-Off for Oregon Arts”program. Contributions made 
through Oregon state tax return for the arts at that time provided the $1500 base grant money for 
planning and initiation of the remodeling of the exhibit space. This funding, together with other 
donations totaling $10,000 made the gallery possible.
A note of special thanks is given to trustee Elizabeth Johnson for her unrestricted matching gift 
and appreciation is extended for the support letters from the City of Forest Grove, the Valley Art 
Association, and the Hillsboro Arts Council. Special mention is also given to other generous donors, 
patrons, members of the Pacific University Board of Trustees, and especially to former University 
President Robert F. Duvall, who expressed strong interest in making art a treasured asset at Pacific.
The gallery is situated on the east side of the library building. Its north-south directional orientation, 
track lighting, and textural wall surfacing contrasted with brick walls provide a wonderful space 
in which to view art. Outside window views bring natural light and a sense of warmth from the 
campus environment into the gallery. Adequate storage and an exterior south entrance facing the 
Photo: Inside the Katherine Cawein Gallery of Artcenter of campus have made the gallery known as 
one of the best University galleries in the state of Oregon.
Exhibits change monthly throughout the academic year, and are provided at no cost to the public 
through the Department of Art. This program constitutes a service that benefits both the University 
community and the surrounding region. Receptions with exhibiting artists at the openings of their 
showings provide an opportunity for community enrichment and cultural growth. At times, Artist 
talks are also scheduled to coincide with the exhibit schedule, to give the artist a chance to share his 
or her creative inspirations and motivations related to the works on display.


Clare Carpenter
Susan Collard
Patricia Grass
Trisha Hassler
Helen Hiebert
Diane Jacobs
Nancy Pobanz
Laura Russell
Andie Trahms
Shu-Ju Wang
Laurie Weiss
Women Tell
that
Stories Kathrin Cawein Gallery of Art  •  Pacific University
ISBN-13 978-0-9884827-2-2
Published by Pacific University Libraries                                                                             
Digital copy available for free download at http://commons.pacificu.edu/
Edited and with an
introduction by
Patricia Cheyne


Stories that Women Tell

http://commons.pacificu.edu/cgi/viewcontent.cgi?article=1008&context=mono

Stories that Women Tell

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