Rhea Giffin-"Halloo Bienvenu!" DOG-18.5x12x23in.

Dog Sculpture

Rhea Giffin-"Almost Got It" cat-6.25x2.75x7in.

Rhea Giffin-"Erleichda" cat-6.5x5.75x6.25in.

Rhea Giffin-"Intrigued" cat-7x2x8in.

Rhea Giffin-"Grace Anatomy" cat-7x2.5x7in.

Rhea Giffin-"Wants Up" cat-7x2x8in.

Little cat Series

Rhea Giffin-"Blissful Bleu" CAT 10x19.5x33.5in.

Rhea Giffin-"Happy Feet" CAT-10x19.5x33in.

Rhea Giffin-"Paragon of Paradox" CAT-15.5x15x30in.

Rhea Giffin-"Pedicure" CAT 23.5x28.5x14in.

Rhea Giffin-"Salon de la Chat" CAT 18x32.5x18in.

Rhea Giffin-"Trick-or-Treat" CAT-31.5x10x34in.

Rhea Giffin-"Stretch of the Imagination" CAT-34x33x13in.

Large Cat Series

The Bank Left Gallery – Featured Artist this month.html

Come and celebrate a weekend of the enchanting world of Rhea Giffin’s Papier Mache designs April 9,10 and 11 as part of the WSU mom’s celebration at The Bank Left Gallery & Bistro. This nationally acclaimed artist will exhibit her pensive and dreamy new papier mache sculptures.  Opening reception with the artist is April 10 from 1-5 with live music and chocolate tasting featuring drinking chocolates from around the world.
Following the reception, there will be a French dinner from 5-8 at The Bank Left Bistro as part of the art & culture series.
This exhibit runs from April 9-April 28
Art exhibit free to the public
Chocolate tasting with lunch: $12.00 per person
Chocolate tasting with French dinner: $18.95 per person
For more information visit our web site at www.bankleftgallery.com or call 509-878-8425/878-1800

Nelson Duran
Director/Artist
The Bank Left Gallery of Fine Art & Design
100 S Bridge
Palouse WA 99161
509-878-8425
509-878-1800 Bistro/tea room
www.bankleftgallery.com
bankleft@visitpalouse.com

Artist Bio: Rhea Giffin 

 Bringing papier mâché to unexpected expression, sculptor and writer, Rhea Giffin , creates thoughtful art with broad appeal.

 Rhea is an accomplished Northwest artist most known for her papier mâché/mixed media sculpture since the birth of her “storybowl” series in 1997.  She has since gone on to create a multitude of figurative, imaginative and representational sculptures, large and small.  “There is a distinctly playful and profound way this work engages people of all ages and class” she says. “Ít seems to touch a place of innocence or nostalgia.”  Her collectable works have been exhibited in local galleries and select juried shows across the country.  She has been featured in many publications worldwide, including the soon to be released 500 Cabinets Lark book and the 2008, 500 Chairs: Celebrating Traditional and Innovative Designs, Lark book that is scheduled to release a revised mini version in 2010.  Her sculpture “Bobbing for Answers,” recently received a Citizens Council for the Arts juried show honorarium and The Brooten Purchase Award  .. Ms. Giffin co-founded and has been the director of The Northwest Papier Mâché Artists’ Guild since 2000 . An organization of professional artists interested in exploring and reclaiming the fine art potential of this ancient art form.

                        “Beyond the medium is the art itself.  Within each piece is a celebration, a question and a desire for hope and connection with all life and the complex world we share.”  – Rhea Giffin

Rhea Giffin-Stretch of the Imagination-34x33x13"

Large Cat Series    

Rhea Giffin-Stretch of the Imagination-BACK

Many Northwest Papier Mache Artists’ Guild members participated in this all media invitational exhibit at the POAC Gallery in Sandpoint, Idaho this summer as part of ArtWalk I, June 20-July 27, 2008. www.artinsandpoint.org

"Megan" by Sherri Ballman

Thank you, Tala K.K. Wood for such an explicit and thoughtful review in the July 3, 2008 issue of The Sandpoint Reader  (page 11)

Click her to view original article (pdf)

Note: The photographed images within the article feature artwork by Judy Minter. http://www.JudyMinter.com   Also note that my last name, giffin, is mis-spelled.  The correct version has no “r”. Betty’s correct last name is Gardner, not Gardener.

Unfortunately there is not an on-line version available at this time.   Here is a transcribed version:

“Faces” Captured Me

By Tala K. K. Wood

For SPR

The “About Faces: Capturing Personality through Portraiture” exhibit at POAC’s Powerhouse Gallery was a wonder to behold.  I saw a few names I knew, and some artwork that looked familiar, but in essence, I was a stranger in a colorful land.

There were portraits of family members, famous people, and imaginary individuals. There were fascinating sculptures, and wacky carvings. Some were disturbing, with bug eyes and swirled noses, and others quaint, with children, kittens, and normal features, but every piece was interesting.

I made a complete fool of myself, walking from painting to painting about every five minutes, my mouth in danger of falling open. I am not an artsy-type person — I’m a writer, so my paints are found in dictionaries and thesauruses–but I couldn’t keep my eyes off the display of creativity I saw splashed along the hallway.

One that I liked in particular was called “Pity Stew” by Rhea Griffin. It consisted of a cup, a bowl, a spoon, and a napkin on a tray, all in a deep blue.  Accomanying it was a copy-righted poem that I fell in love with.  It turned the stew and all things asociated with soups, like salt, into ingredients for pity–little hurts, and have-nots.

Another that caught my eye was the “Beekeeper” by Betty Gardener.  The thing that intrigued me the most were the elements that made up the bust.  Wasp nests formed a neck, lichen was hair, and flowers and other plant components decorated the face.  A third eye was represented by a five-petal flower.

While I particularly liked both of these unique creations, my affection for them is out-numbered a thousand to one in favor of another of Griffin’s works, “Blind Patriotism.”

I stared at this figure for ten minutes and kept coming back even after I had–ahem–”moved on.”  Every time I looked at it, I saw a new symbol.

The basis of the piece was a blue woman in front of a three layered box with clouds on the top level and a pair of eyes perched on top.  When you look closer, you’ll see–or at least I saw–that it is covered in messages.  Note to the creator:  If my interpretations are wrong, do forgive me, I am merely an uncultured teenager.

The woman is the center piece, but even her simple movements are worth noting.  In reference to the title she is blindfolded by a scarf bearing the United States colors.  One hand is over her heart, and the other is gesturing towards the box behind her.

She is almost showing a type of possession in her posture, but at the same time, it is defensive–covering her life-source.

The world behind her is one I would not gesture to, were I in her place.

The bottom level is empty and dark, where the woman is.  The second level is a sea with high wild waves, and the third has clouds haning from strings, and one cloud that seems to have fallen.

Above the box is a pair of “All-Seeing” eyes.  The God-like half a face’s eyes are spirals, which seem to indicate a sort of madness.  To me these portions seem to indicate Hell, Earth, Sky, and Heaven.

The sides of the box are just as interesting as the insides. To the left are three American flags: the top and bottom ones are normal and right-side up, but the one that is level with the second portion of the box is upside down,. a universal signal of distress.

I find it interesting that the section that represents Earth has the distress symbol.

The Right side of the box has three identical flags of no country I recognize, each with a different icon on it.  The top one has a heart circled, equal with the “sky” portion.

The middle one, parellel with the Earth, fittingly has an Earth drawn on it.

The Earth is not shown as it normally is, with the Pacific Ocean split right down the middle.  Instead, it is only of Africa, and the bottom portion of Europe.

The third flag has a peace sign scrawled across a corner of it.  However, the peace sign is distorted and one bar is missing.  Are we missing peace, by any chance?

I found this politically slanted piece of art astounding and beguiling.  I can hardly wait to look at it again.

The entire exhibit is well worth taking some of your precious time out to see.  Maybe you’ll find your own “Blind Patriotism.”

"Blind Patriotism" and "Aquarius Rising Up From the Piscean Sea" by Rhea Giffin

June 20 – July 27, 2008, The Northwest Papier Mache Artists’ Guild http://www.rheagiffin.com/nwpmag.htm  makes its debut in Sandpoint, Idaho for Artwalk I at Taylor-Parker Motors along with art quiltmaker, Sheila Mahanke Barnes.  The reception was fantastic and we were told by several sources that the town was abuzz with enthusiasm the entire five weeks.

"Thelma Goes to the Beauty Parlor" by Sherri Ballman, "Halloo Bienvenu!" by Rhea Giffin

Sherri Ballman’s “Thelma Goes to the Beauty Parlor” made the front cover full-legth full-color of the July 17, 2008, Vol.5 issue 29 of Sandpoint Reader, and an article about the guild by by reporter Tala K.K. Wood.

Click here to view original article (pdf)

Note:  The photo within the article features mixed-media marionettes by Betty Gardner.  Also note that my last name giffin, was mis-spelled. The correct way has no “r”, and all reference to “Carry Thomas” should be “Larry Thomas.”

Unfortunately there is not an on-line version at this time. Here is a transcript of the article:

Artwalk Goes Vehicular

by Tala K.K. Wood

for SPR

Paper Mache. Most of us have had the misfortune in our elementary days to have dipped our hands into that gooey mess and either loved it or hated it.

I am of the latter.  Anything that squishes between my fingers is not worth touching in my view.

But if you stop by Taylor Parker in the next few weeks, you’ll see why I have a sudden new fondness for the gunk.

The car dealership, a long-time participant in ArtWalk, are hosting the “Paper Mache Artist’s Guild.”

At first I assumed that it would appear as my disastrous sculptures from second grade would, but with creative titles and decidedly less science-leaning subjects.  But then I walked in.

You would never know these magnificent creations were made of water, flour, glue and old newspapers.  They went from pretty to unique to down-right weird.

The first time I saw the green dachshund with giant red spots and a rat-like snout, I thought his beady eyes were following me.  When I looked at him a second time, I thought he’d moved.

After scaring myself into heart-attack country, I crawled back out and away from stationary yet uncannily life-like dogs.

I moved on to pleasanter things, like “Flying Jolie Girl” by Leata Judd, in which a blue girl with wings and a dreamy expression sits on a winged blue horse with red eyes that almost seemed out of place.

I also spent some time looking for eye-candy, like “Going with the Flow” by Judy Minter, a pretty piece that had wild rainbow waves and silver-gold coral, and “Charity Changes our Perspective: by Carry Thomas.

I stared at the last piece, “Charity,” for a long time, trying to understand the title.

Finally, I understood what the turtle carrying a chair on its shell was supposed to symbolize – note to the artist: pray forgive me if I’m wrong, I am merely a member of the generation raised by the internet - the chair, decorated as it was with a sea, and islands, and even a sky, was the world, and the turtle was carrying the world on its back, much like the Native American myth.

The turtle, which in a generalization, could be called “lowly” is transformed into something grand, something that allows the rest of us to live, by “holding the world.” In its generosity, it provides for us all.

After that puzzle of a piece, I moved on, only to have my eyes drawn to an intriguing figure of a dark woman with a blue bird on her shoulder.

Her eyes were pensive, and she was cradling a huge heart-shaped crevice in one hand. Inside the heart, was an abacus-like design, with large blocks that can are turned to show different sides. The title, “Anyway,” suits Rhea Griffin’s sculpture exactly.

Each block has a semi-negative situation, and the other side tells you to keep doing what you’re doing, “anyway.”

For example, “Give the world the best you have and you may get hurt. Give the world your best anyway.”

I can’t do justice to this incredible exhibit, but I can at least beg you to go and see it.  Don’t have time? Do it anyway.