Jeffry Mitchell & Jeanne Quinn:
I’ll Be Your Mirror

January 19 — March 10, 2021 (now extended)

About the Exhibition

Harvey Preston Gallery is pleased to present a two-person exhibition featuring works by artists Jeffry Mitchell and Jeanne Quinn. This marks the first opportunity the gallery has had to show either of these artists and the pairing came about in a rather straightforward way—when asked who she would like to show with Jeanne simply replied—Jeffry Mitchell. As it would happen, the gallery had been wanting to do a show of Jeffry’s work for a number of years.

Jeanne Quinn’s large-scale installation True and Reasoned and Impure and Inexplicable was first exhibited at the Milwaukee Art Museum, Milwaukee, WI. This is its second iteration and marks the first time it is being exhibited in a contemporary gallery space.

Jeffry Mitchell’s direct approach to art making has with in it the essential gift of being able to include universally relatable and accessible story lines. For Jeffry, ceramics is a material best suited to translate the rich fluidity embedded in his continued engagement of the complex and the exuberant. To that end we are proud to announce that a number of the works included in this exhibition have recently been highlighted in an exhibition at the Victoria and Albert Museum, London, UK.

Below is an excerpt from a text written by Mitchell about the works in the show, the artist’s friendship, and how they settled on the title of the exhibition—I’ll Be Your Mirror.

One time I sent Jeanne a Tom of Finland postcard: two Leathermen, face-to-face, bulges touching. Exquisitely drawn in pencil on paper, the couple embraces in an almost-but-not-quite mirror image. From cap to back to rump to bulge their silhouettes create Baroque curves and counter curves. The material sheen of graphite echoes the sheen of their black leather jackets, with bright white highlights revealing turgid muscles. Undoubtedly hot, but not merely pornographic, we love this image because it is all these things: erotic and beautiful and playful and sweet.

Jeanne and I discussed the work we would include in this show, wondering if we should come up with a title. We talked about the influence of ceramic and textile histories, the call and response between the decorative and fine arts. Both Jeanne and I employ symmetry as a compositional/structuring device and as a subject.

Jeanne texted a list of notions to consider for a title:

The mirror, To mirror, Mirroring, Reflection, Reflecting, Cast back, Black and white, Gray area, Other/same, Twin, Twinning, Parallel, Translation.

Or—something about textiles, fabric, material?
You’re showing works on fabric and works of clay; I’m showing clay work and drawing about textiles…

Matter/material…

Patterning…reproduction, additive…

We settled on “I’ll Be Your Mirror”, taken from the Velvet Underground song. Sweet and simple, it matches the formal and conceptual concerns in our work, but I think the title of our show is really about our friendship.

I’ll be your mirror

Reflect what you are, in case you don’t know
I’ll be the wind, the rain and the sunset
The light on your door to show that you’re home

When you think the night has seen your mind
That inside you’re twisted and unkind
Let me stand to show that you are blind
Please put down your hands
‘Cause I see you

I find it hard to believe you don’t know
The beauty that you are
But if you don’t let me be your eyes
A hand in your darkness, so you won’t be afraid

When you think the night has seen your mind
That inside you’re twisted and unkind
Let me stand to show that you are blind
Please put down your hands
‘Cause I see you

I’ll be your mirror

Installation view (Jeanne Quinn, Jeffry Mitchell)
Installation view (Jeanne Quinn, Jeffry Mitchell)
Installation view (Jeanne Quinn, Jeffry Mitchell)
Installation view (Jeanne Quinn, Jeffry Mitchell)
Jeanne Quinn, True and Reasoned and Impure and Inexplicable, 2014
Jeanne Quinn
True and Reasoned and Impure and Inexplicable, 2014
Porcelain, steel, vinyl, wire, paint
Dimensions variable (pictured: 172 x 112 x 24 “)
Jeanne Quinn, True and Reasoned and Impure and Inexplicable, 2014
Jeanne Quinn
True and Reasoned and Impure and Inexplicable, 2014 (detail)
Porcelain, steel, vinyl, wire, paint
Dimensions variable (pictured: 172 x 112 x 24 “)
Jeanne Quinn, Pink and Red Porcelain Lace, 2020
Jeanne Quinn
Pink and Red Porcelain Lace, 2020
Porcelain, underglaze, pins, vinyl
Dimensions variable
Jeanne Quinn, Pink and Red Porcelain Lace, 2020
Jeanne Quinn
Pink and Red Porcelain Lace, 2020 (detail)
Porcelain, underglaze, pins, vinyl
Dimensions variable
Jeanne Quinn, Cut Lace, 2020
Jeanne Quinn
Cut Lace, 2020
Laser cut and folded paper
25 x 33 x 5 ″
Jeanne Quinn, Lace Drawing, 2018
Jeanne Quinn
Lace Drawing, 2018
Graphite and ink on paper
22 x 29 x 1.5 “
Jeffry Mitchell, Narcissus at the Pool, 2020
Jeffry Mitchell
Narcissus at the Pool, 2020
Ink on muslim with aluminum leaf, embroidery floss, belts
72 x 84 x 1 ″
Jeffry Mitchell, Narcissus at the Pool, 2020
Jeffry Mitchell
Narcissus at the Pool, 2020 (detail)
Ink on muslim with aluminum leaf, embroidery floss, belts
72 x 84 x 1 ″
Installation view (Jeanne Quinn, Jeffry Mitchell)
Installation view (Jeanne Quinn, Jeffry Mitchell)
Installation view (Jeffry Mitchell)
Installation view (Jeffry Mitchell)
Jeffry Mitchell, Water Pot, 2019
Jeffry Mitchell
Water Pot, 2019
Glazed ceramic, gold lustre
3 x 9 x 9 ″
Jeffry Mitchell, Chairs, 2019
Jeffry Mitchell
Chairs, 2019
Wood
35.5 x 23 x 20 ″
Jeffry Mitchell, The Farmer From Palouse, 2019
Jeffry Mitchell
The Farmer From Palouse, 2019
Glazed stoneware
13 x 6.75 x 7.125 ″
Jeffry Mitchell, Jug in a Tub, 2019
Jeffry Mitchell
Jug in a Tub, 2019
Glazed ceramic, gold lustre
11 x 10 x 10 ″
Jeffry Mitchell, Blue and White Pomegranate Jar, 2016
Jeffry Mitchell
Blue and White Pomegranate Jar, 2016
Glazed ceramic
13 x 9 x 11 ″
Jeffry Mitchell, Tyger Den, 2019
Jeffry Mitchell
Tyger Den, 2019
Glazed ceramic
17.375 x 13 x 4 ″
Jeanne Quinn, Jaquard Drawing (black and white), 2020
Jeanne Quinn
Jaquard Drawing (black and white), 2020
Ink and graphite on paper
22.5 x 22.5 ″
Jeanne Quinn, Jaquard Drawing (green), 2020
Jeanne Quinn
Jaquard Drawing (green), 2020
Ink and colored pencil on paper
22.5 x 22.5 x 1.5 “
Installation view (Jeanne Quinn, Jeffry Mitchell)
Installation view (Jeanne Quinn, Jeffry Mitchell)
Jeffry Mitchell, 2020 Alphabet, 2020
Jeffry Mitchell
2020 Alphabet, 2020
Porcelain (26 letters bookended by bear figurines), wooden shelves
51 x 35.75 x 6.75 ″
Jeffry Mitchell, Animal Jar, 2016
Jeffry Mitchell
Animal Jar, 2016
Glazed terra cotta
13 x 9 x 11 ″
Like a Valentine: The Art of Jeffry Mitchell, 2012
Like a Valentine: The Art of Jeffry Mitchell, 2012
Book published by the Henry Gallery Association
10.25 x 10.25 x 1.125 ″

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Press

More About the Artists

JEFFRY MITCHELL

Mitchell lives and works in Olympia, WA, and has been an Artist in Residence at the Archie Bray Foundation, the Vermont Studio Center, the MacDowell Colony, Zentrum für Keramik, a guest lecturer and critic at Harvard University, and a recipient of the Joan Mitchell Foundation Painters and Sculptors Award, the Neddy Artist Fellowship Award, and the Contemporary Northwest Art Award. His work has been the subject of a solo exhibition in the Workspace Gallery at the New Museum of Contemporary Art (New York, NY), a mid-career retrospective at the Henry Art Gallery at the University of Washington (Seattle, WA), and included in exhibitions at the Seattle Art Museum (Seattle, WA), the Fabric Workshop (Philadelphia, PA), Walker Art Center (Minneapolis, MN), Missoula Art Museum (Missoula, MT), PDX CONTEMPORARY ART (Portland, OR), James Harris Gallery (Seattle, WA), Morgan Lehman (New York, NY), Ambach & Rice (Los Angeles, CA), Rena Bransten (San Francisco, CA), Kittredge Gallery (Tacoma, WA), Frye Art Museum (Seattle, WA), Museum of Contemporary Art (Detroit, MI), Tacoma Art Museum (Tacoma, WA), Western Bridge (Seattle, WA), World Ceramic Center (Icheon City, South Korea), CoCA (Seattle, WA), Bellevue Art Museum (Bellevue, WA), Victoria and Albert Museum (London, UK), among others. Mitchell is currently represented by PDX CONTEMPORARY ART in Portland.

His work is featured in the collections of the Fogg Art Museum, Harvard University (Cambridge, MA), Microsoft (Redmond, WA), Museum of Fine Arts (Boston, MA), New York Public Library (New York, NY), Philadelphia Art Museum (Philadelphia, PA), Portland Art Museum (Portland, OR), Safeco Corporation (Seattle, WA), Tacoma Art Museum (Tacoma, WA), Contemporary Museum (Honolulu, HI), Museum of Fine Arts (Houston, TX), Crocker Art Museum (Sacramento, CA), Frances Young Tang Teaching Museum and Art Gallery (Saratoga Springs, NY), Seattle Art Museum (Seattle, WA), and Whatcom Museum (Bellingham, WA), as well as numerous private collections.

Mitchell’s work has been featured in a wide variety of publications over the years, including art ltd., LA Times, Art in America, The Seattle Times, T Magazine, The Oregonian, Portland Mercury, The Stranger, Seattle Post-Intelligencer, Artnet, and Reflex.

JEANNE QUINN

Jeanne Quinn is an artist whose practice encompasses installation, ceramics, lighting, drawing, and digital fabrication. She studied art history and baroque music performance at Oberlin College, and earned her M.F.A. from the University of Washington. She has exhibited widely, including the Denver Art Museum, the Milwaukee Art Museum, the Kemper Museum for Contemporary Art, Gyeonggi International Ceramics Biennale, and Art Basel/Design Miami. She has been awarded residencies at the MacDowell Colony, the European Ceramic Work Centre, and many others. She is Professor of Ceramics and Chair of the Department of Art and Art History at the University of Colorado.