Peter Marbach

April 2026: The Power of Place

Courtesy of the Oregon Historical Society

Oregon’s beauty and spirit are as diverse as its landscape and its people. To celebrate this bounty, the America 250 Oregon Commission contracted with photographer Peter Marbach on two photographic exhibitions that showcase the essence of Oregon and its vibrant communities.

In The Power of Place, immerse yourself in the breathtaking beauty of Oregon through photographs celebrating the state’s diverse landscapes. From the rugged coastline and towering mountains to the serene High Desert and other cherished landmarks, this collection invites you to explore the places that continue to inspire and connect us all.

As you journey through these images, the commission honors and acknowledges that all the lands depicted in this exhibition are the ancestral territories of Oregon’s Indigenous peoples, who have cared for and maintained these places since time immemorial. This exhibition highlights both the natural beauty of these landscapes and the enduring connection between people and place.

Peter Marbach’s distinguished career spans three decades creating evocative landscapes of unspeakable beauty. He has authored several coffee table books and has numerous regional and national publication credits. A self-portrait celebrating sunrise on the summit of Mt Hood, one year after open heart surgery, graced the cover of a National Geographic map of the Cascades. His 2019 book, “Healing The Big River – Salmon Dreams and the Columbia River Treaty” continues to educate the public about the importance of modernizing the Columbia River Treaty to lay the groundwork to eventually restore the salmon migration back to the headwaters in British Columbia.

Marbach’s work has evolved over the years to pursue projects that contribute to the community at large, from working with tribes and first nations in their quest to restore salmon runs on the Columbia, or his volunteer work in Nepal supporting individual educational advancement for women and children. 

His projects have been featured on Oregon Field Guide, OPB’s Think Out Loud, and recently on KGW’s Grant’s Getaways. Current commissioned exhibits with The Oregon Historical Society include the centennial celebration of the iconic Pacific Coast Highway 101 in Oregon, on display January through September 2026 and the travel exhibits entitled The Power of Place and The Pursuit of Happiness, both celebrating Oregon’s unique place for the national America 250th anniversary this year.

KYRIANNA is an internationally known watercolor and mixed media artist whose work centers on chronic pain and illness. KYRIANNA’s artistic practice began at a young age after she developed a debilitating chronic pain condition at age twelve. Her installation, Chronic Conditions Through the Lens of Nature, was on view at ScienceWorks January through April 2026.

Statistics show that about one in four American adults lives with a chronic condition of some kind. These conditions are as varied as the people who experience them, and people of any age, appearance, or socioeconomic background can develop a chronic condition. Many of these ailments are invisible and don’t match what people typically imagine when they hear the word “disabled” — often picturing someone in a wheelchair or using a cane.

You may be familiar with some invisible conditions, such as diabetes, asthma, or chronic back pain, but there are many others you've likely never have heard of. Even when a chronic condition is invisible, it can be just as disabling — and sometimes more so — than a visible disability.

People with invisible disabilities often face unique challenges and discrimination because their conditions cannot be seen and because of societal stereotypes about what a disabled person “should” look like. Discrimination against disabled people is called ableism, and unfortunately, it remains widespread in our society.

Primarily working one-on-one with people living with chronic conditions, KYRIANNA creates surrealist watercolor portraits while also exploring a range of mixed media, installation, and performance art. Her work focuses on disability, incorporating themes of feminism, intersectionality, psychology, and nature.

She uses natural elements to represent the chronic symptoms her subjects live with daily, drawing parallels between the natural world and the conditions she portrays. The purpose of these artworks is to raise awareness of disability — especially invisible disabilities — share the stories of people with chronic conditions, and provide meaningful representation for disabled viewers.

To learn more about the artist, or contact her about commissions/purchase of artwork, please visit www.kyrianna.art.

Claire Duncan began painting after moving to Ashland, Oregon in 2001. Her background in graphic design continues to inform her approach to painting, drawing on her keen awareness of light, balance, and composition. 

Duncan paints in acrylic on handcrafted wood panels, often using her own photography as reference material. Her works are marked by their technical precision, compositional strength, and emotional depth. 

Over the years, she has earned recognition through numerous awards, including honors from Coos Art Museum’s Expressions West, Artist’s Magazine’s All Media Competition, and Turtle Bay Museum’s West Coast Biennial. Her paintings are held in several museum collections, and her art has been featured on OPB’s Oregon Art Beat and PBS NewsHour’s CANVAS website.

In her current exhibit, Nature’s Paradox, Duncan explores the complex relationship between humanity and the natural world. Each painting pairs detailed portraits of native species with signs of human impact—wildfire, pollution, overpopulation—creating a visual and emotional tension. Through this juxtaposition, Duncan invites us to ask ourselves how we can we celebrate nature’s beauty while confronting its vulnerability.

Kailey Ousley is a mixed media artist and illustrator inspired by the everyday beauty of the world around her. Her art combines cut paper, ink, and paint, to create collages that celebrate the wonder of nature. By combining vibrant colors with a variety of interesting textures found in handmade papers and textiles, she highlights the striking patterns and forms that she sees outdoors in the Pacific Northwest. She works primarily in layers of paper, tearing, cutting, and gluing hundreds of shapes to form a complete picture. She also creates metal sculptures and ornaments using repurposed cans. 

Through her art she captures the joy and wonder of our often overlooked surroundings. She hopes to inspire the viewer to examine and delight in the beauty of their environment, and to think about the trash and recycling that humans produce and creative ways that we can keep it out of the landfill.

Kailey's interactive exhibit, Backyard Beauty: Native or Not? was hosted at ScienceWorks April through June 2025. 

During Mural Fest, regional muralists transformed the museum plaza into an open-air studio. Over one weekend, visitors watched as artists brought large-scale murals to life in real time, offering a rare glimpse into the creative process. The completed works remained on display throughout the summer, adding vibrant color and energy to the museum grounds.

Several participating artists also showcased mixed-media pieces in the Art in STEAM gallery, extending the spirit of collaboration and creativity from the plaza into the museum’s indoor spaces.

Morgan Gaines is an enrolled Tribal member of The Confederated Tribes of Coos, Lower Umpqua & Siuslaw Indians (CTCLUSI), who spent much of her life living and working in Southern Oregon. She currently lives in Eugene, where she offers her services as an artist, designer, photographer, and jewelry maker.

Morgan explores the contemporary means of creating art (digital design) from traditional and popular subject matter (flora and fauna), and she is passionate about consulting with Tribal organizations and companies to create professional logos that are both modern and Indigenized.

Select works from Morgan's collection were on display at ScienceWorks January through March 2025. 

Artist's Statement 

"Niishanax (hello), I am Morgan, AKA N8VMojo, Indigiqueer, Quuiich (Lower Umpqua) and Caucasian artist. My heritage and culture play an important role in my life. It’s helped shape who I am and inspires my art and design. Art comes in many forms and I love making jewelry and doing beadwork in addition to painting and digital design. My first love is art. Getting to express myself and explore the world through a creative lens has brought so much color to each chapter of my life. I'd like those viewing my artwork to think about conservation and protecting habitats for animal and plant species that have always been significant to Native people."

Southern Oregon plein air painter Sarah F. Burns has spent the past 6 years painting at Vesper Meadow, a biocultural restoration preserve and community education site in the Cascades near Howard Prairie.

She documents a variety of different habitats of this 1000-acre parcel, in every season. Science and art collide in the featured body of work in this show, Bovine Beach: July, where Sarah creates a painting every year in July to track the restoration of Latgawa Creek.

Bovine Beach: July 2019, 2020, 2021, 2022, and 2023 were on display at ScienceWorks July through August, along with the unveiling of July 2024. 

About Vesper Meadow:

"The Vesper Meadow Education Program (VM) mission is to inspire a culture of land stewardship and nature connection. We paint the picture of resilient communities and ecosystems with hands-on programming at our flagship location, the 1000-acre Vesper Meadow Restoration Preserve, where stewards and students work on long-term efforts for ecological restoration, climate resiliency, scientific monitoring of rare species and biodiversity, and community projects for reconnection of the human-land relationship. Programs address our society’s need for holistic thinkers by integrating diverse learning perspectives and practicing solutions-based approaches to address climate change and social justice issues.

Core to our mission is the belief that ecological restoration is synonymous with cultural revival. We partner with Tribes of record (evidenced by ceded lands, treaties, and case law) and work in collaboration with community partners to establish an Indigenous-led network to fulfill the self-determined goals of Native people and to enhance restoration and education efforts throughout Southwest Oregon.

Through bringing together various ways of thinking and understanding the world with tangible projects that demonstrate best practices during a time of climate change, we are working for mutual healing of the human-land relationship."

For more than 60 years, Betty LaDuke has traveled the globe as an artist and activist, taking her sketchbook and camera to villages in Latin America, Asia, and Africa as well as to remote Papua New Guinea and Borneo. These experiences inspire the large acrylic paintings, prints, and panels she exhibits in art centers and museums around the world. Fiercely independent, LaDuke rarely puts her work up for sale, believing it should be accessible to all. Born in the Bronx, New York, LaDuke received scholarships to the University of Denver; the Cleveland Institute of Art; and the Instituto Allende in San Miguel, Mexico. In 1953-1956, connecting with Mexico’s dynamic mural painters Diego Rivera, David Alfaro Siqueiros and Rufino Tamayo—was a major formative experience. 

After completing a Master’s in Printmaking at California State University in 1964, LaDuke taught at Southern Oregon University in Ashland, Oregon from 1964-1996, retiring as a Professor of Art Emeritus. LaDuke’s international advocacy for the work of women artists began with her first sabbatical to India in 1972. In the years that followed, cultural explorations became the basis for her art organized as circulating exhibits: India Impressions; China, an Outsider's Inside View; Chiapas, Mexico, Land and Liberty; Africa, Myth, Magic, and Reality and Bringing the World Together.

Select works from LaDuke's Turtle Wisdom: Personal, Political, Playful were on display at ScienceWorks November through December 2024. 

Bill is an electrical engineer by training, and photography has long been a part of his life to exercise his right brain. He was initially trained in black-and-white darkroom photography techniques in grade school, taking the photos with his father’s twin-lens Argoflex. In high school, he was the sole photographer for his yearbook and weekly newspaper—shooting, printing, and processing hundreds of feet of film. At the same time, he also worked as a darkroom assistant in a color photo studio specializing in portraiture and aerial photography. Today Bill is primarily a landscape and architecture photographer. He has exhibited in 5 different juried shows in the past 2 years. He has completed several self-published books of photography and is currently working with the Peregrine Fund and the Perelman Performing Arts Center to provide images for their marketing and media needs.

Select works featuring the Aurora Borealis from the perspective of Lofoten, Norway, and Ashland, Oregon were on display at ScienceWorks September through October 2024. 

Artist's Statement 

"I am continually fascinated by the quality of light and texture at the extremes of sunrise and sunset. I work to capture the quiet feeling and possibilities of those special moments."

Shoshanah Dubiner is the child of European immigrants who instilled a love of the arts and learning in their daughter. She started drawing and painting as a child and attended Saturday morning art classes at the Cleveland Art Museum and then the California Palace of the Legion of Honor in San Francisco. Living in Florence, Italy as a high school exchange student in 1960—surrounded by Renaissance art and a people who loved art—was one of the greatest gifts she ever received. Her years studying the humanities at the University of California Berkeley, Harvard and Brandeis honed her strong analytic skills while leaving her powers of imagination intact. After earning a MFA in Theater Design, Shoshanah worked as a costume designer for three years in Italy. In 1978, she became a California Arts Council Artist-in-Residence at the California Academy of Sciences and worked with scientists and researchers in various scientific disciplines.

A course in The Cell at Southern Oregon University (SOU) in 2007 got her interested in the cell and its structures. The world of the tiny captured her attention, and her artwork took a new direction: nature seen through the lens of the microscope and interpreted with myth and metaphor. Her work combined the scientist’s explanations of the universe with the poet’s and the visionary’s view. In 2008, she became an admirer of the books of Lynn Margulis and Dorion Sagan, who gave her a profoundly new interpretation of life on Earth. When Margulis died in 2011, Shoshanah painted a tribute to that great woman scientist: Endosymbiosis: Homage to Lynn Margulis. With its bold colors and energetic forms that express Shoshanah’s enthusiasm for the material, living world, the painting was first shown at the memorial celebration for Margulis in 2012 at the University of Massachusetts Amherst and has since been published in Staying with the Trouble by Donna Haraway, in Critical Zones, published by ZKM Center for Art and Media; and other journals. More recently Shoshanah’s Protocells Triptych, created in collaboration with professor of Biomolecular Engineering David Deamer, was on loan at the Norris Center for Natural History at the University of California Santa Cruz.

Shoshanah has worked with students in the schools; taught classes at SOU's Osher Lifelong Learning Institute about patterns in nature; and created outdoor art about pollinators, pollen, and plants for The Farm at SOU. She is now working on a book of her artwork that shows how an artist transforms her life experience into images. Shoshanah’s goal is to keep painting as long as possible in order to show people how beautiful the earth is.

Select works from Dubiner’s Inspired by Biology collection, and The Pollinator Project, a series of paintings created for The Farm at Southern Oregon University, were on display at ScienceWorks May through June 2024.