Patricia Freeman-Martin is a mixed media, visual artist who draws from her lifetime of experiences as a cowgirl and rancher in the western landscape of Central and Eastern Oregon.
She grew up and attended school in Pendleton, Oregon. Summers were spent horseback, herding cattle on the Bar C Bar Ranch, 5000 deeded acres and a 30,000 acre Forest Service grazing allotment, 20 miles southwest of Baker City.
She received a BFA, Magna Cum Laude, from the University of New Mexico, Albuquerque, and moved to the East Village of New York City where, for five years, she frequented the art museums and galleries of Manhattan. This deep immersion in fine art expanded her paradigm of personal expression and continued her study of art history.
A visit home to Oregon, and a job managing the cattle for a cutting horse competition, precipitated her return to the West. Living and working in the cattle and horse ranching business, and the landscape of Central and Eastern Oregon, has provided Patricia the opportunity to observe, and draw from life, the iconic symbols of the western landscape.
Exhibition highlights include, Rauschenberg Tribute Exhibition, an International Juried Competition, Museum of the Gulf Coast, Port Arthur, TX, judged by Susan Davidson, Curator at the Solomon R. Guggenheim Museum in New York; Western Edge, two person show at the Clymer Museum in Ellensburg, WA; Patricia Freeman-Martin, one person show at the Pendleton Center for the Arts; and Trick Riders, one person exhibit at Atelier 6000, Bend, OR.
Publications include a feature in issue #15 of The High Desert Journal, and the cover of issue #8. In 2013, Patricia’s hand-made artist books were included in three juried exhibitions. The Mystery of the Donut Bastards, was awarded a Best of Show at 23 Sandy Gallery, Portland, OR. In 2014 Patricia was awarded a Ford Family Foundation Golden Spot Award Artist Residency at Caldera Arts Center.
Practicing a direct-drawing method, in her personal and iconographic drawing style, Patricia builds her dream and memory landscapes from life drawings, photographs, and memories. Allowing the process to influence the outcome of her additive and subtractive studio practice, she “makes tracks” of line and color, circling the general concept of the work’s theme, allowing the image to build in layers until a narrative and symbolic description of the emotional, frozen moment is expressed.