Amiable artist builds images that break down walls

By Jill Spitznass

The Portland Tribune, Jun 3, 2005, Updated Oct 30, 2009

Portland artist Benjamin Alexander Clark has big plans for the old doors stacked in the bed of his equally derelict Dodge pickup.

“I’m going to use them as wainscoting in the house I’m restoring,” he says, lifting a paint-chipped red door to reveal several other colors and styles beneath it.

Such creative vision comes naturally to Clark, whose ability to see the beauty in found materials lays the foundation for both his finish carpentry work and his colorfully energized portraits.

Sheets of plywood, discarded road signs and, yes, doors, are all potential canvases for the boyishly enthusiastic 34-year-old, whose work is capturing the attention of local art collectors and aficionados.

Pairs at P:EAR

Clark gained additional exposure at his recent show at P:EAR, the downtown center that offers educational, recreational and artistic opportunities for homeless youths and hosts a different visiting artist each month.

As May’s guest artist, Clark made himself and his talents available to those who dropped in at the downtown center.

Titled “Citizen P:EAR,” the resulting show was a combination of the kids’ eclectic works and Clark’s portraits of politicians Tom Potter, Vera Katz and Sam Adams and street kids including Alex, Wyndham and Juan.

The juxtaposition of the City Hall notables and the struggling P:EAR clients wasn’t lost on Pink Martini manager and artist John Brodie, who had sponsored Clark’s first show at the now-defunct nightclub La Luna.

“I found the concept of the show sort of amazing Ñ that these are all just people,” he says, adding that he was hooked by Clark’s artistry from the get-go. “His style has this energy, brightness, joy and hope that’s apparent the moment you look at it.”

P:EAR co-director Beth Burns says that one subject was particularly pleased with the way that Clark captured his personality.

“Alex loved his portrait,” Burns says of the painting of a young man with his arms folded and a good-natured smirk on his face. “He just stood here looking at it, saying, ‘That’s cool É that’s cool.’ You could tell he was incredibly happy with it.”

The painting means much more than compelling artistry, she says.

“Part of what holds these kids back is their poor perception of themselves, much of which is based on how society sees them,” Burns says. “That’s why we bring in healthy mentors like Benjamin.”

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