Light blue background with graphic, light lined stylized building with red, yellow, orange, green, and pink flames on rooftop and side left. Text on building placard says "PIGZ". Italic outline text on left of image says "Burn It Down."

Things that have to do with fire

Things that have to do with fire
Vo Vo
February 18 – April 01, 2021

(Portland, OR) Fuller Rosen Gallery is pleased to present Things that have to do with fire, a solo show of new work by Portland-based artist Vo Vo. Their newest series of video, print and large-scale textile banners focus on the social, racial and environmental upheaval during the summer of 2020. Led by the ideals of Black Lives Matter, Antifa and their own background as a radical educator, Vo’s solo show investigates the multitudes of activism and is a call for social justice and global solidarity.

Come with curiosity. Approach with openness.

Opening weekend February 18 – 21, 12-5 pm.
Virtual workshop and artist talk with Vo Vo March 13, 5-6pm.
Email to schedule a viewing appointment or stop by during open gallery hours.

As a 14-year-old I was radicalized by a free contemporary art exhibition downtown. It was a compendium of John Pilger’s journalistic and film work, enlightening me on environmental justice, Indigenous sovereignty, global border conflicts, war reportage, and corporate exploitation. A hand had reached in and switched on the light. Whilst in no way comparing my meagre blip with the gargantuan reach of Pilger’s work, I similarly seek to open an awareness with questions, analysis, knowledge and curiosity; with the hope of reaching towards a trauma-informed, disability justice, harm reduction, and transformative ideal. With the hope that it can plant seeds of learning, discomfort, expansion, conflict, and exploration.

A recent immigrant to the States and a kid of Vietnamese refugees, I often witness the centering of the United States in any dialogue around oppression. Anti-Blackness, militarism, imperialism, colonization, capitalism, racism, environmental degradation and the pandemic are all global problems we face. Don’t let the media crud machine convince you these are only “American issues.” Opening up to international solidarity means gathering insight to creative, inspiring, and proven strategies to create better worlds.

Anarchists and anti-fascists have been constructed as puerile, unthinking neanderthals whilst we seek to end exploitation and abuse of state power; by doing and building

We don’t do it for kicks, we do this out of necessity.

We hold a multitude of experiences and perspectives; we are philosophers, builders, teachers, social workers, mutual aid providers, carers, retail and service industry workers, union organizers, health workers, academics, immigrants, refugees, BIPOC, parents, grandparents, students, and young people. We are compelled by a desire for justice and fueled by the astonishment caused by oppressive and repressive violences. Many critics have come from a spirit of protectionism, bringing in property relations and capitalism as a “tsk tsk” response. We ask people to move away from individualistic and materialistic concerns, and towards collective concerns of the basic human rights for communities to stay alive; to thrive with dignity and feel connectedness and belonging.

This past year, these diametrically opposing weights at each end of the scale have appeared in many forms: debates over mask-wearing, conflict around providing lifesaving financial aid, how we as a society prioritize an abstract economy, convenience and instant gratification over the lived realities and safety of our workers; resulting in the subsequent continued spread of a vicious global pandemic. We find ourselves calling for a unity when again dominant colonial culture and whitewashed liberalism seeks to decide that point of unity.

Consider the questions posed here today. Consider how your actions were to change if you looked beyond your personal, or domestic, needs and experience. Consider tangible steps you can take towards furthering people power, and social and racial justice.

Vo Vo (they/them/theirs) is a radical educator of 11 years in over 20 countries in inclusion, racial justice, intercultural communication, Trauma-Informed Care, De-escalation and Restorative Justice. They have trained staff and board members from over 300 organizations in OR and WA since immigrating to the US in 2014. Editor of an internationally renowned publication, speaker, curator, artist and musician who has exhibited and toured in Australia, Germany, Indonesia, The Netherlands, Singapore, Croatia, Mexico, Finland, Denmark, New Zealand, Vietnam, Sweden, Malaysia, and the UnitedStates. They have curated for IntersectFest: A Festival For and By People Of Color, now in its sixth year. It has featured over 200 Black, Indigenous, and POC artists, including dancers, poets, filmmakers, curators, visual artists and more.

Vo Vo primarily works in textiles, embroidery, weaving, and furniture. Their installations seek to interrogate power dynamics and structural oppression while challenging histories and realities of imperialism, white supremacy, and colonization. They continue to explore support strategies and models of community care within a post traumatic social landscape, focusing on the resilience of BIPOC, LGBTQIA2S+ and disabled communities.

Fuller Rosen Gallery was founded in 2018 by artists EM Fuller (she/her) and BriAnna Rosen (she/her) as a collaborative curatorial project. The gallery exhibits regional and national artists who address urgent, contemporary issues. Fuller Rosen Gallery is located at 1928 NW Lovejoy St. in Portland, OR and is ADA accessible. The gallery is open Thursday – Sunday from 12 to 5 PM and by appointment.

COVID-19 Protocols
Please do not visit the gallery if you are experiencing COVID-19 symptoms, have been in contact with someone who is experiencing symptoms, and/or has tested positive for COVID-19

Maximum 4 guests allowed inside gallery
Maintain a minimum 6-foot distance from one another
Wear an effective face mask at all times
Please be courteous to our neighbors and maintain social distancing



Photo collage of Panteha Abareshi performing. There is a grid of nine images evenly spaced on a background with a circular gradient that transitions from red in the center, to yellow, and turquoise at the edges. Each of the images shows the performer in a different moment. They are wearing white under garments and knee pads and using two crutches. At the bottom of the image, the word PANTEHA appears in thin, black, sans serif text.


For Immediate Release: 12/13/2020

Panteha Abareshi and Kayley Berezney
December 17, 2020 – February 04, 2021

(Portland, OR) Fuller Rosen Gallery presents NO SANCTUARY, a two-person show of new work by Panteha Abareshi and Kayley Berezney. Set against the backdrop of a global pandemic, NO SANCTUARY explores the intimate relationship each artist has with their own health.

Panteha Abareshi’s practice is rooted in her existence as a body with a genetic blood disorder that causes debilitating, chronic pain. In her video and performance work, Panteha uses her body as the subject to navigate treatment, isolation, and identity in a society that has labeled her ‘fragile’ or ‘unhealthy.’ In Kayley Berezney’s sculptural installation and paintings, she references the body at rest as objective material. Plaster and expandable foam create a visual language surrounding cancer and its treatment. Kayley will also release a gallery-exclusive publication as a supplement to her work in NO SANCTUARY.
Opening weekend December 17 – 20, 12-5 pm.

Email to schedule a viewing appointment or stop by during open gallery hours.

Panteha Abareshi’s condition and hospitalization have informed her perceptions of body and self almost her entire life. Her practice is an exploration of these identities, articulating the fear, insecurities, and confusion around her own illness. In her use of performance, video, and sculpture, the goal is to make viewers aware of their own body, the realities of mortality, and the complexities of empowerment in the face of literal powerlessness.

In her video FOR PARTS, Panteha contemplates how the body changes after receiving prosthetics and medical implants. She performs a series of physically challenging positions and movements with a pair of crutches, breaking away from the able-bodied standard of performance, appearance, and behavior that dictates what is considered ‘human’ and ‘subhuman.’ She confronts living with a body that is becoming defunct, and the process from body to machine, from organic to inorganic.

Kayley Berezney’s work in NO SANCTUARY documents moments collected from the body at rest. Each of the varied plaster and expandable foam sculptures exist as a gesture or implied action; a head laid on a pillow, a makeshift chair to sit in. Some of the pieces are especially cranial, showing their weight and exhaustion atop a foam base.

The plaster sculptures are molds taken from places the artist often frequents in her Brooklyn neighborhood—their imprinted surfaces feel at once manufactured and organic. Upon further inspection the materials begin to reveal themselves. A deep maroon stain pools at the surface of Almonds and Wine, the materials list reads like some sort of potion: wine, Ibrance 100mg, almonds, almond oil, salt, plaster of Paris, epoxy. The addition of these items imbue the plaster objects with a charged power, aware of its state of constant change and a reminder that they will eventually break down.

Panteha Abareshi is an artist based in Los Angeles, CA. Her practice centers around performance, video, and installation in relation to her life with sickle cell zero beta thalassemia. Panteha’s work has recently been featured in Hyperallergic and Bitch Magazine, and her own artist book I AM INSIDE THE BODY was recently published by Sming Sming Press. Her public art installation I Do Not Know What Safety Is can be viewed on a billboard in Brooklyn on the corner of Park Ave. and Emerson. In August, she led two nights of conversation at the ICA LA titled Filling the Void: Confronting Ableism in the Art Space where she spoke on the vital need for disabled perspective in the gallery/museum space. She has been a resident at Human Resource LA, and is currently studying at USC Roski School of Fine Art.

Kayley Berezney is an interdisciplinary artist based in Brooklyn, NY. She holds a BFA in Painting & Sculpture from The College of Saint Rose and an MFA in Contemporary Art Practice from Portland State University. Berezney has exhibited throughout the United States including Massery Gallery, Piccotte Gallery, Essex Gallery, Mad Lark, Center for Art and Design, Silent Barn, Pioneer Works, Littman Gallery, Disclaimer Gallery, and Field Projects. Since 2013, Berezney has been a member of Big Irv’s; an artist collective and gallery. She currently works at a mural company and has been active in bringing a voice to disabled and chronically ill artists through her project Victory Dolphin Grrls. Her exhibitions have been featured in Portland Mercury, The Oregonian, and KOIN 6, among others.

Fuller Rosen Gallery was founded in 2018 by artists EM Fuller (she/her) and BriAnna Rosen (she/her) as a collaborative curatorial project. The gallery exhibits national and international artists who address urgent, contemporary issues. Fuller Rosen Gallery is located at 1928 NW Lovejoy St. in Portland, OR and is ADA accessible. The gallery is open Thursday – Sunday from 12 to 5 PM and by appointment.

COVID-19 Protocols
Please do not visit the gallery if you are experiencing COVID-19 symptoms, have been in contact with someone who is experiencing symptoms, and/or has tested positive for COVID-19

Maximum 4 guests allowed inside gallery
Maintain a minimum 6-foot distance from one another
Wear an effective face mask at all times
Please be courteous to our neighbors and maintain social distancing outside



A blackboard with layers upon layers of writing in Persian, equations, and diagrams written in white chalk.

Pantea Karimi: The Unbearable Lightness of Mathematics

Sep 12, 3-6 PM; Sep 19, 12-6 PM; Oct 3, 12-6 PM; and Oct 17, 3-6 PM

Since 2014, Pantea Karimi’s work has been an exploration into the pages of medieval and early modern scientific manuscripts. Karimi’s current project reflects on her intensive science training in high-school with the aim of becoming a doctor; a goal that she abandoned to pursue an art career. This project revisits her interest in the topic through the lens of art.

White and branded footwear, bright-colored socks, and backpacks, polished nails, makeup kits, cassettes, and glossy posters of Western celebrities were the forbidden items that kept hundreds of teenage girls—who were otherwise sheathed in full hijabs—at the schoolyard before attending their classes. The long lines and the frustrating process of searching for these items by the school authorities were to assure that everyone conformed to the rules of public life in the Islamic Republic of Iran. The story of coming-of-age in post-revolutionary Iran is accompanied by the pressure placed on the youth for excelling in mathematics, arguably the most esteemed subject of study in Iran.

“The Unbearable Lightness of Mathematics” is Pantea Karimi’s personal story of four years of science education in the late 80s under the Islamic Republic of Iran.

For this solo exhibition at the Mercury 20 Gallery, Karimi has made a series of mock blackboards animated by chalk-written mathematical formulas topped with the phrase In the Name of God in Persian as well as the iconic headshots of Iran’s revolutionary leaders. The black thread formation and marked spots on the floor are reminders of the long lines in her schoolyard and the atmosphere she experienced every morning before her class. Ironically these demarcations are also familiar during the COVID-19 pandemic. Coupled with a few “forbidden” objects mounted amid the gallery, Karimi reconstructs her Iran’s science classroom of the 1980s. While a personal story, this exhibition connotes a restrictive educational system that did not leave much room for focused-learning or personal explorations. This poignant anxiety is captured through the gradual fading of the contents of the mock blackboards. Mathematics was, indeed, too abstract and aloof to stimulate the articulation of subversive thoughts, artistic sentiments, and socio-political views. Unbearably “light” for the “heavy” environment in which it was taught, mathematics is both the agonizing and the celebrated protagonist in this exhibition.

An exhibition flyer for SPECTRUM at Third Room, featuring artists Francis Dot and Pace Taylor

Spectrum: Francis Dot & Pace Taylor

From the gallery press release:

Please join us in celebrating the works of Francis Dot and Pace Taylor in SPECTRUM, an exhibition that was set to open in May and has been postponed until now, due to the unprecedented COVID-19 outbreak. We are now fortunate to be able to offer a distanced opening on September 4th from 7-9pm (masks required, limited people in the gallery at one time), as well as by appointment and online thru Oct 3rd. Email Todd at for a private viewing appointment.

SPECTRUM is the difference that matters. SPECTRUM is differentiated and covers myriad forms of expression and forms of thought that are ever-expanding. SPECTRUM is one way of figuring the syntax of what it means to be human in which all semantic forms of meaning that had clothed and enwrapped humanity have fallen away and have become history. SPECTRUM is one trajectory at taking a stab at what this implies.

Francis Dot and Pace Taylor are two artists who locate themselves as different instantiations of the SPECTRUM and were invited to present elements and particles of their practice, identity, history and consciousness of themselves as they are situated in relation to their relative experiences. If there is a logic to be teased out of this exhibition it is that of disparate elements combining, of two artisans fashioning their own garments of creation and factors of their own selves for all to see. The all-capitalization of SPECTRUM as word and as title points to the fact that whereas artists formerly made and presented their work within the context of the continuity of meanings, they now do so now without expectations, without any tethering, outside of any narrative that is not their own, and carrying contents poured out, contents that never empty. Curated by Third Room council member Todd Molinari.

Third Room was started as a DIY project space in 2017. Since then, it has become an accessible go-to for showing experimental and emerging projects by young artists both in the Portland arts scene and nationwide. Third Room aims to support artists in earnest endeavors, to do the most with the least, through an ethic of solidarity and appreciation. For more info or to see exhibits of our past shows, check out