In a recent review of Lynn Rothan’s lyrical abstract paintings, Lynn R. Miller writes, “The poetics of apocalyptic filigree, the internal harmonies of marshaled plastic construct, and the dizzy waltz of animal heat all combine in the paintings of Lynn Rothan to form molten sour candy. One part correct art mechanics, one part predictable new-age human spirituality and one part self-regenerating lust, this doyen of less-known Oregon painters somehow offers up images which escape our time to float between electronic, ephemeral and ecclesiastic...This is not elevator painting, this is not mood painting, this is not atmospheric painting, this is painting as portal.”

Of his own work, Dennis Meiners writes, “Thirty-one years ago I fell in love with clay. I found the medium to be delightful, frustrating, mysterious, messy and cantankerous and making stuff out of it was all I wanted to do. For the most part I still feel that way and I’m still trying to figure it out.
“One direction I’m following is the way of functional pottery intended for daily use...My kiln gives me a rich palette of bright syrupy glazes these days, with colors that almost have fragrances. Kiln-opening can be absolutely delightful.
The other direction is toward semi-functional and sculptural work where I can deal directly with ideas and my feelings about contemporary society. With the pieces in this series I can talk about appalling things that I see going on around us and maybe offer suggestions. I continue to have faith in Art’s ability to make things better. It helps me have faith in myself.”