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| Gallery Notes September-October 2008 |
News of the Visual Arts
Seattle edition
Julie Blackmon: September Exhibit Feature at G. Gibson
This exhibit is titled Domestic Vacations. The Dutch proverb “a Jan Steen
household” originated in the 17th century and is used today to refer to a home in
disarray, full of rowdy children and boisterous family gatherings. The paintings of
Steen, along with those of other Dutch and Flemish genre painters, helped inspire
this body of work. I am the oldest of nine children and now the mother of three. As
Steen’s personal narratives of family life depicted nearly 400 yrs. ago, the conflation
of art and life is an area I have explored in photographing the everyday life of my
family and the lives of my sisters and their families at home. These images are
both fictional and auto-biographical, and reflect not only our lives today and as
children growing up in a large family, but also move beyond the documentary to
explore the fantastic elements of our everyday lives, both imagined and real.
September 4 - October 11: (Reception & book signing on Sept. 4th)
This exhibit is titled Domestic Vacations. The Dutch proverb “a Jan Steen
household” originated in the 17th century and is used today to refer to a home in
disarray, full of rowdy children and boisterous family gatherings. The paintings of
Steen, along with those of other Dutch and Flemish genre painters, helped inspire
this body of work. I am the oldest of nine children and now the mother of three. As
Steen’s personal narratives of family life depicted nearly 400 yrs. ago, the conflation
of art and life is an area I have explored in photographing the everyday life of my
family and the lives of my sisters and their families at home. These images are
both fictional and auto-biographical, and reflect not only our lives today and as
children growing up in a large family, but also move beyond the documentary to
explore the fantastic elements of our everyday lives, both imagined and real.
September 4 - October 11: (Reception & book signing on Sept. 4th)
Jay Macdonell: Blown
Glass Sculpture
Jay Macdonell's whimsical glass
sculptures are a celebration of
potential growth. Inspired by the
undulating forms of unplanted
bulbs and the colorful flowers that
later spring from them, his new
work is full of energy, hopefulness
and life. Brilliant color, sensual
form, and rich texture interact to
create a sense of movement and
levity.
September 5-28, 2008
Opening Reception: September 4,
5-8pm.
Image on right: Untitled
Traver Gallery 110 Union
Street #200
Seattle, WA 98101
Glass Sculpture
Jay Macdonell's whimsical glass
sculptures are a celebration of
potential growth. Inspired by the
undulating forms of unplanted
bulbs and the colorful flowers that
later spring from them, his new
work is full of energy, hopefulness
and life. Brilliant color, sensual
form, and rich texture interact to
create a sense of movement and
levity.
September 5-28, 2008
Opening Reception: September 4,
5-8pm.
Image on right: Untitled
Traver Gallery 110 Union
Street #200
Seattle, WA 98101
CoCA to host Photography Slide Show
CoCA will be hosting the "SlideLuck CoCAShow" in September, in
collaboration with the Seattle chapter of SlideLuck PotShow
(www.slideluckpotshow.com). This art house version of the popular
photography slide show will feature a month long exhibition of selection prints
from participating artists with an artist reception on Thursday, September 4th.
The slide show pot luck dinner will be hosted on Thursday Sept 11th
CoCA will be hosting the "SlideLuck CoCAShow" in September, in
collaboration with the Seattle chapter of SlideLuck PotShow
(www.slideluckpotshow.com). This art house version of the popular
photography slide show will feature a month long exhibition of selection prints
from participating artists with an artist reception on Thursday, September 4th.
The slide show pot luck dinner will be hosted on Thursday Sept 11th
Abstracts of Matt Jones Featured
at The Gasworks
The artist's abstract works are typically large,
upwards of 6 to 7 feet and very heavily textured. His
pieces are remindful of Jackson Pollock's, both
expressive and dynamic.
Image on left: Untitled Metallic (48 x 60")
The Gasworks Gallery 3815 4th Ave
NE Seattle, WA 98105
at The Gasworks
The artist's abstract works are typically large,
upwards of 6 to 7 feet and very heavily textured. His
pieces are remindful of Jackson Pollock's, both
expressive and dynamic.
Image on left: Untitled Metallic (48 x 60")
The Gasworks Gallery 3815 4th Ave
NE Seattle, WA 98105
___________________________________
Julie Blackmon, American Gothic, 2008
archival pigment print
archival pigment print
Julie Blackmon, Party Lights, 2008
archival pigment print
archival pigment print
___________________________________
G. Gibson Gallery 300 S. Washington St. Seattle WA 98104
Foster/White Gallery 220 Third Avenue South, Seattle
WA 98104
WA 98104
Casey McGlynn and Visual Remnants at
Foster/White
Casey McGlynn is a self-taught artist from rural Ontario, Canada. He is a
featured artist at Foster/White Gallery in Rainer Square.
In his paintings, images of animals set against backgrounds of intricate
patterns are often accompanied by bits of text painted directly on the canvas.
McGlynn demonstrates a broad knowledge of historical and cultural
anxieties; the piece One-Sixteenth Cherokee alludes to the requirements
imposed by both the government and the tribes in order to “prove” ancestry.
Bits of national flags, human figures, mountains, rockets, and trucks collide,
overlap, and dart across the picture plane; these are the visible remnants of
McGlynn’s impulses. In less explicitly critical works, McGlynn evokes
archetypical childhood memories amidst decorative repetition and the
natural landscape, creating a visual playground.
Foster/White
Casey McGlynn is a self-taught artist from rural Ontario, Canada. He is a
featured artist at Foster/White Gallery in Rainer Square.
In his paintings, images of animals set against backgrounds of intricate
patterns are often accompanied by bits of text painted directly on the canvas.
McGlynn demonstrates a broad knowledge of historical and cultural
anxieties; the piece One-Sixteenth Cherokee alludes to the requirements
imposed by both the government and the tribes in order to “prove” ancestry.
Bits of national flags, human figures, mountains, rockets, and trucks collide,
overlap, and dart across the picture plane; these are the visible remnants of
McGlynn’s impulses. In less explicitly critical works, McGlynn evokes
archetypical childhood memories amidst decorative repetition and the
natural landscape, creating a visual playground.
Casey McGlynn, Untitled (I am Gr8), 2008, mixed media on canvas,
32 x 46 inches
32 x 46 inches
___________________________________
Gregory Deane and Pino Cherchi at Susan Woltz
Gallery
An Abstract Expressionist, Gregory Deane communicates his ideas with an
increased sense of spontaneity. Asian influence is most prominent in his
multifaceted collage paintings which often incorporate antique Asian papers
and calligraphic imagery.
His complex mixed media paintings are full of energy and vibrant with broad
strokes of color.
September 4 – 30, 2008 with opening reception for artist September 4th, 5:00 –
8:00
Italian glass artist, Pino Cherchi is well known for his innovative glass and
metal sculptures. His work is colorful and often kinetic with center wheels
rotating.
Formally educated in France and Italy , Pino is internationally represented and
his work is in corporate and private collections.
October 2 – November 4, 2008 with opening reception for the artist October 2, 5:
00 – 8:00.
Gallery
An Abstract Expressionist, Gregory Deane communicates his ideas with an
increased sense of spontaneity. Asian influence is most prominent in his
multifaceted collage paintings which often incorporate antique Asian papers
and calligraphic imagery.
His complex mixed media paintings are full of energy and vibrant with broad
strokes of color.
September 4 – 30, 2008 with opening reception for artist September 4th, 5:00 –
8:00
Italian glass artist, Pino Cherchi is well known for his innovative glass and
metal sculptures. His work is colorful and often kinetic with center wheels
rotating.
Formally educated in France and Italy , Pino is internationally represented and
his work is in corporate and private collections.
October 2 – November 4, 2008 with opening reception for the artist October 2, 5:
00 – 8:00.
Pino Cherchi, Happa II 17 x 29 Glass & Mixed Media
Gregory Deane, Destinies Note, mixed
media (60” x 18” ea.)
media (60” x 18” ea.)
___________________________________
Susan Woltz Gallery 307 Occidental Ave S Seattle, 98104
Two exhibitions opening at Fetherston Gallery
Benton Peugh will show recent paintings and works from the 70’s 80’s and 90’s.
David Konigsberg will exhibit new paintings.
The two exhibitions will be on view from Friday, September 12 through Saturday,
October 18, 2008.
In Gallery I
Benton Peugh, like many landscape painters, has a diverse and textural
background, containing many intellectual divergences and absorbing many
stylistic influences. For the first time in a career spanning 35 years, the artist will
display a collection of retrospective works along with his most recent paintings.
In his most current body of work, the painter has followed the path that fascinates
the most intrepid landscape painters in their late careers, the mythic pursuit of
pure light and shadow. In a series of landscape studies, once again Peugh
uses a universally symbolic landscape as an excuse to paint light as defined by
shadow in layers saturated color. Using acrylic paint in a deceiving way, the
paintings look more like oil and even encaustic, with richly polished surfaces and
layer upon layer of thin and amorphous glazes of high chroma color.
Peugh will be showing a series of 12 paintings ranging in size from 30”x30” to 48”
x60”. The paintings in this series are a study that culminates in a large-scale
landscape that is the largest work this artist has ever painted. The retrospective
work will reveal Peugh as a highly trained figurative draftsman and a witty satirist
using doll-like creatures to portray disarray and the deconstruction of polite
society. In a collection of works on paper we will be invited to understand the
artists current work by glimpsing into the past. Peugh will present a slide lecture
with works from the 70’s 80’s 90’s.
Benton Peugh has shown widely in solo and group shows throughout the United
States since 1971. He holds an MFA in painting and sculpture from Rutgers
University. He has shown at the Phoenix Art Museum, Scottsdale Museum of
Contemporary Art, Whitney Museum NY, and the Frank Lloyd Wright Foundation.
Benton Peughs paintings are in the permanent collections of Scottsdale Museum
of Contemporary Art, Hyatt Regency Hotel, Swedish Medical Center Collection,
and Nordstrom Inc.
In Gallery II
David Konigsberg lives and works in Brooklyn, NY. A prominent member of the
borough’s thriving Gowanus artist community, he has gained an audience on
both coasts with paintings and drawings that reference the classics yet display a
thoroughly contemporary, conceptual sensibility. In a catalog for his 2002 show
at the Allen Sheppard Gallery in New York, curator Margaret Neill described
Konigsberg’s visual path as pleasurable and enticing . . . (His) work occupies a
nether world of image and memory in very personal narratives . . . As viewers, we
become involved in the artist's drama, a universal one, of what it means to be
human.
Konigsberg left a brief career as a journalist in 1989 and has been exhibiting in
and around New York since 1991. Venues include Allen Sheppard Gallery, the
Kentler International Drawing Space in Red Hook, Brooklyn, and Fetherston
Gallery in Seattle. Konigsberg is curated of “Where the Island Begins,” a survey
of art from the Brooklyn waterfront at Long Island’s Hofstra Museum (June 2004).
Fetherston Gallery 818 East Pike Street, Seattle WA 98122
Benton Peugh will show recent paintings and works from the 70’s 80’s and 90’s.
David Konigsberg will exhibit new paintings.
The two exhibitions will be on view from Friday, September 12 through Saturday,
October 18, 2008.
In Gallery I
Benton Peugh, like many landscape painters, has a diverse and textural
background, containing many intellectual divergences and absorbing many
stylistic influences. For the first time in a career spanning 35 years, the artist will
display a collection of retrospective works along with his most recent paintings.
In his most current body of work, the painter has followed the path that fascinates
the most intrepid landscape painters in their late careers, the mythic pursuit of
pure light and shadow. In a series of landscape studies, once again Peugh
uses a universally symbolic landscape as an excuse to paint light as defined by
shadow in layers saturated color. Using acrylic paint in a deceiving way, the
paintings look more like oil and even encaustic, with richly polished surfaces and
layer upon layer of thin and amorphous glazes of high chroma color.
Peugh will be showing a series of 12 paintings ranging in size from 30”x30” to 48”
x60”. The paintings in this series are a study that culminates in a large-scale
landscape that is the largest work this artist has ever painted. The retrospective
work will reveal Peugh as a highly trained figurative draftsman and a witty satirist
using doll-like creatures to portray disarray and the deconstruction of polite
society. In a collection of works on paper we will be invited to understand the
artists current work by glimpsing into the past. Peugh will present a slide lecture
with works from the 70’s 80’s 90’s.
Benton Peugh has shown widely in solo and group shows throughout the United
States since 1971. He holds an MFA in painting and sculpture from Rutgers
University. He has shown at the Phoenix Art Museum, Scottsdale Museum of
Contemporary Art, Whitney Museum NY, and the Frank Lloyd Wright Foundation.
Benton Peughs paintings are in the permanent collections of Scottsdale Museum
of Contemporary Art, Hyatt Regency Hotel, Swedish Medical Center Collection,
and Nordstrom Inc.
In Gallery II
David Konigsberg lives and works in Brooklyn, NY. A prominent member of the
borough’s thriving Gowanus artist community, he has gained an audience on
both coasts with paintings and drawings that reference the classics yet display a
thoroughly contemporary, conceptual sensibility. In a catalog for his 2002 show
at the Allen Sheppard Gallery in New York, curator Margaret Neill described
Konigsberg’s visual path as pleasurable and enticing . . . (His) work occupies a
nether world of image and memory in very personal narratives . . . As viewers, we
become involved in the artist's drama, a universal one, of what it means to be
human.
Konigsberg left a brief career as a journalist in 1989 and has been exhibiting in
and around New York since 1991. Venues include Allen Sheppard Gallery, the
Kentler International Drawing Space in Red Hook, Brooklyn, and Fetherston
Gallery in Seattle. Konigsberg is curated of “Where the Island Begins,” a survey
of art from the Brooklyn waterfront at Long Island’s Hofstra Museum (June 2004).
Fetherston Gallery 818 East Pike Street, Seattle WA 98122
___________________________________
September 4 - October 11, 2008
Julie Blackmon: Domestic Vacations; Francesca
Berrini: Mapquest
Artists' Reception & Book Signing for Julie Blackmon
Thursday, September 4th, 6 - 8 p.m.
(August 18 - September 3 : Gallery open by appt.)
October 16 - November 22:
Mark Thompson, Maija Fiebig, & Marc Dennis - Three Painters
& Work by Richard Misrach
Julie Blackmon: Domestic Vacations; Francesca
Berrini: Mapquest
Artists' Reception & Book Signing for Julie Blackmon
Thursday, September 4th, 6 - 8 p.m.
(August 18 - September 3 : Gallery open by appt.)
October 16 - November 22:
Mark Thompson, Maija Fiebig, & Marc Dennis - Three Painters
& Work by Richard Misrach
G Gibson Gallery, 300 South Washington Street, Seattle, WA 98104
Photographer, curator, juror and educator, Wiese's involvement with
photography spans more than four decades. He has conducted field and
darkroom workshops and continues to lecture and conduct seminars on
subjects relative to the creative aspects of photography.
Artist Statement: "My photography doesn’t define what I do, rather it defines
how I think. My work has been characterized as dark, gothic, moody and
somewhere along the line as “neo-pictorialist.” Someone once remarked (I’m
sure with tongue-in-cheek) that to know my work was to know the difference
between Vivaldi and Wagner.
"What my work “is” or where it “fits in” doesn’t really concern me. My
photographs are metaphorical, they are from my imagination. They reflect the
way I see and feel about those things which arouse my curiosity and
imagination. Each of you may see and feel something different, this is as it
should be. I feel there’s little value in “art-speak”, self indulgent analysis or
pseudo-intellectual rhetoric. Venturing beyond the mere emotion of seeing
and feeling, and attempting to understand what was intended or meant to be
or is or isn’t, is irrelevant, it is the viewer who, after all, makes the final
determination of meaning."- Larry Wiese
photography spans more than four decades. He has conducted field and
darkroom workshops and continues to lecture and conduct seminars on
subjects relative to the creative aspects of photography.
Artist Statement: "My photography doesn’t define what I do, rather it defines
how I think. My work has been characterized as dark, gothic, moody and
somewhere along the line as “neo-pictorialist.” Someone once remarked (I’m
sure with tongue-in-cheek) that to know my work was to know the difference
between Vivaldi and Wagner.
"What my work “is” or where it “fits in” doesn’t really concern me. My
photographs are metaphorical, they are from my imagination. They reflect the
way I see and feel about those things which arouse my curiosity and
imagination. Each of you may see and feel something different, this is as it
should be. I feel there’s little value in “art-speak”, self indulgent analysis or
pseudo-intellectual rhetoric. Venturing beyond the mere emotion of seeing
and feeling, and attempting to understand what was intended or meant to be
or is or isn’t, is irrelevant, it is the viewer who, after all, makes the final
determination of meaning."- Larry Wiese
Larry Wiese Featured at Wall Space Gallery
___________________________________
Roy's Motel - Amboy
Wall Space 600 First Avenue, Ste 322, Seattle, WA 98104
___________________________________
Gallery 110: Toy
September 4-27, 2008 Main Gallery:
Susan Arthur, Sarah Dillon, Alexandra Gjurasic, Grace Weston,
Ellen Wixted, Tomoko Yoshitake
Toys are teaching tools, little cultural manipulators directing us to this role, that
paradigm. Toys reflect the culture we live in. Even Barbie has evolved from a
Ken-dependent swimsuit model with a demure sideways glance into a career
girl with a direct, in-your-face gaze. Toys are for play, for flights of imagination,
psychological projection and preparation for adult life. As artistic subject
matter, toys act as surrogates, allowing experimentation with the inexpressible
and forbidden.
Above: Sarah Dillon, Real Estate, Oil on Canvas, 2008
Loft Gallery:
Holly Ives: Modified Bouquet
Holly Ives' new series of flower portraits explore the new and more traditional
forms of flower hybridization. With a focus on GMO (Genetically Modified
Organisms) or GEO (Genetically Engineered Organisms), the artist asks us to
pick a bouquet of what we would like on the table. What lengths will we go to
for the "perfect" flower? How far will we/ can we stretch the boundaries of
nature with technology?
Main Gallery:
Paper Installations: Works by Kate Sweeney and
Molly Norris
October 2- November 1, 2008
Artists' Preview Reception: Wednesday, October 1st, 2008, 6-8pm
First Thursday Exhibition Opening: October 2nd, 2008, 6-8pm
Kate Sweeney's new works explore the energy and nature of the earliest
moments of the universe. Her piece entitled "Study for the Big Bang" consists
of the artist's signature scientific-inspired imagery on branching, shaped
paper pieces.
Loft Gallery: Gordon Nealy: Stations of a Cross
September 4-27, 2008 Main Gallery:
Susan Arthur, Sarah Dillon, Alexandra Gjurasic, Grace Weston,
Ellen Wixted, Tomoko Yoshitake
Toys are teaching tools, little cultural manipulators directing us to this role, that
paradigm. Toys reflect the culture we live in. Even Barbie has evolved from a
Ken-dependent swimsuit model with a demure sideways glance into a career
girl with a direct, in-your-face gaze. Toys are for play, for flights of imagination,
psychological projection and preparation for adult life. As artistic subject
matter, toys act as surrogates, allowing experimentation with the inexpressible
and forbidden.
Above: Sarah Dillon, Real Estate, Oil on Canvas, 2008
Loft Gallery:
Holly Ives: Modified Bouquet
Holly Ives' new series of flower portraits explore the new and more traditional
forms of flower hybridization. With a focus on GMO (Genetically Modified
Organisms) or GEO (Genetically Engineered Organisms), the artist asks us to
pick a bouquet of what we would like on the table. What lengths will we go to
for the "perfect" flower? How far will we/ can we stretch the boundaries of
nature with technology?
Main Gallery:
Paper Installations: Works by Kate Sweeney and
Molly Norris
October 2- November 1, 2008
Artists' Preview Reception: Wednesday, October 1st, 2008, 6-8pm
First Thursday Exhibition Opening: October 2nd, 2008, 6-8pm
Kate Sweeney's new works explore the energy and nature of the earliest
moments of the universe. Her piece entitled "Study for the Big Bang" consists
of the artist's signature scientific-inspired imagery on branching, shaped
paper pieces.
Loft Gallery: Gordon Nealy: Stations of a Cross
Molly Norris pays homage to paper -- "art
history's underdog" -- by building pure, white
on off-white sculptures. This exhibit includes
both 3D wall pieces along with a hanging work
inspired by the artist's grandmother's weeping
mulberry tree -- a nod to nature becoming
culture because the tree was a dwelling to
walk inside of, and the fact of mulberry paper.
Norris's process -- pencil marks, cuts, glue --
become a part of the aesthetic of these
permanence-defying riffs on her signature,
stylized flower.
history's underdog" -- by building pure, white
on off-white sculptures. This exhibit includes
both 3D wall pieces along with a hanging work
inspired by the artist's grandmother's weeping
mulberry tree -- a nod to nature becoming
culture because the tree was a dwelling to
walk inside of, and the fact of mulberry paper.
Norris's process -- pencil marks, cuts, glue --
become a part of the aesthetic of these
permanence-defying riffs on her signature,
stylized flower.
Gallery 110 110 S. Washington St. Seattle, WA 98104
___________________________________
Tracy Kay Fraker: Building Imagery Layers of Meaning,
Media and Texture
Artist's Preview Reception: Wednesday, September 3, 2008, 6-8pm
First Thursday Exhibition Opening, Thursday, September 4, 2008,
6-8pm Cutting Edge Technique Demonstration: September 13,
3:30-5pm.
Media and Texture
Artist's Preview Reception: Wednesday, September 3, 2008, 6-8pm
First Thursday Exhibition Opening, Thursday, September 4, 2008,
6-8pm Cutting Edge Technique Demonstration: September 13,
3:30-5pm.
Tracy Kay Fraker believes that even
non-representational art should
provide a reassuring sense of
purpose. Fraker is drawn to the
passage of time, which she
represents with natural earth forms
such as stones, trees, wings, clouds,
sky and atmosphere.
She is also drawn to the human
relationship with time, and human
perception of the passing of time by
employing images of faces to
express self perception.
Combined, these representational
elements behave as vocabulary in
her abstract constructions to draw
our attention to the relationship
between time, earth and how they are
perceived.
non-representational art should
provide a reassuring sense of
purpose. Fraker is drawn to the
passage of time, which she
represents with natural earth forms
such as stones, trees, wings, clouds,
sky and atmosphere.
She is also drawn to the human
relationship with time, and human
perception of the passing of time by
employing images of faces to
express self perception.
Combined, these representational
elements behave as vocabulary in
her abstract constructions to draw
our attention to the relationship
between time, earth and how they are
perceived.
Tracy Kay Fraker, There's Language in
Her Eyes, acrylic on canvas, 24 x 18
inches
Her Eyes, acrylic on canvas, 24 x 18
inches
Marni Muir Fine Art 112 S. Washington St. Seattle, WA 98104
___________________________________
The cross is an emotionally burdensome
symbol. Its most obvious reference is in
Christianity. However, when altered only a
dash it becomes useful in maps, signs, media
and other design. Nealy was inspired by the
biblical story behind the stations of the cross
and Barnett Newman's series - Stations of the
Cross. His intended use of this symbol is as
a character in the context of color and
placement. He endeavored to empower the
works with more optimism and confidence
while maintaining their connection to the
initial inspirations.
symbol. Its most obvious reference is in
Christianity. However, when altered only a
dash it becomes useful in maps, signs, media
and other design. Nealy was inspired by the
biblical story behind the stations of the cross
and Barnett Newman's series - Stations of the
Cross. His intended use of this symbol is as
a character in the context of color and
placement. He endeavored to empower the
works with more optimism and confidence
while maintaining their connection to the
initial inspirations.
Richard Marquis (blown glass sculpture) September 13 –
October 5, 2008 Reception: Saturday, September 13, 5 – 8 pm
A solo exhibition featuring new work by world-renowned glass artist Richard
Marquis. Marquis is admired for his sophisticated understanding of color and
form as much as for his humor and willingness to experiment. He has
influenced an entire generation of artists working in glass who aspire to his
technical mastery and the originality of his voice.
Jamie Walker (ceramic sculpture) October 11 – November 9,
2008 Reception: Saturday, October 11, 5 – 8 pm
Ceramic sculpture by University of Washington Professor Jamie Walker. The
show includes a series of wall-mounted, semi-abstract cloud forms, which play
on the inherent contradiction between the ephemeral nature of their subject
matter and the concrete, timelessness of sculptural objects.
October 5, 2008 Reception: Saturday, September 13, 5 – 8 pm
A solo exhibition featuring new work by world-renowned glass artist Richard
Marquis. Marquis is admired for his sophisticated understanding of color and
form as much as for his humor and willingness to experiment. He has
influenced an entire generation of artists working in glass who aspire to his
technical mastery and the originality of his voice.
Jamie Walker (ceramic sculpture) October 11 – November 9,
2008 Reception: Saturday, October 11, 5 – 8 pm
Ceramic sculpture by University of Washington Professor Jamie Walker. The
show includes a series of wall-mounted, semi-abstract cloud forms, which play
on the inherent contradiction between the ephemeral nature of their subject
matter and the concrete, timelessness of sculptural objects.
Traver Gallery – Tacoma 1821 E. Dock Street #100 Seattle,
WA 98402
WA 98402
___________________________________
Carla Dimitriou: New Encaustics September 15 – October
31, 2008 Reception with the Artist: Wednesday September 17, 5 to 8
p.m.
31, 2008 Reception with the Artist: Wednesday September 17, 5 to 8
p.m.
Dimitriou, a graduate of Cornish
College of the Arts and the
Vermont College, is an
accomplished painter with a talent
for combining unusual imagery
and materials in her work.
Her new work incorporates
spiritual
and iconographic imagery, textual
fragments, and a cast of animal
characters into complex images
that examine human belief
structures.
The textures of encaustic are
particularly suited to Dimitriou’s
aesthetic, allowing her to layer
book pages, fortune cookie texts,
and photographs into the painted
surface. An artist of rare
intelligence, Dimitriou mixes
empathy, ethics, and more than a
dash of humor to create visually
sumptuous images that provide
ample food for thought
College of the Arts and the
Vermont College, is an
accomplished painter with a talent
for combining unusual imagery
and materials in her work.
Her new work incorporates
spiritual
and iconographic imagery, textual
fragments, and a cast of animal
characters into complex images
that examine human belief
structures.
The textures of encaustic are
particularly suited to Dimitriou’s
aesthetic, allowing her to layer
book pages, fortune cookie texts,
and photographs into the painted
surface. An artist of rare
intelligence, Dimitriou mixes
empathy, ethics, and more than a
dash of humor to create visually
sumptuous images that provide
ample food for thought
Baas Art Gallery and Framing 2703 East Madison Seattle,
WA 98112
WA 98112
___________________________________
Allegories and Enigmas at Pacini Lubel
September 4 -22 , 2008
Elena Korakianitou will exhibit her new paintings in this solo show.
Korakianitou received her B.F.A degree in Fine Art from Cornish Institute of
Allied Arts. She has studied art and art history in Athens, Greece; Ecole Des
Beaux Arts, Paris; and the University of Washington. Her paintings envelop
themes of spirituality, mythology and the buoyancy of the human soul.
Insightful, whimsical and seemingly mystical, her paintings portray a deeper
investigation into an imaginary world that parallels her everyday life.
October 2 -31, 2008
Catharine Newell uses frit and layers of glass to creating her signature
portraits. In this exhibit Newell presents an installation of figurative sketches
on crumpled sheets of glass “paper.” Her work appears as if casted about by
the winds; some scattered in corners, floating up wall, or stacked in elegant
piles. Each piece is a collection of personalities; captured, momentary and
illuminating.
November 6 6-29, 2008
From his new series titled A Table In The Wilderness, Eric Bashor will present
figuratively styled paintings utilizing a process of thickly applied oil on linen.
Bashor received a B.F.A. from Cornish College of Arts. These lush new works
use a decidedly historically perspective to explore and interpret the
significance of the modern ‘feast’. With slightly skewed and expansive views,
each painting invites the viewer to partake in a captured moment in time.
September 4 -22 , 2008
Elena Korakianitou will exhibit her new paintings in this solo show.
Korakianitou received her B.F.A degree in Fine Art from Cornish Institute of
Allied Arts. She has studied art and art history in Athens, Greece; Ecole Des
Beaux Arts, Paris; and the University of Washington. Her paintings envelop
themes of spirituality, mythology and the buoyancy of the human soul.
Insightful, whimsical and seemingly mystical, her paintings portray a deeper
investigation into an imaginary world that parallels her everyday life.
October 2 -31, 2008
Catharine Newell uses frit and layers of glass to creating her signature
portraits. In this exhibit Newell presents an installation of figurative sketches
on crumpled sheets of glass “paper.” Her work appears as if casted about by
the winds; some scattered in corners, floating up wall, or stacked in elegant
piles. Each piece is a collection of personalities; captured, momentary and
illuminating.
November 6 6-29, 2008
From his new series titled A Table In The Wilderness, Eric Bashor will present
figuratively styled paintings utilizing a process of thickly applied oil on linen.
Bashor received a B.F.A. from Cornish College of Arts. These lush new works
use a decidedly historically perspective to explore and interpret the
significance of the modern ‘feast’. With slightly skewed and expansive views,
each painting invites the viewer to partake in a captured moment in time.
Left image: www.behappy.com, oil on canvas, 48” x 60”
Right image: Memory Notes VI, glass frit on glass, 6” x 36” approx
Right image: Memory Notes VI, glass frit on glass, 6” x 36” approx
Pacini Lubel Gallery,
207 2nd Avenue South, Seattle, WA 98104
207 2nd Avenue South, Seattle, WA 98104
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Jennifer Umphress: Oceanic Encounters - Vetri
International Glass
Exhibition Dates: September 2nd-21st, 2008
Artist Reception: 5:00-8:00 Thursday, September 4th, 2008, the artist
will be in attendance.
Known for her intricate and startlingly lifelike glass octopuses and reptiles,
Jennifer Umphress’ first solo exhibition introduces two-dimensional sculptural
compositions, wall-hangings, and stunning new aquatic denizens to her
repertoire.
In Oceanic Encounters Umphress expands her body of work to include her
largest pieces yet attempted, including fantastical two-dimensional scenes in
which nautiluses dart, kelp waves in the current, octopuses lurk, and a host of
other neritic creatures swirl, swim and dance. Also present in the exhibition are
large standalone pieces, such as a spectacular lionfish on the prowl, and wall
pieces that portray other scenes of undersea encounters.
The multitude of sea life in Hawaii—where she lived for nine years—inspired
Umphress to capture their forms in glass, but she was drawn to the motion and
biology of the creatures even more than the animals themselves. The lines,
shapes and tableaux made by the organisms while moving or swimming
created a welcome challenge. “I have worked with cold glass and other
mediums…but once I discovered the rush of creating with constant motion and
having time only to feel—not think or plan—my piece, I was completely
captivated.” says Umphress.
Kelly O’Dell: 65 Million Years
Exhibition Dates: Oct 1st – Oct 31st, 2008
Opening Reception: Thursday, Oct 2nd, from 5:00 – 8:00 p.m., the
artist will be in attendance.
A former member of world-renowned glassblower William Morris’ team, artist
Kelly O’Dell debuts a new body of work in her solo show, 65 Million Years.
Fascinated by the anatomy of various dinosaurs and inspired by the challenge of
creating wings, beaks, teeth, claws and horns, 65 Million Years presents
Jurassic blown glass creatures that swoop, munch and roar in a vivid array. Wall
pieces, such as the Pteronodon, seem to glide off their brackets in a flutter of
color, while an ochre and scarlet Triceratops head gazes thoughtfully with amber
eyes.
Throughout the creation process O’Dell was constantly reminded of the themes
of extinction, preservation, discovery, and the fragility of life. The powerful
anatomy of the dinosaurs rendered in the delicate material of glass struck O’Dell
as a powerful contrast. “By studying bone structures and fossils I often arrive at
thoughts of my own mortality. For me, the dinosaur epitomizes the memento
mori, a didactic reminder to work your hardest, follow your heart, and do the best
you can at everything you do.”
International Glass
Exhibition Dates: September 2nd-21st, 2008
Artist Reception: 5:00-8:00 Thursday, September 4th, 2008, the artist
will be in attendance.
Known for her intricate and startlingly lifelike glass octopuses and reptiles,
Jennifer Umphress’ first solo exhibition introduces two-dimensional sculptural
compositions, wall-hangings, and stunning new aquatic denizens to her
repertoire.
In Oceanic Encounters Umphress expands her body of work to include her
largest pieces yet attempted, including fantastical two-dimensional scenes in
which nautiluses dart, kelp waves in the current, octopuses lurk, and a host of
other neritic creatures swirl, swim and dance. Also present in the exhibition are
large standalone pieces, such as a spectacular lionfish on the prowl, and wall
pieces that portray other scenes of undersea encounters.
The multitude of sea life in Hawaii—where she lived for nine years—inspired
Umphress to capture their forms in glass, but she was drawn to the motion and
biology of the creatures even more than the animals themselves. The lines,
shapes and tableaux made by the organisms while moving or swimming
created a welcome challenge. “I have worked with cold glass and other
mediums…but once I discovered the rush of creating with constant motion and
having time only to feel—not think or plan—my piece, I was completely
captivated.” says Umphress.
Kelly O’Dell: 65 Million Years
Exhibition Dates: Oct 1st – Oct 31st, 2008
Opening Reception: Thursday, Oct 2nd, from 5:00 – 8:00 p.m., the
artist will be in attendance.
A former member of world-renowned glassblower William Morris’ team, artist
Kelly O’Dell debuts a new body of work in her solo show, 65 Million Years.
Fascinated by the anatomy of various dinosaurs and inspired by the challenge of
creating wings, beaks, teeth, claws and horns, 65 Million Years presents
Jurassic blown glass creatures that swoop, munch and roar in a vivid array. Wall
pieces, such as the Pteronodon, seem to glide off their brackets in a flutter of
color, while an ochre and scarlet Triceratops head gazes thoughtfully with amber
eyes.
Throughout the creation process O’Dell was constantly reminded of the themes
of extinction, preservation, discovery, and the fragility of life. The powerful
anatomy of the dinosaurs rendered in the delicate material of glass struck O’Dell
as a powerful contrast. “By studying bone structures and fossils I often arrive at
thoughts of my own mortality. For me, the dinosaur epitomizes the memento
mori, a didactic reminder to work your hardest, follow your heart, and do the best
you can at everything you do.”
Vetri International Glass 1404 First Avenue, Seattle WA, 98101
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The Two of Bunnies, Encaustic and Mixed
Media on Panel, Carla Dimitriou 2008
Media on Panel, Carla Dimitriou 2008
Left image: Kelly O'Dell, Triceratops. Right image: Jennifer Umphress, Soulful Gathering,