Past Gallery Exhibitions


Works – Junko Yamamoto & Akiko Masker

Aug 05 – Sep 04 2016

 Works – junko Yamamoto & Akiko Masker

Artist Reception – Thursday, August 12 – 6 – 7:30pm

Junko Yamamoto

In my work, I explore space and memories. The space between atoms, cells,
between people, objects, air, stars, water and sky; the cosmic glue which
holds us and the universe together. I like to push and pull, bringing other
My process combines brush painting, layers of color and shapes, with
brayers that give printmaking or stamp like quality. Brush strokes mimic
calligraphy gestures I used to practice in my youth. The layering process is
enhanced by my use of color and shape, suggesting textile, landscape and
familiar pop culture.
My forms and strokes that reappear and disappear in all of the pieces signal
cell divisions, electrons and atoms as well as consciousness and
interconnectedness. Unity as a whole is my foundation.


Akiko Masker

While studying art in Japan, I became interested in Ukiyo-­‐e, a genre of Japanese art that was popular in Japan from the 17th to 20th century. Often translated as “scenes from the floating world,” Ukiyo-­‐e was popular with many in Japan because of its mass-­‐produced use of woodblock prints. This popularity also stemmed from the oft-­‐depicted scenes of fleeting beauty and pleasure both from the realm of nature and from that of society.
I was also greatly influenced by the western tradition of art and have been fascinated by my experience of coming from a small fishing town in Japan to Seattle. Such experiences have led me to find a way to express the often fleeting beauty of the modern world. In my work, I experiment with the interplay between the material world and the “floating world” but with a more modern take on the “floating world.” I start with a material object such as a canvas. I then take a digital picture, manipulate that image, print it, and overlay it onto the surface. Finally, I incorporate industrial materials such as spray paint or string to give the object a sense of being both two and three-­‐dimensional. In this way I attempt to create a world that is both alien and familiar where one exists both within and outside of us.


More Info

Peggy Murphy

Peggy Murphy: Epicritic Memory

Mar 03 – Apr 03 2016

“Epicritic,” adjective (Collins English Dictionary), relating to or denoting those sensory nerve fibers of the skin that are capable of the discrimination of touch or temperature stimuli.

Over the past few years I have been interested in depicting a sense of my own garden. A garden is never just a moment in time, a mere view; it includes all the moments in shaping that garden — cutting, digging, hauling, hundreds of repetitive tasks. Every experience of making a garden resides in the hands. This idea of tactile memory is the catalyst for my recent work Epicritic Memories.

More Info


Colleen RJC Bratton & Polina Tereshina: Real Time

Dec 15 – Feb 14 2016

Reception & Artist Talk: Thursday, December 17th, 5:30-7:30pm

Using organic forms, Polina Tereshina and Colleen RJC Bratton seek to manifest the intangible. Real Time brings into consideration the moments in our lives that evade definition. Bratton’s soft geometry focuses on the narrative of two individuals following the exchange of a covenant. Tereshina considers the peculiar areas of our emotional landscape by alluding to tensions and subtle sensations through a range of evocative forms. Together their work is an introspective look at real abstractions through a formalist approach.

More Info


Margot Quan Knight: Made Especially For You By

Oct 29 – Dec 15 2015

Reception & Artist Talk: Thursday, November 12th, 6:00-7:30pm

Art proposes an alternate value system based on aesthetic properties or the beauty of an idea. Doilies inhabit a strange place in this system. Craft objects originally admired for their elegance and as demonstrations of their maker’s skill, doilies have been stripped of their aesthetic value by contemporary taste. They’re now so out of style that I can buy one on Ebay for $12. Aesthetic value (the lack of) trumps the value of labor, the value of the hours and months it took to make these objects.

Some doilies do stick around, out of sight in drawers and cedar chests, but nonetheless saved. Why? Because of affect. We love their maker—our mom, aunts, grandmothers, and godmothers. The care women lavished on these works is a visible artifact of the work they did caring for others, caring for us. Love, like art, proposes an alternate value system.

More Info