Past Gallery Exhibitions

The Epic and the Puny

Jan 19 – Mar 25 2017

Artists: Lauren Boilini & patty haller

Lauren Boilini – Artist Statement

In my current body of work I look at the idea of excess, when images of excess become meaningless and fall into the realm of pattern. This idea of gluttony is reflected in our current culture. We are a hedonistic society, always looking for more until the more we are looking for loses its meaning.
My studio practice has consistently been large scale, mural-sized oil paintings, though I often work directly on the wall exploring painting as installation. The dimension of my work relates to the size of the human body and the potential for painting to physically overwhelm the viewer. I work directly on the wall as I experiment closely with the architecture making paintings that engage floor to ceiling.
Research, reading and exploration are vital to my studio practice, consistently driving my work forward. I continuously seek and study epic narratives, creating my own for each work. I am fascinated with crowds of people converging in one space at one time. I investigate various events and practices that bring large numbers of life forms together to discover how beings interact when driven together in mass quantities. This includes

religious practices, festivals, holidays, political gatherings, orgies, feeding frenzies, stampedes, riots, migrations, etc. Recently I have been drawn to images of battles and duels, where opposing forces fight for the same space. I am interested in what drives us to violence and destruction of life.
This particular body of work features a re-telling of the narrative behind paintings created over the past six years. I have given these works a backstory that explains the origin of their conception, a story told after the fact. These paintings document a fictional island inhabited by only male members of various species and the destruction they have brought.
In 2016 I received a GAP grant through Artist Trust to publish a book of drawings modeled as a graphic novel that develops this narrative. I am happy to say that the book premieres during this ArtsWest exhibition.

Patty Haller – Artist Statement

I’m an analyst who paints. I am constantly searching for new ways to interpret my Pacific Northwest surroundings while considering the history of art.

I’m drawn to complex images of nature, especially forests and beaches. My paintings are full of the small organic shapes of leaves and barnacles, or the traceries of water rivulets and reflections. I delight in the making of these panels and the chance to concentrate on the visual vocabulary of the Pacific Northwest woods and beaches.  

It’s not detail that I’m after, but more the need to explore the potential of many shapes interacting. I try to create relationships between elements and activate the spaces in between. The tiny combine to create a small, several smalls combine to larger shapes, and the entire composition must feel balanced. Dripping and rags get me started, then brushes and etching tools. I’ll drill down from large to small, work back up from tiny to aggregated large shapes, glazing and repeating this vertical creation and review process until I am satisfied.

As my skill in building images and moving small elements around has increased, so has my desire to assemble images into very specific compositions inspired by art history. I’m always looking to see how  others have handled complexity. At first the abstract expressionists were my primary influence, since their overall mark-making and lack of a central focal point seemed pretty consistent with what I saw when I looked into the brambles. I’ve now expanded into other influences that seem at first to have nothing to do with the Puget Sound region. Perhaps my most present ideas come from the Northern Renaissance and modernism. Devotional art, art with centralized characters and symmetry, but also ambiguous space, modern color theory and creative use of materials inspire me. 

Some of the paintings in The Epic and the Puny incorporate copper, through conventional leafing and by including copper hardware. Rembrandt painted on copper. But recasting that into my Pacific NW surroundings, I want to acknowledge the industrial history of our forests and of Puget Sound. The combination of water, tides and copper screws evokes that for me.  I love the mark-making of Albrecht Durer. Etching into oil paint with my devotional images of NW forest floors allows me to think about what patrons might have felt praying in front of altarpieces in the 1500s, but also what I experience hiking on Mount Rainier.

This back and forth of study and creation, of looking hard then going into my imagination, is the core of my life as an artist, and I am grateful to share this with you.

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Abstract Expressions

Nov 17 – Dec 23 2016

Artists: bruce savadow & JESSICA hoffman

 

BRUCE SAVADOW ARTIST STATEMENT

I was born and raised in Baltimore Maryland. I started photography in the early 80’s after many years of drawing, water color, pen and ink, painting, collage and doing some sculpture. While taking a course in silk screening at the Maryland Institute College of Art in Baltimore, Maryland, I found I liked the technical and mechanical aspects of the process to achieve an artistic goal. After earning an Associate of Arts Degree from the Community College of Baltimore and a B. F. A. in Fine Arts from the Maryland Institute College of Art, I gravitated towards photography as a way of recreating the printing process found in silk screening. I enjoyed the control and creativity in every aspect of photography. For me, just taking the photo was only half of the artistic product. So many of the aesthetic decisions are made in the darkroom or digital darkroom. I honed my darkroom and photographic skills working for sixteen years at various newspapers as a photojournalist and as a freelance photographer.  My concentration now is fine art photography.

 

JESSICA HOFFMAN ARTIST STATEMENT

My artistic training is in photography, video, and book arts. I am not bound to any one medium, preferring to let the initial idea of a project dictate the medium most appropriate. The link between my work lies in the structure of narrative. I am most comfortable as a storyteller, whether that involves creating a story, recording a story, or interpreting someone else’s story. Found objects that are based on communication and memory, such as a letter, a photograph, or an audio recording, inform my work. I am interested in the disconnection and/or reconnection to the original object that exists after its function and context are deconstructed. My need to explore these various means of creating narratives, has lead me to where I am now, which is a hybrid of text and image installations that references language and books and draws upon my interest in still and moving imagery.
The pieces in this show are abstracted photographs of trash found on the beach in Seaview, WA while I was at the Sou’Wester for a residency through Short Run Seattle. The images were printed on a dot matrix printer using 3-part paper. This method of printing gives the objects an otherworldly feel.

 

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Ten Parts

Sep 22 – Oct 23 2016

Artists: Philip LaDeau + julia Heineccius

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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
www.junkoyamamoto.com   junko@junkoyamamoto.com

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
dimensions.
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.
2016

 

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.

 

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