Past Gallery Exhibitions
Apr 20 – May 14 2017
Exploration and Manipulation is a sampling of student work from Chief Sealth International & West Seattle High Schools. Working closely with art instructors Katie Elm, Michelle Sloan and Carolyn Autenrieth, we are incredibly proud to showcase this diverse collection of work from these talented young artists.
As Katie and Michelle point out in their introduction for the exhibit, several of the student artworks “deal with social issues that may be difficult to look at, but are important issues that society deals with every day.”
Meet the artists! Please join us on Friday, April 27 at 5:30pm for a free reception with the artists and instructors.
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.
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.