Come visit us next week at Volta NY Art Fair, a show of galleries from all over the world, each one showcasing a selected solo artist. A special exception has been made for studie e: because of the unique way their works play off one another, we’ve been allowed to show not just one, but TWO artists, Warren Dykeman (update site) and Damien Hoar de Galvan. I’ll be manning our booth with Seattle-based Dykeman and Boston-based Hoar de Galvan, both available to discuss their work. Helping out will be artist Michael Doyle, an emerging Seattle painter. We’ll all be at Pier 90 (address), booth # D16, March 7-11.
“For the public, this show provides the opportunity to enjoy the diversity of the Pacific Northwest arts community. “This year’s group of Neddy finalists and winners is the most diverse we’ve ever had in so many ways–ethnically, geographically (with artists hailing from Tacoma, Bellingham, and Auburn), stylistically, and even age-wise,” said Feldman. “It’s a new glimpse of art from the Pacific NW, with only one of the artists having been shortlisted before for the Neddy. Most will be new discoveries for our audiences. I’m also excited about the performative element that is part of many of the artists’ work, painters included. The video program will show how, for some of the artists, the performative takes the form of public address via songs, music, dancing, teaching and mural painting.”
National Juror Claire Tancons has selected local artists Christopher Paul Jordan and Che Sehyun as the recipients of this year’s Neddy Artist Awards, each of whom will receive an unrestricted grant of $25,000. In her summary of her selections, Tancons pointed that Jordan in painting and Sehyun in open medium bring a “multicultural savvy” to their work through a deep connection to their heritage and the youth in their communities.
“As it turns out, community engagement, always at the heart of the Neddy in relation to its namesake the late Ned Behnke’s life as an artist, is central to the work of both Neddy winners this year, Christopher Paul Jordan (painting) and Che Seyhun (open medium),” noted Feldman.
February 10, 5:00 – 5:45 PM – Artist Reading- Followed by Reception
“Passenger,” a reading by Gretchen Bennett (2017 Neddy finalist), followed by a “Meet & Greet” (6:00 p.m. to 8:00 p.m.) with all the exhibiting artists.
February 17, 4:00 – 5:00 PM – Theorizing Generosity as a Creative Practice
A conversation between Christopher Paul Jordan (2017 Neddy winner) and C. Davida Ingram (2016 Neddy finalist).
February 24, 3:00 – 4:00 PM – Connecting the Future to the Ancient
A live multimedia performance of hip-hop infused songs and stories by Che Seyhun (2017 Neddy winner)
A featured program of the Neddy Artist Awards, this exhibition of the 2017 finalists and award winners is funded by the Behnke Foundation and stewarded by Cornish College of the Arts as a tribute to Seattle painter and teacher Ned Behnke (1948-1989).
Cornish College of the Arts prepares its students to contribute to society as artists, citizens and innovators. The Neddy Artist Awards are a beacon of this mission. The Neddy Artist Awards are among the largest artist awards in the State of Washington, providing two annual gifts of $25,000, and six awards of $1,500, to artists living and working in the Puget Sound region. Any artist who is a U.S. citizen living and working in Island, Jefferson, King, Kitsap, Mason, Pierce, Skagit, San Juan, Snohomish, Thurston, or Whatcom counties in Washington state is welcome to apply.
Please check with Cornish in April 2018 for an update on the 2018 call for applications.
hours: Thursday, Friday & Saturday 1-6 pm, or by appointment 206-762-3322
Opening reception: December 9th 6-9 pm
Artist talk with Gabriel Stromberg of Civilization: January 6th 3 pm
Beck’s latest work questions the stability of a single meaning conventionally granted to a familiar object. Departing from what appear to be wooden children’s toys, the art pieces are composed from carefully handcrafted and tenuously related elements, abstracted to their basic shapes and color. Beck’s category-defying display of three-dimensional collages mounted on white walls breaks the boundaries between daily objects, sculpture, painting, and conceptual art.
Our 24 hour view-able miniature gallery curated by Kate Murphy.
current & past vatican exhibits #studioevatican
11.1.16 Now Here: Gabriel Stromberg
10.16.17 Will You Still Love Me When I’m Gone: Agusta Sparks
9.1.17 Walking Through The Woods: Chloe Hopeg and Meghin Jean
8.1.17 Filaments (or the memory of a mountain): Mya Kerner
6.1.17 First Day of Summer: Carolina Silva
5.13.17 Test Set: Electric Coffin
3.11.17 Island: Kathy Shannon
2.3.17 Green Head: Damien Hoar de Galvan
12.10.16 Tag, like, Follow: Emily Burns
10.21.16 Note 2 Stranger: Kate Murphy
9.10.17 Late July 2016: Colleen Hayward
6.11.16 Worth: Nikki Mazzei
4.9.16 Flexoplast, After Elizabeth Turrell: Melissa Cameron
3.12.16 Ordinary Language: Jesi Asagi
2.13.16 My father was a very lucky fellow: Christian French
1.9.16 Alignment: Sallyann Corn
11.14.15 Reclining: Curtis Steiner
10.9.15 The Bee Keeper: Cappy Thompson
9.11.15 Sweet Dreams: Louise Wackerman
8.8.15 Curtain Call: Eve Cohen
7.11.15 Sabbatical: Jon B Dove
6.13.15 Hold: Erin Shafkind
5.9.15 Bleistift: Brian Beck
4.11.15 Admirer: Catherine Grisez
3.14.15 Fraction: Robert Hardgrave
2.14.15 Mixt: Netra Nei
When You Were There You Knew The Language: Gillian Theobald
October 13th – November 18th, 2017
Artist Talk with Nancy Guppy | Saturday October 28th 3-4 pm
For this exhibition, her first solo exhibit at studio e, following several group exhibitions here, Seattle painter Gillian Theobald is showing paintings, drawings and bas relief collages.
The paintings come from a new body of work developed over the last few years, using the language of landscape painting in the context of abstraction.
The collages made from found packaging & acrylic manipulated into a shallow bas relief space, are a return to a medium she used extensively in the 70s & 80s. The history inherent in these repurposed elements adds to their intrigue. In both the paintings & collages the strength of Theobald’s use of color is apparent.
The drawings are plein air in graphite from nature, some in large format. Theobald has throughout her career pursued more than one body of work, contemporaneously; as she finds they co-inform each other. The drawings are a means of exploring literal non fictive space.
Everybody Knows – an exciting show of new work by Brian Cypher and Damien Hoar de Galvan – will open at studio e September 9 during Georgetown “Art Attack.” Viewing the work of these two artists in one gallery is akin to watching expeditioners who have stopped at the same vista to take in the view before heading off on their independent ventures.
Both artists come from a strong expressive background in painting, both frequently focus on humble geometry centered on one main form or the relationship of the chosen form to its field, both choose to leave exposed the construction — drips of glue, individual strokes or cuts, and torn edges — of their works. Both artist tackle complex ideas but offer them to us in simple terms.
Cypher: In this show we discover the artist’s most recent work, a nod at nature, rendered using paint stick, crayon, pencil, and cut swatches of fabric. For example, we may see a tree, but, rather than an actual tree, the feeling of TREEness. Cypher generates an intentional awkwardness, a refusal to edit out the immediacy and genuineness of creating a line, a shape, or a surface, thus compelling the viewer to face and accept her own awkwardness and uncertainty about being in the moment. Nothing works out “officially”; nothing is clean or easy. The monochromatic palette seems to remove distractions or “fun” variation to leave the viewer fewer “outs,” as if forcing us to look at the humble embarrassments of being conscious physical entities in the world. With the monochrome limitation, “shapeness” comes to the fore, as does the simplicity of Cypher’s binary choices – light grey / darker grey; shaded / not shaded; foreground / background; figurative (tree) / abstraction.
In de Galvan’s (continued) use of bright, energized, tightly packed chunks of wood, we sense a similar painful sincerity. Typically built from the bottom up, these pieces take their form as they are built, with one chunk influencing the next – though some are contained within an outer band that defines their outward shape. With this newest work, de Galvan breaks his former abstention from altering the found materials of his pieces to incorporate the added dimension of drawing and painting directly on the sculptures post-construction. Although de Galvan approaches his work from the front, the back exposes the raw construction, telling the story of the work’s creation in a way that takes on a life of its own. The contrast of front and back resonates with many duo issues of public versus private, displayed versus hidden, etc. Like Cypher, de Galvan celebrates rather than shying away from the tenuous and haphazard nature of creation.
New Work by: Alfred Harris, Ken Kelly & Jeffry Mitchell
June 23rd– August 12th 2017
Artist Talk July 8th
Jeffry Mitchell and Gallery Images
“WHY WE’RE GOING TO TREASURE ISLAND, I’ve been asked to articulate why Jeffry Mitchell, Alfred Harris and I want to present an exhibit of new work together. That’s not an easy task, since we each approach such things the same way we approach making work in our studios: instinctively and spontaneously. It’s a simple fact of life that artists have their own ways of thinking— ways that differ from critics, curators, gallerists and pretty much everyone else who plays a part in the larger art world. And our ways are often not easily expressed with words or well-constructed theories, nor are they obvious on the surface.
Most people attempting to put together a group show would take an objective look at common threads of content, formal concerns, historical connections, and the assorted other things that people rely on to make sense of the cacophony of art-making. We, as artists, tend to just wing it and go on hunches, and that is certainly the case here. Our connections—the things that we see and respond to—are not as obvious or easily explained as those a professional curator might make.
Alfred, Jeffry, and I are, first of all, good friends of many years standing. That, in itself, is certainly not a very strong basis for curating otherwise unrelated work; I have many good artist-friends whose work has nothing in common with mine and, indeed, would make for an awkward and unrewarding combination. With the three of us, however, I think our work fits together in ways that perfectly reflect our bonds of friendship. We share, both in and out of the studio, a love of beauty and visual exuberance; we each have a critical and eye-rolling attitude towards both the absurdities of modern life and the pretensions of High Art; and, most of all, we share a twisted and no-holds-barred sense of humor that helps us negotiate the many ups and downs of our lives. So many evenings spent howling with laughter and sharing a priceless common outlook have bonded us in ways that must, in some way, connect our art as well. Looking at a room full of our latest efforts, you might not see any of this reflected in the work itself…but it’s there. The connections are off to the side, in the background…they are not expressed in style, media, or subject matter, but rather in attitude, tone and our affirmation of the power of seeing and looking.
Finally, I think we three are all connected by a deep respect for each other’s art and an intimate knowledge of what we each go through in order to make that art—the end results are quite different, but they somehow manage to inspire each of us to do more, to do better, to push it further. For over 25 years (in Jeffry’s case) and 35 years (in Alfred’s), I have been inspired, pushed, influenced and humbled by these two friends and fellow travelers. The ties that bind us, and therefore our art, are partly the result of this longevity and depth of experience we have with each other—and that goes directly to the heart of what our work really has in common: a commitment to the long view, the slow gaze, and the lifelong search for Treasure Island.”
PULP: Robert Hardgrave’s painterly vocabulary has grown out of a dialogue between the classic medium of paint, and image processing, such as Xerox-transfer collages of photographs of magnified, found objects. The interaction between organic gesture and nonorganic form are the literal and the metaphorical underpinnings of Hardgrave’s vocabulary, generating patterns of rigid geometric fragments, anthropomorphic structures, and fluid intervals. In a sort of spiral evolutionary pattern, Hardgrave periodically pushes his repertoire of form to unexplored territories. Pulp is Hardgrave’s recent series of gouache on handmade pulped Xerox paper. In what he calls a “total act of recycling,” the classic medium and Hardgrave’s stable visual language merge with the reused paper structure. Hardgrave is letting these interactions play out by using a gesture that is both controlled and intuitive, which leads to the creation of narratives of transformation among the various parts of the whole. Hardgrave is a Seattle-based artist whose work has been influential in the Pacific Northwest, exhibited internationally, and collected by private owners and institutions.