Robert Hardgrave. 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.
the 24 hour view-able miniature gallery
now curated by Kate Murphy
Test Set by Electric Coffin
past/upcoming vatican exhibits
6.1.17 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
MIXT no. 3 – curated by Netra Nei
Opening Reception Saturday Feburary 11th
Chronotope—A Black and White Photography Show.
A visual interpretation of Chronotope — an experience where time becomes artistically visible and space becomes responsive to the movements of time, plot and history.
ALEKSEY MYAKISHEV / Moscow, Russia
JINKU NISIMURA / Yamaguchi, Japan
NICHOLAS DOMINIC TALVOLA / Arcata, California
PRZEMEK STRZELECKI / Tychy, Poland
SASHA VELEDZIMOVICH / Vitebsk, Belarus
SHANNON RICHARDSON / Amarillo, Texas
YULIA KAZBAN / Moscow, Russia
ZEB ANDREWS / Portland, Oregon
studio e is pleased to present Kitsch a group show curated by Kelsey Siegert and Emily Burns of Maake Magazine. Kitsch features work in multiple mediums, in conversation with one another these works elevate and challenge notions of craft, kitsch, and the politics of objecting making in the 21st century.
Caroline Wells Chandler |Kyla Hansen | Caroline Larsen | Karen Lederer | Emily Silver | Paul Komada
Co Curated by Emily Burns of Maake Magazine and Kelsey Seigert
Caroline Wells Chandler
CV Caroline Wells Chandler
CV Kyla Hansen
CV Caroline Larsen
CV Karen Lederer
CV Emily Silver
CV Paul Komada
Warren Dykeman – solo exhibition
Would I go home again,
with Davidson Galleries
opening reception November 12th 6-9pm
October 21st – December 3rd
hours: Friday & Saturday 1-6pm, or by appointment.
Warren Dykeman’s new body of work for his studio-e show carries forward a language the artist continues to expand finding new ways to involve familiar elements.
Multiple means of communication dominate his image making. He is attracted to the power of letter forms and the related use of the stylized human figure applied to universal directions and signage. Whether used as a forest cluster, a grid, or paced for maximum impact against a neutral background; the images are demanding of the view’s attention. This bold image making is further supported by his use of color, which is seldom nuanced but rather bright for vivid punctuation.
The disgorged jumble of letters and forms make a direct reference to communication. Adding to this his figures, robotic and silhouette renderings, imply a directive. Whatever the combination of elements, they contribute to the artist’s special language and a hope that the viewer will find a connection to the decree or message they represent.
Sam Davidson & Miranda K. Metcalf,
Damien Hoar de Galvan
King St Station | 2nd floor | 303 S Jackson St
3 ROOMS | gallery pop up exhibit
main train station entrance | first door on the right
Open Through August:
Saturday’s 1-6pm | or by appointment (206) 762-3322
* * FREE and open to the public * *
SPONSORED by: CIVILIZATION
Lets Explode in a Climaxical Burst of Being Here: Tim Kerr
studio e is honored to present the work of Austin-based artist and musician Tim Kerr. Over the past decade, Tim’s paintings have been shown around the world in museums and galleries, including last year’s solo exhibit at the Rosa Parks museum in Montgomery (in observance of the famous bus boycotting’s 60th anniversary). A recent Juxtapoz article (December 2015) describes Tim’s work as “linked to justice and knowledge—art with meaning and purpose.” Tim is widely known as a founding member of the pioneering skate punk band, the Big Boys, and the many bands that followed (including current collaboration with members of Mudhoney in Seattle-based band The Monkeywrench). Gaining increased attention in recent years, however, is Tim’s work as a visual artist, developed on the foundation of his degrees in painting and photography from the University of Texas in Austin. Please join us on July 9th for the opening of Tim’s first-ever Seattle art show. You will not want to miss this unique opportunity to view his recent paintings and meet the artist himself.
Juxtapoz article on Tim Kerr:
Tim Kerr paintings on Flickr:
Tim Kerr Web Site: