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rot: Brian A Beck 12.9.17

December 1st – January 13th 2018

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.

the vatican space

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

Gillian Theobald 10.13.17

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.

More images of Gillian Theobald’s work


Everybody Knows 9.9.17











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.





Treasure Island 7.1.17

New Work by: Alfred Harris, Ken Kelly & Jeffry Mitchell

June 23rd– August 12th 2017

Artist Talk July 8th

Alfred Harris

Ken Kelly

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.”

– Ken Kelly


Pulp: Robert Hardgrave 5.13.17

LINK to Artist Talk

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.



Urban\Suburban Memories 3.11.17

Artists in this group show depict scenes from our daily lives in and around cities. These isolated scenes are connected to alienation and memories whether a fleeting moment from yesterday’s commute, or a faint and distant image, or a space full of forgotten experiences. These memories relate to the uncanny feeling of being familiar, yet different at the same time.














Stephanie Buer

CV Stephanie Buer


Jon B. Dove

CV Jon Dove


Ann Duffy

CV Ann Duffy


Molly Magai

CV Molly Magai


Karen Woods

CV Karen Woods


Chronotope 2.3.17

MIXT no. 3 – curated by Netra Nei

2.3.17- 3.4.17

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.





JINKU NISIMURA / Yamaguchi, Japan





YULIA KAZBAN / Moscow, Russia

ZEB ANDREWS / Portland, Oregon







KITSCH 12.10.16

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 

Kyla Hansen

CV Kyla Hansen  

Caroline Larsen

CV Caroline Larsen

Karen Lederer

CV Karen Lederer

Emily Silver

CV Emily Silver

Paul Komada

CV Paul Komada