Author Archives:

Treasure Island 7.1.17

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

photo credit: James Arzente







June 23rd– August 12th 2017

Artist Talk July 8th

Opening Reception July 8th 6-9pm


“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

Treasure Island

Alfred Harris

Ken Kelly

Jeffry Mitchell


Pulp: Robert Hardgrave 5.13.17

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 vatican space

the 24 hour view-able miniature gallery

now curated by Kate Murphy

current exhibit

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

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

Warren Dykeman 10.21.16

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,

Davidson Galleries


King Street Station – Seattle Art Fair 3 rooms august 4-7

Brian Beck
Brian Cypher
Carole d’Inverno
Damien Hoar de Galvan
Warren Dykeman
Robert Hardgrave
Helen O’Leary
Rachel Illingworth
Gillian Theobald
Heather Wilcoxon

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 * *