Exhibitions

GROUP EXHIBITION | Complexity/Simplicity

GROUP EXHIBITION
COMPLEXITY/SIMPLICITY

May 5 - 21, 2022 
Opening First Thursday May 5, 2022 | 6 - 8 pm 

Foster/White Gallery is pleased to present the work of 5 sculptors who are new to the gallery. The artists work in an intriguing range of techniques and materials, from glazed medite and sintra to stone carvings with needle felted wool, and from stitched, salvaged neoprene to slip cast and assembled ceramics. This collection of works runs the gamut from the most simple to the most complex combinations of shape, color and form.

 

Sara Coffin’s glazed medite and sintra wall mounted sculptures, which the artist refers to as sconces, repeat a simple rectangular form within a larger rectangular form. Utilizing a unique glazing technique to create a spectacle of candy like colors, these pieces seem to be super-naturally glowing with light emanating out of every edge and angled join.

Kyle Johns’ builds complex, multi-faceted molds to create slip cast ceramics which fall between vessel and sculpture. These works take on the appearance of multiple components stacked or assembled, one on top of the next, like a colorful and far more inventive version of Jenga, or a teetering tower with shapes and contours that seem to be moving in every possible direction all at once.


Gabriel John Poucher takes a building block approach to his highly complex ceramic structures which he has described as maximal and cacophonous. Inspired by industrial aesthetics and childhood construction toys, the artist embraces the unpredictability of his chosen material. As the clay reacts to the conditions of firing, stability deteriorates and these pieces contort and collapse resulting in somewhat chaotic forms that veer in and out of accidental harmony.

 Stephanie Robison’s stone and felted wool sculptures bring these seemingly opposing materials into unexpected conversation with each other. Simple organic shapes which at times look like strange creatures, with rounded extremities protruding outward, neatly interact with themselves. They are odd and awkward but simple and delightful, and seem to have been dreamed up with a light-hearted sense of humor and freedom.

 

 Henry Jock Walker is an Australian artist whose practice is intertwined with his surfing lifestyle and surf culture. His instincts for breaking up space with line and shapes are somewhat classical but the use of neoprene, which he sources from used wet suits, brings a satisfying texture to the surface. The stitched seams create soft grooves which behave as graphic elements between brightly colored patches of fabric. Often playful and with unexpected titles, the assorted mix of salvaged neoprene offers varying levels of reflection and light absorption which allows the work to take on a more serious tone at times.

 

To learn more and see all works in Complexity/Simplicity, please visit this page.
Read more

STEVEN NEDERVEEN | FEELS LIKE HOME

 

Steven Nederveen, Secret Hideout, mixed media on panel, 54 x 54 inches

STEVEN NEDERVEEN
FEELS LIKE HOME

April 7 - 23, 2022 
Opening First Thursday April 7, 2022 | 6 - 8 pm
 

Steven Nederveen’s artwork has long been grounded in the artist’s meditation practice and influenced by the calming effect of immersion in his favorite places. The artist creates oceanic coastlines, panoramic landscapes, and tree compositions using heightened colors and an almost magical, high contrast golden light. The world becomes a place of wonder and mystery as we recognize what is familiar and discover what we are invited to perceive.

Utilizing a unique and layered process, Nederveen’s artworks combine techniques that result in richly textured surfaces. For his newest body of work, Feels Like Home, Nederveen returns to childhood memories of frequent sailing trips with his family - times that cultivated comfort and familiarity with the waters of the Salish Sea. These early journeys in the waterways of the Western Canadian Coast provided Nederveen with a sense of home deeply connected to the elements of the region. Shores on the Puget Sound, views of open waters and distant landscapes - environmental realities that kindled the exploration of maintaining a transmutable home within the world. Feels Like Home includes works that are in form familiar to inhabitants of the Pacific Northwest; yet by using fantastical colors, Nederveen allows us to see his landscapes as though through a lucid dream.  

Steven Nederveen, Pillars of Home, mixed media on panel, 60 x 48 inches

Correlations created through climate and geography only go so far; Nederveen takes his specific memories and expands the notion of home to envelop the universal potential we all are welcome to experience; finding the peace of home within ourselves.

Steven Nederveen received a Bachelor of Design from the University of Alberta, Edmonton, AB, and studied at Medicine Hat College, Medicine Hat, AB. He has shown his work across North America. His artwork is part of many collections including Armani Canada, Richmond, BC; Air Canada Lounge at La Guardia, New York, NY; and the Al-Fayed Family Collection, London, UK. He has been the subject of many media features including House and Home Magazine Canada; West Coast Homes and Design; and Vancouver Home Magazine. 

 

CLICK HERE TO LEARN MORE AND SEE AVAILABLE WORKS.
Read more

Tom Burrows | The Curve of Time V

 

Tom Burrows, Elisha Bay, polymer resin, 48 x 48 inches

TOM BURROWS
THE CURVE OF TIME V

March 3 - 26, 2022
Opening First Thursday, March 3, 6 - 8 pm - Artist in Attendance
Artist Talk: Saturday March 5, 12:30 pm 

The artwork included in The Curve of Time series by Tom Burrows are named after bodies of water and landmarks from the Inside Passage (Puget Sound near Seattle up to Alaska). The Curve of Time by Wylie Blanchet is inspiration for the series and it takes place in the Inside Passage.  This book recounts Blanchet's summer sailing adventures with her five children and dog in the 1930s and 40s.

After realizing that many places along the Inside Passage were named for the admiralty of the explorers, Burrows decided that he could just as well name them after some of his family who have enjoyed their cabins in the British Columbia waterway for a few generations. Elisha Bay is named for his son, Elisha; the two sail together, and the piece is a rich blue. Other pieces with family names are Gina Rocks, Josh Cove and Yasmine Arm.


Burrows approaches his work with an open, intellectual thoughtfulness. His artworks embody concepts through color, exuding presence and luminosity. Each piece provides its own space for meditative encounter and reflection. The Curve of Time V was born of Burrows observations of and experiences within a familiar region he has long inhabited, but which in some ways has changed noticeably. Surrounded by the Salish Sea, Burrows spends much of the year at his island studio, where the effects of climate change are clear

Tom Burrows, Okisollo Channel,  polymer resin, 48 x 48 inches

In his artist statement, Burrows shares “Very early in the summer of 2021, a searing heat dome hung over the island for days emphasizing the presence of a record drought that by mid-August had lowered the local aquifer to the level that my pump failed. We had no water for the first time in fifty years on that island. A third of my planned studio production had to be abandoned.  Luckily, we were spared most of the smoke wafting from the burning mainland forests as I fumbled about trying to reconstruct the plumbing. By November the highest recorded rainfall for that time of year had finally penetrated the heat-baked soil and the aquifer began to rise. Water re-emerged from the faucets.

We live in a time of crisis. The sheltered interconnected seas and channels that line the Northwest coast from Puget Sound to Alaska offer protection from the vast powers of the open Pacific. If one attempts to read the ever-changing light of that inner passage, its tidal surge, the spawn of its creatures, there is a possible solace. The Curve of Time V (a series now in its fifth year), strives to portray the luminosity of those inner coastal waters in its subtle variance."

It is indeed this notion of solace that Burrows so aptly captures and shares. With subtlety and exactitude, Burrows allows his artworks to appear effortless; each is filled with character, highlighting the sublime colors of the natural world from which Burrows draws comfort. Yet far from being static, the wall sculptures contain within their fields of color gentle insistence that we pay attention; to ensure that what inspires us today exists in perpetuity.

 Tom Burrows, Beazley Passage and Sockeye, both polymer resin, both 48 x 30 inches


Throughout his career, Tom Burrows has explored a myriad of sculptural materials and styles, ranging from performative, site-specific installation work to two-dimensional pieces. His work has always been concerned with drawing attention to social and environmental issues; he has presented research-driven artist responses to homelessness, housing, and displacement, and more recently refers to the increasingly evident negative impacts of climate change. Having developed a unique process through his explorations in casting polymer resin, Burrows’ resulting wall sculptures showcase color as an entity, light as an active participant, and stillness as essential.

Tom Burrows has a BA in Art History from the University of British Columbia, Vancouver, BC, and studied Sculpture at St. Martin’s College, London, UK. He has shown his work internationally, at galleries across North America, and at places like the Museum of Contemporary Art, Antwerp, Belgium; Musée d’Art Moderne, Paris, France; and Vancouver Art Gallery, Vancouver, BC. His work is part of collections including the Canadian Embassy to Japan, Tokyo; Government of Ontario Art Collection, Toronto, ON; the Morris and Helen Belkin Gallery at the University of British Columbia, Vancouver, BC; and Canada Council Art Bank, Ottawa, ON among others.

 

Click here to learn more and see available works.
Read more

Carol Inez Charney | Secondhand Smoke

 Carol Inez Charney, Invisible Man, chromogenic print, laminated and mounted to panel, 24 x 24 inches, edition of five

CAROL INEZ CHARNEY
SECONDHAND SMOKE
Opening February 3, 2022


The colorful curls and wisps of smoke in Carol Inez Charney’s newest series are sophisticated and elegant while being rich with metaphor. The series, Secondhand Smoke, highlights the dangers of cultural censorship, the limiting of individualism and artistic expression. Book burnings and the destruction of artwork have been an all too common practice in both modern and historic eras, public demonstrations meant to show the power of authoritarian governments. However, the pieces in Secondhand Smoke seem to remind us that such censorship can sneak in; can whisper and spread like rumors, creeping in around the edges, as smoke can.

Secondhand Smoke also poignantly considers the dichotomy between artistic expression and the proliferation of falsified information – as well as the resulting political division. But the pieces speak softly; Charney was inspired to create work both beautiful and reflective, in a way providing respite from the world while at the same time holding a mirror up to it.

Carol Inez Charney, I Know Why the Caged Bird Sings by Maya Angelou, chromogenic print, laminated and mounted to panel, 24 x 24 inches, edition of five

The images in Secondhand Smoke share their titles with literary works that have, at points throughout recent history, been banned or burned by governmental entities seeking to silence individual voices; says Charney, “Incinerating intellectual, creative and critical thought has harmful reverberating effects on society, just as second hand smoke does for all of us. It’s about maintaining control of individuals by censoring the ideas necessary to evolve: suppressing enlightenment and creative freedom.”

Carol Inez Charney, Middlesex by Jeffrey Eugenides, chromogenic print, laminated and mounted to panel, 24 x 24 inches, edition of five


Known for her characteristically eloquent photographic abstractions, Charney here utilizes a more ethereal approach. “Ultimately smoke represents aftermath—what remains of provocative of ideas. Secondhand Smoke is a cautionary tale of the growing threats facing artistic expression around the world.”

Charney received a BA in painting from the University of California, Santa Cruz, CA, and an MFA in Photography from San Jose State University, San Jose, CA. She has shown her work at galleries across the country, and in museums such as the Museum of Sonoma County, Santa Rosa, CA; San Jose Museum of Art, San Jose, CA; and the Magnes Collection of Jewish Art and Life, Berkeley, CA. She has received numerous awards, and her photographs are part of collections including the AT&T Art Collection, New York, NY; Microsoft Art Collection, Redmond, WA; Reese Witherspoon's Art Collection, Los Angeles, CA; and the Escalette Permanent Collection of Art at Chapman University, Irvine, CA.

VIEW COLLECTION
Read more

DEC 2021 - JAN 2022| BRATSA BONIFACHO | CELEBRATION

Bratsa Bonifacho, Celebration, oil and acrylic on canvas, 56 x 56 inches
BRATSA BONIFACHO
CELEBRATION
Opening December 2, 2021
Bratsa Bonifacho’s work has gone through a drastic range of articulations during his long career as a painter. Continuing to site some of his earliest memories of surviving World War II as inspiration, Bonifacho’s work for many years was a direct representation of his process of moving through trauma. The weight and darkness of his experiences was evident in content, style, and palette and exists now in striking contrast to his current work.
 
Opening on December 2, 2021 at Foster/White Gallery, Bonifacho’s most recent explorations continue to utilize his visual language, one that was achieved over many years of honing his stylistic approach. The grids and squares within much of his work provide the grounding and comfort needed as one unfolds the abstract quality of his concepts. Asked to speak on his artwork, the artist answers it is all in the work. And therein lies the code to deciphering the trajectory of Bonifacho’s paintings.
 
Clear linear progression this is not; Bonifacho has never limited his explorations in paint. Early on in his career his paintings were highly evocative, highlighting the influence of Abstract Expressionism on his work, albeit decades later. American flags and cans of coca cola, recognizable elements of popular culture were coupled with painterly fields of color and geometric abstractions. These elements give an overarching sense of sardonic irony that hides instead of reveals the artist’s voice.
Bratsa Bonifacho, Viva Voce, oil and acrylic on canvas, 40 x 40 inches
Work that was shadowed with targets and skeletal, ghostly greyhounds seemingly racing towards their death does evince strong emotional reaction. In these paintings we see Bonifacho facing the brutality of his memories yet still filtering them, creating work that is heavy but not grotesque, demonstrative but not reactionary. Preceding work that skews purely visual, this darker work clearly led to a change in direction, namely, towards color, a theme that has endured throughout the remainder of his career.
 
Color became a resting point between thoughts, a unifying element between disparate expressions, a dynamic and sometimes explosive portrayal of the artist’s movement away from past towards future. Language, both the visual structure and impact of, is a striking component in much of Bonifacho’s work of the past three decades. Varying from readable to almost hieroglyphic in nature, the resonance of these works is another manifestation of Bonifacho’s confidence as a painter.
Bratsa Bonifacho, Viribus Unitis, oil and acrylic on canvas, 30 x 40 inches
Combining elements of the most recent years of his paintings, this body of work is comprised mainly of work that is totally abstract; however the use of letters gives the impression of the paintings being grounded in the actual. Although not readable, the simple comfort of universally recognizable forms allows us to feel we can “read” the paintings. We are familiar with the shapes he uses, our eyes understand how to flow across his canvases; with no hidden agendas, Bonifacho gives us, very simply, himself.

Bratsa Bonifacho holds a Bachelor of Fine Arts from the University of Arts Belgrade, Serbia, and a Bachelor of Architecture from the University of Belgrade School of Architecture, Belgrade, Serbia. Bonifacho's paintings have been shown extensively across the world including solo exhibitions in Poland, Germany, China, the United Kingdom, and Serbia. He has had dozens of exhibitions across North America, and his work has been shown at Whatcom Museum, Bellingham, WA; Richmond Art Gallery, Richmond, BC; Anchorage Museum of History and Art, Anchorage, AK to name a few, and of course, frequently in Seattle at Foster/White Gallery. He has His work is held in many private, corporate and permanent museum collections across the world including the Canadian Embassy in Argentina, the Museum of Modern Art, Serbia, the National Museum of Serbia and JP Morgan Asia, Tokyo, Japan.
VIEW COLLECTION
Read more

NOVEMBER 2021 | GROUP EXHIBITION | ELEMENTS: FIRE

 

Sarah Winkler, Smoke Signals, acrylic on board, 60 x 60 inches 

GROUP EXHIBITION
ELEMENTS: FIRE
Opening November 4, 2021

The second of four group exhibitions grounded by the elements, Elements: Fire opens at Foster/White Gallery on November 4, 2021. A wide range of interpretations, the artwork in this grouping includes explorations of the increasing frequency of forest fires and their implications, the raw violence of fire, and the beauty of a flame; we are reminded of water's power against an inferno, given images of death and rebirth, of natural cycles, and of the devastation left in a fire's wake. And, despite the impact of that devastation, many of us have deeply cherished memories attached to fire - it can represent gathering with loved ones, staring into embers beneath starry skies, learning to make a s'more for the first time, or warming cold hands after hours in the snow. 

Historically relied upon to sustain life - warmth, light, the daily preparation of meals - fire has taken a lesser role in our lives in modern society; its domestic presence is typically limited to the infrequent hearth, reserved for back-yard fire pits, and camping trips. Still, collectively we acknowledge the power and mystique of its immense force; one that we control when we can, and are lost to when we cannot. 

Carol Inez Charney, I Know Why the Caged Bird Sings, chromogenic print face-mounted to acrylic, 24 x 24 inches

Elements: Fire is a challenging exhibition in light of the current reality and impact of forest fires around the world, but beautiful in its diverse perspectives. We grapple with the knowledge that this combustion often stems from the negative impacts of our race on the natural world, while also navigating the inherent truth of an environmental  cycle that includes fire and its effects as part of a healthy rhythm. In a world that has changed so significantly in the past fifty years, we have yet to find a balance between ourselves and some of the most constant and elemental forces of our planet. Seeking to master fire, we are as yet subject to its tendencies, despite how drastically our own have changed.

Says participating artist Sarah Winkler,

"In the Smoke Signals paintings, I want to capture the explosive dance of the wildfire. Emit the heat of the moment. The splatters of smoke and lines of a blaze where the almost amorphous land forms appear to melt. A wildfire is an event which demonstrates both nature's violence and its vulnerability. Though this environment is nothing but hostile for human life, through choice of color these images have a sensuality, a sense of calmness. A pure celebration of the power of nature."

Julie Himel, Her Grace, mixed media on canvas, 48 x 48 inches
Black Heart Blue Water
At the waters edge fire has no future, 
Its rage quiets, 
Its wild heart beats softly, 
Whispering apologies into the embers, 
Birthing unrivaled beauty. 
Poem by Shar Coulson

Shar Coulson, Fauna Flora Figure 173, 48 x 40 inches, $8,300

 

 

 VIEW THE COLLECTION

 

 

Read more

OCTOBER 2021 | JULIE HIMEL | BROKEN BEAUTIFUL

Julie Himel, The Grace of Surrender, mixed media on canvas, 36 x 36 inches
Broken Beautiful
VIEW COLLECTION
Opening October 7, 2021


Julie Himel’s work explores the space between our connection with and distance from the natural world. Her first solo exhibition at Foster/White Gallery, Broken Beautiful is an exploration driven by the artists close ties with the natural world; favored places become recognizable to us as the artist returns to them, perhaps in different seasons, capturing changes in light, emotion, and growth. Himel also invites us into imagined places, using color and contrast to draw us into the dreamlike spaces she creates.
 
Says Himel, "On all levels of human experience there is the coexistence of two ends of the cycle. At this time, we are facing massive environmental change, and watching the way things were shift to a new reality. The reason for that shift and for what is broken is human interaction with the environment. The title of this exhibition is an acceptance of needing to let nature be, and honoring the beautiful adaptations."
Julie Himel, It Was Written in the Sky, mixed media on canvas, 48 x 40 inches
Julie Himel received a Diploma of Fine Art from Langara College, Vancouver, BC; a BFA Honours Degree from York University, Toronto, ON, and a Graduate Diploma from the Toronto School of Art, Toronto, ON. Her work has been exhibited across North America, including recently being featured in digital exhibitions with Visionary Projects, New York, NY; the I Like Your Work Podcast, and the TD Thor Weath Management Juried Exhibition: Quest for the Environment, Quest Art, Midland, ON. Himel’s paintings are part of private collections across the world and public collections including The University of Calgary, Calgary, AB; Westfield State University, Westfield, MA; the Armenian Centre Art Collection Canada, Toronto, ON and several corporate collections.
Broken Beautiful will be viewable at Foster/White through October.
Julie Himel, The Wild Open, mixed media on canvas, 36 x 36 inches
Click here to view collection.
Read more

SEPTEMBER 2021 | EVA ISAKSEN | HERE NOW

Eva Isaksen, Small Steps, collage on canvas, 36 x 48 

 

EVA ISAKSEN
Here Now
Opening September 2, 2021

VIEW COLLECTION ONLINE

Eva Isaksen’s newest body of work carries a deep sense of gravitas, a level of self-assurance communicated through the simplification of the abstract. Continuing her explorations in collage, Isaksen incorporates physical elements of significance from her life; personal textiles, letters, and clippings of favorite texts are layered within steady forms and a sophisticated palette. Describing the works as reflecting her search for the unknown, there is yet a grounded calm in her quest.

Isaksen’s confidence in her artistic voice is strong here. There is a sense that she has reached a significant moment of resolution in her work and life that provides a cohesion to the pieces in Here Now. Says Isaksen “Life is short and I feel an urgency to fully embrace it.  There are so many more ways to work and evolve [...]. The work has its own narrative, glimpses of stories, history and memories but ultimately it is about form, space and abstraction. It’s also about a place where the intuitive becomes one with all the experiences collected from a lifetime as a working artist."

 

Eva Isaksen, Summer Follows Spring, collage on canvas, 48 x 48 inches

 

Eva Iskasen holds an MFA in Painting from Montana State University, Bozeman, MT, as well as a BFA from the University of South Dakota, Vermillion, SD. Isaksen studied at the Nordland School of Arts & Crafts Narvik, Norway. Isaksen's artwork has been exhibited international including at Galleri G. Guddal, Rosendal, Norway; Galleri Bodøgaard, Bodø, Norway; Whatcom Museum, Bellingham, WA; US Embassy, Brussels, Belgium; Seattle Art Museum, Seattle, WA; and Museo de los Pintores Oaxaquenos, Oaxaca, Mexico. Isaksen has also shown her work extensively across North America, has been a recipient of dozens of awards and public art commissions, and was a founder of Seattle Print Arts, Seattle, WA. She has participated in artist residencies across the world, most recently at Tare Steigen Air, Tare Art Center, Steigen, Norway and at Ballinglen Arts Foundation, Bally, Ireland. Her work is part of dozens of private, public, and corporate collections including those of the Boeing Corporate Headquarters, Chicago, IL; Hilton Hotel, Seattle, WA; Seibu Department Stores, Funabashi, Shizoka Higashi, Totsuka, Japan; Goldman Sachs, New York, NY, and the United States Embassy in Riga, Latvia.

Click here to view collection

Read more

SDAF | CELEBRATE THE ARTS IN SEATTLE

Seattle Deconstructed Art Fair (SDAF)
Opening August 5, 2021

Back by popular demand, the Seattle Deconstructed Art Fair returns for the month of August, celebrating the resilience of visual arts in Seattle with over 40 galleries, art institutions and non-profit organizations participating in this month-long event. Last year’s community-driven efforts drew the attention of over 13,000 unique website visitors and brought crowds safely back into the galleries to view artwork over the course of the month. Through the collaborative efforts of the gallery community, the SDAF returns, continuing with the hybrid format of online and in-person exhibitions, with an added calendar of in-person events.

With the aim of raising awareness of the existing vibrant arts and culture available in the greater Seattle region, SDAF celebrates the re-opening and recovery of our neighborhoods. The strength of the visual arts community is evident, as not a single art gallery has closed due to the COVID-19 pandemic. Foster/White Gallery’s selection of works from Will Robinson and Tom Burrows celebrates our emergence from the pandemic by creating a visual landscape imbued with a newfound appreciation of life, compassion, communal strength, and fortitude so fundamental to the human experience.

Read an article about the 2021 Seattle Deconstructed Art Fair here.

Seattle Forward // Seattle Deconstructed Art Fair from VIA Creatives on Vimeo.

Art enthusiasts and collectors are invited to view all SDAF exhibitions online at www.seattledeconstructedartfair.com, and in person at individual gallery locations. Check out the consolidated calendar of events – featuring in person exhibition openings, artist meet & greets, as well as an online map of all the participating galleries.

The Seattle Deconstructed Art Fair runs online and in person from August 5 – 31, 2021. A First Thursday Kick-off event is planned for August 5, 2021 from 6 - 8 pm in Pioneer Square and Downtown, marking the official return of the First Thursday Artwalk after a 16 month hiatus.

 

Will Robinson, Crescendo, basalt, 47 x 20.5 x 34 inches

Will Robinson | Tapestry

SDAF Feature | August 5 - 21, 2021

Achieving warmth and softness with unforgiving stone, Will Robinson breathes life into each of his pieces, revealing the innate qualities of the natural medium he works with. His sculptures are as much about discovery as they are reflections of the artist’s intuition.
 
Finding boulders and slabs across the Pacific Northwest is the beginning of his artistic process. From the exterior it is often impossible to determine the characteristics and mineral properties within each stone. It is only after he has begun to carve through each piece that he discovers intricacies and attributes to highlight through sculptural form. Within his newest body of work, Robinson weaves a diverse array of sculptures together through the common thread of his pursuit of beauty.

Will Robinson, Mahogany Flame, red granite, 18 x 19 x 10 inches

  Will Robinson studied History at the University of Washington. His work has been shown across North America, including at the Southern Vermont Arts Center, Manchester, VT; SOFA Exposition, Chicago, IL; Toronto International Art Fair, Toronto, ON, and around the Pacific Northwest. His sculptures were selected by jury for exhibitions such as the City of Woodinville’s Juried Invitational Exhibition, Woodinville, WA and the Bainbridge Island Invitational Classic for the Arts, Bainbridge Island, WA. Robinson’s sculptures have been selected for numerous public art collections and site-specific sculpture commissions such as for Swedish Medical Center, Issaquah, WA; the Las Vegas Cleveland Clinic designed by Frank Gehry, Las Vegas, NV, and the Puget Sound Naval Shipyard Memorial Plaza, Bremerton, WA. His work has also been included in dozens of corporate and private collections across North America.

 

To learn more about Will Robinson and to see available artworks please visit his page.

 Tom Burrows, Jedidiah Island, polymer resin, 24 x 24 inches

Tom Burrows | New Works

SDAF Feature | August 5 - 21, 2021

Tom Burrows’ resin pieces are laboriously created through a unique and highly variable process. Burrows’ artistic career has included a myriad of explorations in sculptural materials, ranging from performative, site-specific installation work to two-dimensional pieces. Often with an element of research focused on social issues such as homelessness and housing, he has been a significant part of the arts community of British Columbia since the early 1960s. 

The works in this exhibition reflect light, bouncing it between the walls of each hollow form and illuminating the natural tendencies of his materials. Vibrant pigmentation causes each piece to possess a seemingly effulgent presence, each transmitting fields of color and allowing for meditative encounters.

Says Burrows "It’s difficult to impossible for me to verbally zero in on my work, which is essentially non-narrative. I can attempt to describe the factors that circle it. Possibly it is zero, a circle with an empty center. My role as an artist is to construct a set of parameters within which media such as pigmented polyester or glazed porcelain self-generate image, parameters akin to the climatic conditions that allow ice crystals to form snowflakes. I do try to avoid gesture. Any emotional or narrative content is imposed by the viewer anthropomorphizing the medium. The medium is the message. It glows with an inner luminance, a trace to the Chauvet Cave."

Tom Burrows, Gomer Island, polymer resin, 48 x 48 inches

Tom Burrows has a BA in Art History from the University of British Columbia, Vancouver, BC, and studied Sculpture at St. Martin’s College, London, UK. He has shown his work internationally, at galleries across North America, and at places like the Museum of Contemporary Art, Antwerp, Belgium, Musée d’Art Moderne, Paris, France, and Vancouver Art Gallery, Vancouver, BC. Burrows has been selected to do a number of commissions, and his work is part of collections including that of the Canadian Embassy to Japan in Tokyo, Government of Ontario Art Collection, the Morris and Helen Belkin Gallery at the University of British Columbia, Vancouver, BC and Canada Council Art Bank, Ottawa, ON among others. 

To learn more about Tom Burrows and to see available works please visit his page.

Read more

AUGUST 2021 | TOM BURROWS | NEW WORKS

 

Tom Burrows, Jedidiah Island, polymer resin, 24 x 24 inches 

Tom Burrows

New Work | Seattle Deconstructed Art Fair 

August 5 - 28, 2021 

Tom Burrows’ resin pieces are laboriously created through a unique and highly variable process. Burrows’ artistic career has included a myriad of explorations in sculptural materials, ranging from performative, site-specific installation work to two-dimensional pieces. Often with an element of research focused on social issues such as homelessness and housing, he has been a significant part of the arts community of British Columbia since the early 1960s. 

The works in this exhibition reflect light, bouncing it between the walls of each hollow form and illuminating the natural tendencies of his materials. Vibrant pigmentation causes each piece to possess a seemingly effulgent presence, each transmitting fields of color and allowing for meditative encounters.
 

Tom Burrows, Gomer Island, polymer resin, 48 x 48 inches
Says Burrows "It’s difficult to impossible for me to verbally zero in on my work, which is essentially non-narrative. I can attempt to describe the factors that circle it. Possibly it is zero, a circle with an empty center. My role as an artist is to construct a set of parameters within which media such as pigmented polyester or glazed porcelain self-generate image, parameters akin to the climatic conditions that allow ice crystals to form snowflakes. I do try to avoid gesture. Any emotional or narrative content is imposed by the viewer anthropomorphizing the medium. The medium is the message. It glows with an inner luminance, a trace to the Chauvet Cave."
Tom Burrows has a BA in Art History from the University of British Columbia, Vancouver, BC, and studied Sculpture at St. Martin’s College, London, UK. He has shown his work internationally, at galleries across North America, and at places like the Museum of Contemporary Art, Antwerp, Belgium, Musée d’Art Moderne, Paris, France, and Vancouver Art Gallery, Vancouver, BC. Burrows has been selected to do a number of commissions, and his work is part of collections including that of the Canadian Embassy to Japan in Tokyo, Government of Ontario Art Collection, the Morris and Helen Belkin Gallery at the University of British Columbia, Vancouver, BC and Canada Council Art Bank, Ottawa, ON among others.

To learn more about Tom Burrows and to see available work, please visit his page.

Read more

AUGUST 2021 | WILL ROBINSON | TAPESTRY

Will Robinson, Andantino, stone, 32.5 x 22 x 15 inches 

Will Robinson

Tapestry | Seattle Deconstructed Art Fair 

August 5 - 28, 2021 

Achieving warmth and softness with unforgiving stone, Robinson breathes life into each of his pieces, revealing the innate qualities of the natural medium he works with. His sculptures are as much about discovery as they are reflections of the artist’s intuition. 


Finding boulders and slabs across the Pacific Northwest is the beginning of his artistic process. From the exterior it is often impossible to determine the characteristics and mineral properties within each stone. It is only after he has begun to carve through each piece that he discovers intricacies and attributes to highlight through sculptural form. Within his newest body of work, Robinson weaves a diverse array of sculptures together through the common thread of his pursuit of beauty.

 

Will Robinson, Ripple in Time, stone, 66 x 32 x 21 inches

Will Robinson studied History at the University of Washington. His work has been shown across North America, including at the Southern Vermont Arts Center, Manchester, VT; SOFA Exposition, Chicago, IL; Toronto International Art Fair, Toronto, ON, and around the Pacific Northwest. His sculptures were selected by jury for exhibitions such as the City of Woodinville’s Juried Invitational Exhibition, Woodinville, WA and the Bainbridge Island Invitational Classic for the Arts, Bainbridge Island, WA. Robinson’s sculptures have been selected for numerous public art collections and site-specific sculpture commissions such as for Swedish Medical Center, Issaquah, WA; the Las Vegas Cleveland Clinic designed by Frank Gehry, Las Vegas, NV, and the Puget Sound Naval Shipyard Memorial Plaza, Bremerton, WA. His work has also been included in dozens of corporate and private collections across North America.

  

To learn more about Will Robinson and to see available works please visit his page.

Read more

JULY 2021 | ROBERT MARCHESSAULT | GROW / RE-GROW

Robert Marchessault, Pupuri, acrylic and oil on canvas stretched on panel, 60 x 48 inches

 

Robert Marchessault

Grow / Re-Grow
July 1 - 24, 2021


Painter Robert Marchessault has long been inspired by the resilience of trees, but in 2020, their fortitude took on a new level of meaning. As we globally faced the rise of one of the most devastating pandemics of modern time, Marchessault turned again to subjects that represent adaptation in the face of struggle, growth amid challenge, and longevity against all odds. The trees he has painted for his new exhibition Grow / Re-Grow are striking reminders of the perseverance not only of the living things he so poetically renders, but of our own.

Each a combination of memory and experience, Robert Marchessault’s trees are not based on photographs or certain tree species; instead, the artist orchestrates the trees symbolically. Gnarled trunks and windblown branches are the eloquent results of environmental affects. The beauty of these trees is not in spite of what they have weathered, but because of it. Soft but vibrant, atmospheric abstractions serve as surroundings for each tree. Marchessault composes each painting, placing familiar natural forms on colorful surfaces full of movement.  

 

Robert Marchessault, Arcs, oil and acrylic on panel, 52 x 40 inches

 

Says the artist, "For many years, my landscapes, and in particular my images of trees, have been a visual metaphor for overcoming difficulties and thriving in adversity. I am in wonder at how trees are able to take root and grow in spite of forces aligned against them.  Wind, drought, rocks, pollution, pests and disease make survival a struggle. Yet, in the face of the misery; trees adapt, change, bend, re-grow and thrive."

Robert Marchessault received a Visual Arts Diploma from Dawson College, Montreal, QC, a BFA from Concordia University, Montreal, QC and an MA from Ontario Institute for Studies in Education, University of Toronto, Toronto, ON. His work has been shown internationally including at Gotland Museum, Visby, Sweden, and many galleries across North America. He’s been the recipient of dozens of awards including a Canada Council Travel Grant. Marchessault’s paintings are in dozens of art collections including 20th Century Fox, Bank of Montreal, Rothschilds Inc, and Royal Bank, among many others.

To learn more about Robert Marchessault and to see available works, please visit his page.

Read more
17 results
  • 1
  • 2
Continue browsing
Your Order

You have no items in your selection.