Awe Struck is a series born from a personal and visceral response to the natural world—places where beauty overwhelms, silence roars, and the ordinary dissolves into the sublime. These paintings are not just depictions of landscape; they are experiences of rupture—moments where the familiar falls away and something larger, stranger, and more luminous asserts itself. - Julie Himel
Over the years, I produced a number of black and white lithographs that were drawn directly on a stone or on a plate and Kent Lovelace of Stone Press printed them. Some were contributed for fundraising to conservation organizations, including The Nature Conservancy, People for Puget Sound and the Nisqually Delta Association. They depicted avian subjects that are often dramatically present and important within the ecosystems of the Pacific Northwest. - Tony Angell
These paintings live in the tension of transformation where forms surface and recede, where nothing is fixed, and everything is shifting. I work instinctually, letting each piece unfold without demanding resolution. What emerges is not a fixed image, but a felt space hovering between abstraction and memory, gesture and emotion. - Sara Pittman
Foster/White, in collaboration with Reflection Marketing, presents Make Yourself at Home. The exhibition invites three leading design studios - Memento Interior Design, Mutuus Studio and The Residency Bureau - to reimagine the gallery space as three distinct interpretations of home.
Using a technique inspired by chronophotography, I capture thousands of images in high-speed bursts to compose large-format photographs that trace the flight path of different species. The resulting compositions reveal stunning visual patterns, situated between scientific documentation and poetic abstraction. - Xavi Bou
As a master neon glass tube bender and craftsperson, I create neon sculptural forms from glass tubing and noble gas. Using innovative methods, I create neon forms of extraordinary length and size, challenging the medium as I contrast the fragility of glass with bold design. I then transport my glass sculptures to unexpected sites and situations, placing them in unique landscapes, studying the visual effects of luminous light, line, color, and form on each chosen environment. - Kelsey Fernkopf
For Art + Culture Week, Foster/White presents Resonant Light, a collaborative installation and performance by local neon sculptor Kelsey Fernkopf and Baroque violinist Tekla Cunningham. Immerse yourself in gallery on Friday, September 26 with a performance by Cunningham at 3 pm, surrounded by Fernkopf’s luminous sculptures. The event is free and open to the public. Kelsey Fernkopf’s installation, Outside: In, and collaborative photographs of his neon pieces by Steve Gilbert will be on view in the gallery until Saturday, October 25.
I see these paintings as abstract psychological landscapes. My influences come from my surroundings. The density or lightness of air, clouds and sky. And of course, the Pacific Northwest with its boundless presence of water, the regional impact of the Puget Sound, the lakes, and the mist. I am also greatly inspired by my garden with its lush and ever evolving mix of colors and textures – alternating between abundance and decay with the promising grace of renewal. - Mark Rediske
The title of this exhibition, Sage, describes a desert bush I have come to love and admire. It’s a theme I have returned to frequently. I enjoy the way aridity, wind and stress create these gnarly shapes with their exciting compositional possibilities. I love the feel of the energies at play when making these works. - Robert Marchessault
Like the darkness between stars that makes light visible, these quiet intervals become the very source of abundance. In seeking this balance, I've discovered that abundance lives not in accumulation but in the rhythm of give and take, the stillness and movement. Each canvas becomes a meditation on finding fullness through selection, and success happens when both energy and restraint dance together. - Shar Coulson
Blend In: Echoes is a continuation of my Blend In series reflecting on experiences with social anxiety. For me, social anxiety isn't just about bracing for the next awkward moment; it's also like my brain has a highlight reel of past social flubs that it loves to replay at the most inconvenient times. Seemingly out of nowhere, these random memories of slightly embarrassing encounters or moments I'd rather forget pop up like unwelcome guests. These mental reruns con-tribute to a persistent background hum of "what if" and "oh no." The sculptures in this exhibition playfully explore this phenomenon, each piece attempting to capture the quirky and sometimes absurd ways these unexpected mental intrusions can echo in the present. - Calvin Ma
This body of work explores alternative possibilities to structure development through mold making and slip casting processes. In contrast to ceramic factories’ conventional use of these methods for precise duplication, these works push the boundaries of these industrial processes to form one-off, unrepeatable forms. Diverting from traditional mold making key systems that align mold parts for consistency, this approach embraces variability - rotating, alternating, and reshaping mold components each casting. - Kyle Johns