Through handwritten algorithms, I connect a painted visual language with the direct language of a text document. One letter equates to one brushstroke, directing its color and quantity, while an underlying "seed image" guides the algorithm toward organic shapes. Different zones across the canvas follow different rules, creating a dynamic composition. — Ilana Zweschi
In this series, Weyland explores the fragile relationship between humanity and the natural world through physically manipulated photographic landscapes. Drawn to remote environments, Weyland takes photographs of landscapes experienced throughout her travels. In her work, she conveys the emotional resonance of encountering these vast, timeless spaces.
This group of works are a mix of various sparks that intrigue me. There are some animal abstractions, such as my Darkling Hawks, some sea forms, as in Deep Sea Denizen II and Abyssal Eel, and human forms, like Corsair and Slinky Black Dress. I see and draw from inspirations all around us and am joyfully compelled to bring my ideas out from within the stones I collect along the way. — Will Robinson
This show reflects a deepening of my studio process. Using only dye, ice, gravity, and time, I observe the range of marks on fabric revealed by manipulating each of those elements. Each fabric panel uses a single dye color that splits into its component parts when acted upon by ice. Subtle manipulations of the white fabrics and the passage of time allow the color to seep across the surface, telling a unique story in color and texture. A dye color simply named “Blue Gray” splits into a multitude of shades from orange to purple to blue and myriad hues of gray in unrepeatable variations. This combination of control and letting go, science and magic, creates imagery that evokes the textures and vistas of the natural world. — Cameron Anne Mason
In Folded Earth, Open Sky, I layer my paintings to resemble geological strata, embedding minerals such as mica, obsidian, marble, and sandstone into each piece. These materials bridge the tangible and abstract nature of the physical landscape with my artistic interpretation of it. As a mirrored compositional approach reveals subsurface geology and the visible world above, a dialogue emerges between what is beneath and what is experienced, what is seen and what is reflected. Compositions appear folded with earthbound rocks and minerals suspended in layers while floating in an open sky. — Sarah Winkler
Koplin Del Rio presents PINE, a solo exhibition by Seattle-born photographer Eirik Johnson. This summer residency, hosted by Foster/White Gallery, marks an exciting collaboration between the two longstanding Seattle galleries.
In this recent series, it is not only color that informs my work. It is still the garden that inspires, as it lays dormant in winter. I have been studying the lines of plants as they die back and wait for the next growing season; muted earthy tones of gray and beige; seed pods on fragile dried stems; fragmented lines and sparse gestures. — Eva Isaksen
To celebrate the gallery's 60th anniversary, Foster/White presents an expansive and spectacular exhibition, Everything, Everywhere, All at Once, as we hang salon style throughout the entire gallery. Attempting to display all our inventory, the collection includes new work by Tony Angell, Allison Collins, Shar Coulson, Eva Isaksen, Nicole Katsuras, kwonny, Chase Langford, Eric Louie, Cameron Anne Mason, Sarah McRae Morton, Mark Rediske, Stephanie Robison, George Rodriguez, and Ilana Zweschi. Click here to view this expansive exhibition
Welcoming Jacob Feige and kwonny to the gallery for the first time, alongside works by Alden Mason and George Rodriguez. Across the exhibition, color, pattern, and line intersect and interact with the figural form. In some works, the figure generates narrative—drawing on mythology, personal symbolism, and cross-cultural references—while in others it serves as a structural foundation for the development of abstract compositions.
Fused invites viewers to consider how heat, time, and pressure transform raw sheets of glass into objects that seem to capture motion, emotion, and light itself. The exhibition celebrates both innovation and mastery, offering a multifaceted view of contemporary glass sculpture through the eyes of five artists whose visions converge in radiant and unexpected ways.
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