26 years ago, I had the idea to do a show of all small works called 235 Ideas for Tattoos. This show was a reaction to what was going on in art in the early 90s. A lot of heavy concepts and use of tables and displays of objects and writing that seemed so pretentious and out of touch with creativity. I wanted art to be more fun and personal and way less precious. - Casey McGlynn
My paintings are fabricated environments full of wonder. While some suggest familiarity through the formation of landscape, I’m approaching the canvas with no direction in mind. Rather, I’m allowing what’s around me to lead to imagination and trail towards worlds that haven’t existed before. I have no interest in replicating that which already exists. I want to paint as if I’m dreaming. - Sara Pittman
My work is heavily influenced by meditation practices, serving as a guide for internal reflection and harmony with the external world. This body of work brings us into a liminal space between the vastness of our ocean and the timeless power of the sublime. A dreamlike world, connecting nature and the ethereal realm. Between Worlds brings out a world of colors and warm glows to give us a more personal and compassionate version of the universe, one that is in union with us. - Steven Nederveen
The Capricious Landscape invites viewers on a voyage through compositions that evolve with each step, mirroring the ever-shifting moods and thoughts of the observer. As one ventures deeper into the work, the scenery transitions from familiar forms to unexpected, fantastical terrains, reflecting the capricious nature of human experience. - Nicole Katsuras
When viewing Will Robinson’s sculptures, the raw, untouched surfaces of rocks as old as time remain plain to see. Through his process, cuts are made and forms brought forth, surfaces worked and varied, but the stone itself is never fully obscured. Robinson has a deep appreciation for the durability of his medium and the forces which formed it eons ago. He tells his story through stone, but he also reminds us that these rocks were here before us, and they will remain long after.
When I stand in front of a bare canvas, I cover it with paint. Initially, it begins with random sections of color, line, texture, and pattern. I call this a color coat. As I work, I seek balance in chaos and amongst new colors. Usually, I use gold, blue, green, and red but these new works are quite different. Purple, lilac, pink, copper, new and varying shades of blue, green, and red. Layer by layer, these color coats weave together in new directions and a composition emerges. I’ve added more color, more chaos, and more movement, yet there is still a horizon, still a sky. It is a wonderful creative journey. - Allison Collins
Frogs are not only unbelievably diverse in their behavioral strategies for survival and choice of habitats, but they are compelling in their physical design and beauty. Their stories and spirit are my tonic for artistic response. More than 7600 species of frogs exist worldwide and only recently have we begun to fully appreciate their essential roles within the complex fabric of a healthy ecosystem and in turn their importance in our lives. - Tony Angell
Celebrating the inaugural Art + Culture Week, soar into peak fall bird migration at Foster/White Gallery! Highlighting the connection between art and the natural world, we celebrate the global movement of birds and the supporting botany of the luscious Pacific Northwest. As a backdrop to the week's events, the gallery will feature the work of gallery artists, as well as artwork from the gallery's newest artist, Xavi Bou.
Geographic exploration in my paintings takes on many forms depending on the work. Most broadly, my visual sensibility is largely a result of years of map collecting, studying, and making. The titles for these paintings can have a direct identifiable connection or a very loose relationship to specific places. They are not intended to drive the viewer's attention to that place, rather they are often a small clue to the intention of the work. - Chase Langford
The show title Beauty + Violence has both visual and conceptual origins. Visually, many of the forms appear to be exploding with light and color or are walking the line between referencing a bouquet of flowers and a mushroom cloud. Conceptually, I am disarming the harm in the text by obscuring and recontextualizing it. My goal is to transform something harmful into something beautiful and point to the complicated relationship between love and power. - Ilana Zweschi
“Language is not a tool we have, it is a shapeshifter, a being that lives with us, walks and talks with us and has its own business and intentions.” - Anne Carson
Part of the exhilaration I acquire from painting is being able to see shifts within myself manifested into physical reality. The most truthful form of expression I have found in my life thus far has been the abstract language of painting. Self growth is fluid and often goes unnoticed but when I am painting I can see worlds within myself being constructed and deconstructed. These moments and movements are intuitive and represent my internal landscapes. The more I learn about painting, I learn about myself. The more I create the more I realize that art is about art. Creation creates and it is an infinity of unfolding, effortless action. I recently fell in love and I didn’t have expectations for the first time in my life. I approached these works with the same unforced joy. - Janna Watson
The title for this show refers to inspiration based on the Arctic landscape. Every year I spend time in my hometown north of the Arctic Circle in Norway, often during the winter months when the days are very short. The winter light is clear and unique, peaceful, beautiful. At night sometimes the northern lights are present. Space, colors, and shapes are based on memories from the north, but what I am always seeking are ways of abstracting my work no matter where the ideas and inspirations has its roots. - Eva Isaksen