crocheted yarn mirror images of two men, from the chest up, lying on their backs with their arms propped behind their heads — one, gazing up at the viewer; the other with his eyes closed. The yarns used to color their skin make use of colors similar to olive pigments, as well as shades of grey, blue, red, and pink.

Hurts so Good

Columbia Center for the Arts is excited to present Hurts so Good curated by Carolyn Hopkins.

This exhibition is an all-female lineup of artists from the greater region. Featuring work by Robyn Johnsen, Jo Hamilton, Elizabeth Malaska, Jeralyn Fix, Morgan Rosskopf, and Leslie Vigeant. Whether it be Hamilton’s seductive and sinuous hand crocheted portraits, Johnsen’s wildly patterned and vibrant paintings, Fix’s stunning watercolor eels, or Rosskopf’s intricate hand cut and rendered floral pieces, you will be sure to be seduced by the raw beauty of the works in this show. Each of these artists subverts our usual relationship to floral elements, the figure, and other unassuming subject matter. Upon further inspection these works have much more to say, from Malaska’s whimsical and dark portraiture to Vigeant’s text-based works in fiber and print. There is something happening under the surface in each of these works, let them pull you in and push you back as you scratch a bit deeper with each. 

This exhibition opens Feb 5th and runs through Feb 27th. Please note that due to COVID-19 there will not be an opening reception. Gallery hours are 11-5pm Tuesday-Saturday.


A watercolor painting featuring translucent, blood red shapes radiating out from the bottom left edge of the frame. the shapes are variously sized oblong ovals. The background is light grey. There are two red dots of paint on the left side of the painting, and two thin lines of splattered paint extend from the red composition.

Danielle Dimston: Lightness of Being

Municipal Bonds is pleased to present “Danielle Dimston: Lightness of Being,” a solo exhibition of select works on paper from 2008-2020. Dimston creates watercolors and drawings notable for a minimalist palette, linear composition, and transcendent field. Her work radiates emotional honesty through purity of the line—accessed by repetition, gradation, and undulation.

The fluidity of Dimston’s drawings, and the luminosity of her watercolors, shift perceptual awareness from structural to ethereal. Whether by arch, spiral, or triangle, the lines touch to connect, construct, mend. Some organically structured, others geometrically built—all are inclusively joined to the hand, the process, and the medium. With a meditative sense of space, unburdened by time or representation, Dimston’s abstractions emit lightness—at ease, an invitation to safe harbor met by psychological freedom.

Dimston offers, “This work continues my exploration of light as a compositional element. I have found light has an organic character and volume. And when it transitions, what happens to the edges? Of course, light also means color. But color can overwhelm and obscure. By keeping color to a minimum, I focus on its emotional weight, while eliminating almost all semblance of the objective world. The images, though abstract, evoke a sense of mystery, like a vague memory, or a dream.”


Michael Nicoll Yahgulanaas: Carpe Fin

Carpe Fin is a major commission for SAM’s collection by Haida artist Michael Nicoll Yahgulanaas. This monumental work has been created as a “Haida manga,” a unique approach developed by Yahgulanaas that blends several artistic and cultural traditions, including Haida formline art, Japanese manga, Pop Art, and graphic novels.

The artist populates this 6 x 19–foot watercolor mural with figures, landscapes, and action scenes inspired by a traditional Haida oral story: a sea mammal hunter goes in pursuit of food to feed his starving community and is taken underwater to the realm of a powerful spirit. The story is also linked to a 19th-century headdress in SAM’s collection carved by Yahgulanaas’s relative, Albert Edward Edenshaw. Carpe Fin calls attention to issues of environmental degradation and the rupture of the values that honor human-nature interdependence.

This new installation also includes the artist’s drawings and sketches for Carpe Fin, a naaxin (Chilkat Robe) and pattern board, and the Sakí headdress.

Funding for this installation was made possible by
The MacRae Foundation

Image: Carpe Fin (detail), 2018, Michael Nicoll Yahgulanaas, Haida, b. 1954, watercolor and ink on handmade Japanese paper, 6.5 x 19.7 ft., Seattle Art Museum, Ancient and Native American Art Acquisition Fund, McRae Foundation and Karen Jones, 2018.30, © Michael Nicoll Yahgulanaas.