Silhouettes of faces overlap and echo and inhale luminescent smoke, in this hazy, ghoulish half-way of an image. Caught in between materialization, chain-link fence , chains and searchlights disappear behind shadows of mouths open, waiting to speak.

Lonnie Holley – The Influence of Images

Elizabeth Leach Gallery is pleased to present Lonnie Holley’s atmospheric, dream-like painted works on paper that feature repeated, overlapping silhouettes and three-dimensional effects. Titled The Influence of Images, this new series of paintings were created during Holley’s artist-in-residency at the Elaine de Kooning House in East Hampton, NY in 2020. During his time there he made artworks layered with spray paint and acrylic, adding an immediacy to the imagery. Nested shapes appear to radiate and float in the cosmos amid a softly diffused palette of grays, pinks, blues, and yellows that emphasize their transformative, mystical quality.

White and blue plants bud out of black soil, stark and clear against a flat void, a cocked orange moon hands just beyond.

Tess Rubinstein | Pond Song

On July 3rd, Stephanie Chefas Projects is delighted to present Pond Song the second solo exhibit by painter and illustrator Tess Rubinstein. Pond Song is a practice in paying attention, a collection of quiet moments spent in companionship with fog, flower, and tide, and an exploration of the rural California coastline experience. Each piece serves as a sort of sensory field note, cataloging the sights, sounds, smells, and textures of forest, beach, marsh, and pond.

“I approach an environment as an artist and naturalist, investigating the core idea that one can deepen relationship to place through full body awareness.”, states Rubinstein. “The process of learning a flower, for example, not just by its name and form, but by the whole sensory experience of the site it’s rooted in. I use vivid color to capture the vitality and near-technicolor splendor of this embodiment. How a simple shift in attention can reveal a single moment as vital and textured….quail call, lichen tangle, acrid tide.

This work stands alongside a year of loss and isolation, but also a year of finding aliveness and kinship in soft, unassuming places. The patience of an egret perched roadside, or the tenderness of a coastal cliff eroding in the wind. ‘Pond Song’ explores what happens in noticing the stillness, honoring the curiosity, and stripping away the narrative. How does one discover this world, moment by moment, and ourselves in the process?”

Tess Rubinstein is a multidisciplinary artist hailing from a foggy mountain in the San Francisco Bay Area. Her practice is centered around moments of simple joy, using painting, illustration, and textile design to encourage a nurturing of the present moment. She finds inspiration in her current landscape, as well as patchwork quilts, slow living practices, and the uninhibited female form. She received her BFA from the Pacific Northwest College of Art in 2017.

Opening day for Pond Song will be held at Stephanie Chefas Projects on Saturday, July 3rd from 1-6pm. Masks are required and social distancing practices are encouraged. Stephanie Chefas Projects is located in Portland, Oregon at 305 SE 3rd Avenue on the second floor of the Urban Row building. The exhibition will be on view through July 3 – 31, 2021 and is free and open to the public.

In this milky blur of dark grey blues and pinks, lines, shapes, and forms emerge into the foreground timidly, as if rising to the surface.

Jo Ann Biagini: Thicket

May 7 – June 12, 2021
Hours: Friday + Saturday 12-6pm
Open late until 8pm for First Friday: June 4th

Free and open to the public with no appointment necessary. Social distance and masks required. Private appointments are available, please email mercurytwenty@gmail.com to schedule.

Jo Ann Biagini makes layered, mixed-media works on and out of paper. The work in her latest exhibition, Thicket, has its beginnings in books, reflecting her interest in reading and in nature imagery found on the printed page. She starts by configuring discarded book pages into grids, then builds up layers, improvisationally combining shape, color, scale and meaning using drawing, painting, image transfer, collage and sanding. Working surfaces with this additive and subtractive process, Biagini discovers and creates new connections—real and imaginative—among fragmented images, patterns and abstractions. Complex and compelling, her new pieces evoke a sense of curiosity and mystery about the workings of the natural world and its evolving relationship to the Anthropocene era in which we currently live.

Two paintings hanging side by side in a gallery space, above concrete flooring, below wood support beams. Both arrange two-dimensional human figures in geometric rows, all of which interact with each other, some lying on the ground, others seated at tables, leaning against each other, etc.

Andrea Joyce Heimer: Lonely Hunter

“The Heart is a lonely hunter with only one desire! To find some lasting comfort in the arms of another’s fire…driven by a desperate hunger to the arms of a neon light, the heart is a lonely hunter when there’s no sign of love in sight!”
― Carson McCullers, The Heart Is A Lonely Hunter

O never a green leaf whispers, where the
green-gold branches swing:
O never a song I hear now, where one was
wont to sing
Here in the heart of Summer, sweet is life to
me still,
But my heart is a lonely hunter that hunts on
a lonely hill

― William Sharp, The Lonely Hunter

Nino Mier Gallery is pleased to present the inaugural exhibition of paintings and works on paper by Washington-based artist Andrea Joyce Heimer (b. 1981), opening March 26th and on view until May 1st in Los Angeles. A recipient of the Joan Mitchell Foundation award and a finalist for the Betty Bowen Award, Heimer makes narrative paintings from the panoramic memories of her small-town adolescence in the heart of Great Falls, Montana.

Heimer’s paintings evoke narrative friezes and tapestries, where outdoor landscape and interiors are organized into distinct rows or thresholds, each portraying a different stage in the lives of her characters. The paintings present a miniaturist’s detail, juxtaposing different patterns which, combined with the flattening of perspective, create something akin to a collage. Not unlike Hieronymus Bosch, in that most of her paintings depict human and moral failings, Heimer uses images of demons, humanoid animals to evoke fear and confusion to portray the evil of man.

Largely centered around the subject of loneliness, the artist’s current body of work explores the complex behaviors and psychological processes that occur within and around groups. As an adoptee whose records were sealed at birth, Heimer uses her paintings to create autobiographical mythologies that address otherness and separation as well as loneliness. The current paintings observe the artist’s struggle with these group dynamics during a church lock-in, at her high-school prom, as a witness to a cloudburst, and as an observer of the Montana firewalkers.

These deeply personal narratives coupled with the artist’s protracted and poetically rendered titles reveal a vulnerability within Andrea’s paintings. One such title reads, “I Have Always Wanted To Swim With Everyone Else, In Backyard Pools, Ponds With No Name, The Blackfoot River, The Bitterroot. I Took The Required Swimming Lessons In Elementary School But They Only Left Me Fatigued And Panicky, A State I Tried To Hide While Watching My Classmates Skitter Around The Pool Like Minnows. To This Day I Sink Like A Stone. It Doesn’t Matter How Much I Want To Revel In The Sort Of Weightlessness That Deep Deep Water Offers (I Assume). Yes, I Have Waded Into Montana Rivers Alongside A Slew Of Fish-People And Yes, I Have Smiled Extra Wide To Assure Them That Simply Standing In Waist-High Water Was All I Wanted To Do, All The While Knowing How Quickly I Would Sink If I Joined Them. But They Are Beautiful To Watch, Those Fish-People.” This open yearning towards inclusion is reflected in many of the artist’s titles and paintings and allows an intimacy that might otherwise not be possible. The magic of Andrea’s work is her ability to create the inclusivity for viewers that she seems to be seeking and as such the lonely hunter has found her prey.

Andrea Joyce Heimer (b. 1981, Great Falls, MT; lives and works in Ferndale, Washington) received her MFA from the New Hampshire Institute of Art in Manchester, New Hampshire. Her work has been exhibited at Nicelle Beauchene Gallery, New York; Colombo Gallery, Milan; CG2 Gallery, Nashville; Linda Hodges Gallery, Seattle; Pennsylvania Academy of Fine Art, Philadelphia; Andrew Edlin Gallery, New York and Franklin Parrasch Gallery, New York.

Four circular objects of varying sizes are stacked atop each other, one black, one navy, one warm orange, another red—growing smaller, the higher they're stacked.

Julie Speidel Carnac: Carnac

Winston Wächter Fine Art is excited to announce Carnac, a new exhibition of works on paper by Northwest artist Julie Speidel. Speidel continues her work with Japanese Paper, which started over 30 years ago.

This venture has renewed Speidel’s appreciation for how intriguing two-dimensional art can be. Speidel has been especially gratified by the opportunity it has afforded her to experiment with color. As a sculptor, her use of color was monochromatic; but in her work with master print maker, John Overton, Speidel is able to combine and layer color in inventive ways.

“I am able to mix and do a dance with color that I didn’t do with sculpture,” she says. It is exciting for Speidel to be able to explore new boundaries in her art, so many years into her career.

Julie Speidel has been exhibited widely and her sculptures are included in many prestigious private and public collections in the U.S. and abroad, including the Tacoma Art Museum, three United States Embassies, the Oracle Collection, the Boeing Collection and the Nordstrom Collection.

blurred depictions of indigenous women are woven onto silkscreened posters, forming a rectangular scene of overlapping, collaged images, featuring primarily earth red and sky blue threads.

After the Fire

Round Weather’s second exhibition recognizes fire as central to our earthen experience.  “We seem almost a fire dependent/ species like this tree,” writes poet Ed Roberson in “Sequoia Sempervirens,” and our next years promise increasing conflagration born of our natural resources.  We must work now toward tomorrow’s recovery.  After the Fire is both the title of Sylvia Fein’s painting of a fuming forest and a primary metaphor and/or method connecting Miguel Arzabe’s paper weavings and kite rituals, Ashwini Bhat’s sculptures of weathered ecology, Sarah A. Smith’s corroded gold leaf and endangered spirit animals, Martha Tuttle’s depiction of space dust and galaxy haloes, and Andy Vogt’s drawing with rust, oxidation using sunlight, and salvaged wood.

Proceeds from every artwork sold largely go to Dogwood Alliance, Friends of the Earth, and Indigenous Environmental Network. Each year Round Weather’s advisory board selects three nonprofit organizations to reward for their track record in helping temper the climate crisis.

You may visit in person by appointment only with all safety precautions in place.

 

A dreamlike illustration on paper. A blue sky with wispy white and peach clouds creates the background. A mask-like face floats on the left half of the upper edge, looking down. There is a curved row of eight sparrows flying across the sky. A full moon hangs on the right half of the upper edge. The bottom has three light grey mounds. One mound has a cartoonish face with a black bowler hat. The second mound has the face of a large cat. The third and smallest mound has a lifesaver/buoy. Between the two larger mounds, a crying person holding a tissue to their eye floats in a cloud.

In Search of Lost Time: Viola Frey, Fay Jones, and Akio Takamori

James Harris Gallery is pleased to present an exhibition titled “In Search of Lost Time” focusing on three artists, Viola Frey, Fay Jones, and Akio Takamori. Inspired by the Proust novel, the pandemic and our last exhibition at our Pioneer Square address, this show draws connections with the nature of time, the transportive quality of memory, and the immense pleasure in the details of looking at objects. The exhibition demonstrates how artists engage with their personal histories to present a reflection of humanity in their work. Each artist chosen often draws on their lived experience for the basis of the objects they create. Proust’s novel “In Search of Lost time” emphasizes the link between reading and self-knowledge. He believed that with each reading of a book, a different meaning emerged. This can be said to be true when looking at art. Seeing things again often will lead to new interpretations. The exhibition is organized into three chapters, Akio Takamori’s drawings and sculpture will be on view in first room when you enter the gallery, Viola Frey’s works on paper and ceramic sculpture will be displayed in the middle space and Fay Jones in our back gallery.