Sunday, March 30, 2014

March 2014 Gallery Picks Newsletter

If you are a regular reader of our monthly Gallery Picks Newsletters, you may have noticed a gap in February.  And indeed, we confess, we skipped a month.  So sorry!  Life intruded upon us, as life is wont to do from time to time.  But we're back on schedule, and are delighted to show off several marvelous pieces recently arrived from our incredibly talented artists.  To highlight our continuing exhibition featuring paintings and fine art photography, we'll bookend this post with two stunning examples of wall art currently on display in the Gallery.

To see further information on any of the items shown, please click on the link to be magically transported to our online shop.  Ah, technology!

Also of note:  We will soon be blogging more extensively about our Annex locations.  Stay tuned...

Enjoy!

Prague.  Esperanza Grundy
We welcome wonderfully talented Seattle artist, Esperanza Grundy.
A member of the Women Painters of Washington, Esperanza has won numerous awards
for her works in collage and watercolor.  With a BFA in Industrial Design from the
University of Washington, she has lived both in the Southwest and Northwest. 
 As the artist notes, color is the main ingredient in her work, in abstract compositions
which explore the lives of  literary artists (Bedside Table Series), the American Flag,
or the place of women across cultures.

Esperanza explains her Faces series, and comments on her work in general:

Color is the main ingredient in my work.  Faces began as an exercise
to abstract the human face.  It became important to show the similarities
and the differences in the faces of various cultures.  I used color and various
 collage materials in an attempt to show the wounds or
the memories in the human face.

The urge to create is irresistible to me. The symbols, images, textures and colors
in my paintings and collages are my pathway to spirit and truth.
My fundamental source of inspiration is my personal heritage: my family is
hispanic and native american and has lived in the Southwestern US for
many generations. Cultural explorations continue from there by
listening to other people's stories, traveling to exotic places,
reading and dreaming.

I love to gather, arrange and layer materials. Everything is a potential
element: paper and fabric scraps, my own handmade papers, paint,
stencils, transfers and photographs. Using cast off "compost" to give
new life to art is richly symbolic to me. Creating physical depth through
layering allows me to more deeply express ideas and feelings. I hope
the layers act as levels to invite emotions, thoughts, memories
and meaning for viewers of my art.

Currently, Esperanza's work is on display in the Gallery (small Faces series)
and at our Realogics Sotheby's International AnnexesHere on
Bainbridge Island, 271 Madison Avenue S. (Bedside Table series);
and at our Kirkland Annex, 15 Lake Street, Kirkland, Washington
(her large Faces series).


Lou Zeldis Domino.  Woodleigh Hubbard
The Island Gallery welcomes Bainbridge Island jewelry artist and award-winning
 author and illustrator of picture books for children, Woodleigh Marx Hubbard.
Praised as a talented artist - her paintings have been compared to the works
of modern artists such as Pablo Picasso, Henri Matisse, and Joan Miro -
and an inventive creator of concept books, Woodleigh has also been
designing jewelry since the late 1990s, incorporating colored stones
with the unusual antique pieces she discovers at estate sales and other sources.
 
Born in Sharon, Connecticut, Woodleigh grew up in an artistic home; her father
was an artist and her mother a writer. As a young adult, she traveled in
Europe, where she was particularly influenced by French modernists.
Initially working in pen and ink, she moved to color after losing her
entire artistic portfolio while traveling from France to the United States.

Woodleigh comments on her jewelry:

Being surrounded by children as a children's book illustrator
for so many years has shown me the endless possibilities
of an enthusiastic mind, the creativity of chaos, the
unmitigated joy of an imagination gone w i d e.
It has inspired me to embrace new venues for expression,
jewelry being the latest.  John F. Kennedy said,
"Conformity is the jailer of freedom and the enemy of growth."
I say, "Amen and Hallelujah!"

It's uptown meets downtown and gets a little bit naughty.
Balinese engraved silver whispers sweet nothings to vintage glass.
Fancy faceted garnet sidles up to a bold ring of African metal.
Citrine flirts shamelessly with pressed glass from China.
Young delica makes come-hither eyes at an elder Italian beach stone
(heart-shaped!) - oooo-la-la!! An old, beat-up, hand-painted
Swedish wooden bead is placed next to smoky topaz - watch
her sparkle in a hot haze of appreciation as he warms to a glow
and becomes ooh, so debonair!

Many of these characters are one-of-a-kind antiques. A necklace
or bracelet might be centered around an Indian silver bridal charm
or handmade blown bead; a pair of earrings might sport a
capricious carnelian coyly whistling Dixie to a Venus on the half shell
metal charm, or a prim pearl basks in the glow of a hunk of
Russian silver. Occasionally there will be a series based on one
design, but most pieces are unique. Each is individually crafted
and speaks with its own personality, as reflected in its title.

You are what you eat.
You are what you think.
You are what you wear,
so
Grin And Wear It!!

More of Woodleigh's jewelry will soon be featured in our online shop.
Her pieces are beautiful, thoughtful, wonderfully constructed, and
terribly intriguing compilations of components and findings collected
from around the world.  Don't miss taking a look at them here,
or come into the Gallery to get acquainted in person.


Italian Mid-Century Modern Folding Chair
Just arrived:  Two Italian cane and chrome folding chairs.
These are vintage items, the latest in our mid-century modern
finds, that are lightweight, convenient, beautiful, and altogether
quite splendid pieces of furniture.  Easy to store, they can
pop out to seat extra guests or be left at a desk or easel as
a permanent placement.  If you need more than two, let us know;
we'll see what we can do.

In the same category, we have six similar mid-century modern, stackable
Directors'-style chairs on the way, in black leather with black
steel frames.  Bold!


Silk Shibori Scarves:  Blue/Teal, left; Blue/Purple, Right.  Cyndi Wolfe

Oh boy!  Brand new scarves!

We're certainly enjoying the work of our newest textile artist Cyndi Wolfe,
a weaver, dyer and surface design artist with a love of the interplay between color,
fiber and structure.  In fact, color is her passion, particularly as it is influenced
by the quality and intensity of light.  She has been creating and embellishing
cloth for over 20 years, focusing on producing textiles that communicate
a sense of beauty and order.

Cyndi uses silk almost exclusively in her work because of its luminous
and reflective qualities.  Her woven silk scarves have the feel of watercolors
because she dye-paints the silk yarn before it is woven.  Her choice of colors
and the luxurious feel of the silk are intended to bring the wearer
a sense of harmony and well being.

Currently, Cyndi is exploring texture and color through using
stitched shibori and other surface design techniques in addition to
her weaving.  Silk has a memory - when manipulated and then dyed the
final piece becomes a clear map of the processes used.  Whether stitched
and gathered, folded and clamped or pleated and compressed, the end
result transcends the apparent nature of the original material.  Thus, silk
can be made to look like wood or recall the heat of a fire,
as well as accessorizing a favorite garment.
  
Cyndi's unusual and stunning shibori designs make these
scarves real standouts.  We'll be adding more to our
online shop right here as the days roll on, so stay tuned!

Sea Star, Illuminated Sculpture.  L. Wendy Dunder
Yet another stunning piece from the studio of artist
L. Wendy Dunder, our extraordinarily creative illuminated
sculpture expert.  This is a rather large wall or ceiling sconce
entitled Sea Star, its whimsical swirls suggesting the delicate
inner architecture of shells, its form mimicking our area's
starfish, for a truly Northwest design.  This piece would
be a great addition to a home with beach view, or perhaps even
more appropriately, to provide a bit of a beach vibe for landlubbers!

Created from thin slices of wood painstakingly formed,
clamped and then covered in many layers of paper to
build up a remarkably sturdy and durable skin, Wendy's pieces
are both beautiful and functional - in other words, rather perfect.


Sheer Silk Box Shirt.  Roselle Abramowitz
One of Roselle's terrific hand-painted shirts, this is a flowing
boxy style in silk chiffon that is feather light.  The "plaid" design
may look casual, and could look very relaxed with, say, a plain white silk tee;
but dress this beautiful piece up with a vibrant yellow or
royal blue cami and a great piece of jewelry (a necklace with
a big lapis focal bead, perhaps, or really bold silver earrings -
or, dare we suggest, the little yellow number shown)
and you have a garment that will take you to the opera, or
your favorite snazzy, jazzy night on the town.

We currently have several of these in other colors and slightly different
styling, as well as many of Roselle's other fabulous pieces,
so come on in to the Gallery and take a peek or visit our
online shop at Roselle's page here.


Necklace:  Little Flowers for Antonio Lopez (Yellow).  Begona Rentero
What more is there to say about the extraordinary art of
Beegona Rentero?  Her jewelry only gets better.
This is an older style but we never, ever get tired of
looking at her beautiful, eco-friendly jewelry inspired by flora and
sea fauna.  Begona makes her own papers from silk, cotton and other
fibers, hardening them through a special process so that they can easily
be worn for everyday use. They are ultra-lightweight, and feature all natural dyes.

This bright, happy necklace is simply the epitome of spring, isn't it?
Bring on sunshine! 


Earth Meadow.  Jen Till
 And, as promised, another lovely piece of wall art in the
form of a new oil on canvas work from Bainbridge Island artist, Jen Till.

This zen-like piece with its contemplative view of
an early spring meadow is a great example of Jen's
trademark gauzy style.  One of her smaller pieces at 16" x 20",
it draws us in with tender, almost demure suggestions of the
soft lightness to come, and the unexpected joy to be found
in a field dappled with nature's colors.


That wraps up March!  We'll be back with another Newsletter next month, and in the meantime keep an eye on the blog for informational posts on upcoming events, news, concerts and sales.   We would also like to ask readers, whether nearby or far away, to please take a few moments to recall our area's recent catastrophic landslide that demolished the small community of Oso, Washington, and honor the victims and survivors with your good thoughts and, wherever possible, your generosity.

Wednesday, February 26, 2014

You're Invited: First Friday, March 7, 2014

We have a really wonderful exhibition coming up in March, featuring some of the finest works of art from five local and regional artists in different mediums.  Here's the info, along with their fascinating bios:




Western Landscapes

Mark Bowles
William Thompson
Jen Till
Theodore Waddell
Irene Yesley

 March 7 – April 27, 2014

Opening Reception:
First Friday, March 7th, 6-8 pm

Presenting the works of local and regional artists depicting views of the changing
seasons and moods of the Plains, the Palouse of Eastern Washington,
the Pacific Northwest, and color-drenched central California.
Their styles span from representational to minimalist and abstract
in mediums of oil, acrylics, and fine art photography.

About the Artists:


The Calm of a Day.  Mark Bowles
Acrylic on canvas
40" x 40"

Mark Bowles was born and raised in the San Francisco Bay Area and has painted all his life. His passion for interpreting what he saw brought him to study at the California College of Arts & Crafts and then at the Institudio Allende in San Miguel de Allende, Mexico.  His work is shown extensively throughout the West, with two US Embassy exhibitions in Kathmandu, 2010 and Mexico City, 2009.  His work is represented in numerous private collections and publically in the Denver Art Museum, Tucson Museum of Art and Crocker Art Museum, Sacramento, California.
Some words from Mark:
Whether I am working with a still life, the human figure, or landscape, I am always fascinated by texture, form and color which I use in expressing how I feel about what I am seeing. I do not limit myself in what I paint or how I might interpret what I see. This freedom allows my work to move from representational to minimalist to abstraction. My work is ever changing, ever challenging and always a passionate delight. It is always my intention to address the canvas directly, honestly, and boldly. My heart is always pushing my work to find new language in expressing what I see and how I feel about it. The result therefore is not just an intellectual exercise for me, it is being involved in the “Now”……….always open for change and challenge ……..always evolving.
Exploring color, composition, the quality and attitude of a line, as well as various materials will always fascinate and be tools for me. It is my goal to draw the viewer into my space and let them become involved in their own personal journey and discovery of the work. The ultimate reward for me is to communicate something new to the viewer even if for just a moment in time.
Painting is my commitment, my passion and my fulfillment.
Commentary from Scott Shields, Ph.D., Chief Curator, Crocker Art Museum, Sacramento, California:
Bowles’s paintings are subjective, reductively simple, and filled with blazing light and color—a harmonious balance between the landscape he knows well and his passion for abstraction and the physical act of painting… [His] landscapes are individual statements that have emerged with individuality from a rich tradition of California landscape painting… Mark Bowles is not a plein-air painter although he finds time in the field crucial to his artistic sensibility. Mark prefers the solitude of the studio to address painting infrastructure and color interplay which eventually find placement in a finished work. Whereas many practicing Northern California landscape painters find richness with riparian settings or city-scapes, Bowles primarily features the broad plains of the Central Valley as his favored subject matter. Often, distinctive landmarks are visible in a setting that is on the verge of abstraction.

Sunset Ride.  William Thompson
Fine art photography
44" x 44"
For as long as Poulsbo-based artist William Thompson can remember he has had an insatiable quest for adventure and the exploration of cultures around the world. He trained as a cultural anthropologist (ultimately earning a PhD); he then delved into fine art painting, working on an MFA, but then “magic” happened.  He discovered that the camera was the direct pathway to his eyes, heart and brain… his true creative “paintbrush’.

For 12 years Thompson had the good fortune to photograph for the National Geographic on assignment around the world. With his anthropologically defined mindset he saw things in terms of the essential truth of his subject’s lives — that gleam of light in the heart of darkness. His visual travels took him into many exciting and often unexplored corners of a very large world.

While with National Geographic, Thompson made the first and, to date, only complete aerial imagery of Mt. Everest. This imagery of the ‘top of the world’ was created over many months destined for the lead story in the 100 year anniversary issue of the magazine.

Other NGS adventures include trekking across Bhutan by yak train, exploring its people and geography; he defined the life of the Kathmandu Valley for the NGS in another major magazine story. Thompson traveled extensively though Africa for over a year (and Asia for another year) following the elephants of the world on their tragic path toward extinction - almost becoming extinct himself after contracting cerebral malaria in the Central African Republic.

The last 20 years of Thompson’s professional career has been defined by commercial image making—directing film and still photography for premier global corporations. His iconic images are well recognized in marketing campaigns for clients including Wells Fargo, Marlboro, Boeing, United Airlines, Intel, and Holland America to name a few.

However, in recent years Thompson decided to make a critical shift in the application of his creativity. He redirected his high-level professional film and still competence towards short and long form films that contribute to the world. He notes, “My goal is simply that my imagery should enlighten, create ideas, define passions, allow discovery, and above all, make a ‘difference that makes a difference’.”

In this light, Thompson recently completed three short films. The first is a film to help get women off the streets of Seattle and transition into a more normal life; the second film is a dialog about the tragedy of stillborn children, and the third a perspective of the unique and positive relationship between Alzheimer’s disease and art therapy.

In other venues, Thompson recently taught a University Course entitled Visual Anthropology for Quest University Canada in a remote region of India. Upon returning home he enjoyed a very successful gallery exhibit in Jackson Hole of his Everest aerial imagery as well as teaching two seminars on “the art of seeing”. Today, Thompson’s creative endeavors include two books: the first is a compilation of his Mount Everest aerials and another about the Kathmandu Valley - Kathmandu, The Way It Was.   He is also presently invested in two film projects, one on Elephants of the World and the other, an Imax project, about the American icon – the cowboy.
Returning.  Jen Till
Oil on canvas

48" x 48"

Bainbridge Island artist Jen Till spent her childhood years in a seaside village, Manchester-by-the-Sea, Massachusetts, along the New England coast.  Surrounded by the seasons during her formative years led Jen to look to nature as the basis of all her work as a painter today.

Her love of painting began at a young age.  Jen's childhood experience in her New England surroundings was filled with the richness of colorful, sweeping fall, quiet, bleak winter, spring's lush bloom, and summer with its green warmth. Inspired by her many creative family members, she was fortunate to be entirely embraced in her budding love of art throughout childhood.  Jen went on to the Rhode Island School of Design where she studied Painting and Textiles.  After graduating, Jen moved to Santa Fe, New Mexico where she began to explore painting the vast landscape and light of the Southwest.

Eventually making her way to the West Coast, Jen now lives, paints, teaches and works as a freelance textile designer on Bainbridge Island, Washington.

I am inspired by the many ways light casts itself on our earth. Moments in my life when I behold such beauty inspires me to create its memory in my work. Nature provides me with a foundation upon which I can build paintings to express a wide range of feeling.

The process I use is meditation with my brush in hand. This enables my creative energy to flow, uninterrupted and fueled by intuition. By creating layers with glazes I try to explore the inherent aspects of paint itself while keeping my mind focused on a feeling and place. 

My painting experience grounds me and reminds me to be aware of the presence of spirit in all of life's moments.

I search for this essence and mystery as I dwell on a place filled with light. My hope is to engage the viewer and to share the mystery and calm I so cherish. My work reminds me that by painting the experience of the material world around me I can move toward the intangible, ethereal mystery of life.

Camus Prairie Reds Dr. #4.  Theodore Waddell
Oil, encaustic & graphite on paper
30" x 40"

Theodore Waddell's sophisticated modernist paintings have attracted widespread recognition. A native Montanan cattle rancher, Waddell most often paints freely-rendered range animals roaming the vast plains of Eastern Montana. In his work he draws a deliberate parallel between his subject and the elements of abstract art: cattle and horses are motifs formally arranged on the flattened and enveloping painted "ground" characteristic of modernism. Noted earlier for heavily textured surfaces, Waddell's recent paintings are more atmospheric, with translucent wax medium layers suggesting the drift of grazing animals, transitions of days, and the procession of the seasons.

Theodore Waddell was born in Billings, Montana in 1941 and raised in Laurel, Montana. He studied at the Brooklyn Museum Art School, Eastern Montana College, and Wayne State University, Detroit (MFA, 1968). Waddell taught at the University of Montana from 1968 to 1976, and has since been a full time artist and rancher. He has had over ninety one-man exhibitions, major surveys at the Eiteljorg Museum, Indianapolis, and the Denver Art Museum.

Waddell's father, Teddy, painted boxcars for the Northern Pacific railroad. When Teddy would return home at night he relaxed with a paint-by-numbers art piece while his son watched in fascination. Young Waddell's budding interest in paint paralleled a growing interest in music. He played coronet in a high school dance band, traveling on weekends to play for dances in nearby Montana towns. His interest in music would later turn to jazz, which in turn influenced his art.

An early interest in architecture was squelched when he flunked a math test at Eastern Montana College in Billings. Instead Waddell enrolled in Isabelle Johnson's (known as Montana's first modernist painter) painting class. After a few days with her, he decided painting was what he wanted to do the rest of his life. Johnson's work, steeped in the nineteenth-century European traditions of Impressionism and Post-Impressionism rather than traditional Western realism that had long dominated art in the region, clearly had impact on Waddell's style of painting. Waddell studied with Johnson for two years and received his first big break with a scholarship to study at the Brooklyn Museum Art School. Homesick after a little more than a year of study, Waddell jumped on a plane home and upon arriving in Laurel, found his draft papers waiting for him. Waddell went on to spend two years in the U.S. Army, playing trumpet and touring with a big band. Returning to Billings, he finished his degree at Eastern, and then his Master's of fine arts at Wayne State University in Detroit.

In 1968 Waddell joined the University of Montana art faculty, teaching sculpture and design. For eight years he lived in Arlee, teaching at the University and creating many minimalist-influenced, polished steel sculptures that can still be viewed in many towns and cities across the state. "When we were living in the mountains, making sculpture made sense and it fit within the context of the narrow mountain valleys," Waddell says.

In 1976 Waddell left UM and took a job as a manager for a large ranch north of Laurel owned by relatives of his wife Betty. "On the prairie, where you can see for 150 miles in any direction, sculpture made no sense to me," he said, "I couldn't afford to make sculpture on the scale necessary for it to make sense so I went back to drawing and painting, drawing first, and then, after feeling the need for a scale change, painting our black cows." For years, Waddell ranched and painted, rarely showing any of his work.

In 1982 Waddell did exhibit a group of his paintings of cattle and landscapes in the sales arena at the Billings livestock auction yard. Soon after, a curator from the Corcoran Gallery of Art in Washington, D.C., came to town looking for artists to include in a painting biennial, the Second Western State Exhibition. Waddell's paintings were among those chosen for the biennial and ended up being singled out in reviews by the Washington Post and The New York Times. They were also the subject of a Newsweek article; thus his career was launched. The exhibit traveled to the San Francisco Museum of Modern Art, among other venues, and Waddell signed on with noted galleries in San Francisco and Reno, Nevada. Contracts soon followed with galleries in Chicago, Santa Fe, Seattle, and Scottsdale, Arizona.

His work can be found in the permanent collections of many worldwide embassies, museums, universities, and corporations (Apple Computer, Marriott, Nordstrom, and United Airlines, to name a few), as well as in numerous personal collections, including those of such notables as Robert Redford and Ringo Starr.

Waddell left the ranching life in 1995, moving to the Gallatin Valley east of Bozeman. He now divides his time between homes in Sheridan, Wyoming and Hailey, Idaho, where his wife, Lynn Campion, a writer and photographer, teaches at the Sun Valley Art Center.

Some thoughts on his work:

The heart and hand needed to create a strong American painting is not limited to those living east of the Mississippi. It is a product of endless work, self-evaluation, and the courage to allow one's paintings to evolve. It demands the marriage of the artist's lifestyle and his work. Theodore Waddell exemplifies this definition. His enthusiasm and lifestyle are reflected in the way he works and the imagery he uses.
 
Waddell's paintings are a combination of rough marks; thick paint; transparent elegant strokes; and, on a few occasions a slow, hard line scratched into the canvas. You can feel the movement of the paint throughout the paintings but the subjects are frozen. They are not frozen as a stagnant object but captured as a solitary image. Captured, interpreted and enveloped in the landscape. They are carved out of, or laid onto the green and grey-yellow of the spring and summer, or the white canopy of winter. And sometimes there are ghosts in the paintings, the faint image of what has changed in the piece or decays in the pasture. These ghosts refer to Waddell's interest in life and death and our own mortality. They are metaphors for the struggle and change that is constant in life. In his artist's statement he says, "The understanding of death brings about a feeling of wonderfulness and appreciation of life and just how fragile and magical it all is."
 
Whether Waddell is studying the changing seasons, animals as individuals, or the later figures, one can see his magic in his reverence for nature and celebration of paint. He is a painter's painter: strong hearted, sure handed and high spirited.

Therefore, if I must categorize Waddell, he will live in the ranks of American painters and not be limited to the confines of the western artist.

 ~ Jennifer Complo McNutt Curator of Contemporary Art, Eiteljorg Museum


Palouse 4.  Irene Yesley
Acrylic on Board
36" x 48"

Artist Irene Yesley of Bainbridge Island describes herself as a geometric abstract minimalist, designing flat, hard-edge patterns against a relatively flat background. Physical textures, such as brush strokes, play a minimal role to the interplay of positive and negative shapes, and the emotional impact of color.

Irene describes her journey:

I earned an MFA in printmaking from Arizona State University. After graduation, I bought two floor looms and started making rugs and tapestries. Eventually I grew frustrated with the restraints of weaving, the warp and the weft and sold my looms. Freed from fiber, I have explored pencil, pastel and oil stick on paper, done reverse painting on Plexiglas, acrylics on wooden panels, gesso board and canvas.

The outdoors is the biggest influence on my work. The first landscape I knew was Spokane, Washington, where I grew up. That was followed by the cactus of Arizona for 5 years, the urbanscapes of Boston and Washington, DC, the chaparral of Topanga Canyon, and 22 years in the desert of Santa Fe, New Mexico.  For six years until 2004, we had a condo in Kas, Turkey, on the Turquoise Coast of the Mediterranean, where I spent six months a year.

Now I live on an island across the sound from Seattle in a temperate rainforest. Without even being aware of what was happening, each new location has changed the shapes and colors in my work.

The Exhibition Opens on Friday, March 7th and runs through Sunday, April 27th.
Location:  400 Winslow Way E., #120, Bainbridge Island, Washington

For More Information contact the Gallery at 206.780.9500 or ssn@theislandgallery.net 

Thursday, January 30, 2014

January 2014 Gallery Picks Newsletter

2014 has indeed arrived!  Time to celebrate the time-worn tradition of In-With-The-New, which dovetails nicely with the array of new artists, art works and events we have planned for the upcoming year.  For examples, please scroll down, take a peek at these terrific upcoming and current items, and click on the links beneath each photo to visit them in our online shop for more details.

Enjoy!

Tumblers. Joel Sayre
So.
What have we here?

Rocks? Stones? Boulders?
Actually, they are gorgeous, smooth, individual pieces of
wood, finished and stacked, each a one-of-a-kind sculpture,
shown in the photo amiably inhabiting the foyer of a house.
Here are a few words from the artist to describe his process:

Collectively my pieces are known as Tumblers. When I was a boy
my best friend's family had a little rock polishing machine in their
basement. I don't remember what it was called, but the idea was to
put little rocks in it, turn it on and let them tumble around in the
barrel of this thing for awhile - hours, days, I've forgotten. Then turn
it off and pour out all these shiny smooth rocks of all shapes.
 
Early on after putting a final coat of finish on a wood piece and admiring
how shiny and smooth it was it occurred to me that I was looking at
a giant version of what we used to so eagerly retrieve from that noisy
little machine in my friend's basement. Tumblers.



All of the wood that I use for my sculptures comes from trees salvaged
here in the Seattle area. I have been all over the place in an old red
pickup collecting wood to bring back to my shop where it sits and dries
for a long time, sometimes years, before I am able to work it.

 

The process of actually making a tumbler is fairly simple yet very labor
intensive. It's all done with hand held power tools and can take days, or even
weeks depending on size and complexity. I get immense satisfaction watching
a piece take shape, watching it unfold and become what I had hoped it would be.


Tumblers aren't about straight lines and perfect circles. They are about
good shapes and interesting patterns. … The way a piece ends up feeling
to the hand is as important as how it looks to the eye.

Joel uses primarily walnut, ash, butternut, and monkey puzzle
tree woods in his creations.


  

Silk Batik Tunic.  David Mendoza
This hand-painted batik tunic features free-form patterns
in black, indigo and white on the very softest silk!  The styling
of the garment is quite simple but in that way is
fully representative of the elegant, sophisticated designs
David has delighted us with over the years.
We also have a good selection of his crinkle silk crepe
boat-neck tops and scarves featuring his trademark
batik motifs.


Freshwater Pearl Necklaces.  Bryan & Maria Chapin-Cao
Simply gorgeous!

Maria recently returned from her annual trip to China,
where she visits freshwater pearl "farms" and picks
out the very best they have to offer.  This time around
we're delighted with the single-strand 18" - 21" white
or silver-grey necklaces she has brought in.  The
quality is outstanding, the prices are exceptional, and
Maria's perfect pairing of the pearls and her expert
knotting produces classic art to wear and cherish forever.

Here's a little about the artists:


Maria and Bryan Chapin-Cao first met in Beijing during an
intercultural exchange outing.  They were later married there
in a traditional Chinese wedding ceremony.

Traveling through central China, Maria and Bryan met and befriended
a wonderful group of pearl "farmers". These farmers facilitate the
growth of pearls in a process called "culturing".  Pearl culturing
involves implanting an irritant into the body of the mollusk
and then placing the mollusk into proper growing conditions.
Our Chinese friends culture their pearls inland, therefore create
pearls in a condition called "freshwater". These small freshwater
ponds are nurtured and the water quality monitored for three to five
years before harvest.  This process is environmentally friendly because
it requires the ecosystem to be clean and carefully tended. All parts of
the mollusk are used, creating no waste. The body of the mollusk is used
for both human and animal consumption. The pearls are highly sought
after, and the shell is used for both jewelry and as an organic fertilizer

We find pearls to be naturally beautiful, no two being exactly
the same. We make our jewelry in such a way as to bring
out the exotic luster and natural beauty that has been a symbol
of wealth and beauty for women since the dawn of recorded history.
We take great pride in our work and our unique creations
give us great joy, a joy equal in parts to knowing that there
will be someone purchasing our work who can understand and
appreciate the intrinsic beauty, which we have
labored so hard to bring forth.

We can't help but think of these lovely necklaces as great gifts,
either for Mom to add to her own pearl collection, for brides or grads,
or as birthday or anniversary presents.  Perfect!
There are several listed in the online shop, which you can visit
by clicking here, here and here, or view all of the artists'
online items from the top of their listings page.


Tea Bowl #6, Wood-fired.  Steve Sauer

To inaugurate our new online shop section set aside
especially for tea bowls and cups, we offer
yet another example of perfect imperfection!
Local ceramic artist Steve Sauer is clearly at the top of
his form, as demonstrated by this beautiful tea bowl.
Fired in the Santatsugama Kiln at Seabeck, Washington
during their 50th group firing, it is a study in serenity and
passion, in ice-blue cool and fiery heat, in strength
and delicacy.

Some words from Steve:

I have chosen the concept of “wabi and sabi” for the subtle beauty
of the natural surface. The simplistic beauty produced by fly ash,
and flame, time, and temperature in the anagama is the most
appropriate for my sculptural vessels.  It can be achieved no other way  . . .
At this time I see myself dedicating the rest of my life to wood fire.
Not only in the making of my own pieces, but in the promotion,
education, and maintenance of the tradition of the anagama kiln,
the oldest style of kiln in the history of Japanese pottery.
It has stood the test of time and for me is the most inspirational,
for its ware is unmatched in its subtle beauty, organic and
true-to-life processes. The community that the kiln gathers is
ever-changing and soulfully engaged with one another
to produce the works of its fire and artistic impulse. 


Silk Shibori Scarf.  Amy Nguyen
Soft, sculptural, a true work of wearable art,
this silk shibori scarf needs to be touched to be
fully appreciated!  Amy's workmanship and vision is
on full display and extraordinary (as always) in
her techniques of piecing, quilting and stitching
her textiles into wonderful patterns.

And as a bonus, we love this piece's cool colors!


Silk Cowl Neck Tunic.  Carol Lee Shanks
It's no secret that we greatly admire this artist's wonderful garments,
and are very excited to add her Cowl Neck Tunic to our
collection.  It is created from crushed habutai silk and is
available in a variety of colors, including plum, olive, and black.
Carol is featured in a new show next month; we'll post details
about that very soon, so do check back for that information.


Folding Director's Chair.  Arrben
And last but not least, the return of a popular old friend:
We have recently acquired another set of these very cool
mid-century modern foldable chrome director's chairs, created
by the Italian furniture company Arrben.
The seats and backs of these highly sought-after chairs
are tan/light rust leather and available as a set of four.
View them in our online shop here.


And now that it's almost February, stay tuned for our next Gallery Picks Newsletter - due any day!  (Yes, we promise, we'll try to post it before the absolute end of the month next time...)

Don't forget, never hesitate to contact us with questions, or to be added to our e-card list.

Happy New Year from us all!