8th Annual Juried Exhibition at Gallery 110, Seattle, WA
February 1-24, 2018
Juror: Sara Krajewski Curator of Modern and Contemporary Art, Portland Art Museum
Prize Winners
First Prize: Kristina Aas
Second Prize: Elizabeth Magee
Third Prize: Jennifer Drinkwater
People’s Choice Award – Paul Adams
In 2018 we initiated an additional prize, the People’s Choice Award. We began collecting votes during Seattle’s First Thursday Artwalk, a popular monthly event. Visitors lingered and engaged with the artwork, casting 235 votes that included votes for every artist in the exhibition. The 2018 People’s Choice Award went to Paul Adams for his wet plate collodion tintypes.
Exhibition Catalog – order online
♦ Please order the catalog online from Blurb.
Exhibition Images
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George-Ann Bowers, Berkeley, California
Lichen Party Frock, Weaving, Appliqué; Cotton, Silk, Leather. Thread, 34 x 31 x 2 inches, $2800My work celebrates the infinite intricacies of the natural world. I am intrigued by the structure of trees and seed pods. I find weaving patterns in canyon walls, and thrill to the fine lacework of lichens on rock or bark. Drawing inspiration from the processes of growth, decay, eruption or erosion, my work captures fleeting moments in nature’s continuing cycle of creation, destruction and change.
I weave in multiple layers using a variety of yarn fibers, and frequently paint on the yarn itself during the weaving process to achieve varied color effects. I often use clothing shapes as a framework for nature imagery, emphasizing the interconnectedness between humans and the amazing world we inhabit. -
Kristina Aas, Bergen, Norway
Pelt II, Digital Jacquard Weave, 139 x 98 x 1 cm, $4000The word ”pelt” origins from the Latin ”Pellis” which means the dead, the flayed skin. I want to reflect the duality of the skin: through the skin, our physical bodies meet the world: the common border is defined at the same time it is here that our different senses meet – yet when you detach it from the body that it covers, it becomes something flayed, dead.
Technically I work with jacquard weaving. I have to balance: to find ways to break up the repetition. I use both: chaos and rhythm, pattern and fracture. The whitest cannot be made of only white threads and the blackest must have white underneath to support the construction. The fabric and image become like a metaphor of living today, where one exists in a kind of a picture: crossing of ones and zeros in a digital world web. -
Paul Adams, Linden, Utah
Florence Pestrikoff, One of remaining Speakers of Alutiq, Wet Plate Collodion Tintype, 20 x 24 inches, $6000These two images are part of a larger collection of portraits titled, Vanishing Voices. This project consists of portraits of the last native speakers of endangered Native American languages. Luther is one of two last fluent speakers of the Kawaiisu language.
All of the images were created using the wet plate collodion tintype process shot on a 20x24” view camera. Each plate is unique. Because of the nature of the wet collodion process the actual light reflected from the sitter is embedded in silver on the plate in the camera, thus the plate on display is an actual record of the light reflected from the sitter. The tintype plate is also one of the most archival photographic processes and will stand as a permanent record long after the sitter, and his or her language, is gone.
The project was funded in part by Brigham Young University and the Charles Redd Center. -
Paul Adams, Linden, Utah
Luther, One of Two Speakers of Kawaiisu, Wet Plate Collodion Tintype, 20 x 24 inches, $6000These two images are part of a larger collection of portraits titled, Vanishing Voices. This project consists of portraits of the last native speakers of endangered Native American languages. Luther is one of two last fluent speakers of the Kawaiisu language.
All of the images were created using the wet plate collodion tintype process shot on a 20x24” view camera. Each plate is unique. Because of the nature of the wet collodion process the actual light reflected from the sitter is embedded in silver on the plate in the camera, thus the plate on display is an actual record of the light reflected from the sitter. The tintype plate is also one of the most archival photographic processes and will stand as a permanent record long after the sitter, and his or her language, is gone.
The project was funded in part by Brigham Young University and the Charles Redd Center. -
Sobia Ahmad, Silver Spring, Maryland
Endure, Photography, 15-Minute Video work, Limited edition #1 of 5, $2500"Endure" is part of a series of short videos that began as a response to experiences of being targeted during the 2016 U.S. presidential elections for upholding my identity of a Muslim, immigrant female in the U.S. By making myself the subject of these videos, I communicate to the viewers my role of not only an artist, but also of a protesting citizen. My voice reciting verses from the Quran reflects a meditative practice in endurance while praying in public on the streets of D.C. becomes an act of defiance and resistance. -
Temme Barkin-Leeds, Atlanta, Georgia
Titanfall 2: Landing, Oil, Acrylic, Ink, Marker, Graphite on Canvas, 44 x 66 x 2 inches, $2750For the last 5 years, I have used “shooter” video games as both background and source for my paintings and sculptures in order to reflect the absurdity of using war as a game.
I undermine the intention of the game makers to make a “real” image --they even used scenes of actual battles from the war in Afghanistan--by transposing actual life images into the scenes such as those media photos of the refugee crisis.
In this time of “real” vs “alternate facts”, my work asks the question of what is our truth, as opposed to my work’s providing answers.
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David Bellard, Seattle
Radiance 1, Chromira print of transparency film collage, 48 x 48 inches, $4500The “Radiance” Series: The beauty of our world is due to the unpredictability of growth, and the energy from this growth is a force that moves outward. The photomontage compositions in “Radiance” are attempts to replicate this energy with implied circular movement and pieces bursting out of the radial form.
When creating the work my control of the end-result fluctuates . The large-scale prints in “Radiance” are derived from very small constructions I create by hand from the images I shoot in vintage cameras on transparency film. While the compositions are created using photographic materials and a consistent process, the combination of images, editing and placement lead to visually irregular structures and results. -
David Bellard, Seattle
Radiance 5, Chromira print of transparency film collage, 48 x 48 inches, $4000The “Radiance” Series: The beauty of our world is due to the unpredictability of growth, and the energy from this growth is a force that moves outward. The photomontage compositions in “Radiance” are attempts to replicate this energy with implied circular movement and pieces bursting out of the radial form.
When creating the work my control of the end-result fluctuates . The large-scale prints in “Radiance” are derived from very small constructions I create by hand from the images I shoot in vintage cameras on transparency film. While the compositions are created using photographic materials and a consistent process, the combination of images, editing and placement lead to visually irregular structures and results. -
Reginald Brooks, Eugene, Oregon
TPISC_III_Clarity-1, Acrylic and Ink on Acetate, 25 x 40 inches, $3500TPISC (The Pythagorean-Inverse Square Connection) is a newly discovered whole integer number system that relates geometry and algebra visually.
“TPISC_III_Clarity & Simplification,” brings a new level of number pattern sequences in the form the Tree of Primitive Pythagorean Triples front and center. Geometry informs Spacetime. Here are two works from this project that bridge the earlier works.
Form follows function — function follows Form!
The results of Mr Brooks’ efforts are two startlingly beautiful paintings. -
Reginald Brooks, Eugene, Oregon
TPISC_III_Clarity-2, Acrylic and Ink on Acetate, 25 x 40 inches, $3500TPISC (The Pythagorean-Inverse Square Connection) is a newly discovered whole integer number system that relates geometry and algebra visually.
“TPISC_III_Clarity & Simplification,” brings a new level of number pattern sequences in the form the Tree of Primitive Pythagorean Triples front and center. Geometry informs Spacetime. Here are two works from this project that bridge the earlier works.
Form follows function — function follows Form!
The results of Mr Brooks’ efforts are two startlingly beautiful paintings. -
Jennifer Drinkwater, Ames, Iowa
Boston Strong (June 17, 2013: Part II), Embroidery Floss on Cotton, 10.5 x 7.5 inches, $3500Your average bookstore carries several hundred magazines, each of which is typically cycled out weekly or monthly. Covers are designed to illicit an urgent purchase response. Regardless of impact and story, the issue is replaced. In 2013, I began creating an embroidered archive of two of the most popular weekly magazines in the United States, Time and People.
The stitch replaces the pixel. The slow process of stitching is a meditation. The act itself reduces the melodrama of each cover, just as breaking down the image with thousands of stitches mediates the severity of the charade. Finally, the 168 hours that each issue traditionally spends on the newsstand coincides with the hours I spend stitching each cover. -
Jennifer Drinkwater, Ames, Iowa
Majority Rules (October 14, 2013: Part I), Embroidery Floss on Cotton, 10.5 x 7.5 inches, $3500Your average bookstore carries several hundred magazines, each of which is typically cycled out weekly or monthly. Covers are designed to illicit an urgent purchase response. Regardless of impact and story, the issue is replaced. In 2013, I began creating an embroidered archive of two of the most popular weekly magazines in the United States, Time and People.
The stitch replaces the pixel. The slow process of stitching is a meditation. The act itself reduces the melodrama of each cover, just as breaking down the image with thousands of stitches mediates the severity of the charade. Finally, the 168 hours that each issue traditionally spends on the newsstand coincides with the hours I spend stitching each cover. -
Jeffery Glossip, Seattle, Washington
2016.10, Oil on Canvas, 80 x 64 inches, $7150A combination of activated areas is always in discussion with areas of void, raw canvas. This is sublimation taken as a literal idea. Something from nothing, or something out of nothing, or something and nothing. The framework of the painted areas interacts with the void counterparts of the work against the chassis of the rectangular canvas. The work is flat and not pictorial.
Color and shape in the work are purposefully evocative of historical attempts at universal design; road signs, warning signs, and Modernistic painting for example.
Self-awareness of this history becomes a built-in paranoia…the work is self-conscious and worried about its own arrangement.
Tension, created by the push and pull of the mark or shape or band, is needed by the painting to be activated. When the painting is activated it constantly discusses itself. -
Lauren Greathouse, Forest Lake Park, Washington
Class Photographs, Junction City, LA, Gelatin Silver Print (limited edition #1/8), 10 x 10 inches, $300These photographs are of the interiors of schools from across the state of Louisiana. The purpose of this work is to bring notice to the things which we leave in our wake, to draw attention to that which is left behind and forgotten.
It is the items left behind in those structures that I find so intriguing: the empty desks with empty chairs, cafeterias, libraries and locker lined hallways. The schools of my past have been consecrated in my mind as places of growth and future while the schools I photographed are mere skeletons of their original beings. -
Lauren Greathouse, Forest Lake Park, Washington
Piano, William Frantz Elementary School, New Orleans, LA, Gelatin Silver Print (limited edition #1/8), 10 x 10 inches, $300These photographs are of the interiors of schools from across the state of Louisiana. The purpose of this work is to bring notice to the things which we leave in our wake, to draw attention to that which is left behind and forgotten.
It is the items left behind in those structures that I find so intriguing: the empty desks with empty chairs, cafeterias, libraries and locker lined hallways. The schools of my past have been consecrated in my mind as places of growth and future while the schools I photographed are mere skeletons of their original beings. -
Lauren Greathouse, Forest Lake Park, Washington
Gymnasium, Lawless High School, New Orleans, LA. 2007, Gelatin Silver Print (limited edition #1/8), 10 x 10 inches, $300These photographs are of the interiors of schools from across the state of Louisiana. The purpose of this work is to bring notice to the things which we leave in our wake, to draw attention to that which is left behind and forgotten.
It is the items left behind in those structures that I find so intriguing: the empty desks with empty chairs, cafeterias, libraries and locker lined hallways. The schools of my past have been consecrated in my mind as places of growth and future while the schools I photographed are mere skeletons of their original beings. -
Pam Gassman, The Face of Hope - Portrait of Phyllis Wheatley
color pencil, 18 x 14 inches, $1500My work challenges the everyday concept that history is in the past. I wish to persuade the viewer that history is a current and reoccurring theme. My art delves into simple moments in time. People captured who either influenced those around them or simply lived life as they chose, and by that they leveraged the conception of our present.
I use my history and art degrees in tandem to reignite a focus on who we are, from the lens of who we used to be. I use color pencil to convey each portrait, but first I sew each of the costumes for my models to wear – from correct under garments to the top wear. Then I use many painting techniques in my pieces to develop moments in time. I add symbolic props to develop each character and lesson in each painting, much as was used in renascence art.
My goal is individual empowerment. We are history. What each of us does matters to history. I desire my art to reignite an interest in where we came from, as a reflection to where we are going. Bravery and sacrifice must never be forgotten. -
Pam Gassman, This Day is Our Own - Portrait of Peter Salem
color pencil, 18 x 14 inches, $1500My work challenges the everyday concept that history is in the past. I wish to persuade the viewer that history is a current and reoccurring theme. My art delves into simple moments in time. People captured who either influenced those around them or simply lived life as they chose, and by that they leveraged the conception of our present.
I use my history and art degrees in tandem to reignite a focus on who we are, from the lens of who we used to be. I use color pencil to convey each portrait, but first I sew each of the costumes for my models to wear – from correct under garments to the top wear. Then I use many painting techniques in my pieces to develop moments in time. I add symbolic props to develop each character and lesson in each painting, much as was used in renascence art.
My goal is individual empowerment. We are history. What each of us does matters to history. I desire my art to reignite an interest in where we came from, as a reflection to where we are going. Bravery and sacrifice must never be forgotten. -
Christopher Hartshorne, Bellingham, Washington
Constructus 1, Multiple block woodblock print on Okawara paper, 68.5 x 38 inches, $5500I create woodblock prints that depict a dramatic movement of form and textural organic elements. I use my extensive library of woodblocks as a visual language, repeating components in new configurations throughout my body of work. I print fresh compositions from older woodblocks by repurposing and printing them in many iterations. I fragment, combine, repeat, layer, and remix the imagery and see this as a reflection of how our social and political landscapes are constructed.
The assemblage of contrasting elements from nature, science, and our social spaces suggests a collision of nature and culture - a combination of opposing forces that must exist together -
Denise Holland, Vancouver, British Columbia
No Trespassing, Metal and Plaster, 203 x 132 x 153 cm, $1200Denise Holland seeks to disrupt the meaning of objects and ideas in order to draw attention to alternative views. She is interested in the power structures we are immersed in, particularly those that are so ingrained that they seem invisible. Holland predominantly uses sculpture and text, often turning ideas literally upside down, inside out and backward to see them in a different way.
A graduate of Emily Carr University of Art + Design, Holland lives and work in Vancouver. A key member of Underground Assembly and Parking Spot Projects in Vancouver’s Downtown Eastside, she works with fellow artists to create opportunities for new emerging artists to exhibit, share and discuss their work. -
Lisa McCutcheon, San Anselmo, California
Flock, Series 4 (Red), Water-soluble oil on Mylar on Arches paper, 36 x 26 inches, $800My recent work draws on my fascination and anxiety with my chickens; it seeks to convey their beauty, graceful movements and strict social hierarchy as well as their aggression and vulnerability to predatory harm. I am committed to adhering to abstraction - to an ongoing pursuit of imagery that straddles the line between extremes: sinewy yet diaphanous, representational yet ambiguous, painterly yet with mark-making that adheres to drawing.
The collage work begins by cutting up of semi-transparent Mylar as well as paintings old and and new, then reconfiguring and layering into a new narrative informed by feathers and claws and an ongoing motion. -
Lisa McCutcheon, San Anselmo, California
Flock, Series 5 (Black), Water-soluble oil on Mylar on Arches paper, 36 x 26 inches, $800My recent work draws on my fascination and anxiety with my chickens; it seeks to convey their beauty, graceful movements and strict social hierarchy as well as their aggression and vulnerability to predatory harm. I am committed to adhering to abstraction - to an ongoing pursuit of imagery that straddles the line between extremes: sinewy yet diaphanous, representational yet ambiguous, painterly yet with mark-making that adheres to drawing.
The collage work begins by cutting up of semi-transparent Mylar as well as paintings old and and new, then reconfiguring and layering into a new narrative informed by feathers and claws and an ongoing motion. -
Jim Jacobs, Ogden, Utah
Bubble, Laminated cherry strips and clothes spring grafted to a cherry branch, 50 x 8 x 21 inches, $2000Intersections fascinate me. Grafting, in the traditional sense, is a process used to join two distinct plants, often trees, to make them more productive. In Graft natural tree limbs are grafted to milled lumber, wooden tools, furniture, and human hair. These works—gangly, elegant, contrived, fragile, and at times self-destructive—are reflections on our peculiar relationship with the natural world.
Even as we erase the ideas that purportedly separate us from the natural world, the most powerful factor distinguishing us as a species remains: our disproportionate impact on the environment. -
Abram Kaplan, Granville, Ohio
Fan Hold, UV Curable Ink Print (limited edition #1/5), 21 x 31 inches, $1250Coal, icon of pollution, aging infrastructure, and economic struggle, lies at the epicenter of our political storm. In central Ohio: our power comes from the Conesville Power Plant, set halfway between Columbus and the WV Appalachian border. My photography explores places like Conesville as the visual embodiment of our divided state and nation.
In an on-going collaboration with plant employees and with extended access to Ohio energy facilities, I have interrogated the ephemeral qualities of mechanical landscapes: the interplay between identity and anonymity, the physical residues of manual labor and time-slippage in well-worn spaces. -
Abram Kaplan, Granville, Ohio
White Wash, UV Curable Ink Print (limited edition #1/5), 22 x 32 inches, $1250Coal, icon of pollution, aging infrastructure, and economic struggle, lies at the epicenter of our political storm. In central Ohio: our power comes from the Conesville Power Plant, set halfway between Columbus and the WV Appalachian border. My photography explores places like Conesville as the visual embodiment of our divided state and nation.
In an on-going collaboration with plant employees and with extended access to Ohio energy facilities, I have interrogated the ephemeral qualities of mechanical landscapes: the interplay between identity and anonymity, the physical residues of manual labor and time-slippage in well-worn spaces. -
Ruth LaGue, Needham, Massachusetts
Inlet, acrylic, 30 x 30 x 1.5 inches, $2500Landscape in its barest form. Ruth LaGue grew up in Alaska, awed by the incredible vastness of the wild landscape. Traveling through India in her twenties, she became consumed by the landscape of the spirit — that limitless interior universe that lives in each of us. The marriage of the two experiences ignited a lifelong quest to connect the outer and inner within her paintings.
To her, landscapes represent fragments of time that will never be again; intimate moments of communion with something greater than herself; quiet meditations to which she bears witness.
She wants her viewers to imagine themselves within the landscape, recalling a memory or pausing to remember their wholeness. -
Elizabeth Magee, Eugene, Oregon
A Biological Matter, oil on canvas, 30 x 24 inches, $1100My work exists between culture and nature. By engaging with the histories of painting without strategizing an end game, I can interrogate, choose and reinvent — avoiding a signature style.
I approach painting in terms of adjacency, as a medium that has many neighbors — as a doorway to the body, the everyday, and the environment. I like the idea that paintings can create a social screen, taking and offering impressions of their immediate surroundings. Activated by simultaneous order and chaos, my paintings may reference biology, environmental breakdown, and otherworldly encounters. I want to press the paintings to the point of fracture, but with the intention that the point of fracture will leave my work open to meaning. -
Elizabeth Magee, Eugene, Oregon
Impression of Localization, oil on panel on canvas, 41 x 33 inches, $1500My work exists between culture and nature. By engaging with the histories of painting without strategizing an end game, I can interrogate, choose and reinvent — avoiding a signature style.
I approach painting in terms of adjacency, as a medium that has many neighbors — as a doorway to the body, the everyday, and the environment. I like the idea that paintings can create a social screen, taking and offering impressions of their immediate surroundings. Activated by simultaneous order and chaos, my paintings may reference biology, environmental breakdown, and otherworldly encounters. I want to press the paintings to the point of fracture, but with the intention that the point of fracture will leave my work open to meaning. -
Paho Mann, Dallas, Texas
Cowboy and Indian Toys, Archival Pigment Print from 3D Scan, 40 x 32 inches, $1250Using technology to observe and transform the world around me has always been central to my art making. I am now using a 3D scanner to scan family heirlooms and other objects from personal collections. The use of a consumer-grade version of this technology results in the objects shown as fragmented versions of themselves, as if they have exploded. These scanned objects are digitally placed against a gradient backdrop the colors of these backdrops are generated from sampling colors from the original objects.
I see conceptual connections between the inability of this recording tool to accurately document the three-dimensional world and the fragmented understanding of our world gained through mediating technologies. -
Paho Mann, Dallas, Texas
Grandfather’s Movie Camera, Archival Pigment Print from 3D Scan, 40 x 32 inches, $1250Using technology to observe and transform the world around me has always been central to my art making. I am now using a 3D scanner to scan family heirlooms and other objects from personal collections. The use of a consumer-grade version of this technology results in the objects shown as fragmented versions of themselves, as if they have exploded. These scanned objects are digitally placed against a gradient backdrop the colors of these backdrops are generated from sampling colors from the original objects.
I see conceptual connections between the inability of this recording tool to accurately document the three-dimensional world and the fragmented understanding of our world gained through mediating technologies. -
Emmanuel Monzon, Bellevue, Washington
Urban Sprawl Emptiness #1 (Open Door), Photography Watercolor Printing paper (limited edition #1/5), 24 x 24 inches, $1200Through my Urban Sprawl series, I photograph the in-between state found in the American landscape: places of transition, borders, passages from one world to another. Am I leaving a city or entering a new environment?
In my artwork there is no judgment, no denunciation, only the picture itself. If I could sum up the common theme of my photos, it would be about emptiness, about silence. My pictures try to extract from the mundane urban landscape a form of estheticism. Where most people only pass through, I stop and look for some form of poetic beauty.
I like repetition, I like series, and I like driving around. -
Emmanuel Monzon, Bellevue, Washington
Urban Sprawl Emptiness #2 (Highway Overpass), Photography Watercolor Printing paper (limited edition #1/5), 24 x 24 inches, $1200Through my Urban Sprawl series, I photograph the in-between state found in the American landscape: places of transition, borders, passages from one world to another. Am I leaving a city or entering a new environment?
In my artwork there is no judgment, no denunciation, only the picture itself. If I could sum up the common theme of my photos, it would be about emptiness, about silence. My pictures try to extract from the mundane urban landscape a form of estheticism. Where most people only pass through, I stop and look for some form of poetic beauty.
I like repetition, I like series, and I like driving around. -
Lauren Wold, Florence, Oregon
Untitled No. 16, Acrylic Yarn, 32 x 68 x 6 inches, $4000Knitting techniques can be used to produce works of art that have qualities of painting and sculpture. The versatile characteristics of knitted yarn allow the artist to explore color, shape, pattern and texture in a traditionally craft focused medium.
My mother taught me basic knitting techniques when I was five years old. Knitting has always been a satisfying activity for me. Over the years, though, I felt the need to go beyond the usual forms associated with craft knitting. I became intrigued with a wider artistic expression using the techniques with which I was familiar.
Knitting, once liberated from its constraints, allows for wide creative possibilities of pure artistic expression.
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About the Exhibition
The annual Gallery 110 Juried Exhibition showcases contemporary art chosen by a juror with ties to the artistic community of the Pacific Northwest. The juror selects work from submissions by artists around the world. Previous jurors include Scott Lawrimore (former curator at the Frye Art Museum), Maiza Hixson (Curator, Santa Barbara Museum of Art), and Catharina Manchanda (curator of modern and contemporary art, Seattle Art Museum).
In 2018, Gallery 110 was honored to have Sara Krajewski as juror. Krajewski is the Robert and Mercedes Eichholz Curator of Modern and Contemporary Art at the Portland Museum of Art. Previously she was the director of the INOVA (Institute of Visual Arts) galleries at the University of Wisconsin-Milwaukee. Seattle locals will remember Ms. Krajewski as curator of the Henry Art Gallery, where she organized nearly 40 exhibitions of contemporary art and photography over eight years. In 2014, Krajewski was recognized as an emerging leader by the Leadership Institute of the Association of Academic Museums and Galleries.
Curator’s Video
View curator Sara Krajewski discussing the exhibit and awards.
