Author Archives: gallery110

About gallery110

Gallery 110’s mission is to provide dynamic opportunities to established and emerging professional artists in an environment that encourages creative expression, experimentation and collaboration. As a nonprofit organization, the gallery fosters artistic and professional connections between its associated artists and the arts community at large through creative dialogue, the presentation of challenging and enriching curated exhibitions, public opportunities and collaborative projects.

We Were the Places That We Wanted to Go

Featuring Phantoms in the Front Yard
October 3 – November 2, 2019
First Thursday: October 3, 5 – 8pm
Artists’ Reception: October 5, 5 – 7:30pm

Gallery 110 welcomes the Vancouver-based collective, Phantoms in the Front Yard, with work by Michael Abraham, Jeremiah Birnbaum, Andrea Hooge, Paul Morstad, Jay Senetchko, Jonathan Sutton and guest artist Marcus MacLeod.

Reflecting on the concept of what constitutes legacy, We Were the Places That We Wanted to Go explores the theme of passing life’s lessons down from one generation to the next. Drawing from a range of contexts such as personal narrative, nostalgia, pop culture and climate change, as well as using the figure as subject, the Phantoms invite the viewer to interpret the relevance, permanence and effect legacy has on its inherent recipient.

Phantoms in the Front Yard (PITFY) is a figurative collective founded in 2010, with exhibitions occurring in alternative venues and dedicated to creating an experience of figurative art for all, not just among academics and industry veterans.

More information about the Phantoms can be found here.

Women & Umbrellas

Li Turner
October 3 – November 2, 2019
First Thursday: October 3, 5 – 8pm
Artist’s Reception: October 5, 5 – 7:30pm

Li Turner’s watercolor paintings and prints explore the juxtaposition of women in the world and environment. Her feminist perspective, and a touch of social commentary comprise a delightful and thought-provoking message in her work.


Susan Christensen
September 5 – 28, 2019
First Thursday: September 5, 5 – 8 pm
Artist’s Reception: September 14, 2 – 4pm

From the artist:
Over the months spent creating the drawings and paintings for this exhibit, I’ve been surprised again and again by how deeply my Mother’s consistent cultivation of her child’s imagination still influences me. Her encouragement and, at times, goading have certainly shaped the image maker I am today.

This body of work developed basically split into two ‘camps’. Mother’s story, my appreciation of who she was as her younger self and recollections of our shared story are generally rendered in softer colors with sparer details. Alongside these works of memory I give tribute to Mother’s indelible mark on my congenitally vivid imagination. These homages are highly detailed images in stronger colors with stranger themes: fantastic creatures, spirit and animal companions, figures with multiple faces, mask wearers, shamans. They do not ‘reproduce the visible’ rather they ‘make visible’ the realms of my imagination, to borrow from Paul Klee’s thought about Art and its purpose.

Mother – who is an artist herself but modestly never claims to be more than a crafter – named me Artist even before I became aware of that calling in myself. What a lifelong gift, this recognition. I hope these visual tales of mine provide a conduit worthy of transmitting her beneficence to all who engage with them.
-Susan J. Christensen< August, 2019

Line of Inquiry: Volumes

Anna Jannack
September 5 – 28, 2019
First Thursday: September 5, 5 – 8pm

From the artist:

This word has several meanings. It can be used to refer to a book, to identify a particular book in a collection, to talk about the amount of space an object occupies, to describe a container in terms of its capacity, a quantity or amount, and even to describe the quantity of sound. This line of inquiry explores volumes referring to books, volumes referring to the amount of psychic pain and or periods of turmoil stored in our human mind. These paintings talk about our ability to store and catalogue what has happened to us, our ability to both retrieve and forget.

Sometimes volumes of anguish exceed our capacity to process our own experiences, and we then become readily available to feel the intensity of any injury, no matter how small the provocation. Other times we can thrive and integrate even the most horrid moments of our lives and the most unbearable pain. Sometimes the library of our minds seems complex beyond comprehension and other times it seems simple and poetic.

Apron Strings

Yvonne Kunz
September 5 – 28, 2019
First Thursday: September 5, 5 – 8pm
Artist’s Reception: September 21, 2 – 4pm

From the artist:
These apron drawings were created in an effort to understand my role as a woman in a traditional male experience of being a soldier. They were drawn during the time when the Army was first allowing women into the infantry. I wanted to question what it meant to hold that “male” role of soldier while also being a mother. There is a conflict within these roles which I still cannot reconcile: the role of live-bearer versus life-taker. The apron is a centuries old depreciative metaphor for woman. “To cut the apron strings” means to become independent from one’s wife or mother. In this modern age, we still are asking: “what does it mean to be a woman?”

Gallery 110 @ Seattle Art Fair

Seattle Art Fair 2019

Seattle Art Fair

Visit Gallery110 (b
ooth information coming)
at the Seattle Art Fair: August 1-4, 2019
Tickets at

CenturyLink Field Event Center
1000 Occidental Avenue S
Seattle, WA 98134

Collectors Preview: Thursday, August 1, 3:30pm – 6:00pm
Opening Night Preview: Thursday, August 1, 6:00pm – 9:00pm

Fair Hours:
Friday, August 2, 11:00am – 8:00pm
Saturday, August 3, 11:00am – 7:00pm
Sunday, August 4, 11:00am – 6:00pm

Continue reading

Allowing Space

Matthew Harkleroad
August 1 – 31, 2019
First Thursday: August, 1, 5 – 8pm

My work is about materials, shapes, edges, colors and textures. It is meant to be experienced and enjoyed in a very direct, visceral way, because this is how I make it. My intention is to reveal more than invent, to feel more than think, to allow more than force. I choose media, techniques and marks that feel honest and natural, building surfaces that appeal to my love of patina, accidents and the aesthetics of layered histories. My joy is in the act of responding– What is needed here? What would make this image hum? Sometimes personal or narrative associations arise from this process. But usually the experience is more like smelling a fragrant rose, with a depth of experience that is valuable enough on its own, free of association. Either way is fine.

In this current body of work, I explore a recurring shape that could insinuate a pared down, abstracted figure. I am intrigued by this intuitively created stencil shape, as it allows for a somewhat familiar structure to attach any meaning that arises, while still being conceptually unencumbered, allowing the space in which to feel for that hum.

-Matthew Harkleroad

A Kind of Reunion

August 1 – 31, 2019
First Thursday: August 1, 5 – 8pm
Artists’ Reception: August 24, 3 – 5pm

Gallery 110, an independent artist-run gallery, has been part of the Pioneer Square art community since 2002. During the last 17 years the gallery has featured over 400 exhibitions by local, national and international artists. This exhibition brings together a few of the artists who were there at the very beginning of the gallery and who are still a part of the art community in the Seattle area and beyond.

A Kind of Reunion will feature work by:

Betsy Best Cynthia Bittenfield Chris Buening
Sarah Dillon Jessica Dodge Dave Kennedy
Nancy Kiefer Steven Miller Natalie Niblack
Cindy Small Kate Sweeney David Traylor
  Ellen Wixted  

The End of the Mysterious Stranger

Nicholas Pimentel
August 1 – 31, 2019
First Thursday: August 1, 5 – 8pm

I am perishing already—I am failing—I am passing away. In a little while you will be alone in shoreless space, to wander its limitless solitudes without friend or comrade forever—for you will remain a thought, the only existent thought, and by your nature inextinguishable, indestructible. But I, your poor servant, have revealed you to yourself and set you free. Dream other dreams, and better! -The Mysterious Stranger, Mark Twain

This quote, taken from an unfinished story, The Mysterious Stranger, gives insight into the morbid, existential mindset of Mark Twain’s final years. The foreboding tone of his language also encapsulates my personal thoughts and feelings during a tumultuous year of my life; a year of contemplating mortality, meaning, and dealing with constant isolation. Using ideas such as: Surrealism, Expressionism and Artificial Realism help construct narrative scenes that give the viewer a glimpse into specific moments or feelings otherwise inexplicable through words.

Changing Waters

Aaron Brady & Greg Pierce
July 4 – 27

First Thursday: July 11, 5 – 8pm

Artists’ Reception: July 20, 3 – 6pm

In Changing Waters, Aaron Brady and Greg Pierce tap into their unique forming processes to reveal the impact oil and gas fracking extraction have on water resources. Hydraulic fracking utilizes large volumes of fresh water that become contaminated with chemical additives and salty brines.  Much of this wastewater is injected into deep rock formations that can impact drinking water aquifers or be released untreated, back into surface waters.

Aaron’s arresting approach using aqueous media, expresses the mingling of fresh and contaminated water that is aesthetically alluring and equally disturbing. Evocative color and form swirl into chaotic layered clusters of pure expression.

Greg’s work emulates geologic processes of landscape formation using local rock materials blended with ceramics, recycled glass, and reclaimed glaze.  For this exhibit, he created forms seemingly torn from the depths of wastewater injection sites that ooze with expulsions from pockets and crenulations within the rock. While sap is a tree’s defense mechanism warding off invading insects, here it conveys diseased underworld aquifers.

While both of these artists acknowledge their use and benefit from these energy resources, they also want to create more awareness and dialogue for how we can make better choices that balance our current resource extraction practices with stronger conservation efforts, particularly as it relates to our precious water resources.