Category Archives: Artists

Michael Abraham, A Fine Bouquet – Urban, Suburban, Rural, 2014, Oil on Linen, 48 x 54 inches

Michael Abraham

From London to Singapore, and Philadelphia to Amsterdam, Abraham’s paintings are featured in international, corporate, private and public collections, including the Vancouver Art Gallery, Rockford Museum of Art and the Courtney Cox & David Arquette Collection.

Abraham’s distinct style blends social commentary and playful imagery, refined figurative works that navigate a full scope of content. Commissions include original paintings promoting the Vancouver Symphony and Vancouver Opera, as well as select private portraits and sculpture. An award winning graduate of the Ontario College of Art (OCADU), Abraham currently paints and sculpts, and runs the Michael Abraham Studio Gallery just south of Vancouver, B.C., and is a core member of the ‘Phantoms in the Front Yard’ figurative artists collective.

David Beckley

David Beckley is a photographer whose interest lies in portraits, nudes, collage, and documentary photos of Auschwitz. When shooting portraits and nudes, Beckley works with long exposures; 30 seconds to five minutes, using a flashlight as the sole light source in a completely darkened room. This time frame allows him to slowly build the image. The photos are underexposed to varying degrees to bring out the graininess and pixellation, increasing the texture of the image. By utilizing these long exposures, Beckley is also able to move around the frame and to become physically involved with each photograph. This way of working also increases the element of chance; thus, the outcome is always a mystery.

Jeremiah Birnbaum

Jeremiah Birnbaum is a practicing artist living and working in Vancouver, British Columbia,
Canada. Birnbaum studied at the Victoria College of Art (2001-2003) before earning a Bachelor
of Arts degree in Visual Art from the Emily Carr Institute of Art and Design in 2006. Since
graduating, Birnbaum has exhibited extensively in both public and private galleries in
Vancouver, British Columbia as well as across Canada, most notably exhibiting at the Royal
Ontario Museum with the Kingston Prize in 2011. In addition to his solo practice, Birnbaum is
also a founding and active member of the Vancouver figurative collective, Phantoms in the Front Yard.

Birnbaum’s practice is a drawing based and almost exclusively limited to a black and white
pallet created through a variety of drawing mediums. While his early work explored the social
construction of masculinity through studies of male bodies in uniform (from police to sports
celebrities to tattoos), Birnbaum’s more recent work explores a narrative format within specific
regional, historical, and environmental contexts underlined by themes of legacy as well as
environmental and social concerns. Birnbaum’s imagery strives to balance realism and
technical execution within a larger conceptual constructs.

Aaron Brady

I use ink and graphite drawing to explore the depiction of objects in motion.  My subjects are first captured with video, then line and finally transformed with washes into clouds and ghosts: imperfect mutations blurring and morphing as they migrate.

George Brandt

 

George Brandt is both a curator and a visual artist specializing in mixed media installation. Born in Legnica, Poland, George has lived and worked in Seattle, WA for the past 31 years.

Statement: In our modern age we are deluged by a torrent of data competing for our attention. In order to see a work of art we need to slow down and experience it with care and our undivided attention. Art is a form of communication and in as much as is possible, I believe that it’s incumbent on the viewer to come to their own conclusions.

Mimi Cernyar-Fox

Artist Statement: Water, Water Everywhere

Sometimes the sea is a blue desert. That is what those who toil at sea often call it.

On a good day it is hard and mundane work; on a stormy day it is monotonous and there is the waiting, vast space and dipping horizons from sun up to sun down.

The experience enriched my life. It takes bravery and patience to set out to sea in little wooden boats (fishing vessels 85′ long and smaller) to harvest the bounty of the sea and feed the people.

At sea, space is infinite, and it’s an irritation for a novice like myself to fathom the whole depths of my thoughts and feeling concerning my place in life. It is clear, un- cluttered space and I found it perfect to search out deeper, more profound levels of my mind and spirit. 

Life at sea is not concerned at all with what is happening on land. 

In this untamed domain I found a new vision and visual vocabulary. It seemed I could hear my internal dialogue much louder as the boat moved through the deep.

Within the small confines of the boat, the boundless sea was even more humbling. I was directly impacted by my own orientation as an artist.

As the galley cook and often portrait artist, I grew to appreciate and respect these men and women who make a living at sea.

Through these paintings I hope to engage the viewer in an expressive, unflinching manner that portrays a world which is seldom given much thought. The paintings express movement and mystery, as I unfold this watery journey in a permanent and personal way on canvas.

In The Rime of the Ancient Mariner, by Samuel Taylor Coleridge (see screen), the Mariner wanders and is completely and uncontrollably compelled to tell his story, the story of the his journey, and the fate of the crew to a “certain face” he sees on the road.

“There was a ship,” said he

Mimi Cernyar Fox

Mother Skeezix

Susan Christensen

Statement

I have been drawing, painting and making things since I was a child. My earliest and happiest memories involve looking at or making art. I love being an artist, bringing order out of chaos. The studio is a sacred space where color and line flow together becoming visible pointers to something far greater than myself. The alchemy of art making is the most compelling of mysteries. I show up, pick up my tools, and let my mind wander. Time disappears; sounds diminish; one move leads to another and another –and on a good day, transformation happens: mute canvas, paint and paper are given meanings that stir conversation, argument, emotions, ultimately giving voice to ideas words cannot  express. If my work brings viewers joy and hope, I’ve achieved my goal.

Susan Christensen
2018

Deborah Curtiss

Throughout Deborah Curtiss’ career as a painter, she has endeavored to give a visual voice to a variety of realities that are beyond the obvious and dwell in an elusive, ineffable realm:

  • Visual form as metaphors for the complexities of life, inner and other realities of being human, and our place on planet Earth.
  • Homage to the history of Western art as influenced by Eastern art and consciousness.

Inspired by the richness of nature, the built environment, the human figure, and the impulse to create, Deborah is enticed to express and represent her feelings and perceptions which can not be articulated any other way.

Skagit Palette: Descending Blue

Phil Eidenberg-Noppe

Artist Bio

Phil Eidenberg-Noppe is a Seattle-based photographer specializing in cultural documentary and abstract “impressionist” photography. He shoots with available light on-site at locations ranging from urban barbershops to remote elk fields. Having been an environmental scientist for close to 30 years (a hydrologist focusing on rivers and streams), he thrives on in-depth investigation and strives to convey the details and nuance of what is going on below the surface.

Using a camera capable of producing images with vast amounts of visual information, he further explores images during the “digital darkroom” phase, bringing out the visual aspects that best depict the feeling and intention behind the project. He produces photographic prints on an archival pigment printer and enjoys framing and mounting his work to present cohesive statements to a range of audiences.

Artist Statement

To see a world in a grain of sand and a heaven in a wild flower, hold infinity in the palm of your hand, and eternity in an hour… ”    – William Blake: “Auguries of Innocence”

“…Ring the bells that still can ring. Forget your perfect offering. There is a crack, a crack in everything. That’s how the light gets in. That’s how the light gets in. That’s how the light gets in…”     – Leonard Cohen: “Anthem”

How we view life is grounded in our identity – the stories we tell ourselves, which then affects how we live. Identity in turn is a function of history, environment, time and place. I’m interested in how this is expressed in the diversity of thought, expression and interaction of world cultures, particularly those that are present locally. Exploring and manifesting this provides meaning for my work.

I experienced loss at an early age, so I retain an awareness of the transitory nature of life, and that what we perceive as concrete certainty in any one place, person and thing may be different if viewed through a different lens.

My photography ranges from documentary to “impressionist”, with imagery often starting in one place and ending in the other. I see the camera as a tool, sometimes like a paintbrush, sometimes like a tape recorder. I use techniques such as intentional camera movement and “storyboarding” of multiple images as alternative approaches to express emotion and storyline through photography.

Having spent the majority of my life working as an environmental scientist (a hydrologist) informs my work in that I continue to follow a process of observation/intuiting, gathering, synthesis, and sharing through presentation and communication. I believe that there is science in art and art in science. I also believe that traveling both paths simultaneously can lead to greater discovery, insight, and the ultimate goal of transcendence.

 

Saundra Fleming

From the artist:

For me art is about inquiry. I seek to evoke emotion and trigger memory. I use drawing and painting to not just ask questions, but answer them for myself and those I care about. Following the tragic suicide of my father, I needed to prove that there was meaning in life, which I’ve sought to do in my work. I’ve used painting and drawing to grapple with my bipolar disorder, and as my mom slips into dementia I’ve also used stream of consciousness images to explore unexpected and profound changes in her personality and behavior.

I’m inspired by the bright colors, quirky characters and natural world of my childhood in Louisiana and Texas. I often juxtapose unlikely images, drawing from sources as disparate as Flintstones cartoons, seminal pieces by Balthus or Velasquez, the songs of Leonard Cohen, and memories of shopping with mother in the Piggly-Wiggly supermarket. I strive to incorporate and yet subvert the traditions of surrealism and pop art. Of late, I’m particularly influenced by Vittorio Brodmann, Sanya Kantarovsky and Dana Schutz.

Painting has been my preferred medium since my early days studying at the University of Texas, when I worked under the painter Peter Saul and the performance artist Carolee Schneeman. A single mother at the time, I worked in the physics department at the university and fit in art studies where I could. Later, while obtaining an MFA at the School of the Art Institute of Chicago, my influences widened. My work became more conceptual, combining figurative imagery with philosophical inquiry and a strong sense of irony. I studied with Carey Lebowitz and Rhonda Lieberman, who influenced me greatly in terms of their wit and their embrace of the abject.

While in graduate school, I experienced a mental and physical breakdown halfway through my studies. I was diagnosed as bipolar, which began a long journey towards learning to live with and eventually thrive in my illness. My illness limits me in significant ways, financial and otherwise, but inspires my work and worldview, too. I understand more about the range of human experience and have greater compassion for others and for myself. This compassion, along with a deep sense of playfulness, finds its way into my paintings.