Paige Anderson is a visual artist and graphic designer living in Kingston, Washington. Working in both digital and physical mediums, her inspiration behind her work comes from wanting to find harmony between visual storytelling and color theory. Aside from digital illustration, most of her work involves painting portraiture of both animals and people alike.

Paige was born in Sacramento, California but moved to Washington at the age of 16 where she finished her high school career. Her first two years of college were spent in NYC where she studied at Parsons School of Design until the COVID-19 Pandemic in 2020. Paige is now a Graphic Designer at the University of Washington where she is continuing her studies in Fine Arts.

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.

Link to Review of Water, Water Everywhere

The poise and beauty of a weathered wooden dock, as it effortlessly surrenders to the elements; the ease with which the cypress adapts, thriving as graciously in the water as it does on dry land; the potential of a single water droplet as it falls from the end of the paddle, and creates an endless ripple…..

Nature is my primary inspiration. It continually reintroduces me to my own self.

The interconnectedness that I experience with others, through my work, as well as the emotional and psychological benefits I derive from it, are what motivate me to create. I like to push the boundaries of what is considered art, by creating in ways that I have only imagined- and I hope to inspire others in the same pursuit.

-Nikki Briggs

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

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.

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.

Brazenly visual, Kurt Erickson’s work draws the viewer in through his fresh, vibrant canvases. Growing intuitively out of passing thoughts, emotions and life experiences, Erickson’s artworks grasp aspects of graffiti art, punk rock and grit. His approach to painting integrates a radical embrace of the subconscious mind. Using effortless gestural marks, he allows fluid brushstrokes and the intersection between the intentional and the subliminal to guide his process. Consciously integrating bright and dynamic colors, his works elicit the sensation of free-spirited spontaneity.

With a background in digital art, Erickson uses the time between paintings to create and design within a more rigid environment. He aims to intricately weave together the industrial, the found, and the ephemeral, starting with a candidly organic method within the works he calls “digital collages”. His pieces often start on the computer with layers of textures, photos, found texts, and graphics that are then combined in Adobe Photoshop to be used as inspiration for the canvas.

Erickson’s paintings encourage one to pause and let the mind wonder. He seeks to make visual art that invites the viewer to consider a new perspective and a more thoughtful way of looking at life.

The protagonists in Sean’s recent works are any of the five pacific salmon species once they have returned to their natal streams. Having spawned, their bodies decompose at the whim of the elements, changing form continually as they wash away; opening to the world and passing the oceans nutrients on to the forest. Sean celebrates this portion of the salmon’s life cycle through works focusing on the point where the struggle to maintain the boundary between inside and outside has given way to a world where flesh mingles with water and soil, where smell is both that of death and future fecundity and where form has taken on a noble nakedness before the world in now feeds.

These works combine the language of landscape and figurative painting. Often the horizontal is made vertical forcing the form into the viewer’s space, without the visual retreat afforded in the traditional landscape vista. Hopefully, the gravitas within these works will inspire not just contemplation of self but extend past the self into our shared environment.