Seattle-based artist Danielle Foushée works as a painter, sculptor, installation artist, and designer. Her work has been exhibited nationwide in cities like New York, Denver, Seattle, and Los Angeles. Most recently, Danielle’s work was shown in Destabilizing Dystopia in Edmonton, Canada. She also has temporary public artwork on view in Heaven & Earth VII at Carkeek Park in Seattle as well as at Amazon Headquarters in South Lake Union. Her award-winning design work has also been widely published. Ms. Foushée attended the University of North Carolina School of the Arts and studied Visual Arts. She went on to receive a Bachelor of Environmental Design from North Carolina State University’s prestigious College of Design. She then received her first MFA in 2-dimensional design from Cranbrook Academy of Art, and is currently pursuing her second MFA in Visual Studies at Pacific Northwest College of Art. She has taught art and design courses at UCLA, USC, and Art Center.
Emmanuel Monzon is a French photographer and plastic artist living in Seattle. He has exhibited his works mainly in France, Singapore, USA, China, and has also participated in several arts fairs and collective exhibitions. He graduated from the Beaux Arts in Paris, with honors (Vladimir Velikovick), and also holds a degree in Visual Arts.
The work of Emmanuel Monzon focuses primarily on the idea of urban sprawling and the urban expansion of its periphery. Monzon photographs urban banality as though it were a Romantic painting, trying only to be “stronger than this big nothing” in controlling the space by framing the subject. Monzon’s aesthetic of the banal obeys its own rules: a ban on living objects, a precise geometrical organization, and the revelation of a specific physical and mental landscape blurring the lines between city and suburb, between suburb and countryside, a process that results in an independent identity.
This aesthetic of the emptiness in my photographic work attempts to understand our current environment: Can it be one of de-civilization?
Amy is a Seattle figurative and abstract painter whose work is known for its vibrant color palette, use of pattern and abstraction. Her paintings reflect a narrative exploration of issues regarding generational transition, memory and the complexity of family relationships. Amy’s work has been exhibited in Seattle, Chicago, Los Angeles and Amsterdam and has been one of twenty artists featured by the Woman’s Caucus for the Arts, NYC in 2012 and 2014. Amy studied design and computer animation at the Art Institute of Seattle and attended the Drawing and Painting Atelier
at the Gage Academy of Art, Seattle.
‘’Clouds Rising”, 2015, oil on panel, 24 x 18 inches
This painting was done in a fit of inspiration. The image was derived from a trip to Target. I held onto the force of the cloud until I got home and put it into the painting.
“Clouds”, 2017, oil on canvas, 24 x 48 inches
This ‘Clouds,’ on the other hand, took three years. Confused for an ocean scene or beluga whales... no matter...the painting speaks for itself.
“The Stones of Life”, 2017, oil and charcoal on canvas, 20 x 20 inches
I worked on this painting for several months. It exemplifies my philosophy
towards painting and life. The almost crawling nature of the rocks, the lines that
wrap around some of the rocks, the scrubby coastal trees, the rounded horizon,
and the energy of the water ...it is intended to come alive and explode off the canvas. I see the natural world as alive, filled with energy, and forceful. Each
stone has its own character (color/shape). My view of the world has been
complimented by my early study of Shintoism. The basic principles of Shintoism
is the recognition of invisible spiritual beings and powers called kami.
“Below the Bluffs, Looking for Tide Pools”, 2016, oil on canvas, 36 x 36 inches
This painting is a part of my devotion to the ocean and tidal pools. Of course, rocks are included. Each rock having its own character. The reading of Loren Eiseley opened the boundaries of my observation and philosophy on the history of rocks and the life forms that encompass in their past. Tidal pools and ocean are, in themselves, an infinity source of life.
“Continuous Wave”, 2017, oil and charcoal on canvas, 36 x 36 inches
This painting could be titled Infinity....
“Corner of the World”, 2017, oil and charcoal on canvas, 36 x 36 inches
A friend referred to the coast as the ‘Edge of the World.’ This thought has followed through into my thoughts on the coastline. This painting, also, shows how I have evolved a technique of oil washes and charcoal.
“Where the Seals Play. Tide In. Tide Out.”, 2017, oil and charcoal on canvas, 36 x 36 inches
Each rock is its own character in this play that takes place on the canvas. Each part is filled with energy.
“Life Wash. Tide In, Tide Out”, 2017, oil and charcoal on canvas, 36 x 36 inches
Often my objective is to have the world dissolve. Life goes from the world we can see to the world that has crawled out of view to the microscopic and
then...where? To the layers of energy, indescribable? To the universe? I want the
painting to ‘fall apart.’ Here, the rocks are rocks but their planes are detaching
from each other. The horizon begins to look like another planet. The horizon seems rounded. The rock in the foreground is the most tangible object and even it is other worldly. Its colors from minerals and algae.
“Look at All Those Rocks”, 2017, oil and charcoal on canvas, 20 x 16 inches
Humor in the title, but a serious study of geological formations.
“Tide In, Tide Out, Moon Pull”, 2017, oil and charcoal on canvas, 36 x 36 inches
Tidal pools. Land masses. Water washing in. Water washing out. According to the moon. Life forms beyond our comprehension.
“Tide In. Tide Out”, 2017, oil and charcoal on canvas, 36 x 36 inches
Perhaps, my tidal paintings could be an existentialist view and respect for life. The scene here is washing away. All of the layers are dripping off the canvas.
“Lines That Hold”, 2016, oil and charcoal on canvas, 36 x 36 inches
Only the outer edge hold the inner force, the history, the minerals. I am questioning foundations. Foundation of the earth that our culture takes for granted as permanent and indestructible. But, is it?
“Driving the Cascades”, 2017, oil on canvas, 48 x 36 inches
My study of Chinese and Japanese painting comes into full play in this painting. This is my contemporary nod to the painters and poets of the Sung Dynasty. In
the Chinese landscape paintings of the Sung period. The lone human is often seen on a donkey or on foot going up an enormous mountain. It is in recognition of the small part the human is in the greater whole. All parts are part of the whole. All parts work together for the greater whole.
“Mountain of Power”, 2017, oil and charcoal on canvas, 24 x 24 inches
Mountains dissolving. Masses becoming transparent. Looking beyond the eye/mind trained to be in a box, trained to be irreverent to our natural world.
“Origin of Life”, 2016, oil and charcoal on canvas, 36 x 36 inches
This painting and the following were painted with Loren Eiseley in mind. The water and layers of life are being pulled back to reveal more layers of life
“Where the Seals are Birthed”, 2018, oil and charcoal on canvas, 36 x 36 inches
My early works were influenced greatly by the Surrealists and the Chicago Surrealists
where I was living at the time.
Hart James studied at Northwestern University, Art Institute of Chicago and the San Francisco Art Institute. She has done numerous residencies in the United States. Her work has been shown in both solo and group exhibits as well as Invitationals.
Hart writes, “My work speaks of the energy of nature around us; the current of the water, the flow of the air, the rock formations that form the foundation under our feet and the movement of those foundations. The natural world is very simply alive. It is nothing to be taken for granted. It is as much a part of us, as our circulatory system.”
Joan Kimura has been a professional artist for over 55 years, having lived and work in New York City as a painter and illustrator, and later moving to Anchorage, Alaska, where she continued focus on her painting and became a Professor of Art at the University of Alaska, Anchorage. Her work is included in collections in three major museums in Alaska.
Kimura’s work primarily focuses upon and draws from the human figure, using both figurative and abstracted shapes. She describes her work as being necessarily responsive to both memory and feeling, tying these constructs to the abstracted forms and permutations she creates within her work.
Looking for Spells, mixed media on clayboard, 5 x 7 inches, $195
Some Kind of Love, mixed media on clayboard, 8 x 16 inches, $350
Visionary Scientist, mixed media on clayboard, 5 x 7, $195
Visionary Wizard, mixed media on scratchboard, 5 x 7 inches, $195
Remember Me Papa, 2018, Sgraffito, mixed media on clayboard mounted panel, 10 x 8 inches, $250
Turning Neck, 2018,mixed media on birch wood panel, 8 x 8 inches, $250
Visionary Friendly Faces 1, 2018, mixed media on birch wood panel, 8 x 8 inches, $250
What's for Supper, mixed media on clayboard, 24 x 24 inches, $1400
Bellezza Urbana, mixed media on clayboard, 24 x 24 inches, $1400
‘Cooperation’, ink and oil stick, 40 x 30 inches, 2018, $1,400
‘Curation (Cure Me), cold wax on canvas, 42 x 60 inches, $5500
‘Grrr’, ink and oil stick on wood panel, 36 x 48 inches, 2018, $1800
"SODO...Ah..", 48" x 48",
Mixed Media on Panel, 2018, $2,600
"Three Shades of Life", 36" x 48", Ink and Oil Stick on wood panel,
Leonardo Lanzolla’s art is always intended as a poetical ephemeral visionary navigation of the senses, using color to express the conducive energy of the characters of his visual experiences. Leonardo enjoys to deconstruct the esthetic form. The fluid properties of the paint reveals a glimpse of a shape, a form that can capture and let arise his creative unintentional painterly/carving compositions.
Leonardo explores the life and influences of characters, and their dialogues in an almost not gravitational environment, bringing forward an eclectic perception as inner medium.
The Process: The technique used in the process is called sgraffito ( to paint, scratch or carve on plaster or clay). He paints and carves on clayboard, wood panel. The art work he paints (fluid acrylics and or oil bars) on pressed caoline clay boards (smooth or textured), white or black and wood panels. He then carves away color and sometimes add even more where carved.
Being flexible and original becomes a vehicle in the process that gives Leonardo freedom to approach the art work from different creative angles. He utilizes tools, painter knives pottery, asian and regular brushes.
Natural Resources #3; graphite and gouache on clay board; 6 x 6 inches; 2011
Natural Resources #1; gouache and ink on clay board; 6 x 6 inches; 2011
Eulogy #1; charcoal, gouache, fabric, stitching on paper; 36 x 48 inches; 2011
Little Boy Bird; watercolor on paper; 18 x 24 inches; 2011
Swarm; ink, gouache, fabric, stitching on paper; 18 x 24 inches; 2011
Tooth and Nails (for Judy Chicago); ink, pencil, gouache, collage, and gold leaf on paper; 18 x 24 inches; 2011
Untitled (hand in glove); collagraph print, lace, stitching, and ink; 24 x 36 inches; 2005-2011
Untitled (working stiff); watercolor on paper; 5 x 7 inches; 2011
Visions of Sugar Plums; pencil, collage, stamping, and ink on paper; 6 x 6 inches; 2011
Yvonne Kunz is an artist and educator working in drawing, painting, encaustic, and hand-made books. She is from “nowhere”, although now considers Montana and the Pacific Northwest home after a nomadic childhood. Yvonne joined the Army at the age of 17 after growing up as a “military brat.” Her mother served 25 years in the Navy, facing overt institutional misogyny daily with a straight back and her head held high. Her father was an artist who modeled perseverance on the sometimes lonely artistic journey through dedication to his studio practice. Along with being an artist, Yvonne is an educator who specializes in arts integration and TAB (Teaching for Artistic Behavior). She is married and has two sons. She currently lives in Olympia, WA.
Nabil Mousa, "Transcendence - Green in Motion", 2017, acrylic and collage on paper, 22 x 30 inches, $3900
"Transcendence - Green Splatter", 2017, acrylic and collage on paper, 30 x 22 inches, $3900
"Transcendence - Orange Explosion", 2017, acrylic and collage on paper, 30 x 22 inches, $3900
"Transcendence - Red Circle and Black Line", 2011, acrylic on paper, 30 x 22.5 inches, $3900
"Transcendence - Red Square and Blue Line", 2011, acrylic on paper, 30 x 22.5 inches, $3900
"Birds Without Wings #1", 2017, ink on paper, 20 x 14 inches, $2350
"Birds Without Wings #2", 2017, ink on paper, 20 x 14 inches, $2700
"Birds Without Wings #3", 2017, ink on paper, 20 x 14 inches, $2700
"Birds Without Wings #4", 2017, ink on paper, 20 x 14 inches, $2350 (unframed)
"Birds Without Wings #5", 2017, ink on paper, 20 x 14 inches, $2350 (unframed)
"Rhythm of Life #1", 2017, ink on paper, 24 x 18 inches, $2900
"Rhythm of Life #2", 2017, ink on paper, 24 x 18 inches, $2900
"Rhythm of Life #3", 2017, ink on paper, 24 x 18 inches, $2900
"Rhythm of Life #4", 2017, ink on paper, 24 x 18 inches, $2900
"Rhythm of Life #5", 2017, ink on paper, 24 x 18 inches, $2900
Nabil Mousa’s practice centers on abstraction through paintings, printmaking and sculpture that combine autobiography, and cultural commentary. His ability to investigate concepts of beauty as a colorist is inspired by traditional Arab culture. Influences of calligraphy and qualities of arabesque design, religious text, and architecture merge with Modernist elements, gestural abstraction, and Minimalism.
Mousa is a Syrian American, a gay man, and an activist in the LGBTQI community. His work draws on his background, his influences from various Middle Eastern traditions, and his struggle for recognition and acceptance after coming out to his traditionally conservative family. Out of these unique combinations of personal and cultural influences, he has developed a vocabulary of symbols, colors, and gestural mark-making that he uses to reflect upon this present imperfect moment. He continues to mine his personal story, resulting in a multidisciplinary practice that has evolved in the decade since his first course work at the University of Tennessee.
Nabil Mousa’s work explores concepts of balance and harmony. Inspired by the struggles and daily small victories of the Syrian people living through civil war, his work is a celebration of perseverance and joy over despair and destruction. The inspiration of Arabic design reverberates throughout his work, most noticeably in the interplay of floral and calligraphic scheme.