Category Archives: Past Exhibitions

May You Be Happy

Kevin Marshall

November 7 – 30, 2019

First Thursday: November 7, 5 – 8pm
Artist Meet-and-Greet: November 30, 2 – 4pm

Transcentainment LLC announces a show by Kevin Marshall at Gallery 110 near Pioneer square. Marshall will be exhibiting functional fine art pottery made for modern life styles. He is offering cups, cellphone stands, vessels and more. His work is a combination of free form clay, tight geometric decoration, portraits and decorative glazes. Gallery 110 is located at 110 3rd Ave S, Seattle, WA 98104.

Each artwork has a blessing written on it. The name of the show “May You be Happy” is one such blessing. The works are decorated with calligraphy in the Phagspa alphabet along with an English abridgement. The clay speaks. What does it say? “People have been making pottery for 20,000 years. Of all that ware, 99.9% of it is now shards.”

We are here for so short a time. The clay becomes rock. Rock lasts as close to forever as anything humans have made. The work is a reminder of our brief existences. The blessings written on them are to be used for this fleeting time. The pottery for sale is glazed stoneware. This is the hardest and most durable form of pottery. Some of the offerings have parts that are not stoneware. Some parts are made of polymer clay, glass, metal or wood.

Down the Rabbit Hole

Katherine Loveland

November 7 – 30, 2019

First Thursday: November 7, 5 – 8pm
Artist Meet-and-Greet: November 30, 2 – 4pm

From the artist:

In this series I provide viewers abstract macrophotographic images of nature and with them the opportunity to delve into an exploration of the personal unknown. Their reactions to the images have the potential to increase viewers’ self-awareness of the psychic layers of themselves, others and the world.

-Katherine Loveland

Threads: Bringing Art to the Masses

Paula Maratea

November 7 – 30, 2019

First Thursday: November 7, 5 – 8pm

Paula Maratea prints her most recent digital paintings on hand-sewn and machine-made garments.

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 – 8pm
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