The work of Jonathan Menashy and Saundra Fleming begs the question, “what are the various ways of communicating through the human psyche; what does this act entail?” Human beings exist within various states of consciousness and in fact Saundra Fleming has said that her ideal way to “see” a painting is to slowly fall asleep in front of it.

Both Menashy and Fleming engineer a kind of psychological and moral reckoning that is to come. Phantasmagorical, these paintings move from psychological state into metaphysical crises. An elegance with Menashy and a certain lumpiness with Fleming, the sculpting of paint is extraordinary to consider when comparing the two artists.

The sleepwalk metaphor, as used to describe this upcoming show, can be used to guide one through the paintings. When is a person, asleep, morally, existentially, artistically? What does it mean to be fully aware or awake? And how do we describe what we are awakened to?

These works stretch profoundly to create pictures from the complexities of war to psychological disintegration, and paradoxically, transcend the horror of both through the love and articulation of being a painter. Or, perhaps they are simply redefining what transcendence may be.

Sleepwalkers is guaranteed to be a philosophical experience. And the artists, from the United Kingdom and Seattle, Washington thrive on the complexity of the world.

November 7-30

Save the date for an Artist Reception on Saturday, November 16th: “Indigenous Wings Celebration”!

Artist Statement
“Light in Flight” is a group of contemporary figurative oil paintings I created over the last two years.  This series is a celebration of spirit, laughter, and play. When I work, I’m flooded with feelings of wellness, a lightness I feel whenever I’m around my canvas and oils.  It’s my hope you, too, feel this sense of lightness when viewing this series.

As I work with each piece, I’m looking for feelings of abundance, movement, and respect – that respect I feel around the themes of connection to humanity, nature, and stewardship.

You’ll find Tlingit ovoids, trigons and hashmarks in my work. For this series I was drawn to coppers- colors of cedars and grasses intermixed with loose figurative movement lines and solid abstract Tlingit forms and figures.  These colors and forms can be found in our indigenous Tlingit peoples clothing, regalia and household carvings. To me, these elements serve and share themes of ancestral spirit, wellness, respect and stewardship.

Overall, this series invites the viewer to leave the hustle and bustle of the day behind and, even for one moment, find that inner child lightness that lifts the feelings of abundance and wellness inside you.

Artist Bio
Nena Howell’s creative origins reach in a direct line back to her grandfather, Rudolph Walton, master Tlingit artist from Sitka, Alaska, whose art and foresight inspire her today—combined with the sturdy, kindly Ukrainian heritage of her grandmother. After a successful career in business and marketing, in the winter of 2020, Howell pivoted full-time to the development of her art education and skills. She currently works full-time from her art studio in Wenatchee, not far from her childhood home in Edmonds, WA.