We welcome fresh talent to Gallery 110 this November through the delicate abstract mixed media collage and paintings of Geralyn Inokuchi, and the striking Raku pottery of Rebecca Arthur.
Dynamic Conversation – Geralyn Inokuchi and Rebecca Arthur
While working on a piece for a show one day in her studio, Geralyn noticed the similarities between Raku pottery and abstract painting. The more she thought about it the more intrigued she became with the idea of exhibiting her paintings along with those of a ceramics artist. She began searching for a ceramicist whose work fit with hers and that is when she discovered the work of Rebecca Arthur.
Rebecca was also open to the idea of showing how the two art forms informed and invigorated each other. The randomness in Raku and abstract paintings proved to be in harmony. They have since shown their work together in Oregon over the last 2 years, just as they will at Gallery 110 Seattle WA USA November 5-28 2020.
Geralyn, as a painter, starts a canvas with gestural marks of charcoal or paint. She then places paper to obscure or highlight the marks she used to begin with, responding intuitively to what is on the surface. The painting builds from there in order to produce a clear focal point. She adds (and subtracts) many layers thus creating depth and movement. Many of the effects in the painting come from layers of transparent colors. She does not generally mix paint to produce the colors of the work but relies on glazing techniques to produce the color saturation, depth and clarity seen in the works. She listens to what the painting wants to be, always relying on intuition but also being influenced by intention.
As you will be able to see, this randomness matches that of Raku style of ceramics.
Raku was developed in Japan in the mid 16th century. Raku is the family name of the people who developed a certain way of making low fired pottery which has been passed down through many generations. There are different ways American ceramicists use to create their own type of low fired Raku ceramics. Because they are fired at a lower temperature the smoke and chemical reactions in the kiln cause certain patterns that are unpredictable or random. More interesting patterns can also occur when horse hair is applied to a hot piece when it is removed from the kiln, or when copper is wrapped around a piece when it is fired. Rebecca explores these techniques in her work. The resulting movement, texture, patterning and color combinations create a unique and dynamic conversation when paired with Geralyn’s paintings.
From her stream of thought doodles Sherry collaborated with local graphic artist Kevin Riedy to bring her characters to life. Take a leisurely walk through some of the colorful personalities who reside in the small town of Baskerville.
Urban Portals draws on ideas from physics for the visual layering in these complex urban photo collages by artist Dorothy Anderson Wasserman. Time is taken out of the normal realm of experience by having images of past, present and imagined future seamlessly commingle in the same visual space.
Dorothy uses only her own photographs and assembles the work by hand. As a final step the collage is digitized and printed on rag paper using pigmented inks creating an archival print.
Men and women from the fringes of society are depicted in the intriguing exhibition: A Little
Skin. This alluring exhibition reflects upon the beauty, seductiveness and oppression of our skin.
The unique visual stories are shared in stimulating ways that spark curiosity and peak the senses.
Seattle artist Li Turner will feature a diverse array of watercolor paintings about the
intersectionality of people and their often precarious positions; Mount Vernon artist Sue Wren
reveals her fine art photography of gay pride participants and sexy burlesque women.
Anticipate sociological tension and uncommon viewpoints when Gallery 110 brings together this
offbeat juxtaposition of paintings and conceptual photography.
Sherry’s use of traditional Chinese Xuan (rice) paper, though fragile, is surprisingly versatile. She continuously experiments with different methods – resulting in striking but subtle luminescent outcomes. Unlike Chinese painting with brush and ink, where the artwork is mounted afterwards, Sherry reverses the process by manipulating the material, creating shapes and colors based on the paper’s natural grain and texture while adding mixed media elements along the way. She calls it Zì-Rán 自然, In Chinese this means nature, or the flow of things, ensuring her subject matter will be fluid and unique each time.
Mousa created these portraits during self-isolation due to the COVID-19 pandemic. While reflecting on both the lost lives of vulnerable populations who were victims of failed public health policies and systemic racism. Over the years, Mousa has developed an artistic vocabulary of symbols, colors, cultural references, and gestural mark-making to reflect upon politics, world events, societal mores, culture, and beauty. He mines his personal story to produce commentary about the world. For this series, Mousa was drawn to illustrate segments of the affected peoples to connect the viewer to their struggles and record the historical changes occurring across the US and throughout the world.
In large measure becoming an artist consists of learning to accept yourself, which makes your work personal, and in following your own voice, which makes your work distinctive. – David Bayles, Art & Fear,1993
Accepting oneself is often easier to read in self-help books than to live. Having read Art & Fear, Yvonne Kunz’s role as an artist and an educator has her grappling with questions of what it means to accept oneself and others: to be American, a woman, and a person in this modern age. Ever surrounded by children as a mother and a teacher, she finds herself wondering, “When adults are struggling themselves how to communicate and self regulate, how do we teach children to do so?” The drawings of this exhibit arrive out of Yvonne’s weekly practice of figure drawing, part of her path towards self acceptance as an artist. This body of work pairs the figure with phrases from the socio-emotional curriculum taught in elementary schools: Use self-talk, Play together, and Bystander Power, to name a few. The phrases hint at interpersonal challenges we face as members of a community and offers solutions with how to deal with the challenges. The juxtaposition of the two offers a glimpse of personality to the anonymity of the figure while offering word play between image and phrase.The result is a physical exhibit of vulnerability and acceptance.