Visit Gallery110 (booth information coming)
at the Seattle Art Fair: August 1-4, 2019
Tickets at seattleartfair.com
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
Friday, August 2, 11:00am – 8:00pm
Saturday, August 3, 11:00am – 7:00pm
Sunday, August 4, 11:00am – 6:00pm
The Gallery 110 booth at the Seattle Art Fair will be showcasing the following artists
Montreal born, Vancouver based painter and sculptor Michael Abraham’s works are in international, corporate, private and public collections, including the Vancouver Art Gallery, the Rockford Museum of Art, and that of Courteney Cox and David Arquette. Abraham’s distinct style blends social commentary and playful imagery, along the lines of Brueghel, Stanley Spencer and the monumental simplicity of Picasso; they are refined figurative works that navigate a full scope of content. Commissions include original paintings for the Vancouver Opera, as well as select private portraits and sculpture. He is an award winning graduate of the Ontario College of Art (OCADU), with a year of studies based in Florence Italy. Abraham currently runs the Michael Abraham Studio Gallery just south of Vancouver, B.C., and is a core member of the ‘Phantoms in the Front Yard’ figurative artists collective.
Jeremiah Birnbaum is a practicing artist living and working in Vancouver, British Columbia. 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 Edmonton, Alberta and Halifax, Nova Scotia. 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.
Using ink and graphite drawing to explore the depiction of objects in motion, Aaron’s subjects are first captured with video, then line and finally transformed with washes into clouds and ghosts: imperfect mutations blurring and morphing as they migrate. Dynamic rhythms and energy abound in his variously scaled pieces.
Aaron has a BA in Economics, with a minor in History and minor in Visual Arts from Duke University, and four years of advanced paints at the San Francisco Art Institute totalling 14 years of higher education between 1996 and 2009.
Susan J. Christensen
“My work celebrates the spirit of human imagination in paintings and drawings that bring a smile; vivid with color, rich in detail. I paint to call attention to magic and mystery of all kinds in a world where joy is often in short supply.”
Susan received her BFA, Magna Cum Laude, and MFA from the University of Washington, Seattle, WA and has exhibited extensively in solo and group shows including at: Gallery 110, Sky Gallery, Dendroica Gallery, Gethsemane Lutheran Church, Bemis Studios, and Praxis Gallery, in Seattle, WA as well as at Main Street Gallery, Ketchikan, AK Clausen Museum and Miele Gallery in Petersburg, AK, at the Juneau Arts & Humanities Council Gallery, Juneau, AK and the Main Street Gallery and Grant Hall Gallery, in Anchorage, AK. Public Art Commissions include ‘Tidal River’ for the Petersburg Public Library, Petersburg, AK, and she was the recipient of the 2012 Rasmuson Purchase Award, for the Clausen Memorial Museum permanent collection, Petersburg, AK. Susan was a member of the Alaska State Council on the Arts Visual Acquisition Committee, has curated exhibitions, and in 2008 received the Mayor’s Award for the Arts, in Petersburg, Alaska.
Susan Gans is a full time photographer and printmaker in Seattle, WA. She has an MA in Art Education and Printmaking from New York University, a BA in Studio Arts from the University of Maryland, College Park and did the Artist Trust EDGE Professional Development Program for Visual Artists in 2008. Susan completed master classes at the Photographic Center NW, Seattle, the former Newspace Center for Photography, Portland and the Pacific NW Art School, Coupeville, WA.
Susan’s work has been shown primarily in the Pacific Northwest over the past 20 years, but also in a 2012 New York City exhibition at the former .NO Gallery juried by Mary Ellen Mark. Her photograph was awarded First Place in its category. She has exhibited at Black Lab Gallery and Schack Arts Center in Everett, WA, 10 x 10 x 10 Tieton, WA and at the Center on Contemporary Art and at the Photographic Center NW in Seattle. Her work is in public and private collections on both coasts. For over 20 years Susan worked in museums and arts centers while living on the East Coast, and in the public sector for more than 15 years since moving to Seattle in 1990.
Rajaa A. Gharbi is a painter, poet, socio-linguist and filmmaker, with an MA in Applied Communications from Antioch University Seattle. She was a multimedia artist with the OTEMA in Tunisia (Organization Nationale de Theatre de Marionnettes) where she was born and raised, and performed in prestigious as well as neighborhood theatres since early adolescence. She moved to the United States in 1982 and has since continued creating exhibiting visual artwork and writing in the US and, in North Africa when possible.
She is the first North African English language poet in the US to have been published and awarded public funding for literary work (1986-2006). Her visual art and poetry have been published, presented, critiqued and anthologized by art curators and literary scholars in the United States and overseas. Selected Memberships include the Academy of American Poets, Artist Trust, and Washington Lawyers for the Arts. Gharbi has served as panelist/Juror for national art Fellowships and artist selections. In 2019 she has exhibitions in Tunisia and Saint Petersburg, Russia. Her paintings are in numerous collections, including those of NT Capital Partners-LLC Silicon Valley investor and Entrepreneur Navin Thukkaram, Microsoft Lead Intellectual Property Attorneys, Dr. David Kennedy McCulloch and many other collections.
David A. Haughton
David A. Haughton was born in Philadelphia, Pennsylvania in 1956 and moved to Canada in 1991. He has been exhibiting for over thirty years. Haughton has extensively painted the wild west coast of British Columbia with its stormy clouds, turbulent waters and ships at sea, in a passion influenced by Hokusai. Social turbulence is visible in a current series that explores the power of “bad guys” culled from media photos, images that provoke our fears, and cause one to reflect on the way these images trigger our innate survival skills. Haughton work has in the past wrestled with the moral ambiguities of modern medicine (he trained as a medical doctor at Harvard College and Cornell University Medical College, and was a pediatric emergency doctor), and his work mines themes akin to Goya’s Disasters of War and Black Paintings. Haughton has exhibited in Zurich, Boston, New York City, Los Angeles, Seattle and Vancouver, and his work hangs in private and corporate collections.
Anna Jannack has a Master of Arts in Counseling and Art Therapy from Antioch University, Seattle 2015, and a Bachelor of Fine Arts, University of Washington, Seattle, 2012, and currently is showing with Gallery 110 Seattle.
“As part painter and part psychotherapist, I usually find myself wrestling with issues like time and memory. The never ending curiosity to understand how our perception of the world comes together inside our brains haunts me. How does the mind come together? Sometimes it seems as if the mind is a dress with many pockets. Memories seem true and vivid or inaccurate and unreal. How does one differentiate between what is real or not? During this process, I retreat into a world of materials where I get lost in curiosity and exploration…always looking for the answer that sometimes comes, and at other times evades me. I try to make things simple by organizing and clustering themes into lines of inquiry. These lines of inquiry are sometimes open, closed or bifurcating into new lines of inquiry. This is done in an effort to make sense of what I am doing, but sometimes this process complicates things more.”
M R McDonald
M R McDonald is a photographer, living in Central Washington, who shoots almost exclusively publicly available surfaces from downtown Seattle, Pike Place, and Capitol Hill. His subjects are decaying areas, predominantly of posters, subject to the onslaught of weather and time, found on telephone poles, cement walls, construction sites, garbage bins, and electric boxes, etc.
He is also a painter — a radically non-representational painter: no narrative; no messages or ‘content;’ and, no expression. Just forms — line, mass, color, and their dynamic interplay.
Stacy Milrany paints in a style developed from an appreciation of candor, color, storytelling, texture, fun and absurdity. With a built-in degree of unpredictability of a variety of media, and her deliberate drawing skill the work can be thought provoking and humorous, delicate, sassy and luscious.
Stacy has a Bachelor of Arts, Journalism from the University of Oregon, and a Masters of Science, Mass Communications /Advertising & Art Direction from Virginia Commonwealth University, Richmond, VA. She has exhibited at Bobbie Medlin, Gallery 110, Gallery 4500, and Fountainhead in Seattle, and at Waving Tree Winery Gallery, Kirkland, WA.
“When something moves me – whether it’s funny, sad, beautiful, perplexing or simian, I don’t question it, I just write it down. I have shoeboxes of index cards filled with notes, thoughts and thumbnail sketches. My work has emerged from these observations of the external world and my internal thoughts. This propensity for recording is matched by my love for visual art and many of its elements: color, texture, line and text. My background in advertising and design has certainly influenced my appreciation of typography and letterforms.”
Gregory Pierce is a studio artist and Chair of the Fine Art Department at Heritage University in Toppenish, Washington. Previous to living in the Pacific Northwest, he has worked in art studios and residencies in New York, Texas, Massachusetts, Maine, and California, as well as participating in collaborative projects overseas in Norway, Russia, Sweden, and Ecuador.
Greg’s work explores connections to specific landscapes embedded with cultural remnants that provide opportunity for contemplation. Through time and erosion, traces of the past buried within Earth’s strata soften, blurring distinctions between manmade elements and natural features. Rather than mimic traditional vistas, Pierce condenses personal viewpoints, memories, and traces of human detritus into layered abstracted forms that are strangely suggestive and familiar.
Pierce emulates geologic processes of landscape formation using local rock materials blended with ceramics, glass, and glaze. During this process, he balances creative control while inviting unpredictable fluid dynamics of molten material to take its course. Excavating through the fused forms, Greg reveals interesting cross-sectional details and hidden histories for viewers to find throughout the forms.
Li Turner grew up in a small New England town that was isolated from much of the world. She moved west to attend college and then to Seattle, where she has lived for over 30 years. Turner’s vibrant watercolor and gouache paintings and pastel drawings attempt to depict the beauty and lightness of dancers and others (mostly women) as a means to draw viewers into the work while addressing various contrasts and realities. As a painter her work often attempts to portray the dilemma we each experience upon being confronted with life’s incongruities. Color plays a vital role in this endeavor. It is used to stimulate, to engage, and to cause a reaction in the viewer. Because much of the world can be a colorful place even in the midst of chaos, she uses the power of color to communicate her artistic intent. And of course, people of all colors appear in her paintings, mostly in chimerical (imaginary) settings.
Dorothy Anderson Wasserman
Dorothy Anderson Wasserman is a visual artist, photographer, art educator, tap dancer and choreographer. These careers have crisscrossed over the span of 4 decades, informing and enlivening the directions taken.
Since 1999 Dorothy has been creating Photo Collage using all her own photographs and assembling them by hand, with the finished work digitized and printed on archival paper. She also prints books of her photographs dating from 1968 to the present.
Dorothy was a Semifinalist in the National Portrait Gallery Outwin Boochever Portrait Competition, Smithsonian Institution, 2016. She received the Geraldine R. Dodge Foundation Artist/Educator Initiative Fellow in 2005. Dorothy has shown her artwork since the 1970’s in various galleries and institutions across the United States. She recently moved from the New York City area to Tacoma, Washington.
Visit dorothyandersonwasserman.com for a complete resume and an in depth narrative of her process.