the extended head (part 3)

Bryan Schoneman, Dirtcrown: Portrait Study #1, dirt, 18"x8"x7", 2010. via
Albrecht Durer: Three Mighty Ladies from Livonia, 1521



Some recent news

I am excited to announce that I’ve been selected as a Neddy Fellowship nominee in painting this year. The Neddy has been an annual fellowship in Seattle since 1996 through the Behnke Foundation. A great survey of past recipients can be viewed here. Here’s the list of nominees:

The four finalists for the Neddy at Cornish in Painting are:

Gala Bent, Seattle, WA
Cynthia Camlin, Bellingham, WA
Jeremy Mangan, Fife, WA
Stacey Rozich, Seattle, WA

The four finalists for the Neddy at Cornish in Open Medium (any medium or combination of media grounded in the visual arts) are:

James Coupe, Seattle, WA
Annie Han and Daniel Mihalyo (Lead Pencil Studio), Seattle, WA
Eirik Johnson, Seattle, WA
Susie J. Lee, Seattle, WA

There will be an exhibition at Cornish in June where the recipients of the fellowship will be announced. I will keep you updated!

George Kirkpatrick (an example of a crossover between traditional and experimental bookbinding)

Also… join me at Sitka Center for Art and Ecology this summer if you are interested in learning the basics of hand-made books! I’ll be teaching a variety of processes for binding, as well as showing many examples of hand-bound books and a brief survey of the advent of artist’s books. The course will be taught at beginner’s level, so feel free to come with no previous experience. To register, or read more about it, go here. Registration is open!

View from Cascade Head-- a short hike from Sitka's campus (photo by artist Wuon-Gean)

pinning a wave to the shore

Rikuo Ueda
Rikuo Ueda wind drawing

Rikuo Ueda came to Ball State, where I studied art in undergrad, and imprinted on my memory. He held a tea ceremony in a specially designed tea house outside the architecture building. He attached pen refills to the ends of branches and let the wind make drawings. “His works are a form of what has basically no form,” translates google from German in exhibition notes from a gallery in Hamburg that once showed his work.

I just ran across Los Angeles artist Sam Falls, who tracks slow, natural processes a different way– by placing a 2 x 4 or other object onto a piece of fabric and letting the elements (sun, rain, even rodents) do their work to transform the fabric into a record of time.

Sam Falls (OHWOW Los Angeles)

Trained as a photographer, it’s interesting that Falls’ pieces are like sun-prints– the most rudimentary form of photography. It is, like Ueda’s work, resonant with me, this tracking of natural processes.

I recently was looking at the process blog of an old friend, Susan Conaway, who is an extraordinarily thoughtful quilter who takes cues from all sorts of structures that she culls from the woods and water that surround her house.

Susan Conaway/pond/leaf/fabric collaboration

She writes:

Two oak leaves wrapped in cotton and left in the pond for about 7 weeks. It is my most successful act of patience and fabric to date. The darkest areas are the marks of sediment settled directly onto the fabric. The oak leaves rolled around themselves and the fabric made a repeat of vertebrae – a spine stretched out. The pond as dye pot made this – all the little life that lives there making an impression, with the help of a couple of oak leaves.

The whole spine

Other artists who have played with these slow revelations of time:

Dennis Oppenheim

Andy Goldsworthy’s “Rain Shadow”:

John Grade‘s “Collector”:

Sandy Geliss is an artist who worked with printer Julia D’Amario at the Sitka Center where I recently worked as a resident. She placed birdseed on etching plates that had been coated with soft ground. The beak and claw marks of the birds made the scratches that became the etching, and they were extraordinarily beautiful. I can’t find images of these online (I will keep trying!).

Over against the push of days is the rush of silence and the tragic idling of it. In the palm is a stone and the grass is a vast fast wrinkling of eras. Inside the hours are clicks and moans. Under them are sturdy chairs. The leaf is a page and the air is a whirring hush and the cars are waves and the sun plays a warm cloud around the face.

marking time on a continuum

Zhan Wang

Today’s my birthday! I’m older than I thought. I was pretty sure I was still in my 20s; but what’s time? Ha.

From Marilynn Robinson’s “Gilead”:

I don’t wish to suggest a reality that is simply an enlarged or extrapolated version of this reality. If you think how a thing we call a stone differs from a thing we call a dream– the degrees of unlikeness within the reality we know are very extreme, and what I wish to suggest is a much more absolute unlikeness, with which we exist, though our human circumstance creates in us a radically limited and peculiar notion of what existence is.”

Serrah Russell

Open Interval

This is happening tonight!

NEW HOURS: Wednesday through Saturday 12 to 6 pm

Open Interval
March 1 – 31, 2012
Curated by Rumi Koshino
Preview, March 1, 6 – 8 pm
As part of the exhibit series, HATCHINGS

A look at the conceptual work of three Seattle artists: D.W. Burnam, Gala Bent, and Garek Druss, Open Interval considers these artists’ visual forms as connected to their other non-visual practices.   In drawings, paintings, and paper collage, Burnam (a writer), Bent (a mother), and Druss (a musician) manifest the otherwise imperceptible traces of their artistic processes.

The visual works of Open Interval are the evidence of the vast and unique landscape that resides in each artist.

Artist and Open Interval curator, Rumi Koshino was born in Japan and received her Bachelor of Fine Arts and Master of Fine Arts from the University of Washington.  Her work has been shown locally at Soil Gallery, Catherine Person Gallery, Form/Space Atelier, NEPO House, Roq La Rue, and Kobo at Higo.  Koshino will be part of a two-person show at Cullom Gallery scheduled for July 2012.

Burnam Bone,Turf & Retirement
D.W. Burnam.  Bone, Turf & Retirement.  Mixed media; 12 x 8 inches ; 2012

Gala Bent inverted mountain 3
Gala Bent.  Inverted Mountain 3. Graphite and pigment on paper; 18 x 12 inches (approx.); 2012. Courtesy G. Gibson Gallery

Garek Druss
Garek Druss. _/\_ (revised). Watercolor, graphite, and pen on paper; 12 x 13 inches; 2011

Open Interval is part of the exhibit series,
HATCHINGS – Three Exhibits Curated by:
Rumi KoshinoOpen Interval, March 1 – 31
Robert HardgraveRefable, April 5 – 28
Brian LaneTexture of Being, May 3 – June 2
Previews 1st Thursday of every month, 6 – 8 pm

Hatchings image
HATCHINGS image by Robert Hardgrave

This spring, as Cullom Gallery’s founder prepares to ‘hatch’ her own baby, three Seattle artists take up the curatorial helm in a series of exhibits titled, HATCHINGS.  Featuring the work of over thirty local and regional artists, HATCHINGS explores personal, artistic, and textural hatchings and cross hatchings, in a diverse selection of works on, and works of paper.

Upcoming HATCHINGS shows:

April 5 – 28, 2012
Preview, April 5, 6 to 8 pm
Curated by Robert Hardgrave
Twelve black and white works by notable Northwest artists based on Jacob Lawrence’s classic renditions of Aesop’s Fables.

Texture of Being
May 3 – June 2, 2012
Preview, May 3, 6 to 8 pm
Curated by Brian Lane
Seattle’s Print Zero Studios founder dips into his pool of local and national woodcut artists to explore facets of personal experience and the dream world.