Russell Day Gallery

FALL QUARTER 2013

Emily Gherard & Stephanie Pierce

Incommensurable Things
Contemporary Drawings and Paintings
September 23-October 25

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Emily Gherard

My work explores the idea that painting and drawing have the ability to present inanimate objects in ways that allow the viewer to empathize with them. There is a quiet conflict in my paintings between the characters (rocks and walls) and their surroundings. The rocks huddle together for shelter. Their tenuous relationship both defines and is in conflict with the space around them. This tension is reinforced by my painting process. I alternate between painting boldly and picking away at the surface, causing my paintings to contain strong, direct clarity underlined with wavering doubt. The color is often muted and limited, revealing a heavily worked surface of incised lines, thick paint and sanded, bare canvas.

StephaniePierce-Portrait

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Stephanie Pierce

My painting seeks an intersection between perception and abstraction using the phenomenon of light, space, and form as personal metaphor. Working from perception, I want to convey a sense of the visual as it is unfolding into forms and space that are at once material and immaterial. The paintings attempt to glimpse transitional moments of time and light. The accumulation of observed moments stand as fragments of color, light, and location, as they change with the progression of each day. I’m motivated by the sensation that forms have just begun to come together and may shift and disappear- a brief presence that threatens to fall apart. The paintings reveal passages of change, revelatory shifts, connections, and subtle uprisings where the everyday resides in a state of flux and possibility.

Lloyd Weller & Ellen Felsenthall

Abstractions and Adventures
Contemporary Photography
November 4-December 6

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Lloyd Weller

In his own work, Lloyd tends toward pictures that are subjective, such as a composite image of the Everett sky and a desert scene blended seamlessly together. He enjoys manipulating images into something unexpected.

"I like viewers to question the subject," he said. "It forces them to engage, to come up with an interpretation that's unique to them. As a teacher, it's really important for students to develop their own style and their own interpretations."

Lloyd also works in video production and has created and collaborated on several oral history projects, including "A Special Place: Clark Park," the story of Everett's first city park, which his wife Elle Ray wrote and directed.

 

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Ellen Felsenthal

Communication. Expression. Emotion. These are the elements that guide my work. My goal is to faithfully represent every subject, whether a person, a dog or any other creature, in a way that speaks to all who see the photograph. To portray the inner character, the essence of a subject, as well as the outer appearance; to capture a moment in time; to reveal character; to share the uniqueness of the individual. This is what I strive for.

Passion. Acceptance. Devotion. These are the things that guide my personal world. From my childhood in Chicago to my current life on a small farm north of Seattle, animals have been my constant companions, the center of my life, my guiding passion. I currently share my home with 2 dogs, 7 cats, 2 horses, 1 pony, 7 goats and 3 sheep, as well as an ever-revolving number of foster cats, dogs and horses. These animals have taught me a great deal about myself and have led me to the life I always dreamed of. I truly understand the power that these creatures bring into our lives, and I honor and respect them unconditionally.

WINTER 2014

Yoshimi Kurata, Manga Artist, Japan

Current Work
January 6-31

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Yoshimi Kurata

James Madison, NW Native American Artist

Contempory and Traditonal Works
February 10-March 14

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James Madison

James R. Madison was born December 7, 1973. He is a member of the Tulalip Tribe, and lives in Tulalip, Washington. He began to learn to carve at the age of eight. James and his cousins grew up immersed in their art and culture, surrounding their grandparents’ table, learning how to carve from their grandfather. His father is an abstract painter, and influenced James early on to add another dimension to his art; to sculpt rather than to simply carve. His uncle was also an influence on young James; he was a teacher of Native American art. It didn’t take long for an intense interest in art to develop. James continued to create, and went on to study art at the University of Washington after graduating high school. He received his Bachelors Degree in Fine Arts in 2000.

His artwork contains traditional Salish elements and designs, featured in a variety of contemporary mediums, such as glass, bronze, and stainless steel. He is also a Master Wood Carver. Many of his large scale pieces can be found at the Tulalip Resort and Casino in Tulalip, including a 24 foot story pole. Madison is also an art consultant to the Tulalip Tribes.

SPRING 2014

Paul Berger

Retrospective of Photographic Work
March 31-April 25

 

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Paul Berger

ArtForum, June 2003 by James Yood

Paul Berger: Museum of Contemporary Photography - Reviews: Chicago

In the '60s and '70s a generation of photographers appeared, concerned with both the intrinsic nature of the camera and the social nature of the photograph, and began to investigate all aspects of what might be communicated in the act of shuttering a moment. Paul Berger, who lives and works in Seattle, has, since the mid-'70s, been particularly attentive to how images inevitably combine and recombine and to the processes we evolve and employ to "read" what we see. This retrospective began with the black-and-white "Mathematics" series, 1976-77, in which the photographer shot and reshot sections of university chalkboards covered with mathematical notations. The abstract language of the notations was unintelligible to Berger, but he noted that their left-to-right articulation and sequential organization in horizontal "statements" paralleled the way text works into pattern. By partially overlapping his film while it was still in the camera (rolling it back and forth, shooting it over itself) and printing the resu ltant disembodied bits of signage, Berger made his chalked data even more disjointed and isolated, so that they made up a kind of endless stutter at the edge of communication. That images can accumulate and yet never result in narrative and that this accumulation can become another form of communication grew into one of Berger's central concerns.

The advent of personal computers in the early '80s soon provided new ground for investigation along these lines. Berger's artistic output could constitute a mini-history of computer-graphics technology, from the clumsy and warping pointillism of ink-jet and daisy-wheel printers on perforated paper to today's digital Iris prints. Sidebars, pictures in pictures, highlighted borders, charts interacting with photographic images--the humdrum strategies of graphic design or production--are regularly autopsied in his work. Throughout the '80s, Berger combined disparate and seemingly disconnected images, attempting to show how inexorably they become visually composed, "read" through a consensual frame that domesticates and homogenizes them. The fact that we don't run screaming into the street when we see the weatherman, "gigantic" beyond belief, superimposed over an image of the planet (or, put differently, how two different and seeming irreconcilable visual languages can collapse into a new relationship) is what Berger repeatedly investigates.

“The LAST CALL”

Student Works in Graphic Design, Multimedia,
Photography, Art, and Ceramocs

May 5-June 6

 

 

The Last Call

This exhibition highlights the most exciting and innovative art and design that our visual arts students have produced over the course of a year. On display will be our finest examples of ceramics, digital media, painting, drawing, photography, sculpture, 2-D, and 3-D design.