In his show “Not Seen on TV”, Art Chippendale explores the peculiar disruptions of the transmissions of digital images. He found that by manipulating the electronic signal to the screen, these pixels take on a life of their own. The results are often purely abstract in form, while others maintain some of their representational qualities. By manipulating the pixels in a still photograph, he is able to reinterpret the original content with often surprising, sometimes beautiful results. This process generates an original and unique artifact, which reveals a different interpretation of the world than that which was originally intended to be seen.
Bennett Hu uses cardboard to assemble a whole unified image while emphasizing the many piece of cardboard that create that unity. Each piece in “Art Out of the Box” has its own story and origin because the recycled materials gives this 17 year old artist the capability to create with color, texture and structure. While people tell you that to be creative you have to think outside the box, he asks, “What can you do with the box?”
In “The Belligerence of Freedom”, Ken C Judd uses rich primary colors teeming with energy – from frenetically dancing figures to intricate, layered non – representational forms. In his paintings and mixed media art he tries to capture a sense of movement and vitality, but of only one piece of the story, like a small corner torn from a notebook. It’s up to the viewer to imagine or reconstruct a world from the activity.
Pamela Wickard is a mixed media collage artist who uses papers, found object and acrylic paint – items some may consider trash – to make something beautiful. Her series “The Beauty Within” allows her to display the many different layers of the world. Each piece tells a different story, with hidden messages. She hopes the viewer will discover the individual beauty and layers of each piece that evokes a unique experience.
Penny Grist’s watercolor exhibition is loosely based on landscape and seascape, but she is more interested in abstract issues of color, value, pattern, texture and space. She loves the dialogue with watercolor. It doesn’t necessarily do what you want it to do, sometimes resulting in disaster, sometimes gifting you with an unexpected surprise. Color is the thing that matters most to Penny. It makes her heart sing and hopes the same for those who view her work.
Richard Rogers’ photography show “Vashon and Beyond” is a collection of his favorite photos taken on Vashon and elsewhere. Some were captured on Kodachrome film 30 years ago and others more recently using his pocket camera or iPhone. His hope is that the viewer will resonate with these glimpses of the extraordinary visual transcendence that occurs frequently here on Vashon Island, his home of 30 years, and in the beautiful world beyond these shores.
“From the Earth” is an exhibit of Robert Bornn’s abstract, miniature, borosilicate glass sculpture. Robert’s working materials of clear glass tubes and colored rods are originally from high-silica beach sand. After various processes, molten glass is extruded and, after cooling, becomes his working material to be heated all over again. When he is flame working, the exciting challenge for him is to morph linear pieces of borosilicate glass through a molten state to create an organically shaped, evocative expression of his nature-inspired vision.
Shelley Hanna’s “Cartomancy”, a set of photo composite fortune-telling card images, is about subjectivity, searching for meaning, divination, and the ways people find meaning in odd places. She is fascinated by superstition, divination, astrology, religious imagery, and the draw of social media quizzes and personality tests – the ways we search for and find meaning in things that arguably don’t mean anything at all, and why we want to. Shelley photographs people, places, and things as separate elements, and then through computer manipulation combines these elements into something that doesn’t exist. All of the photos have meaning that is specific, yet open to interpretation, and not based in an existing divination system.
Steven Ellis paintings in oil and cold wax begin as a physical way of thinking and exploring what is both seen and unseen. Each painting is a physical journey of unknown length and a record of that journey with an unknown destination as the final form. He forms his work in distinct layers that are laid atop each other until the painting is complete. Each layer, whether it is seen in the completed painting or not, is part of the history of the painting and informs what comes next.