Wednesday – Saturday

12:00 – 6:00 P.M.


CORE is an Associated Program of 


Shunpike is a 501(c)(3) non-profit art service organization whose mission is to strengthen the Seattle arts community by partnering with small and mid-size arts groups to develop the business tools they need to succeed. Working in close partnership with these groups, Shunpike helps solve problems quickly and impart vital skills in finance, organizational management and arts administration. 

Tracy Simpson


To be honest, my attention span is short and I am pulled in a dozen different directions a week, constantly mentally testing out whether I want to spend the requisite hours needed to make a print based on one idea or another. Maybe this is because I have only a few hours a week to make art or maybe it is because I am essentially undisciplined. Whatever the cause, I rarely have the patience to make an obviously coherent series of prints. But really, there are themes I come back to over and over; time, layers, loss, injustice, endurance, what we show others, what we keep from others, what we show ourselves, what we keep from ourselves. Sometimes these themes show up in recognizable, if simply rendered, objects, and sometimes they are represented obliquely.  It just depends.


Despite all this thematic flitting (flailing?), or maybe because of it, I am really a pretty rule governed person who needs anchors.  My first anchor is a precisely penciled grid that covers the entire field. Every piece starts this way. The other anchor is that the marks placed on the paper have to be put there via a potato. I use the smooth face of cut Russet potatoes to place acrylic paint on paper, typically after making an impression from textured fabric, a dried leaf or flower, or debris I find in the street. The resulting ghost image of that thing is then transferred to cotton paper. Lines not conforming to the grid, like curves or diagonals, are made with paper stencils to mask the edges. Most of the time I cut a simple geometric shape to specific measurements from a potato and use it (or its cousins once it has degraded too much to use) to make several hundred passes. I typically layer the stamped shapes to create a sense of depth and to play with the ways colors behave when over or under one another.

Group Exhibitions

2018                       Northwest Fine Arts Competition ~ Phinney Community Center, Seattle, WA (juried)

2017                       Modern Touch Reprised ~ Lynn Hanson Gallery, Seattle, WA 

                                Modern Touch ~ Ballard Works, Seattle, WA

2016                       Phinney Community Center Arts Program, Seattle, WA (2 person show; juried)

2015                       Bellevue Corporate Offices curated by Doris Mosler, Bellevue, WA

                                Maker’s Mark ~ Painters Under Pressure Salon Show, Virginia Inn, Seattle, WA

2013                       Time ~ Ida Culver House, Seattle, WA (juried)

                                Painters Under Pressure Salon Show ~ Phinney Community Center, Seattle, WA

                                Northwest Fine Arts Competition ~ Phinney Community Center, Seattle, WA (juried)

2011                       Avanti Art Gallery, Greenwood Art Walk, Seattle, WA

2008                       Local Color, Seattle, WA

2007                       Salons at the Saloon ~ Collins Pub/Seattle Print Arts, Seattle, WA

                                Local Color, Seattle, WA

2006                       BallardWorks, ~ BallardWorks ARTwalk, Seattle, WA

2005                       Painters Under Pressure ~ John Page Gallery, Seattle, WA


Solo Exhibitions

2014                       give us this day ~ Plymouth Church, Seattle, WA

2014                       On and About Time ~ Brotman Galleria (juried), University of Washington, Seattle, WA

2009                       Time Again ~ University Unitarian Church (juried), Seattle, WA

2006                       Another Time ~ Barking Dog, Seattle, WA

2003                       Some Time ~ Cloud City Coffee, Seattle, WA