2021 The creative spirit continues to flourish at CORE gallery!
Enjoy these videos showcasing exhibitions during the pandemic!
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Annual Community Show celebrating the powerful voices of Arts Corps
As part of our mission at CORE we open the gallery each year to showcase the important work being done in our creative community! Celebrate with us as we are honored to host Arts Corps, December 1-11, 2021!
Arts Corps Mission
Arts Corps revolutionizes arts education by igniting the creative power of young people through culturally engaging learning experiences.
We work toward a world where barriers to arts education no longer exist and all young people can creatively lead the transformation of schools, neighborhoods, and beyond.
Artwork Showcased in Exhibition: Interagency High Schools (Southwest, Southeast, Queen Anne, Alder, Beacon) from Seattle Public Schools, Aki Kurose Middle School from Seattle Public Schools, and Mount View Elementary School from Highline Public Schools.
title: Personal Piece
media: acrylic, colored pencil, construction paper
description: Layers of me.
Invest in powerful arts learning for all young people. Your gift insures that Arts Corps programs reach youth with the least access to high-quality arts education.
To learn more about Art Corps, click on their logo below.
LIMINAL MOMENTS encaustic paintings by Žanetka K. Gawronski
The nucleus about which everything changes -- the quiet eye of a storm before experiences are defined and comprehension dawns in a new form.
Each day is a string of liminal moments, yet we find ourselves moving in a pattern of habituated recognition and definitions. To pause and notice the immense possibilities available when we turn our attention in a new direction is worthwhile, and at times requires courage to define our new discovery outside the bounds of previously held meaning.
Liminal Moments is a body of work within which I have encapsulated new discoveries, perhaps these images will remind you of moments within your day.
KaleidoQuilts new work by Scott Carnz
This series is comprised of one-inch square segments from hundreds of my photographs shot mostly during the pandemic. The image tiles are flipped and rotated as though in a kaleido-scope to form intricate patterns that then provide the elements of larger quilt-like formations. I have always been fascinated by how a kaleidoscope provides a way to observe how complexity is derived from simplicity and repetition, a phenomenon now explained by modern chaos theory.
Quilts historically serve as a form of storytelling, representing the times and places of the people who craft them in an object that is frequently passed from generation to generation. This has been true in my family for generations. By rendering these kaleidoquilts in digital space, I want to explore the boundaries of our real-world and online personas and where they blur and merge. Exploring those little obsessive moments I find myself getting lost in are a way to connect my experience of the world to those of my fellow human being.
EVOKE CORE Gallery Artists - annual group show
EVOKE [əˈvōk] verb:
1. to bring or recall to the conscious mind
2. to produce or suggest through artistry and imagination a vivid impression of reality
During the month of October, celebrate the artistry and imagination of CORE artists in our annual group show. Explore the unique vision and creative interpretation each artist brings to aspects of our shared reality.
Pioneer Square Art Walk: October 7, 2021
Arctic Pending Eileen Wold
Most of the world sits Arctic adjacent, aware of the regions changes and their
implications, but not in direct control over the outcomes. As the ice melts, and
permafrost thaws, the future of the region awaits many possible pending changes both
ecologically and politically.
In 2007 a Russian subversive placed a titanium flag at the bottom of the north pole on
the sea floor. A symbolic gesture to assert interest and control over the resources and
trade routes that are increasing in availability. Once a place described as remote and
out of reach, the arctic is taking on new significance to the eight nations that have
claims in the arctic circle.
White plastic lawn flags are typically used to mark proposed changes and define
boundaries within our landscape. A notational device that draws implied lines in land.
Much like the invisible lines of longitude and latitude that dot the earth and help
orientate us on the globe, or the political lines between countries or states, these lines
shift on maps and in space as we negotiate power and/or increase our understanding
of the natural world.
I am interested in questions of land use, ownership, and how we see ourselves as
natural observers and producers. I see the white flag also as a gesture of surrender.
An object that signals acceptance to a shared future and a collapsing ecology, and to
explore the fragility of our relationship with an altered natural world.
Birds and Bees Marit Berg
Cobwebs, animal tracks, honeycomb, fur, and feathers, all reveal order shaped by nature. I am fascinated by patterns, made by animals, plants, even minerals. This inspired me to become a pattern maker myself, building and layering repeating patterns of ordered and, at times, chaos. This work is about the process of imagining, creating, and reacting to the composition until satisfied, and I have captured the feeling I want to evoke. That might be a feeling of frenzy, gracefulness, or somewhere in between.
Murmurations are patterns created by thousands of birds flying together. Science has speculated these birds are communicating with one another to move and turn in such spectacular formations. In Murmuration at Dusk, acrylic on 2 panels, I follow my own design. By using different values from grey to black I layer thousands of tiny birds to make patterns of movement and depth.
According to Japanese legend, anyone who folds a thousand origami cranes will be granted a wish, such as a recovery form an illness or injury for themselves or a loved one. 1000 Cranes is created by layering prints from different hand-cut plates representing origami cranes. Together they form an infinite spiraling pattern in silver and black. This painting is dedicated to the recovery from the global pandemic. Also presented are the individual prints that make up the panel of 1000.
Feral bees make their hives on bare tree branches creating unique honeycombs which hang in in groups and clusters. In Feral Beehive 1, and 2, I have worked from my own charcoal drawings of bees and branches, transferring the images via photo, to photoshop, to screens and printing the various parts on tracing paper. I then collage them together on wood panels to create these compositions. The bees create a more random pattern on top of the comb which contrasts with the repeating hexagon shapes. The drawings of bees and branches that I worked from are also presented.
Phantom Memory Amanda Hood
There is always some way of breathing, and surviving again. How do we process the emotional extremes experienced in life? We live with a constant flow of imagery from media which tugs and pulls, normalizing scenes of chaos, terror, fear and destruction. Reinterpreting collective imagery, a familiar object, a photo from the media, or a film still, my work explores intense memories and experiences. Using metaphors to create a sublime emotional landscape, I am interested in the presence of duality. Heightening tensions between light and dark, defined and blurred, thick and thin, imagery juxtaposes extreme beauty, hopefulness alongside deterioration and destruction. Moments pregnant with conflicting emotions are removed from their original context to be observed and explored, bringing what is hidden into the light, and offering opportunities for connection.
Straight Lines GirlSpit
“Straight Lines” is a collection of works by the artist GirlSpit, chowcasing the growth of the City of Seattle from 1894 to 2017.
Each piece was cur by hand with an X-acto Knife on Mylar Drafting Film. The last map in the series took an astonishing 250 hours to complete – it features the Alaskan Way Viaduct.
This is the first time these works of art have been on display. “Straight Lines” opens the discussion to the inequity between zip codes and genetics of opportunity.
The Second Wake Claire L Putney
The Inventor’s Wake is an ongoing series of studio and shop portraits, layering hand-drawn maps and site-specific imagery that document the creative process of artists and artisans working in industrial South Seattle.
Each space is mapped from observation in a purely responsive way, without heed to measurements tools except to calibrate the GPS location. These maps document the spaces on a specific time, day, and year, never to look the same. A "knot" from each studio or shop is layered over the hand-drawn map, referencing the wave of tools materials each person uses in the creation of their work.
Gratitude to all the folks who have shared their work, spaces, and dialogue with me throughout this ongoing project.
Luminaries - portraits Shaun Lawrence
In the tumultuous year 2020, there were exceptional figures who rose from the chaos to shine their light and help lead the way. It was incredibly inspiring. It became apparent to me right away what the subject matter for my show would be. I wanted to showcase these incredible people whose work furthered the message of racial & social justice, offered hope during the pandemic, and were able to keep it flowing even in the midst of a lockdown.
For this series of relief print portraits, it was important for me to have the consent of each person. Each graciously and humbly gave me that. My intent in the portraits is to show their beautiful spirits and to uplift them. I also wanted to give back, so proceeds from any sales will go towards their own work or causes they support.
My wish is for the viewer to learn from and be inspired by each person. I have included more info on each in the wall labels, including their websites and ways to find out more about their extraordinary work.
Thank you for being here, and for your own ways in which you may inspire others too during these times,
Paper Tigers Cyn Lyon Moore
Mixed media collage.
Whatever’s Next, Let’s Make It Good Tracy Simpson
2020 revealed deep fissures in the social contract and illuminated the stark differences in how we understand our basic responsibilities to one another. Do we wear a mask to protect others? Do we use someone’s preferred pronouns? Do we recognize our unearned privilege? Do we squarely face and address the inequities that COVID-19 and George Floyd’s murder laid bare? We are clearly divided in how we answer these questions.
The primary pieces comprising my show, Leading Edge, Grassroots, Moral Arc of the Universe, Beloved Community, are my attempts to visually convey my belief that the change we collectively need will come from the edges and that it will be grassroots efforts that bend the moral arc of the universe all the way down to earth so that the beloved community is realized.
Quotidian Queens Kate Harkins
These portraits of women are from life or invented characters, using anything and everything from drawing, nail polish, spray paint, and fabric, in play and love, to give women in general the microphone.
New Work Mylen Tumaliuan-Huggins
Painting in encaustic provides a strong connection to my mother and late mother-in-law. Both were artists that worked with heat and pigmented wax. My mother, a retired teacher and ikebana artist, called her technique melted crayons. My late mother-in-law was a graphic designer, painter, and encaustic artist.
Inspired by color, texture, depth, and random or natural compositions, I am just as interested in the shapes of objects as the shapes or spaces between objects. The layered textures and subtle color variations reveal a story and represent metaphors that translates into a painting.
Supreme Being II Liz Ophoven
While navigating the hefty realizations that accompany mid-life I created this body of work. The work resembles a deep dive inward and the process of trusting the unknown forces that co-create our lives.
Circling back to the suspension of disbelief that is present early in life, I have responded to a calling from beyond the veil allowing an alternate paradigm to be present here, embracing the sensations of texture and symbolism to create these tactile responsive pieces from clay.
THIRD AVENUE GHOST STORIES Pestilence, Poverty, Politics Jodi Brown
The art I create has never been about one thing. The work I do both personally and professionally , is a constant and ongoing interpretation of the unstemmable stream of information constantly received through every sense, processed through a lens of humor and empathy.
It is pain & beauty & incredulity & humor. It is sex, absurdity, and ugliness. It's politics, pop-culture, and history. It's public, and it's intensely, deeply personal. And, it's a hopeful ambassador of communication, looking to connect with like-minded people and like-feeling hearts.
New Work (installations sourced along the I-90 Trail) John Smither
New installations of video and painted panel featuring various locations from Seattle into the Cascades.
John’s latest installations continue his efforts to create memory shrines of places and experiences utilizing videos and painted panels. This time he chose three locations all of which are a short distance from Seattle’s main east west highway which rises from Seattle and crosses Snoqualmie pass. Following along this trail he created shrines to Seward Park and its lowland forest, Boulder Loop Trail in the Cascade foothills and finally a collage of experiences from a couple of different trails which wind high into the cascades. All of these works rely heavily on stencil techniques which are inspired by woodcut prints that he also creates. A few of these are on display as well.
Florentia Carrie Grey
Nature is my theme because it is home to perfectly formed shapes, patterns, compelling proportional relationships, vibrant color, and endless variety. It adheres to the rules of geometry and yet, it has a deep emotional quotient for us. My goal in presenting nature is to distill it to the minimal while still conveying that emotional quality. I like to work In the space between including “too much vs. too little”.
Girlfriends Kate Harkins
Harkins plays with paint, thinking of women real or otherwise known, she wants to pass the mic to.
Burrow Liz Ophoven
While navigating the hefty realizations that accompany mid-life Liz Ophoven created this body of work. The work resembles a deep dive inward and the process of trusting the unknown forces that co-create our lives. Circling back to the suspension of disbelief that is present early in life, Liz has responded to a calling from beyond the veil allowing an alternate paradigm to be present here. She embraces the sensations of texture and symbolism to create these tactile responsive pieces from clay.