The creative spirit continues to flourish at CORE gallery!
Enjoy these videos showcasing exhibitions during the pandemic, 2020!
Join us in the gallery during regular business hours: Wednesday - Saturday 12-6
no admittance without a mask
four visitors at a time
(I am large, I contain multitudes.) Sarah Fansler Lavin
A large scale stream of consciousness generated in the space over the course of a weekend. The material is steel strapping scavenged from a Seattle shipyard once used for industrial packaging and binding.
This running internal monologue is tied to the sense of self, a discourse of shadow, boundaries and contradictions.
The installation was built with the intention of being viewed from multiple vantage points inside and out…. especially to those walking past on the street listening to their own internal dialogue.
Chimerae Cyn Lyon Moore
CHIMERAE - from greek mythology: a fire breathing monster with a lion’s head, a goat’s body, and a serpent’s tail.
It is through a dark and occasionally kitschy lens that I see this oddball animal world - my animal world, shown here in these paintings. Glitter, collage, wax, oil paint, and safety-orange paint all bring a depth to these paintings that I’ll admit I cannot quite explain. But the subject of the Chimera has gotten hold of me, and these media serve perfectly my constantly morphing process. Most of these works have gone through several iterations before becoming the modern chimera that they are.
I take great liberties with the subject - an ass emerges from the side of the classical painting of a racehorse (George Stubbs, ‘Hambletonian’), Snakes grow parts of other snakes, and a two-headed swan seems on the verge of a violent fight.
There is beauty in the darkness.
Asymmetrical Symmetry Denny Driver
Asymmetrical Symmetry: A Body of Acrylic Works that Explores Geometric abstractions of Shape, Pattern, and Color… with a twist!
a spirit of inquiry Lezlie Jane
Painting gives me a remarkable, exhilarating amount of freedom. I am fascinated by the open-ended interpretation abstraction offers. It is a window to obscured images and thoughts. I paint to unveil a surprise, an a-ha moment or a long forgotten impression. Viewers are invited to consider what the art may reveal to them. Making art serves as a way to determine my place in the world and provide me with inspiration and satisfaction. Transformation, at the heart of my work and life, fuels my persistence as an artist.
8X8 Scott Carnz
I am passionate about patterns and their formation. The space between the big picture and the minute detail contains infinite possibilities for exploration. I like to play in those spaces, seeking to incorporate bits of the everyday into my multimedia work. I use my work as a way to explore meaning making in our lives. Pattern formation, identification, and naming all contribute to the ways in which we as humans create and sustain a sense of meaning in our meaningless lives and I seek to engage the viewer in conversation about how they themselves make meaning in their own life.
As a designer, my work tends towards the graphic, using classic design elements like color, contrast, and repetition as the language through which I capture and share what I find fascinating in the world. 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 beings.
Sanctuary Shaun Lawrence
Living in a more urban area, I take refuge in the softness and visual textures in nature anywhere I can find it, whether it is through scenes on a walk through the neighborhood or taking trips to more rural areas. Often I will take a photo and come back to it later.
Carving relief prints is a whole odyssey in itself of revealing more of these patterns of textures, light, and shadow that I may not have experienced fully in the original moment of seeing. The process of creating relief prints appeals to me, as one is lead by the subtractive process of carving the light. Then the next step of printing from the carving is another unfolding. It feels good to never know the results and to just trust in the doing.
Declarations of Love Tracy Simpson
What would our world be like if we voted for love all of the time? If we always voted for the candidates and measures we thought would best support our planet, all of our people, and ethical practices in the near-term and well into the future?
The monotype (meaning only one exists) prints in this show were inspired
by this idea. The two LOVE/VOTE pieces play with the fact that these words share three letters and thus fit together quite nicely.
The five Declaration pieces were printed from a series of embroideries I created based on the Declaration of Independence (with some strategic updates). My intention is to encourage us all to vote from our hearts to bring about the changes we need, but to recognize that if this fails, we may need a more radical and revolutionary solution, one presaged by our founders.
Finally, the three saturated color squares with random-looking lines would fold up into peace cranes if one were so inclined.
A Message from Time Claire Putney
This exhibition reflects the physical gravity and ephemeral qualities of Time as a transformational element. Remaining present through physical and emotional phases of stasis, chrysalis, and whirling motion is the essence of these works.
The impetus for this concept began with a small tangled up piece of string that has been hanging in my studio for months. It exudes buoyancy, movement, and the seemingly unpredictable pattern of chaos. This knot, a simple line moving actively through space, became the visual narrative through which I have layered various material processes.
Beyond their inherent function, knots have a rich symbolic history in family lineage, cultural affiliations, and social and political protest. As I continue investigating the language of knots, I am drawn to their physical embodiment of chaos, disruption, and movement as it is reflected through this work.
Special thanks to James Morin for his unyielding support through the creation of this show and in life, to Loren Herrera for his encouragement through the creative process and photographic vision, and to Ruthie V. for her critical feedback and hours spent working in the studio together.
Little Whispers Amanda Hood
Investigating the complex relationship between human beings and the natural world, my work explores the sublime in the contemporary landscape. Creating atmospheric and organic abstractions, paintings capture elements of light streaming through trees, fire and coastlines alongside subtle references to human interaction. Mysterious and encapsulating, nature holds a sense of raw power. As our environment changes rapidly, it is at once a place of stillness and renewal, destruction and terror. Capturing moments between explosive energy and the serene, paintings depict a process of regeneration, decomposition and transformation.
Incorporating organic materials such as charcoal; a byproduct of burning, or twigs and dried leaves as part of the painting process, I seek to capture the sense of expansion, energy and entropy found in nature. Paint is allowed to pool, drip or resist in unpredictable ways resulting in a process that requires response. Surfaces are scraped, compressed and layered. Imagery is frequently obliterated during the painting process. I am interested in the history and layering of these marks and indexical trace, and the ways in which this process mimics the progression of the landscape in the natural world.
Acts of Faith Sean Michael Hurley
The paintings and drawings gathered in this exhibition depict the artist’s fantastic and allegorical ruminations on the delicate and inextricable balance between hope and grief.
The works reference artists such as the Polish surrealist Bekskinski, Symbolists like Klimt , Von Stuck and Bocklin, and mid-late 20th century editorial illustration. The images suggest somber, subtle narratives of the potential drift toward enlightenment.
Hiding in Plain Sight Mylen Tumaliuan-Huggins
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 of leaves on a tree, the sun's reflection on petals of a flower, the glow of seedlings as they push through the earth, the placement of a lily pad upon the water, reveal a story that I translate into a painting. I work in different mediums and use different techniques – encaustic, printmaking, oil, acrylic, ink, oil pastels – but the common denominator is nature.
Lockdown Paintings Roark T. Congdon
All the work in this exhibition was created between March 15 and June 29, 2020.
My belief is that tradition and innovation are not opposites.
My artistic training was in classical sculpture, bronze casting, and architecture. In 2013 I walked away from artmaking and began to focus on—and teach—digital fabrication.
The work here was created by first using a standard painting approach. The gestural/analog/multi-layered brushstrokes are an unabashed nod to many twentieth century painters. The lighter lines were then drawn using software called Rhinoceros, a 3D modeling program. The paintings were etched using a laser cutter that I built in my basement during quarantine, specifically for this process.
Unfortunately, dozens of paintings were incinerated and destroyed in the development of this process and the making of this exhibition. Some of the work you see is torn or burnt. Consider it Wabi-Sabi, an artifact of the process. The titles reflect the day they were “finished”.
Bound |Un| Bound
The dichotomy between farmed birds and those residing in nature is explored in an installation of new paintings and prints.
Oil on panel
Murmuration 2020 (detail)
Screenprint on tracing paper
The wall sculptures are informed by stick charts used by Pacific Islanders to teach tides, waves, and currents to ocean navigators. I also take interest in cave paintings, pictographs, hieroglyphs, and test patterns. They convey information and contain incidental abstract beauty. Until recently, most of my work was free-standing and vertical and read as two-dimensional graphics. Now, I have opted to negate the base and approximate the idea of the work floating in space by securing it to white walls. I like the contradiction of that and of realizing drawing as a physical object.
Antarctica Traffic Control, no 1, Steel