2026 The creative spirit continues to flourish at CORE gallery!
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CORE 2026 ARTISTS
Group Exhibition
Celebrate with us during the month of January as we showcase our CORE 2026 gallery artists in our annual group exhibition! Enjoy the creative spirit as we present another year of colors, textures, stories, and ideas within which to find inspiration. It's going to be another great year!
June
Moving Through Pattern
Steve Gawronski
A whimsical collection of relaxed fish moving through geometry.
This show uses patterns and icons in an attempt to have some fun exploring materials and scale and perspective.
Why use pattern, something prescribed to have fun?
The use of pattern in this show establishes boundaries or rules, similar to the way a game has rules. With the overall organization (in this case lines) set into each steel piece, I’m free to experiment with colors, washes, and patina without care because the pattern won’t shift. This allows me to watch for new relationships, shapes, and colors in and around the overlapping patterns and icons. I look for bits of character to emerge.
Character is what gives interest to an organizational tool like pattern. It’s not the perfection and homogeneity that makes a pattern attractive, it’s the delight of realizing that a pattern can be made up of millions of unique moments.
I’m not saying precision is bad or good for that matter, it has no value. Precision is just a way of being. A person’s dance moves can be precise, a sculpture can be precise, math can be precise. But without contrast, without the delicate balance of complement, precision is nothing, empty, and soulless. Precision has nothing to do with love, the act of living, or the dreams that fuel our living.
Now apply this to the patterns of your life, aka, your habits. If you notice life is a little hum drum within the confines of habit and pattern, flood it with color and keep your eyes open for the beauty that is just beyond the pattern. Move through pattern and look for the fun.
June
unsettled
Ann Marie Schneider
Text, image, and boundary are eroded and deposited as material, provocation, and territory ripe for cultivation.
Erosions 22-Peach Legs
watercolor and image transfer on paper
24"×36"
May
ROOTS + BONES
Mary Mann
Trees, roots, shells, flowers, figures, bones and symbolic objects, these are the images I keep returning to.
Painting in my studio brings me peace. In my work, I revisit my symbols, striving towards realism, but with room for imagination. I enjoy the classical discipline of working in oil paint. I think about and construct visual narratives of the relationship between human and plant life.
As a child, I saw bodies in trees, torsos rising from the soil, limbs reaching skyward, trunks entwined in struggle and embrace. Roots mirror human lineage, as if they are the ancestry and the memory. I think about the invisible networks that sustain us. I paint from the living forest, from still lives with animal bones, and from imagined landscapes. Together, these elements form my vision of a community where generations intertwine and hold stories of growth, conflict, resilience, and shared survival beneath the surface.
Alongside my studio practice, I’ve worked as a public mural artist, collaborating with communities to create large-scale artworks that become local landmarks. I find satisfaction in making something that belongs to everyone.
May
PARTIAL RECALL
John Smither
Memories of PNW natural environments documented as surreal abstractions via multimedia wall installations and paintings.
Seward Park Spring”
oil on panel, video
38” x 28”
April
Capitol Hill Modern
Lana Blinderman
Photographic survey of Mid-Century Modern apartment buildings on Seattle's Capitol Hill
Architectural Photography as Art and a Tool of Documentation and Preservation
I am an architectural photographer documenting built environments in Seattle and beyond. The love of architecture and the way it speaks to us through form and shadow inspired me to become a professional photographer. I studied photography with John Stametz at the University of Washington’s College of the Built Environments in 2011-12 and with Claire Garoutte at Seattle University in 2012-14.
Since my graduation from Seattle University’s BFA Photography program, I have been on a mission to document early- and mid-20th century architecture in Seattle. I am especially interested in multifamily dwellings, as they demonstrate how architecture contributes to affordable housing and community creation. I am currently working on an extensive photo survey of mid-century modern apartments on Seattle’s Capitol Hill in collaboration with Historian Tom Heuser, funded in part by 4Culture. This exhibition presents a selection of images from this project.
April
Tree Talk, by Lynne Conrad Marvet
INTUITIVE PLAY
Lynne Conrad Marvet
“Intuitive play” is how I make art. I begin with an image that interests me and trust my creative instincts. With my photography I see something that “speaks” to me and capture an experience that brings delight.
The title of this show, “Intuitive play” was inspired by a conversation with one of my art studio mates, Vicki. She asked me about my creative process. I explained that my mixed media work is spontaneous and rarely planned. I begin with an image or a few that inspire or move me in some way. It’s like a spark for an ongoing dialogue that I have with the materials that I use to create.
The most important thing is that I trust my creative instincts. I let go of discursive thinking and wave bye to my internal critic. That is where the play comes in. I experiment, go with the flow and usually enjoy the ride. I may rework some areas, but I do so with inquisitiveness. I wonder what would happen if I changed this color or added some texture.
March
CHAOS and PEACE
Donna Allen
CHAOS and PEACE inhabits space between inner and ourter worlds, both the full spectrum of inner emotions and the calm grounded energy of natural spaces.
Before the Storm by Donna Allen
February
IN PIECES
R Carroll
The Show is collage that has evolved from 50 years of photography.
Remembering the Order of Things by R Carroll
February
VISTAS
Kathy M Kelley
Vistas widen our perspective on the world, our place within it, and the elements that bind and support us as one.
These works were painted plein-air, at various locations along the west coast of North America. The rush of the wind, the beating sun, the buzzing insects, all encouraged me to work quickly from observation and sensation, which was an integral part of this body of work, for time is fleeting—and ever-changing.
Boiler Bay Froth by Kathy Kelley