THE OCEAN IS DOUBLE SIDED

July 19-September 27, 2015

SEASON is proud to present THE OCEAN IS DOUBLE SIDED featuring paintings by Matthew F Fisher, Caris Reid and Ryan Schneider.  Each of these artists works in a unique representational style and this will be the first time each has shown in Seattle.  Opening reception is Sunday July 19, 2-5pm and the show continues to September 27.

 

I saw an old wise bird, a symbol. It upset every fool inside me, unsettled my things and bound me lonely floating on empty pillows floating on empty logs floating on empty.  There is no fortune to mention–between the sunrise and sunset, nothing fathoming.  The rain is not landing though I know it falls while galaxies go ripped with reason and Neptune may have a fine fine fine fire. Why must they say oceans go from mother to panic? Seeming in such little ways little, my dreams here are alone; they must be lost (beautiful hands-off.)  Consider me when you round the horn and sound a good morning emotion across and on and on and across the sea-shadow.  Just know nothing can scare me.  As a figure rises from the tide, another sinks with truth and chutes, like others.  

 

Matthew F Fisher (Brooklyn New York) has exhibited across the US, most recently a solo show at Sardine, Brooklyn New York.  He has been the recipient of residencies at Yaddo, Sarasota Springs New York, Millay Colony for the Arts in Austerlitz New York and the Vermont Studio Center in Johnson Vermont.  Matthew’s work has been featured in The New York Times, Time Out New York, Time Out London, New American Paintings and Art Papers.  He holds an MFA from Virginia Commonwealth University.

Caris Reid (Brooklyn New York) has shown often along the east coast, her work is currently hanging in the Longhouse Projects show “Suddenly Last Summer.”   Also she has show at Sargent’s Daughters, Leo Koening Inc, Ramiken Crucible and The New Museum, all New York City.  She has had residencies in Texas, New York and Berlin and holds a BFA Cum Laude from Boston University.

Ryan Schneider (Joshua Tree California) has participated in numerous solo and group exhibitions worldwide. Recent shows include a solo presentation at VOLTA NY with Two Rams, NY, as well as participation in group shows at Galleri Jacob Bjørn, Denmark, The Munkeruphus Museum in Denmark and Bendixen Contemporary Art in Copenhagen.  Ryan’s work has been featured in Whitewall Magazine, Modern Painters, ArtNet, The New Yorker, Art in America, The Brooklyn Rail, ArtInfo, New American Paintings, Art Fag City and several other publications. Ryan  received his BFA from the Maryland Institute, College of Art.

 

 

Matthew F Fisher, Silver Boy Blue, 2014 Acrylic on canvas, 15 x 19 inches.

Matthew F Fisher, Silver Boy Blue, 2014, acrylic on canvas, 15 x 19 inches.

Matthew F Fisher, A Vagrant Harmony, 2014, acrylic on canvas, 19 x 15 inches.

Matthew F Fisher, A Vagrant Harmony, 2014, acrylic on canvas, 19 x 15 inches.

Matthew F Fisher, The Forgotten Mark, 2014, acrylic on canvas, 16 x 20 inches.

Matthew F Fisher, The Forgotten Mark, 2014, acrylic on canvas, 16 x 20 inches.

Matthew F Fisher, On Calvary, 2014, acrylic on canvas, 14 x 19 inches.

Matthew F Fisher, On Calvary, 2014, acrylic on canvas, 14 x 19 inches.

Caris Reid, Water Warrior (Yellow Sky), 2014, acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Yellow Sky), 2014, acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Blue Sky), 2014 acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Blue Sky), 2014, acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Purple Sky), 2014 acrylic on panel, 24 x 30 inches.

Caris Reid, Water Warrior (Purple Sky), 2014, acrylic on panel, 24 x 30 inches.

Ryan Schneider, Owl Omen, 2015, oil and bone on linen, 24 x 20 inches.

Ryan Schneider, Owl Omen, 2015, oil and bone on linen, 24 x 20 inches.

Ryan Schneider, The Giver, 2015, oil and rock on linen, 24x20 inches.

Ryan Schneider, The Giver, 2015, oil and rock on linen, 24×20 inches.

Fingers That Touch The Sky

May 17-June 28 2015

SEASON is proud to present FINGERS THAT TOUCH THE SKY, a show of paintings and drawings by Shannon McConnell, a visual artist and musician living in Seattle.  His oil paintings of characters in transfiguration blend a fantasy situation with garage punk animism.  As a musician, Shannon was a member of The Fall-Outs, The Pulses and has worked with The Outcasts and El Vez.  His paintings have been shown along the West Coast as well as in Prague, Czech Republic.  This is Shannon’s second show with the gallery.

I know how to turn the cameras off and make it so no one will see.

I can mute the microphones and everything posted will fall, this record will end.

I gotta find a way to get their attention and make them understand.  Desley is my only chance and he’s probably not Desley anymore.  He’s behind the bar bartending and ignoring me.  He’s gone like the others.  He sees what he thinks he wants to see and listens to what he has already heard.  I have a story about what happened but no one listens.

Memories are so fragile to begin with, I want to keep this one.

 

Shannon Mcconnell, At the Nothing Doing, 2015, oil on canvas, 30 x 20 inches.

Shannon Mcconnell, At the Nothing Doing, 2015, oil on canvas, 30 x 20 inches.

SHANNON MCCONNELL, FUCKHEAD, 2015, OIL ON CARDBOARD, 12 X 12 INCHES.
SHANNON MCCONNELL, FUCKHEAD, 2015, OIL ON CARDBOARD, 12 X 12 INCHES.

SHANNON MCCONNELL, SCHITZO, 2015, OIL ON CARDBOARD, 12 X 12 INCHES.

SHANNON MCCONNELL, SCHITZO, 2015, OIL ON CARDBOARD, 12 X 12 INCHES.

SHANNON MCCONNELL, UNTTILED, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, UNTTILED, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, BEEP, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, BEEP, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, RESISTER, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, RESISTER, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, ON A SKIFF, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

SHANNON MCCONNELL, ON A SKIFF, 2015, CHARCOAL ON PAPER, 11 X 8.5 INCHES.

 

 

 

Peter Scherrer at VOLTA NY 2015

March 5-8 2015

SEASON is very proud to exhibit again at VOLTA NY Art Fair with a solo booth presentation of paintings by Peter Scherrer.  The fair will be March 5-8 at Pier 90, New York City.  Pier 90 is located at west 50th and twelfth avenue.

“I get much of the inspiration for my work from the people and landscape in this particular region… After growing up here, I was privileged to leave and go to art school, and now that I’m back my experience away has lent me a different point of view— I’ve been able to connect to this place somewhat as a stranger while still being an insider, a person who is from here and knows this place intimately.”
Peter Scherrer

Born and raised and in Washington, Peter brings a delicate, native understanding to his paintings to create imagined landscapes of impossible lushness that radiate with chaos, hostility, and humor. Working in both watercolor on paper and oil on canvas, his pieces manage to expand and further complicate our views on nature— by loosely considering Romanticism, our history of exploration and settlement, hippie idealism, and his own personal experiences growing up in the region, Peter confronts our flawed relationship with the nature world. By combining equal measures of terror and kooky humor, Peter’s work demands that we reconsider our often messy, sometimes well-intentioned attempts to make the natural world known.

Bellingham, Washington sits just 17 miles south of the US-Canada border— tucked up into the furthermost corner of the United States, it’s a last stop kind of place, the end of the line, where journeys halt and then either drift out into the Pacific Ocean or cross over into Canada’s sprawl.  There is an undeniable Americanness to it; there’s a palpable wildness to the land, a riot of growth and density in the trees, the bushes, the grasses, and too many hues of green to count. A real pioneer-like spirit seems apparent amongst most of its people, a rough and readiness, a rare mix of stoicism and vulnerability that is somewhat rooted in withstanding long dark winters, isolation, and countless days of rain. And there is a shabbiness, too, a bruised history–especially in some of the smaller towns–that hints at struggling economies, fractured communities, unfulfilled possibilities…

This text was adapted from an originally published studio visit with Peter Scherrer on In The Make. To see more studio visits with West Coast artists go to www.inthemake.com

Peter Scherrer, Four Lizards, 2014, watercolor on paper on panel, 48 x 72 inches.

Peter Scherrer, Four Lizards, 2014, watercolor on paper on panel, 48 x 72 inches.

Peter Scherrer, Sticks, Eyes, 2014, oil on burlap on panel, 16 x 20 inches.

Peter Scherrer, Sticks, Eyes, 2014, oil on burlap on panel, 16 x 20 inches

 

Peter Scherrer, Pink Web, 2014, oil on burlap on panel, 16 x 20 inches.

Peter Scherrer, Pink Web, 2014, oil on burlap on panel, 16 x 20 inches.

 

Peter Scherrer, Moth and Spider, 2013, oil on canvas over panel, 10 x 7.5 inches.

Peter Scherrer, Moth and Spider, 2013, oil on canvas over panel, 10 x 7.5 inches.

 

Peter Scherrer, Snake Rock, 2013, watercolor on paper, 22.5 x 20 inches.

Peter Scherrer, Snake Rock, 2013, watercolor on paper, 22.5 x 20 inches.

 

Peter Scherrer, installation view.

Peter Scherrer, installation view.

 

IT’S MY BONE AND MY ONLY DELIGHT

Winter 2015

Season is proud to present IT’S MY BONE AND MY ONLY DELIGHT, a group show focusing on humor and communication.  Artists included in the show are Andy Heck Boyd, Dawn Cerny, Com + Com, Seth David Friedman, Harrison Haynes, Juliet Jacobson, Euan Macdonald, Allison Manch, Dylan Neuwirth, Brad Philips, Peter Scherrer and Mike Simi.

“Elmer Smudgegegunk was married to an old shrew, one of those women that’s always nagging and raising the devil around the house.  At times, she even went so far as to throw pots and pans at Elmer’s bean.  The poor guy stood it as long as he could, then decided to find a little consolation via the liquor store, so, for one whole week, he went on a binge.  Every night, he’d return home as blind as a bat.  He became a chronic lush and was plastered day and night, which worried his friends down at the grocery store, so they decided to do something to cure him.  The plan was for one of them to dress up all in red like the devil, with horns on, and carry a pitchfork.  The self-appointed benefactor hid in the  cemetery, which he knew Elmer would have to pass on his way home.  It was midnight when poor Elmer staggered by the cemetery.  As he passed a tombstone, the devil jumped up from behind it.  Elmer stopped, and gazed at him, as he swayed unsteadily on his feet.

“You’ll have to stop drinking!” warned the devil.

“Who are you?” asked Elmer, thick tounged.

“I’m the devil!”

“Oh, you’re the devil,” laughed Elmer boisterously.  “I’m glad to meet you!  I married a sister of yours!”

‘Senator’ Ed Ford, Can You Top This, 1945

 

Dawn Cerny, Be Good, 2014, screen-printed wallpaper with screen-printed postcards attached with paperclips, 48" x 81 inches.

Dawn Cerny, Be Good, 2014, screen-printed wallpaper with screen-printed postcards attached with paperclips, 48 x 81 inches.

Mike Simi, Tylenol PM (single dose), 2014, cast glass, actual size.
Mike Simi, Tylenol PM (single dose), 2014, cast glass, actual size.

Additional images

 

Cracked Emerald

november POP-UP EXHIBITION

SEASON IS PROUD TO PRESENT cracked Emerald, a two person show with work by Seattle artists James Cicatko and John Radtke.  Cracked Emerald WILL EXHIBIT NEW SCULPTURE AND DRAWINGS and WILL OPEN IN THE PROLE DRIFT SPACE AT 523 SOUTH MAIN ST., SEATTLE.  THIS POP-UP SHOW WILL RUN FOR three days ONLY WITH AN OPENING RECEPTION ON thursday November 6, 5:30-8PM.  REGULAR HOURS WILL BE THURSDAY TO SATURDAY, 11-5:30, November 6-8 AND BY APPOINTMENT.

By the time the sun comes up, I have been awake for hours.  I’m not sleeping anymore and lying in bed has become pointless so I just sit in the dining room and look at the dark.  My mind wanders and I figure things out and I make lists and I remember absent friends.  The trees out front are just becoming visible and it reminds me of some party I went to when I was maybe twenty.  This girl Lisa was there with my friend Kevin.  All I really remember is I had on a pink wool sweater that I had just bought at a thrift store.  I cut off the cuffs so the sleeves went just below my elbows and I think I cut some of the collar too.  It was late spring and already temperatures were into the low eighties and humid.  I sat on the front stairs and chain-smoked and acted all cool when people arrived.

 

JAMES CICATKO, MARIA THERESA, 2014, GRAPHITE ON PAPER, 6 X 7 INCHES.

JAMES CICATKO, MARIA THERESA, 2014, GRAPHITE ON PAPER, 6 X 7 INCHES.

James Cicatko is a Seattle artist with an MFA from The University of North Carolina, Chapel Hill.  His work has been seen in numerous galleries in the Pacific Northwest as well as Torino, Italy; and Amsterdam, The Netherlands.

 

John Radtke, Bridge Self, 2014,  Blackened steel, 45 x 17 x 16 inches.

John Radtke, Bridge Self, 2014, Blackened steel, 45 x 17 x 16 inches.

John Radtke is a 2013 graduate from Cornish College of the Arts, Seattle Washington.  Earlier this year he was awarded a Jentel Artist Residency.  His work has been seen at Soil Gallery in Seattle, Washington; and Breeze Block in Portland, Oregon.

Additional images

PRIVACY SETTINGS

SEPTEMBER POP-UP EXHIBITION

SEASON is proud to present its first solo show of Seattle artist Dylan Neuwirth.  PRIVACY SETTINGS will exhibit new sculpture, neon and drawings.  PRIVACY SETTINGS will open in the Prole Drift space at 523 South Main St., Seattle.  This pop-up show will run for two weeks only with an opening reception on Friday September 5, 5:30-8pm.  Regular hours will be Thursday to Saturday, 11-5:30, September 4-13 and by appointment.

 

Im going out cause my bae disconnected the internet.  After all the betrayals and traumatic shit and sadness ive experienced this is honestly a cake walk :-/  how u gonna get in on this how u gonna understand and make some timeline? Not even tryna memorize, it all come back.  Finding it hard to stay in my lane rn. Tryna be positive rn nobody kare rn bye. :D

Dylan Neuwirth, LOL Crackpipes, 2013, blown glass, wood, hardware, 13 x 26 inches overall, edition of 5.

Dylan Neuwirth, LOL Crackpipes, 2013, blown glass, wood, hardware, 13 x 26 inches overall, edition of 5.

ADDITIONAL IMAGES

DARK ALL OVER EUROPE

Summer 2014

SEASON is proud to present DARK ALL OVER EUROPE featuring new oil paintings by Philip Miner.

Corday rolls over in her grave.  There is nothing new, or at least there is nothing new to try.  The coffin walls shrink in a bit, expand in a wrong direction, only to shrink again.  Confinement, then release–the act of painting, the tiny death of showing.  Above her, the world continues, caring less and less about this wretched fate.  With each attempt towards memory, another failure, another beheading.

There’s nothing specific, but the paintings will be a bit reflective of the endgame of painting that was reached by some in the minimalist project.  One question that comes up is how is it possible to make anything new, especially in abstraction?  Who cares?  A beheading in abstraction should be welcomed.  These artifacts are missing a few parts or perhaps they hold the memory of a form.  Again, who cares?

Philip Miner lives in Seattle, Washington. He received his MFA in 2006 from the Milton Avery Gradate School of the Arts at Bard College, and has exhibited at numerous venues in the Northwest.

Philip Miner, Profit Cher, Prophète, 2014, flashe with ink-jet print on fabric, 24 X 20 inches each.

Philip Miner, Profit Cher, Prophète, 2014, flashe with ink-jet print on fabric, 24 X 20 inches each.

Philip Miner, One by Four & Four Minus One or Two, Maybe More. 2014, acrylic and flashe on canvas, 16 X 20 inches.

Philip Miner, One by Four & Four Minus One or Two, Maybe More. 2014, acrylic and flashe on canvas, 16 X 20 inches.

Additional images.

UP EVERY EVENING

spring 2014

There is a poison in me.  It scratches at my fingertips and chokes the back of my throat.  It rides my thoughts and every action with a silent anger and it wants out.  It is a rage that sees destruction as a means to rebuilding.  Within the space of one second it wipes out this world while it makes a new one begin.  I look at you and force myself to smile a little, in my mind I see you collapse and vanish along with everyone and everything.  I have no heart, no lungs; my chest is so tight I can only mouth breath.  The few muscles I have left will close my eyes but sleep is impossible.  I go candy playing and I go rainbow chasing and I beg tomorrow to serve me better.

Laylah Ali, Untitled, 2006-7, ink and graphite on paper, 24 x 19 inches.

Laylah Ali, Untitled, 2006-7, ink and graphite on paper, 24 x 19 inches.

Laylah Ali was born in Buffalo, New York and earned an M.F.A. from Washington University in St. Louis in 1994.  Ali also studied at the Whitney Independent Study Program in New York and the Skowhegan School of Painting and Sculpture in Maine.  She was featured in solo exhibitions at the Museum of Modern Art, New York; ICA, Boston; Museum of Contemporary Art, Chicago; Contemporary Art Museum, St. Louis; Institute of International Visual Arts, London; Weisman Art Museum at the University of Minnesota; the Herbert F. Johnson Museum of Art at Cornell University, and MASS MoCA, among others, as well as showing her works at such exhibitions as the Venice Biennale and the Whitney Biennial. Laylah Ali is also a featured artist in the PBS series Art: 21—Art in the Twenty-First Century.  SEASON is grateful to Miller Yezerski gallery, Boston, for the loan of this work.

Dylan Neuwirth, Feeling Some Type of Way, 2014, neon, 45 x 5 x 3 inches.

Dylan Neuwirth, Feeling Some Type of Way, 2014, neon, 45 x 5 x 3 inches.

Dylan Neuwirth graduated from the University of Georgia, Athens in 2000.  He has had solo shows at Vermillion, Punch Gallery and Bumbershoot (Seattle) and On Main Gallery (Vancouver) as well as numerous group shows across the west coast.  He creates a variety of angst-filled artworks, many of which address themes of social alienation, apathy and a desire for freedom.  His strength lies in his ability to tweak the reality we think we know and present an alternate version of a truth.

Andy Wauman, THEY'LL USE CLUBS TO BEAT THE DREAM THAT FIT, 2014, ink on vintage flag, 19 x 106 inches.

Andy Wauman, THEY’LL USE CLUBS TO BEAT THE DREAM THAT FIT, 2014, ink on vintage flag, 19 x 106 inches.

Andy Wauman lives and works in Antwerp.  His list of exhibitions cross Europe and Asia with solo shows at Deweer Gallery, Otegem, Belgium, Art Statements Gallery, Hong Kong, and The National Museum of Glass, Leerdam, The Netherlands.  He has held residencies at the International Studio and Curatorial Program in New York City; 555 Arts, Detroit; and Rijksakademy for Visual Arts in Amsterdam and recently finished a residency at the Deus Ex Machina Headquarters in Canggu, Bali, Indonesia.  He is an artist who uses language as a means to keep things minimum without becoming a Minimalist.