Exhibit . Season

Seattle Art Fair

August 2-5, 2018

BOOTH D-1

SEASON IS PROUD TO PRESENT A BOOTH PRESENTATION OF new work by three seattle artists, Luke Armitstead, Dawn Cerny, and Sean Pearson AT Seattle ART FAIR, Century Link Exhibition Center.

Luke Armitstead, Mint Bauhaus Noir, 2017, glazed earthenware with acrylic, 12″ wide x 18″ high.

Dawn Cerny, There Is No Rhyme. There Is No Nursery. There Is No Moon, 2018, hand painted gouach on silkscreen on assorted archival papers, 18 x 12 each, unique edition of 130.

Sean Pearson, Anyway, So Dynamite It Was, 2017, permanent ink on paper, 22 x 30 inches.

Fiery Rain and Movies, Cooling Sun

Summer 2018

SEASON is proud to present FIERY RAIN AND MOVIES, COOLING SUN, a group show with work by Matthew F Fisher, Rob Matthews, Robyn O’Neil and Sean Pearson. Opening reception is Sunday July 15, 2-5pm and the show continues until September 30. Hours are by appointment only.

Matthew F Fisher currently lives in Los Angeles and has exhibited across the United States. He has received residencies at Yaddo, Sarasota Springs, New York; The 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.

Rob Matthews lives in Nashville, Tennessee. He received his B.F.A. from the University of Tennessee, Knoxville, and his M.F.A. from the Virginia Commonwealth University. In addition to multiple solo exhibitions at various commercial galleries, Rob also had solo exhibitions at Virginia Commonwealth University, Emory and Henry College and the University of Alabama, Tuscaloosa as well as inclusion in shows at the National Portrait Gallery in Washington DC and the Arkansas Art Center in Little Rock, ARkansas. His work is held in the public collections of the Philadelphia Museum of Art, the North Carolina Museum of Art, the Pennsylvania Academy of Fine Arts and the de Young Museum in San Francisco. In 2011, he was a resident at the Ucross Foundation near Sheridan, Wyoming. Rob has received the Pew Fellowship and the Pennsylvania Council on the Arts fellowships. This will be Rob’s first showing with the gallery.

Robyn O’Neil lives in Los Angeles, California. Her work was included in the 2004 Whitney Biennial and She is the recipient of numerous grants and awards, including a Joan Mitchell Foundation Grant, an Artadia grant, and the Hunting Prize. Robyn has had several traveling solo museum exhibitions in the United States, and her work is included in noted museums throughout the world. In 2010 she received a grant from the Irish Film Board to write and direct “WE, THE MASSES” which won several awards at respected film festivals upon its release. Robyn also hosts the weekly podcast “ME READING STUFF.” This will be Robyn’s first showing with the gallery.

Sean Pearson is a Seattle artist working in dystopic drawings and sculptures. A constant theme in his work is alienation from an obvious peer group and a reluctant acceptance into another and how this acceptance can happen naturally, slowly, and with out recognition. Sean graduated from the Ringling College of Art and Design, Sarasota, Florida; with additional studies through the Association of Independent Colleges of Art and Design, New York, New York. His work has been show in Seattle, Brooklyn, and Los Angeles, and written about in Animal New York and ArtFCity.

Rob Matthews, Migrant 2, 2018, graphite on paper, 6 x 4.5 inches.

Forming. Dissolving.

Spring 2018

SEASON is excited to present a solo show of Los Angeles artist Ryan McIntosh. Opening reception is Sunday April 22, 2-5 pm and will continue to June 30.

Ryan McIntosh is an artist living and working in Los Angeles, California. He received his MFA in Printmaking from Rhode Island School of Design, and his BFA in Photography from the University of Arizona. In 2007, he felt heavy limitations on what one could artistically express with the camera and so he quit working in the medium of traditional B&W darkroom-based photography. His artistic interests were towards other means of expression such as painting, printmaking, and collaborating with other artists.

Last year Ryan broke a ten year hiatus away from creating photography. This new body of work, made exclusively with a 70 year old 8×10 Kodak view camera and a preferred old stock of long-discontinued, expired photo paper; allows the process to become purely analog. The immediacy and instant gratification we’ve come to know with photograph today is instantly halted by the process of using such vintage equipment. Working this way is not out of nostalgia or sentiment for the past, but rather his desire to slow down every step of the image making process and forcing himself to spend time studying and composing the subject with equal time crafting the expressive fine print in the darkroom.

Photography has always been about documentation of what is in front of the camera. More so however, it is about the artists personal engagement with the world. These new photographs are less about the subject portrayed, and more about the visual experience had in their creation, and the visual experience that’s translated to the viewer in the final print.

Print info – All prints are 8”x10” silver chloride contact prints, made directly from the 8×10 negative in a traditional wet darkroom, and printed by the artist. All prints are mounted to a 14×17 matt, signed and dated on the recto, and titled, numbered, signed on verso. Prints are numbered, but not editioned.

Ryan McIntosh, Richmond California, 2017, silver gelatin print, 8 x 10 inches.

Ryan McIntosh, Half Dome Yosemite California, 2018, silver gelatin print, 8 x 10 inches.

Ryan McIntosh, Brian Head Utah, 2018, silver gelatin print, 8 x 10 inches.

Ryan McIntosh, Weeping Rock Zion National Park Utah, 2018, silver gelatin print, 8 x 10 inches.

: Ryan McIntosh, Los Angeles California, 2017, silver gelatin print, 8 x 10 inches.

SEASON is proud to present Heavenly Nightly with new assemblages and constructions by New York artist Nicola Ginzel. The opening reception will be Sunday January 14, 2-5 and the show will continue to March 31, hours are by appointment.

I’m trying to remember that little tin box you always had on you; it was tiny and hinged and you kept weird stuff from your grandparents in it. An old newspaper clipping and a broken bracelet and something else I guess. It all probably meant more to you than I ever considered. I look deeper for that kind of inner beauty but often struggle. You always find it; it’s there, you know it and it’s effortless for you to see.

Nicola Ginzel has received grants from the Mayer Foundation, Max’s Kansas City Project, and Artists’ Fellowship Inc.. Residencies include SIM—The Icelandic Visual Arts Association and Reykjavik Art Museum Residency; The Skaftfell Cultural Center Residency in Seydisfjördur, Iceland; and BoxoPROJECTS in Joshua Tree, CA.

She had her first ten–year retrospective and traveling museum exhibition “Language, Symbol, Artifact” at the Tennessee Valley Museum of Art in 2013. Other selected solo exhibitions have been at Heskin Contemporary in NYC; Cathouse FUNeral in Brooklyn; Jenny Jaskey Gallery in Philadelphia; Corridor Gallery in Reykjavik, Iceland; and The Gallery @ 1GAP curated by SpenceProjects in Brooklyn. Selected group exhibitions include Bernard Jacobson Gallery, NYC; NARS Foundation, Brooklyn; Centotto in Brooklyn; and Cindy Tower’s curated guerrilla shows at MoMA. Nicola’s artwork has been featured in Art in America, Artcritical, New Art TV, Time Out New York, The Philadelphia Inquirer and The Chicago Tribune. This is Nicola’s first show at SEASON.

Nicola Ginzel, 2017, embroidery on cardboard with wax and ink, 18 x 7 inches.

Nicola Ginzel, Backside Fragment, No Slip, 2017, embroidery on cardboard with wax and ink, 18 x 7 inches.

Nicola Ginzel, Composite Fragment, Just Lemon, 2017, cardboard plaster and ink, 7 x 3.5 x .5 inches.

Nicola Ginzel, Composite No. 2, Suppen Würfel Umgedreht, 2007-17, embroidery on cardboard with ink, 5 x 4.5 x 1 inches.

The Sky Will Open Up

Fall 2017

SEASON IS PROUD TO PRESENT THE SKY WILL OPEN UP WITH CERAMIC WORKS BY LUKE ARMITSTEAD AND DRAWINGS BY SEAN PEARSON. In lieu of an opening reception, we will host a holiday party in December, you are invited. THE show will continue to January 12.

Luke Armitstead is a ceramic sculptor living in Seattle. His work is a celebration of the possibilities that can be achieved for sculptural and utilitarian objects in clay. Luke’s work takes inspiration from both architecture and organic forms and references the idea that art can interact with and be derived from a particular place. Luke received his BFA from the School of the Art Institute of Chicago and his Post Baccalaureate from the University of Wisconsin, Madison. He has shown in Seattle, Chicago, Brooklyn and London. This is Luke’s first show at SEASON.

Sean Pearson is a Seattle artist working in dystopic drawings and sculptures. A constant theme in his work is alienation from an obvious peer group and a reluctant acceptance into an Other and how this acceptance can happen naturally, slowly and without recognition. Sean graduated from Ringling College of Art and Design, Sarasota, Florida, with additional studies through the Association of Independent Colleges of Art and Design, New York, New York. His work has been shown in Seattle, Brooklyn and Los Angeles, and written about in Animal New York and Art F City. This is Sean’s first show at SEASON.

Luke Armitstead, Rainbow Head, 2017, glazed and painted earthenware on concert and metal base, 20 x 7 x 7 inches.

Luke Armitstead, Blue Wave Basket, 2016, glazed earthenware, 8 inches diameter.

Luke Armitstead, Rainbow Bowl, glazed and painted earthenware on earthenware base, 11 inches diameter.

Sean Pearson, Oh, I Have Special Plans For You, 2017, permanent ink on paper, 22 x 30 inches.

Sean Pearson, Anyway, Things Aren’t What They Use To Be, 2017, permanent ink on paper, 22 x 30 inches.

Sean Pearson, Searchlights Detect My Ghost, 2017, permanent ink on paper, 22 x 30 inches.

Sean Pearson, Anyway, So Dynamite It Was, 2017, permanent ink on paper, 22 x 30 inches.

Sean Pearson, I Used To Be Somebody, 2017, permanent ink on paper, 17 x 11 inches.

Sean Pearson, Robert Has Pro Escorts, 2017, permanent ink on paper, 17 x 11 inches.

Sean Pearson, The Meltdown, 2017, permanent ink on paper, 17 x 11 inches.

Seattle Art Fair

August 3-6 2017

SEASON Booth D6 with works by Sean Barton and Seth David Friedman. Photo by Nathaniel Willson. © Nathaniel Willson 2016. All rights reserved.

The Rose I Leave Behind Me

Summer 2017

SEASON is proud to present a solo show of acrylic paintings by Calvin Ross Carl. Opening reception is free and open to the public on Sunday, July 16, 2-5 pm. The show will continue to September 30, hours will be by appointment only.

One step and a pause. One foot slowly and carefully placed in front of the other. The audience below doesn’t fully believe how self-possessed you are, they see the tension in every step, they almost want you to fall. The rope below you bounces, you slide your foot a bit forward and shift your weight. Each step fulfilling a picture of grace and levity while masquerading your interior apprehension.

Calvin Ross Carl is an artist, designer and former co-director of Carl & Sloan Contemporary in Portland, ORegon. He received a Bachelor of Fine Arts in 2008 from Pacific Northwest College of Art. He most recently was included in the 2016 Portland Biennial, curated by Michelle Grabner, Out of Sight 2016: A Survey of Contemporary Art in Seattle, WAshington, and a survey of Northwest abstract painters at The Marylhurst University Art Gym. Carl has exhibited at LVL3 Gallery, Chicago, ILlinois; Cerritos College, Los Angeles, CAlifornia; Ditch Projects, Eugene, ORegon; Lawndale Art Center, Houston, TeXas; and Clark College Archer Gallery, Vancouver, WAshington. This is Carl’s first solo show at SEASON.

Boy Enters Burning Home To Stay Warm, 2017, acrylic on canvas, 40 x 30 inches.

Compromise Your Way to Happiness, 2017, acrylic on canvas, 24 x 20 inches.

: Where We Can and Can’t Be Seen, 2017, acrylic on canvas, 10 x 8 inches.

No Vacation, 2017, acrylic on canvas, 10 x 8 inches.

Bad Girl Bad Girl, 2017, acrylic on canvas, 20 x 16 inches.

: Bavarian Day Dreams, 2017, acrylic on canvas, 10 x 8 inches.

Here I Am Until I Am Not, 2017, acrylic on canvas, 40 x 30 inches.

ADDITIONAL PAINTINGS AVAILABLE please inquire

Good Morning Drawings

Spring 2017

Season is excited to present a solo show of recent oil paintings by sharon Butler, Available for viewing from April 1 to June 30 with an Opening reception on Sunday April 23, 2-5, 2017.

“In March 2016 I began making digital drawings and posting them on Instagram each morning. I had planned to continue the ritual for one month and then use the images for a book project, but I find that, more than a year later, I’m still drawing and posting them each day. Initially, they were inspired by the common artists’ practice of showing images of paintings to one another by phone. I wanted to make original work that was actually intended to be seen exclusively on the phone, and practically could not be seen in any other way. I make the drawings directly in a phone app, using simple geometric shape tools. Sharing them on Instagram creates a layer of confusion. “How big are these? What is the medium? Where can I see them?” are questions viewers often ask. “On the phone,” I always tell them. “They are made on the phone, to be seen on the phone.” Sharon Butler