I Remember Everything

May 7-30, 2021

SEASON is proud to present “I REMEMBER EVERYTHING,” a group show with work by Jeff Gerber, Cara Jaye, and Peter Scherrer. This show will take place at Geheim gallery, located at 1228 Bay Street, Bellingham, Washington, and hours are 11-4, Friday-Sunday. Face masks are required and appointments are recommended. Geheim Gallery website.

The Pacific Northwest is a place of tremendous natural beauty. Our old growth forests and mountain ranges are destinations for travelers and nature lovers year round. The artists in “I REMEMBER EVERYTHING” each admire and appreciate the attraction of our shared landscape while noting how time and progress has changed the geography. 

Jeff Gerber (Seattle) is an artist and musician working in multi-media including drawing, painting, and glass sculptures. As an artist that often has to travel for his job, Jeff has turned hotel rooms, parks, and street corners into his studio. This unique viewpoint has given his work a universality that recognizes how our impact has affected the world. 

Cara Jaye (Bellingham) is a multi-faceted artist combining conventional drawing, traditional and alternative photographic processes, and various printmaking techniques together with painting and collage.  Cara’s work highlights the aftermath of our shortsightedness especially with regards to our lakes and oceans. 

Peter Scherrer (Bellingham) is a contemporary artist who works primarily in painting and woodblock printmaking. His work approaches the subject of nature and landscape in a unique way, incorporating symbolism, layering and abstraction. Peter draws inspiration from hiking and road trips around the Pacific Northwest, gardening, and his family.

 

Jeff Gerber, Memory Glass, 2020, blown glass, 22 x 10 x 16 inches.

Jeff Gerber, Will It Need To Be Remembered, 2021, colored pencil on paper, 8 x 5.5 inches each.

Cara Jaye, King Tide II, 2018, cyanotype and monotype on six panels, 66 x 60 inches.

Cara Jaye, You Are Drinking Plastic, 2019, cyanotype and monotype chine college on paper in ten panels, 30 x 223 inches.

Cara Jaye, You Are Drinking Plastic (detail) 2019, cyanotype and monotype chinecolle on ten panels, 30 x 223 inches.

Peter Scherrer, Ferns, 2021, watercolor on paper, 42 x 72 inches.

 

Peter Scherrer, Red, Yellow, Blue Trees, 2021, watercolor on paper, 11 x 15 inches.

 

Universal City

February 1-March 31 2021

SEASON is proud to present UNIVERSAL CITY, a group show of artists affiliated with the gallery.  Each artist deepens our understanding of an image or an object by the way they alter how we can accept the recognizable form.  Artists included in the show are Lauren Fejarang, Seth David Friedman, Nicole Guerrera, Allison Manch, Shannon McConnell, Josh McDonald, Sean Pearson, Ross Sawyers, and Mike Simi.

Due to Covid 19 restrictions, there will be no opening reception.

The show runs February 1 to March 31 and appointments to visit are welcomed.

 

Lauren Fejarang, Twerk Two, 2019, enamel on concrete, 12 x 12 x 4 inches.

Seth David Friedman, Michelin Bracelet, 2018, titanium nitride coated bronze, 4 inches diameter.

Nicole Guerrera, Landscape Language (The 405 The 5), 2018, resin, ink, collage, and wire mesh on wood, 4.5 x 4.5 x 2 inches.

 

Allison Manch, Summer, 2018, embroidery, watercolor, and natural dyes on cotton, 18 x 15 inches.

Shannon McConnell, Bystanders, 2017, oil on canvas, 24 x 20 inches.

Josh McDonald, Untitled #10, 2020, oil on panel, 48 x 32 inches.

Sean Pearson, Berserk, 2020, glazed ceramic, 12.5 inches tall.

Ross Sawyers, 9486, 2019, archival inkjet print on metallic paper, 24 x 16 inches, edition of 10.

Mike Simi, Ashtray Rock Climbing Wall, 2020, slip cast porcelain with textured acrylic coating, dimensions variable.

BORN TO BE ALIVE

Fall 2020

SEASON is excited to present BORN TO BE ALIVE, a tenth anniversary show celebrating the artists that have inspired and supported the gallery for this time.  The show will include 88 artists from 10 countries with drawing, painting, photography, found ephemera, collage, sculpture, ceramics, and perfume.  Opening reception is Sunday October 11, 2-5pm and the show continues by appointment until December 31.

 

Stian Ådlandsvik

Jonathan Anderson

Luke Armitstead

Sean Barton

Andy Heck Boyd

Lisa Buchanan

Tom Burtonwood

Sharon Butler

Daniela Campos

Calvin Ross Carl

Mikel Casteñeda

James Cicatko

Devon Clapp

Tim Cross

Sue Danielson

DEAD ART STAR

Lars van Dooran

Phillipé Ducasse

Leslie Diuguid

Warren Dykeman

Andy Fallat

Rami Farook

Lauren Fejarang

Walter Fernandez

Baso Fibonacci

Matthew F Fisher

Seth David Friedman

Genevieve Gaudreau

Jeff Gerber

Bean Gilsdorf

Nicola Ginzel

Robin Green

Cable Griffith

Tatyana Gubash

Nicole Guerrera

Juliet Jacobson

Robert Hardgrave

Stephanie Hanes

Terence Hannum

Royce Hobbs

Harold Hollingsworth

Laura Horne

Jay Isaac

Stephan Jahanshahi

Rachel Kaye

Robert Andrew Troy Kenney

Elisabeth Kley

John Knight

Aaron Krach

Kyle Krauskopf

Eric LoPresti

Sharon Louden

Allison Manch

Ben Mackie

Saori Matsushita

Rob Matthews

Robert Medvedz

Shannon McConnell

Mason McDaniels

Josh McDonald

Ryan McIntosh

Michael Milano

Philip Miner

Ryan Molenkamp

Paul Nelson

Dylan Neuwirth

Ilya Okazys

Sara Osebold

Michael Ottersen

Anthony Palocci Jr

Doug Parry

Sean Pearson

Andrew Pope

Andrew Rubinstein

Christopher Russell

Ross Sawyers

Peter Scherrer

Lisa Schilling

William Shields

Brandon Siscoe

Mike Simi

Raphael Soldi

Andrew Souza

Joshua Thompson

Ian Toms

Pedro Vélez

Maxwell Williams/UFO Parfums

Ellen Ziegler

Seattle Deconstructed Art Fair

August 1-15

I’m very excited to participate in the Seattle Deconstructed Art Fair with paintings and drawings by New Hampshire artist Andy Heck Boyd.

As a result of the cancellation of The Seattle Art Fair due to Covid 19, over 50 Seattle area galleries are collaborating to produce unique, individual “fairs” within their spaces and/or online.  Please visit seattledeconstructedartfair.com for a list of participating galleries with hours and maps.

The work by Andy Heck Boyd is motivated in part by his paranoid schizophrenia and delusions of hearing the voices of Satan.  These burdens have led Andy to multiple college drop outs, and forced him to become self-taught.  These starts at an art education places his work between that of pure Outsider artist and seasoned grad.  Pulling from numerous aesthetics and styles, his work ranges from short novellas, comics, film, photography and painting and addresses concerns about identity, memory and humor. This exhibition will last August 1 to 15, please contact robert@season.cz to arrange a visit.

 

Installation view

Installation view

Andy Heck Boyd, Untitled (Artforum Ad), 2018, oil on canvas, 10 x 8 inches.

Andy Heck Boyd, Untitled, (Pen and Ink) 2018, acrylic on canvas, 10 x 8 inches.

Andy Heck Boyd, Untitled (Cowboy) 2019, oil on canvas, 10 x 8 inches.

Andy Heck Boyd, Untitled (Mountain Man) 2019, acrylic on canvas, 12 x 9 inches.

Andy Heck Boyd, Untitled (Girl on Phone) 2019, acrylic on canvas, 8 x 10 inches.

Andy Heck Boyd, Untitled (WC Fields and The Sorcerer’s Apprentice) 2019, mixed media on canvas, 10 x 10 inches.

Andy Heck Boyd, Mickey Mouse, 2020, acrylic and watercolor on canvas, 14 x 11 inches.

Andy Heck Boyd, various zines, 2019, unique collage and drawing, various page count, 9 x 5.5 each.

Andy Heck Boyd, Heavens Bricks, 2019, 27 ink drawings bound with staples, 9 x 5 .5 inches.

Page from Heavens Bricks.

MOTOR CAVE

Summer 2020

 

SEASON IS PROUD TO PRESENT Motor Cave WITH CERAMIC WORKS and large drawings BY SEAN PEARSON.  In lieu of an opening reception, the work will be easily visible from the front window and you are invited to step up and see it during the day.  Appointments are encouraged if you wish to see the work closer, please email robert (at) season (dot) cz.  THE show will continue to September 30.
 
Sean Pearson is a Seattle artist working in dystopic 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.

Sean Pearson, Berserk, 2020, glazed ceramic, 12.5 inches tall, front.

Sean Pearson, Berserk, 2020, glazed ceramic, 12.5 inches tall, back.

Sean Pearson, Librarian, detail, 2020, glazed ceramic, 9 inches tall.

Sean Pearson, Peaman, 2019, glazed ceramic, 3 inches.

Sean Pearson, Roger as a Merry-G0-Round, 2020, glazed ceramic, 3 inches diameter.

Sean Pearson, Miserable Festering Abomination, detail, 2019, glazed ceramic, 6 inches tall.

Sean Pearson, Filth Abominations and Lap, 2020, glazed ceramic, 2.5 inches tall.

Sean Pearson, Pilot, 2019, glazed ceramic, 5 inches tall.

The Future Isn’t What It Used To Be

Winter 2020

 

SEASON is proud to present The Future Isn’t What It Used To Be, a show of new photographs by Chicago artist Ross Sawyers.  Opening reception is Sunday JANUARY 12, 2-5PM, AND THE SHOW WILL CONTINUE TO MARCH 31.  HOURS ARE BY APPOINTMENT ONLY.

ROSS Sawyers holds a BFA in Photography and New Media from the Kansas City Art Institute, and an MFA in Interdisciplinary Visual Arts from the University of Washington in Seattle. His work has been widely shown in exhibitions most recently, THE GROUP SHOW INTEGRATED PHOTOGRAPHY IN Pilsen, CzECH Republic, as part of the 7TH annual Photography Symposium and Exhibition.  He has shown at Platform Gallery in Seattle,  ACME in los angeles, and RosPhoto in St. Petersburg, Russia.  Other notable honors include the Crystal Apple Award from the Society for Photographic Education, and a nomination for the John Gitmann Fellowship. Ross lives and works in Chicago where he is an Assistant Professor in Photography at Columbia College Chicago.

 

Ross Sawyers, 9486, 2019, archival inkjet print on metallic paper, 24 x 16 inches, edition of 10.

Ross Sawyers, 10177, 2019, archival inkjet print on metallic paper, 24 x 16 inches, edition of 10.

Ross Sawyers, 10482, 2019, archival inkjet print on metallic paper, 24 x 16 inches, edition of 10.

Ross Sawyers, 10688, 2019, archival inkjet print on metallic paper, 24 x 16 inches, edition of 10.

Ross Sawyers, 9667, 2019, archival inkjet print on metallic paper, 24 x 16 inches, edition of 10.

A Movie or a Play

Fall 2019

SEASON is proud to present A Movie or A Play, a show of paintings by Shannon McConnell, a visual artist and musician living in Seattle.  This is Shannon’s third show with the gallery as he continues to distort the figure, now obliterating all but the most necessary of features.  This garage punk animism produces characters and scenery that blend and collapse upon each other.  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.  Opening reception with the artist will be Saturday,  October 5, 3-6pm,  and continues–by appointment–until January 1, 2020.

After the Rain, 2019, oil on canvas, 20 x 16 inches.

Surveyor, 2018, oil on canvas, 20 x 16 inches.

 

Socio Politico-Oratorio, 2019, oil on canvas, 20 x 16 inches.

Bystanders, 2017, oil on canvas, 24 x 20 inches.

Discontented Woman, 2017, oil on canvas, 14 x 11 inches.

Seattle Art Fair

August 1-4, 2019

 

Andy Heck Boyd

Ben Coode-Adams and Justin Knopp

James Cicatko

Nkululeko Malangeni-Berg/The Ninevites

Félix Gonzáles-Torres

Pedro Vélez

 

I’m very excited for my fifth return to Seattle Art Fair!  The theme of the SEASON booth this year will deal with contemporary protest art and how these individual artists approach it, internalize it and produce unique works.

 

Andy Heck Boyd

Six untitled collages (detail), 2015 

acrylic, ink and collage on comic book pages, 10 x 7.5 inches each.

The paintings by New Hampshire artist Andy Heck Boyd are motivated in part by his paranoid schizophrenia and delusions of hearing the voices of Satan.  These burdens have led Andy to multiple college drop outs, and forced him to become self-taught.  These starts at an art education places his work between that of pure Outsider artist and seasoned grad.  Pulling from numerous aesthetics and styles, his work ranges from short novellas, comics, film, photography and painting and addresses concerns about identity, memory and humor.  In this series of altered comic book pages, characters have been given new conversations that demand, ignore, and ultimately accomplish nothing.  

Ben Coode-Adams and Justin Knopp

Proof, 2018

letterpress on cardstock, dimensions variable.

Ben Coode-Adams and Justin Knopp (Essex and London)  have collaborated to produce PROOF. a large multi-paneled letterpress print that is fluid and rearrangeable according to whim.  The artists worked together to collect the most popular words from protest signage from a London rally.  With each word printed boldly on a single card, various arrangements can happen, each calling the viewer to action but for no specific cause.  Ben has a busy drawing and sculpture practice with extensive exhibitions in Europe.  Justin operates Typoretum, an extensive letterpress shop using a variety of traditional types including a fully restored 1857 Columbian Press.

James Cicatko

En Passant, 2016-18

graphite on paper, 36 x 52 inches.

James Cicatko (Seattle, Washington) incorporates layers of symbolism in all his work, pulling images from history and pop culture as well as folklore and current news. In this large graphite drawing, two unseen experts play a game of chess in a Piranesi ruin with a view to a Syrian street bombing. Nero, Caligula, Elagabalus, and Diocletian watch and feast surrounded by cash, music boxes, and the dead. Game pieces range from a traditional bishop to Jake the Alligator Man as well as figures from Picasso, Bosch, and Giotto. Please note the scene takes place on a sarcophagus that is a nest for spiders and scorpions.

Nonkululeko Mlangeni/The Ninevites

Sankara Rug, 2019

hand-woven wool, 72 x 48 inches

Nonkululeko Mlangeni (Johannesburg, South Africa), founder of The Ninevites, saw a lack of representation in the South African design firms so rather than complain about the overall whiteness of it, she started her own.  With The Ninevites, she encourages the underemployed and the youth to appreciate local craft traditions while learning design and entrepreneurship.  Using traditional imagery adapted to modern tastes, The Ninevites produces home textiles by providing jobs to artisans in Africa and South America.

Félix González-Torres

“Untitled” (Death by Gun) [detail] 1990

lithograph, unlimited edition, 45 x 33 inches.

Félix González-Torres, (1957 Guáimaro, Cuba-1996 Miami, Florida).  Inspired by an article published by TIME magazine in July 17, 1989, González-Torres explored the relationship America has with guns with this piece “Untitled” (Death by Gun) 1990, and pays homage to the 460-people killed in America by gunshot for the week of May 1–7, 1989. He makes us reflect on the grim reality of the gun violence in America, presenting a sobering view of the many lives lost. Originally, this piece is composed of a nine inch high stack of lithographs with the picture of the deceased with the description of the individuals, their age, city and state where they lived, followed by a brief description of the cause of death. Viewers are allowed to remove a sheet for themselves and the exhibiting venue updates the stack to the original nine inches.  This print was acquired from an exhibition at The Museum of Modern Art, New York City, 1996.  The most pervasive reading of González-Torres’s work takes the processes his works undergo (lightbulbs expiring, piles of candies dispersing, etc.) as metaphor for the process of dying. However, many have seen the works also representing the continuation of life with the possibility of regeneration (replacing bulbs, replenishing stacks or candies).

Pedro Vélez

Benetton Identityless, 2003-18

acrylic and marker on vinyl with embellishments, 76 x 76 inches. 

Pedro Vélez (San Juan, Puerto Rico) has been an outspoken voice against the colonization of Puerto Rico.  His current work portrays the hypocrisy of the appeal of the island as a tax haven and the total abandonment of the people during and after Hurricane Maria.  His work has been exhibited at The Newcomb Museum in New Orleans, Loyola University in Chicago, The Luminary in St. Louis, the Whitney Biennial 2014, and at Monique Meloche Gallery, Chicago.