Season

Fall 2011

SEASON is proud to present FOREVER AND NEVER, ONE MORE TIME featuring ceramics by Elisabeth Kley and paintings by Shannon Mcconnell.

Elisabeth Kley creates ceramics that are otherworldly and everyworldly.  Roman, Islamic, Mexican and Byzantine styles, along with others, mingle in her work to produce fantasy imagery that defies time and place.  Fine art and decorative elements from various periods are filtered into utilitarian neo-Majolica, destined to furnish the interiors of a flamboyant world, a world inhabited by dandies and fops.  Elisabeth’s line-work mimics wrought iron and serves double duty as it becomes frames for dozens of eyes.  Elisabeth Kley is an artist and writer living in New York City and has shown often there, with a solo show at MomentaArt, and in various group shows at Francis M. Naumann Gallery, A.M. Richard Fine Art and Storefront Gallery, Brooklyn; and SEASON is honored to bring her work to the west coast.

Elisabeth Kley, Lime and Blue Moustache Wing Bottle, 2008, glazed earthenware, 11 inches high

Shannon Mcconnell’s paintings are also otherworldly.  His portraits and landscapes combine elements of arbitrary transfiguration with a garage punk aesthetic nod to the Northwest School.  Applications of thin glazes over an improvised monoprint on paper or canvas produce uncommon vistas into a somewhat common land.  These locations suggest desolate sci-fi environments filled with the diffused light characteristic of the Skagit Valley, while his portraits fracture into a grotesque awareness of Cubism.  Shannon Mcconnell is an artist and musician living in Seattle Washington.  His most recent solo show was at Galerie Blacklist in Prague, Czech Republic.  He has shown at various venues across the Northwest and SEASON is honored to show a collection of all new paintings for this exhibition.

Shannon Mcconnell, The Weathervane, 2011, collage and oil on canvas, 30 x 24 inches

Catalog available with essay by Chris Ashley.
Additional images

Summer 2011

SEASON is proud to announce the opening of I WAS TALKING WITH A GHOST featuring drawings by Rachel Kaye and oil paintings by Peter Scherrer.

Rachel Kaye creates environments that overwhelm. She layers Givenchy’s 2010 wedge high heel patterns and Missioni’s electric color combinations on top of casually posed snapshots in order to push pattern and optical effects beyond what the subject can withstand.  Similar to Édouard Vuillard’s interiors of the 1890’s, Rachel’s drawings break down the image, disrupt the identity and fill the picture plane with information.  Rachel Kaye received her BFA from California College of the Arts in San Francisco California; her work has been shown at numerous venues including Triple Base gallery in San Francisco and Gavlak Projects in Palm Beach, Florida. Rachel Kaye was born in San Jose, California and lives in San Francisco, California and SEASON is honored to present her first show in the Pacific Northwest.

Rachel Kaye, Untitled (Number 6) 2011, colored pencil on paper, 12 x 9 inches.

Peter Scherrer’s world is equally over-filled with information.  Peter’s dark, cold paintings of “The North” present locations that are familiar but mysterious.  A landscape painting of his backyard becomes an entanglement of objects and grasses, all seemingly lit by an omnipresent moon.  The jaggy brushwork intersects our ability to enter the image while creating a net that comfortably holds us while we view.  Peter Scherrer received his BFA from California College of the Arts in San Francisco, California.  Peter was born in Mount Vernon, Washington and lives in Bellingham, Washington; his work has been shown at numerous galleries in California and SEASON is honored to present his first show in the Pacific Northwest.

Peter Scherrer, The Glow, 2010, oil on canvas, 10 x 12 inches

Catalog available with essay by Larry Rinder.
Additional images available upon request.
Please inquire.

Spring 2011

SEASON is proud to present SWEET LOVE FALLING LIKE A PALE BLUE LIGHT featuring sculptures and drawings by Dawn Cerny and sculptures and collages by Adam Marnie.

Dawn Cerny has a personal grip on reality that makes room for discomfort.  Her work starts from the act of seeing only to turn a mirror on it and make one consider how they see.  Cerny’s new sculptures operate in ways that begin with truth but distort it so that it creates room for new options.  Overturned flower pots become more than pathetic, paper duffle bags are more than fragile–these items, along with others, create new realities where futility is accepted in protest, while fights with the power of the object continue.  Dawn Cerny works in a variety of mediums, including painting, printmaking and sculpture, she received her BFA from Cornish College of the Arts in Seattle Washington and is currently finishing her MFA studies at Bard College, Milton Avery Graduate School of the Arts, Annandale-on-Hudson, New York.  Her work has been shown at numerous venues including Henry Art Gallery, Seattle, Washington; Or Gallery, Vancouver, Canada; and Night Gallery, Los Angeles, California.  Dawn Cerny was born in Santa Barbara, California and lives in Seattle, Washington and SEASON is honored to show her new work.

Dawn Cerny, Camp Carmel, 2011, resin coated paper, vase, fake flowers, dimensions variable

Adam Marnie’s work is self-reflective yet ego-less.  Marnie navigates a world where structural and perceptual barriers are met and tackled. Considering the frame as a focusing container, Marnie feels a need to subvert it, to give change to such an relatively invisible device. His recent work using drywall continues this tension between the perfect and broken surfaces, often creating wreckage among the layers of glass, image, frame and wall.  Adam Marnie received his BFA in Painting from the Rhode Island School of Design, Providence, Rhode Island. He is a MFA candidate at Bard College, Milton Avery Graduate School of the Arts, Annandale-on-Hudson, New York.  Marnie has shown at Andrea Rosen Gallery, James Fuentes LLC and Derek Eller Gallery in New York, New York as well as shows in London and Mexico City.  Adam Marnie was born in Minneapolis, Minnesota and lives in New York, New York and SEASON is honored to show his new work.

Adam Marnie, Object/No Title (detail), 2010, latex on drywall with graphite, 26 x 29 inches

Catalog available with essay by Bradley Rubenstein.
Additional images available upon request.
Please inquire

Winter 2011

Season is proud to present I Am Here, Mo Fo! featuring collages and photographs by Ruth Van Beek and oil paintings by Philip Miner.

Ruth van Beek’s collages produce disorienting scenes in which planes crash into paradise landscapes, animals deform, and people disappear. Combining stock photography and internet imagery, her compositions explore the contradictions between the domestic and the exotic, and demonstrate the artist’s fondness for family as well as her desire to travel and participate in a global world. Almost minimal, Van Beek’s acute sense of composition in these works feels at once contemporary and timeless. Van Beek graduated from Gerrit Rietveld Academy in Amsterdam in 2002 with a Master’s Degree in Photography; she works in a variety of mediums including photography, collage, animation and sculpture. She has exhibited at the Amsterdam Photography Museum, Foam_3h and the New York Photofestival, along with numerous solo and group exhibitions. Her work also regularly appears in various books and magazines.  Ruth van Beek lives in Koog aan de Zaan, The Netherlands, and SEASON is honored to present her first show on the West Coast.

Ruth van Beek, Untitled, 2010, collage, 6 x 6.25 inches

Philip Miner makes similar aesthetic choices. In his paintings, he draws inspiration from the media and popular culture, as well as personal photographs, design, and art history. While his compositions are far from minimal, they use only that which is essential in order to explore the artist’s conceptual concerns—originality in the age of the instant download. Here Miner poses an inquiry to the notion of reuse, reference and precedence, and asserts that difference and meaning may be perceived within the reconstruction of many tropes of painting. The artist ultimately manipulates our ability to contemplate or analyze. Any painting is at one moment before us—demanding attention—only to instantly turn its back; to become coy as it slowly gives off information. Philip Miner lives in Seattle, Washington. He received his MFA in 2006 from the Milton Avery Graduate School of the Arts at Bard College, and has exhibited at numerous venues in the Northwest.

Philip Miner, Untitled, 2010, oil on canvas, 20 x 16 inches

Catalog available, with essay by D.W. Burnam
Additional images available
Please Inquire

Fall 2010

SEASON is proud to present PARTY AND PARTY AND PARTY AND FUCK AND PARTY featuring drawings and watercolors by Natalie Häusler and sculpture by Jesse Sugarmann.

Natalie Häusler works in painting, sculpture, and installation, but “PARTY…” focuses attention on the artist’s small-scale drawings, which she considers to be at the core of her diverse practice. For Häusler, the drawing process is a mode of communication—wordless and silent, it nonetheless speaks. In delicate gouache and watercolor compositions, Häusler explores the structural relationships that exist between single elements within one work and beautifully evokes the three-dimensional space that becomes a reality in her sculptural works. Natalie Häusler lives and works in New York City. This is her first American show of drawings since moving here from her native Germany.

Natalie Häusler, Untitled (Fold No. 6), 2010, gouache and watercolor on paper, 13 x 10 inches

Jesse Sugarmann investigates the automobile as a physical index of American ideology and cultural history. His videos and sculpture position automobiles as icons of generational idealism. Sugarmann’s interest lies specifically in their aesthetic language; this allows him to compellingly isolate the elements of their design that have been exploited to abstractly represent our selves and our ambitions. Whether using entire cars in large-scale installations or reducing them to specific parts, his works reveal an approach that is both documentary and romantic, and acknowledges the many roles that the automobile takes on, from object of nostalgia to that of Jungian angst. Jesse Sugarmann lives in Eugene Oregon, this is his first show in Seattle.

Jesse Sugarmann, GM Unity Structure II, 2010, windshields, clamp, 56 x 56 x 30 inches

catalog available, with essay by
Sara Krajewski, associate curator
Henry Art Gallery

Additional images available
Please Inquire