ON THE SURFACE
September 30th – November 7th
On The Surface is a group show like no other. It includes textile and texture pieces, as well as three dimensional sculptures. Please join us October 26th from 4–7pm for the opening artist reception (during the Magnolia Art Walk). Meet the artists, enjoy your neighborhood art gallery and support local art. Live music from 5-7pm!
NARTHEX GALLERY | 3555 WEST McGRAW ST, SEATTLE, WA 98199
GALLERY HOURS | Sundays 9am – Noon, Monday – Thursday 10 am – 3:30pm Exhibit events are open to the public. Tours by request
PROTECT OUR PLANET
JULY 1 — AUGUST 8, 2019
Protect Our Planet P.O.P.
Youth Art Show
And it's a wrap! Congratulations to Lucas M., whose Orca Whale painting entitled, "Don't trash my home", received the People's Choice Award in this incredibly fun, first ever Youth Art Show. The MAX Team LOVED the art, meeting artists and their families and seeing what is worth protecting on our planet. Let's keep the Protecting Our Planet thought process continuing now that the show is over! On that note, MAX is proud to announce that the Heron Habitat Helpers (https://www.heronhelpers.org/) as the non-profit recipients of our P.O.P. show art sales profits. We would also like to recognize and sincerely thank Artists and Craftsman Supply (https://www.artistcraftsman.com/),
The Last 6000 (https://www.thelast6000.org/)
and The Nature Conservancy (https://www.washingtonnature.org/) for their donation of gift cards and partnership of time that helped make this show + reception over the top awesome.
KERRY ROWLAND – AVRECH
MARCH 30 — MAY 10, 2019
The duality that creeps into Kerry's work and perspectives is that of life. Nature vs Humanity, Art vs Kitsch. She admits to having often wandered over some of these lines, in art, in paint, and sometimes in life.
Kerry sees the duality of art in the way that in oils, there is a point where the values of color merge, become ethereal and give that soft edge to create a third dimension in the flat surface of the panel. One can exert these talents quite skillfully – which recently she has felt compelled to do with old ceramic knick-knacks and cookie jars. She sees the duality in the ability to create a dead underpainting and glaze it into almost photorealistic imagery – yet has recently chosen to flatten the field, feeling an addiction to also work thick and wet, pull abstraction into realistic paintings. This artist smiles at the fact that oil paint is the scent of home, of work, and of communion, but the final product, the paintings, are her adventures, fantasy and wordless way of speaking her truth.
ENCAUSTIC MIXED MEDIA
SYMBOLS AND PORTRAITS
MARCH 30 — MAY 10, 2019
Shaun Doll's work is autobiographical, drawing from his own personal history, relationships and interactions. He is currently exploring identity, the complications of communication and the vagaries of personal memory. Symbols and Portraits includes pieces of Shaun's work with "Hobo symbols" – and we find them both striking and truly fascinating to be frank. Apparently, during the 1930's, Hobos developed a system of symbols, or visual code of sorts. They would write this code with chalk or coal to provide directions, information, and warnings to others in "the brotherhood".
As a carpenter and locksmith by trade, I frequently incorporate materials that I use every day into the mixed media encaustic painting process. Some of the more unusual materials I use, such as wood glue, powdered graphite, shellac, Bondo, and clay washes, used in combination with wood burning and wood working tools. I create the appearance of a decayed surface, alter color and add depth to the mixed media encaustic work.
PAINTINGS BY RINA PATEL
SPIRIT OF NATURE
FEBRUARY 11 — MARCH 28, 2019
My paintings are a reflection of me. Painting is a freedom to express in color, shape, line, and objects, for which I don’t have words. When I paint, I experience the carefree life of my childhood, the love, joy and pain of being a mother, the ups and downs and the curves the life throws at you. It gives me time to nourish my soul, and be kind to myself, and to accept that I am good, as I am, not perfect but good. I always paint with an intention of happiness, love and joy.
Painting has been part of my life since childhood, but as responsibilities of adulthood took over, I made excuses of lack of time and I lost touch with my art, but expressed my creativity with Photography, Crochet and crafts. A few years ago when my twins were very little, I was telling them that they can be anybody they want when they grow up and one of them asked me “Mama what do you want to be when you grow up?” and I said Artist. It was a wakeup call for me, to NOT wait till I retired to do what I have been wanting to do all my life, so I picked up my paint brush and stated painting again and it was one of the best decision I made. I am an intuitive abstract painter, I like to paint abstract as it allows me to express my interpretation of what I am seeing, hearing and feeling, and at the same time it also gives the viewer freedom to put their own interpretation from their perspective.
I was born and raised in India and came to the US to complete my education as an adult. Influences of India play a big part in my painting in the form of color, oh how I love color! Just like India is a big mix of diverse cultures, my paintings are diverse and colorful. When I am not painting, I am a Mama to elementary age twin boys and an accountant. Using both sides of my brain keeps me sane.
DECEMBER 26 — FEBRUARY 7, 2018
I am a salvage artist. My style of collage, my aesthetic, is much like a historian or archaeologist, to preserve what I unearth. I love the ancient, I swoon over beautiful penmanship and old love letters. There’s a deep connection I feel to the past, to the person who penned the letter, the faces in a photograph, the beauty and the decay. There’s a sadness to it, they have been separated from their kin. I want to travel back in time, get to know them. Even in a simple old grocery list, I get a sense of who they were.
Bits of ephemera, some centuries apart, are combined through folding, tearing, layering and peeling back, exposing an identity lost and creating a new history. To give them a further feeling of permanence and stop any decaying, encaustic medium (beeswax and damar resin) is added and unexpected details emerge. The ghostly images from the other side of the document will appear as the wax permeates the paper, in reverse, drawing me in.
The Japanese word, mottainai, meaning ‘too good to waste,’ was used to describe boro fabric: textiles that have been mended and patched over and over. This resonates with me, so every scrap of antique paper or vintage fabric is saved until it finds a home in my art. I also feel the importance of using the original materials, not copies, to lend authenticity to myself and the voice I’m hoping to bring to the original owner of the document.
CHASING THE LIGHT: A YEAR IN SEATTLE
DECEMBER 29 — FEBRUARY 7, 2019
Since 2003 he has painted full-time, completing over a thousand original works and many more sketches and studies.
In 2015 Simon and his wife, Kate, moved to Seattle from Washington, DC. As a newcomer to the Pacific Northwest he has been hard at work completing commissioned works, making new friends, and exploring things and places to paint in and around the city.
Landscapes / I prefer to explore the outside world as a solitary figure, looking at the landscape and finding places that become my own world. My landscapes are about sharing that personal communion with nature and what it represents: the idea that things often lie hidden and overlooked.
Portraits / I have one job to do when painting a portrait and that's to get out of the way. Everything I need is right there—I just pick out the important parts, subdue the unimportant. Once I've figured out the design, the rest is a matter of making sure that the subject emerges from the canvas as I disappear into the paint.
Still Life / I take these everyday objects, things that anyone might have lying around their house, and bring them together on a canvas to create art. Even the most commonplace objects have an aesthetic quality if you look at them in the right way.