Grey Magic

December 9 - January 7, 2023
artist reception: Saturday December 10th 5-7pm

A forest dense with honed beams and soft wings, Grey Magic invokes the natural elements of earth, air, fire and water. Each artist investigates realms that evoke a subtle rumbling inside the viewer to generate and radiate more light into the world.
All the works gathered by gallerist Dawna Holloway have something in common. Each one stands in a sacred circle casting a spell of contemporary sensuousness. Surrounded in grace and mystery, magic and potency, the art beckons us in. Come closer, linger, sniff and sip then swallow from the cauldron wafting grey potion. Grey Magic is a lure drawing us from the edges to enter the solidity of earth, the energy of fire, the fluidity of water and the expansiveness of air.
-Erin Shafkind
ARTISTS:
Brian Beck
Debra Broz
Emily Counts
Jarid del Deo
Stewart Easton
Joe Feddersen
Jessica Flores
Peter Gaucys
Fay Jones
Mark Laver
David Kearns
Ruth Robbins
Joe Shlichta
Timothy White Eagle

BACK ROOM ︎


Artists:
Brian Beck︎︎︎

Debra Broz collects and deconstructs secondhand ceramic kitsch figurines, then combines them into reimagined versions of their former selves. Using ceramics restoration techniques, she effaces history by creating seamless reconstructions that are part humor, part mad science, and part tender sentimentality for the rural Midwest where she grew up. In her larger works, she creates domestic installations that combine her reconstructed figurines with sculpture made from disassembled secondhand stuffed toys and discarded furniture.

Broz was born in 1981 in Springdale, Arkansas, and was raised in rural central Missouri. She received her BFA with honors from Maryville University - St. Louis in 2003. Shortly thereafter, she moved to Austin, Texas where she trained as a ceramics restorer and began using ceramic figurines in her art practice. Broz moved to Los Angeles in 2014, and then to Seattle, Washington in 2022. Broz shows with Track 16 Gallery in Los Angeles and Paradigm Gallery in Philadelphia, and has had exhibits at the American Museum of Ceramic Art, Austin Museum of Art, and Houston Center for Contemporary Craft. Her work has been featured in print in Ceramics Monthly, American Craft, and Frankie magazines; in a number of online publications; and in two international surveys of contemporary ceramics.

Emily Counts ︎︎︎

Jarid del Deo ︎︎︎

Like all great artists, Joe Feddersen is a keen observer. He has an innate ability to see beauty in the everyday world and repackage it in a way that makes the mundane feels new, exciting and alluring. Joe can look at an unattractive electrical line tower, break it down to its simplest forms and patterns, and turn it into something beautiful. The abstract symbols and imagery of Joe’s work not only result in stunning art but also present open-ended narratives and commentary on our changing environment.

Joe Feddersen’s artistic ability to express the interrelationships between his surroundings—the modern urban landscape and the natural environment—is deeply rooted in his Plateau heritage. As a member of the Confederated Tribes of Colville (Okanagan/Sinixt) from the Inland Plateau region of the Columbia Basin, Joe draws from Plateau knowledge and carries on a long tradition of creating cognitive artwork. Renowned for their textile traditions, the tribes of the Plateau region historically created complex geometric patterns and designs inspired by what they saw in their everyday life. Feddersen transposes this practice into the 21st century by creating geometric form and design that incorporates symbols and landmarks informed by his surrounding urban environment. Objects such as electrical towers, high-rise buildings, parking lots, chain-link fences and traffic signs meld with and become part of the visual vocabulary inherited from his ancestors. By blurring the lines between past and present, traditional and contemporary, Joe creates beautiful and thought provoking artwork. His subtle touch, humor and wit draw the viewer in and challenge them to see the world through the lens of a contemporary Plateau artist.

Joe Feddersen, a member of the Colville Confederated Tribes lives and works in Omak, WA. A faculty member at The Evergreen State College in Olympia, WA from 1989 until his retirement in 2009, he was awarded Faculty Emeritus Status. In 2018, he was granted the MoNA Luminaries Legacy Award from the Museum of Northwest Art. His work was included in Weaving Past into Present: Experiments in Contemporary Native American Printmaking at the International Print Center, New York, Autumn 2015. He has been featured in numerous national exhibitions, including Continuum 12 Artists: Joe Feddersen, National Museum of the American Indian, Smithsonian Institution at the George Gustav Heye Center, New York, NY; Land Mark, Northwest Museum of Arts & Culture, Spokane, WA; and was the subject of a major retrospective exhibition and monograph, Vital Signs, organized by the Hallie Ford Museum of Art at Willamette University in Salem, OR and published by the University of Washington Press.

Upcoming exhibits include The Renwick Invitational: Honors and Burdens 2023, Washington DC, Forge Project 2023, NY, The Land Carries Our Ancestors: Contemporary Native Artists, National Gallery of Art, Washington DC, Here Now and Always, Zimmerli Museum, Rutgers, NJ 2023.  The Museum of Art and Culture, Joe Feddersen Retrospective, Spokane WA 2024

Stewart Easton ︎︎︎

born in mexico, raised in the san francisco bay area, Jessica Flores is currently living and creating in portland oregon.

“my vocational background is in creative writing & have 6 years experience as a florist. i now dedicate my full time to beading, drawing, & painting. ukaome was launched in january of 2019. self taught, all designs are original and handwoven by myself. every piece is inspired by my roots, my home state of jalisco mx, its colors, and our beautiful people.
I see beads as being representative of star dust, atoms, cells, pixels, tiles, scales, experiences; all things that must unite to make a whole. With beads I am able to paint what I imagine is the inner life of all living things, dancing in synchronicity and purpose, almost always in secret. This fascination (mixed with a complicated relationship to my OCD) led me to explore painting within grids and consequently transforming those ideas with beads, into more textural and alive pieces. Beading takes a lot of time and patience, as does evolution. Naturally, the pace of the natural world often wanders into the meditative process of weaving tiny bits together.”

For Peter Gaucys wands contribute to an ongoing exploration of tools and practices people use to focus energy and navigate change. Each wand is offered as a humble tool for situating one’s intentions in a given moment. Peter’s metaphysical investigations include writing and brand strategy for clients such as MIT, The Nature Conservancy, and The Bill & Melinda Gates Foundation. He is a member of Seattle-based creative agency Hotaru, and a proprietor of eclectic retail and visual art venue Orcas Paley in downtown Seattle. Peter makes wand commissions available on a sliding scale.

Fay Jones ︎︎︎
Mark Laver
“I make imaginary places out of paint. Starting with a blank surface, I begin in one area, and let the painting grow organically, working without reference to source materials. This series came about by accident, and I find the iconography and symbolism growing and expanding as I go, like a world evolving out of my hand. While music, art history, and philosophy continue to nurture my practice, I let randomness, trial and error, and an inner sense of aesthetic intuition determine the evolution of each painting. This is also undoubtedly shaped by my early immersion in the dense forests, tidal swamps and logging roads of rural Vancouver Island, an adolescence soaked in Led Zeppelin, Pink Floyd, and Dungeons and Dragons, and a childhood of beach fires, stargazing, and Sunday school at a little evangelical church in the woods.”
I consider a painting finished when colour, gesture, surface, symbolism and space intertwine to create a strange, wild place, convincing yet otherworldly, simultaneously  embryonic and cannibalistic, primordial and post-apocalyptic, Garden of Eden and Gates of Hell.

“smaller landscapes and night paintings were painted on site, on Vancouver Island and surrounding islands. Completing paintings outdoors in a single session fulfills a need to get outside, immerse myself in weather and practice an all-or-nothing, intuitive method of painting. I approach the landscape not as an observer of things, but as a participant in an event, an ever-changing and open-ended event of which I am a part. Seeing (that mysterious integration of mind/body), thought, and bodily expression—the gesture of the hand wielding the brush—are intertwined and simultaneous.

At night, using a limited palette and often working in near darkness, I work under a light source when available, such as a street light or the moon, or from the relative comfort of the front seat of my car, using the dim interior light and a steering wheel easel I designed and built for this purpose.”

David Kearns ︎︎︎

Ruth Robbins is an artist and educator living in Houston, Texas.  She holds a MA in Social Practice from California College of the Arts.  Her practice currently includes images, sound and text that explore sensations of loss, embodiment, pleasure, delight and desire.  Robbin’s collaboration with Red Vaughan Tremmel, Subjects of Desire: Relics of Resistance, was included in documenta 13.

Originally created for the 2018 exhibiton titled Becoming American, Ruth worked with the Berea broom craft studio, which her grandfather founded, to create a broom with one of, her other grandfather, Fival’s poems embedded in its design. The Shaker Braided broom was the first flat broom made and like Jazz one of the only truly American craft traditions. A poem was woven into the broom using a pattern of light and dark colored corn in the woven handle and straw for the whisk. The broom is functional and it was the artist’s intention that it be used as a broom to sweep the exhibition space.

Joe Shlichta is originally from Los Angeles. He studied painting at Otis Art Institute and was studio assistant to the LA painter, Jack Bosson. He finished his degree at Cornish College of the Arts, and now teaches and paints in Seattle. 
“As an oil painter, I have always been fascinated by the use color to convey the illusion of space. The Hudson River school, and other early American landscape painters such as Albert Bierstadt were a great influence on my work. These painters who found themselves in early America were often European immigrants, and transfixed by the vision of wide open, infinite space. Their landscapes evoked a feeling of limitless possibility, although often being largely invented and idealized. Seeing these paintings as a boy growing up in Los Angeles, it felt like an imaginary and impossibly romantic vision far removed from my own reality. In a way, my paintings are a search for a landscape I have never known.
Recently, I became interested in Persian carpets, largely due to inheriting several from my grandfather and mother, both European immigrants. Growing up in in an English speaking home, it often felt like our ties to Europe were unravelling slowly with each generation, much like the carpets themselves. The traditional patterns of these carpets were, as I discovered, often symbolic of an idyllic landscape, a vision of a lush garden. These are objects meant to walk on, yet I found them strikingly beautiful. The use of deep, rich color and intricate pattern is a different but equally effective visual language. I began to wonder if there was a way to use pattern and color in painting, while still retaining the illusion of depth and space.
Usually, traditional methods of painting are used to create the illusion of space. Yet it is when I depart from these methods, a tension is created, an imbalance in perception, like a rip in the stage scenery.  I find this tension in painting to be delightfully fascinating. The mind wishes to categorize and define a space, and place itself into the landscape. It is my intention to avoid the viewer’s unintentional process of categorization, and create a new visual experience.”

Timothy White Eagle, born in Tucson AZ, is an undocumented urbanized mixed race Indigenous American. He was given up for adoption at birth and raised by a working class white family in Washington state. Due to the circumstances of the his adoption is not a registered member of any tribe.   Through DNA testing he found his fathers family and learned late in life that he is half British. He has found genetic, but not personal connection to his mother.

He graduated from Univ. of Utah with a BFA in Theater, worked in Seattle, made art and operated a performance art/coffee house performance venue, “the Coffee Messiah” in the late 1990’s. He spent his 20's exploring performance based art. He has worked extensively in the past two decades exploring Native American, Pagan and other earth based Spiritual practices. He began a mentor/protege relationship with a Shoshone Elder Clyde Hall in 1995. Around that same time he began helping to craft personal and community rituals within his Spiritual circles. 

In 2006 he began collaborating with photographer Adrain Chesser. Their work together has been displayed and published nationally and internationally. In 2014 he and Adrain released their book, "the Return". Timothy continues to foster relationships with artists seeking to create objects and performances which contain the convenience of Spirit. He dances at a unique cross roads between art and ritual.

“I have been blessed to be active for the past 25 years in support of Indigenous elders and ceremonies, mostly through connections with my mentors and the Dance for All People. In that time I have been afforded access to many ceremonies and traditional people. I am deeply grateful for the experiences of connecting to traditional communities and ways of being. I continue to support Indigenous culture through my work on the board of the non-profit NCPC.“