SEATTLE ART FAIR

Booth 613

July 30 – August 2, 2015

BRIAN BORRELLO
Root, 2013
charcoal, ink, motor oil on marble-dust enriched linen
84 x 56 inches

GINA PHILLIPS
Ross Karsen, 2011
fabric, thread, paint
​53 x 22 inches

GINA PHILLIPS
Dancing Pete, 2011
fabric, thread, ink, paint
​55 x 29 inches

GINA PHILLIPS
Italian Travis, 2011
fabric, thread, synthetic hair, paint
​55 x 24 inches

GINA PHILLIPS
Tiny Circus, 2012
fabric, thread, paint
​63 x 42 inches

PAUL VILLINSKI
Appear, 2014
aluminum (found cans), wire, acrylic paint
48 x 48 x 8 inches
by commission

PAUL VILLINSKI

Empire II, 2014

antique carved frame, aluminum (found cans), wire, steel, soot, flashe

17 x 15.5 x 6.25 inches

PAUL VILLINSKI

Empire III, 2014

antique carved frame, aluminum (found cans), wire, steel, soot, flashe

36.5 x 28.75 x 8.25 inches

PAUL VILLINSKI
Cirrus, 2015
powder coated steel, aluminum (found cans), wire, blue Flashe
installation dimensions variable
large element ::: SOLD
medium element ::: 21 x 49 x 7 inches
small element ::: 16 x 35 x 6 inches
by commission

MARGARET EVANGELINE
Night Glare, 2014
oil on canvas
84 x 72 inches

MARGARET EVANGELINE
Sunday Morning II, 2014
gunshot stainless steel with powder coating
42 x 42 inches

MARGARET EVANGELINE
Monty & Liz, 2011
oil on canvas with crystallina
60 x 60 inches

ADAM MYSOCK
Inward, 2013
acrylic on panel
7.5 x 6.5 inches

This second Bonestell illustration affords me an opportunity to further describe
the mid-century works I’m appropriating. Each image was a visual description
of one stage of a round trip to Mars. Even before we had been to the moon,
artists were visually describing how we would travel to another planet!
Whereas the first image in this series offered me the chance to look backward
at how we had historically imaged the heavens, this second painting provided
an opportunity to look inward, to consider how precise, or believable, my own
visions could be. I chose an image with minute details and multiple figures in
order to challenge my ability to create a specific vision, even if it was based on a
preexisting conception. In Backward, the preserved circle had been purposefully
diminutive to indicate a recession into space. Here, in Inward, the circle is placed
centrally – at the core of the composition – to imply an interior, a nucleus.

ADAM MYSOCK
Outward, 2013
acrylic on panel
7.5 x 7.5 inches

In Outward, I chose to return to the allure of the distant. I took a Bonestell
illustration with a great deal of grounded depth and cropped out the most
foregrounded aspects and figures to reveal only those features too far off to obtain.
The preserved color – the muted orange – is the warmest, most visually aggressive
hue and, therefore, advances out from its dim settings. Overall, I’m playing with two
visual sensations of “outward.” As we look at the representational setting, we look
outward at a depth of landscape. If we’re solely aware of the formal elements, however,
we’re confronted with a small orange dot that pulls outward away from the flat
surface of the panel. Although it’s not necessarily a feature unique to this reference
piece, I also enjoyed the arrow-like forms present in the ships and mountains
as markers of an outward sense of movement.

ADAM MYSOCK
Forward, 2013
acrylic on panel
7.5 x 6.5 inches

With Forward, I wanted an image with the clearest spatial hierarchy –
back, middle, and front. I aspired to have the eye move steadily toward
the front of the image through the chain of man’s constructions, ending
at the preserved circle, which sits on the closest structure and is intended
to most evidently lie on the front, or top, of the two dimensional image.
In my research on Chesley Bonestell, I had also discovered that he has an
asteroid and crater on the surface of Mars named after him, and I thought the
rocky forms in the bottom of this piece paid homage to those facts nicely.
Some rocks remain as individual forms (symbols of his asteroid),
while the collective mass frames a bowl meant to stand in for his Martian crater.

ADAM MYSOCK
Backward, 2013
acrylic on panel
7.5 x 7.5 inches

In the 1940s and 50s, we didn’t have the necessary technology to see what the
surface of Mars really looked like. But we did have artists like Chesley Bonestell,
an American painter, designer and illustrator whose work heavily inspired the
development of the American space program. Through their images, Bonestell and
his peers gave our collective imagination the fuel it needed to give form to conceptualized realities.
To put it another way, we desired what we could only see as glowing spheres on a clear night
and the illustrations of science fiction gave those ambiguous objects of desire a near-tangible form.
To that end, I created the first of four paintings in which I’ve taken a Bonestell illustration,
preserved a circle of the image’s original color and darkened the remainder. Viewed from a distance,
the darkened field becomes a night sky and the preserved disk becomes a faraway,
glowing moon or planet. The dimmed scenery reveals itself only when we’re willing,
and brave enough, to travel nearer to those distant heavens.

 

SKYLAR FEIN
Pepsi (Think Young), 2015
painted aluminum, homasote, rubber
​26 x 24 x 5.5 inches

SKYLAR FEIN
Pepsi (Think Young) [interior view], 2015
painted aluminum, homasote, rubber
​26 x 24 x 5.5 inches

SKYLAR FEIN
Looking for Something? (Use the Yellow Pages), 2015
painted aluminum, homasote, rubber
​27 x 24 x 5 inches

BONNIE MAYGARDEN
Image Removed by User, 2014
acrylic on canvas
90 x 60 inches

BONNIE MAYGARDEN
Merge, 2014
acrylic on canvas
36 x 45 inches

BONNIE MAYGARDEN
Link, 2014
acrylic on canvas
32 x 44 inches