SEATTLE ART FAIR

Booth C2

August 4 – 7, 2016

BONNIE MAYGARDEN
Grayscale II, 2016
acrylic on canvas
36 x 24 inches

BONNIE MAYGARDEN
Icons, 2016
acrylic on canvas
16-panel polyptych, 9 x 12 inches each

BONNIE MAYGARDEN
Ultra Light III, 2016
acrylic on canvas
36 x 24 inches

BONNIE MAYGARDEN
Ultra Light II, 2016
acrylic on canvas
36 x 24 inches

BONNIE MAYGARDEN
Ultra Light I, 2016
acrylic on canvas
36 x 24 inches

ADAM MYSOCK
Washington's Bread, Cereal, Rice, and Pasta, 2009
acrylic on panel
13.5 x 16 inches

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
On a Snowy Night, 2016
acrylic on panel
6 x 9.25 inches
after: Nighthawks (1942) by Edward Hopper

ADAM MYSOCK
Madison's Fats, Oils, and Sweets, 2009
acrylic on panel
13.5 x 16 inches

ADAM MYSOCK
Jefferson's Meat, Poultry, Fish, Dried Beans, Eggs, and Nuts, 2009
acrylic on panel
13.5 x 16 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
Hamilton's Vegetables, 2009
acrylic on panel
13.5 x 16 inches

ADAM MYSOCK
Franklin's Milk, Yogurt, and Cheese, 2009
acrylic on panel
13.5 x 16 inches

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.

 

ADAM MYSOCK
Adam's Fruit, 2009
acrylic on panel
13.5 x 16 inches

NIKKI ROSATO
Elyse: Falmouth, MA, 2014
hand cut road map
20 x 16 inches

NIKKI ROSATO
Untitled (Self Portrait), 2013
hand cut road map
16 x 16 x 14 inches

SIDONIE VILLERE
May [detail], 2015
porcelain, glaze, nylon stocking
approximate dimensions: 15.5 x 13.5 x 6 inches per unit

SIDONIE VILLERE
May, 2015
porcelain, glaze, nylon stocking
approximate dimensions: 15.5 x 13.5 x 6 inches per unit

SIDONIE VILLERE
January [diptych], 2015
canvas, string, nylon net, wire, plaster, muslin, acrylic and nylon stocking on gessoboard
14 x 11 x 2.5 inches per unit

SIDONIE VILLERE
January [diptych side view], 2015
canvas, string, nylon net, wire, plaster, muslin, acrylic and nylon stocking on gessoboard
14 x 11 x 2.5 inches per unit

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
Legacy VI [detail], 2016
antique carved wood and plaster frame, aluminum (found cans), wire, steel, gold leaf
20.5 x 22.5 inches

PAUL VILLINSKI
Legacy VI, 2016
antique carved wood and plaster frame, aluminum (found cans), wire, steel, gold leaf
20.5 x 22.5 inches

PAUL VILLINSKI

Vector [left], 2015

found aluminum cans, wire, Flashe

84 x 60 x 6 inches

RACHEL BURCH WILLIAMS
Eye 11 (after Bronzino, Maria, left), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 8 (after Bronzino, Eleanora), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 6 (after Bronzino, Medici), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 5 (after Bronzino, Bia, left), 2015
oil on board
10 x 10 inches

RACHEL BURCH WILLIAMS
Eye 1 (after Bronzino, Bia, right), 2015
oil on board
10 x 10 inches

ANITA COOKE
Windswept (Ohio Field in Winter), 2015
canvas, acrylic paint, thread, pva glue
30 x 24 inches

ANITA COOKE
Totally Cellular (Circular Motion), 2015
canvas, acrylic paint, thread, pva glue
30 x 24 inches

ANITA COOKE

Strata (Core Sample II), 2015

canvas, acrylic paint, thread, pva glue

30 x 24 inches

ANITA COOKE

Strata (Core Sample I), 2015

canvas, acrylic paint, thread, pva glue

30 x 24 inches

E2 - KLEINVELD & JULIEN
Ode to Leutze's Washington Crossing the Delaware, 2016
archival pigment print
30.5 x 48 inches
extra large: 30.5 x 48 inches, edition of 3, 2 APs
large: 20 x 30 inches, edition of 3, 2 APs
medium: 16 x 20 inches, edition of 5, 2 APs

MARGARET EVANGELINE
Ascension in the Mind of Voltaire, 2013
oil on canvas
48 x 48 inches

MARGARET EVANGELINE
Crooked Sleep, 2013
oil on canvas
48 x 48 inches

MARGARET EVANGELINE
Sebastian Saint Camellia 9, 2010
oil on canvas
​60 x 60 inches

SKYLAR FEIN
Atlantic Records, 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Capitol Records, 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Capitol Records [interior view], 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Eat Out Often, 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Max's Kansas City, 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Max's Kansas City [interior view], 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Pepsi, 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Special Offer, 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Special Offer [interior view], 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Thank You Call Again, 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

SKYLAR FEIN
Thank You Call Again [interior view], 2016
painted aluminum, homasote, rubber
24  x 24  x 5 inches

MARNA SHOPOFF
Blush, 2016
oil and ink on canvas
60 x 108 inches
triptych

MONICA ZERINGUE
From Silver and Dream, 2015
graphite on linen
31.75 x 23.75 inches

MONICA ZERINGUE
Nocturne, 2015
oil and hand-sewn glass bead on linen
​12 x 12 inches

MONICA ZERINGUE
Cusp, 2015
acrylic, hand-sewn gold plated beads and wallpaper on linen
​13.75 x 13.75 inches

MONICA ZERINGUE

Moon of Other Days, 2013

graphite and hand-sewn beads on primed linen

13.5 x 13.5 inches