Exhibition Archive

A diverse array of paintings, sculptures, archival pigment prints, and mixed media works, all under 24 inches wide.

Guided by rhythm and movement, an impressionistic travel journal of oil paintings captures fleeting moments of light in nature and urban settings.

Traditional tattoo forms, textile patterns, miniature painting and vivid South Indian palettes inspire this exploration of folklore as communal inheritance.

In her third solo exhibition at Gallery 110, Hopper explores the experience of her family moving from the deep south to Seattle in search of opportunity. With inspiration from her family’s archive of old photographs, she paints compelling portraits of her ancestors during the timeframe of the Great Migration. 

A decade-long photographic archive of pay phones from member K Taka explores connection, neglect, and preservation, revealing what these vanishing public fixtures tell us about culture, technology, and what we choose to keep.

This September, Bangladeshi-American artist Sanjida Mity invites viewers into portals of color and memory with her latest exhibition at Gallery 110, Tales Between Frames. Working in mixed media on glass, she transforms architectural thresholds into vivid visual metaphors for time, transition, and the unseen moment.

Join us at Booth C23 from July 17th through 20th at the Seattle Art Fair!

As the political landscape grows increasingly fraught, symbols of nationalism have been co-opted by far-right movements. This exhibition by Rebecca Woodhouse challenges that narrative, reclaiming the flag as a symbol of the people—all people.

Four artists, four works, and four displays of materials and documentation of the creative process. A group show curated by George Brandt featuring Carol Adelman, Dorothy Anderson Wasserman, Shruti Ghatak, and Kathy Roseth.

This exhibition debuts a series of abstract photographic works that transform overlooked details of everyday life into striking snowflake-like forms, balancing technical precision with the beauty of imperfection.

Intimate paintings of a young Chinese immigrant’s struggles to belong and to become American. The artist is donating proceeds from wire sculpture sales to NWIRP.

Aspects of Being is a group show that includes the work of 7 photographers—both Gallery 110 member artists and guest artists—who are based in the Pacific Northwest. Curated by George Brandt.

Seattle-based artist Gina Ariko presents a moving exploration of creativity, resilience, and remembrance through the lens of Japanese American incarceration during World War II.

A powerful photographic series by multimedia artist Jo Cosme, this exhibition is part of her larger body of work, Welcome to Paradise: ¡Viva Puerto Rico Libre!, a searing visual investigation into the impacts of neocolonialism and disaster capitalism in Borikén/Puerto Rico.

An exhibition of twenty whimsical figurative wall sculptures meticulously crafted in clay, fiber, and photo transfers.

Li Turner’s evocative watercolor paintings examine the pressing social and political issues of our time through a distinctly feminine lens.

Eke’s cheerful exploration of the egg goes beyond its physical form—it becomes a symbol for the human experience, reflecting language, nature, and the universe itself. The egg, she believes, connects humanity through shared potentials rather than differences, offering a reminder of what unites us all.

Drawing inspiration from shared dreams and the timeless bonds between individuals, Behrend uses patinas on brass to create mysterious, iridescent artworks that evoke a sense of wonder and nostalgia.

INBETWEEN encapsulates the passage of time through striking, large-scale paintings and invites viewers to experience moments suspended between memory and embellishment.

Patterns of Identity embraces geometric shapes and vibrant color palettes in a bold, new approach for the artist. Incorporating watercolor techniques on larger canvases, the series represents an evolution in both form and concept.

Rowan Eriksson’s works present a visual dialogue about the continuous scrutiny of gender performance through layered sketches, advertisements, and bodily remnants that resist easy interpretation. In this exhibition, materials such as hair, glass, oil, pastel, and acrylic serve not only as aesthetic elements but as active agents in the process of meaning-making.

These paintings explore the relationship between eyesight, the physical ability for the eye to see, and vision, the ability of the brain to process what it sees. The term vision has several literal and metaphorical meanings—from a person’s ideological foundation, to their imagined plans for the future, to imagination itself, or even to a supernatural apparition. 

This dynamic exhibition of paintings by artist Carol Adelman marks a new chapter in her ongoing exploration of constructed identity, radical empathy, and a fragmented self.

This group exhibition features a variety of 2D and 3D works added to our inventory in the past year—paintings, photography, and wire sculpture—from an exciting cohort of emerging and established PNW artists.

Automatism was an important part of the global Surrealist movement and as such was a major contribution to Modern as well as Contemporary art. All of the automatic drawings in this exhibition were produced in the first seven months of 1981, and with the exception of three framed pieces, are being exhibited for the first time.

This selection of mixed media works by guest artist Jessie Summa Russo is inspired by physicist Frank Wilczek’s conception of our universe as a “vibrant energy field” that he calls The Grid. Oil paintings, collages, and monotypes support and contain Russo’s abstract maximalism to present a visual meditation on this concept.