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A-M Petersons: Patterns of Identity

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.

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Rowan Eriksson: I Said She Was Wicked

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.

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Ingrid Sojit: Hysterical Blindness

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.

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Carol Adelman: House of Mirth

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.

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New Member Show | February 2025

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.

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George Brandt: Notes From the Unconscious - Automatic Drawings Chicago 1981

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.

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Jessie Summa Russo: Cosmic Grids

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.