November 4 – 25, 2023

Exhibit Sponsors:
Erich Cross – Windermere Realty
David Fiske – Edward Jones

Main Gallery:
Annual Gift Show

Starting November 3, the Gallery One Gift Shop expands into the Main Gallery. Come browse the expanded selection of gifts for all ages during this annual show. You’ll find a variety of unique finds, handmade goods, fair trade gifts, stocking stuffers and a hand-picked selection of Northwest art for everyone on your shopping list!

Mezzanine:
Small Animal Assemblage
James Lilly

I am a Seattle born artist who creates wall sculptures that typically depict the Salish Sea region. These tromp l’oeil pieces combine a laser cutter with traditional sculpting tools. Presented as striking reliquaries, they appear to be made from distressed wood, metal, and stone, with precise details executed down to fabricated screw heads and torch cut steel. Inspired by events, settings, and politics in the Northwest region, I meticulously execute fish, whales, and crabs to occupy places of reverence in industrial looking altars. Single words ask questions and define polarities with a thesis capstone word featured within each reliquary. Viewers are left to puzzle out the meanings of these disparate but beautifully combined compositions.

In 1981 I ventured to Southern California and Pomona College where I received my BA in painting. Mentored by Karl Benjamin, one of the original Hard-Edge painters from the 1950’s, I then earned my MFA from the Claremont Graduate University.

Eveleth Green Gallery:
Evolving Natrually
Alma Gomez

The artwork presented in this exhibition represents three phases of my artistic journey. As an artist my work has evolved over the course of forty plus years. My formal education has been in painting/drawing and within this scope I have chosen to work in a representational style in the tradition of portraiture. Inspiration for this genre has been my Mexican American heritage. During and after graduate work I explored Mexican cultural traditions, Mesoamerican art and culture, the concept of “nepantla,” and the colonial religious Mexican folk art tradition of Mexican retablos and ex-votos.

While continuing to work in painting and drawing, between 2002 and 2015 I also worked on murals. During this time I was commissioned to paint seven murals. By the time I completed the last mural I was ready for a change. After spending many years working on large and busy murals I began to yearn for a more intimate form of expression. I wanted to make work that was personal and smaller in scale.

What ultimately led me to weaving started fourteen years ago when I spent some time with women potters from the Hopi reservation in Arizona. I was impressed with how these women made their gorgeous pottery. Everything they needed to make their work, from start to finish, came from the landscape they lived in. This experience was profound to me and I began to think about how I could use my appreciation for the landscape in my work.

I have resided in the Pacific Northwest for over thirty years. Walking to a mountain ridgetop, walking through forests, meadows and shrub-steppe desert landscapes has resulted in an appreciation for this beautiful and inspiring landscape. When I am out in the landscape I feel the ancestors have called me out there to remember how to recognize and use the plants for my work. My work in basketry represents my spiritual connection to the land and in using natural plants and materials to create. I began weaving baskets, first with pine needles from ponderosa pine trees and then gradually began experimenting with other materials. The act of harvesting, preparation and weaving is primal, meditative and I feel a quiet sense of connection to the ancestors and to nature.

Community Gallery:
99 Reasons Why
Robin Mayberry

Hallway Gallery:
Transitions
Diane Franchini

My roots stretch deep into the soil of the Enumclaw Plateau, with my father’s ancestors dating back several generations. But my mother gave me my creative wings; I grew up watching her perfect one art form after another.
My “formal” art instruction leaped around from oils to acrylics, pen and ink, black and white photography, and even floral design. When I retired from teaching English for 31 years I immediately enrolled in watercolor classes. My formal instruction grew from several local artists, workshops with Eric Weigardt, Robert Burridge, and Tom Lynch, and two separate Taos, NM Intensive Workshops led by Christopher Schenik, Alex Powers, Fran Larsen, Katherine Chang Lui, and Skip Lawrence.

When talking about my work I believe that to grow as an artist, my work can not be static. I started with photorealistic watercolor, but through the last 20 years, I learned how to soften the realism, discovered passion in landscapes, seascapes, and old architecture, and most recently I have dipped into mixed media acrylics and abstracts. I love to experiment and allow whimsy to happen. There have been common threads running through all my transitions. I always strive to create subtle impressions that invite personal connections. I believe my paintings have something to say. I feel a sense of history and of belonging in my paintings. Most importantly, I am always challenging myself to paint poetry rather than novels – to allow shapes to communicate the essence.