Sisko Gallery, Seattle Washington

Philip McCracken

November 17 - December 31 | View Work

Discription upcoming.

Philip McCracken, Sculpture, Seattle Art Galleries

Charles Emerson

October 13 - November 13 | View Work

Discription upcoming.

Charles Emerson, Painting, Seattle Art Galleries

Review

September 15 - October 9 | View Work

Discription upcoming.

Review, Seattle Art Galleries

Sunday Club

August 25 - September 11

Discription upcoming.

Sunday Club, Seattle Art Galleries

Creatures 2011

July 14 - August 21

Discription upcoming.

Creatures 2011, Seattle Art Galleries

Body Works

May 26 - July 10 | Mel Curtis | Michael Bergt

Showing works by Mel Curtis and Michael Bergt

Body Works, Scupture, Photography, Seattle Art Galleries

Roger Waterhouse | You Push, I Pull

April 13 - May 22 | View Work

Roger Waterhouse’s sculptures are about image and its role in memory and meaning.

Sometimes a simple image can absorb the details of a complex event, taking on the larger meaning or memory of that event. For example, our memory of the Tiananmen Square protest is contained in the single image of a young man clutching his shopping bags - holding up a line of military tanks. The media produced that image, becoming a defining image of Tiananmen, and in turn that single image powerfully impacts the ongoing event.

Sometimes a stream of events takes a sudden shift in its course and we can place an image that explains that shift at a turn in the stream. For Waterhouse, a pink pillbox hat becomes the image that, for him, is at the turn of historic events when JFK is assassinated, and that image is given the power to explain the course of events.

Waterhouse’s images arise more from his personal narrative than public, and so the series of events that inspire the image are not immediately known to the viewer. Instead, he offers us intimate images from the turns and intersections of his life, and because he has a complex and honest connection to his experiences, we are connected to the mechanisms of his image-making; his sculptures are both familiar and concealed.

Roger Waterhouse, Scupture, Seattle Art Galleries

Robert Nelson

February 17 - April 10

Robert Nelson plays with realism as he weaves images of his unreal worlds.

The fabric of traditional realism relies not only on a close relationship of the art image to an objective reality, but also on a close relationship to observed space, time and proportion. Realism can also suggest an interlacing of image with social and political conventions. Nelson teases and unravels the expectations of his audience as he makes his pictures that are of suggestive of realism but are full of mysterious narratives that is patterned with myth and colored in fable.

Nelson uses anachronisms, juxtapositions and distortions of physics and scale as devices to tug at the limitations of the tight grid of traditional realism that surprises the eye.

Nelson uses dreamlike associations of elements in his pictures that suggests that while he uses realism as a point of departure, the expression is not on the surface, but somewhere behind the curtain of the viewer’s imagination.

Robert Nelson, Multi-Media, Seattle Art Galleries

Steve Worthington

January 6 - February 13 | View Work

After graduating art school, Steve continued to study drawing and human anatomy with monastic focus under the watchful eye of art anatomy guru John Watkiss, in London, England. While working there, Steve made frequent visits to museums and galleries to study art, and particularly to draw from sculpture. That rigorous training provided the foundation for a 20 year globe spanning career as an advertising artist, often required to draw any given situation from any angle without reference under very tight deadlines. Thorough immersion in the disciplines of drawing, an interest in painting and sculpture, and a lifelong love of critters great and small have provided Steve with the tools needed to re-focus on a boyhood passion, sculpting animals.

Steve Worthington, Sculpture, Seattle Art Gallerie