Seattle Art Source

“Red and Grey Sublimation” is a raw, atmospheric portrait of a young figure, her long dark hair merging with the turbulent ground around her as if she is simultaneously emerging from...

“Angelina Again” is a brooding, expressive portrait of a figure in profile, her gaze cast downward with a quiet intensity. The face and neck are rendered with surprising precision ag...

“Veil” is a raw, close-up study of draped fabric that pushes toward abstraction without fully leaving the physical world behind. Angular brushstrokes and scraped whites carve out the...

“She's Electric No. 2” carries a quiet charge, Rohland balancing control and spontaneity as bold gestures emerge alongside more subtle, textured moments. The palette shifts between g...

"Form, Entangled with the Spirit I" moves through a duskier register — mauve, plum, and warm grey-brown blending into a deep, smoky base, with faint vertical striations of coral bleeding up from beneath the surface like an underlying pulse. The orange-red edge intensifies the painting's warmth even as its center holds a cooler, more contemplative shadow. True to its title, the piece feels caught between material and immaterial, form dissolving into something less fixed the longer it's observed. Mark Russell...

"Space Behaving Strangely I" moves through soft, hazy blue-greys, the palest tone gathering near the upper third before deepening gradually toward a smoky slate at the bottom. The effect is quietly disorienting — the canvas offers no fixed horizon, no clear sense of near or far, only a slow atmospheric drift that seems to shift the longer one looks. True to its title, the painting suggests space behaving less like a container and more like a living, unstable condition. Mark Russell...

"Echoes in Color II" builds from a pale, warm khaki at the top into a deep, smoky umber at the base, the coral-red edge of the canvas pulsing faintly against the muted interior. A soft gold glow surfaces at the upper right, as though caught in the last moment of sunset before the color fully recedes. The painting's quiet drama lives entirely in its gradations — warmth and shadow negotiating a slow, wordless exchange across the surface. Mark Russell...

"Echoes in Color I" moves through a warm khaki-to-umber descent, the light pooling insistently in the lower left, a soft gold warmth breaking through the surrounding haze. The coral edge underlines the composition like a held breath, framing a field that seems to shift depending on the light in the room. Jones' hand is felt throughout in the subtlety of the transition — nothing abrupt, everything arriving by degrees. Mark Russell...

"Deepest Remains II" holds a warm, golden register — khaki and olive tones deepening into a soft charcoal-brown at the base, with a yellow-gold edge that frames the canvas like the last visible light at dusk. The gradient here feels heavy and submerged, evoking sediment settling through still water. The painting rewards slow looking, its shifts registering more as felt sensation than observed change. Mark Russell...

"Ancient Associations II" moves through a soft sage-to-olive gradient, hazy and diffuse, the transition between light and dark settling low on the canvas. Warm gold breaks through faintly at the right edge, glowing beneath the cooler green surface like an old memory resurfacing. The painting carries a quiet, meditative stillness — color shifting so gradually that the eye can never quite locate where one tone ends and the next begins. Mark Russell...

"Ancient Associations I" moves through a hushed range of sage, moss, and pale citron, the color pooling into deeper olive-black at the base as though light were draining slowly out of the canvas. A warm gold undertone flickers at the lower left edge, the only hint of heat within an otherwise cool, atmospheric field. Jones' characteristic gradations feel almost meteorological here — less a fixed image than a moment of weather caught mid-shift, holding the memory of something seen once and only half-retained. Mark Russell Jones...

"Just A Ride" by Allison Rohland stretches its richly worked passage of color horizontally across a deep, forest-toned ground, the composition reading like a loaded cart or window bo...

"Head Over Heels" by Allison Rohland gathers a vivid, tumbling arrangement of ochre, blush, sage, and cobalt at the center of a moody, charcoal-toned field. The thickly built impasto...

"Circle of Light" by Teresa Smith draws the viewer down a forest path toward a luminous center — golden yellow and warm white light radiating outward in an oval blaze, framed by the ...

"Woodland Temple" by Teresa Smith looks upward through a grove of ancient redwoods — their massive trunks rendered in deep, saturated orange-red rising from a dense, exuberant ground...

A pale, hazy sky settles over two soft headlands that lean toward each other, framing a quiet gap of blue-white light where sea meets horizon. Below, a still expanse of water gives w...

A soft haze of peach, gold, and pale blue drifts across the upper third of the canvas before settling into a wide, unbroken expanse of blue that deepens as it descends — from a lumin...

Charcoal, smoke, and burnt umber gather in dense, weathered clouds across this large-scale canvas, thinning at the lower right into pale ash and bone. Fine white scratches cut throug...

Cool slate blue anchors the left edge of this canvas, dissolving into warm bands of copper, rust, and glowing amber that shift and pool across the surface like light passing through ...

A quiet field of terracotta, bronze, and pale bone drifts across the canvas, its surface fractured by a fine network of cracks that catch the light like sun-baked earth. The composit...

Sand, ochre, and smoke move across this canvas in slow, overlapping bands, with a web of fine cracks spreading through the upper surface like a map of accumulated time. Where the pal...

Butter yellow floods the ground of "Spiky Mountain Inside," out of which a dense, jewel-toned cluster of blue, crimson, and orange erupts like a bloom caught mid-motion. Hopkins' cha...

A cascade of rust, teal, and denim blue tumbles down the canvas in "Salt & Velvet," Christy Hopkins' gestural mark-making building a surface that feels both weathered and rich. R...

"Indigo Garden Party" bursts with a lush tangle of blue, coral, lavender, and jade, Christy Hopkins' brush moving with the same intuitive energy that defines her signature style. Thi...

"Road to Hana" moves like a journey through dense, tropical color — teal, cobalt, and jade give way to hits of fiery red and gold, all threaded together with loose, calligraphic line...

"Non-Dual Black Squat" is a one-of-a-kind ceramic sculpture by Paige Stewart, finished in a smooth matte black glaze, whose wide, low-slung form departs from the vertical orientation...

"Non-Dual White" is a one-of-a-kind ceramic sculpture by Paige Stewart, finished in a matte white glaze, whose gently tapered ovoid form rises from a flattened base to a softly point...

"Non-Dual Green XXI" is a one-of-a-kind ceramic sculpture by Paige Stewart, finished in a matte sage-green glaze with deep charcoal pooling at the portal, whose tall ovoid form carri...

"Non-Dual Reflective Form IV" is a one-of-a-kind ceramic sculpture by Paige Stewart, finished in a lustrous pearl-white glaze, whose compact, domed form sits low and grounded while a...

"Non-Dual Reflective Form XVI" is a one-of-a-kind ceramic sculpture by Paige Stewart, finished in a matte white glaze, whose tall, elongated form rises with quiet authority to an arc...

"Non-Dual Absorptive Form IX" is a one-of-a-kind ceramic sculpture by Paige Stewart, finished in a matte black glaze, whose smooth, rounded mass draws the eye inward toward a deep co...

“Star Vineyard” by Guinevere Johnson is a luminous abstract mixed-media painting that evokes the feeling of light filtering through mist at dawn. Layers of soft celadon, sky blue, la...

“Rose Garden” by Guinevere Johnson is a richly textured mixed-media painting that immerses the viewer in a dreamlike garden of color and light. Layers of deep emerald, teal, and indi...

"Circus, Africa" by Sharon Habib is among the most restrained and architecturally composed of her works — muted tones of taupe, sage, terracotta, and slate blue arranged in broad, ov...

"Opening Act Part 1" by Sharon Habib stages its drama in the upper register — a sweep of warm orange pushes across the top of the canvas, flanked by deep navy on the left and crimson...

"Magic in the Air" by Sharon Habib compresses its energy into the upper portion of the canvas — a collision of bright blue, chartreuse-yellow, pale cream, and deep burgundy-red in br...

"Dazzling the Crowd" by Sharon Habib erupts with color — a vivid chartreuse-yellow mass occupies the upper right, thrown into sharp relief by the dense, multi-colored cluster of blue...

"Torn" is Bassett's most intricately patterned work, its luminous white Tadelakt surface carved with a dense, all-over geometric lattice of triangles, diamonds, and star forms that d...

"Night Train" is built around a single, arresting gesture — a rounded rectangular void cut through the right side of the Tadelakt plaster panel, opening completely through the work t...

"Cigne Noire" conjures a swan in its most dramatic and vulnerable moment — wings splayed, neck curling downward in a gesture that reads equally as ecstasy and surrender — rendered en...

"Claws Out" is Bassett's most architecturally assertive work, its wide horizontal format hosting a series of sharp, shelf-like plaster ledges that thrust outward from the surface on ...

"In This Moment" is luminous and breath-like, its Tadelakt plaster surface rendered in warm white, pale stone, and soft greige that feels open and quietly meditative. Small raised re...

“Flower Study I” by Dawn Bassett presents a delicate, tactile composition. Centered on a square field of softly embedded floral motifs, subtle relief patterns are interspersed with s...

“Flower Study II” by Dawn Bassett is a minimalist circular piece divided into four subtle quadrants, each featuring delicately embossed floral motifs. The palette stays within soft w...

"Behind Me" is a study in monochromatic depth, its surface of Moroccan Tadelakt plaster working entirely within a range of charcoal, graphite, and deep black to create a world of sur...

"Tick Tock" arranges a grid of capsule-shaped forms across a warm blush Tadelakt ground — each one divided precisely between charcoal and white, repeating with the measured regularit...

"Picnic" is a joyful departure in tone, its circular Tadelakt plaster panel — warm white and luminous as a summer afternoon — hosting a cheerful scatter of daisy-like flowers that ra...

"Scent" is an exercise in the beauty of near-invisibility, its pale Tadelakt plaster surface carved with large, overlapping floral forms that reveal themselves slowly — petals, fans,...

"Two Women on the Shore No. 2" by Zachary Schomburg is the most architectural work in the series — vertical columns of color in terracotta, green, gold, cream, teal, navy, and red-or...

"Two Women on the Shore No. 4A" by Zachary Schomburg runs six broad diagonal stripes — terracotta, yellow, black, green, blue, and cream — from the upper left to the lower right of t...

"Two Women on the Shore No. 6B" by Zachary Schomburg brings its stripes together in a broad inverted V — two groups of diagonal bands entering from the upper left and upper right, co...

"Two Women on the Shore No. 7A" by Zachary Schomburg is the mirror companion to No. 7B — here the black field occupies the left, a pale circle resting within it near the lower edge, ...

"Two Women on the Shore No. 7B" by Zachary Schomburg is one of the most compositionally dramatic works in the series — alternating stripes of terracotta and pink fill the left half o...

"Two Women on the Shore No. 8A" by Zachary Schomburg draws its stripes downward from the top edge in a loose V-shape — pink, green, terracotta, black, blue, and cream converging towa...

"Two Women on the Shore No. 8B" by Zachary Schomburg sends its stripes diagonally from the upper left, a group of parallel bands in green, terracotta, yellow, black, and blue sweepin...

"Flying High" by Sharon Habib works in a cooler, more restrained palette than much of the series — a pale grey and off-white ground dominates the lower two-thirds, while bold black, ...

"Electric with Anticipation" by Sharon Habib builds its composition in horizontal registers — an airy, pale upper field threaded with loosely drawn circles in white and amber gives w...

"Random Acts" by Sharon Habib is one of her most layered and narratively rich works — a pale upper ground carries a block of handwritten numbers and letters in the upper right, half-...

“Soft Shadows 2” is a meditative work on paper built from rows of small, hand-rendered oval forms in a near-monochromatic palette of white, silver, and soft black. This iteration fee...

“Soft Shadows 1” is a quiet, meditative work on paper that marks a striking departure from Myers' vibrant color fields — here, rows of small hand-rendered oval forms fill the surface...