Seattle - Art

"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...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutti...

"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...

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...

"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...

"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...

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...

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...

"Archaic Fluxations" by Rya Wu carries a playful yet tentative energy, alive with motion and curiosity. It draws on a sense of whimsy and quiet structure, where intuitive forms feel ...

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...

"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...

"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...

Archival photo print under acrylic glass. Signed and Numbered by the artist. Edition of 3. Dimensions: 18x 15 x 15 in. Depth: 1 in. Total Dimensions: 48in X 97.4 in Artist and pho...

In “Daydreaming”, Christy Hopkins allows the painting to unfold intuitively—built through layers of gesture, revision, and response. Without a fixed roadmap, the composition evolves ...

Archival photo print under museum acrylic. Three prints, 3 x 24x24" (each) Signed & Numbered by the artist Edition of 5 Montreal-based artist and photographer Paul-Émile Rioux has...

Archival photo print under acrylic glass. Dimensions: 18x 15 x 15 in. Depth: 1 in. Space in between each panel: 1.5 in. Total dimensions: 48 x 97.5 in. Artist and photographer Pau...

"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...

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...

Archival pigment print under a 1" thick diamond acrylic block. Dimensions: 9 15 in x 15 in. Depth: 1 in. Space in between each panel: 1.5 in. Total dimensions: 48 x 48 in. Wit...

"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...

Cups “G” by Nancy Mintz is a one-of-a-kind, hand-crafted wall sculpture that has a quiet, ethereal presence, formed from fine brass wire that moves across the wall like drawn lines. ...

The Field Beyond by Guinevere Johnson is a richly rendered Impressionist mixed-media painting. Deep indigos shine through an array of warm, earth tones, creating a field of depth and...

Archival photo print under museum acrylic. Dimensions: 48 x 48 in. Depth: 1/4 in. Edition of 5 Montreal-based artist and photographer Paul-Émile Rioux has been creating virtual wor...

Medium: Archival pigment print under acrylic glass. Dimensions: 60 x 60 in. Depth: 1/8 in. Signed by the artist. Edition of 3. RIOUX's Seer Masterprints: With NFT and Certificate ...

"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...

“In The Open” by Rebecca Stern has a serene, airy presence, defined by negative space and fluid, organic forms. Soft washes of peach and pale blue drift across the surface, contraste...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach RIOUX is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. --- RIOUX started the Cloud project in 2022. Paul-Emile Rioux’s series Cloud, like his other work, is a kind of aesthetic thought experiment. Each square image is bisected symmetrically, or nearly symmetrically, by a tidy horizon. The upper half display forms that appear as clouds, the bottom as an underwater seascape, yet at the same time mimics the cloudlike formations of above. Formally these works reference hard-edged abstraction, minimalism and abstract expressionism, though juxtaposed with a sort of Instagram lifestyle sensibility. When shown as a gridded series, they recall the Instagram account @insta_repeat which curates gridded typologies of nearly identical influencer photos – for instance sunsets on a beach, or campfires with hiking boot clad feet visible in the foreground, transforming images, which individually are meant to signify the good life, into symbols of stifling homogeneity, cynically trying to capitalize on mass-produced sensations. Unlike past movements in abstract or minimal art, however, Rioux is not striving to create self-contained objects, but windows into deeper currents that churn in the dark spaces where culture, technology and the subconscious flow together. Rioux’s digital works are not specifically images, but notes, ways of thinking. They connect to a larger discourse. With Clouds, Rioux thinks aloud about what is hidden and what is revealed in our relationships to technology and nature. It is a meditation on “the cloud,” which, like real clouds, seem immaterial, but in fact are physical and have a material impact on the world. Rioux considers the juxtaposition between weight and weightlessness – the apparent weightlessness of virtual reality, against the mass, the inescapability of the material world. Technology promises a world of lightness, connectivity and the bounty of limitless growth, or if it cannot quite muster that illusion, at least the offer of escape into a simulated universe of carnivalesque distraction shepherding us away from the environmental catastrophe our economic system inflicts on the earth. In this series Rioux asks us to reflect on what the clouds hide. There are 18 pieces in the Cloud collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery...

Archival pigment print under a 1" thick diamond acrylic block. Dimensions: 9 15 in x 15 in. Depth: 1 in. Space in between each panel: 1.5 in. Total dimensions: 48 x 48 in. With ...

Archival photo print under acrylic glass. Three prints, 3 x 48x48" (each) Signed & Numbered by the artist Edition of 3 Artist and photographer Paul-Émile Rioux lives in Montréal, C...

Flora by Guinevere Johnson is a mixed-media oil painting that radiates a rich, expressive energy. The composition feels abundant and immersive, with bold, gestural marks creating mov...

Blue Hour by Ericka Wolf is an abstract oil painting on wood with a soft, minimalist gradient, moving from warm cream tones at the top to cool, deep blue at the bottom. It feels calm...

Stipule by Trisha Gilmore is an acrylic, mixed-media painting on canvas that invites a lush, intuitive, and quiet energy. Soft minty greens set an airy backdrop, while layered brushs...

Masterprint with NFT and Certificate of Authenticity Archival photo print under acrylic glass. Edition of 3 Masterprint + NFT Dimensions: 2x 60x40 in. Depth: 1/8 in. About the Mas...

Let Go by Guinevere Johnson is a luminous and fluid mixed-media painting. The composition contains a bright blue ground carrying clusters of warm rose, plum, and golden tones that dr...

Untitled I by Rubeena Ratcliffe is an abstract painting layered with geometric forms, float-framed in light wood. Subtle linear textures appear throughout the shapes, adding gentle r...

Cups "B" - is an one-of-a-kind, hand-crafted, abstract wall sculpture of fine brass wire, employed gesturally, like pencil lines, covered with a soft Japanese paper, creating translu...

Dānsa by Rubeena Ratcliffe is a bold abstract painting layered with geometric forms, float-framed in light wood. The overlapping shapes and subtle hand-drawn line textures create a s...

Expansion by Ben Schwab feels lush, luminous, and rhythmically alive, capturing a landscape through energetic, layered brushwork rather than fixed detail. Bold, gestural strokes scat...

Archival photo print under acrylic glass. Three prints 3 x 48x48" (each) Height: 48 in Width: 48 in Depth: 1/8 in Signed & Numbered by the artist Edition of 3 Total: 156 in ...

Bed, Original Contemporary Surrealist Painting, 2012 18" x 11.25" x 1.625" (HxWxD) This muted, dream-like surrealist painting by artist Megan Frazer can be compared to both the subject matter and painterly style of the work of Leonara Carrington...

Non Dual Form #31 by Paige Stewart is a one-of-a-kind ceramic abstract sculpture featuring a compact, monolithic form finished in a sleek, luminous metallic glaze. Its smooth, weight...

“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...

Archival photo print under acrylic glass. Edition of 5 Dimensions: 3x 48 x 48 in. Depth: 1/4 in. RIOUX started the Cloud project in 2022. Paul-Emile Rioux’s series Cloud, like his ...

Bodies At Rest #29 by Paige Stewart is a one-of-a-kind ceramic sculpture that presents a tall, pared-down human form shaped by gravity and internal force. The slick bronze metallic g...

"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...

“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...

Artist Commentary: This painting is dominated by a sky filled with variegated and undulating storm clouds broken by the light of an unseen sun. The hillside below is scattered with typical Seattle dwellings whose lighted windows suggest residents within taking shelter from the storm...

"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...

"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...

Bodies at Rest #26, is a one-of-a-kind, ceramic abstract figurative sculpture by Paige Stewart in a modern matte black glaze is an abstracted figural form that captures how the laws ...

“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...

Found It, Original Signed Contemporary Satirical Surrealist Painting, 2014 18" x 11" x 1.625" Gouache on Wood Panel Hand-signed by the artist. When socks go missing, this disarticulated human arm can find them! In this dream-like surrealistic painting by artist Megan Frazer a laundry basket full of blue, red, and yellow clothing...

“Passage in Between” by Mark Russell Jones is a moody, atmospheric seascape dominated by a vast, brooding sky; this painting captures a moment of ra...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach RIOUX is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. --- RIOUX started the Cloud project in 2022. Paul-Emile Rioux’s series Cloud, like his other work, is a kind of aesthetic thought experiment. Each square image is bisected symmetrically, or nearly symmetrically, by a tidy horizon. The upper half display forms that appear as clouds, the bottom as an underwater seascape, yet at the same time mimics the cloudlike formations of above. Formally these works reference hard-edged abstraction, minimalism and abstract expressionism, though juxtaposed with a sort of Instagram lifestyle sensibility. When shown as a gridded series, they recall the Instagram account @insta_repeat which curates gridded typologies of nearly identical influencer photos – for instance sunsets on a beach, or campfires with hiking boot clad feet visible in the foreground, transforming images, which individually are meant to signify the good life, into symbols of stifling homogeneity, cynically trying to capitalize on mass-produced sensations. Unlike past movements in abstract or minimal art, however, Rioux is not striving to create self-contained objects, but windows into deeper currents that churn in the dark spaces where culture, technology and the subconscious flow together. Rioux’s digital works are not specifically images, but notes, ways of thinking. They connect to a larger discourse. With Clouds, Rioux thinks aloud about what is hidden and what is revealed in our relationships to technology and nature. It is a meditation on “the cloud,” which, like real clouds, seem immaterial, but in fact are physical and have a material impact on the world. Rioux considers the juxtaposition between weight and weightlessness – the apparent weightlessness of virtual reality, against the mass, the inescapability of the material world. Technology promises a world of lightness, connectivity and the bounty of limitless growth, or if it cannot quite muster that illusion, at least the offer of escape into a simulated universe of carnivalesque distraction shepherding us away from the environmental catastrophe our economic system inflicts on the earth. In this series Rioux asks us to reflect on what the clouds hide. There are 18 pieces in the Cloud collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery...

"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...

Archival photo print under acrylic glass. Dimensions: 48 x 48 in. Depth: 1/4 in. Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge media technology as well as his expertise in photography cast him as pioneer in digital art and allow him to develop virtual matrix from which he extracts his images. In his works he explores a universe that lies at the crossroad of abstraction and the figurative, inviting the viewer to determine if what he sees is a reflection of reality or imagination. Through is truly unique approach RIOUX is one of the most innovative artists in digital creations and one of the few creative minds able to blend with such keenness aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offers a dystopian view of the world, challenging our attitude towards the environment and the future. From the onset, RIOUX has no intention of matching IRL expectations of what digital art 'should' look like, but strives to play with our notions of what's real, what's not, how we remember, and how we infer meaning into imaginary visual constructs. --- RIOUX started the Cloud project in 2022. Paul-Emile Rioux’s series Cloud, like his other work, is a kind of aesthetic thought experiment. Each square image is bisected symmetrically, or nearly symmetrically, by a tidy horizon. The upper half display forms that appear as clouds, the bottom as an underwater seascape, yet at the same time mimics the cloudlike formations of above. Formally these works reference hard-edged abstraction, minimalism and abstract expressionism, though juxtaposed with a sort of Instagram lifestyle sensibility. When shown as a gridded series, they recall the Instagram account @insta_repeat which curates gridded typologies of nearly identical influencer photos – for instance sunsets on a beach, or campfires with hiking boot clad feet visible in the foreground, transforming images, which individually are meant to signify the good life, into symbols of stifling homogeneity, cynically trying to capitalize on mass-produced sensations. Unlike past movements in abstract or minimal art, however, Rioux is not striving to create self-contained objects, but windows into deeper currents that churn in the dark spaces where culture, technology and the subconscious flow together. Rioux’s digital works are not specifically images, but notes, ways of thinking. They connect to a larger discourse. With Clouds, Rioux thinks aloud about what is hidden and what is revealed in our relationships to technology and nature. It is a meditation on “the cloud,” which, like real clouds, seem immaterial, but in fact are physical and have a material impact on the world. Rioux considers the juxtaposition between weight and weightlessness – the apparent weightlessness of virtual reality, against the mass, the inescapability of the material world. Technology promises a world of lightness, connectivity and the bounty of limitless growth, or if it cannot quite muster that illusion, at least the offer of escape into a simulated universe of carnivalesque distraction shepherding us away from the environmental catastrophe our economic system inflicts on the earth. In this series Rioux asks us to reflect on what the clouds hide. There are 18 pieces in the Cloud collection. Each archival pigment print is produced under the supervision of the artist. The print is mounted under a single piece of 1/4"/ 6 mm gallery museum acrylic...

"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 ...

"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...