On a break from painting the gallery walls.
Pretty sure I'm not supposed to be up on this ledge.
I'd like to go swimming in that pool next door.
I would also like a Martini.
A Show About Communication
Curated by Julia Hensley
Featuring new work by Sharon Arnold, Anne Blackburn, Cable Griffith, Troy Gua, Robert Hardgrave, Julia Hensley, Counsel Langley, and Amy-Ellen Flatchestedmama Trefsger
Artists' Reception & Lecture
Friday, August 2 | 6pm - 8pm
Visual | Verbal
In Conjunction with BLACKgreyWHITE
A Talk by Julia Hensley, with John Boylan
Geo Studio, 3rd floor | FREE
Artist statements, curator notes, wall texts, visitor guides and reviews each serve a purpose, but how does their presence affect how we encounter visual art? What is the relationship of written and spoken language to silent, visual language; and how do words influence both the viewer’s experience and the artist’s process?
August 2 - September 6
Open daily 10am - 6pm
The Steele Gallery
Gage Academy of Art
1501 10th Ave E
Seattle, WA 98102
For an artist curating her first show, seeing new work by esteemed peers in your inbox is like getting presents when it's not your birthday.
The artists in this show rose to the challenge of creating works entirely in black or white, which I'm installing as metaphors for polarized viewpoints, connected by works in grey, which represent the possibility for compromise, mutuality and commonality.
I'm excited and honored to share the results with you in the beautiful Steele Gallery at Gage Academy. Please join me for the opening!
I'll also be giving a talk, so stop in to the Geo Studio at 7 for Visual | Verbal, moderated by writer, provocoteur and seasoned facilitator of roundtable conversations, John Boylan.
Though I've been swimming in Amy Denio and Beth Fleenor's clarinet and vocal duets, watching Aiko and Aaron crouched on the floor deep in discussion and picking my way between dancers stretching on the floor on my way to attach squares of paper to the wall or tweak a plastic drop, I had no idea how the whole vision of the latest version of Constellation Half-Remembered would unfold or what exactly was going to happen until last night, when I got to experience the show as a member of the audience.
PATINA is the nickname for this leg of the ongoing artistic adventure that is UMAMI Performance's ambitious project around the theme of memory. It takes place in the U District at Open Flight Studio, and I've been creating and installing my set, which I think of as a kind of three-dimensional painting, over the past several days.
Making my way past dancers on the blue-green stairs, up to the landing where my collage of photocopied memories covers a wall, into the back room where a dancer performs on a platform, and through the door into the orange glow of the main space, it's almost like I've never seen it before even though I just got done installing it an hour before.
Seeing dancers moving around in the space makes the painting come to life in a way I've only dreamed of.
The show was sold out, with a beautiful crowd filling the room and the risers. Thanks to everyone who came to see it! A few spaces are still available for tonight's show and tomorrow's matinée. If you come, make sure to check out the concession stand in the closet, and the bathroom walls.
Constellation Half-Remembered | PATINA tickets
At last night's dress rehearsal for Constellation Half-Remembered, I watched the white-and-black clad bodies of the dancers flow around my latest, three-dimensional painting and felt a thrill of satisfaction.
An idea that began with a word and a vision suddenly was real.
I can't wait to see how it looks with lighting, and the other secret surprise elements I have planned. Not to mention the music by Amy Denio and Beth Fleenor, projections by Katherine Padberg, and lighting by Amiya Pennebaker-Brown.
Amy and Beth were sitting on the floor near me with their clarinets as the late sun came through the windows and the dancers rehearsed their sections, with names that mean something only to them, like "kelp forest" and "scooby snacks". Then they got up and moved around the dancers, their voices resonating in the high-ceilinged space as the evening sun came in the windows.
Open Flight Studio suddenly felt full of light, sound, movement and this wonderful atmosphere of collaboration. I feel lucky to be a part of this project.
Happy 4th, everyone! I'm celebrating independence on a ladder with plastic, paint, blue tape and scissors. Okay and later, if all goes well, beer and fireworks.
I hope you'll come and see for yourself. Three shows this weekend:
“Memory is imagination in reverse.” ― Stephen Evans
Next weekend, Constellation Half-Remembered: PATINA takes the stage at the beautiful Open Flight Studio space in the U District, with live music, an expanded cast of dancers, and my latest installation.
This is the latest phase in an ongoing artistic adventure with UMAMI Performance. It's pretty exciting working in an environment where my visual art is one element in a conceptual whole. No-one knows what it will all "do" until the performance brings everything together with you, the audience.
You're warmly invited to experience the unpredictable theatrical results.
Friday, July 5 and Saturday, July 6
Sun July 7
Open Flight Studio
4205 University Way NE
Seattle WA 98145
Visual art: Julia Hensley
Lighting & Technical Direction: Amiya Brown
Live Music by: Amy Denio & Beth Fleenor
Video: Kathryn Padberg
Dancers: Katie Arrants, Aiko Kinoshita, Elia Mrak, Laura Prudhomme, Shannon Steward, Jeremy Cline, Johanna Hulick, and Aaron Swartzman
Concept and Direction:
UMAMI Performance | Aiko Kinoshita & Aaron Swartzman
|Constellation Half-Remembered is a performance series developed around the theme of memory.
Memories are malleable, impermanent, and central to the narrative of who we are. Each performance event in the series is purposefully crafted to be similar and different than those that have come before it. Sections will be re-made, re-ordered, deleted, or paired with different music.
Think of it like reading multiple drafts of a novel years apart, the bones are the same, but the flesh moves. Like a memory recalled multiple times and embroidered or edited each time to fit the needs of the present, each performance will be increasingly rich and memory stained for those who witness more than one event of the series.