ART + WINE
The gallery at Foundry Vineyards opened in 2010 and has been fortunate to exhibit artists such as Deborah Butterfield, Ai Weiwei, Chuck Close, Kiki Smith, Matthew Day Jackson, Rob Pruitt, James Lavadour, and more. In the gallery, we aim to exhibit a diverse group of established artists, mediums, and concepts predominantly in the vein of contemporary art.
The gallery hosts quarterly exhibits. Though the dates are subject to change, art openings typically occur in February, May, August, and November and are co-curated by owners Lisa & Jay Anderson. The Foundry Vineyards gallery is not open for artist inquiries, however the Andersons believe strongly in collaboration and are open to proposals from art and humanities focused organizations.
Curated by Sallyann Corn of fruitsuper
November 2022 - January 2023
ABOUT THE SHOW
As we continue to explore, experiment and wander—what threads have remained constant and which have dissolved? These selected works explore the steadfastness of materiality, familiar color palettes, and thematic tendencies alongside the alternate paths where curiosity and straying led to gorgeous new narratives.
This exhibition celebrates the ebbs and flows of our creative paths and the interconnectivity to what now remains.
ABOUT THE ARTISTS
Jessica Flores is a multi-disciplinary artist who was born in Mexico, raised in the San Francisco Bay Area, and is currently living and creating in Portland, Oregon. She studied Creative Writing at SFSU & spent 6 years as a florist before dedicating herself full time to beading & painting in 2019, launching her brand Ukaome. Self taught, all designs are original and handwoven by hand with needle & thread, no use of loom. Every piece is inspired by her roots: her home state of Jalisco MX, its colors, and its beautiful people.
Jazz Brown is an autodidact who uses acrylic paint to create vivid, expressive compositions. His artistic approach presents intense vibration through contrasting hues, shapes, and textures. He is inspired by both the Minimalism art movement and the Bebop jazz offspring from the 1960’s. Brown describes his technique as “consciousnesses on canvas.”
Born in Savannah, Georgia, Brown was exposed to art via The Savannah College Of Art And Design, and its contribution to the city. In 2004, he moved to Seattle, WA. Energized by the surrounding art scene, but without an arts education, Brown was determined to become a painter. The simplicity of Minimalism and the improvisation of Bebop birthed a style now known as “cosmic decomposition.” Themes of oneness in a world obsessed with duality became the motif. What started as angular in nature morphed into curvaceous interconnected silhouettes.
Tim Fowler has always made art, probably to use that part of his mind not engaged by the highly repetitive mill jobs he worked in his youth. Originally from Western Massachusetts, Fowler has lived in Seattle since 1977. He began work in the trades in the 1980s, and has always been one to use what was at his disposal. Fowler is almost always working on something, so the words “studio,” “shop,” and “living-space” are almost interchangeable in his case. Employing a variety of mediums, he builds dioramas of scenes from his past; carves wood sculptures; works with ceramics, concrete, or found metal; and creates mosaics.
This new collection of abstract paintings was initially inspired as Fowler admired the wayward marks left on wood panels during his printmaking process. After several years in development, Fowler sees these paintings as a marriage between his painted cityscapes and 3-dimensional forms and figures skinned with tile mosaic.
Growing up in Arlington, Virginia, Pat Kim was curious; always interested in seeing how things worked, fixing things, taking them apart and trying to put them back together. An ingenious uncle who ran a deli next to his mother’s dry-cleaning shop had a big influence on Kim. “He grew up in the country, and he would teach me how to make little traps or slingshots or fashion little sleds out of whatever farm material,” Kim recalls.
Educated in New York and Germany, Kim opened a woodshop post-graduation and began an ongoing enchantment with the wood lathe. Encouraged by the exploratory process, his sculptural forms inform his 2D printmaking and the two processes have an ongoing dialogue. His playful approach results in a wide range of objects and art forms.
Ko Kirk Yamahira
Seattle-based artist Ko Kirk Yamahira has exhibited in galleries and museums in the United States and Japan. At a glance, Yamahira’s hanging objects situate themselves outside the dichotomy of painting/object (sculpture).
By unweaving the threads, Yamahira spatially expands the two-dimensional canvas, while the relocated wooden frames allow for numerous installation possibilities, each show/wall therefore offering a new set of forms that the same “object” produces. Shadows and the white wall become a part of each piece, extending and blending it with the outside world, destroying the distinctions between the individual and the collective, and the partial and wholesome. While the totality of viewing angles from which to perceive an object can never be achieved, Yamahira’s deconstructed and re-constructed pieces point to a place beyond partial visual identification, where the object may exist in its multidimensional totality; a meditative, wordless, endlessly creative and tranquil space, the glimpses of which Yamahira offers to the viewer. Yamahira creates site specific pieces based on detailed information about the location.
Arielle Zamora is a Portland, Oregon-based painter and printmaker. They graduated in 2013 with a BFA in Painting and Drawing from The Oregon College of Art and Craft.
Zamora’s artworks are characterized by a rigorous geometry, with orderly shapes and carefully etched lines counterbalanced by inviting colors and rounded forms. Inspired by architecture; clean lines, order, windows and repetition that creates a grid.
The paintings in this collection feature layers of paint and joint compound as an exploration of line and form, and ultimately a study in repetition. The mathematically-informed, hand-carved lines and patterns contrast with softer elements like subtle color relations and chance imperfections in the ground to create unexpectedly tender ruminations on shape.
Cindy Hsu Zell is a Los Angeles-based artist whose approach to art stems from a love of nature and movement as well as a deep curiosity about form, texture, and finish. Her work is process and material-driven, with individual pieces serving as studies on gesture, curves, depth, and weight.
Zell’s latest series of reliefs explore the technique of wood carving as excavation. Biomorphic forms are revealed in a subtractive process, unearthing seemingly mundane observations and feelings carved out of solid blocks of hardwood. Each piece memorializes something in particular: an everyday object, a small gesture, a fleeting moment, a shared memory, or a specific time and place.