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 Back  Vignettes | Washington | Nov/Dec/Jan 2010-2011

By Allyn Cantor

GLIMMERING GONE: BETH LIPMAN AND INGALENA KLENELL Museum of Glass, Tacoma, closes September 6 A cross-continental collaboration and a shared passion for working with glass has resulted in Glimmering Gone, an exhibition of three installations in clear and white glass. The juxtapositioning of pieces by Swedish artist Ingalena
Klenell with European-inspired still lifes by Wisconsin-based artist Beth Lipman provokes questions about the relationship between humans and the natural world. Artifacts confronts viewers with objects from days gone by that otherwise would be disposed of and contribute to our footprint on the environment.

BOWL OF WATER – SUSAN GANS: IMAGES, KIM SCHNUELLE: WORDS, DAVID TRAYLOR: OBJECTS, STU WITMER: SOUNDS Gallery 110, Seattle, November 4-27 bowl of water is a collaborative exhibition exploring broad notions of landscape and sense of place through an installation of sculpture, photo-based imagery, verse and sound. The contributors use the simplicity of a bowl of water to reflect on the multiple attributes of landscape and how it can be broadly interpreted: public or private, safe or dangerous, understandable or ambiguous. The bowl of water serves as a metaphor both for what is contained within the bowl and the endless possibilities reflected on the water’s surface.

GINNY RUFFNER: AESTHETIC ENGINEERING: THE IMAGINATION CYCLE Bellevue Arts Museum, Bellevue. closes February 6 Combining glass, steel and bronze to create plant-like sculptures, Seattle artist Ginny Ruffner responds to recent developments in genetic engineering, specifically gene-sharing between plants and animals. Her lively natural forms imagine the cross-fertilization of flora and fauna in large-scale pieces with motifs such as leaves, flowers and vines. The delicate glass botanical shapes are intertwined with invented metal forms in hybrid sculptures that the artist calls “visual thought experiments”. The organic quality of the work suggests both growth and decay.

MARK REDISKE: ESSENCE Foster/White Gallery, Seattle, November 4- 27 Essence, Mark Rediske’s latest foray in the field of encaustics, represents the fruition of intense, prolonged studio time during multiple trips to Los Angeles. It features an installation of 150 panels each 12 x 12 inches, in addition to 40 panels measuring 16 x 16 inches. The images suggest elements of nature highlighted with heavy or thin drips of wax; Rediske has used his traditional medium to broach the “window of access between the physical and the metaphysical".

JOEL BROCK: CARPE COLOR Lisa Harris Gallery, Seattle, December 2- 30 Joel Brock was raised in farm country outside Carmel, California and currently lives in Washington’s Skagit Valley. His subjects are often agricultural buildings or rural valleys. The realist portrayals have a strong use of colour combined with varied paint manipulation. In Carpe Color, the artist intentionally seizes on the myriad possibilities of colour and applies them as a common thread amongst the artworks. Brock also uses use light and shadow in still life and architectural compositions that are at once graphic and painterly.

Pablo Picasso
Ingalena Klenell
and Beth Lipman, Landscape (detail) (2010), photo by Dan Nilsson

Toby Smith
Skin, a collaboration featuring David Traylor, ceramic bowls and Susan Gans, archival photomontage

Royal Nebeker
Ginny Ruffner
, Botanical Scales for a Horn Flower (2006), bronze, stainless steel & glass

Victoria Adams
Mark Rediske
, Memoria 14 (2009), encaustic on board

Norman Lundin
Joel Brock
, "Buildings of Edison," 2010, acrylic, pastel and charcoal on board

 Sun, Nov 7, 2010