Shunpike Proudly Presents Two New Storefronts Installations in Bellevue

Two new Storefront installations – We Are One by Lawrence Pitre, and Measured Entropy by Savina Mason – are now on view at the Meydenbauer Center in Bellevue, WA, now to February 2019.  Presented by Shunpike as part of its acclaimed Storefronts program, the installations have been sponsored by Meydenbauer Center.

ARTIST: Lawrence Pitre

WORK: We Are One















Artist Statement:

“I create visual art to evoke the mind, body and soul, which calls upon memories related to our past, present and contemporary life. Within this scope I probe links between our union, separation, parallels and contrasts. We are one is totally driven by the context of urban renewal and the relationships of personas and displacement related to the central axis of our city. Each approach starts with an open mind and a variety of perspectives. I use my own constructed images as a vehicle for questioning concepts about the role of current traditions, the nature of family and our spiritual connection to the earth. In addition my creative approach underscores the problem and solutions to countless boundaries while exposing the limits of tradition. Just as Jacob Lawrence brought an enormous amount of dignity to his work, I mirror this dignity and create visual art which compels us to stop and think: “Is visual art met to be decorative or a symbol of the culture which we live in”.

ARTIST: Savina Mason

WORK: Measured Entropy

“I work as an encaustic painter and occasionally installation artist. Working now in two dimensions, now in three, allows me to express a wider range of ideas, experiment with materials, and utilize the engineering part of my brain. The periodic changeover strengthens and informs both sides of my practice. An editor at heart, my work is often focused on finding the bare minimum of elements needed to give an idea visual form. As I constantly experiment, my palette of technique, color, and materials is broad, and changes greatly with each project. Previous work as a designer informs my approach to working with color. Conception of landform, observed and imagined, is a recurring theme in my work”.

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Eight New Storefronts Now on Display in South Lake Union

Shunpike proudly presents eight new installations in South Lake Union as part of its acclaimed Storefronts program, on display October 2018-February 2019.

Storefronts South Lake Union presents the last round of installations in 2018- The year is comprised of three rounds themed around the concept of building relationships with cities, people, and nature. In this third round we explore the works of artists exploring issues related to nature – a study of terrain, habitat, and the systems that support or degrade the very ground we stand on. Join us in reflecting on the strength and fragility of our shared Earth” – Hanako O’Leary, Storefronts Program Coordinator

All SLU Storefronts Locations are at the corner of Terry or Boren on given cross streets:

ARTIST: Carolyn Hitt



Artist Statement:

I think a lot about time and the depth of information coursing through our DNA. I think about reincarnation and karma and lifetimes of connections playing out day to day. I think about inexplicable familiarity and pods of community. I think of the cosmic and the anatomic, the cellular and the solar. I think of all our similarities distracted by and distanced through nuanced and targeted programming. I think of where we all come from. And when. And the hundreds of millions of lives that have been lived since then. The abstract expression of my work reflects these thoughts as well as influences of prehistoric art and ancient architecture from around the world.

ARTIST: June Sekiguchi

WORK: Water Flow


Artist Statement:

I make sculptures and large scale immersive installations that involve intensely manipulating material that is pattern based, modular and site responsive. My practice processes, deconstructs, and re-structures a form, focusing on metaphorical rather than literal interpretations of the source material. Each project addresses new concepts leading to experimenting with new materials. I am particularly interested in metaphors that lead to the intersection of science, spirit and art. The primary medium I use is engineered wood panels using a scroll saw to cut pattern with which I create forms that address cultural identity, cross cultural exchange, and personal narratives. I explore diversity and commonality of cultures through the interplay of surface pattern and structural form with a deeper meaning of pattern in humanity, and more intimately, personal patterns of habit. My work is a way of processing significant personal rites of passage and concerns about the world around me.

ARTIST: Henry Cowdery

WORK: Interglacial

LOCATION:  Harrison East

Artist Statement:

My current body of work considers the relationship between the natural world and the built environment. I explore the scaled structure of the universe as well as the earth’s impact on human-made objects from all time periods and locations. I seek to create works that underscore the brevity of human existence on this vast, prolific, but ultimately apathetic earth. Working primarily in large scale charcoal drawings and sculpture, I am inspired by the crippling scale and strength of the ocean and its water cycle, the eons of erosion and tension that form mountain ranges and the opaque, mysterious weight of human history. I am also intrigued by the relationship (or contradiction) between nature’s chaos and the Platonic ideals of humankind, such as the right angle or systems of measurement. Against the backdrop of the infinite and fecund indifference of the earth, I explore fragile human constructs of value, meaning and creation with intention.

ARTIST: Beth Howe

WORK: Iona Drawings

LOCATION: Republican

Artist Statement:

The Iona Series is a collaborative project combining computer coding and drawing. Artists Beth Howe and Clive McCarthy want to bridge the creative work of coding with the creative work of visual art practices that engage with materials (like wood, paper, clay or paint). Can we make the code ‘material’? Can the metaphor of the hand of the artist be extended to the writing of the code?

To translate between the realm of code and the realm of ‘stuff’, we’ve written custom code to build images from digital photographic data. The code-derived images are output on our CNC machine. Designed for milling hard materials like wood and plastics, we switched the cutting tools with an ink pen and draw directly onto paper.

Underneath the permutations of code, the images are of commonplace, and yet monumental, human interventions in the landscape: bridges, warehouses, and piles of navigational debris pulled out of the Fraser River on Iona Spit in British Columbia. Our culture is increasingly shaped by the essential – but invisible to most of us – algorithmic infrastructures ‘underneath it all’. How does this ‘hand’ guide the way we visualize the world? How can artists guide this hand in making objects for the material world?

In the process of making – coding, cutting, printing, drawing, re-coding, and re-drawing – we see translation generate noise. From the eye surveying a scene, to the capture by the camera, to the algorithm, to the line-code of a milling machine, to finally ink on paper, there are many opportunities for mutation. The image passes through a string of languages like a game of telephone and the image is rearranged, degraded, glitched, transformed. The most exciting moments for us are the drawing ‘decisions’ that betray the machine at the helm, but don’t look rational.

ARTIST: Graham Murtough

WORK: Resisting development, resisting ruin

LOCATION: Thomas East

Artist Statement:

Environment is one of the largest influences in my work. Wherever I may be working, the colour palate, the local plants or municipal structures quickly get absorbed into my visual vocabulary. My time in London can be encapsulated by ‘The Relative Value of Convention II.” The title of this work refers to the implicit violence of our accepted cultural values and unquestioned social norms. The ever-obsessive drive towards new urban development and expansion is an example of this violence, and has become a particular preoccupation of mine. As we face environmental catastrophe, I find the two are completely at odds, and the dissonance is observably remarkable. I use some of the visual language of the construction site to refer to this stark absurdity. Our day to day tension is physically interrupted by a collapse of ideals or some sort of life changing event. What follows is a surprisingly uplifting sense of renewal and hope.

In many of the works I create there is a sense that an event has already taken place, and I am interested in creating a kind of material and affective aftermath. By combining everyday materials with found objects, plants and idiosyncratically crafted sculptures, I seek to create an environment where the viewer can experience conflicting sensations, where there is protection, interruption and exclusion all at once. The vibrant plants serve as a living return to civility. I aim to create a kind of material tension, a physical dissonance and unease which gives way to something greater.

ARTIST: Joy Hagen

WORK: Variations on a Theme

LOCATION: Thomas West

Artist Statement:

The daughter of a forester, my childhood was spent exploring logging roads and hiking and camping deep in the forests of the Pacific Northwest. It also provided the opportunity to live in the Philippines and Panama. Surrounded by a forest of significant trees in my own backyard, I use encaustic medium to depict environments that speak to remembered moments through selected bits and pieces from the natural world, usually with a reference to trees. Forests are my sanctuary and inspiration and artmaking is my visual song of praise. Encaustic medium is my preferred method for capturing moments from the natural world. I use reclaimed wood cut to various sizes as a base for creating assembled landscapes. Each piece becomes a means of capturing favorite elements from my natural surroundings. Wax, resin, and wood are more than simply the materials used to create my product. They are of the forest and provide the complexities of emotion inherent in their use.

ARTIST: Melanie Masson

WORK: Passage


Artist Statement:

“Passage” is a survey of leading lines on the North American landscape. Every glacier, wheel, and footfall that carved these lines bore a purpose, the sheer repetition branding a deeper promise of worth into the soil. Following these pathways, which by nature branch one to another, similarly connect us to past travelers while guiding us toward the futures we seek – each generation driven by the same prospects as the one before: change, destination, hopes we intend to plant at the end of the lines.

ARTIST: Danielle Dean

WORK: We are Salt Water

LOCATION: Harrison East

Artist Statement:

An Island can be a refuge. Evoking feelings of escape and solitude, beauty and abundance. For eleven years, I lived and worked on San Juan Island, a seven mile stretch of land in the Salish Sea. In creation myths, islands portray the beginnings of consciousness. On San Juan Island the native tribe, the Coast Salish, believed that Mitchell Bay, located in the northwest part of the island, was their Garden of Eden. It is a thin place – a Celtic description of a place where the veil between heaven and earth seems thinner.

An Island can also serve as a canary in a coal mine. Life is directly tied to nature on an immediate measurable scale. Changing tides erode the land. Ocean acidification shifts a delicate balance, affecting food sources for all. Most residents know the current head count of the megafauna, celebrating births and mourning deaths. It is a sense of place directly connected to events in nature, a form of immersion, a language and culture of the earth. I use to swim in the sea. I would get suited up for long periods in the cold waters. I would set my eyes directly on the water line; the ocean expanding below and the sky stretching above. The two elements blending in harmonies of blue.

I want my work to inhabit the threshold between vastness and intimacy. I am interested in working with the dimensional space of photography in new ways by combining traditional photographic techniques with painting, printmaking, and small sculptures. My images begin with black and white film exposed through antiquated lenses. The old optics allow the light and atmosphere to impress themselves on the silver of the film. With the steel and lead, I am working in collaboration with the sea and earth of the island to patina the objects. The work is about light, the elements, the alchemy of nature and chance.

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Eight New Storefronts Now on Display in South Lake Union

Shunpike proudly presents eight new installations in South Lake Union as part of its acclaimed Storefronts program, on display July 3rd – September 30th, 2018.

“Storefronts South Lake Union presents three rounds of installations in 2018- each round is themed around the concept of building relationships with cities, people, and nature.

In this second round we explore the works of artists incorporating the human figure into their works. Reflecting the faces, bodies, and silhouettes of those around them, these artists build up themselves and the community around them.  Join us in engaging with themes of power, identity, history, community, and all the intricate human connections which frame who we are today and how we relate to each other.” – Hanako O’Leary, Storefronts Program Coordinator

All SLU Storefronts Locations are at the corner of Terry or Boren on given cross streets:

ARTIST: Robert Sparrow Jones

WORK: We are One

LOCATION: John St. Window

Artist Statement:

Well beyond a pastime, nature is a way of life for me. It is a library and a teacher. Color, texture, movement, space, time, and scent; the elements of the natural world mirror my practice as a painter. The wild landscape of the Seattle coast; the physical and aesthetic properties, connects directly to my painting because it embodies many passages of time. Within materials, and layering are metaphorical places that hold culture; light and life, as transparent layers—like a small town edging off into spectacular wind-swept cliffs, and, further up, melding into the hedgerows of a rural countryside. For subject matter I will be contemplating a landscape that has been incorporated architecturally into community and gardens that grow into the environs of the rural life. Merging life with nature is where the haunt of storytelling take bloom and the bold arc of history becomes experienced as layers.

ARTIST: Infinite Milam

WORK: The Queens Project Book

LOCATION: Thomas St. East Window

Artist Statement:

An old Cherokee is teaching his grandson about life:

“A fight is going on inside me,” he said to the boy,

“It is a terrible fight and it is between two wolves. One is evil – he is anger, envy, sorrow, regret, greed, arrogance, self-pity, guilt, resentment, inferiority, lies, false pride, superiority, and ego.” He continued,

“The other is good – heis joy, peace, love, hope, serenity, humility, kindness, benevolence, empathy, generosity, truth, compassion, and faith. The same fight is going on inside you – and inside every other person, too.”

The grandson thought about it for a minute and then asked his grandfather,

“Which wolf will win?”

“The one you feed.”


ARTIST: Berette Macaulay

WORK: memory of nothing, but the soil from which we sprung

LOCATION: Thomas St. West Window

Artist Statement:

The portrait series, ‘memory of nothing’, was inspired by resilience of my own intercultural partnership in the wake of recent racial tensions in the US. I wanted to counter my own fears of the dangers of racism with a visual conversation of unity. It was after I began this work that I learned that 2017 marked the 50 year anniversary of the landmark US Supreme Court case of Loving vs Virginia that reversed “anti-miscegenation laws”, making it legal for human beings in the United States to simply love each other, raise families, bridge communities, blend cultures, while building lives together. But still – skin, nationality, and cultures continue to be painfully political, and radical to some when they are mixed, spurring violent clashes we see in our world today.

This project celebrates the infinite shades of humanity and offers hope. Exposing multigenerational intercultural stories is aspirational, beckoning us to try harder to heal our collective scars, so we can remember only that which connects us: Love.”

ARTIST: Robert L. Horton

WORK: Stories…about Us!

LOCATION: Harrison St. West Window

Artist Statement:

A series of paintings, “Stories…about Us!” depict the rich lives of key people in African American history. Storylines from slavery, specific significant historical events, to iconic leaders are featured in visual format. My recent focus has been the production of art exhibits, which demonstrate how little known African American history impacted the course of American history. My exhibits, “Un-Chained Underground” and “American History…X” allowed me to promote these stories by showcasing the imagery of the people who played a strong role in American culture. Art patrons viewing these exhibits responded favorably to the educational value, as well as, artistic execution of the images.


ARTIST: Jean Bradbury

WORK: On my Head, in my Heart

LOCATION: Harrison St. East Window

Artist Statement:

In response to the current political climate in the United States I have chosen to celebrate the diversity and specificity of the human culture. “On My Head. In My Heart” is part of an ongoing exploration of clothing as a language that expresses the apparently opposing values of tradition and individuality. It asks the question “Who are we and how do we express that?” and answers with both our relationships to our group and our own uniqueness. While we are products of our family, group, religion, culture, sports interest, and workplace the truth about who we are lies in our specific stories. For this reason I incorporate interviews with my portrait subjects about how the item they wear on their heads expresses what they hold in their hearts.

ARTIST: Suze Woolf

WORK: State of the Forrest

LOCATION: Republican St. Window

Artist Statement:

Suze Woolf has watched glaciers shrink and burned-over forests increase. At first, she painted whole scenes of fire-affected landscapes. Then close-up studies of individual trees became a metaphor for human impact: our predilection for cooking the planet. Yet for all her distress, she also sees unusual beauty. Fire-carved standing snags are known as “totems.” At once all the same – carbonized, eaten away; yet each different – the physics of the fire and the tree’s biological structure create unique sculptures. Each ridge, fissure, and layer becomes a landscape unto itself. Char remains iridescent for up to a decade, reflecting local light and color.

ARTIST: Synvia Whitney

WORK: I want to be here with you, I want to change

LOCATION: Mercer St. West Window

Artist Statement:

I dreamt of the the possibility of Mount Rainer transitioning into the Puget Sound, of the gallery floor speaking it’s mind. It’s this kind of thinking that inspires me, especially in our current cultural climate when it seems change is so necessary yet so difficult to achieve, my gender-queer self yearns for the opportunity to imagine what could be no matter how impossible it seems. This work is a reflection of my desire to re-imagine myself my relationships and the spaces we all live and work in together. I want to be here with you now and I want to change. I want this freedom for all of us.

ARTIST: Jite Agbro

WORK: Armor Stories

LOCATION: Mercer St. East Window

Artist Statement:

My work focuses on non-verbal communication, the process of exchanging shared cultural, psychological, and imaginative cues between people. Specially, I’m interested in the way we as human beings project ourselves and our identities into the greater public space.

My most recent prints incorporate dress forms and garment piece. I use dress forms as visual representations of non-verbal communication because clothing is a familiar instrument for unspoken exchanges. Clothing conveys self-image, aesthetics, interpersonal allegiance, and even citizenship, lineage, and social status. Each of us is deeply knowledgeable in this subtle language of presentation and able to make lightning-quick judgments, even where our awareness of what we are judging is subconscious.

My interest is in creating visual representations of status and using them to capture stories and un-cover the subtle experiences of symbolic expression. I wish to exhume the buried and unexamined assumptions by which we negotiate culture and construct our images of other people and ourselves.

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Shunpike Proudly Presents Two New Storefronts Installations in Bellevue

Two new Storefront installations – Bike Date by Laura Curry, and Ensembles by Becky Frehse – are now on view at the Meydenbauer Center in Bellevue, WA, now to September 2018.  Presented by Shunpike as part of its acclaimed Storefronts program, the installations have been sponsored by Meydenbauer Center.

ARTIST: Laura Curry

WORK: Bike Date

Bike Date is a research-based project that documents the experiences of the cyclist while on the road in South and North American cities.

For Storefronts, I choose to uncover the drama – the romance – and intrigue of the cycling experience that is typically invisible to the hell bent motorist.

Because Bike Date is a dialogic project, I am using 2 large format QR codes that also act in dialogue with each other.

At undisclosed times during the 6-month Bike Date installation, unique visual and audio experiences will be accessed by scanning the QR codes with smart phones.

And at undisclosed times, links will be provided for the audience to upload comments to me, and content of your own.

I invite the audience to enter into this dynamic, digital experience framed in cycling.

ARTIST: Becky Frehse

WORK: Ensembles

ENSEMBLES is a mixed-media installation that features boisterous acrylic paintings, reconfigured musical instruments, tree branches as musicians, and whimsical ceramic parts in two tableaux referencing birds in a “green scherzo” and a raucous band of makeshift instrumentation. Becky’s juxtaposition of objects within a framed display window invites the viewer to experience her visual interpretations of waggish musical ideas.

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Eight New Storefronts Now on Display in South Lake Union

Shunpike proudly presents eight new installations in South Lake Union as part of its acclaimed Storefronts program, on display through June 2018.

The theme of Storefronts XV is “Exploring the architecture which shapes our lives.”
In this collection of installations, artists respond to architectural spaces and concepts though emotional, utilitarian, or aesthetic gestures. They reference structures—everything from our bodies to buildings to hidden corners of our mind—places that shape and or contain our lives. These works will snap us out of our everyday routines and push us to recognize the psychological and physical space we occupy.

All SLU Storefronts Locations are at the corner of Terry or Boren on given cross streets:

South Lake Union Storefronts Locations

ARTIST: Alexander Keyes

WORK: the unutterable hideoussness of absolute silence and barren immensity

LOCATION: Mercer West Storefront

The ocean has always been an anchor, existing as a space of mystery and possibility at the periphery of my consciousness. My work is largely informed by this early relationship to the sea and I frame the ocean as a site of potential fantasy and open possibility. My work, using sculpture, model making, and collage, suggests an archive from a voyage happening only in my imagination. This project conceptualizes a prototype for escape, speaking to a state of dreaming rather than an approach to planning. By looking to the sea as an infinite space of speculation, I reveal a universal desire to confront the unknown and to give form to daydreams on the possibilities that exist within the physical and emotional massiveness of the sea. By combining the scientific process and the fantastical nature of mythology, my speculative process is an account of daydreams of an encounter with the unknown. I often look to the narrative quality of myths as the impetus for my dreams of adventure. At the beginning of the scientific age, the mysteries of the world were understood and rationalized through story. The giant squid, sighted so rarely on the surface of the sea, has spawned lore about the monsters of the depths such as the Leviathan and the Kraken. The Roman naturalist Pliny the Elder’s texts from the first century AD relates the Kraken as scientific fact, solidifying its importance as part of the sea faring civilization’s relationship with the ocean. Being physically impenetrable, with the surface acting as a veil for the depths, it opens itself to an imaginative entry. Stories are generated because of this inaccessibility, as it only spurns desire for further access.

ARTIST: Minh Carrico

WORK: Bring the mind home

LOCATION: Mercer East Storefront


Our global network can be instantly found in every conceivable manner within our own hands via handhelds on a daily basis. While expanding knowledge within the virtual world, one’s mental and physical presence in a particular moment is often irretrievable. Drawing from The Tibetan Book of Living and Dying by Sogyal Rinpoche, Bring the Mind Home is a passageway for connecting the mind and body. Mindfulness is available by finding the space between the past and future, that is to “Be Here Now”. My work reflects upon my personal journey in search of solace throughout the troubling times. I offer this message as gift for those seeking peace in their own life.

ARTIST: Jennifer Zwick

WORK: Waiting Room (Transposed)

LOCATION: Republican Storefront

Waiting Room (Transposed) is an ordinary medical waiting room filled with specific and mundane details, which has been abruptly cut in half and rearranged, meeting in the middle at what is actually its opposing edges. This shows up clearly in the Cover Your Cough poster, which is exactly half in English and half in Spanish. Other materials are also cut: fanned magazines, framed artwork, chairs, books, a pen on the floor. The books’ titles heighten the narrative (“Enormous Changes at the Last Minute” and “The Circular Functions”). To heighten the conceit, I created realistic but humorous paperwork, including a HIPPA form and two brochures (“Oversharing” and “ADHD”). HIPPA text excerpt: “What the artist may do with health information: The artist may not use health information about you/your child. The artist respects your privacy. She simply wants to continue the conceit of a hospital waiting room and thus include paperwork. The artist will also not share health information about you/your child collected during the exhibition with the following: 1. Her neighbours. 2. Actual hospitals.”
This installation can operate as a satisfying exercise in mental reassembly, but is also a visual representation of my experience of time within such waiting rooms. A disjointed, fragmented, seemingly endless loop which ends abruptly when you leave, and if you go back, seems to have never stopped.

ARTIST: Robin Green

WORK: This is what I meant to say

LOCATION: Harrison West Storefront

“This is what I meant to say” is made of layers of soft, yielding silk made unevenly stiff with paint, and fixed with magnets to an ordered grid of deliberately rusted sheet metal rectangles. The marks were made by carefully folding and draping the fabric. The individual elements are simultaneously soft and hard. They are messy and organic, but layered over something rational and ordered. The whole is held together by gravity and magnetism. They corrode, warp, and fray. They’re balanced, but ready to fall. The result is a mixed architecture that is topographical, but reads the same as a painting or abstracted landscape.

This united and contrasting elements serve as an inquiry and meditation on the uneasy relationship between our rational and illogical selves. Though our world is built on a foundation of instability, chaos and random chance, we try to order it, want to control it and pretend we understand it. We are human, and we want to know.

ARTIST: Ko Kirk Yamahira

WORK: Untitled

LOCATION: Harrison East Storefront


I consider that the subjectivity is formed through the repetitive process of deconstructing the existing objects, and ruminating on such process. There is no specific aim to find a meaning, neither in the creative act itself, nor through the creative process. The totality of the meaning can be found in the continuation of the process. Therefore the reason for the creative act would be found in different inquiry.

The obsession of pursuit of the meaning is unlocked by the pure enjoyment of creative act. The obsession in turn would release the meaning of the search by forgetting the initial inquiry. There are innumerable ways to enact the process, however there is one answer to the result of the process. Within the answer contains two opposing perspectives that has no hierarchy. The point of view, both subjective and objective, as well as the scale of the perception would affect the location of the answer. I sense the distance to the answer gets ever more shorter as I repeat the inquiry.

The answer certainly exists in the past and it could simply be overlooked. The past always has the potential for the new discoveries for me. Since the inquiry originates within my mind, thus the approach to look and find the answer can change completely. It shifts while depending of my state of mind. So it is both firm, as well as transient. Creation of the artworks comes after my deconstructive process on already existing canvas, separating vertical and horizontal threads. The totality of the meaning can be found in the continuation of the process. Therefore the reason for the creative act would be found in different inquiry.

ARTIST: Randi Ganulin

WORK: Arterial

LOCATION: Thomas West Storefront

In my latest work, I use cyanotype photograms, one of the oldest, simplest forms of photography. Ordinary vegetable nets, the kind of packaging used for lemons, onions and the like, are placed on photo-sensitized paper, exposed to sunlight, and developed with water. I take the resulting prints (bright cyan blue, as the name implies) and make high resolution scans, which I then rework to highlight their ephemeral quality as works on paper, including glitches and blotches resulting from the uneven spread of the chemistry. I’ve printed the resulting collages on semi-translucent film and backlit them, reminiscent of x-rays shown in the doctor’s office. Red and blue panels refer to the circulatory system, simultaneously balancing opposite colors and butterflied, cloned shapes. The dual panels create a cohesive tension, fragile yet resilient, that author Nassim Nicholas Taleb refers to as “anti-fragile,” a quality I’ve been interested in for a long while now.

ARTIST: Scott Gibson

WORK: Why do I feel like this?

LOCATION: Thomas East Storefront

I locked myself in my room and painted.  I was 16 years old and had wrecked the family car nearly killing myself and 5 other innocents.  Fear, immortality, elation.

The child was held out to me in what should be desperation. He was not to be born this early. I am confident of that. Listening with my dirty stethoscope I finally find the tiny beating heart. It is gone. Helplessly I look at the young shirtless father through the liquid lens on my eyes. This is all too normal for this jungle father. But it is not normal to this naïve jungle doctor. Numb, intensely alone, useless.

I whispered to myself, “That’s more than twice my current salary.” I rode the tech rocket, but I am no rocket scientist. I am still the “never amount to anything” sixth grade loser. Can I really lead hundreds of people? This is life changing. Giddy, pride, fraud.

Emotions drive my art. I create because I am still living, searching, confused, and normal.

ARTIST: Ed McCarthy

WORK: Rust

LOCATION: John Storefront

With a background in architecture and engineering, I can’t help but incorporate both architectural and structural form into my sculpture. “Rust” celebrates simple geometry with a series of related forms in steel. Each form is constructed of seven 4-inch cubes joined face to face. The forms are known as heptacubes. In total, there are 1,023 unique varieties of heptacubes. The proposed exhibit displays 9 of them. The forms share a rusty patina, having been exposed to months of Pacific Northwest weather.

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Eight New Storefronts Now on Display in South Lake Union

Shunpike proudly presents eight new installations in South Lake Union as part of its acclaimed Storefronts program, on display through March 2018.

The theme of Storefronts XIV is “Cultural growth and decay: the shifting perceptions of
self and the other.” In this series of installations we explore the the growth and decay of culture and identity within an evolving urban landscape. Whether it be by collecting Lunaria seeds through the passing seasons or listening to the life experiences of immigrant elders, we collect and discard as we build up our personal narrative. These works explore what it means to build and disassemble our understanding of self and the relationships we create in our built environments.

All SLU Storefronts Locations are at the corner of Terry or Boren on given cross streets:

South Lake Union Storefronts Locations

ARTIST: Christopher Hartshorne

WORK: Fusion Field Landscape

LOCATION: Mercer East Storefront


I create woodblock prints that depict a dramatic movement of form and textural organic elements. I use my extensive library of woodblocks as a visual language, repeating components in new configurations throughout my body of work. I create new compositions by repurposing and recombining woodblocks from older work. To me, forcing the combination of contrasting compositional elements to exist with one another on the printed surface serves as an analogy for how we exist in our own constructed worlds. I remix textures and pattern from a variety of sources including: my interpretation of imperceptible reactions in science, patterns found in nature, mechanical elements found in architecture and social spaces, and the weathered decay of urban environments. After carving these patterns and textures out of birchwood, I then reassemble them into one printed composition. Combining sculpted polyhedra and large-scale banners, my current work assembles the layers and dynamic juxtapositioning of my printed work into a three-dimensional space.

ARTIST: Markel Uriu

WORK: Veil

LOCATION: Mercer West Storefront


Made of Lunaria leaves and gold thread, Veil, is both a tapestry and a physical manifestation of labor and time.
Veil is an ongoing piece, composed of leaves and gold thread. For three years, Markel Uriu has gathered Lunaria plants from around the city of Seattle when they mature in fall, which then sews into a tapestry over the course of the year. Through this ritual, Uriu contemplates patterns of life and death, both as a literal marker of time, and through metaphorical reflections. The repetitive arrangement and action of the piece create a visual rhythm, which evokes the cyclical nature of life. Mimicking those actions essential to living—breath, heartbeat, blood flow—the tapestry mirrors these actions through its form and process. Variation in climate and time are seen in the different layers, as the Lunaria darken or lighten to mark the difference in years. The ever-changing nature of both past and present beautifies it’s impermanence and highlight the beauty that comes when there are some things left beyond your control. Drawing from Buddhist ideals, Veil encourages the viewer to more fully observe the present, as the piece will constantly change, either through it’s growth and decay, or by the artist’s own hand. In addition the fragility and strength of impermanence, the piece expands Uriu’s ongoing themes of femininity, meticulous labor, assiduousness, and endurance. Quiet, nearly passive, action becomes something impressive through dedication and time.

ARTIST: Lida Mahabadi

WORK: Duality in Inferno

LOCATION: Republican Storefront


In Dante, inferno tells the journey of Dante through Hell. The presented work is an emotional expression of the urban journey of transformation the city of Seattle has gone through over the years. In today’s world, we are faced with an ever changing fast paced society. As a result, our society is faced with a big challenge to consciously adapt and hold onto memories of various dying elements. Accordingly, Seattle has become denser to accommodate for growing population and consequently the natural environment has been affected. The earliest Buddhist texts explain the four primary material elements as the sensory qualities of solidity, fluidity, temperature, and mobility; their characterization of earth, water, fire, and air, respectively. The series are abstraction of four elements of air, fire, water, and earth within the context of city of Seattle. The artwork aims to demonstrate how life extends beyond its own subjective limits to tells a story about the effects of global cultural interaction over the natural environment. This work’s mellifluous visual effect is highlighted by the changing color pallette at night and day and challenges the binaries we continually reconstruct between Self and Other. Art is a powerful tool that often softens emotions and creates an opportunity for a meaningful dialogue. Our perceptional malleability is key to processing today’s distorted world and integrating local and global information in our daily dynamic environments. There is a great urgency to reflect on the past and plan for a better future.

ARTIST: Ellen Hochberg

WORK: Labels

LOCATION: Harrison East Storefront


This project was created as a way for us to think about the quick, easy terms we use to “label”
each other. Words like Conservative, Feminist, Pro-life have a subtext of meaning that goes beyond the word itself. We have come to rely on these words as a simple shorthand when describing people, especially people different than ourselves. But are these the words someone would have chosen for themselves? Do they give us a true measure of a person?

ARTIST: Cameron Anne Mason

WORK: Indivisible

LOCATION: Harrison West Storefront


Panels of translucent silk organza, dyed in shades from ivory to deep brown and stitched with red thread, are a visual metaphor for our diverse communities. We are all the same and yet, look closer and each of us is a unique combination of DNA and life-experience. Dyeing fabric is fundamental to my work. It is an intimate part of our lives. It protects us from the elements, and gives us comfort and a means to express ourselves. It is sensual and essential. I am drawn to fabric because of its changeability and its constancy. Fabric is the skin that clothes my work.

ARTIST: Tessa Hulls

WORK: This Is My Home: Stories of First Generation Immigrants

LOCATION: Thomas East Storefront


This Is My Home is a series of visual interviews highlighting the strength, tenacity, diversity and grace of female first generation immigrants in the Seattle area.

ARTIST: Fred Lisaius

WORK: World Tree (Gold)

LOCATION: Thomas West Storefront


The deeper I go into the forest the closer I feel to the truth. Off of the trail, there is a quiet calm where ideas can be contemplated and refined. Everything is connected- in my paintings, I utilize the forum of nature to explore our relationship to the natural world, the universe and to each other. When it’s foggy I see everything more clearly. Shapes are simplified, colors subdued and a veil of mystery is cast. I like to incorporate transitions in my paintings- events such as change of season, day into night and awake to sleep are realms where the imagination and reality coexist. Perhaps they are also windows into better understanding our existence. I think best in paint. When I begin a painting, I begin a journey. Nothing makes me happier.

ARTIST: Katrina Sather

WORK: Hope 2

LOCATION: John Storefront


The arts can provide powerful inspiration and motivation for change. Thus, my facilitated artwork is as much about the process as the final product. Each production evolves over numerous sessions, often spanning several weeks or months. Collaborative paintings offer participants an opportunity for self expression, social inclusion, release of tension, increased confidence, and an invitation to negotiate personal boundaries as we gather around a canvas: shoulder to shoulder. The finished pieces are colorful, dynamic and vibrant. When the final artwork is witnessed by others, everyone who committed themselves to the piece is validated. Their voices and individual stories are honored. Creativity, like people, shouldn’t exist in isolation.

 I am fulfilled when bringing individuals together to experience self-discovery through creativity. Often I witness strength and resilience in the stories told. People from diverse backgrounds are able to find a common language that never ceases to amaze me. This process equalizes the playing field for all, resulting in a reduction of limitations and barriers. It furthers my belief that we are all capable of being changed through participation in the arts.

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Call for Artists for 2018

2017 Call for Artists - FB Banner

We are calling for artists to submit proposals for our 2018 Storefronts Program.  Submit your proposal by November 27th to have the application fee waived!

Deadline: December 4, 2017

Learn More & Submit

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