Two new Storefront installations – A Window Treatment for the New Regime by Catherine Cross Uehera, and Looking forward, Looking back, by Eva Funderbergh – is on view at the Meydenbauer Center in Bellevue, WA, now to July 2017. Presented by Shunpike as part of its acclaimed Storefronts program, the installations have been sponsored by the City of Bellevue and Meydenbauer Center.
These two artists are tackling the power of humans during transitional times. Eva’s use of natural materials complements Catherine’s use of bright and synthetic items. Their installations play off each other while asking the audience to consider deep themes. Funderburgh’s ‘Looking forward, Looking back’ addresses parenthood, and Uehara’s ‘A Window Treatment for the New Regime’ inspires positive change amidst injustice.
Uehara // A Window Treatment for the New Regime
Born in Berkeley California, Catherine Cross Uehera attended Malcolm X elementary school, Berkeley High and the University of California at Davis. She received her MFA in painting from Hunter College in 2000, has exhibited nationally, and is a proud member of SOIL Artist-Run Gallery in Seattle. Catherine is a Seattle based artist who believes strongly in the power that each person has to recognize injustice and effect positive change in the world. “Much like people, things are also so imbued. In a just society there must be order but no hierarchy.”
Funderbergh // Looking forward, Looking backward
Eva Funderburgh Eva Funderburgh is a Seattle-based sculptor. She has a Bachelor’s of Science and Art from Carnegie Mellon University and was one of the founding members of Florentia Clayworks, a local cooperative studio. In 2010, she was an artist in residence in Denmark at the Guldagergaard International Ceramic Research Center. In 2015, she took part in the Seattle’s Office of Arts and Culture award-winning Public Art Boot Camp. She now works in public art, installation, ceramics, and cast bronze.
Describing Looking forward, Looking back, Funderbergh says: “My work deals with the overlap of humanity and the natural world. I use my simple, emotive animal forms to examine human motives and emotions. Storytelling and the idea of myth plays a very large role in my work, but equally so the notion of biology. By removing the humans from humanity, we are left with our universal animal needs – food, companionship, survival – and a new framework for examining ourselves.”