Shunpike presents Storefronts South Lake Union, the first round of South Lake Union artist installations in 2019. Eight selected artists have explored themes of human connection, intersection, and liminality in their work. Over the course of their collaboration with Storefronts and Shunpike, they will further explore these themes in empty storefronts around SLU. Read on for select portfolio pieces and artist statements from each artist.
The Storefronts Program continues to support our creative community and our urban neighborhoods and businesses by providing opportunities for artists to do what they do best – create dynamic, engaging works that reach out to passersby, activate our built environment, and function as an incubator for our arts ecology, entrepreneurial projects, and urban revitalization.
ARTIST: Angelina Kidd
LOCATION: Mercer East
It is true that there is no scientific proof of life after life and of the human soul. However, I believe there is a soul and it is energy recognized as light. I am drawn to the duality of light and dark–conceptualized as absence and presence. My work focuses on the connection humans have with the natural world. By means of my constructed imagery, I propose that when our bodies die our soul as light energy become one with the environment, leading to the continuation of life.
– Angelina Kidd
ARTIST: Katie Tibault
LOCATION: Mercer West
My recent work draws on blueprints and data visualization concepts as an imperfect method to make sense of our fragmented experiences of the world. Even as these visual structures reach toward understanding, I allow different sections of my installations to overlap and collide, reflecting the inherent conflict in different parts of our internal and external landscapes. I am especially interested in the intersections of mechanical elements and references to the body and language through wall installations, drawings, and sculptural apparatus for the body, exploring the disintegration of the distance between the physical and internal sense of self and external structures. I work across a number of mediums, including mixed media installation, drawing, painting, glass, metal, and performative work. – Katie Tibault
ARTIST: Abigail Maxey
An unintended knot is an annoyance, an obstruction in a process. It could be a physical knot that forces one to stop and focus on resolving the obstruction. By enlarging a knot, I hope to transform our perspective to explore the path of the tangle. To create a knot, I use basketry techniques and reed as my material of choice. Pliable when wet, reed holds its form when dry. The open weave allows the viewer to explore the path of the knot by seeing through individual layers. The weave creates skeletal tessellations, a repetitive pattern, that I find familiar and appealing. Strong directional light creates an additional layer of intricately textured and distorted shadows adding tension between order and chaos. –Abigail Maxey
ARTIST: Holly Hudson
LOCATION: Harrison West
Artist Holly Hudson’s work explores humanity’s relationship to nature and the repetition of organic forms, patterns, and structures that occur in the world around us as well as the world within us. Hudson examines the likenesses between the natural world and human anatomy. Sticks and root systems mimic arteries, veins, and capillaries. Knots and joints in wood become the knuckles, joints, and phalanges in our hands and feet. Flowers bloom into lungs. On a deeper level, Hudson seeks to engage her viewers by illustrating through these similarities the human race’s interrelatedness and dependence on the natural world. Hudson loves working in media of all kinds including collage, oil paint, encaustic, watercolor, plaster, and wood sculpture. Her sources of inspiration include beach combing, the upturned roots of fallen trees, 17th – 19th century anatomical illustrations, wax anatomical sculpture, and mythology of various cultures. – Holly Hudson
ARTIST: Lily Hotchkiss
LOCATION: Harrison East
“We carry old homes along the spine.” – Wang Ping
“I long, as does every human being, to be at home wherever I find myself.” -Maya Angelou
The idea of a home is a longing I have to return to something familiar. The mortar of my home is memory. Or the box of rotating objects I carry around with me that are familiar metaphors for different times. My daughter, when asked what home is, will always answer that it is where I am. The spaces themselves determining how much or little furniture we can have, the scale of art I can make, what is possible. For me this project has been a reflection on her reality, whose home is me, on the uncertain world around us, the asylum seekers, the homeless population here in Seattle, the privilege of white people, and the larger diaspora community around the world. A reflection on both the dreams of mortar and the harder work of defining that as something we carry and how to instill that in my daughter. The raw materials I used embodied a process of reflection. The deconstruction and rebuilding with disparate parts was a kind of meditation. The old doll houses I used were already broken, half formed or falling apart. As I assembled these sketches, 3D, fleeting, already broken, I wondered what images will return to my daughter when she leaves her childhood home/mom and creates her own. We’ve lived in places inhabited by ghosts, attics with secrets in the walls, new apartments with no history save sheetrock dust, rooms we had to turn sideways in, those that slant, and those that seem to grow from trees. I hope Seattle will remain our home.
ARTIST: Tiffany Ju
LOCATION: Thomas West
My motivations for my work have been recent discoveries. My artistic journey is new although I’ve been making art all my life. What has changed is that I have been able to reassess the notions of myself that I have held for years as a woman of color to immigrant parents who have lived this particular life and have had particular imposed boundaries. Currently, I work with recycled materials and using the craft method of weaving. My work explores my own personal history, revisiting my earliest memories of making. I also explore the dichotomies of craft vs. fine art, low vs. high perceived and cost value, the juxtaposition of familiar and new, traditional vs. modern forms and aesthetic. These topics have remained consistent and forefront in all of my previous work. – Tiffany Ju
ARTIST: Soo Hong
LOCATION: Thomas East
“Mol-La” is a Korean expression meaning “Don’t know”. I often used this word since early years of age. I have lived in several different countries since childhood and therefore had been cast into environments I am not familiar with. I experienced ambiguity through incomprehensible language and local people around. My art work explores such vague psychological state of human by using visual elements.
– Soo Hong
ARTIST: Kelly Mitchell
My art practice began in my home growing up. I learned to draw and to stitch from my mother. My family’s homes–there were many over the years–were always filled with handmade quilts from great grandmothers and great aunts, handmade toys and clothes from my grandmother, and my childhood wardrobe was almost entirely made by my mother’s hands. These objects are very important to me, they are physical ties to past generations of women in my family, things I can hold and smell and feel that remind of the women who made them. But more important than the objects themselves are the skills these women passed down to me through these objects. Stitching is what tied us all together and keeps us tied together even as some pass on and leave this world. I bring the skills they handed down to me into my art practice to memorialize them and to pay homage to them, but also to use those skills as a means to express ideas in ways they never had a chance to. -Kelly Mitchell